IRON
A project initiated by James L Hayes artist and CIT/CCAD Lecturer Supported and funded by CIT Research Fund and Crawford College of Art and Design more details on www.nationalsculpturefactory.com Cork March 27 to April 01 2012
N AT I O N A L S C U L P T U R E FAC TO R Y
The IRON-Research Project at the
The Visual Artists’ News Sheet
issue 2 March – April 2012
Published byVisual Artists Ireland Ealaíontóirí Radharcacha Éire
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Enter online:
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Fermanagh District Council would like to invite you to:
E A S T ER SMALL WO R K S Contemporary, traditional, & emerging art from all over Ireland
OPENING
Thursday 5 April 2012, 8pm Continuing until 7 May 2012 Monday – Friday: 9am – 4pm Saturday: 11am – 4pm Sat
Image by Kay Sequin
FE ATURI NG: Noelle McAlinden Leslie Campbell Orlagh Murphy Katharine May Patricia Kelly Bridget Dolan Alan Follas Joseph Simons Bart Kucharski Thomas G Flynn Kiera McCluskey Andy Glenn Billy Moore Kay Sequin Zainab Ali Jean Doyle David Leahy Pauline Garavan Norah Brennan Sarah Bracken Jacko Mollan Tara Moran Woods Sheila Naughton Maria Bagnoli Joseph Hehir Paul MacManus Claire Murphy Marjorie Leonard
Catherina Hearne Dorothee Kolle Scott Ramsey Helen McAllister Andy Glenn Barry Slevin Sandra Breathnach Catherine Mulvey Avril Gould Anne McGill Nicola Woods Amna Kiran Rosemary Clarkson mark revels Mary Mooney Ann McNulty Margaret Deignan Jo Tinney Genevieve Murphy Amy McGovern Helen Blake Susan Hughes Orlagh Murphy Talie Mau Grainne Bird Peter Wieltschnig Alan Follas John Cullen
Alison Lowry Maggie Mageean Rosemary Wylie Paul Stinson Alex Lindsay cathy reynolds Margaret Scott Valerie Parker Jill Mulligan Robbie Trotter Thomas G Flynn Shane meehan Doreen Brown Avril Moore Jim Fee Caroline Dilworth Amanda May Paul speight Ken Ramsey Ann Bresnahan Sarah Pearl Kazi Elena Murphy Ann Cassidy Samantha Jones Helen McNulty Adele Stanley Sheila McCarron
Pat Deering Ronan McGrade Ruth Jones Claire Cathcart Kevin McHugh Jane fallis Patricia Neill Jan Swain Sadbh Gibson Rachel Likely Fionola Neary Russell Amanda Jane Graham Cezary Bielicki Hugh Gormley Rikki van den Berg Jackie Ball Valerie Parker Mary Martin pamela byrne Alan Milligan Margaret Madden
31 March – 16 May National Craft Gallery, Castle Yard, Kilkenny, Ireland T + 353 (0) 56 779 6147 E ncg@ccoi.ie W www.nationalcraftgallery.ie
Girl on Flying Machine, Yinka Shonibare MBE, 2008. Image Š the artist and courtesy of the artist and Stephen Friedman Gallery, London and James Cohan Gallery, New York
The Higher Bridges Gallery Clinton Centre Belmore Street, Enniskillen Co. Fermanagh BT74 6AA T. + 028 6632 5050
North St, Skibbereen, Co.Cork t: +353 28 22090 e: info@westcorkartscentre.com www.westcorkartscentre.com
Difference Engine VI 21 April Ă? 26 May
A collaboration between artists Mark Cullen, Jessica Foley, Wendy Judge, Gillian Lawler, Paul Green and featuring Gordon Cheung.
Mark Cullen, Light Emitting Black Inverted Panopticon Lotus, Difference Engine II
Difference Engine is based upon a kind of Ô jammingÕ , between the artists. At each manifestation, the
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artists, through their works, must rearticulate themselves or risk stasis. Difference Engine, then, is a mutable & shifting entity of moving & fluctuating parts; the artists & their works will riff off each other and the space of exhibition, evolving a language of contingency, yet maintaining a fidelity to the individual perspectives & expressions of each artist.
4
The Visual Artists’News Sheet
Introduction
March – April 2012
Contents 1. Cover Image. Isabel Nolan, Eventually Into Darkness,2011
Welcome to the March April issue of the Visual Artists’ News Sheet
5. Column. Emily Mark Fitzgerald.
In this issue, we begin by taking a look at the myriad events and activities happening in Limerick, including:
5. Column. Jonathan Carroll.
an update on developments in the Creative Limerick initiative; a report from Arts Officer Sheila Deegan; an
6. Roundup. Recent exhibitions and projects of note.
update from Mike Fitzpatrick, Head of Limerick School of Art and Design; and interviews with eva International Director Woodrow Kernohan, and Limerick City Gallery Director Helen Carey.
7. News. The latest developments in the arts sector. 9. Regional Profile. Visual arts resources and activity in Limerick.
In response to recent reports, Noel Kelly, CEO of Visual Arts Ireland advises on best practice for artists who find themselves without payment for work sold, while Alex Davis, VAI’s Advocacy Officer, explains the new Artists’ Charter, drawn up to clarify the relationship between artists and those they interact with in a professional context.
16. Issue. When Trust Proves to be Misplaced. Noel Kelly discusses best practice for artists faced with a lack of payment from galleries. 17. Profile. An Gaelaras. Marianne O'Kane Boal discusses Irish language arts resources in NI. 18. Profile. Quantified Self. Sheena Barrett, Cliona Harmey, and Kieran Daly discuss their recent
Of our regular columnists, Emily Mark Fitzgerald discusses immigration and emigration in an Irish context, and the approach of visual artists and cultural practitioners to this theme. Jonathan Carroll reflects on acts of displacement for artistic purposes, and Homer Simpson’s brief foray into the contemporary art world.
collaboration. at the LAB, as part of Innovation Dublin 2011.
19. Critique. Our 4 page Critique supplement features six reviews of exhibitions, events, publications and projects – that are either current or have recently taken place in Ireland.
In addition, this issue includes: reports from TRADE in Leitrim, and from two recent seminars on the use of
23. Seminar. Trade Secrets. Ruth McHugh profiles the Trade: Artists in Conversation seminar.
vacant properties in Ireland; an update on developments in Irish language arts provision in Northern Ireland;
25. How I Made. Pure Imagination. Angie Duignan describes her recent exhibition at the V&A Museum of
and our Critique review section.
Childhood.
Visual Artists Ireland launch a new programme of professional development workshops and events (details
26. Seminar. Talking Shop. Rayne Booth discusses two recent seminars on repurposing vacant space.
of which are included in this VAN and on our website) across the Republic of Ireland and Northern Ireland.
27. Interview. The Artist's Retreat. Sarah Searson talks to Robbie McDonald of the Tyrone Guthrie Centre.
As part of this programme we will host our day-long National Gathering in June. We are also about to launch
28. Opportunities. All the lastest grants, awards, exhibition calls and commissions.
issue 15 of Printed Project, curated by filmmaker Vivienne Dick.
30. Residency Profile. Thou Shalt not Covet. Aoife Collins discusses her recent residency at IMMA. 31. Issue. The Artists' Charter. Alex Davis discusses the mew artists charter compiled by VAI. 32. Profile. Curating in a New Light. Marianne O'Kane Boal describes her curation of the Wexford County Council Art Collection.
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33. Art in Public. Public art commissions; site-specific works; socially-engaged practices; and other forms of art outside the gallery. 34. Interview. Collective Memory. Colin Darke talks to Manuela Pacella and Ilaria Loquenza about an
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The Visual Artists’News sheet
March – April 2012
COlUMN
5
Roundup
Produced over two years, 'Churches' is an
Emily Mark FitzGerald
ART Of ff fAIlURE
The Art of Migration
The Highlanes Muncipal Art Gallery,
forms a contemporary portrait of
Drogheda recently exhibited ‘The Art of
Northern Ireland, and its unchronicled
Failure isn’t hard to Master' by Thomas
Modernist past.”
extensive photographic typology, which
gIVE UP THE gHOST
www.belfastexposed.org
Brezing (12 Nov – 12 Jan). Aoife Ruane Throughout its history, migration trends have heavily impacted Ireland’s social, economic and cultural condition. From plantation and colonization to Polish influx, Famine exodus to 1980s recession, the hybridity of Irish identity is a consequence of a historical experience shaped by diaspora and new resident communities. When Ireland experienced its flush years in the 1990s to mid 2000s, an oft-repeated fact
wrote in her introduction to the cata"Though the result of just two years work, the full spectrum of Thomas’ visual practice and interests is represented
(illustrating the reversal of economic fortune) was that for the first time in the history
here; painting large and small, works on
of the Free State (except between 1971–79) we experienced net inward migration.
paper, installation, performative ele-
Now, as we see a reversal of migration trends in the wake of the our current recession,
ments; as are many of the characteristic
this topic again dominates media and popular discussion. The Irish Times’ series
concerns of his practice; the interest in
Generation Emigration has combined anecdotal accounts of leaving Ireland with
found objects, the use and reuse of items
pragmatic recommendations about prospects and opportunities in various
or paintings, the idea of looking and
destinations; RTE programmes like Departure Day and Arrivals attempt to humanise
relooking and discovering a kind of beau-
the experience of emigration, perhaps echoing recent trends in academic demography
ty, the small moments, the minutiae; the
that examine the micro-economic reasons influencing push-and-pull decisions to
commentary and concern about popular
emigrate. Few topics generate such strength (and variety) of opinion, or tap into a
culture, media, news and issues of
deeper wellspring of cultural memory.
national and global significance." www. highlanes.ie
What many of the current debates on emigration fail to remember, however, is that emigration did not grind to a halt during the Celtic Tiger years: between 1991 and 2005, for example, levels of gross (not net) outward migration ranged between 35,300
MAKE. BREAK. MAKE.
logue, which accompanied this show,
NiNety NiNe PerceNt for Art
and 29,400, but never dipped below 25,300. In other words, our perception of a
Niamh Moriarty & Ruth Clinton, White Tailed Eagle,
As ‘Give up the Ghost’ was a group show held at Pallas Projects, Dublin (18 – 29 Jan). The press release states, “The exhibition is informed by a variety of conjectures on the nature of time. The selected work is realised through a variety of media and addresses the idea of progression by placing emphasis on temporality, precarity, nostalgia, and impermanence.” The artists involved were Lorraine Brannigan, Shannon Flaherty, Emma Hogan, Jack Nyhan, Martina McDonald, Siobhan Mooney, Niamh Moriarty and Ruth Clinton. www.pallasprojects.org
booming population was due in greater part to extraordinarily high levels of
Paul Mosse,Untitled (Pink), 2011
‘Make. Break. Make.’ by Paul Mosse was held in the Butler Gallery, Kilkenny (21 Jan – 4 Mar). The press release states, “Mosse uses a variety of mixed-media to realise his works. Materials can include a range of non-traditional materials (plastic pellets, polystyrene, sawdust, nails and screws) as well as paper, paint and wood. The accumulation and manipulation of these materials result in dynamic and beautiful surfaces on his paintings
immigration (and a rising birth rate), than any significant cessation of outward
and sculptures.”
KOzO
migration. Taking a look at 2006 – the year with the highest rate of net migration
www.butlergallery.com
(71,800) in recent Irish history – we can see that emigrants comprised 36,000 people, but immigrants 107,800. Although immigration has substantially decreased since
fROM DUBlIN TO lA AND BACK
2008, a picture of Ireland, transformed by migration over the past 20 years, is still
‘From Dublin To LA And Back’ was held
emerging. Thus, migration has been a constant, not isolated, influence on Irish social
in the Monster Truck Gallery, Dublin (13
experience. Certainly, since the late nineteenth century, the direct depiction of Irish
Carol Anne Connolly,Untitled, The Dock Shed
migration has attracted a wide spectrum of artistic attention. The visual collections of
‘Ninety Nine Percent for Art’ by Carol Anne Connolly and Jim Ricks was held in The Dock Shed, Galway (9 – 19 Feb). The artists produced new work in an array of contemporary media spanning from sculpture, video, and painting, to photographic works. The artists examine ‘unintended monuments’ and their work seeks to rethink the concept of the memorial during political and economic flux. The press release states, “Ninety Nine Percent for Art investigates what are essentially undiscovered and unplanned memorials. A careful artistic selection process which groups symbolic markers ranging from the detritus of impromptu revolutionary celebrations to unfinished industrial sites creates a new discourse on the built environment.”
the National Library, for example, contain compelling examples of prints, photographs, and ephemera demonstrating both the censure and sympathy directed towards Irish emigrants (and immigrants), and develop the iconography of migration: the emigrant ship, the tearful farewell, the dichotomy of home / away so familiar to us today. In more recent years, contemporary art practices addressing identity, liminality, cultural syncretisation, and loss have equally centred on migration as both subject and process. Both Anthony Haughey and Valérie Anex have exhibited photography work in the last year focused on the physical legacy of ‘ghost estates’ now littered across Ireland; Deirdre O’Mahony and David Creedon similarly address community memory and absence in their work on emigration’s impact on rural Ireland. Yet not all ruminations on migration invoke a lament: Noel Bowler’s 2011 exhibition at the Gallery of Photography ‘Making Space’ also concerns spatial transformation and the migrant, via his serene photographs of prayer spaces created by the growing Muslim population of Ireland, which offers a salutary reminder that emigration and immigration are but different shades of the same experience. Such reflections are, of course, not limited to Ireland: speaking at the Irish Museums Association’s annual James White Lecture at The Hugh Lane last November, Dr Penelope Curtis (Director of Tate Britain) remarked upon the challenges her
www.theshedgalway.blogspot.com
institution faced in defining the purview of its collections and exhibitions. Despite Tate Britain’s stated mission to promote and preserve British art, she acknowledged the permeability of concepts of ‘Britishness’ and the inward / outward flow of artistic influences reflected in the Tate’s collections. A more formal investigation of these vicissitudes is currently underway in the Tate’s ‘Migrations’ exhibition, which covers five centuries of cultural exchange mediated by, and through, visual art. It offers an unusual approach to the permanent collection that tracks the development of ‘British’ art via its relationship to migration. Although Ireland has yet to address the cultural impact (and indeed its long history) of migration through any substantial art exhibition or trans-historical visual project, several initiatives are currently underway to address contemporary migration, arts policy and expression: South Dublin County Council recently announced details of a research commission to investigate working practices of immigrant communities
Exchange exhibition between Black Church Print Studio and Los Angeles Printmaking Society. A wide selection of styles and media are included, such as: intaglio, lithography, serigraphy, monoprints, monotypes and relief prints.
www.monstertruck.ie
CROSS CURRENT Richard Gorman,Chop Orange, Kerlin Gallery
‘Cross Current’ was held in the Green On
‘Kozo’ by Richard Gorman was held
Red Gallery, Dublin (15 Dec – 21 Jan).
recently in the Kerlin Gallery, Dublin (20
This group show of gallery artists includ-
Jan – 25 Feb). Kozo comprised of works
ed work by Alice Maher, John Cronin,
on handmade Japanese echizen kozo
Mark Joyce, Nigel Rolfe, Bea McMahon,
washi paper using techniques including
Arno Kramer, Ronan McCrea, John
dyed paper pulp poured into moulds and
Graham, Tom Hunter, Dennis McNulty,
gouache paint on paper made by the art-
Niamh O’Malley, Caroline McCarthy,
ist. Richard Gorman made the paper-
Niamh McCann.
RECONSTRUCTIONS The Droichead Arts Centre, Drogheda recently held ‘Reconstructions’ by Claire Halpin (14 Jan – 25 Feb). The press release notes, “This exhibition takes its imagery from a number of sources from media photos of areas of conflict to paintings from the canon of art history from Byzantine and Early Renaissance, employing a range of techniques from the traditional form and materials of icon painting.”
www.greenonredgallery.com
works at Iwano Heyzabouro paper mill in Imadate Fukui in West Japan over a period of ten years, 1999 – 2009. www.kerlin.ie
COERCION Of SUBSTANCE The Highlanes Gallery, Drogheda recently exhibited ‘The Coercion of Substance’
CHURCHES
by Samuel Walsh (20 Jan – 29 Feb). Walsh describes his practice as one that emerges “from endless dualities: drawing and painting, line and colour, art and audience, seeing and drawing and poetry and prose”. The title of the exhibition is taken from Seamus Heaney's poem The Artist Artist.
www.highlanes.ie
www.droichead.com
in order to collate information and improve service provision; the 2012 Photo Ireland
PANTO COllAPSAR ‘Panto Collapsar’ by Mikala Dwyer is the
Festival theme is ‘Migrations: Diaspora & Cultural Identity’ and promises to be a
PASSINg THROUgH
diverse (and hopefully iconoclastic) exploration of disaporic and migrant identity.
‘Passing Through’ by Hilary Williams
Departures from and arrivals to this island will continue to shape an evolving
was exhibited in the Signal Arts Centre,
discourse on individual and collective identity and representation. With the emotive
Bray (31 Jan – 12 Feb). The exhibition
and nostalgic dimensions of migration often occluding the wide range of personal
was based on a performance piece by the
responses to this experience, visual and cultural practices are a key medium through
artist based around a public walk in Bray
which its history, present and future, can be interrogated. In spite of the current
documented by the artist; the concept
decline in new arrivals, the phenomenon of return migration, and the emergence of a
behind the show was the idea of ‘Passing
new generation of economic refugees, the country has been transformed by migrant
through’ life.
presence and absence: there will be no turning back from a more globalised future.
– 28 Jan). The show was a Printmaking
Sylvia Graceborda,Churches, belfast Exposed
Belfast Exposed recently held ‘Churches’ by Canadian artist Sylvia Grace Borda (19 Jan – 2 Mar). The press release notes, “Borda is interested in exploring the architectural legacy of Modernism in Northern Ireland and has made a photographic survey of its Modernist churches.
www.signalartscentre.ie
current exhibition at Project Arts Centre, Dublin (26 Jan – 31 Mar). The press release notes, “Mikala Dwyer invests her objects and materials with such potential that when the installations or accumulations come together they can resemble anything from a gathering or theatre set to the detritus of a blackmagic ritual séance”.
6
The Visual Artists’News Sheet
Roundup
March – April 2012
COLUMN various forms of female labour”. The project included work by Michelle Browne, Chrissie Cadman, Anne Quail, Elvira Santamaria Torres, Amanda Coogan , Pauline Cummins, Ann Maria Healy, Frances Mezzetil, Áine O’Dwyer, Áine Phillips, and Helena Walsh.”
halflife
www.thelab.ie
For this exhibition MacMahon has brought together a collection of artefacts
Jonathan Carroll
accompanied by composite photographs
Home and Away – When Homer met Warhol
dating from the first half of the twentieth century. The photographs have been enlarged, re-printed, and presented in I was reminded of an episode of The Simpsons, “Mom and Pop Art”, after a visit to
vintage picture frames. www.garterlane.ie
Mary FitzGerald,Passage, Green on Red Gallery
Green On Red Gallery, Dublin recently presented ‘Halflife’ by Mary FitzGerald (26 Jan – 3 Mar). The show consisted of new video and sculptural work. FitzGerald's recent work has been characterised as “an attempt to convey vulnerability through images which are
pomegranates ‘In Memory of Pomegranates’ by Parminderjit Singh Bhangoo was held in 126 Gallery, Galway (11 Feb – 3 Mar). The artist states, “The starting point of any new work is the analysis of my cultural diaspora. Using a variety of materials and techniques I paint, draw, take photographs, and build installations, all depending on the needs of the work and
impermanent, transient and almost invisible”.
In this episode (which features artist Jasper Johns as himself), Homer is picked up by second seating
an art connoisseur and promoted as an outsider artist on the strength of his unique DIY barbeque pit assemblage. Dwyer gives us a floating island of homeresque, doughnut-shaped silver clouds, instead of Andy Warhol’s pillow-shaped Silver Clouds, and plinths supported by Bushmills, rather than Homer’s Duff beer. The show is great fun; you could imagine the artist using a giant blender, throwing in some Sol LeWitt, a large dose of Warhol, a bit of neolithic architecture a la Newgrange, a pinch of thousand island spices, and pulsing for several decades. In recent years Imma has also offered Dublin audiences various opportunities to experience airbrushed versions of Warhol and The Factory. In 1997, we had ‘Andy
my feelings at that moment.” www.126.ie
Warhol: After the Party – Works 1956–1986’, which included some of his Silver Clouds; Brian Duggan,Changing the Meaning of Ordinary, 2011
'The Second Seating for the Last Supper'
bad moon rising www.greenonredgallery.ie
was a group show that included Irish artist Brian Duggan at Gallery Leyendecker,
dubh
Tenerife, Spain (29 Dec – 4 Feb). The
‘Dubh / dialogues in black’ is the current
press release states that the show is “an
exhibition in the Oliver Sears Gallery,
exhibition that examines the feeling of
Dublin (2 Feb – 15 Mar). It is an exhibi-
déjà vu inspired by modern-day protests,
tion of contemporary objects featuring
market crashes, political instability and
work by Irish designers and artists in
the general sense of crisis permeating
dialogue with their American peers.
global culture at the start of the twenty-
www. oliversearsgallery.com
first century, ‘The Second Seating for the Last Supper’ looks to a group of contem-
perfect concussion
porary and historical artists to illustrate a variety of original responses to the cyclical nature of social, economic and political change”.
Colette Cronin, Talbot Gallery
‘The Galway Arts Centre are currently exhibiting ‘Perfect Concussion (Watching You Dance)’ by Not Abel (10 Feb – 10 Mar). ‘Perfect Concussion’ takes its name from the abandoned CIA Subproject 54 – an examination of techniques that cause brain concussions and amnesia using weapons or sound waves to strike individuals – related to the infamous LSD trials of the MK-ULTRA program. The press release states, “Utilising all available mediums (sculpture, sound and music, video, photography, recontextualised detritus, etc...) Not Able reevaluates and re-presents particular cultural references – practicing art as cartography of the collective unconscious ....the track ‘Watching You Dance’ is an audible counterpart to Not Abel’s arrangement of parts”.
got a smidgen of Warhol’s Silver Factory in the form of a hangout lounge. ‘Panto Collapsar’ would make a great party zone, but at Project we were generously invited to give up the fantasy and party elsewhere in a regular environment. This was propably for the best, as anyone who witnessed the attempts to revive the Warhol atmosphere will testify, all that silver and helium ends up looking like discarded Christmas decorations. The printed material accompanying this exhibition asks a lot of one’s belief that certain objects are ingrained with a ‘spirit’. Really, this is the old chestnut discussed in Michael Fried’s seminal essay Art and Objecthood (1967), and it all brings me back to frustrated attempts at locating my ‘tail’ in pilates class. The temptation for tutors touring these kinds of exhibitions is to pull out their Ponty and reach for their Husserl, though they might, just as easily, take out a beach towel and plug in the disco ball. But don’t let me divert you from the spiritual. I’m sure it is there, but I personally never feel relaxed or comfortable looking for it in a gallery. Take Away While some artists try and invest aura into found and made objects, others go Faivovich and Nicolás Goldberg, completely skip the artistic process of imbuing
recently exhibited ‘I See A Bad Moon
shimmering synthetic
objects with magic. Instead, they proposed the transfer of a revered Argentine
Rising’ by Colette Cronin (11 – 25 Feb).
Queen Street Studios Gallery, Belfast,
meteorite to Germany for this summer’s Documenta 13 exhibition. Though initially
The press release states that Cronin’s
recently held 'Shimmering Synthetic
approved by the local government, the artists’ plans have had to be altered after the
work “explores the symbolic nature of
Appearances; I Want To Put You Back In’
Moqoit people objected to the removal of their sacred rock. This is not the first project
the ‘home’, endeavouring to depict what
by Allyson Keehan (19 Jan – 18 Feb). The
to suggest the displacement of objects of veneration or local significance. Artist Lim
can never be: a house untouched by
press release states, “Allyson Keehan's
Tzay Chuen proposed the transfer of Singapore’s 80 ton, 8.6m Merlion sculpture to the
human drama. The study of this frag-
paintings use drapery as a principal
Singaporean pavilion of the Venice Biennale in 2005. Chuen was refused permission,
mented symbolism is undertaken with
theme to explore the possibilities of spa-
but was happy exhibit the failure of the proposal, or more positively, the triumph of
an apocalyptic toned deconstruction of
tial illusion. The artist has been recently
an idea over its realisation. Closer to home, the organisers of Rosc ‘67 caused no end of
domestic iconography, so that the images
working with blue and white lighting in
controversy by trucking some of Ireland’s ancient monuments to Dublin to be shown
have an eerie, confrontational quality”.
her studio environment, which have
www.talbotgallery.ie
Field Devices The Higher Bridges Gallery, Fermanagh ,recently held ‘The Orgone Toolbox + Field Devices’, an exhibition of sculpture and drawings by Christopher Boland (3
become the genesis for Keehan’s rich surface contrasts and geometric fields of abstraction with highly rendered decorative details to create an eerie play between flatness and three-dimensional space.” www.queenstreetstudios.net
– 26 Feb). The press release notes that Boland’s work “investigates ideas of pur-
alongside contemporary art. In his contribution, Fairytale, for Documenta 12 (2007), Chinese artist Ai Weiwei went one step further with the idea of transferring the ‘real’ as opposed to the imagined. Weiwei invited 1001 Chinese citizens to come to Kassel in Germany throughout the 100 days of the exhibition. These actual ‘art tourists’ were kitted out with Weiwei-designed clothes and luggage, and allowed to roam freely around Kassel for eight days at a time. Accompanying these temporarily displaced travelers were 1001 antique Chinese chairs, placed in random groupings around the exhibition. Away we go
location
This year is a Documenta year, and an interesting year for biennales too. Thanks
pose, reason and function. It attempts to
to MAVIS and Project Arts Centre, we in Dublin have seen the curator of Documenta
resolve itself through objects and draw-
13, Carolyn Christov-Bakargiev, up close. And thanks to Fire Station Artists’ Studios,
ings which allude to the sexual, the sci-
we have all had a chance to fall out with the barbed and brilliant Arthur Zmijewski,
entific and to notions of functionality”.
who is the curator in charge of the 7th Berlin Biennale. I thought the last Berlin Biennale was a wake-up call to the reality of the world’s multiple conflicts. Unless
longevity, not immortality
Arthur has thrown away his activist compass, we will once again be shown artwork unapologetic in its Swiftian rhetoric. Meanwhile, EV+A (sorry, eva International Michelle Horrigan,Dante's Rock, 2011
www.galwayartscentre.ie
labour 11 Irish female artists performed for eight-hour durations on the theme of labour during February and March in London, Derry, and Dublin. The press release notes, “LABOUR interrogates the gendered representational frameworks prevalent within an Irish cultural context, that produce, limit, and devalue
and as part of the ‘Some Days Never End’ (2007) concerts in the grounds of IMMA, we
back to the original source. For example, Buenos Aires based artists, Guillermo
The Talbot Gallery and Studios, Dublin
Not Abel,Perfect Concussion, Galway Arts Centre
Australian artist Mikala Dwyer’s aptly named ‘Panto Collapsar’, at Project Arts Centre.
Occupy Space, Limerick, recently held the group show ‘Location’ (12 Jan – 4 Feb) featuring Lisa Flynn, Michele Horrigan, Elaine Reynolds, Jonathan Sammon. The press release states, “This exhibition strives to present different Sabina MacMahon, GarterLane,
Garter Lane Arts Centre, Waterford recently held ‘Longevity, Not Immortality’ by Sabina MacMahon (8 Feb – 10 Mar).
interpretations of psycho-geographical engagement as an artistic practice…” The show was curated by Ruth Hogan. www.occupyspace.com
Biennial of Visual Art 2012) sets out its own bite of reality, when it should really be sending up a happy flare that it’s back Lazarus-like from its funding hiatus. eva has ‘gone bi’ as they say in Limerick. Previously an annual event, Annie Fletcher (Curator of exhibitions at the Van Abbemuseum), will this year inaugurate the new biennial model for Limerick. Hopefully, you’ll have enough air miles left to get you to the 30th Sao Paulo Biennial (‘The Imminence of Poetics’) via Manifesta 9 (‘The Deep of the Modern’) hosted this year by Genk in Limburg, Belgium. Watch out for the ever-changing naming of curatorial teams. This year we have ‘agents’ at Documenta and ‘associated curators’ at Sao Paulo. At least one industry is creating new job titles.
The Visual Artists’News Sheet
March – April 2012
Roundup power structure
played by the YBAs, and their determina-
‘Power Structure’ by Dave Madigan and
tion to overcome the situation they found themselves in during the mid
Dave Madigan, Meadhbh O’Connor,Power Structure
Meadhbh O’Connor was recently held in the Joinery, Dublin (26 Jan – 4 Feb). The press release notes, “The show features
Aileen Burns and Johan Lundh have been appointed as Co-Directors of the Context
invited to examine a statement by
in a public commission, Percent for Art
of its development. I look forward to
Galley in Derry-Londonderry. They
Fairhurst, subverted to read ‘None Went
project, socially engaged project, or any
working with the Museum’s excellent
joined the organization in December and
Mad…None Ran Away’, and address the
other form of ‘art outside the gallery’ we
team and the wider arts community to
will be responsible for creating a vital
same prevalent themes explored in
would like you to email us the
build on the extraordinary legacy of the
programme of exhibitions, public
Hirst’s exhibition. There is a need for
information for publication in the Visual
reinvention, vigour and a phoenix-like
Museum’s first twenty years, and to
programmes and events for 2013, the UK
Artists News Sheet. Send images (3-4MB
renaissance in society. There is a history
ensure that Ireland continues to have a
Year of Culture and Context Gallery’s
in size) and a short text (no more than
of resilience here. It is simply a matter of
modern art museum of distinction and
20th anniversary, and beyond.
around 300 words) in the following
finding that inner strength, looking for-
international
format: artists name, title of work,
ward and creating a future.”
Glennie will take up the post of Director
commissioning body, date advertised,
in April 2012.
www.rubicongallery.ie
making space
Sarah
www.contextgallery.co.uk
artists' resale right
date sited / carried out, budget,
www.imma.ie
Fire The Artists’ Resale Right, which entitles artists to a royalty payment
description of the work. Send your info
Falconry Festival
whenever their works are resold on the
to Assistant Editor, Lily Power, at: lily@
Artist Seamus O’ Byrne (VAI member)
art market, has been extended to the
visualartists.ie
from Dublin, who lives in Dunlavin, Co
heirs and beneficiaries of deceased
Wicklow was selected as a finalist in the
artists. On 29 of December 2011, the
IMMA
2nd International Falconry Festival Art
Minister for Jobs, Enterprise and
On The Chairperson and Board of the
Competition which took place in Abu
Innovation,
Irish Museum of Modern Art have
Dhabi, UAE, 11 – 18 Dec. As a finalist he
announced that the Artists’ Resale Right
announced the appointment of Sarah
was sponsored by the organisers to attend
will extend to heirs of artists and last for
Glennie, currently Director of the Irish
the festival, where he went on to win first
70 years after the death of the artist,
Film Institute, as the new Director of
prize for his painting Surprise Encounter
under a statutory instrument which
IMMA. Sarah Glennie was born in Britain
in the International Art Competition.
came into effect on the 1 January 2012.
and moved to Ireland in 1995 to work at
The festival was divided between Desert
The inclusion of heirs in this scheme is
IMMA, where she curated a number of
Camp at Ramah, and the festival site at
of huge importance and is a cause for
Armagh (9 Feb – 24 Mar). The press
projects, including solo exhibitions by
Al-Jahili Fort in the city of Al Ain, where
celebration for artists and their families.
the exhibition was held and hosted by
The Resale Right entitles artists to a
and copper coins, and other works. Also featuring is a commissioned word-piece by Helen Horgan responding to the word Noel Bowler,Athlone Mosque, 2011
Noel Bowler’s photographic work
– 28 Jul). Paintbox ’99 was formed by a
significance”.
commission type, project partners, brief
sion gears, an installation of salt crystals
The Gallery, Roscommon Arts Centre (20
society and I am truly honoured to be VAN Public Art
institution into the next important phase
power station and large, steel transmis-
Paintbox ‘99 recently exhibited work at
Context Gallery
given the opportunity to lead this great
four tonnes of ash from a peat-burning
PAINTBOX ‘99
contribution to contemporary Irish
If you have recently been involved
including an installation comprised of
www.thejoinery.com
News
1990s – a group of artists have been
site-specific sculptural installations,
‘power’.”
7
‘Making Space’ is currently on show in the Millennium Court Arts Centre,
Richard
Bruton
TD,
release states, “Making Space is a timely
Olafur Eliasson, and Shirin Neshat, and
group of women of diverse backgrounds
exploration of the expansion and devel-
the major public art project ‘GHOST
His Highness Sheikh Khalifa bin Zayed
royalty payment when their original
and talents from Roscommon, with a
opment of Islam in contemporary
SHIP’ by Dorothy Cross. In 2001 she
Al Nahyan, President of the UAE, the
works of art are resold by art dealers,
shared love of creating art. As the press
Ireland. Taken over the course of three
moved to The Henry Moore Foundation
Abu Dhabi Authority for Culture and
galleries or auction houses for €3,000 or
release noted “working with various
years, the exhibition records the adaptive
Contemporary Projects where her
Heritage, and the Emirates Falconers
more. It gives artists an ongoing stake in
mediums including acrylic, oil, mixed
reuse of spaces for the purpose of prayer
curated projects included Paul McCarthy
Club. The winning painting has been
the value of their work and recognises
media and watercolour, these artists’
by diverse Muslim communities across
at Tate Modern, and Stopover at the
sold and is destined for the USA.
that work is often sold cheaply at the
influences are wide and varying includ-
Ireland.”
Venice Biennale in 2003. In 2004 she
www.milleniumcourt.org
ing the local landscape both natural and
www.seamusobyrne.com
co-curated ‘Romantic Detachment’ at
beginning of an artist’s career, and then substantially increases in value as it
manmade, flora and fauna”. The exhibit-
PS1/MoMA, and in 2005 a major new
National gallery
moves through the art market. This
ing artists were Anna Duignan, Eileen
film commission by Tacita Dean for Cork
Outgoing director of the National Gallery
royalty system has been in place in
Duignan, Beatrice Finn, Anne Hanly,
Capital of Culture. She was also the
of Ireland, Raymond Keaveney, retires
Ireland for living artists since June 2006
Commissioner of Ireland’s participation
after 33 years in office and 23 years as
and it has allowed many artists,
at the 51st Venice Biennale, 2005. In 2008
director. The recently appointed director
including young and unestablished
she became Director of the IFI, where she
of the Gallery, Sean Rainbird, will take up
artists, to receive royalties for the first
oversaw significant development of the
his post in mid April. Mr Keaveney joined
time. Being able to bequeath the resale
Institute’s activities, nationally and
the National Gallery of Ireland as curator
right to loved ones or to favourite causes
internationally.
in 1979. He was appointed Assistant
is a strong incentive for artists to keep
Commenting on the appointment
Director in 1981 and Director in 1988.
producing work.
IMMA’s Chairperson, Eoin McGonigal,
During his tenure he has overseen many
The
said: “Everyone at IMMA is delighted to
structural interventions to the fabric of
Organisation (IVARO) manages the
have secured as the Museum’s new
the complex on Merrion Square, most
Resale Right on behalf of its members.
Director
an
notably the complete refurbishment of
Mary Harlow, and Kitty Phelan www.roscommonartscentre.ie
studio culture
Get in to The Roundup ■■ Simply e-mail text and images
for
the roundup to the
editor (jason@visualartists.ie).
■■ Your text details / press release
'Studio Culture',Belfast WaterfrontHall
someone
with
such
Irish
Visual
Artists
Rights
should include: venue name,
location, dates and a brief
impressive record of achievement in the
the Beit Wing (1996), and the construction
description of the work / event.
arts, more especially the visual arts. I am
and fit-out of the Millennium Wing
Arts Council NI
confident that Sarah is exceptionally
(2002). More recently he has been
Mr Bob Collins has been announced as
■■ Inclusion is not guaranteed,
well placed to build on the Museum’s
responsible for steering the Master
the new Chair of the Arts Council of
but we aim to give everyone
very considerable achievements over the
Development Programme, involving the
Northern Ireland. His appointment was
a fair chance.
past 20 years. It is interesting that Sarah
restoration of the historic Dargan Wing
effective from December 2011 and runs
began her distinguished career in the
(1864) and Milltown Wing (1903),
for four years. Collins replaces outgoing
Ennistymon ‘Studio Culture’ was held
www.ivaro.ie
recently at the Belfast Waterfront Hall
■■ Our criteria is primarily to
Irish arts sector at IMMA. I believe we
together with plans to construct a new
chairman Rosemary Kelly OBE, and
(29 Nov – 11 Jan). The show included
ensure that the roundup
can all look forward to the impact her
extension to the Gallery. Sean Rainbird,
with the new board, will oversee the
work from Lydia Holmes, Ray Duncan,
section has a good regional
well-known creativity and energy will
who has been director of the Staatsgalerie
Arts Council as the lead development
Lisa Malone, Peter Richards, Peter
spread and represents a
have on the organisation over the coming
Stuttgart from 2006, will become the
agency for the arts in Northern Ireland.
Mutschler, Mairead Dunne, Liam de
diversity of forms of practice,
years”. McGonigal also paid tribute to the
from a range of artists at all
Mr Collins has been Chief Commissioner
Frinse, and Gary Shaw. The exhibition
14th director of the National Gallery of
outgoing Director, Enrique Juncosa.
stages in their careers.
of the Equality Commission for
was curated by Brendan O'Neill.
Ireland. He is expected to take up his post
“Over the past nine years Enrique has
from 18 April 2012. Mr Rainbird said, “I
Northern Ireland since August 2005. He
transformed virtually every aspect of the ■■ Priority is given to events
would like to congratulate Mr Keaveney
is also Chair of the Broadcasting
Museum’s
taking place within Ireland,
on
distinguished
Authority of Ireland and was previously
but do let us know if you are
standing in the international arts
directorship, and I look forward to
employed as Director-General at RTE.
taking part in a significant
community, through his sheer ambition
working in this great institution, building
He will join the Arts Council Board,
international event.
for the Museum and through his faith in
upon the expertise and experience of the
along with five other newly appointed
what it could achieve, he has increased
Gallery’s excellent staff and many
board members: David Alderdice, Anna
IMMA’s reputation immeasurably, both
supporters.”
Carragher, Noelle McAlinden, Katherine
none went mad...none ran away ‘‘None Went Mad…None Ran Away’ was a group show at the Rubicon Gallery, Dublin (21 Jan – 18 Feb). The press release states, “Asserting self-confidence and a shared sensibility in an effort to capture the same sense of defiance dis-
activities.
Through
his
at home and abroad.” Sarah Glennie said, “IMMA makes a vibrant and valuable
his
long
and
www.nationalgallery.ie
McCloskey and Paul Mullan. They will be joined by reappointed members:
8
The Visual Artists’News Sheet
March – April 2012
News Damien Coyle (Vice-Chairman), Paul
works include such prominent Irish
Seawright, Professor Ian Montgomery,
artists as Jack B Yeats, Sean Keating, Paul
David Irvine, Janine Walker, and Brian
Henry, and Roderic O’Connor. Minister
Sore. Council members have been
Deenihan
appointed for four years to the end of
partnership as “exciting and deeply
November 2015.
important”. The AIB Collection is the
described
this
new
pinnacle of “wise and knowledgeable connoisseurship” and as such is a creative exchange
valuable addition to the National
Creative Exchange Artists’ Studios is
Collection. Minister Deenihan indicated
proud to announce that two of its
that he has decided the works will be
resident artists have been awarded
held by the Crawford Gallery in Cork.
and
The partnership also includes an
exhibitions in America and Australia.
agreement that AIB will not sell any
Lesley Cherry, who has been a member
works from the collection and will
of CEX since 2006, was awarded a place
make available additional pieces for
on the ARCH Artist in Residency
loan to publicly funded galleries,
Programme in Washington DC; Deirdre
through the aegis of the Crawford. This
Robb, a founding member of CEX, has
is an exciting development as it will
been selected to show her sculptural
ensure that the AIB collection will be
work at the Blue Mountains World
available throughout the country,
Heritage Site in Australia.
allowing art lovers everywhere to
international
residencies
www.creativeexchange.org.uk
appreciate
the
pieces
from
VAI News On Friday 20 January, VAI staff and board members were invited to Áras an Uachtaráin. President Michael D Higgins was presented with a copy of Creative Ireland: the Visual Arts, edited by Noel Kelly and Sean Kissane.
this
collection. Crawford chairman John R Bowen
The Arch The ARCH Artist in Residency Program,
added his congratulations, “Acquired by
which Lesley Cherry has been awarded,
one of Ireland’s leading financial
is an opportunity for the artist to pursue
institutions, the AIB Art Collection,
their creative practice amid Washington
from its beginning, was inspired by a
DC’s
urban
view and a vision of Irish life and culture
environment, for approximately nine
that extended beyond the investment
weeks. Lesley will be working closely
and financial business. It is a privilege
the creative staff at the Honfleur Gallery
for the Crawford to be entrusted with
and the Vivid Solutions Gallery, to
the custody of this wonderful bequest”
determine the parameters of her
Finally, Minister Deenihan applauded
residency. She will also be working
the gesture of AIB. Art is an intrinsic
alongside local residents, fostering
part of human nature and is “at its most
dynamic interaction and developing
powerful when an entire nation can
exposure to the resources of the greater
embrace it, appreciate it and find
Washington DC cultural community.
inspiration in its beauty and meaning”.
vibrant
and
diverse
The ARCH residency is supported by
www.ahg.gov.ie
the Arts Council of Northern Ireland www.residency.archdevelpoment.org
follow us on twitter @4VisArtsNI We’ll be providing details of events and exhibitions
across
Northern
Fight or flight
Ireland,notices about our regular and
Deirdre Robb’s installation titled Fight or
on-going professional development
Flight was selected for the Blue
workshops and briefing sessions, as well
Mountains Sculptural Exhibition to be
as providing details of jobs and
held in the World Heritage Area of the
opportunities open to professional
same name. This ancient rainforest is
visual artists. There will also be news of
being transformed into an outdoor
forthcoming projects and new services
sculpture park for the project, with
for professional visual artists. When we
works from 26 other established and
reach our first target of 1000 followers,
emerging artists vying for the Scenic
we will be placing all names into a draw.
World Acquisitive Award and Keith
The winner of which will receive a
Rowe trophy. The selected sculptures
year’s VAI membership, and will be
will be displayed in the Jurassic Valley,
eligible for a free place on a VAI
from 16 February until 11 March 2012,
professional development workshop of
and have been selected by prominent
their choice.
judges, Macquarie University Sculpture Park Curator, Leonard Janiszewski, and University of Western Sydney Collection
The arts council turns 60
Curator, Monica McMahon.
On 2 February, the Arts Council
http://www.creativeexchange.org.uk
welcomed the President of Ireland,
five months.
Michael D Higgins to its offices at http://www.creativeexchange.org.uk
Merrion Square, Dublin, as guest of honour at an event to mark its 60th
aib collection
year. The event was attended by the
The Minister for Arts, Heritage and the
representatives from across Ireland’s
Gaeltacht, Jimmy Deenihan TD, today
cultural institutions and the arts
welcomed the announcement by AIB of
community.
its decision to enter into partnership with the State in respect of its corporate art collection. AIB has decided to donate 39 of its finest works to the State. These
Join us become a part of something Visual Artists Ireland is the sum of its parts: Artists. Visual Artists Ireland represents a diverse membership base of artists working in all visual arts mediums; in every part of Ireland; and representing a rich generational mix.
Join Visual Artists Ireland today http://visualartists.ie listings / news / resources / training / advocacy / opportunities / information
Image: NSK, Ljubljana, 1986
and the Golden Thread Gallery.
The Visual Artists’News sheet
March – April 2012
9
REGIONA PROFIlE REGIONAl
Visual Arts Resources andActivities: limerick Faber Studios
limerick Printmakers
Faber Studios,limerick
Member of limerick Printmakers painting the floors
'heroes and Villains' exhibition, 2011, large format woodcuts
launch aunch of the h ' eroes and Villains' exhibition, steam roller printing
Members of limerick Printmakers moving the etching press
THEy say that moving is one of the most stressful thing you can do. They also say that change
Faber Studios' new home, previously Thomond Office Interiors
Faber Studios,limerick
conservation work, and financing before it could be used, so LP had to find a short-term home.
is good. So when Limerick Printmakers Studio and
All suitable, interim properties in the city were
Gallery (LP) decided to move 54 artists, tonnes of
viewed, which proved an extremely fast process, as
printmaking equipment, and an overflowing
the needs of a printmaking studio and gallery are so
administration office, there was both trepidation
specific. During this time, LP worked off site in a
and excitement.
number of locations to provide printmaking
Three graduates of the Limerick School of Art
facilities to studio members. These included: the
and Design, Melissa O’Brien, Kari Fry, and Claire
Limerick School of Art and Design (LIT), Mary
Boland, established Limerick Printmakers Studio
Immaculate College (UL), and our nearest
and Gallery in 1999. LP provides facilities for etching,
neighbours, Cork Printmakers. Other studios in the
collography, lithography, silkscreen, woodcut,
country pledged support throughout this time, as
monoprint, digital print, and darkroom photography.
did many of the local arts organisations such as
The studio and gallery are Arts Council funded and
Raggle Taggle Studio and Gallery, who hosted our
IN November, Faber Studios moved from its
community. Our first projects on Henry Street were
have a Regularly Funded Organisation (RFO) status.
education and exhibition programme for the
Catherine Street location to its current, larger
for Limerick Language Alive Week: ‘Living Place’
For 10 years, Limerick Printmakers existed at
premises at 19 Henry Street, formerly Thomond
involved the people of Doras Luimni, and ‘The
No 4 Robert St – a beautiful 200-year-old grain store
Eventually, No 5a Sarsfield, in the heart of the
Office Supplies. This has been hugely beneficial and
Midnight Court’ involved St Mary’s Parish
building in the heart of the old city, right next to the
city centre, was decided on as the ideal property, for
a significant change for the Studios. Our larger
Community. Other annual involvements include
historic and busy Milk Market area. This dynamic
a number of reasons. The new interim building on
premises provides a permanent front exhibition
C-Inside, Culture Night, eva International, and
part of the city was ideal for a young gallery and
Sarsfield Street is a ground floor one, with open plan
area that can be used for talks, screenings, and
projects with LSAD and University of Limerick
studio, and the location began to shape the profile of
spaces, and a small set of rooms for offices, which
events. Most of the space comprises five permanent
students. Our newest initiative is the Graduate
LP. The gallery established itself as one that would
could completely house the existing printmaking
studios and one communal workspace. Previously,
Residency
Sculpture
show both emerging artists such as Suzannah
equipment. The different areas link easily and flow
Faber Studios focused on sculpture and object
Department; we will award two residencies (one
O’Reilly, Marianne Keating, and Alan Crowley,
from one to the other, making it a more comfortable
making, now there is potential for broader scope,
month and six months respectively) per year.
alongside well-known artists such as Jack Donavan,
space to work in. The new building is on a main
Program
with
LSAD
duration.
embracing the range of currently developing art
Faber Studios are fortunate to be located in
Martin Finnin, Graphic Studio Dublin, Robert Ryan,
thoroughfare and has a full glass frontage in the
practices. Our new site also reflects the socially
Limerick City, which offers a wonderful sense of
Farcry Productions and Gerard Mannix Flynn. The
gallery, making it extremely visible and inviting to
engaged nature of the studio, which is adjacent to
camaraderie amongst the artist community. The art
studio served to retain young graduates from the
visitors.
the Limerick Youth Resource Centre, and the Henry
spaces help and support each other. Faber members
LSAD printmaking department, who would
After a year of major upheaval, the actual move
St Garda Station – with whom the group have
have aided other spaces with projects, the installation
otherwise have left to practice in Dublin or Cork,
from one side of the city centre to the other happened
planned upcoming projects.
of exhibitions, and organising events. Recently
while also attracting international artists.
during the summer of 2011, with zero budget. There
Faber Studios is a collective of artists; all our
members from Wickham Street Studios and Occupy
Over the years, however, the listed building in
were hydraulic lifts and forklift trucks, and a core
members are involved in the decision-making, and
Space helped Faber in the big move from its former
which LP housed itself developed structural
team of LP members using their muscles. The
work towards making it a professional art space, and
premises to its current site. There has been assistance
problems that were too great for an arts organisation
community, both arts and non-arts, came out in
a dynamic part of the city. It was one of the original
from Ormston House, and Limerick City Gallery
such as LP to tackle. So, in 2010, the difficult but
force with their support during this time: Limerick
spaces started under the Creative Limerick Initiative,
donated walls to Faber to help build the new studio
necessary decision to leave No 4 Robert St was
City Council, the Arts Council, EML Architects, LIT,
in 2009, by Limerick School of Art and Design
spaces. Frequently, artists from other spaces will call
made.
Mary Immaculate College (UL), as well as local
(LSAD) graduates Clive Moloney, Chris Boland,
in for a chat: a rare occurrence elsewhere in Ireland
Stephen Neary, and Sarah Bolger. Since then there
or abroad. As a result, Faber Studios continues to
unemployment rate per capita in the country. With
The new space for LP opened on 14 July 2011 to
has been a turnover of members including Brian
flourish in the distinctive creative environment of
the downturn in the economy, and as businesses
a massive audience, with its annual Open Submission
O’Shea and Vivienne Quin. Current members
Limerick.
began to close down citywide, vacant spaces opened
Print Show. The aim is to remain on Sarsfield Street
up. LP turned to Limerick City Council and the
until the resources and funding are found to develop
Marie Connole, Faber Studios Member
Limerick City Council Arts Office for advice and
a long-term home in St John’s Square. Limerick
http://faberdtudios.blogspot.com
help in taking the next step. A building was found in
Printmakers will remain rooted in the community,
‘Artists Talk’ series, in conjunction with LSAD, and
St John’s Square, an architecturally significant area,
and are positive about the future, which we hope
hosted artists Nevan Lehart, Suzanne Bosch, and
earmarked as the new cultural quarter in the
will bring many new opportunities.
John Beattie. Our upcoming programme involves a
Limerick City Development Plan. The building
continuation of the ‘Artists Talk Series' as well as
showed huge potential in terms of space for future
Fiona Quill, Board of Directors / Member
public workshops and projects within the greater
programmes but required surveys, planning, tenders,
http://www.limerickprintmakers.com
include Marie Connole, Aaron Lawless, Caelan Bristow, and Ronan McGeough. In 2010 and 2011, Faber ran the successful
Limerick
has
suffered
the
highest
businesses and other art studios and groups.
10
The Visual Artists’News sheet
March – April 2012
REGIONA PROFIlE REGIONAl
Souls in Purgatory
Ormston house
lisamarie isamarie Johnson,Sucking the Bell, 'Undertow', Ormstonhouse, 2011
brian rian O'Doherty talks to Tadhg McCullagh at Ormston house
outcomes of research, in identifying gaps in the cultural infrastructure, and in re-invigorating models of practice in Limerick. The open / invited programme began with experimental performances during the inaugural Irish Sound Science and Technology Convocation and the exhibition ‘Convergence: Literary Art Exhibitions’, researched and curated by Dr Christa Maria Lerm-Hayes, co-hosted with Limerick City Gallery of Art. In order to support young practitioners Michele horrigan, Dante's Rock Phase 1, 2011
Pat Fitzpatrick preview, Ormstonhouse
in the city, a Graduate Award and MA Research Award were introduced to undergraduate and
fOR several years now, my artistic practice
they were almost carved into the rock. I continued
IN August 2011, Ormston House launched its
postgraduate students to develop solo exhibitions –
has revolved around the legacies and interpretation
to seek out these facial features. After re-reading
visual art programme in a 2100 square foot dedicated
a scheme that will continue on an annual basis with
of environment and site. Much of this work
his Divine Comedy, it seemed likely that Dante
exhibition space at 9 –10 Patrick Street in the heart
a rotating panel of invited selectors.
involves an associative way of working, as
might have seen these same faces in the fourteenth
of Limerick city. Built in the early nineteenth
As our independent programme developed, a
researching and encountering a particular location
century, and that they might have influenced his
century, Ormston House was inspired by the
set of overarching questions arose in relation to the
leads to various narrative threads that then appear
writings. His version of purgatory as a journey
Venetian Palazzo and retains original architectural
space. Operating under a licensed agreement,
in my artworks, which are predominantly
involving a process of constant searching seemed
features such as Corinthian pilasters, a seven-bay
Ormston House acknowledges the circumstances of
photographic and video based.
appropriate here.
arcade and limestone façade, giving this site a unique
its existence and challenges the notion that art
character in the streetscape.
remains a “tolerated enclosure within the global
I have a long-term project, ‘Nature Obscured
I then entered the town of Les Baux to further
by Factory / Factory Obscured by Fog’, which is an
examine these associations. One of southern
Operating under the Creative Limerick
ongoing investigation into the aluminium industry,
France’s answers to Killarney, Les Baux is a tourist
initiative, the gallery delivers an experimental
capital in which non-productive, dysfunctional and pointless experimentation can still take place”.1 The
considering the history and economic chain of
hotspot of consumerism, which in my mind drew
programme of multidisciplinary exhibitions and
purpose of this initiative is not to smooth over or
handling around bauxite ore, the material used to
a tantalising parallel to what a contemporary
events, and is developing a series of research-based
aestheticise the economic difficulties facing the city
produced aluminium metal. My initial interest in
purgatory would be: souls walking aimlessly from
and archival projects. It is run on a voluntary basis
‘until further notice’, but to make a genuine
this subject derives from the Aughinish refinery in
place to place in search of a way out. This might be
by students and recent graduates of Limerick School
contribution to the city’s cultural fabric and to
my hometown of Askeaton, County Limerick; the
compared to the modern touristic experience
of Art and Design. A key focus is to support artistic,
create new working platforms for creative
largest industrial complex in Ireland, it is currently
walking from souvenir shop to souvenir shop
curatorial, and design practices, as well as a writer-
practitioners. Without subverting the conceptual
owned by Russian conglomerate Rusal. In the
searching for the consummate gift or bargain. The
in-residence scheme, through access to workspace, a
frameworks of the individual artists, we invited
1990s, environmental concerns surrounding the
resulting video, 16 minutes long, traces an
reference
development
Sonia Shiel, Kevin Cosgrove, and Keef Winter to
plant and its allegedly toxic effect on the local
approach from a road into Les Baux, through
workshops, peer discussion groups, and networking
work with us in an authentic collaborative way to
agricultural hinterland were frequently in the
streets of gift shops and tourism infrastructure, to
events. A recent addition to the programme is the
look at and deal with the idea of ‘work’ and ‘working’
national news. Through videos, photographs, and
the medieval castle hilltop in the centre of the
monthly ‘Elephant Talks’ facilitated by Ormston
in the exhibition ‘Monkey Wrench’.
contexual information in a gallery space, my
town. Using the video footage of this experience, I
staff and students of architecture at the University of
Free to respond to events in the city, Ormston
project sequenced information on this history into
spliced in subtitles featuring relevant quotes from
Limerick. The first event featured Peter Carroll
House then adapted its programme to highlight
a debate around nature and industry, environment,
Dante’s Purgatorio, in an attempt to create
(architect), Peter Hanagan (musician) and Steve
Limerick City Council’s purchase of the ‘Opera
and economy.
sometimes uncanny or associative connections
Maher (artist) and led to lively feedback and
Centre’. This 3.2 acres site (so called as Catherine
between the site and his writing.
discussion, as well as the development of project
Hayes, the opera singer, was born on this block) was
workspaces for members, supported by the Arts
destined to become a shopping centre. In a bold
Council of Ireland.
move, the city’s regeneration project reconsidered
After recent visits to the US (the Washington
library,
professional
Monument is capped with an aluminium apex)
A version of the project was included in
and to smelters in the UK, I decided to visit a now
‘Location’, an exhibition exploring artists’
disused quarry in Les Baux-de-Provence in southern
relationships with ideas of psychogeography,
On Culture Night 2011, Ormston House
its policies and in order to avoid further property
France, on a mission to gather visual and contextual
curated by London-based Ruth Hogan for Occupy
announced a membership scheme to encourage
speculation (the site sat idle for several years),
material to further my understanding of the
Space in Limerick in January 2012. ‘Dante’s Rock
open participation in the gallery’s activities,
bought the site for as yet unplanned redevelopment.
subject. This particular mine is where bauxite was
Phase’ consisted of a series of silver gelatin back
including members’ exhibitions curated by invited
To celebrate this new way of thinking, we invited
first discovered in 1822 by geologist Pierre Berthier.
and white images of the region’s rock formations,
Irish and international artists or curators twice a
Liam O’Callaghan to bring his audio-visual sculpture
While researching the area prior to my trip, I came
and an enlarged diagram featuring purgatory, with
year. The inaugural members’ exhibition, ‘Undertow’,
Bit Symphony to Limerick; not only an engaging use
across a reference to the poet Dante Aligheri who
an exit from Hell and entrance to Eden, appropriated
was curated by Aideen Barry and Alice Maher, and
of objects, material, sound and technologies, it
was said to be inspired by the landsacpe of Les Baux
from a critical version of The Divine Comedy. The
travelled from Limerick to the LAB, Dublin in
activated discussion with people in the city on how
to write vivid descriptions of purgatory in his epic
accompanying video, Purgatory, is projected close
February 2012. It featured the work of 11 Irish and
this neighbouring site could be used.
poem The Divine Comedy. Dante completed these
by.
international artists: Gimena Blanco, Ian Wieczorek,
Ormston House is currently developing and
Kristian Smith, Ali Kirby, Padraig Robinson, Karin
adapting a phased development plan, and despite
verses between 1308 and 1321, during which time he was exiled from Florence and travelled several
Michele Horrigan is an artist and curatorial
Lindholm, Veronica Nicholson, Paul Hallahan, Ruby
not having secure tenancy, is looking well into the
times through the hills and valleys of Provence.
director of Askeaton Contemporary Arts. This
Wallis, Will O’Kane, and Lisamarie Johnson.
future to continue to provide support structures for
As I worked in the disused quarry, I thought about Dante’s time in the region, and decided to try
project will be exhibited at the National Centre for the Arts in Mexico City later this year.
and test out a way of visualising how Dante might have understood the region. I spent several days
www.askeatonarts.com,www.
roaming around the valley photographing
michelehorrigan.com.
Since launching, Ormston House has strived to
local, national, and international projects. As always,
and
we welcome feedback on our ideas and programmes,
organizations to establish sustainable working
and suggestions on how we can use this space to
relationships and partnerships in the city.
further establish Limerick as a hub for new and even
make
connections
with
individuals
An
unexpected yet welcome response has been the
prominent rock formations, many of which are
national and particularly international interest in
quite spectacular, akin to the background of a
the ethos of the space and in the energy and ideas of
Renaissance painting. In some locations I found
the people working there.
my camera framing images of faces and heads in
creative practitioners, we are interested in
the stone, natural phenomena that seemed as if
challenging traditional modes of display and
While supporting
radical thinking. Let us know what you think. Mary Conlon, Director / Curator www.ormstonhouse.com
Notes 1. Charles Esche, 'Art and Artists',The Autonomy Project Project,, Van Abbemuseum, 2011.
The Visual Artists’News sheet
March – April 2012
11
REGIONA PROFIlE REGIONAl
limerick School of Art and Design
limerick City Gallery of Art, open day, image by Paul Tarpey
limerick City Gallery of Art, open day, image by Paul Tarpey
lIMERICK is an exciting city with a dense cultural infrastructure, and is a great place to live and work. This perception is one shared by
Castleroy View Project, image by Deidre Power
enlarging the best interests of society, and producing the highest degree
of our active learning philosophy – a model that we also began in
of civilization.”
collaboration with Visual Carlow, where the Shinnors Curatorial Fellow
many: the artists, students, creatives, and cultural practitioners who
It is interesting to reflect on this sense of civic engagement in the
Emma Lucy O’Brien, is actively involved. We are currently planning
live here. It is also a perception held by generations of students from
context of art practice, which is still so prevalent today. LSAD has been
several more collaborations with institutions where curatorial students
Limerick School of Art and Design, and by the large group of artists and
particularly active in terms of its role as an active force within the city.
working on a research platform can engage at a very high level with
designers that make up the collectives driving the Creative Limerick
It has pioneered a new programme, the MA SPACE (Social Practice and
curatorial practice, while contributing to the cultural programmes of
initiative. Recently, at a hotel overlooking the river, I sat amongst 400
the Creative Environment). The programme seeks to function in the
key institutions.
people drawn from all walks of life, who had come together for a town
negotiation between the studio and the lived environment. It brings
Finally, to summarise current developments at LSAD, we are
hall meeting based on the Local Heroes model. When the question
together graduates from differing backgrounds and specialisations,
adding ‘Photography and Lens Based Media’ to our Fine Art BA, and
‘What is unique and ongoing for Limerick?’ was posed, the word culture
and encourages this group to act within society, with the support
‘Animation with Digital Design’ will be a new discipline, as part of
was repeated time and time again.
and critique of the faculty and visiting specialists. This allows the
our design degree offering. We are further developing our research
Since joining the Limerick School of Art and Design, over two and
participants to reflect deeply on the empirical process of learning. Its
profile, and programmes include a taught MA in Contemporary
half years ago, it has been an invigorating period for the institution
first graduates produced a remarkable range of interactions, none more
Design Practice, and another in Community Film Making. An MA
and for me personally. I was fortunate to arrive after a long period of
striking than Deirdre Power’s ongoing contribution to the people of
SPACE graduate group are seeking to set up a Research Hub, and we
renovation and development, and to work in what is now one of the best
Castletroy View, in their efforts to come to terms with living in the
will shortly launch the Irish Fashion Incubator Limerick (IFIL) as a
art school facilities to be found anywhere. It was also a time of anxiety
shadow of a gigantic abandoned development.
creative enterprise in the city centre, which seeks to retain and draw
and of fear due to the new fiscal reality. However, what we imagined
The participation of LSAD students and graduates in the Creative
were going to be challenges, in a time of diminishing resources, have
Limerick initiative has been remarkably successful and highly intuitive.
also become opportunities. Amazingly, this has been a time to do new
Recently, I had the opportunity to lead the executive, and fellow heads
things, and a time to grow. There is a remarkable energy and vibrancy
of school from LIT, through the city centre, to visit the various galleries
Mike Fitzpatrick is Head of the Limerick School of Art and Design.
in the Clare Street Campus; it is a fun place where we work hard!
in many exciting fashion designers and artists who use textiles in new and innovative ways.
and studio spaces that have emerged as creative energy hotspots in the
He was previously the Director / Curator at Limerick City Gallery
I am very conscious how the school relates to, and engages with,
blighted central area – the debris of the property market implosion. It is
curating exhibitions by John Shinnors and Connolly Cleary,
the city, although this is not a new phenomenon or concern. LSAD has
empowering to reflect on how these artists, students, and creatives use
among many others. He has presented solo shows around the
been in existence since 1852, and I recently came across a catalogue of
their time and energy to create value of out of failure. These cultural
world and taken part in numerous international residencies.
an exhibition, held in the city in the early nineteenth century, which
producers are growing in ambition and confidence.
gives a sense how art has been regarded in Limerick. Of particular
As former Director of the Limerick City Gallery of Art, I am very
interest was an exhibition of works loaned by local collectors, which
proud of the re-opened, newly extended and renovated gallery. I look
included paintings by Titian, Rembrandt, and Velasquez. The catalogue,
forward to a fresh programme of activities under the new Director,
from 1821, opened with this statement, which is still relevant today:
Helen Carey. One of the most dynamic collaborations that the school
“A more mature examination of the claims of Fine Arts, will
has engaged in is the Shinnors Curatorial Scholarship, in collaboration
produce a clear conviction that they are not the unprofitable agents of
with the City Gallery. The first three participants were: Dr Pippa Little,
luxury, nor any obstacle to the increase of wealth, but that wherever they
who graduated recently with a PhD; Susan Holland, the first Shinnors
have constituted a feature of public economy, they have contributed
MA to complete the programme; and Mary Conlon of Ormston House,
largely to the honours and riches of the state. They are not merely the
who is currently completing her PhD. The next Shinnors candidate is
ministers of superfluous desires, but are the indispensable means of
due to commence the programme later this month. This is an example
12
The Visual Artists’ News sheet
March – April 2012
REGIONAl PROFIlE
Arts Office: limerick City for the recent official opening of the redeveloped Limerick City Gallery of Art, the Arts Office put together the history of the Carnegie building which houses the gallery. Built in 1906 as a Carnegie Library, the City Council moved the library out in 1985 and took the brave decision to make it into a dedicated art gallery. What became obvious, in putting this history together, is that things don’t happen overnight. A short chronology shows the development process:
Carnegie library, 1910, image courtesy of limerick City Gallery
1936
The idea to set up an art gallery in Limerick was agreed upon
1937
The first Limerick Municipal Art Gallery Sub-Committee was set up The first paintings for the collection were acquired The first exhibition of these paintings
1940
1999
art gallery in Limerick originated with John J Johnson (manager of the Grand Canal Company in Limerick and thus in charge of the Limerick Canal). There followed a series of meetings between officials of the Corporation and a number of prominent figures in the artistic community which resulted in a public meeting being held in the Town Hall on Rutland Street and a committee (chaired by Justice Flood) established to put the project in motion. Early in 1937, a Limerick Municipal Art Gallery Sub-Committee was set up, whose membership included Dermod O’Brien, Sean Keating, Dr George Furlong (Director of the National Gallery of Ireland),
Limerick Corporation decided to
Justice Flood, Mayor Dan Bourke TD (the only Mayor of Limerick to serve five consecutive terms), former
house the municipal art gallery in the
Mayor Michael Keyes TD, and a number of other Limerick notables. Two local businessmen were particularly
Carnegie Building and borrowed
active on the committee – J J Johnson, who served as honorary secretary, and Paul Bernard (proprietor of the
£7,500 to pay for the necessary
Grand Central Cinema) who was honorary treasurer. Parallel to the development of LCGA many other important things happened in Limerick in the visual
The library moves to a new premises
arts: In 1977, eva International (then E+va) was established; in 1983 Sam Walsh founded the Limerick
and the Carnegie Building is given
Contemporary Art Society that purchased contemporary drawings, and in 1991 donated the National
over to Limerick City Gallery of Art
Collection of Contemporary Drawing to LCGA; in 1988, Limerick City Council agreed to employ and Arts
South Gallery extension added as
Officer; in 1993, eight artists’ studios were opened with a capital grant from the Arts Council; in 2010
phase one of the redevelopment 2011
So it took over 70 years to get to where we are now, and a lot of people were involved along the way, but what is important in this story is that partnership and leadership made it happen. The idea of setting up an
was held
extension to the building 1985
Carnegie library, 1910, image courtesy of limerick City Gallery
Phase two redevelopment with café, storage area, workshop area
Creative Limerick was established by Limerick City Council that supports the use of vacant spaces by artists; and in 2012, Limerick City Council will be the first local authority to open eight artists’ apartments, a sustainable living model for artists. In my 22 years I have to come to understand – like those who drove the idea of an art gallery for Limerick 70 years ago – that a good idea needs support, and I look forward to the ideas continuing to flow for another 22 years. Sheila Deegan is the Arts Officer for Limerick City Council
eva International
Biennial of Visual Art, Limerick City 19 May – 12 August 2012 Curated by Annie Fletcher
Preview: Friday 18 May Various locations across the city www.eva.ie | info@eva.ie
Full programme and new identity coming soon
Over 2000 proposals from over 70 countries
The Visual Artists’ News Sheet
March – April 2012
13
Regional Profile
contributions they have made are remarkable and there’s a body of information there on which one builds; there’s a precedent. I‘ve also realised that, in Limerick, there is a very up-to-the-minute understanding of the role of visual art. Generally, people here have encountered art in a sophisticated form, through eva International, as well as LCGA. AM: The idea of the permeable or malleable institution was discussed at a recent Arts and Civil Society Symposium . Do you think that LCGA can offer a ‘permeable’ programme? More specifically, do you think that the gallery can reflect on and develop dialogues around the wider social context of Limerick as a city? Limerick has a distinct geography and history, particularly in terms of planning, often linked to the fact that fewer people now live in the city centre. There’s an ownership of the city, especially at night, that’s very distinctive. HC: Yes, I’ve noticed that. To be honest, it’s early days for me to be able to answer that question with any degree of detail. However, the amalgamation of the city and county local authorities is crucial, and will offer a huge amount of understanding about what a city with a hinterland actually is. They need to permeate each other, because – again we go back to the notion of work – the reality is that the city brings people in from the hinterland, for a lot of hours during their day. In Limerick, the geographical borders are not just being permeated through the local authority reform agenda; their very manifestation is disappearing. The idea of the ‘ invisible city’ has been part of social theory for a while: within that membranous thing, that invisible Limerick City Gallery of Art, interior
outline, you’d like to see the city’s character – established through
Limerick City Gallery
history – becoming readable from different angles.
annette moloney talks to helen carey about her new role as director of limerick city gallery
AM: As you’ve mentioned, the arts sector in Limerick city has experienced a period of change over the last few years. While refurbishments were taking place in key institutions (the Belltable Arts Centre, LCGA) a number of new alternative art spaces were established, many located in vacant commercial spaces. What is your view on the links, current or potential,
Annette Moloney: Firstly Helen, congratulations on your new
in Limerick from the War of Independence through to the modernisation
role as Director of Limerick City Gallery of Art (LCGA). Your
of Ireland and up to the present day – as we look down the barrel of a
position will run from 2012–2014. What do you feel is achievable
decade of commemorations.
– realistically – within that time?
between LCGA and these artist-led initiatives? HC: Again, it’s really too soon to say. However, it would be almost counter-intuitive if you weren’t predisposed to develop those links. The
AM: Michael D Higgins has spoken about his vision for “social
idea of the ‘occupy’, the idea of the slack buildings, which you have
Helen Carey: Limerick City Gallery has just reopened after a period of
solidarity” in Ireland and his belief in a need for “active
looked at in detail yourself, the idea of animating things for a short
closure for the main building and off-site activity, which saw quite a lot
citizenship”. Do you think that LCGA, as a public institution, has
time, or for a longer time, to look at the logistics or even the legal
of integration with other activities within Limerick. It seems to me
a role to play in this?
aspects – all of that has been something impressive about Limerick. It
there was a lot of energy, and LCGA had a part to play outside of the
would be folly to think that you could have a view about LCGA that
building. There was a type of ‘dematerialisation’ of the building into
HC: I think that there are real gaps in leadership at the moment, both
didn’t include trying to work together. And, quite frankly, they are so
the city. Immediately, I see my role as making the building relevant to
in Ireland and further afield. In many ways, culture has been given the
exciting. So, on day three of my new role, I can tell you I’m very happy
that activity, but also consolidating, without solidifying, the notion
rather difficult task of being ‘mankind’s leader’ and basically having all
to countenance partnerships on a wide basis.
that a building has a part to play in a town at large. Ideally the building
of the heavy lifting to do. However, it has to be said, this is a claim that
should have quite an overarching presence, with a certain amount of
has often been made, so there is an element of ‘now is the time’. We are
AM: Staying on the value of partnerships and collaboration, eva
variation on that presence. In more global terms, the institution is
in Limerick, in the midst of big changes, so ‘what is to be done?’ is a big
International is another key element of the cultural community
undergoing a period of readjustment regarding the role it plays for the
question, especially in terms of creativity and people’s innate sense of
in Limerick, which will now happen on a biennial basis. During
arts sector, for the community, and for the general public. As we see
contributing to a better place, a better world, a place where there are a
the timeframe of your role you will experience two iterations of
budgets cut and roles change, we witness a certain amount of crisis and
great deal more values that are just and fair. These are things that we
the project. Is eva International a project you are looking forward
certainly a lot of flux. I see my role at this point as steering a ship with
need to really examine and re-examine. Do we have the building blocks
to interacting with?
a steady hand, but also anticipating what the role of the institution
in place for ‘active citizenship’ to actually happen? I think within art
could be after this time of flux – setting the organisation fair to be able
practice at the moment there is quite a lot of discussion, thought,
HC: I think eva International is a most exciting project, regarding both
to weather the storm ahead and what comes beyond.
experimentation and development on this theme. There has to be a lot
its history and future. It will contain all the elements of a really
of generous interchange and exchange. I suppose the challenge for the
heightened contemporary art experience. Woodrow Kernohan is doing
AM: In your recent curatorial practice, you have explored
arts is to make that exchange, interchange, generosity, and curiosity
a marvelous job and it’s a real opportunity for Limerick to show a kind
“notions of work and protest, and where History intersects our
become part of an infectious position, yielding something really useful
of prescience when it comes to what is current, what is the future, what
understanding of the present and influences our ideas for the
– and I don’t mean useful in a utilitarian way, but something that has
is important and what is – I think a word that doesn’t get used enough
future”. Are there elements of your practice to date, or indeed
legs, that can grow.
– significant. What is significant in our time? I think that eva
some unrealised ideas, that you are looking forward to exploring in your new role at LCGA?
International is a pretty good filter of the significant. AM: To date, LCGA has had a strong and open Education Programme that attracted broad public audiences, was
AM: One final question, regarding another no-less important
HC: Yes, of course, the fit couldn’t be better as far as I’m concerned. My
particularly family friendly, and was often connected to the
cultural institution in Limerick: are you looking forward to
interest is in labour history and its portals – where work and labour
Shinnors Fellowship set up by the gallery. Is the role of the
visiting Thomond Park for a Munster Rugby game...?
feature in peoples’ lives, acting as a metaphor for their condition
Education Programme, within the institution and the city,
within society and how that can be calibrated and measured in terms
something that you are looking forward to exploring?
of work conditions and the changing conditions of labour. In Limerick
HC: Well, then I’d have to change jerseys…My father played for Leinster, so we’re talking about a bigger philosophical dilemma and I can’t
there is a solid history surrounding industrialisation, from the Limerick
HC: Without a doubt: the idea of a stately galleon up at the top of
commit myself, not just yet. But I’m up for that particular match, and
Soviet up through to the present day. Limerick is thought of as a city
Limerick, without anybody in it, just doesn’t light anyone’s fire. I think
certainly in Thomond Park of all places.
that can embrace the radical quite wholesomely, or even challenge the
the quality of the Education Programme is ambitious but it’s also
radical to be genuinely radical. I would be very interested in looking at
intelligent, and I define intelligence as a gathering of information and
Annette Moloney is a curator and collaborator based in Limerick
the modernisation of Ireland and the Lemass era, with regard to the
also as a life force – it’s not about ticking a box. I think the Shinnors
http://gallery.limerick.ie
collection here at LCGA. I’d like to look, particularly, at artistic activity
Scholars have been incredibly valuable and innovative. The
14
The Visual Artists’ News Sheet
March – April 2012
Regional Profile
Occupy Space, Limerick
Occupy Space, Limerick
Enable Ireland class at Raggle Taggle, Limerick
Space Age
programme involves a continuation of the 'Talk Series' as well as public workshops and projects within the community. www.faberstudioslimerick.blogspot.com
Aoife madden discusses recent developments in the creative limerick initiative, which aims to make vacant property in the city available for artisitc practice
Ormston House is perhaps the most exciting addition to Creative Limerick since the last article in the Visual Arts News Sheet. It launched its visual art programme in August 2011 in a 2100 sq ft
Creative Limerick – Connect to the Grid is a creative and
international), established an Annual Graduate Residency Award, and
dedicated exhibition space at 9 – 10 Patrick Street, in the heart of
innovative scheme coordinated by the Property Department in
facilitated numerous events including performance nights, video
Limerick City. Ormston House will devise and deliver an experimental
Limerick City Council, under the realm of Economic Development.
screenings, social engagement projects and artist talks. Most notably, in
programme of multi-disciplinary exhibitions and events, and develop a
The scheme is in partnership with the third level colleges, creative
late May 2011, Occupy Space hosted ‘in-flux’, a large scale exhibition
series of research-based and archival projects.
industries, commercial property owners and their agents operating in
utilising the six floors of the Thomas Street building, supported by
Limerick city. Creative Limerick initially aimed to find a use for vacant
Limerick City Council and eva International; gathering together 10
Other creative practitioners occupying spaces include the Creative
property in the city by maximising Limerick’s creative capital, but has
Irish and international artist-led gallery spaces, this project brought to
Tree Space in the Thomas street centre, which is a community-
since seen Limerick become Ireland’s leading city for artist-led creative
Limerick an exciting sample of diverse contemporary art practices
orientated workshop providing lectures and exhibition space dedicated
activity.
from some of the most interesting artist-led spaces in Ireland and
to environmental projects, performing arts, well-being activities,
I took over as coordinator of the scheme in November 2011 and
Europe. As an example of the public support for visual arts in Limerick,
fitness, and education. Artist Jean Ryan also holds a space in the
was instantly impressed with the effect the scheme has had on
it should be noted that to produce ‘in-flux’ Occupy Space was assisted
Thomas Street Centre, which serves as a gallery for his work and for
Limerick city, in maintaining and increasing the vibrancy of the city.
by nearly 30 volunteers from the local community, who were invaluable
holding painting classes. Tarmo Tulit photography occupies a space in
Part of my role is to seek out key vacant properties in the city centre,
to the project’s success.
the same building, providing photography classes and a photographic
and then try and convince the landlord to allow Creative Limerick use
http://www.occupyspace.com
workshop. Recently, Sadhbh Lyons took a space within a doorway on Bedford Row in Limerick. What was once a run down entrance to the
of the property, until it is rented or sold. Limerick City Council puts a standard license agreement in place
Raggle Taggle provides both artist studios and an exhibition
that is signed by the landlord, the creative practitioner, and Limerick
platform to a variety of individuals and organisations. They are located
City Council. The landlord maintains their structural and fire insurance,
on the corner of Sarsfield Street and Henry Street, and their primary
The most recent addition to the scheme is the introduction of pop-
but this agreement protects the landlord against all expense, costs, and
goal is to make a cultural contribution to the area, as well as fostering
up shops. A graduate of the Limerick School of Art and Design, designer
losses from any damage that should occur in the premises while they
budding artists and professional practitioners. The gallery caters for a
Marion Murphy Cooney, and well-known milliner Aisling Maher, will
are participating in the scheme. We also indemnify the landlord
wide range of local interests such as undergraduate exhibitions and
open a pop-up shop under the scheme in the Thomas Street centre in
against all expenses arising from injury to the creative practitioners or
community-based activities. These activities have varied from Enable
the coming weeks. We are also in the process of setting up a Limerick
the general public while on the premises. This security provided by
Ireland performances to sonic sound art byob events. While requests for
City Craft Hub that will provide an outlet for local craft makers to sell
Limerick City Council to the landlord underpins the scheme and has
the gallery have increased in demand, the space is primarily a project-
their products in a prime city centre location.
ensured its continuing success.
based studio. The condition of residence being that each artist peruse
The creative practitioner is required to pay all utilities and set-up
and develop their practice with the appropriate gusto. http://raggletaggleconsortium@gmail.com
One thing that is clearly evident to me since coming on board with Creative Limerick is the wonderful sense of camaraderie among other and work together in helping the creative environment in Limerick City to flourish. Limerick City Council has been unique in its
occupant and do weekly checks to ensure the building is being used in accordance with the original terms of the agreement.
adds vibrancy to the street.
the artist community in Limerick. All the spaces help and support each
costs incurred during their time in the property. In my role as Creative Limerick Coordinator, I liaise between the landlord and the creative
building was transformed by Sadhbh into a mini-gallery, and really
Faber Studios is an artist collective and gallery located on
approach to vacant property and this has paid off with increased
There are currently eight active Creative Limerick locations in the
Henry Street that aims to promote and facilitate object-based sculpture
city centre. Those involved directly in the contemporary visual arts
and mixed media work. There are five members: Marie Cannole, Caelan
include:
Bristow, Aaron Lawless, Vivienne Quinn, and Ronan McGeough. Faber
For any further information on the scheme please contact Aoife
recently moved premises within the scheme to larger premises, which
Madden, Creative Limerick, Limerick City Council on 061407325.
Occupy Space: an artist-led gallery situated in the Thomas Street
has been hugely significant for the Studios, as they can now offer a
Centre, directed by Noelle Collins and Kevin O’ Keeffe. In 2011, Occupy
permanent exhibition area that can be used for talks, screenings, and
Space received funding support from the Arts Council of Ireland. In its
events. The majority of the space contains five permanent studios and
first two years, the gallery has hosted more than 30 exhibitions
one communal workspace. In 2010 and 2011, Faber ran the successful
showcasing well over 150 established and emerging artists (Irish and
'Artists Talk Series' in conjunction with LSAD and their upcoming
footfall into a vibrant and creative city.
creativelimerick@limerickcity.ie
The Visual Artists’ News Sheet
March – April 2012
15
Regional Profile
Woodrow Kernohan and Annie Fletcher
Woodrow Kernohan
eva returns
WK: This year has seen an amazing number of artists submitting to eva International, around 2000 proposals from over 70 countries, and I am sure Annie’s reputation has contributed to this surge in interest.
James Merrigan interviews woodrow kernohan about his role as director of eva international 2012
JM: An excerpt from the curator’s statement for eva International reads: “This year eva International will attempt to tap into this feeling of imminence by understanding how artists define and
James Merrigan: Taking into account that art directors have to
multiple spaces across the city, including the recently reopened
explain the status quo in relation to global events. What are we
take on a pluralist approach within art institutions and when
Limerick City Gallery of Art, The Belltable, and The Hunt Museum. We
on the verge of? How do artists envisage what is to come and what
overseeing art events, your history is very artist-centric – can you
are currently exploring working with non-gallery spaces and hope to
is to be done?” As mentioned, Limerick has been affected greatly
elaborate?
work in partnership with many organisations within Limerick City
by the economic downturn; how do artists, in this context,
and beyond.
respond to the current state of affairs?
group exhibitions as a way of creating opportunities for myself and
JM: Limerick is also fostering curator talent through the Shinnors
WK: As curator, Annie wants to capture this unprecedented opportunity
other artists. Exhibition-making is now an integral part of my practice,
Curatorial Scholarship, such as previous Shinnors Scholar Claire
for change. She is currently developing her curatorial direction for eva
and central to this is an understanding of exhibitions from an artist’s
Feeley, and currently, Mary Conlon, who has brought a new
International and her references include Sarah Pierce’s It's time, man. It
perspective. eva International was founded by artists in 1977 and my
energy to Limerick visual art scene with her ‘Six Memos’ project
feels imminent (2008) and Peter Lennon’s film Rocky Road to Dublin (1967),
predecessor, Paul M O’Reilly, is also an artist. Artists remain a central
and Ormston House art space, which is very visible to the public
which posed the question "what do you do with your revolution once
part of the organisation, and I continue to make work.
on Patrick Street.
you've got it?" eva International 2012 will appraise where we’re at and
Woodrow Kernohan: I am an artist by training and began organising
how we move forward. JM: Do you think it is important for the director of an event like
WK: The Shinnors Scholarship is a fantastic opportunity for curators,
eva International to have got their hands dirty as an artist?
provided through collaboration between Limerick Institute of
JM: Ignoring what the newspapers say about global affairs,
Technology, Limerick School of Art and Design, and Limerick City
there seems to be a feeling of 'optimism' within the visual arts
WK: Managing an event like eva International requires a range of skills,
Gallery of Art. eva International is also hoping to host a Shinnors
in Ireland, as demonstrated by the growth in artist-run spaces,
and having self-initiated projects as an artist and curator definitely
Scholarship, so watch this space.
curator projects, and commentary on visual art.
important for me to help artists realise ambitious projects, and this
JM: It could be said that it was good for eva to take a break for a
WK: In times of difficulty and limited means, artists and curators
is very much what eva International does. Being an artist has always
year, giving artists time to better digest and reflect upon what has
are able to be resourceful, making opportunities and exploring new
helped when working with non-gallery spaces, and the economic
happened to Ireland economically, socially, and psychologically
economies, exchanges, and ways of working, both commercially and
downturn has increased these kinds of opportunities. Recently, I worked
since 2008?
non-commercially. Artists are able to be light-footed and innovative in
helps. Working with grass-roots arts organisations, it has always been
with a part-restored Georgian townhouse and a dilapidated department store in Brighton, creating multiple exhibitions and gallery spaces.
a way that commerce cannot. WK: There has been a radical shift both in Ireland and globally. In 2012, eva International returns as a biennial and the curator, Annie Fletcher,
JM: What changes are planned for the future of eva
JM: Limerick town centre has been hit hard by Ireland’s
describes her approach as ‘taking the temperature’ of what is happening
International?
deepening recession. On the other hand, Limerick’s visual art
here and now in Ireland. We will be working in partnership with
scene has never been more vibrant with vacant commercial
multiple organisations from Limerick and across Ireland, including
WK: One of the main changes for eva International is that it is now a
buildings being populated by artist-run spaces such as Occupy
Visual Artists Ireland, to provide a platform that will reflect current
biennial. Another major change is that we are in the process of appointing
Space, Ormston House, and Faber Studios.
concerns and ask pertinent questions.
a new design team to refresh the identity, and this will be re-launched
WK: There is a high percentage of empty commercial properties in
JM: Why was Annie Fletcher chosen from the shortlist of
the Van Abbemuseum is also a new direction, and collaborating with
Limerick, yet there is an energy in the city centre created though spaces
curators for eva 2011?
key national and international organisations is something we hope
along with the full programme in March. Working in partnership with
to continue. We aim to bring international audiences to Limerick and
like the ones you have mentioned, along with Limerick Printmakers and Raggle Taggle, made possible through the Creative Limerick initiative.
WK: Annie Fletcher is currently Curator of Exhibitions at the Van
increase the visibility and opportunities for Irish artists internationally.
Through access to these kinds of empty commercial properties, artists
Abbemuseum, Eindhoven, one of the most significant and innovative
eva International 2012 promises to be topical and exciting.
and curators can turn a negative situation into a positive outcome
museums in the world. She is well known and respected for her work
for the wider community. These kinds of spaces provide invaluable
as a curator here in Ireland, including ‘Cork Caucus’, co-curated with
Woodrow Kernohan is an artist and curator who is currently
opportunities within the city and should be present in economic
Charles Esche and Art / not art (2005). Annie has a familiarity with the
Director of eva International (formerly e v+ a). Previously he was
upturns, as well as downturns.
arts ecology in Ireland from an international perspective and, along
Co-Director of Brighton Photo Fringe, Co-Director of Permanent
with her energy and vision, this makes her the ideal curator for eva
Gallery (Brighton) and Exhibitions Curator at The Regency
International 2012.
Town House (Hove). He recently curated an exhibition by Neil
JM: During Tulca 2011, curated by Megs Morley, a situation
Brownsword, and exhibited at Guest Projects, London.
arose whereby the arranged main exhibition space fell through because of commercial interest. Is eva dependent on similar
JM: The significant jump in proposals for 2012 must be partly
commercially viable locations?
attributed to having a curator of Annie Fletcher’s reputation –
James Merrigan is an artist and art critic. Future exhibitions
home and abroad – curating eva?
include a solo shows at the Mermaid Arts Centre Bray and the LAB
WK: This is the risk when working in non-traditional gallery spaces;
2012. As an art critic Merrigan has written for Circa Magazine, a-n
contingency plans are essential. eva International will spread over
magazine, and is a monthly contributor to Aesthetica Magazine.
16
The Visual Artists’ News Sheet
March – April 2012
issue
when trust proves to be misplaced.... In this article, Noel Kelly, CEO Visual Artists Ireland, discusses VAI’s current experience of artists not being paid, or whose work has gone missing, with some best practice tips on how to avoid this.
at all times, with a confirmation email or letter. The ideal situation is to receive payment in full, but we also recommend setting up a schedule of payments from the gallery. However, this is only possible when working in a clear, professional environment; unfortunately this is not always the case, and, as has been experienced by many artists, deadlines for payments are consistently missed, and dates and times are ignored, leaving artists both out of pocket and without work. Document What to do next is more complex and we usually deal with it on a case-by-case basis. Our first question is always to ask what documentation an artist has. Then, the artist is asked to outline a chronology of the
The business arrangements between artist and gallery have, tradi-
for when providing work to be shown and / or sold, and then, with
relationship showing works provided, and copying emails and letters
tionally, been based around honour – a handshake of mutual trust and
full knowledge, decide if the gallery team are people with which they
that have been exchanged. This is usually an exhaustive task, but in this
respect. This system has worked to the benefit of both parties, apparent-
would like to work.
documentation lies the future solution. Ideally, a contract or letter of
ly saving artists from mountains of contractual administration and legal paperwork, and allowing them to progress with their creative work, safe in the knowledge that the gallery / artist relationship is healthy and working to the benefit of all.
consignment is in place. If not, and as can be seen on our info~pool site, What are the terms of your contract? Our first question to artists contacting us is to ask if they have a contract, a letter of understanding, or anything in writing. Unfortu-
Ireland places a lot of emphasis on verbal contracts, especially in cases where there is evidence of other parties being subjected to the same treatment.
However, Visual Artists Ireland has seen an increase in this prac-
nately, for the most part, there is rarely anything in place. However, it
tice being taken advantage of by a small number of places that fail to
is easy for artists to remedy this situation and when an agreement has
follow sound business practices they see as unnecessary within a sector
been reached with the gallery, any terms and conditions should be sent
Once this chronology and gathering of communications is in
based upon trust.
back to the gallery in written form. We also strongly recommend that
place, the next task is to identify if deliberate deception has occured.
Identify
Cases of non-payment and works being mislaid are constant com-
all work handed over to the gallery is accompanied by a letter of con-
If so, this becomes a serious case that could, potentially, be considered
plaints addressed to Visual Artists Ireland’s offices that have recently
signment, including photo documentation of the work. In this letter,
fraud: obtaining work under false pretenses. This becomes a matter for
increased in volume. We receive regular telephone calls and emails
the artist should outline the work and the condition in which it is being
a police investigation through the Special Branch. Clearly this is the
from artists in similar situations. On most occasions the artist contact-
provided, the period of the consignment, reproduction conditions; they
extreme, but from recommendations from the Harcourt Street Gardaí
ing us will know of fellow gallery artists who have been treated in the
should clearly state that ownership of the works being consigned does
anti-racketeering office, taking the above documentation to a local
same way, but this does not salve the sense of helplessness that can set
not pass to the gallerist or buyer until the artist has received full pay-
special branch officer may result in a criminal investigation.
in when a relationship of trust goes sour.
ment. Artists may also like to include other aspects such as representing
It is more likely that there is no fraud, but it will be a matter of mis-
Of course, we must add very strongly that this is not the case with
the work in media statements, insurance, etc. Both parties should sign
management. In this case, the first move is to find out the status of the
every gallery. In fact, if we look at the gallery sector as a whole, it is a
the document before works are handed over. Amongst other things,
work involved. If an artist has been told their work has been sold, or the
small number of galleries and individuals that are acting in this way.
this will provide documented proof of ownership and the work’s condi-
work is not available for return to the artist, the next step is for the artist
For some, it comes from a negative economy or from a change in per-
tion at the time of consignment. There may be moments when the per-
to write an invoice for the full amount due to them, clearly indicating
sonal circumstances, but it has to be said that in a lot of cases it began
son authorized by a gallery is not available to sign such a document, or
terms and conditions for payment.
long before the downturn, and may be seen as an indication of bad
there may be reluctance to sign. Having nobody available to sign hints
As this is a commercial transaction, it is worth noting that as and
management and a lack of understanding of the art market place and
that there is a chance the document will never be signed. We suggest
from the 1 January 2012, the late payment interest rate is 8% per an-
how to work with artists.
very strongly that reluctance is a sign of problems ahead.
num (based on the ECB rate of 1% plus the margin of 7%). That rate
Our concern in Visual Artists Ireland about this growing situation has led to a series of discussions with artists and galleries to try and understand the reality. The following is a brief summary of our findings.
equates to a daily rate of 0.022%. Penalty interest due for late payments Keep updated on where your unsold work is Taking a small lesson from stock-taking in the commercial world,
should be calculated on a daily basis. (http://www.djei.ie/enterprise/ smes/latepay.htm).
The first points that we must stress is that there are many people
it is wise to check with a gallery on a regular basis (every 6 or 12 months
If a gallery is paid, either in full or has agreed to be paid through
in the commercial and not for profit sector today that are working hard
depending on your understanding of a gallery’s turnover, and based on
instalments, but the artist has not been paid, the artist should contact
to promote the work of visual artists in a professional and caring man-
your level of trust) about the status of the work they are holding on
the gallery requiring payment or to have the work returned immedi-
ner. There are also others who have set up art sales as either a hobby or
your behalf. When work is delivered, send two copies of a signed inven-
ately under the terms of their letters of consignment, and the terms and
as an idea that came to them in a sudden moment of clarity but without
tory that is based on what has been consigned and not reported as sold,
conditions of their invoices. How to deal with unpaid work should be
any research or knowledge of what is required for such a business. The
and request that they provide a signed copy back by return. If they don’t
a business decision between the gallery and the artist. However, going
symptoms are common: a lack of payment, not returning telephone
do this, or refuse to do it, then perhaps it is time to consider asking them
back to the original idea of the letter of consignment, the work has been
calls, accusation and counter-accusation, works missing or damaged,
to return all artwork to you within a reasonable length of time (eg two
offered to the gallery as the artist’s agent. This means that there is no
works not returned to artists upon request. As we deal with this situ-
weeks).
transfer of ownership until the item has been paid for in full. Often, art-
ation on such a regular basis, we have a set of guidelines that we offer to artists.
ists will know the buyer. Not many galleries relish the prospect of their Building and managing the relationship This is where the confidence in a relationship comes into play.
Prevention
Building a working relationship involves open and clear communica-
reputations being sullied by the knowledge that an artist or their agent may appear at a client’s door looking for the return of their work. This, of course, should be managed in a clear and legal manner.
The idea of showing and selling with a gallery appears to be the
tions. We find that if, for good solid reasons, the gallery experiences
Depending on individual situations, it may be possible to turn the
ideal thing, bringing with it that sense of achievement, and pride that
cash flow problems, the artist should have continued confidence in the
matter over to an official debt collector, or the matter may require tak-
the public will get a chance to see and perhaps buy work. Indeed, first
business partnership, and solid negotiations must take place.
ing specific legal advice and end up in courts.
conversations inspire new ideas and provide support in terms of explo-
In some of the cases that we see, we find that once good relations
For the most part, artists are reluctant to go these final step, and
ration and realisation of different projects. This looks like it is going to
become sour when communications either stop, or in extreme cases,
we recommend it only after an artist has taken advice based on all of
be a long-term relationship between two equal parties, and let’s add
become abusive. Visual Artists Ireland always recommends trying to
the evidence gathered, as outlined above. But, it must be said that the
that in most cases it is. Therefore, our first piece of advice is:
work through issues when there has previously been a good relationship. We offer to mediate and to build a mutually agreed plan for work-
initial steps we have outlined in terms of prevention may go a long way
Stop, think, and do some research
towards avoiding this.
ing out problems that have appeared. But, when the relationship has
Who is the gallery that has approached you, or that you have cho-
declined and turned into an abusive and accusation-filled battle, we
If we are to see ourselves as professionals in our field, then the first
sen to give work to? A very simple step, often neglected, is the investiga-
find that for the most part the only area of recourse is through what can
step is to ensure that we protect ourselves at all stages of our careers. Our
tion into who else is being shown by that gallery. As the Irish art world
become, in a severe case, a prolonged legal-based battle.
ed, it is a simple task to look at the other artists and find one or two to
But, what happens if this all goes wrong?
approach and ask for their impression and experience of working with
Let’s start with the premise that most galleries want to pay their
the gallery. Does the gallery achieve sales? What are the terms that the
artists, maintain their good reputations, and keep everybody happy. We
gallery offers to artists? What has been the experience of other artists
keep this as a given when starting to look at cases. Therefore, our first
working with the gallery in terms of support, payments, and exhibition
recommendation is:
opportunities? There may be a sense of urgency in terms of agreeing to give work
message is: Think before you say yes to any relationship; Document all aspects of the relationship and agreements; Communicate openly,
is a relatively small group of people who are all very well interconnect-
clearly and in a businesslike manner – always confirming in writing or by email any decisions made; be Consistent and open with communication; and Act in a clear and professional manner at all times. Finally, remember, you’re not alone in this and if you need any further advice Visual Artists Ireland is available for confidential chats and advice.
Communicate
to a gallery, but instead of an instant ‘yes’, we recommend offering the
Making contact with a gallery to look at the status of work, or
qualified ‘yes’, and then taking time to do the above research. We ad-
looking for payment, needs to be kept on a business basis. If this pro-
vise artists to make sure that they understand what they are looking
cess started with a telephone call, we always recommend a follow-up,
Noel Kelly is the Director and CEO of Visual Artists Ireland
The Visual Artists’ News Sheet
March – April 2012
17
Profile
Cultúrlann, Belfast, courtesy of Fionntán Ó Mealláin
Sketch of Courtyard, An Gaelaras courtesy of O'Donnell + Tuomey
An Gaeláras
An Gaelaras, Derry, courtesy of Dennis Gilbert
roof light and the different functions of each floor plate are made legible by the complex overlapping geometries of the structure”.3 Sunday Times critic Stephen Best wrote: “It is designed to
Marianne O'Kane Boal discusses recent developments in arts infastructure for Irish language in northern ireland
encourage meanderings. O’Donnell + Tuomey point to a fascination with unruly circulation in pre-Renaissance houses as one roots of the design, which is convincing.”4 The palette of materials for the building is apt, in the combination
Interest in the Irish language has always existed in Northern
its dramatic curve. There is a horizontal strip window at the bottom of
of concrete and colour. Steel stairwells, balconies and bridge links are
Ireland, but has experienced a further renaissance in recent times.
the curve that terminates the aesthetics of the shell. The curve came
painted red oxide. Partitions and doors are pale blue. These two colours,
Consequently, in the two major cities of Belfast and Derry, Irish
about through a process of mapping and investigating the golden
combined with the superb finish of the board-marked concrete, create
language arts centres have been created and renovated. In Belfast,
section against the existing elevation. The curve of the extension does
Cultúrlann McAdam Ó Fiaich is located in the Falls Road area, and in
find its corollary in the church’s large Gothic window. Similarly, it
a drama for the eye in the building’s courtyard core. The construction budget was £2.8 million for almost 2,000m squared.
Derry, An Gaeláras, Cultúrlann Uí Chanáin, is situated on Great James
unites with the traditional form of the church through the central
Street. In both locations, the interest and enthusiasm existed long
tower, which provides the dividing line, but also the fulcrum of
before the cultural centres were established, and it was the local
tradition and modernity. There is a shadow gap that subtly separates
“There has been a phenomenal growth in Irish-medium education
community’s commitment to use and celebration of the Irish language
the extension from the church. This extension, with its striking glass
in Derry since the 1980s [….] The language is important in terms of
that led to the possibility of built infrastructure. Unlike arts centres in
frontage, is quite singular and unexpected, but carefully conceived; it
preserving indigenous culture. It is our view that the language belongs
some of Ireland’s towns and cities, where community engagement can
seems appropriate for a building where activity was formerly hidden,
to all the people of Ireland and that it is our duty to preserve, nurture,
be difficult to achieve, the pre-existence of an extensive user-group has
with no external indication of that enterprise. Architect Michael
and restore Gaeilge as an everyday means of communication. We do
been a fundamental advantage.
Doherty intended the extension to signal the future and the
not propagate this view from a narrow, insular perspective. Rather we
Similar to the burgeoning of the Irish language in Belfast, Gearoid O‘hEara, CEO of An Gaeláras observes,
The interplay of historical context and architectural intervention
contemporary use of the Irish language: an aspiration it successfully
believe that the loss of any language and culture is a loss for
provide an interesting dynamic in each building. In Belfast, a late
denotes. The terraced roof garden also has a unique form which is ideal
nineteenth-century Presbyterian church was reconfigured; in Derry, an innovative building is flanked by historic Georgian architecture on
for traditional music sessions. Cultúrlann McAdam Ó Fiaich is not only an arts centre with a
humanity.”5 It is this inclusion of all citizens, on the part of both centres, that is determining the success of these institutions. There is a shared love
either side. The balance of tradition and modernity is important in
wide-ranging programme of arts events – drama, music, visual arts, and
of language evident, coupled with a thirst for participation that
both contexts, as is the decision to embrace the old and contrast it with
literature – it is a living production centre where a number of
engenders collective passion. O‘hEara explains,
the new.
organisations are housed. These include Tobar productions (television),
“As well as the continuing growth in Irish-medium education, we
Cultúrlann McAdam Ó Fiaich is a thriving Irish language cultural
Aisling Ghéar (theatre company), Aisling Óg (theatre school), Dúch
have recently initiated a project aimed at opening up the riches of the
centre, founded in 1991, and named after Robert ‘Shipboy’ McAdam, a
Dúchais (design company), Raidió Fáilte’s studio, Rua media, and Taca
Irish language to children in the English medium primary sector. This
mid nineteenth-century Presbyterian Gaelic revivalist, and Cardinal
(an organisation that fundraises for Irish medium schools). According
project, funded by the Department of Education, is making the
Tomás Ó Fiaich, another Gaelic scholar. The building is a red brick
to Director Eimear Ní Mhathúna,
language available to over 1600 children in Derry and Strabane.”
1
church, executed in a gothic style, which remained the Broadway
“Cultúrlann McAdam Ó Fiaich is situated at the heart of the
Two of the organisations currently based in the building are
Presbyterian Church until the early 1980s. Consequently, the building
biggest urban Gaeltacht in the country [….] Coláiste Feirste, which
Dearcán Media (Irish language TV and film production), and Ciste
became vacant and was renovated in the mid 1980s via a grant from the
began in Cultúrlann, is now the second largest secondary Irish medium
Infheistíocht na Gaeilge (Irish language capital investment fund).
Belfast Action Teams. Workshops and educational space was created
school on the island, delivering a critical mass of Irish speakers.
There is perhaps a salutary lesson for the country’s arts centres in
through conversion, and the insertion of two floors with fire exits, into
Cultúrlann is 21 years old and organisations have been based here and
this discussion on Irish language venues. For a building to succeed in
the building. In the process, the internal sense of the church was lost,
then moved out into the community as they have grown, creating a
providing a centre for the arts, it needs to be aware of the interests and
and the basic structure of the current layout was defined. (Circulation
natural Gaeltacht quarter around us. This has now been endorsed by
requirements of the community. Development of new audiences
routes were all predetermined, defining the limits of architectural
City Council, and the Gaeltacht quarter is seen as an entity contributing
remains secondary to accommodating existing ones. It is not sufficient
renovation and extension from the outset.) Doherty Architects have
to the ‘new Belfast’ experience. Irish will be central to the branding of
to survey a limited target group, but instead provision should be based
conducted a comprehensive renovation and extension of the building
the quarter.”2 Cultúrlann Uí Chanáin in Derry is a new build, albeit in a
on experience, and respond to a surrounding community’s creative
The main new elements of the building are: a visual arts space –
landlocked site on Great James Street. The site has been masterfully
strength without unity,’ is particularly relevant when creating built
the Dillon Gallery; an Irish-language exhibition space – An Taiscumar;
handled by award-winning architects O’Donnell + Tuomey, and their
infrastructure that relies principally on the local population.
a board / meeting room; a roof garden; and additional office space.
innovative design was shortlisted for the 2011 Stirling Prize. The
Signage and orientation in the building have also been improved, and
building contains a performance space, classrooms, offices, business
Marianne O’Kane Boal is a writer on art and architecture. She
the restaurant, Caifé Feirste, is always full of people and one of the most
units, a café, and shop. Visual arts exhibitions are accommodated in a
contributes regularly to the VAN, Irish Arts Review, Perspective,
used eateries in the city. The bookshop is named An Ceatrú Póili after
number of areas throughout the building, depending on artist
Living Design and Architecture Ireland.
Flann Ó Brien’s book The Third Policeman and the theme of the book has
requirements. This is arranged on a site that was 50m deep and 15m
generated the designs for the Bookshop and the adjacent Oifig Fáilte.
wide. The one side that was not ‘blind’ faced the front, so that was the
Artists exhibiting at Cultúrlann have included Gerard Dillon and
only area for windows and doors. Natural light fills the central
Robert Ballagh.
courtyard via extensive glazing above. It is described by the practice
that is both modern and practical.
The extension is inventive, particularly in its conception. At first
as:
sight, the viewer questions why it works so well, considering its arc
“…a trapezoidal courtyard that is carved through the four floors of
form counters that of the church. On the façade, the hard angles of the
the building with stairs, bridges and platforms crossing and overlooking
former church are balanced by the organic shape of the extension, with
the central space. Light spills into the central court through an inverted
aspirations. The old phrase ‘Ni neart go cur le cheile,’ or ‘there is no
Notes 1. Interview at Culturlann with Architect, 31 January 2012 2. Interview with Director, 1 February 2012 3. ‘The Lives of Spaces’ was Ireland’s contribution to the 11th International Architecture Exhibition, 14 February 2012 4. Stephen Best,‘An Gaeláras by O’Donnell + Tuomey’, Architects’ Journal, 29 September 2011 5. Interview with CEO, 2 February 2012 6. Ibid
18
The Visual Artists’ News Sheet
March – April 2012
Profile
quantified Self
Sheena Barrett, Kieran Daly, and cliona harmey discuss the collaborative exhibition 'quantified self' which ran as part of innovation dublin from october – november 2011.
Cliona Harmey, from 'Quantified Self', 2011
Michelle Brown, from 'Quantified Self', 2011
Bea McMahaon, still from One Letter Poem, 2011
The LAB Gallery shows emerging artists and emerging ideas.
What often draws me to working on a project is the group
Shimmer Research develops wearable sensors that capture
Increasingly, these ideas have led to collaborations and intersections
interaction it facilitates. With the ‘Quantified Self’ project, the
kinematic and biophysical data. This data can be wirelessly transmitted,
with other disciplines including design, technology, science, astrology,
opportunity to work with staff and see behind the scenes at medical
in realtime, to relevant parties be it clinicians, caregivers or indeed
architecture, dance and music. We have a core community of artists
devices firm was a definite lure. I began research for this project by
presented to the wearer of the devices. The technology is used in over
and build our audiences by creating a range of ways for people to
investigating the history of various forms of medical imaging. These
50 countries for a variety of applications in areas such as academic /
engage further. The positive energy behind Innovation Dublin provided
ranged from very invasive procedures (a lance through the eye, for
clinical research, healthcare, wellness, and sports.
the impetus to further explore the connections between technology
example!), to the use of other early medical devices such as pipes, tubes, mirrors, etc.1 Of particular interest was the story of Wilhelm Röntgen,
outset, and working with groups from outside our natural domain has
who accidentally discovered the x-ray when a piece of paper, inscribed
helped us look at the shimmer technology through a different lens.
and art. 1 In recent years, Shimmer Research has been flagged in the media
The development of ‘Quantified Self’ was engaging from the
as a key example of Ireland’s smart economy – an innovative company
with a chemical in the form of the letter A, suddenly fluoresced in a
Our view is that innovation happens at the intersection of varying
with growing exports; I called Kieran Daly to see if he might be
darkened room. This linked the x-ray to a form of ‘writing with light’ and a specifically photographic world view.2 Röntgen experimented,
disciplines. Within the company we cluster different groups to generate
With Shimmer’s commitment and the support of the Dublin City
allowing these initially unidentified rays to penetrate a series of
the artists has highlighted some limitations in our traditional
Council Arts Office and Arts Council, I invited artists Michelle Browne,
materials: black paper, wood, card, books, and finally, flesh. A beautiful
approach.
Cliona Harmey, Saoirse Higgins, and Bea McMahon to consider the idea. At the outset, I met with the artists at the LAB and outlined what
yet morbid x-ray he took of his wife’s hand with her wedding ring on became an iconic image.3 Multiple versions of this, and similar images
you kill innovation? Put someone in charge of it.” His point was well
I hoped might be the benefits of taking this risk and working with
of other disembodied, jeweled, feminine hands, re-occurred in many
made: invention, advancement, and creativity thrive in fluid networks
Shimmer. We discussed the possibilities and challenges presented, our
early reproductions at the time, hinting at the unease and slight
of people and ideas. We felt that the Innovation Dublin Festival was an
individual and collective expectations, agendas / rationale for getting
titillation caused by the uncanny exposure of the body’s interior.
important initiative and that Dublin City Council provided a
interested in collaborating with some Dublin-based artists.
new ideas – but moving outside of the organisation and working with
Jack Welch, one time CEO of General Electric, once said “How do
involved, and also concerns about loss of agency or autonomy. On the
Pulling together these strands of interest into pieces of work
basis of trust and respect for each other’s (different) ways of working,
became one of the challenges of this project. Another was engaging
Having reflected on the experience over the past few months a
we agreed to pursue the project.
with some of the technology made available to me through Shimmer.
number of aspects of the interactions have been percolating. Firstly, I
progressive platform for diverse groups to interact.
The Shimmer technology offered the artists the means to measure
Devices that store and transmit numeric representations of the body
was surprised that the artists were concerned about our motivation and
a range of data using wearable sensors that could then transmit the
have the potential to change medicine and future depictions of the
that we might exploit their ideas – in the business world this is an issue
findings in real time. Much thought went into what made sense for
body. The title of the show identifies a contemporary trend towards
that raises its head occasionally, but as we move into an era of open
each artist to measure in relation to their ways of working, how that
monitoring the physical self, which these devices facilitate. What
innovation it’s a concern that seems out of step with what is needed to
might actually be facilitated and form an exhibition.
interested me most as an artist was the possibility of a curious collision
get ideas realised. If you have thought of something interesting / revenue generating then chances are that others around the world are
team. . It emerged very quickly that Shimmer Research were open to
of perceptions, of both the inside and outside.5 With the assistance of two technicians at Shimmer, we used small
the risk-taking inherent in an artist’s practice, and had plenty to
shimmer bluetooth devices to transmit a live pulse reading, which was
aren’t. I think this speaks of a mistrust founded on preconceived
contribute to the conversation, thought processes, and problem
used to interrupt and modulate lights in a sculpture.6 The sculpture, an
notions about the business world. I believe (hope!) everyone overcame
solving.
assemblage of found and fabricated materials, emulated a surgical
this during the project.
The artists visited the Shimmer Research facility and met with the
thinking / doing the same thing – in fact, you should be worried if there
The processes of conversation, thinking, building and un-building,
light. The pulse was read by attaching a sports pulse sensor to the arm
The meetings between each artist and our engineering teams were
filming, risk taking, gambling and winning, walking and dressage,
of the viewer; this worked by emitting a small light against the user’s
very interesting, and it was during these sessions that our worlds
programming, synthesizing, collating data, questioning gaps, reading
skin,which was absorbed differently by each person, depending on the
collided most directly. Our team struggled with the absence of defined
and discovering, ultimately evolved to create the exhibition, ‘Quantified
amount of oxygen in the blood. The sculpture became a self-referencing
detail and the shifting nature of what the artists were seeking. This
Self’. Each of the artists engage in very different practices and produced
object where the output display (a pulsing light) directly mimicked the
group would very rarely interact in a formal sense with those who are
very different work in response to the parameters of the project. I think
process by which the information was read into the system (another
not technical peers. It was a struggle at times but all comes down, in
the process allowed them to make work integral to their practice, work
pulsing light). The viewer also entered the chain and became a part of
essence, to people having a conversation.
pertinent and thought provoking in the context of this group show, but
the system when their heartbeat was influenced by their own
One element of the artists’ work which really gave us food for
strong enough in its own right to be exhibited in other contexts.
perception of what was happening. Their awareness of being monitored
thought was the nature and pressures associated with ‘the big reveal’ of
Rachel O’Dwyer agreed to write a critical essay and curate a
often meant that their heartbeat sped up, and a number of people said
an opening night. Companies tend to research, test, and trial anything
programme of events to stimulate debate around the range of interesting ideas that emerged through the process.2 This was a vital part of the
they felt that, by engaging with the device, they began to control their
they release and although this by no means guarantees success it does
own heart.
go some way to predicting the future. In the artists’ case an opening
project as it provided a range of opportunities for critical engagement
Turning a technology or system back on itself is something that
night is a far riskier undertaking. Having had effectively no public
and responses. A cult-like audience emerged, and I think we were all
has become part of my practice over the last few years. Often, I combine
feedback in advance of the show, there was no safety net in place
sad to see the programme end. The events were recorded and their
elements of older technologies (parts of cameras, lenses, supports,
beyond the individual artist’s personal brand.
revelations, insights, disagreements, and reconciliations can be viewed online.3 We also developed a schools programme for transition year
bellows, filing systems etc) with newer technologies (live data / camera
Another issue we did not fully consider was the definition of
feeds) to make sculptural works. The production of these assemblages,
success. What did success look like for all involved? In the business
students around the idea of ‘the self’ with artists Bea McMahon and
which combine elements from existing mass-produced systems,
world there are hard and / or soft metrics which are agreed in advance
Theresa Nanigian, and education specialist Lynn McGrane; the project
mirrors the way in which modern technological systems are
so we can understand if we’ve been successful. I struggled with the lack
took advantage of the RHA’s concurrent medical show, ‘Apertures and
constructed: from many different mass-produced components with
of definition around this area on the project as a whole and remain
Anxieties’, to introduce younger audiences to contemporary practices.
modern and legacy systems overlapping.
unsure if the measure of gallery attendance alone (a quantitative
‘Quantified Self’ was an exhibition of work by four really
In addition to Watch, which used the shimmer device, I made two
interesting artists working in Dublin today whose engaging
other sculptural works: Instrument emulated a structure for measuring
collaboration with Shimmer ignited a series of further collaborations
or scanning the body; Silver was a small sculpture of felt and waxed
Overall, the collaboration was very rewarding and pushed our
and provided a multifaceted forum for debate to challenge ideas
paper discs that referenced the type of flattened / sectioned view of the
company to explore new ways of working and interacting; so I can
around the artist’s role in innovation and the possibilities of working
body we receive through x-ray imaging.
comfortably say that, for me, the show was a success.
with other disciplines.
Sheena Barret, DCC Assistant Arts Officer
Notes 1. www.innovationdublin.ie 2. The essay and events programme, along with the artists’ statements can be found in Quantified Self, a book published to coincide with the show, free to download here http://www.dublincity.ie/ RecreationandCulture/ArtsOffice/TheLAB/Documents/QUANTIFIED_SELF_book.pdf 3. The Quantified Self events can be viewed on the DCC Vimeo channel http://vimeo.com/dccartsoffice
metric), which I believe was very high, tells us enough about the success or failure of the show.
Cliona Harmey, artist
We look forward to continuing the relationship with both The
Notes 1. When, in 1559, Henri II was fatally injured jousting, physicians thrust a “lance through the eye sockets of four specially decapitated criminals” in an attempt to discover the nature of the king’s injuries. 2.‘The Discovery of X-Rays’ Wilhelm Roentgen, H J W Dam and others, John Carey (ed), The Faber Book of Science, 1995, 181 3. Akira Mizuta Lippit, Atomic Light (Shadow Optics), University of Minnesota Press, 2005, 44–45 4.Dead Media Archive, NYU Deptartment of Media, Culture, and Communication, http:// cultureandcommunication.org/deadmedia/index.php/Roentgen_Ray_Tubealek.net 5. http://quantifiedself.com/about/ 6. Special thanks to Florin Stroiescu, Mike Healy, Kieran Daly, and Karol O Donovan.
Lab and the wider artistic community and are energised by the possibilities these engagements open up. Kieran Daly, VP Business Development, Shimmer
The Visual Artists’ News Sheet
Critique Supplement Edition 4 March / April 2012
Ben Reilly 'Cyclops' Fiona Woods 'Terrascope' Courthouse Gallery, Ennistymon 14 January – 19 February 2012
Two shows opened at the Courthouse Gallery,
The name ‘Terrascope’ ties together the two
Ennistymon, in the new year. Inside the main gallery
words ‘terra’ and ‘scope’, reflecting upon the work of
were the prints and sculptures of Ben Reilly, and in
the two artists showing in the exhibition. Terra, the
the Red Couch Space upstairs, the ceramics of Jackie
physical substance of the earth, and scope, to bring
Maurer and paintings by Fiona Woods.
the breadth of the planet’s events into focus. As a
In the dimmed lights of the main gallery space,
ceramist, Jackie Maurer’s primary site of engagement
the sculptures in Ben Reilly’s exhibition appear like
is the earthly substance, although the art of ceramics
manifestations of an ancient surrealism: there is Fog,
might be conceived as removing the clay far from its
the union in wax of a horn and a traffic cone; there is
primal origin to achieve exquisiteness. Three series of thrown porcelain pieces are presented here, variations on two simple forms: the pot Converse, and the cut out rim Transverse. They have then been twisted and folded, pinched and sealed, lightly brushed with glazes or left raw. The circularity of the rims has been disturbed by a wave-like movement, the capacity of the vessels sealed as a form of selffulfilment. Maurer’s objects keep close to the function of the craft, while challenging their supposed purpose. Fiona Woods’ series of paintings present a different approach to her interest in the transitional space between art and life, which she previously explored through posters, publications, installations, or sculptural projects in the public realm. In a folklike, naive style, the works on paper and reclaimed wood spin together visual elements and references from mythology, history, and contemporary media, to reflect upon our contemporaneity with a simultaneously facetious and earnest purpose. The recurring Babylonian theme, for instance, has direct resonance with our financial woes, as these words in Study for Babylon Landscape suggest: “The eye of Babylon turning everything to gold”. As eyes multiply across several paintings, however, one wonders if the eye-like knots in the wood did not come first after all, suggesting reciprocity between subject and medium. In Wildlife Documentary, the hunting scene is depicted in a style recalling cave paintings, but the TV-set brand name, carved at the bottom of the panel, makes it more likely to be the recorded experience of a viewing audience than a hunter. The paintings on reclaimed wood work particularly well. This support not only offers the specificity of shape, size, and grain of each piece for the artist to elaborate upon, but it also furthers the recycling strategy developed through the imagery. Although very different, the two exhibitions invite some comparisons. Both Ben Reilly and Fiona Woods have made use of mythology and materials that are found rather than made; the bog oak aspect of Reilly’s sculptures have a counterpoint in the raw, salvaged pieces of timber used by Woods. Furthermore, they both introduce modern elements
Ben Reilly, Cyclops, 2011, intaglio
Barge, a rather large fish floating over a small boat,
– image or material – as counterpoints. But, where
both covered, not in pitch, but black wax; perhaps
Reilly grabs the modernity of an x-ray image and
most striking is Tank, a mummy-like figure whose
plunges it back in the ageless darkness of the Cyclops
distorted limbs, either bandaged in rubber inner
myth, Woods goes the other way, having the archaic
tubes or covered in gold leaf, protrude at odd angles.
speak to our most recent actuality. In The Black Queen
These objects look halfway between religious relics
of Ennistymon, for instance, there is a playful interplay
and archaeological finds and their embalmed
between title, form, and style in the effigy of the
appearance relates to the artist’s enduring fascination
British monarch as a Black Madonna – an allusion to
with bog bodies.
her recent visit to these shores, which reignited
Reilly’s series of prints, which use photographs
unresolved issues from Ireland’s colonial past.
or x-rays, are lent a similar decayed, organic look, through the graininess achieved in the photo etching process. In Cancer Head, for instance, the acid bites are linked to the disease, the moss-like growth on the print becoming malignant cells. Sharing similar territories with Hughie O’Donoghue’s paintings, Christian and mythological themes frame the enhanced materiality of Reilly’s bodies, giving them Fiona Woods, The Black Queen of Ennistymon, 2012
Jackie Maurer, Converse, 2011, porcelain
a transcendental horizon.
Michaële Cutaya is a writer on art based in Galway. She is currently collaborating with James Merrigan on the art publication, Fugitive Papers.
The Visual Artists’ News Sheet CRITIqUE SUPPlEMENT
sylvia grace borda 'Churches' belfast Exposed 20 January – 2 March 2012 ‘CHURCHES’ is an exhibition by Canadian photographic artist Sylvia Grace Borda. What is
March – April 2012
John Ryan 'Polyptych subsets: experiments with Paint' The Joinery, Dublin 15 – 19 December 2011 shapes and sizes, some incredibly ugly and plain, others quite interesting architecturally.
usually an open plan exhibition space has been
Borda has made it very clear that she is framing
radically altered to accommodate this show,
this work from the point of view of an outsider, but
transformed literally into a foyer and a large black
not that of a tourist. In an insightful essay by Robin
box. Even the ceiling has been lowered and covered
Laurence, which accompanies the exhibition, he
with large black tiles. A slightly claustrophobic atmosphere prevails. In the foyer a glass-covered
states that she works “not from a documentary impulse but from a conceptual one”.1 There is no
display table houses ceramic ware loaned from
doubt that many historical and social contexts are
official government collections as well as antique
referenced in these works alongside references to
shops – a kind of political memorabilia, which also
many previous photographers including Eugene
represents the kitsch tourist souvenir one might
Atget, Walker Evans and Bernd, and Hilla Becher.
have carried home 50 years ago to hang on the wall.
The word ‘church’ refers not only to the buildings,
There is also a table with books, provided by Borda,
but to the institutions and their clergy, as well as to
which have influenced her practice or relate to the
the service itself. Borda appears to be interested in
subject matter.
the aims of Modernist architecture, especially in
John Ryan, Pile, 2012, oil paint, bubble-bath, shampoo
black box, where the main works are situated. The
relation to churches, where design was reduced to function and form.2 Most were ambivalent and
first, entitled Churches Churches, is a video featuring 100
ambiguous in terms of denomination. The churches
images of churches across Northern Ireland, which
shown come from this Modernist tradition, and
is projected onto the back wall of the space. The
demonstrate a stripping back of materials and
second is a beautifully executed installation, Coming
ornamentation. In the context of Northern Ireland’s
to the Table Table. It comprises a long, boardroom-type
recent history this is especially interesting. Focusing
AS an exhibition, ‘Polyptych Subsets’ questions
paint) to be recognised as an object in its own right,
table, covered in black fabric, with three black
on churches from unspecified denominations, for
whether an artist can allow an artwork to ‘cause’
rather than simply the means to create an object:
pendant lights hanging low over it, creating three
tourists to collect, points at Northern Ireland’s
itself. John Ryan outlines his own practice in terms
paint as paint not paint on a painting. Objects that
pools of light on the black cloth. On this table are 16
growing tourist industry since the Troubles ended,
of contingency, what might or might not happen,
were originally functional, and deemed useless, are
ceramic plates, photo-printed with images from the
while the table metaphorically refers to the peace
experimenting with “what paint can do itself when
given meaning, as Ryan re-creates and re-enchants
projection. Although there are seats, and the
process. Northern Ireland’s ceramic production
exposed to the elements, air and gravity”. Broadly
them. For Žižek, uncovering the aesthetic dimension
audience is clearly able to handle the work (and has,
industry is also represented in the display cabinet
speaking, the moment an artwork is made can been
I’m assured, moved the plates around themselves) I
and referenced in Coming to the Table Table. What is also
seen an intersection between disjunctive and
of trash is “the true love of the world”.2 Theoretically speaking, Ryan’s work – his
feel somewhat alienated. There is a sombre presence
worthy of note is that these churches are all closed,
conjunctive potentialities. Artists use the world as
haptic, sentient, and viscous art – challenges the
to the work, a feeling that these seats are already
they appear inaccessible, unpopulated, and inward
material, they make objects into things: things that
idea that paint is passive matter. His object-oriented
taken, that I am excluded from whatever discussions
looking. This juxtaposition is an area Borda
could push apart, and things that could come
art articulates a jumpy materiality where paint has
might take place here. The projection, however,
exploits.
together, things that work, and things that do not
efficacy, can do things, and has sufficient capacity to
A walk along a short corridor leads into the
John Ryan, Hanging Bag, 2011, insulating tape, oil paint, plastic bag
John Ryan, Painting 2, 2011, card, frame, glass, oil, paint,
draws me in immediately. These unnamed mid
In this 'Churches' project, which Borda began
work (together). But Ryan’s art practice undercuts
produce effects, bring about events, interrupt, and
twentieth-century churches are displayed very
in 2009 and worked on for two years, she attempts to
systems of art making which insist that events can
become an obstacle (it would be quite easy to walk
formally in circles, echoing the plates on the table;
explore what churches represent and perhaps to
be predicted, or proceed from some sort of necessity.
into Ryan’s floor painting for example). This method
they are surrounded by black and devoid of people. I
understand a situation that she herself had no
He transforms our understanding of artwork by
lends ‘Polyptych Subsets’ an open structure where
find myself looking for clues in the closely framed
innate knowledge of. Some of the references are a bit
allowing the paint itself to think autonomously of
indeterminacy and the incompleteness of form are
images. Every so often, the denomination or some
literal, but she has been successful in identifying the
the subject (the artist), who also thinks. Ryan’s
celebrated. Ryan revels in viscosity; he is intrigued
details about the community become clear –
perfect vehicle for this exploration and displaying it
experiments in and with paint can be understood as
by mess, disarray, that which leaks, sticks out, or is
through a small sign or bold lettering across a
beautifully. Borda has uncovered a much-overlooked
an experimentation with points of control and
sticky. This exhibition, like Nikolas Gambaroff’s
church door. There is a really fascinating array of
area of Northern Irish culture, as well as cleverly
points of exposure; exposure meaning an opening
‘Male Fantasies’, which ran recently at the White
turning some traditions on their head. It is difficult
where a unknown aspect can come in, and control
Cube Gallery, is peopled by a variety of objects
not to bring a certain amount of baggage to our
meaning the artist’s decision to use paint, to use
entering into new relationships, which turn the
reading of this work, but that, perhaps, is why
frame or floor or plastic bag, and the decision to
gallery space itself into a landscape of vibrant
Borda’s perspective is so valuable. The circular lens
allow gravity, time, and other external forces to
materialities. The Joinery became a space where
of her camera simultaneously invokes both distance
decide the outcome of the work. The frame no
human and nonhuman actants were intermeshed, a
and focus.
longer determines the text or context.
place where contingencies played out (or didn’t).
Fiona Fullam is an artist and writer. She is Associate Editor at JAR (Journal of Artistic Research) and teaches at IADT, Dublin. Notes 1. Robin laurence, Silvia Grace Borda: Erasing the Divide, pamphlet accompanying the exhibition at belfast Exposed 2. Many of the churches shown were built by liam McCormick, born in Derry, who was widely regarded in the second half of the twentieth century as the ‘father of modern church architecture in Ireland’. See the Irish Architectural Archive: http://www.iarc.ie/exhibitions/0010.html Sylvia Grace borda, Churches, 2012, image courtesy of belfast Exposed
In the case of Painting 2, these points of control
What sets Ryan’s style apart is, perhaps
and decision mark the historical and referential
peculiarly,
dimensions of the work. They reuse terms already
Paradoxically, allowing space for contingency
what
he
does
unintentionally.
known to us: the frame, the gallery, and even oil
within the work is what gives this exhibition, and
paint as a medium in itself. But these terms are
Ryan’s practice as a whole, its edge. The stuff of his
coloured by a seepage, an oozing, a sliding down.
practice is essentially decomposable, biodegradable,
Through a lack of intention that has been 'let in'
fated to pass away, to lose its identity as thing and to
these works grant access to potential that could not
become again no(n)-thing. Looking at this exhibition,
have been forethought or foreseen by the artist in
another question takes shape: What will remain of
their entirety. It is as much about what paint itself
it? What will float on the surface? What will survive
can do as what Ryan can do with paint.
of ‘Polyptych Subsets’? This, finally, is what’s left to
Ryan’s exhibits take up Slavoj Žižek’s challenge, “to discover trash as an aesthetic object”.1 In Hanging
chance, and we are left with the giddy feeling that some of Ryan’s work might never dry.
Bag and Pile he succeeds in objectifying paint, forcing painting and sculpture, artwork and material together in a new synthetic excrescence. As we enter the gallery space, we feel that what’s before us is the posterior residue of an unknown activity that appears to have no sense behind it. However, what Ryan’s practice embraces is not senselessness, but rather the demand of sense unto itself. These works create new economies of meaning and value out of what seems redundant – paint, card, plastic bags, Sylvia Grace borda, Churches, 2012, image courtesy of belfast Exposed
Sylvia Grace borda, Churches, 2012, image courtesy of belfast Exposed
insulating tape, shampoo – forcing the medium (oil
Alice Rekab is an artist and writer working in Dublin. Michael O'Rourke teaches Continental Philosophy at Independent College, Dublin. Notes 1. Slavoj Žižek,‘Ecology’, Astra Taylor (ed) Examined life: Excursions with Contemporary Thinkers, New York, The New Press, 2009, 163 2. Žižek,‘Ecology’ , 2009, 166
The Visual Artists’ News Sheet CRITIqUE SUPPlEMENT
March – April 2012
'The mind was dreaming. The world was its dream.' Solstice Arts, Navan 19 January – 25 February 2012
Diana Copperwhite, An Island from the Day Before, 2011, oil on canvas, 180 x 251cm
isabel Nolan 'A hole into the Future' The Model, Sligo 10 December 2011 – 12 February 2012 A dignified brown donkey greets the viewer at
of sculpture and design. The public works, however,
the entrance to Isabel Nolan’s solo exhibition at The
lose meaning and are neutralized in the civic space.
Model, Sligo; its seductive implacable eyes gaze out
They don’t refer to the lived-in, urban environment
from the large-scale photograph presaging the
around them in an accessible way. The Outward Form
qualities and properties of the work to come. Nolan
(2011) (mild steel, paint) is a public sculpture
writes in the elegant catalogue accompanying the
commissioned by The Model, which stands at the
exhibition, “I am able to articulate afresh an ambition
base of the building's historic facade. It appears
for a work of art. I wish it to be compelling, somehow
incoherent and somehow lost there, set off to one
appealing, powerful, inscrutable, and vulnerable but obstinate, much as is a donkey”.1 The diverse
side, not large enough to vie with The Model's
collection of sculpture, drawing, painting, and collage
physically and intimately on the sloping gradient. I
that comprise this show fulfills her ambition well.
suspect the general public is wondering what it
architectural grandeur, and difficult to access
Nolan’s dramatic sculptural works, some like
means, and why it is there, in much the same way
scrambled spaghetti doodles, others like frenetic
that the users of Dublin Airport, Terminal 2, are
geometric puzzles, dominate the spaces of The Model.
nonplussed by Nolan’s monumental Turning Point
They are variously sized articulate scribbles
(2010) (rolled steel, paint). This piece has been widely
demarcating space, constructed with hard steel
criticized as a confusing object without meaning or
tubing but covered with soft delicate fabrics. Nolan’s
relationship to its site, although powerful in scale.
precise, feminine sewing over-dresses the machismo
Nolan could do some valuable work here in
of these formalist and minimalist reference points.
communicating her intentionality and the meaning
DREAMS typically take us into the realm of
diminutive rendition of a pear-shaped man with a
She quotes the conventions of minimalism with her
of her work more effectively with local audiences
wonder, horror, or a mixture of both. They leave us
sickly expression across his face. “Oh Scheiße ich
repetitions of single symmetrical objects, while
outside the gallery context.
feeling elated, pensive, gasping for breath, or
hab die Erde verschluckt,” (Oh shit I have swallowed
shortchanged when we wake. The selection of
the earth) he says. A diminutive female, next to the
subverting, utterly, Sol Le Witt’s dictum of “least emotive forms”.2 Through her titles, With Shadows All
The Time Yet to Come (2009) (pencil, water colour on
paintings, watercolours, sculpture, and video, that
subject, possibly represents the man’s conscience.
About Us (2011) (steel, cotton, silk-blend, thread),
paper), Miracle of the Sun (2008) (water colour, acrylic
constitutes Solstice Gallery’s ‘The mind was
She retorts “du Sau!” (You pig!). More illustrative
Entering the Eye of the Dream (2010) (steel, cotton, silk,
on canvas), and Fear of the Future (2009) (water colour,
dreaming. The world was its dream’ reminds viewers
than moralistic, this cartoon-like depiction of
thread), and the taut Holding It In (2011) (steel, paint,
pencil on canvas), the artist invests all the content
of these experiences by immersing us in a series of
gluttony offers a marvelous inversion of scale.
MDF), she draws us into her inner world – an
that is sucked from the more formal sculptures; she
emotional space of expression and desire.
explores the figure, animals and the natural world in
The 2D works she explores are full of longing. In
parallel realities, each one curiously out of sync
The plaintive strains of an accordion and
with our own. Curated by Jacqui McIntosh, the
sounding of chimes condition responses to the work
The notion of sculpture as an enclosed category
scratchy, fragile lines and violent colours with a
exhibition presents antique boxes haunted by
by adding a meditational air, and help draw visitors
of things, separate from objects in life, is debunked in
demure, illustrative style. As we look through Nolan's
miniature illusions, absurdly proliferative bodies,
through the exhibition to the third and final space
Nolan’s work. She expresses cerebral and optical ideas
‘hole’ into the future we see animals performing our
and numerous instances of shadowy environments
– a darkened sanctum holding Hiraki Sawa’s videos,
about objects that have physical relationships with
human roles in a post global-warming, apocalyptic
and blurring atmospheric effects.
and the source of the soundtrack. Sawa’s projections
the real world. Her eloquent forms rest on cushioned
environment.
In the exhibition, viewers experience a series of
mingle domestic interiors, miniature objects, and
poufs, indenting their obtuse and sprawling bodies
A short drive from The Model to Carrowkeel,
transitions taking them from a bright, light filled
outdoor views to create dreamy incantations that
on the soft upholstery. Others stand on pert plinths
and the Sathya Sai donkey sanctuary elucidates
area into darkness. The journey begins with Diane
induce marvel and restlessness. Regretfully, one
reminiscent of trendy Scandinavian furniture.
Copperwhite’s high-keyed canvases that employ
consequence of being exposed to a multitude of
Everything is beautiful, both sculptures and their
further some of the donkey-like qualities of Isabel Nolan's work.3 She has a bold, wild streak, despite the
various configurations of rainbow-like colours.
blurred details and drifting clouds of dust and smoke
stands are hand crafted with an obsessional regard.
careful formalism of her work. Stubbornly true to
Here, sequences of prismatic tones imbue cloud
is an impending sense of tedium. The jerky
Nolan has a lust for pattern; we see it in the
itself, at times articulating itself with a startlingly
forms, obscure detail, and reference objects lodged
movement of cogs in Sleeping Machine 1, derivative
manufactured fabrics with tiny geometric motifs
loud and deep voice, there is a loyalty to rigorous
in semi-realistic spaces. An Abstraction of You
of work by Jan Švankmajer and others, tends to
clothing her metal loops, or the embroidered,
practice in her work and a solid grounding in the
translates facial features into a vivid atmospheric
reinforce this impression. But Sawa’s contribution
appliquéd wall hangings created on bolts of woven,
natural world. All in all, just as deserving and
display, and a descending fog envelopes indistinct
still offers many rewards. Some of the surrealistic
patterned textiles. Pattern is also evident in her
fascinating as a lovely donkey.
figures in The Scene Stealer Stealer. Viewers must make sense
tableaux, for example, witnessed in the miniscule
repetitions of white plaster, mixed media spheres in
of the distortions and incomplete details, the
Within are visually stunning. Moreover, the
The Slow Movement (2011) (plaster bandage,
Áine Phillips is a mulitmedia performance artist.
references to refracted light, and the collections of
deceptively uncomplicated. For Saya, a small two-
polystyrene, paint), a series of hand shaped balls
Recent exhibitions include Kyoto Art Centre, and
abstract, natural, and domestic elements: features
channel black and white video of a skipping woman
strung together, spread out on the raw floorboards
NON Festival Bergen. She co-curates Live@8 and
that often dissolve into one another. Moreover,
that plays in a stereoscopic format, makes an even
dividing a space. The low winter sun blushing over
is Head of Sculpture at the Burren College of Art.
atypical relationships of time and place, exemplified
stronger impression. Rather than enhance the
the powdery spherical surfaces and casting long
in An Island from the Day Before or Electronic Fossil on
action, the intentionally unsynchronised pair of
shadows into the room held this reviewer in poetic
the Beach, force us to consider their emblematic
feeds create a most engrossing disjunction.
thrall, reminiscing on Miroslaw Balka’s diagonal
nature.
The title of the exhibition, a quote that
version of this concept – a string of fragrant, pastel
The second gallery holds one of Michael
McIntosh borrowed from the Argentinian writer
soaps entitled Hanging Soap Woman (2000) (soap bars,
Kalmbach’s paper-maché sculptures, plus a host of
Jorge Luis Borges, reminds us that that there are no
string).
his mysterious figurative watercolours depicting
limits to what can be experienced through dreams.
In The Model’s white rooms her works are fully
bodies sprouting bodies, scatological excrescences,
The exhibition, on the other hand, provides a
at home: an intelligent, humorous index to the history
and other semblances. In Frau mit mehreren Kopfen /
glimpse into this realm. While the works convey a
Woman with Many Heads Heads, the human form becomes
potent dream-like aura, they also make us aware of
a tree-like organism bearing an affinity with the
how difficult it is to come to terms with such
vegetation that surrounds it. The image is at once
illusions. In the memory, dreams exist as visual
poetic, primitive, and subtly perverse. His sepia
fragments; their relevance typically remains unclear.
toned Großer Männlicher Mensch / Tall Male Human
The images in this exhibition allow the viewer to
Being engenders similar responses. It features a
revel in the processes of remembering and
human smokestack out of which a massive dense
deciphering. This adds up to a highly rewarding
plume of swirling heads and limbs ascends, as well
experience.
Notes 1. Isabel Nolan, Intimately Unrelated, The Model Sligo and Musee D’Art Moderne Saint-Etienne Metropole, 2011, 176 2. Sol le Witt, quoted in Andrew Causey, Sculpture Since 1945, Oxford Paperbacks, UK, 1998, 122 3. Sathya Sai Donkey Sanctuary, Carrowkeel, http://www.donkeys.ie/
as smaller independent figures who are oblivious to the fleshy turbulence above them. Such enigmatic and evocative scenarios conjure up a host of associations. Do they represent nightmarish phantoms, visions of an outsider artist, or family trees? Standing out among the selection is the humorous Erde Verschluckt / Swallowed up earth, a
John Gayer is a graduate of the Ontario College of Art and the University of Toronto. Currently based in Dublin, his writing has appeared in Sculpture, Framework – the Finnish Art Review, Art Papers, and other publications. Isabel Nolan, 2011
Isabel Nolan, The Outward Form, 2011
The Visual Artists’ News Sheet Critique Supplement
March – April 2012
Richard Gorman 'Kozo' Kerlin Gallery, Dublin 20 January – 25 February 2012
Richard Gorman, Slice Blue, 2011, gouache, handmade paper, 63 x 49cm
Richard Gorman, Chop Orange, 2011,
‘Kozo’, currently showing in the Kerlin
This approach recurs throughout the sequence,
Gallery, comprises a body of work created by Richard
where the ends of shapes are unexpectedly chopped
Gorman on textured paper, handmade by the artist
off, leaving a hard edge. The negative space created
himself in Japan, after which the show is titled. “Just
between the bold shapes and the boundary of the
buying the paper doesn’t seem to be enough. I like to
paper effectively assumes almost equal importance,
give value to the object I’m going to paint.”1 From a visual point of view, there are two
becoming a secondary shape in itself, and
distinct parts to the show. Three of the gallery walls
emerge as more three-dimensional forms.
momentarily allowing the coloured shapes to
are filled with a sequence of 19 works, each featuring
At first, All Wall – created by pouring dyed
a unique combination of coloured shapes. The final
paper pulp into moulds and onto freshly made wet
wall displays 40 works of equal size, but with a
paper – seems somewhat at odds with the rest of the
strictly muted and limited palette, which are
show, perhaps a little overpowering after the
combined to create one large piece.
intimate close up viewing of the smaller pieces.
Unframed and lightly pinned to the wall, my
However, on closer reflection, the maze-like effect of
first impression of these 19 individual works was of
the combined works becomes equally engaging as
a progression of dynamic, coloured shapes, hovering
the eye is drawn to the white spaces between the
along the perimeter of the space. The palette varies,
shapes, trying to find a logical route through them,
alternating between strong, bright colours, more
and invariably reaching an impasse. This alternative
muted colours, and the potential in juxtaposing the
way of considering the spatial dimension between
two. In Slice Blue, the more active yellow and orange
shape and paper’s edge opens a dialogue between
shapes advance towards the viewer, compared to the
All Wall and the gouaches.
more recessive blue and green shapes, creating a
Contemporary Irish art is not without its
sense of balance. Having also previously worked in
abstract painters. While the work and surrounding
oil, Gorman’s use of gouache here adds a richness
literature of many artists still evoke the subtle
and weight to the coloured shapes.
influence of, for example, landscapes – Sean Scully
Within the boundaries of the paper, these
and Felim Egan, amongst others – Gorman’s works
shapes overlap into a series of singular compositions.
are distinctly non-objective, existing in their own
K Flick fans out like a rather fantastical pack of cards,
reality. Released from relating to anything else, the
while in Slice Blue a green ball squeezes against a
works become purely a celebration of expression
blue capsule shape which is partly covered by a
through the fundamentals of colour, line, and shape
yellow half-capsule, all contained within an orange
in the space they co-inhabit.
background. Intricate in arrangement, portraying
‘Kozo’ offers the viewer a visual treat. The
Gorman’s sense of spatial and compositional
sequence of gouaches displays a consistency in
awareness, a number of works also exude a certain
approach but without repetition. Each work merits
playfulness. There is no apparent pattern to the
close
sequence of images, which become an experiment
compositional attributes, while the handmade
in the limitless potential combinations.
paper is itself an important feature of the show,
inspection
regarding
its
particular
In some of the works, upon closer inspection,
culminating in the prominent All Wall. The visual
the under-drawings become visible, and it is
elements and their compositional arrangements are
interesting to note that the coloured blocks do not
the subject of the show, and we need not look
always adhere to the preliminary drawing; perhaps
beyond them, but merely enjoy them for exactly
a first layer has been covered over by a later one so
what they are.
Image: Cathedral, 2011, Polystyrene, paper mâché, 8m x 700mm Ø (approx) Photo: Ros Kavanagh
LITHOSPHERE Eileen MacDonagh 7 Feb - 7 May 2012
that none of the colour remains, only a suggestion of the shape. Regimented as they may seem, it becomes
Róisín Russell lives and works in Dublin. She has
apparent that the process is still organic and that the
worked in Talbot Gallery & Studios and the Oisín
works may not always have been fully imagined
Gallery, as well as having curated independently,
before
and
Gorman began working on them. The unique combinations of geometric shapes – both curvilinear and angular – ensure distinct overall contours in each work. In Lime Lean, an almost traditional ‘X’ made of capsule shapes is thrown off balance by a more angular shape imposed on top, creating an asymmetrical contour and slight visual imbalance.
currently
manages
9
Bond
Street
Photographic Studios. Her writing has featured in Paper Visual Art Journal and Circa online. Notes 1. C Dwyer,‘The Art of Reinvention’, The Independent, 15 January 2012
Eileen MacDonagh will give an illustrated lecture, Sculpture in the Landscape on Saturday 24th March @ 3pm. Booking through box office on 059 - 9172400
VISUAL Centre for Contemporary Art & the George Bernard Shaw Theatre, Old Dublin Road, Carlow t. 059 9172400 www.visualcarlow.ie
The Visual Artists’ News Sheet
March – April 2012
23
Profile
this in several ways: textile artist Varadi devised an engaging ‘fracking’ animation, illustrated by two children; David Spence manipulated archival photographs into cautionary, disintegrated landscapes; Stephen Rennick visited and recorded previous sites of exploration to ascertain if they had been returned to the condition in which they were found, as promised; and finally, David j produced posters of untainted landscapes, and an animated video. In keeping with the global emphasis of TRADE – on ‘the freeflow of ideas and opportunities for local artists to engage internationally, as well as international artists to participate locally’ – David Michalek produced a series of portraits of local people to be used as campaign posters and postcards. The dialogue of TRADE was expanded by the participation of Philip Napier, whose recent exhibit at the Dock, ‘Unpacking the Terror’, addressed issues of the “social, political and economic implications of global trade”. Napier unsettled the audience by striding about as he spoke, literally performing mobility. The current exhibitor at The
David Michalek, Slow Dancing, 2009
Dock, Audrey Reynolds, represented a more meditative position of reflexivity, of the artist as auteur. Sarah Searson, Belinda McKeon, Eilish Lavelle, and Declan McGonagle guided the discussions towards interrogating the varied positions of those involved. In conversation with the panel of Michalek, Napier, and Reynolds, McKeon observed that Michalek had found himself “in confrontation” with someone (Sellars) who impressed him deeply, and asked if confrontation was a model for artistic exchange, and why artists should participate in exchange. She continued by asking if dissonance or disagreement were important in artists’ exchanges with other artists. In response, contradictory positions, all valid observations on the expanded field of Cultúrlann, Belfast, courtesy of Fionntán Ó Mealláin
David Michalek in conversation with Declan McGonagle, courtesy of Padraig Cunningham
the arts, were delineated. Napier asserted that dissonance is critical,
TRADE secrets
Michalek hoped to engage in an adversarial process full of mutual
ruth mchugh reports on recent seminar 'trade – artists in conversation' held in leitrim in december 2011
art within the maker where it presents itself as a verb. Napier thought
respect, while Reynolds thought it too easy to find adverseries. The conversation shifted to the question of whether art was a verb or a noun. Michalek referred to how Plato might speak about art, locating of art as a doing-word, a process-based thing. Reynolds considered it a noun. An audience member suggested that you can say ‘I love you’ but
TRADE, a unique pedagogical device facilitated by the arts offices
the Leitrim Sculpture Centre. The international networking involved
you can’t say ‘I art you.’ In terms of the paradigm of TRADE itself, the
of Leitrim and Rosommon, evolved in 2005 out of Cliodhna Shaffey’s
in setting up the partnerships for these projects, especially between
idea of art as active, as verb, as process, seemed quite apt. Notions of
‘Artist-as-Traveller’ curatorial initiative. Underpinning Shaffrey’s
peripheral and culturally distinct partners, was relevant to the concept
confrontation and dissonance were also relevant to the residency
original paradigm was the notion of mobility and fluidity for the artist
of TRADE, though the structure seemed daunting in comparison to
artists’ engagement in modes of social activism. There were potential
and the premise that,
TRADE’s open format.
pitfalls to be encountered in crossing the boundaries between art and
“the periphery or the margin is a powerful space and not secondary
The next day, Declan McGonagle introduced the 2011 mentor,
political campaigning. Shaffrey’s premise, that “only in such space, in
to the centre. It is critical to it because the centre cannot exist without
David Michalek, with the question, “you said you came to art by a
the periphery and only in such space, in confrontation with the
strange route…how strange a route?” (Travel metaphors such as this
confrontation with the mainstream, the local can successfully be defended,” soundly resonated.6 During the event, the complexity of
mainstream, the local can successfully be defended”.1 The first TRADE event took place in the newly opened DOCK arts
abounded in the mediation of the weekend.) Michalek told an almost
constructing such a negotiation revealed itself through some confusion
Siddhartha-like tale, in which he rose from janitor in the studio of
around the representation of the artwork produced for TRADE, and the
centre in Carrick-on-Shannon in 2005. Since 2006, the operational
development of a website for the dialogue on ‘fracking’.7 As a part of
format has been a process of two elements: a residential programme,
celebrity photographer Herb Ritts, to protégé, to celebrity photographer in his own right.3 A pivotal point for him was a confrontation with
and a seminar event. The ethos of the TRADE event is exchange across
theatre director Peter Sellars, whose course, Art as Social Action, he had
TRADE 2011 also provided a platform for two international
borders in both a geographical and metaphorical sense. The ongoing
taken. Sellars’ disinterest, or outright scorn, for his glamourous
curators, Rafael López and Dobrila Denegri, to introduce their curatorial
outcomes of the first residential programme, with Alfredo Jarr and
photography, led him to question his direction. As a consequence, on
positions. Then, on the final day, came one of the most revealing
Rebecca Fortnum, are proof of the catalystic quality of such
Sellars’ recommendation, he engaged with a theatre project called
exchanges: a retrospective review of TRADE by previous residency
engagements. Gareth Kennedy’s Inflatable Bandstand, a result of Alfredo
LAPD (The LA Poverty Department) in skid row, at night, while still
artists, Anna McLeod, Angie Duignan, Róisín Loughrey and Anna
Jarr’s TRADE residency, was illustrated in the publications that
playing the role of celebrity photographer by day. Eventually he
Spearman. Alfedo Jarr’s mentorship was described as didactic,
accompanied Kennedy’s participation in the Venice Biennale 2009. At
reached a crisis point. He abandoned his successful career. During this
comparable to an MA programme, whereas Rebecca Fortnum had been
the time of the TRADE 2011 seminar, both Angie Duigan and Róisín
transitional period, a series of unconventional exchanges and dialogues,
concerned with the “documentation of process”, and John Gibbons
Loughrey, previous residency artists, were exhibiting in the V&A
transgressing the boundaries of social norms, led to a new artwork:
encouraged “quite a deep dialogue”. Most interestingly, in terms of
Museum of Childhood at the invitation of curator, Rebecca Fortnum.2 Likewise, those who experienced ‘Marathon Monk’ by Darren Almond,
Becky. The work is a portrait installation which transported the private
travel, mobility, and globalisation, Róisín Loughrey – a trained
language and private space of the subject (Becky), into The Kitchen – a public art space in New York.4 This was a very different kind of
filmmaker – described feeling “a little like a tourist in a new world”
during the 2009 TRADE event, were witness to a preview of his 2010 New York exhibit ‘Sometimes Still’ at the Matthew Marks Gallery.
collaborative exchange and portrait. Subsequently, Michalek began to
speakers completed or are undertaking MA programmes, a confirmation
2011 saw expansion on the work of Linda Shevlin, and her
do more collaborative and community-based projects, and now builds
of the pedagogical trajectory of the process.
compilation of the invaluable TRADE resource room. This year the
a course at Yale Divinity School around his practice. The question of
TRADE event was extended to three days; the first day included ‘Focus
beauty in relation to contemporary art is central to his practice. In
Ruth McHugh is an artist and cultural researcher. A founding
on Funding for Culture,’ presented by Cultural Contact Point Ireland. A
2009, his hyper-slow-motion video, Slow Dancing, was shown as part of
member of Artspace, Galway, she is currently completing a
number of case studies provided an insight into funded projects in
the ‘Sacred’ exhibition at The Dock. More recently, in 2011, he exhibited
Masters at IADT on 'Visual Arts Development and Cultural
Leitrim and comparable or relevant models. The first speaker, Anne
‘Portraits in Real Time’ at the Lincoln Centre, New York.
Tourism: The Case of Leitrim'.
Marie O’Rourke, is associated with innovative cultural developments
Michalek’s TRADE residency was tied in to the beauty of the
such as Visual Leitrim and The Leitrim Design Centre, and was also one
Leitrim landscape. The theme adopted by his residency group was the
of the initiators of TRADE itself. Her presentation clarified the way in
potential threat of ‘fracking’ to the Leitrim landscape and way of life. A
which projects must respond to the constantly changing parameters of
new term for many of the audience members, ‘fracking’ describes a
cultural funding. She was echoed in this by Johnny Gogan of Bandit
process by which gas is extracted from shale rock. On 4 January, a
Films. After lunch, Cultural Contact Point Ireland introduced the
month after the event, it was revealed that “An exploration company
complexity of a number of European funding mechanisms for which they are an Irish contact-point. Representatives from two projects, who
wants to drill up to 1,600 wells in Fermanagh and Leitrim in a bid to find shale gas.”5 Two members of the residency group, David Spence
had answered the criteria, demonstrated the funding mechanisms:
and Brigitta Varadi, were already concerned about ‘fracking’, and they
‘Co-partners in Third Countries,’ led by Ian Joyce of Clo gCeardlann na
persuaded Stephen Rennick and David Pierce that the group should
gNoc in Donegal; and Rhyzom, led by PS2 Belfast, in partnership with
work with the issue. For the residency exhibition, the artists approached
the process these issues were addressed.
during TRADE. After their TRADE residencies, three of the four
Notes 1. Cliodhna Shaffrey, ‘Artist as Traveller: A Seminar and Travelling Exhibition’, Leitrim Arts News, Issue 34, October / November 2004 2. The Imagination of Children, V&A Museum of Childhood, London, 15 October 2011 – 5 February 2012 3. The novel Siddhartha, by Hermann Hesse, deals with the spiritual journey of an Indian man named Siddhartha during the time of the Buddha 4. http://www.davidmichalek.net 5. Valerie Robinson & Simon Cunningham,‘Fracking in the Spotlight,’ The Irish News, 4 January 2012 6. Cliodhna Shaffrey, ‘Artist as Traveller: A Seminar and Travelling Exhibition’, Leitrim ARTS NEWS, Issue 34, October / November 2004 7. http://engagecollective.wordpress.com and http://talkaboutfracking.ie/engage
24
The Visual Artists’ News Sheet
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The Visual Artists’ News Sheet
March – April 2012
25
Profile
Róisín Loughrey, Spring has Forgotten this Garden, video, colour, 6 mins, 2011
Angie Duignan, How does that story go again…?, 5ft x 4ft x 3.5ft upholstered audio chair, 2011
Pure Imagination
the chair was classified as ‘interactive’ in a risk assessment carried out by the museum, and could not be covered under the their insurance policy. There were also concerns about the durability of the print, again
artist angie duignan explains how she created work for the 'imagination of childhood' exhibition at the v&A museum of childhood in london, which ran from october 2011 – february 2012.
due to visitor interaction, and so it was decided that the life size print (80” x 48”) would be laminated onto 12mm MDF, as requested by the museum. Both the chair and the print were outsourced and produced in London to try and cut down my costs. The first time I saw both the print and the finished chair was upon arrival in London to install the work. The chair was assembled on-site, and the audio tested in the
‘The Imagination of Children’ brings together nine visual artists
After a chance meeting at the festival opening, with an old friend
noisy environment of the museum. Finally (and with a huge sigh of
who are fascinated by children’s ability to play and ‘make believe’; in
Róisín Loughrey, I travelled to Manorhamilton to see her solo show ‘On
relief) both the print and the chair were crafted to a very high standard
particular, the ways in which they can live in their imagination.
the Edge of Eden’ in the Leitrim Sculpture Centre. I contacted Rebecca
and installed effectively in the space.
Historically, children’s imaginings have been seen as a source of
and suggested she look at Róisín’s work, as I thought it might fit with
The next stage (and my next challenge) is to ship the work to the
conflict with the adult world, but this display recognises and celebrates
the exhibition theme. She selected Róisin’s short film Spring Has
Centre for Emerging Visual Artists (CFEVA) in Philadelphia where I
the profound creativity of a child’s imagination. Some works observe
Forgotten This Garden (Video / Colour / 6 minutes) for the show.
have curated ‘Interchange’, 30 April-18 May 2012: a group show
that children can readily become someone they are not for the
From the initial invitation to the installation took three years.
featuring the work of Irish artists Michelle Browne, Padraig Cunningham
purposes of a game, and that fantastical stories are created on a daily
Initially, Rebecca hoped to secure funding to produce the show, but was
& Linda Shevlin, Michael Fortune, Niamh O’Connor, Mandy O’Neill,
basis. Other pieces take, as a starting point, the way in which a child’s
unsuccessful. It was put to the invited artists, later in 2010, that the
David J. Pierce and myself. This show explores ‘the narrative’ in a broad
perception of the world can often find expression through their
show would go ahead if we sought our own funding, as the museum
context, as a theme, and I chose eight Irish artists who use the mediums
physical activity.
was not in a position to fund the show, but would provide technical
of video, photography, and audio. I selected works I feel encapsulate
The display features painting, drawing, photography, video, audio
assistance with installation, promotion of the show on their website,
and reflect varied aspects of the wider themes of identity, heritage, story
installation, and sculpture by London-based artists Sonia Boyce, Sarah
electronic- invitations, and printed maps and guides. As this was a great
telling / ritual, and social change – illustrating contemporary Ireland,
Cole, Richard Elliott, Rebecca Fortnum, Martin Newth, and Jessica
opportunity to show internationally, in a high-profile venue with an
its culture and heritage, while drawing parallels within a wider global
Voorsanger, alongside work by Irish artists Angie Duignan, Róisín
estimated audience attendance of 100,000, we agreed to go ahead and
context. ‘Interchange’ has been made possible through funding from
Loughrey and Ans Nys from Belgium. The artists have made or adapted
fund ourselves. I applied and was awarded an Individual Artist Bursary
Culture Ireland.
their artworks for visitors to discover amongst the Museum’s
Award from The Arts Council of Ireland, through Roscommon County
I have collaborated with Jacinta Lynch, Director of Broadstone
collections.
Council Arts Office in 2010. Thankfully, in 2011, Róisín and myself
Studios, Dublin, and Ángel Luis Gonzales, Director of PhotoIreland to
were successful with a joint application to Culture Ireland, and
bring an exchange show from CFEVA to Broadstone. ‘Adapt’ 15 July – 6
received funding towards travel, accommodation etc.
August is curated by Amy Stevens, and will feature photography and
I was invited to exhibit in this show after participating in the TRADE International Residency Programme, developed by Leitrim and Roscommon County Council Arts Offices in 2007, alongside Frances
I faced a number of challenges working within the museum. We
McGonagle, Cathy Reynolds, Holly Asaa and Laura Gallagher, with
travelled to London for an initial meeting and site visit with Rhian
The concept for an exchange show between the US and Ireland
invited artist Rebecca Fortnum from the UK. We explored personal
Harris (Director of MoC), and Rebecca, in early 2010, and again in early
arose from meeting Amy Stevens (visiting artist / curator and lecturer)
practice, documentation processes, and intent.
video works to be included in the PhotoIreland Festival programme.
2011. Display and site options were discussed with the Exhibitions
while on the Art@Work residency programme organised by
As a consequence of the work I made while on the residency, I was
Assistant, who liaised with the artists from that point on. The building
Roscommon County Council Arts Office in 2010. From our initial
invited by Rebecca, in 2008, to exhibit in the show she was developing
is open plan, with two stories, which resulted in enormous acoustic
dialogue we recognised a need to forge links and build connections
with The V&A Museum of Childhood. Originally, she selected a four-
problems. I can only compare it to a noisy swimming pool on a
that would be mutually beneficial. The aim is to develop networks
minute video work I had made during the residency, The Leakie Leakie
Saturday morning. Audio could not be played through headphones in
with other artists, organisations and institutions with a view to sharing
Story – An Investigation Into the Acquisition of Language from a Domestic
the museum as we were advised that young clientele were prone to
experience, information and developing artistic opportunities. The
Perspective. The work explores what knowledge is contained in ‘the
‘ripping’ headphones out of the walls. I worked on a design that would
objective is to create the potential for future collaborations, exchanges
book’, individual interpretations, and questions on how we obtain
minimize the noise pollution in the environment: a 5ft high x 4ft deep
and dialogue.
information from text. It asks several questions: Does the book change
x 3.5ft wide upholstered chair containing four speakers and a CD-player,
every time we read it? What do we process, what do we filter, and why?
securely housed inside it, which could not be accessed by curious little
Angie Duignan is a visual artist based in Roscommon. She works
And how is the book different for each of us?
hands.
in photography, video, and audio instillation in addition to
Due to sound issues with the piece that I felt could not be resolved
The audio needed to play continuously – eight hours a day, six
successfully, I offered the work, How does that story go again...? I created
days a week – for four months, which in itself created a huge challenge.
freelance curation and project facilitation. She is the Mid-Western Regional Representative for Artist Studio Network Ireland and is
this for the ‘Alter/native project’ (2009) as part of Boyle Arts Festival,
Ideally, I would have set up the audio to be triggered by a sensor.
currently undertaking an MA at NCAD.
after being invited by artist Carolanne Connolly. The piece was
However, this was not feasible due to a high risk of mechanical failure,
displayed as a 78”x 40” archival inkjet photographic print hung from
owing to interaction with the work. I was not in a position to travel
bull clips on a wall, with a 10 minute audio of a child telling her version
over to sort out technical problems once the work had been installed so
of The Princess and The Pea, that played through headphones.
I decided the audio would play continuously on a loop. Unfortunately,
www.angieduignan.wordpress.com
26
The Visual Artists’ News sheet
SEMINAR
Talking Shop RAYNE bOOTh DISCUSSES TWO RECENT SEMINARS, WITh PRETTYVACANT AND DUblIN CITY COUNCIl, ON REPURPOSING VACANT PROPERTY. PROPERTY RECENTly, I have begun to feel that the term
their property is a competent and trustworthy
‘recession’ has been rendered all but meaningless
individual. In his opening remarks, former developer
through overuse. No one needs to hear again the
Mick Wallace suggested that a group be set up to
familiar tale of woe that began with the credit
represent artists to developers and landlords. They
crunch, followed by the sudden collapse of the Irish
could act as advocate and communicate the value of
property market, moving on through the bank bail
the ‘social dividend’ associated with the idea, to
outs, NAMA and the IMF. We all know how
convince developers that this could be more valuable
drastically the economic landscape of our city has
that selling their property for 10% of its former
changed, and few could fail to notice how this has
value. The idea of a cultural letting agency that
affected our cityscapes. Instead of the bustling urban
would act on behalf of artists seemed to be popular
centres that the architects envisioned, the newly
but Ray Yeates, Dublin City Arts Officer, made
built concrete and glass behemoths of the boom era
resourcing difficulties clear, pointing out that
stand empty, having never fulfilled their purposes as
commercial rates are a huge issue, and that DCC are
slick retail spaces, offices, and fully serviced
compelled to collect them. However, the suggestion
apartments. Faced with this preponderance of
that DCC provide a toolkit to potential users of
slowly decaying vacant spaces, what is an artist to
vacant space, which could include a standard licence
do?
agreement designed to protect the interests of both The recent ‘Vacant Spaces’ seminar, organised
parties concerned, was well received. Since the
by Dublin City Council’s Arts Office and held in the
seminar, this idea has been developed. The Economic
auditorium of DCC’s Wood Quay offices, served to
Development Unit will advertise for owners and
bring together many of the artists, arts workers, and
cultural operators to express their interests to the
city council employees for whom this question
Arts Office and Economic Unit respectively. DCC’s
holds a particular interest. Among the speakers were
role will be to broker relationships and give advice
representatives from Limerick City Council’s
to both sides.
Professional DeveloPment training & events sPring 2012
NortherN IrelaNd
republIc of IrelaNd
belfast
bray
Installation Skills for Visual Artists – 2 Sessions Wed 7 Mar (10.30 – 16.30) Session 1 - Focusing on Digital Media Wed 21 Mar (10.30 – 16.30) Session 2 - Focusing on traditional Media Cost per individual session £30 / £15 (VAI, BX & DAS Members) @ Belfast Exposed Gallery, Donegall St, Belfast 10 places per session
Poetry and Practicality – how you pitch your Ideas with artist Ruth E.Lyons Proposals Intensive - Do's Don'ts, Q & A and examples of good proposals, with artist Neva Elliott. Tues 1 May (09.30 – 13.00) €40 / €60 (VAI members) 2 simultaneous sessions to choose from, coinciding with the launch event of Fugitive Papers #2 @ Mermaid Arts Centre, Bray, Co.Wicklow
Peer Critique - Lens Based Media with Anthony Haughey Wed 11 April (10.30 – 16.30) Cost per individual session £40 / £20 (VAI, BX & DAS Members) @ Belfast Exposed, Belfast 6 places
There were several interesting suggestions
regeneration, as well as artists who have already
from attendees as to how artists could be helped to
used vacant space to their advantage, including
access vacant spaces: developing a database of
Laura G Down, Managing Director of the hugely
landlords who were happy to be approached about
successful flexible arts space Block T, and Louise
their vacant properties; organising walking tours of
Marlborogh, Director of Pretty VacanT, a group that
available buildings to encourage artists to get
Developing Proposals with Marianne O'Kane Boal & artist Jill McKeown Wed 25 Apr (10.30 – 16.30) Cost: £30 / £15 (VAI, BX & DAS Members) @ Belfast Exposed, Belfast 12 places
exists to repurpose vacant spaces as exhibition
inspired by the different, and particular, spaces; DCC
lurgan
venues.
offering spaces to artists and arts groups instead of
Visual Artists Ireland @ North Armagh Artists Collective Training workshop and topic to be confirmed Cost £30 / £15 (VAI, BX & DAS members) @ NAAC Studios, William St, Lurgan 12 places
grants; clustering activity in one area of the city to
seminar organised by Pretty VacanT, entitled
create more impact; and introducing a system of
‘Making Vacant Space Work for You’. The attendees
anchor tenants and subletees to address the problem
were from a wide mix of artistic backgrounds
of lasting security for theatre companies and longer-
including dance, theatre, visual art, and design.
term projects.
enniskillen
What they all had in common was youthfulness and
So what happens when vacancy is no longer a
the need for physical space in which to develop their
big problem? Creative Limerick hope that the artists
respective practices. The main problem that the
and craftspeople that take on the many vacant retail
seminar attendees said they faced was difficulty in
spaces in Limerick city will eventually develop their
communicating with or “speaking the same
operations into sustainable businesses, and lease the
language” as property developers, landlords, and
spaces permanently. The Landlords get an immediate
Promoting Your Work Online with Mary Carty Sat 10 Mar (14.00 - 18.00) Cost: £30 / £15 (VAI, BX & DAS Members) 12 places @ Higher Bridges Gallery, Clinton Centre, Enniskillen, Co. Fermanagh
estate agents.
vacancy clause in the lease, so there is also the
newtownarDs
This theme also emerged at the DCC seminar.
danger that artists will be thrown out when the
The challenge for the artist is to convince property
artists have done what they were drafted in to do, ie
holders of several things that we, as artists and arts
regenerate.
professionals, hold to be self evident. As well as
I left the conference with a feeling of slight
being well informed on technical issues such as
unease that this traditionally artist-led activity
rates, insurance, fire certificates, and licence
should be initiated by city councils and bodies such
agreements, artists need to assure landlords that
as Ballymun Regeneration. These organisations have
allowing the use of their building rent-free is a better
their own priorities, and the danger is that they see
scenario than leaving it empty. Louise Marlborough
this activity as a sticking plaster to the severed leg
suggested three benefits for an artist to quote to a
that is the current problem of urban degeneration.
landlord: firstly, that repurposing empty buildings
Treating artists and their activity as window dressing
for art makes the premises look more attractive to
for a wider purpose does not place the necessary
potential renters or buyers; secondly, that it is
value on the activities of artists, but plugs them into
beneficial to artists, who need space to make and
a whole other economy. As Ray Yeates said at the
display their work; and lastly that it increases footfall
conference, artists cannot be expected to shoulder
to the area and broadens the audience. Mary Hayes
all of the responsibity for regenerating our cities.
of LCC pointed out some of the benefits for landlords who avail of the Creative Limerick scheme, including
However, I do believe that there is significant opportunity here, and, with enough entrepreneurial
the fact that inhabited buildings attract less graffiti
spirit, passion and dedication on the part of artists,
and fly posting, and are kept cleaner. The fact that
and trust and open mindedness on the part of
Creative Limerick also pays all insurance and
landlords, both parties can obtain the desired
electricity charges, and only charges the landlord
outcome: space for artists, with the sheen of
50% rates on the property, may also sweeten the
regeneration as an added bonus, making our cities
deal.
more inhabited and more habitable for everyone. Perhaps a bigger challenge for artists is to
convince the property holder that their interests
Rayne Booth is a curator and is Studios Support
will be protected, and that the artist asking to use
and Marketing Officer at TBG&S.
Visual Artists Ireland and our partner organisations are pleased to announce a series of Professional Development Training Workshops and events that will take place across Ireland and Northern Ireland during Spring 2012.
For more information or to register, visit: Northern Ireland http://visualartists.org.uk/services/professionaldevelopment/current/ Republic of Ireland http://visualartists.ie/education/register-for-our-events/
Creative Limerick initiative, and Ballymun
Two weeks or so previously, I had attended a
March – April 2012
ennistymon Peer Critique Painting with Elizabeth Magill Thurs 29 & Fri 30 Mar in partnership with Ennistymon Courthouse Studios Dublin Visual Artists & The Law Thurs 17 May (15.00 – 18.00) Visual Artists Ireland in partnership with The Bar Council of Ireland – learning and exchange event for artists and the legal profession. Keynote speaker: Henry Lydiate from The Henry Lydiate Partnership, Linda Scales Solicitor and artists with their legal representatives providing case studies on contractual issues, dispute resolution and intellectual property rights. @ The Bar Council of Ireland, Church St, Dublin 7 FREE eva international, limerick Artists' Gathering Mid June (day long event). Visual Artists Ireland in association with eva International Artists' National Gathering, talks, practical information and peer gathering event to coincide with the opening of eva International Further details soon on our web site.
Positioning your Practice in Challenging Times with Gwen Stevenson This session will look at how artists might develop work opportunities that support their practice and livelihood Wed 9 May (10.30 – 16.30) Cost: £30 / £15 (VAI, BX & DAS Members) @ Ards Arts Centre, Newtownards 12 places The Art of Collaboration May (date to be confirmed) Seminar and Artists talks on collaboration between different art forms @ Ards Arts Centre, Newtownards Cost: £5 30 places
Monica Flynn / Professional Development Officer Visual Artists Ireland, Central Hotel Chambers, 7/9 Dame Court, Dublin 2 T: +353 (0)1 672 9488 E: monica@visualartists.ie http://www.visualartists.org.uk http://www.visualartists.ie http://www.printedproject.com http://www.thecommonroom.net Twitter: VisArtsIreland Facebook: http://www.facebook.com/VAIProfessionalDevelopment
The Visual Artists’ News Sheet
March – April 2012
27
interview
and the heating is kept at a really comfortable level. We also have full internet access. This year we are adding anew dimension to the visual arts facilities and opening a new print studio, which expands the range of practices. We have a sculpture studio, which tends to be used for figuring things out visually. It is not, for example, like the National Sculpture Factory, or the Leitrim Sculpture Factory, where people finish off larger works. Artists might want those resources to finish a commission, but from a visual perspective our studio is a place where ideas get teased out, where people work out the broad concepts, sift out a range of strands that they might take up for a commission, or find a direction for their work. What happens here tends to be about the shape of things, with time to tease through ideas. This is really helpful: to be able to stand back and think, to take a really considered approach to something that maybe was a bit hectic the week before. Although a
Tyrone Guthrie Centre, exterior
lot of work does get finished here – novelists and composers, particularly, might finish work here. We have been really fortunate over the years. Recently, we received a new baby grand piano from the Arts Council of Northern Ireland, and, from a musical point of view, the studios are wonderful. We have new dance facilities: a great studio space for choreographers and dance artists, and theatre people also use it. Some rooms are particularly suitable for writers – just to sit and face out over the lake is Tyrone Guthrie Centre, interior
Tyrone Guthrie Centre, lake view
Tyrone Guthrie Centre, interior
The Artist's Retreat
often enough to give them the tranquillity they might not get elsewhere. SS: 2012 sees the development of a new studio for printmaking. You’re encouraging this art form?
Sarah searson interviews robbie mcdonald, director of the tyrone guthrie centre, annaghmakerrig.
RM: The idea is that we will offer it to two people for the price of one for 2012. By its nature, printmaking is a labour-intensive process, and we are strongly encouraging artists to come in pairs to use the print studio – fellow artists, helpers, collaborators. I think this will help people to concentrate on a body of work, and to run small editions, but
Sarah Searson: You are the Director of a remarkable resource here
RM: Now a days, you have writers’ centres, sculpture centres, arts
at The Tyrone Guthrie Centre, Annaghmakerrig. Can we talk
centres, theatres – what strikes me is that, over the last 30 years, there
Printmaking has really changed; there is a whole range of new
about what it offers artists creatively and socially?
has been a huge expansion of public access to the arts. We have writers
technologies and new ideas that people are experimenting with. We
also to collaborate.
in schools, artists in schools, writers in prisons, artists in the community,
are getting advice from the Graphics Studio in Dublin about how to set
Robbie McDonald: What really strikes me as important about time
and so on. There is a vast array of organisations that provide public
it up. To take it through its paces we invited printmakers from Cork,
spent here at Annaghmakerrig is that it’s a period for reflection, but
access to the arts. What is really interesting about the Tyrone Guthrie
Limerick, the Lorg Printmakers in Galway, Leinster Studio, and Seacourt.
also peer validation. Here, artists are with a group of like-minded
Centre is that this is one of the few places in the country where the
They are very different types of printmakers, and they all spent a week
people who are all in the same boat, albeit at different stages creatively.
public are not directly engaging with artists.
here. I wanted to put the word out among those interested in print.
An artist might feel that they are working something out. What they
The entire focus of our work here at Annaghmakerrig is the needs
gain is the benefit of meeting other artists who confirm that their
of the artists. Obviously, when artists leave here with their work then it
practice is worth doing, worth pursuing. So whether you are just out of
might go on tour, be exhibited, performed or published, but that space
In relation to etching, there are chemicals that we are not using at
college or way down the road, essentially it is this sense of peer-group
which is available to the artists while there are here, that’s what is
the moment for environmental reasons, but we are exploring how we
validation that is unique and wonderful.
What’s great, now, is that, if a member of one of these studios wants to come, they can check in and get an opinion from a colleague.
really unique. You can let your barriers down, you can be frank about
might be able to do that, and there are lots of other techniques we can
The interaction between some of the younger artists and the older
the work and its challenges. Here, artists are not expected to perform.
we use here. Primarily, it’s a space geared towards a small number of
artists is important. All sorts of tricky questions, the ones you might
They can relax. They might be the ‘young dynamic cutting-edge
visual artists who want to develop and try out new ideas.
find difficult to ask, can be informally addressed. You might find
theatre person of the year,’ but that’s left behind. They could be here
someone at dinner that has been in a similar situation to you. For
because they have something to work at, to figure out, or need to steer
SS: Over the years, various directors have brought strength, and a
example, issues such as how you handle a publisher, or a particularly
something, and that’s OK – in fact that’s what they’re here for! That is
vision, for the Centre: Bernard and Mary Laughlin, Sheila
tricky situation, might be discussed. Everyone has hit a block or had a
unique –the sense that the TGC is one of the few private, publicly
Pratschke, Dr Pat Donlan. Carrying that tradition forward, what
similar issue at some time, and for the younger people to get that the
funded spaces in Ireland, completely focused on the needs of artists.
do you see as a focal point?
kind of perspective is important. Yes, it’s okay that things are up and
We are as near to Belfast as we are to Dublin and have a really
down; we get writer’s block, we have blank canvases, and we have
strong connection to the city. We actively want to encourage visitors
RM: One of the areas that we can really work on is dance and
blank days when things just aren’t working. That type of validation can
from the North; it’s important to the dynamic and adds hugely to the
choreography. I am interested in a gathering of choreographers – I’m
be really useful.
Centre. About a third of our visitors are from the North, and we are
sure there is a word for that! The dance studio here is wonderful, and I
I am really amazed at the amount of work that people get done.
funded by both Arts Councils. Many of the local authorities offer artist
think it’s important to give that sector really good opportunities to
They get maybe a week here, and need to negotiate that time. They
bursaries to the Tyrone Guthrie Centre, usually for two weeks, and that
meet and use the studio in a focused way. I am very interested in
have families and commitments, so to even clear that time away you
has been really important, particularly for younger or first-time
looking at contemporary music and traditional music, and seeing what
have to be really good, and clock up your brownie points! The average
visitors. We have developed exchange programmes, and work
might emerge from gatherings here.
stay is a week, maybe 10 days, and people really do find it very helpful.
internationally with groups such as the Virginia Centre in the US, and
I am also delighted that the print studio is a focal point this year,
Sometimes, it can be a month or so afterwards when people realise they
Australian organisations, as well as ResArtis, and Halma. So every year
and intend for it to be used by as many artists as possible. It would be
might have made a critical decision while they have been here. You
we have a good number of international visitors, people coming from
wonderful to see international printmakers spend some time here, and
know, one thing could be parked, and they might go in a new direction
completely different cultures, and the dynamic can be fantastic.
maybe even have a gathering of printmakers!
on the novel, or whatever.
It is a really beautiful place; there are amazing walks around the
It can be very lively and at other times it can be quite relaxed – you
estate that people love, but the house here is also magnificent. Without
Sarah Searson is a curator and cultural policy maker. She is
never know who is going to be at the table. Sometimes, you find a
being precious about it, this is one of the few places, particularly in a
co-editor of Publicart.ie and a consultant to Dublin City Council's
contemplative atmosphere, where the discussion is about practice, and
time of retraction and difficulty, which sustains the creativity of the
Liberties Regeneration Project, Wicklow County's Arts Plan 2008
there is a strong exchange of perspectives from different artists –
individual.
-2011 and was involved the InContext 3 public art programme. She teaches professional practice at the DIT and is a visiting
discussion about where you are in your work – that can be really lovely.
SS: What facilities are available at the Centre?
SS: Within an Irish cultural context, how does the Centre currently
RM: Artists are welcome to stay in the house or the cottages. If you stay
place itself?
in the house, all your meals are provided. We offer seven self-contained studios for visual artists: they are beautifully lit, of a very high standard,
lecture at UCD Arts & Cultural Management Course. harrietbadger.blogspot.com
28
The Visual Artists’ News Sheet
Opportunities COMmissions Public Art The Public Art Commissioning Committee of Longford Town Council and Longford County
so
arrive early if you require one, and on-street parking is free on Sundays. Email joflynn@eircom.net
Council wish to commission a site specific public art feature to be erected at Centenary Square Longford. Contact Fergus Kennedy Website www.longfordcoco.ie/coco Telephone 086) 8517595 Email fkennedy@longfordcoco.ie Deadline 5pm 16 March
courses / Training workshops Chiaroscuro Chiaroscuro
classes
every
Monday 7pm – 10pm, Tuesday 10am – 5pm. €22 for three hours, €44 for full day. 10% discount if six sessions booked. Chiaroscuro is a term in art that refers to the interplay of light and dark to achieve a sense of volume in modeling forms. Its use as a dramatic device can be seen with striking effect in Michelangelo’s ‘Caravaggio’. In these sessions the studio is specifically lit to create the conditions enabling one to see
the
human
figure
in
chiaroscuro, just as the old masters did. In each session a life model is used and poses range from 30 minutes to six hours, in
university of ulster After five successful years the MA – Art in Public in Belfast is now changing to become an MFA – Art in Public and based on 240 credits running over two years. The fees, unlike many in the UK, are remaining the same at around £20 per credit making it comparatively affordable nationally and internationally. The MFA Art in Public has evolved from current complex concerns for the role of art and artists in a changing society. It is based in Belfast, where engaged art practices have been developed in various ‘contested spaces’ for many years. The programme seeks to develop testing modes of working that are dialogic, participatory, interventionist, or collaborative in intention and structure. Throughout the programme students will work with formal / informal external partners and be expected to develop self-initiated, innovative, practice based approaches. Course co-directors are Susanne Bosch and Dan Shipsides and the external examiner is Claire Doherty. Contact Susanne Bosch / Dan Shipsides Email s.bosch@ulster.ac.uk / dj.shipsides@ulster.ac.uk Web http://masterartinpublic.wordpress.com/
order to aid the development of highly finished drawings. Contact with studio must be made before attending. Professional studio easels and materials provided. Sessions are supervised but discreet instruction is available upon request. Beginners welcome. Website www.drawing.ie Email info@drawing.ie Telephone 0872980409 Life Drawing Life painting / drawing sessions held in the Broadstone Studios. Friday 23, Saturday 24, and Sunday 25 March at 09.30am. Come for as long as you wish: E120 for three days, €90 for two days, €45 for one day, €25 for half day. 33% reduction for unwaged. After four 10-minute poses we will democratically elect the pose to be retained for the two or three days. Female model. Artists should provide their own easels, but a few will be available on the days for those who cannot bring theirs. There is limited free car-parking on site,
rha masterclass The RHA School is delighted to present a series of exciting Master classes this Spring. The RHA School is offering a series of three workshops by distinguished RHA members and invited artists. The workshops are designed to provide professional artists with an intensive and informed course in a specialist subject, taught by artists with a proven and unique knowledge of each area. To ensure the professional standard of the series, the workshop places will be allocated through an application process. Workshops have very limited places so early application is advised. Artists are required to submit by email, a short CV and up to three images of their work when applying to do the workshop by the deadline specified for each, to:fernando@ rhagallery.ie Carey Clarke PPRHA : Painting From Observation – including life and still-life studies, 2 – 4 April, €275. Deadline for application: 10 March. Mick O’Dea RHA: Portrait Painting Workshop 30 April – 3 May, €375.
2012 an artist may submit a maxDeadline 7 April Contact Fernando Sanchez Telephone 01 6612558 Email fernando@rhagallery.ie part-time courses ncad The National College of Art and Design provides an extensive range of part-time courses including non-credit and award bearing courses offering progression. A series of 3-day Easter courses will be held at the Thomas Street campus on 2, 3, 4 April. Deadline 23 March Web www.ncad.ie/faculties/education/cead.shtml
competitions choreographic captions International Choreographic Captures Competition. For the fifth time, Joint Adventures is inviting choreographers, dancers, film, and (multi-)media artists to develop new aesthetic approaches and visual languages for choreography and film in a 60-second ad format in the Choreographic Captures context. We are searching for works that operate choreographically with the film medium, react creatively towards movement, leave room for experimentation, and initiate unusual aesthetic dialogues with the film audience ‘Expanded Choreography’. The objective is to discover the endless choreographic possibilities within film – with, but also separated from, the moving body in front of a camera, as well as in editing, rhythm, abstraction, or animation. Deadline 30 April Web www.choreooo.org
funding / awards royal academy The Summer Exhibition will open on 4 June and run until 12 August 2012. Following long Academy tradition, the Summer Exhibition is selected and hung by an annually rotating committee of Royal Academicians, all of whom are practicing artists and architects. Tess Jaray is this year’s Exhibition Co-ordinator: “In contrast to some of the very large works that are currently exhibited in museums worldwide, this year we shall be focusing upon, and celebrating, works of a more modest size.” Working closely with the rest of the committee, she will seek to select a diverse range of strong work to exhibit. To enter the Summer Exhibition
imum of two works, for a handling charge of £25.00 per entry (which is non-refundable and includes VAT). Entry forms can be purchased online until Friday 9 March 2012 (for artists outside the UK, please refer to the FAQs). Deadline 13 march Web www.royalacademy.org.uk/summerexhibition changchun sculpture In order to encourage vigorous flourishing in the world of sculpture and promote the development of urban sculpture construction, Changchun Municipal People’s Government has successfully held 12 sessions of the International Sculpture Symposium, two sessions of International Sculpture Conference, and one World Sculpture Conference, since 1997. More than 400 sculptors from 216 countries have created over 600 sculptures for the city, representing various artistic styles around the world. Changchun has become a centre and platform for creating world sculptures. From late July to early September 2012, Changchun Municipal Peoples’ Government will hold the 13th China Changchun (Jingyue Development Zone) Sculpture Symposium, with the theme of ‘Sports, Health, Life’ to further promote international cultural exchanges, improving the cultural taste of Jingyue Development Zone as well as increasing the Zone’s international influence and popularity. Deliver at least three proposals based on the Symposium’s theme, which are requested to reflect the theme and the distinctive ethical and regional characteristics of your country or region. The stone or bronze sculpture works beyond four meters in concrete art style are highly appreciated. More details and application forms can be obtained from VAI. Deadline 30 March Contact Miss Aimee / Mr. Larry Xu Telephone (086) 431 85670603 Email ccsculpture@163.com / xuhuaiwu@yahoo.cn Web http://en.changchun.gov.cn http://www.ccsculpture.org
opportunities ireland black church print Black Church Print Studio is now accepting portfolio applications for full-time studio membership. Full members are key holders with 24 hour access to the studio’s printmaking facilities. To be
considered for full-time studio membership, applicants must present the following: completed registration form; a strong cohesive portfolio of original artwork (eight pieces minimum); digital images may be included in addition to original examples, showing development of concept and ideas as well as technical proficiency in the chosen print medium; a recent CV and artist’s statement (maximum 300 words). The selection panel comprises two Board Members and one Independent Assessor. Annual fee: €520.Laura Deadline 5pm 9 March Web www.print.ie belfast print Belfast Print Workshop is one of the city’s longest established arts organisations with a 35 year history in providing facilities for printmakers from Northern Ireland and abroad, and affording opportunities for exhibition and sale of their work. Techniques used in the workshop are centuries old and BPW is dedicated to both keeping these traditions alive and utilising them to produce high quality contemporary art. The organisation is committed to increasing the profile of fine art printmaking in the region and ensuring that the work of its members is recognised as a key element of our cultural landscape. BPW is also determined to broaden people’s understanding and appreciation of printmaking through provision of an education programme for all ages. We are seeking a new Chairperson that will help BPW achieve the goals set out in its 2012–15 Corporate Plan and guide a dedicated Board of Trustees through challenging economic times. The new Chairperson is likely to have the following attributes: Experience in committee working and governance of not-forprofit organisations, a passion for the arts and an understanding of how arts organisations are funded, a high level of business acumen and ability to think and act strategically. The role will involve chairing five or six board meetings per year as well as meetings with the BPW Director in support of agreed objectives. Deadline 12 March Email michael@bpw.org.uk Telephone (0044) 2890 230323 Address 30–42 Waring Street, Cotton Court, Belfast, BT1 2ED
photofactory Open Now is the Belfast Photo Factory’s annual open exhibition showcase. We aim to promote
March – April 2012
the work of emerging photographic artists and give them the opportunity to have their work viewed by a large audience and figures within the industry who can actually make a difference. Open Now will be exhibited twice, once in Belfast and once in Dublin. The Belfast show will take place in our very own Gallery Nine, opening 3 May and closing 24 May. It will then move to Dublin, where it will be shown in the prestigious Gallery of Photography. This year we have three amazing judges deciding who makes the cut. They are: Donovan Wylie (Magnum), Trish Lambe, and Tanya Kiang (Gallery of Photography, Dublin). There is a submission fee of £10 and there is no theme for submissions. Deadline 18 March Telephone 07821202940 Email info@belfastphotofactory.com Web www.belfastphotofactory.com/ submit.html
Noise Bytes ‘Noise, bytes, bits: states of sound’. The Irish Sound, Science and Technology Association (ISSTA) announces a Call for Submissions for its second annual Convocation. The four categories include Musical Works, Sound Art / Installations, Papers / Posters and Workshops. This Convocation will draw upon both science and art, theory and practice, in exploring these spaces, and focuses on how contemporary science and technology affects the concept of noise. The second annual Irish Sound, Science and Technology Convocation (ISSTC) will be held 1–2 August, 2012 at the Cork School of Music and St John’s College in Cork. Deadline 30 March Deadline http://issta.ie/wordpress/?page_ id=166 DRAÍOCHT Draíocht Blanchardstown is currently seeking submissions from artists for an exhibition in Draíocht or a residency. Include a covering letter, and an up to date CV. You should state when you are available or want to show your work and include a description of the proposed exhibition, especially if it requires the gallery to be adapted, AV equipment, or any special requirements. If possible you should also indicate if you are applying for the Ground or First Floor Gallery. It is useful but not necessary to include a statement about your practice. You should include between 8 and 16 good quality images of your work, either on slide, photograph, or CD. Each should be clearly marked with your name.
The Visual Artists’ News Sheet
March – April 2012
opportunities Deadline 23 March Contact Emer McGowan, Director, Telephone (01)8098027 Email emer@draiocht.ie Web www.draiocht.ie
RESIDENCIES Cill rialaig The Cill Rialaig Project in southwest Kerry invites applications for residencies for September 2012 to December 2013. Cill Rialaig is located in a remote Gaeltacht, or Irish-speaking area. Its cottages are living-work spaces that provide for residents’ essential work and living needs. They are very simple without modern accoutrements of television, telephones, or internet. The remote location means that there are very few distractions other than the landscape; it is a true retreat. Residencies are offered free of charge, although there is a small service fee for utilities. Residents provide their own transportation, food and supplies. Deadline 15 March Contact Mary O'Connell Telephone 066 947 9297 Email cillrialaigarts@gmail.com Address Ballinskelligs, Co Kerry black church The Black Church Print Studio would like to invite international artists actively engaged or informed by contemporary printmaking practice to apply for a four-week residency in the Black Church Print Studio, Dublin, to take place in July 2012. Emerging, mid-career, and established professional artists are invited to apply. Selected participants will receive accommodation, basic materials, studio equipment, and facilities usage and technical and administrative support. Artists will have access to etching, lithography, screen printing and relief presses, and to multi-media and digital equipment. Travel and material costs are the responsibility of the artist. This year’s residency is scheduled for a single four-week term in July 2012. Applicants must be practicing printmakers. Irish residents are not eligible. Deadline 5pm 30 March Web h t tp: / / w w w. p r int. i e /de ta i l . php?category_id=2&sub_category_1_id=22 market studios
The Market Studios is delighted to announce its Curatorial Residency Programme. This residency will be offered on a continual basis to an individual or group who will have the opportunity to programme The Market Studios gallery space, Unit H, for a period of between two and four months. During this time the awardee is requested to research and develop a series of curatorial projects or once off significant event. This residency offers a studio for the duration including access to office and equipment, and in-house technical and admin support. The Market Studios and Unit H will contribute a small budget toward project realisation. This opportunity is open to any artist / curator / arts professional seeking to expand their practice working within an artist-led organisation. Candidates will be accepted based upon merit of their proposal and feasibility of this proposal to Unit H. We are particularly interested in innovative, challenging, and experimental ideas. Please email a proposal, biography, CV and (if relevant) a selection of recent, good quality images. Deadline 31 March Telephone 18729155 /0879427937 Email themarketstudios@gmail.com Web www.themarketstudios.ie
STUDIOS roscrea Beautiful studio to sublet in in Roscrea, Mount Butler. Two rooms in a cut stone, renovated out building for three months. Available from April – end of June 2012. Contact Therry Telephone 0872065111 Email therryrudin@gmail.com Pallas projects Pallas Projects have acquired their new premises on Cork Street, close to St Patricks Cathedral. Applications are now sought for a three-year membership. All studios are large and bright and include 24 hour access and wi-fi. Include CV, statement, and images of work. Deadline Ongoing Web www.pallasprojects.org
DCC Register of interest Notice to create a Register of Interest of property owners / property users. In response to a demand for temporary use of space in the city, Dublin City Council has been brokering links between owners of vacant prop-
erty and individuals / organisations who require space for creative, cultural, and craft uses in the short term. Temporary use of vacant space offers a range of benefits to both property owners and space users: Increases footfall, including visitors and tourists, and thereby rejuvenating an area; potentially reduce incidences of vandalism, squatting and other illegal behaviours; animates ‘To Let’ units currently vacant, and thereby increases the unit’s potential to prospective tenants; facilitates cultural activity in the city. Register your interest and property if you are a property owner and are interested in making vacant space available for temporary creative, cultural, and craft uses. Email your contact details, the property address, and preferably a photo of the property to the Economic Development Unit. We will then follow up with you directly. If you are in the Creative, Cultural and Craft Sectors, looking for space for a temporary use and wish to register your interest, please email the Arts Office specifying what kind of use you have in mind. Email Property owners: edu@dublincity.ie Creative users: artsoffice@dublincity.ie
29
RHA SPRING SEASON
Brendan Earley, A Million Years Later, 2011, Bronze, 100 x 30 x 24cm, Image courtesy of the artist and mother’s tankstation, Dublin.
16 March – 29 April
Brendan Early, A Place Between Sam Douglas, Remnants Corban Walker, Please Adjust Stephen McKenna PPRHA
16 March – 25 March The Horse Show Admission Free
GALLAGHER GALLERY / 15 Ely Place, Dublin 2 +353 1 661 2558 / info@rhagallery.ie www.royalhibernianacademy.ie
Other roscrea RightBrain, a Cork based artistic photographic service, will now offer Epson’s unique Digigraphie printing to its customers, giving them exceptional and repeatable print quality. The Epson Stylus Pro printer range offers a number of characteristics which meet the expectation of professional photographers.. They include a wide colour gamut, the smoothest of gradation, and control over the tone and hue of black and white prints thanks to the three densities of black ink and an advanced printer driver. Web www.rightbrain.ie
Don’t forget Do look at the advertisments in this VAN, also check our web site & subscribe to our e-bulletin for further opportunities.
Artisan Frames Specialist picture framers
Artisan frames specialise in making custom hand made frames for fine art. Have a look at our website for Traditional Frames in a selection of finishes. Contemporary Frames for oils and works on paper. Alternative framing such as perspex boxes, Di-bond, foamex and acrylics. Ask for a quote on having your work framed. Special rates for framing exhibitions.
www.artisanframes.ie Artisan Frames, Gurtanfleur business park, Clonmel, Co Tipperary, ph 052-6181909
30
The Visual Artists’ News Sheet
March – April 2012
residency
Aoife Collins, Forfeit Life, 2010, bronze with green patina, Voltaire tights, clothes and shoes
Aoife Collins, All I want is to Covet You All, 2010, fresh water silk pearls, silk thread 11m x 89cm
Aoife Collins, There is no Release My Darling, 2010, magazine paper, 58.9 cm x 37.1 cm
Aoife Collins, All I want is to Covet You All, 2010, fresh water silk pearls, silk thread 11m x 89cm
thou shalt not covet
backscratcher. The bronze has a green patina and is displayed with clothing to appear as a dressing or undressing scene. In some ways, the shifts are small, but in others they are quite distanced from the original source material. I mentioned the element of appropriation and
Aoife collins discusses her recent residency at the irish museum of modern art, where she produced a selection of works for the process room entitled 'all i want is to covet you all'.
repetition and see this cycle of use and reuse, in some instances, tying into ideas of idiom and cliché. In particular, I feel that the cliché as a misleading tool can be interesting. Joris-Karl Huysmans’ Against Nature (1884) has been a continuous reference point informing upon my body of work, specifically the use
I have participated in various residency programmes, my reasons varying depending on my working situation at different moments, for
the use of such structures or motifs in minimalist works of the 1960s
artificial fabric flowers, and the protagonist’s argument for artificiality
and 1970s.
versus nature. One of these works was displayed at the museum
example, to have access to specific equipment, or a larger workspace.
These works also focus on fragmentation and destruction, the
reception while I had my work in the Process Room, in a manner that
My most recent residency experiences, at the Irish Museum of Modern
to-ing and fro-ing between the definite and infinite. Much of the work
mimicked how an actual item such as this would be displayed in a
Art and Kino Kino in Norway, differed in duration and environment.
looks toward a form of breakdown or collapse, with the images or
foyer environment. Huysmans also accesses a web of related figures
IMMA was a six-month duration, and Norway was a two-month
associated meanings melting away. The destruction, breakdown, and
such as Baudelaire, Wilde, Ludwig II of Bavaria, Proust, Montesquieu
residency. At Kino Kino I worked on a collaborative project, currently
removal relates to the handling of materials, but also to a mood that is
etc. Architectural spaces within Ludwig II of Bavaria’s castles are an
in progress, with artist Jonathan Baldock, as opposed to my usual solo
sometimes emphasised through the use of titling, such as Forfeit Life
inspiration for our collaborative project. The fin-de-siècle associations
studio practice. For this text I will concentrate on the IMMA residency,
and Rebuilding Hokey Dumpty, among others.
appeal in their sense of looming doom and of decay, to be found and
as our collaborative project in Norway is still in development.
In relation to the programming at the museum during my
possibly pertinent to the contemporary moment.
For the Process Room at IMMA I showed a selection of works
residency, I particularly enjoyed learning about the compositions of
However, in a wider sense, Des Esseintes’ (the protagonist in
under the umbrella title, 'There is no Release My Darling'. The selection
Morton Feldman, and hearing some of them performed at the museum.
Against Nature) hermetically sealed retreat, and preoccupation with
and title emerged after collecting images from fashion magazines of
His movement away from organising principles and structure was
artistically mediated experience, is also of great interest to me. This
models photographed behind cages or fences. As a starting point, the
interesting and may have informed my thoughts at the time.
role of consuming, in the form of purchasing and curating ones
images seemed to simultaneously encompass being trapped, trapping
Destruction and decay are also referenced in my use of still life
environment, was something I tried to evoke more strongly in the
someone / something, and trappings. The images also had an aura of
archetypes and motifs. I am intrigued by the depiction of objects
works I was making and deciding how to install. I would like to put
benign angst, or stylish contemporary ennui, within locations that
relating to their allegorical associations in vanitas or momento mori
emphasis on this quality / characteristic, as all the pieces start from
spoke of existential crisis that was appealing, and had a touch of
painting. The shared consciousness – in relation to dialogue
existing objects, and always retain some of their initial qualities or
humour.
surrounding the representation of certain items – interests me, along
identity. Hence, while working in my studio at that time, I tried to
with the macabre quality many of these paintings possess.
accentuate the combining of ready-made and handmade characteristics.
The images were stripped back drastically, to abstract effect, by cutting away the rest of the image, to leave only the outline of the
A number of the objects / images I use originate as mass-produced
fence. The pages were then set within vitrines so that the front and
items, so I sometimes also try to reference more commercial modes of
back of the same page were visible to the viewer. From one side, the
display, from retail environments to clip art. The status or inferred
fence comes to act as a grid or organising principle, and the origin of
meanings associated with objects were explored in some of the pieces I
Aoife Collins completed a Masters at Chelsea College of Art,
the pattern is detectable. Then, from the alternative angle, a more
tried to develop. For example, in one of the pieces, an 11m x 89 cm
London. Recent awards and residencies include Location One
random propagation of pattern appears. The images that surround us
length of freshwater pearls was hand-knotted onto silk thread and then
Fellowship, New York, Skowhegan,USA, and Scottish Sculpture
are labyrinthine, but there is a desire to locate pattern, or shape a
wrapped around a steel cube frame. The new associations conjured
Workshop.
system. This relates, along with some other pieces I was making at the
from the mass production of pearls – as a combination of the man-
time (Peachy and All I Want is to Covet You All) to geometry and a grid
made and the natural – intrigued me: their contemporary prevalence as
structure. Such shapes and motifs bring to mind, for viewers, a
opposed to their traditional, historical, rarity.
multitude of reference points: Malevich and Mondrian; Krauss’s essay
I spent a great deal of time working on a piece that consisted of the
on grids in The Originality of the Avant-Garde and Other Myths; or indeed
bronze cast of a cheap plastic shoehorn, with a dual function as a
A certain combining of activity, inactivity, and anti-activity, as well as doing and looking.
www.aoifecollins.com
The Visual Artists’ News Sheet
March – April 2012
31
issue
The Artists' Charter Alex Davis discusses the artists' charter, a new code of practice developed by visual artists ireland to address the professional relationship between artists and those they work with.
the relevant artist(s) 1.5. Presentation • We undertake to present artists’ works in a professional manner that ensures that the work is displayed appropriately • We undertake to ensure that works are exhibited in a secure and safe
In July of 2009, a call was issued in the Visual Artists Ireland (VAI)
to understand the reality of life as an artist. Artists undertake a
environment
e-bulletin for volunteers to take part in the Visual Artists Charter
significant amount of largely ‘invisible’ and usually unpaid work such
• We undertake to insure works that are provided into our care
Project. A consultation team was established, with 12 members spread
as planning, meetings, transportation, hanging, catalogue work, PR etc.
• We undertake to ensure that works will be correctly described and
across the country, to assist VAI in drafting a charter for organisations
The equitable payment of artists is of vital importance given that most
attributed to their author
that work with artists.
do not have the same opportunities as those in other professions when
1.6. Publicity
it comes to social security schemes, maternity, sick pay, pension, and
• We undertake to consult artists concerning publicity for the
unemployment benefits.
exhibition of their works
The project was initiated by VAI to address the professional relationship between artists and those that they work with. The Artists’ Charter takes the form of a code of practice, commonly agreed upon,
VAI advocates that publicly funded organisations should have
which adopts principles of good practice and demonstrates why and
publicly available documents that provide accurate and transparent
installation documentation when available
how they should be applied. The core aim of the project is to provide a
information about their policies in relation to exhibition, the payment
1.7. Complaints
set of practical and ethical guidelines for the conduct of business
of fees and any cost sharing arrangements.
• We will provide an accessible and fair complaint and redress
between visual artists and organisations.
With the above in mind, VAI began the task of developing a
• We undertake to provide copies of all publicity, media response, and
system.
Primarily, the Charter is addressed at organisations exhibiting the
Charter, drawing from the experiences of practicing artists along with
work of visual artists. The huge diversity in types of exhibitions and
those of commissioners, curators, the Arts Councils and others with
The comments received on the draft indicated overwhelming
how they are sourced, resourced, and presented affects the way that
whom artists work. The first step in drafting the Charter was research
support for the Charter from the publicly funded gallery system. There
organisations and artists deal with each other artistically and financially.
into both local and international charters that are in place across a
was general acknowledgment that the Artists' Charter is a tool that can
The goal for both the organisation and the artist is mutual benefit, as
number of organisations. From this, a consultation document and draft
be utilised for the benefit of all parties. The Charter can assist artists in
both stand to gain from the relationship. Therefore, the basis and
Charter was produced and provided to the volunteer team for comment
negotiating fair returns and conditions for exhibiting and selling work.
starting point of the relationship is one of mutual assistance and trust.
and feedback. The next phase of the consultation process involved
Likewise, it can provide publicly funded bodies with benchmarks for
However, it is also a commercial and contractual relationship and a
inviting key stakeholders such as the Arts Councils and publicly
acceptable practice and help to enhance their reputation as a
goal of the Artists’ Charter is to assist both sides in negotiating this
funded not-for-profit organisations to inform the development of the
professionally run organisation.
aspect of the relationship.
Charter. All of the organisations chosen were in receipt of a significant
A goal of the project is that the Charter becomes something that
VAI is committed to the principle that artists should be paid an
level of Arts Council funding. Again, the proposal document and the
artists seek when working with publicly funded organisations and
acceptable professional rate for the work they undertake; that they
current draft of the Charter were provided. 23 of the organisations
something that these organisations are keen to have. VAI recognises
should be provided with appropriate written agreements, a consistent
completed a survey and provided feedback on the draft Charter.
that while some organisations will already have in place many of the
standard of treatment, and a form of redress for when issues arise. We
The current draft of the Charter is provided here:
believe there is a particularly strong case to be made in instances where
elements outlined above, for others this will be an aspirational document. The Charter, therefore, is presented as a number of key
artists are dealing with organisations that receive significant public
1.The Charter
undertakings that organisations can work to, or aim towards acheiving
funding and that these organisations are in a position to take the lead
As a publicly funded organization:
within a specified period of time. It is envisaged that in future the
and demonstrate ‘best practice’ when it comes to working with or exhibiting the work of visual artists.
Charter will become a form of quality certification that organisations 1.1. Respect
can display and one which will give artists additional encouragement
•We will treat all artists respectfully, courteously and fairly
to collaborate confidently and creatively with the organisation. This
usually institutions and organisations (such as public galleries, regional
1.2. Contracts
initiative will not only provide artists and organisations with a clear
arts centres, publications, cultural institutions and so on) many of
•We will provide all artists with written agreements that are clear, fair,
and unambiguous statement of the level of service they can expect but
which are in receipt of public funds. Both Arts Councils on the island
and equitable
also includes a framework that allows us (VAI) to measure and improve
of Ireland properly require organisations in receipt of funds to operate
the quality of services provided and to report this publicly.
legally and to spend the taxpayers’ funds they have been provided with
• We will provide these written agreements in a timely manner 1.3. Fees
by the Councils on the activities for which they received the money. A
• We undertake, within the recognised constraints of arts funding, to
of organisations that will sign up for the Charter. Early adoption by key
significant percentage of the funds which these organisations expend
provide each artist with a fee that is commensurate with their
stakeholders is vital in this regard.
goes on payment to individuals. These payments are regulated by law
contribution to our programme.
(redundancy act, minimum notice act, etc) and / or by contract
• We will provide such fees in a timely manner
the publicly funded organisations that they work with. This is a living
(employment contracts or contracts for service). The key group of
1.4. Sales
document and may be adapted as issues arise over time.
participants who are not usually covered by these regulations are
• In the event of making a sale, we shall deal with both buyer and
artists. There are no set guidelines on this matter and thus even
artist in a fair manner, and ensure that monies received for works
Alex Davis is the VAI Advocacy Officer and Administrator at
publicly funded institutions may not always pay an artists’ fee for
sold, or placed under offer, are provided to the artist in a timely and
IVARO
exhibition. This is usually due to a lack of sufficient funding or a failure
correct manner as contained in the letter agreement between us and
The conduits used by artists to communicate with audiences are
Invariably, the success of the project will be shown by the number
VAI remains open to and interested in feedback from artists and
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32
The Visual Artists’ News Sheet
March – April 2012
PROFILE
Curating in a New Light
Marianne O'Kane Boal explains how she curated the wexford county council art collection in the contemporary setting of the new county buildings.
To curate the Wexford County Council Art
is designed to echo a streetscape, making it important
Collection in a contemporary setting, it was
to effect sensitive curation in this highly architectural
fundamental to view the overall exercise as a process.
zone. With the exception of a large Martin Gale
Nothing definitive could be written at the outset,
painting, Cooling Down, which announces the
nor could the views of the primary parties be
existence of the County Collection on entering the
forgotten. In this case the principal people to consult
building, the remainder of the artworks visible in
were the County Arts Officer, Sinead Redmond, the
the street area are located at the six reception areas,
architect of the new building, and voluntary group,
and in glazed meeting rooms, stairwells and
Friends of the County Wexford Art Collection. A
departments. There is a definite sense of an art
series of meetings were conducted where all parties
collection on this level, but one that unfolds
and their stated interests were addressed as part of
gradually rather than announcing itself dramatically.
the curatorial vision. This method ensured a more
Artists such as Eithne Jordan, Eamonn Carter, Neil
cohesive and well-informed style of presentation,
Shawcross, Liam Belton, Gerard Dillon, Peter Killeen,
one guaranteed longevity yet distinguished by the
and Sandra Bell are included. The street features a
curator’s individual technique.
loan of 10 artworks from AIB Group including Tony
The word ‘curation’ comes from the Latin
O’Malley, Ronnie Hughes, Rita Wobbe, Siobhan
‘curare’ / ‘to care for’, and this immediately suggests
Piercy, Stephen Vaughan, Cecily Brennan, Margaret
the notion of ‘looking after’ a collection. While this
Morrison, David Lilburn, and Kate Wilson. A small
is part of the role, the curator must also care for the
selection of sculptures act as a perfect final
process of discussion and negotiation that should be
complement to the streetscape.
effected when determining placement of a municipal
Areas of the building lend themselves perfectly
collection. In a functioning building where art is
to the display of art, and showcases of artworks have
important but not the raison d’etre, the curator must
been enabled through the creation of two gallery
also care for the staff and their utilisation of the
spaces. Gallery 1 is figurative and contains 36
space. Finally, there must be care shown to the
artworks including Robert Ryan, Michael Canning,
artists represented, the general public, and the
Colin Davidson, Brian Ballard, Reiltin Murphy,
residents of the county to which the collection
Kathleen Delaney, Charles Brady, Robert Armstrong,
belongs.
Martin Gale, and Keith Wilson. (Gallery 1 includes
A revised and revitalised context brings
the subsidiary photography space adjoining the staff
attendant new possibilities for viewing and
restaurant that features 12 artworks.) Gallery 2 is an
interpretation. In this case, the settings could not be
abstract gallery and contains key works from the
more different: an early nineteenth-century county
collection including Mary Swanzy, Helen Gaynor,
hall is replaced by a cutting edge, twenty-first-
John Shinnors, Rowan Gillespie, Janet Pierce, Arthur
century minimalist building. While it was always a
Armstrong, Terry Dunne, Mark Francis, and John
pleasure to see art on the walls of the former,
Noel Smith. There is strong representation of
hanging potential was limited and wall-mounted
photographic works in the collection including
up-lighters did little to illuminate the art on display.
Mary Ruth Walsh, John Cullen, Megan O’Beirne and
Thus, a new home for the art collection, and the
Sarah Horgan. Artists’ books by Derek O’Sullivan,
possibility of hanging all the artworks in a central
Sue Cunliffe and Sandra Turley are presented on
location, has been welcomed. Furthermore, the
plinths in the galleries. While municipal collections
architects of the new County Buildings have been
are attached to many of Ireland’s local authorities,
mindful of the potential of art to enhance the
the setting for Wexford’s is unique, and enables
workplace, and thus the design and format of
optimum presentation. With daily tours planned
interior spaces is for the most part perfectly suited to
soon, the collection is noteworthy, accessible and
this purpose. This includes two generous gallery-
deserves attention.
style spaces for focused display.
Rowan Gillespie, In Awe, 2001
Wexford County Council’s Art Collection
Marianne O'Kane Boal is Curator of Wexford
began in 1995 with a purchasing panel. Now, 16
County Council Art Collection and previously
years on, it increases gradually through loans and
authored a Strategic Review of the Collection in
bequests, which are vetted by the Arts Department
2008. She is a writer on art and architecture and
in consultation with the Friends of the County Art
contributes regularly to the VAN, Irish Arts
Collection. Approximately 150 artworks have been
Review,
placed in the new County Buildings, intended to
Architecture Ireland.
Perspective,
Living
Design
and
provide a fitting alternative to a municipal gallery for the people of Wexford. Overall, curation has
Wexford County Council aim to run regular
been informed by a number of factors. Strategic
tours of the collection and school visits in the
placement of the collection within the building is
near future.
focused principally on public and semi-public areas, while ensuring offices and meeting rooms are not neglected. Where possible, there are themed or medium-based displays in some public areas such as planning, which features artworks that signal its architectural remit. The main circulation space in the building has been named ‘the street’ and this is curated in a manner that defers to the architecture. Composed Galleries 1 and 2, Wexford County Council Art Collection, 2011
primarily of limestone walls and floors, the interior
The Visual Artists’ News sheet
March – April 2012
33 ART IN PUblIC
VAI REGIONAl CONTACT
Regional Contact
Art in Public
The West Aideen barry
PUblIC ART COMMISSIONS; SITE-SPECIFIC WORKS; SOCIAllY ll -ENGAGED llY PRACTICES; AND VARIOUS OThER FORMS OF 'ART OUTSIDE ThE GAllERY.' ERY ERY.'
Graduate Awards fOR this season’s article I went in search of information about a number of awards that are offered to artists emerging straight from the cradle of art college or graduate courses. This proved to be an interesting survey that shows up a number of crucial fluctuations between each county surveyed. Sligo has had a great reputation regarding support for new artists. The John O’Leary award, given to a graduate of Sligo Institute of technology’s Fine Art Department, was instigated by the family of the late John O’Leary and with the support of the Sligo Arts Office, and has been running since 2008. The award initially offered a prize fund of up to ˆ 3,000 to the graduating artist, followed by an exhibition which used to be facilitated by the Sligo Art Gallery (before it closed in 2010) and then later facilitated by the Sligo Arts Office in an alternative location. This award was run annually but, due to financial pressures, was later revised to run bi-annually, alternating with the prestigious Fred Conlon Award, which was open to national and international graduates, as well as those within Sligo, and was again facilitated by Sligo Arts Office in partnership with the Leitrim Sculpture Centre. This year, Japanese artist Shirom Asuyama received the residency award and will show in April at the Leitrim Sculpture Centre. However, Public Arts Officer Mary McDonagh highlighted the extreme pressure that the local authority is under with regards to budget this coming year; a review of both awards is likely to be undertaken. This is unfortunate, as arts office support for these graduate and residency awards has led to significant projects by the likes of David Beattie in 2009, Caoimhe Kilfeather in 2011, and emerging artist Marilyn Gaffney, winner of the John O’Leary Prize in 2008. Artists based in Roscommon, currently without an arts officer, may feel hard done by reading this article, but some positive news has just come to light. Speaking to Richie Farrell from the Library servies section of Roscommon County Council, I am pleased to announce that there is movement towards the appointment of an arts officer. In addition to this, a new draft County Arts Plan is scheduled to be drawn up later this year and Roscommon County Council will be looking for feedback from stakeholders in the county. Some of the crucial issues to highlight in relation to this plan will be the role that RCC will play in supporting graduate and emerging artists both from and working in the county. Currently, the arts office provides no support to graduates of third level institutions but does provide individual bursary awards on an annual basis, through an open submission procedure. One major factor in this is the absence of a third level institution in the county. Roscommon does not have an art college or technical institute, and many students choose to undertake courses in AIT (Co. Westmeath), GMIT (Galway or Mayo), or further a field. Perhaps this is an issue to address with the drafting of the arts plan this year. Leitrim is in a similar boat, possessing no local graduating art students. However, it does provide for returning graduates through professional development courses and awards (the Fred Conlon for example), facilitated through the Dock and the Leitrim Sculpture Centre. Leitrim Sculpture Centre itself is an excellent educational facility and perhaps, in time, may look for accreditation from FETAC or HETAC for some of the courses run at the centre.
Ennistymon Arts Centre, which is funded by the Clare Arts Office, supports graduates of the local FETAC course by showcasing their work annually. In the past, Clare Arts Office was able to offer artists interested in pursuing a Master’s degree from the Burren College of Art an educational award towards the cost of the postgraduate programme. Artist Marie Connole received the award in 2005. However, again due to budget restraints, the award had to be terminated in 2008. This is regrettable, but Clare Arts Officer, Siobhan Mulcahy, emphasised that the arts office does aim to support emerging artists through their ongoing individual artist bursaries and the Tyrone Guthrie Award, which is advertised annually. Ennistymon Court House Gallery and Studios are also hoping to offer some kind of support through their exhibition programme in the near future, directed at graduating artists from the three main colleges in the west of Ireland: GMIT, the Burren College of Art, and Limerick School of Art. So watch this space! Galway offers a number of opportunities for the recently conferred student. A new award was just launched by Aras Eanna, in collaboration with the Sculpture and Combined Media course at Limerick School of Art and Design. A graduating student will receive a residency and exhibition award in June of this year, with the residency launching in August. These awards offer the student a real chance to making a start in their career, carving out a period of time for reflection post degree, and the supportive structure that enables the artist to contemplate making work outside of the institution. Galway Arts Centre (GAC), through its support from both City and County Councils, has made a commitment to supporting graduates of GMIT. GAC is not in a position to offer financial support but the Visual Art Officer, Maeve Mulrennan, facilitates studio residencies in the building each year for some graduates of the college. GMIT also provides its own awards to graduating artists. The Sculpture Department, for example, offers two awards each year, the Walsh Waste Award and the Hewlett Packard Award, which have both been running for over 10 years. The recipient receives a financial bursary, while the college increases its connection with local businesses in the city – a mutually beneficial arrangement that increases the visibility of the institution and its philanthropic benefactor. Clearly, financial pressures appear to have had a major effect on the continuation of graduate awards. In Mayo, the Liam Walsh Award has been temporarily suspended due to financial constraints. Mayo County Council are attempting, however, to direct other funding towards supporting emerging art in the county. The recent Landmark Public Art programme, for example, offered awards two emerging art awards. There are currently no plans for this to become a reoccurring prize, but Mayo, like all the counties surveyed, does offer financial and creative assistance through regular individual artist bursaries. Information on these awards can be found on your local authority websites or by calling your local arts office. In addition to this I will be running a number of VAI info Clinics in your area soon. VAI Info clinics will be run in Sligo (location and date to be confirmed) in April of this year, and in Clare in the Ennistymon Courthouse Gallery on the 4 May 2012. Further details will be announced through the ebulletin.
Nicholas St, as a lasting legacy to the lives and stories of all the people who have lived there. The book is a history of the last one hundred years as told through the memories of people who live or have lived in a small corner of the Liberties in Dublin 8. The book was launch on 30 November 2011 at DCC's Wood Quay office.
A HOME IN THE WORlD AT
www.chrisreidartist.com
SUBURBAN ART TRAIl Title: Suburban Art Trail Artist: Mary Burke Location: Tallaght Commissioner: Tallaght Community Arts
Title: At Home in the World Artist: Ceara Conway Location: Killane Drive Estate, Edenderry Commissioner: Offally County Council Budget: ˆ 24,000 Commission Type: Per Cent for Art Scheme
Description: The Suburban Art Trail was the second part of a two part collaboration between Mary Burke and Tallaght Community Arts which took part in Jobstown West Tallaght. The artist explains: "Generally the gallery space is a neutral white box, which isolates the work from the distraction of other surroundings. However when an exhibition concludes sold work goes into peoples homes or offices and become part of peoples’ everyday lives. Art in public spaces and in private houses can reach a wider audience that would ever visit a gallery so the work continues to receive new viewers all the time." http://www.maryburke-visualart.com
Partners: Edenderry CDP Unveiled: September 2011 Description: The artist explains: "Killane Drive in EdenDerry is a new housing estate with a high percentage of single parent families and young children. I proposed an open collaborative process and wanted to work in partnership with the residents, creating a work that would address some of their needs: creating a sense of community, a meeting space. The idea for the bird houses and meeting area arose from residents mentioning the lack of birds because the estate was so new and without trees. The installation is comprised of 29 sculptures that act as birdhouses and light up at night. 35 trees were planted by the residents and five seats were incorporated. Throughout the project I became interested in what it means and takes to 'become' a community and the pressures that people sometimes feel while aiming to create it."
BUTTER CHURN Title: IKEA Butter Churn Artist: Gareth Kennedy Location: Gneevaguilla, Kerry Commissioner: Kerry County Council Budget: ˆ 22,500 Commission Type: Per Cent for Art Scheme Unveiled: March 2012 Description: Local craftsmen were invited by the artist to help model two IKEA tables into a butter churn and a firkin, celebrating local lore surrounding the production of butter. Inhabitants of Gneevaguilla helped churn a giant pat of butter which was ceremonially buried, to be transformed into 'bog butter' , as a form of 'invented tradition'. http://www.gkennedy.info
HEIRlOOMS AND HAND ME DOWNS Chris Reid's installation and book project is the product of a wider public art commission by Dublin City Council. Reid recorded the stories of residents within the Dublin 8 area, and immortalized them in the form of 20 heritage plaques, cast in bronze and affixed to the external walls of the flat complex on
BlUE TREE Title: Blue Tree Artist: Una Ní Shé Location: Mitchelstown, County Cork Commissioner: Cork County Council Budget: ˆ 5000 Unveiled: December 2011 Description: Several business units were made into one large space for use as a public library, leaving wide glass door spaces partly below floor level. The artwork is intended to enliven these spaces and to give some sense of enclosure and privacy to the library itself. Sources of ideas for the window panels were favourite children's books and changing seasons expressed through images such as a dark dreamy music tree or a bold sky blue tree on a semitransparent ground. The artist's 3D felt tree is bound with super-real mixed fruit and flowers. There is also an 'empty' tree to hold children's artwork.
34
The Visual Artists’ News Sheet
March – April 2012
INTERVIEW
book publishing, and she had many, many of these films. She used this material, along with her mother’s diaries. Her mother suffered from depression and spent much time away from home while undergoing treatment. So when Marazzi was very young she never saw her mother up until her suicide, and never really knew her until she made this film. So the film was very important for her. I know that people are often highly critical of art that is based on autobiography, but I think that when the story is strong, the work is too. She herself said, in the film, that nostalgia is important in order to go on. One of the artists, Moira Ricci, has been making a similar work. She is making a series about her mother, who died in a really tragic way. She puts herself in old photographs of her mother, including those taken when her mother was a child. She adopts the pictorial styles and the dress of the time, and they produce a strong sense of presence. Over the last 10 years in Italy – perhaps in other countries too – work has been done on many archives of similar personal records. I worked on a project about family photography; a lot of really private material came to our archive, including home movies, for ‘Movies in Bologna’. Artists have also been using personal memories, probably because there is a social crisis, and making work that tells powerful Moira Ricci, Gemellini, 2004–09, lambda print on aluminium
stories. CD: It seems to me that most, if not all, of the work, can be described loosely as montage. There’s a lot of clashing of opposites in form and in content. MP: I don’t entirely agree with you Colin. Montage is certainly present, you are right, but I don't think there is a lot of "clashing of opposites". All the works are very different, first of all in the media used, and this is something I really like about this show. There’s painting, etching, video animation, installation. They are very different artists. In Ricci’s work there is the montage of present and past. In Scaccia there is a concrete montage of many, many, many drawings she’s made
Emiliano Maggi, Savage Cry Blood, 2011
Alessandro Rosa, Patria Interiore, 2012, video projection on model
– with the intention of being a male, or a female, or trying to become someone with no gender. Alessandro Rosa has made a video projection
Collective Memory
based on a model of our brain, explaining the scientific basis of our emotions that start from the sense of smell, and are explored through
COLIN DARKE TALKS TO CURATOR MANUELA PACELLA, ALONG WITH ARTIST ILARIA LOQUENZI, ABOUT An upcoming GROUP EXHIBITION AT GOLDEN THREAD GALLERY, featuring artists from italy.
a scientific examination of the relevant part of the brain. Emiliano’s is one of the most difficult works to explain because it needs to be seen in the gallery. Its title is Savage Cry Blood. It is a wax sculpture of two hands in a Native American gesture, meaning ‘salvation’, referring to a long period of suffering. It is placed in a black wooden parallelepiped
Colin Darke: How did the ‘Patria Interiore’ / ‘Inner Homeland’
MP: I put together these eight young artists because the majority
with a prismatic base and mirrors inside, a hole for viewing, sound, and
show come about?
of them have already, and continue to, work with ideas of memory.
a strobe light. It’s really a montage installation of many, many things.
I myself, as curator, have considered this in recent years, so once I
Cannistrà makes work on canvas, making images of forests by using
Manuela Pacella: In a way, it came about through a personal
decided on the theme, it was really simple for me to choose them. Moira
smoke, but sometimes becoming abstract, partly due to the process,
contact, as one of the artists, Ilaria Loquenzi, had already worked in
Ricci works directly with memory, and Stefano Minzi, Beatrice Scaccia,
which demands working upside-down. It’s all about his memory, but
the past with Golden Thread director Peter Richards, and with artist
and Luana Perilli do so in much of their work, so selecting them was
not really montage, no. Perilli’s work, yes, it’s video with stop-motion,
Brian Kennedy, who had shown in the Rialtosantambrogio in Rome.
straightforward – the others less so.
with pictures made in a school, but again not montage.
Following this first contact they asked me to put together a show of
Alessandro Rosa considers linguistic codex, so asking him to work
young artists. At the beginning my intention was to involve artists of
with nostalgia or ‘inner homeland’ threw him into crisis, but the way
CD: Even the ones that aren’t specifically montages, in a way
all ages, and to look also for younger artists from academies, but, as time
he crossed this obstacle is beautiful, his style and his scientific way
they are because they incorporate disparate elements. For
was short, I decided to choose these eight artists whose work fitted the
of resolving problems. So his will be the most conceptual, the most
example, with Cannistrà, portraying a forest with smoke is a
theme I’d chosen. So most of them are from Rome, with the exception
scientific work in the show. Ilaria Loquenzi works on the theme of
contradiction.
of Moira Ricci, who’s from Tuscany.
collective memory more than of intimate memory. Usually she prefers working with people and making public art. She’s also very interested
MP: Yes, you’re right. But for me painting a forest with smoke is not a
Ilaria Loquenzi: The show at the Golden Thread Gallery was born,
in nature – nature as part of us – so her project is about the trees of
contradiction. The idea of combustion, resulting from the use of smoke,
yes, from a personal contact, but more importantly, I think, is that the
Rome, urban trees, considered as part of our early memories. Alessandro
is closely connected with the idea of the forest. Or rather, it is closely
artistic situation in Ireland is much better, more organised than in Italy.
Cannistrà is a painter whose landscapes are always a memory, not a
connected with the death of the forests and with the beginning of
Peter Richards, Golden Thread Gallery, and Ireland in general, are open
reflection of immediate reality. Emiliano Maggi has a strong interest in
nostalgia.
to new experiences. From my experience 10 years ago, when we made
the animal side of us and with the animal world. So, in different ways,
an exhibition together, I loved the energy that comes from Irish artists,
all the work relates to the theme.
Irish institutions and, especially, from the Golden Thread Gallery.
was a surprise for me. Their work is very different and it’s these CD: You’ve talked already about the theme of memory, but can
MP: Yes, I felt that too, and we are all very excited about this – not only
For me the theme of the show is strength, and most of the artists feel that too. Most of them are making new work for the show, which oppositions that are very strong.
you explain how you arrived at this?
because it’s in a foreign country, but because it’s Belfast. I have to say, it’s
Colin Darke is an artist and writer based in Belfast. He has exhibited
not the usual place for Italian art to go, but the art we saw on our recent
MP: The theme came from Proust, from À la recherche du temps perdu
internationally and written for various publications, including
visit was really, really alive. The artists are very much looking forward
/ In Search of Lost Time or Remembrance of Things Past (1913–1927) and
Circa and Source. Currently, he is the ACNI Fellow at the British
to seeing Belfast. They want to come to see their show and the local art,
involuntary memory, as Proust defined it. The title of the show is from
School in Rome.
but also to experience the atmosphere. This is such a contrast for us,
The Prisoner (one of the books of recherche). Involuntary memories are,
because here it’s really difficult to find such a place and also to find, for
for Proust, the secret of life: memories that reveal themselves through
Manuela Pacella is an art and photography historian, curator, and
a show like this, a gallery that will sustain us.
senses like smelling, tasting, or touching things that transport you to a
researcher at the Quadriennalle Foundation in Rome.
precise moment in the past. CD: In formal terms, the eight artists work very differently. How and why did you put them together?
From there it became important for me to consider the film by Alina Marazzi called Un’ora sola ti vorrei / For One More Hour With You (2002). This was the first film in Italy that incorporated family home movies. Alina Marazzi is from a very rich, important family involved in
Ilaria is an artist based in Rome. She also works for STALKagency studio of architecture.
The Visual Artists’ News Sheet
March – April 2012
Residency profile
Cardboard Cities
35
The LAB Foley Street Dublin 1 T: 01 2225455 E: artsoffice@dublincity.ie www.thelab.ie
Anna wnuk discusses sinead b cashell's project 'cardboard cities', completed during her residency in poznan, poland.
CATHERINE DELANEY
15 March – 21 April
A Symposium on Live Performance from the Visual Arts Friday 9 March
Curated by Amanda Coogan and Sheena Barrett for International Women's Day.
Sinead B Cashell, In the Kitchen, 'Cardboard Cities', 2011
Sinead B Cashell, 'Cardboard Cities' workshop, 2011
Sinead B Cashell, 'Cardboard Cities' workshop, 2011
To In November 2011, Sinead B Cashell, the
architects, inhabitants, and children. It also seemed
Belfast-based artist, took part in the International
to be an attempt at activating and empowering
Artist in Residence Programme (MPRA) in Poznan,
those who are usually passive and without power, to
Poland. MPRA aims at creating a platform for
change their environment. In Cashell’s exhibition,
dialogue and exchange of experience across
the artist has given voice to the visitors, letting them
geographic boundaries, as well as boundaries of
re-create the exhibition space, which was open to
culture, science, and various artistic disciplines.
the actions of the public.
Collaborating with numerous local organisations,
The ‘Cardboard City’ of Poznan included a pink
MPRA creates space for collaboration and joint
‘House of Gucci’ made by scouts, the ‘Monkey-
education through workshops, encounters and
House’, a small car park, detailed domestic rooms,
seminars. The programme is open to artists,
market stalls, and even a minaret. During the
educators, curators, and art managers.
children’s workshops, the construction of this
Cashell’s’s practice is mainly concerned with
ephemeral city was enriched by a number of small
investigating urban areas of Belfast, but she also
houses – the result of their creativity and specific
exhibits abroad, and has participated in a series of
point of view, which enabled them to create places
residences, workshops, and other projects in Canada,
free from common regulations and clichés.
Chile, China, and Iceland.
The final exhibition reflected the city around
Working in many different areas and media forms
(interactive
installations,
us, but also seemed to be the dream of a future city,
drawing,
and brought local concerns to the surface, for
performance) Cashell creates site-specific projects
example the ‘Bridge of Tolerance’ and the huge
that reflect her current environment. Through
block of flats with graffiti demanding “No to
playful interventions, she explores the impact of
container homes”. The artwork considered the
habits and everyday routine on our way of perceiving,
complexity of urbanity and played with our
thinking, and experiencing. Plundering the city’s
common compliance, questioning the space, the
streets, markets and plazas, she puts people into
place of dwelling, and the city itself – demonstrating
astonishing situations that generate new responses
that the public space is shifting, uncertain and more
to the social context.
about dispute that we might think.
During her November residency in Poznan, Poland, Sinead carried out the ‘Cardboard Cities’
Anna Wnuk holds a MA from Adam Mickiewicz
project, which consisted of an interactive exhibition
University in Poznan, Poland, where she is now
and a number of workshops for art students,
working for the Nastawnia Association on their
children, and families. Through the use of simple
International Artist in Residence Programme.
materials such as wood, paper, cardboard, plastic
Sheisinterestedin cross-culturalcommunication,
wrap, paints etc, the project offered an opportunity
psychology of the city and urban culture.
for collaborative city building, by constructing and re-shaping small architectural elements.
Sinead B Cashell is an artist based in Dublin. She
‘Cardboard Cities’ endeavoured to show how
has completed several international residencies
the nature of space changes through its use by
and exhibited recently at the Golden Thread
different people, specifically artists, designers,
Gallery, Belfast .
Labour Saturday 10 March
A live touring showcase of 11 Irish women performance artists curated by Amanda Coogan, Chrissie Cadman, and Helena Walsh. Featuring: Pauline Cummins, Ann Maria Healy, Frances Mezzeti, Aine O'Dwyer, Aine Phillips, Elvira Santa Maria Torres, Ann Quail, and the curators.
N O VA Presented by Bernard Clarke Sundays, 9pm to 10pm
anywhere here... Minimalism
Avant Garde
Experimental Expressionism Serialism
Postmodernism
Electronic Ne0classicism Atonality
Indeterminacy
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Photography from the Bank of America Collection
22 February – 20 May 2012 Irish Museum of Modern Art – New Galleries Military Road, Kilmainham, Dublin 8 t +353 1 6129900 e info@IMMA.ie w www.IMMA.ie www.twitter.com/IMMAIreland Meridel Rubenstein, Donaldo Valdez, El guique, ’49 Chevy from “The Lowriders, Portraits from New Mexico,” 1980, Colour coupler print, 35.6 x 43.2 cm, @ Meridel Rubenstein
BRIAN DUGGAN
19TH MARCH TO 28TH APRIL | RUA RED, GALLERY 1
RUA RED SOUTH DUBLIN ARTS CENTRE TALLAGHT, DUBLIN 24
The Dock, St George’s Terrace, Carrick on Shannon, Co Leitrim. Email: info@thedock.ie Website: www.thedock.ie Tel: +353(0)71 9650828 www.facebook.com/thedockartscentre or follow us on www.twitter.com/thedockarts
Ruby Wallace Moving Stills
Poly Tunnel 2012 Ruby Wallace
Joe Hanly One of Its Legs is Both the Same
Opening Friday 13th April running until Saturday 2nd June 2012 Choreography Joe Hanly 2011
01 451 5860 INFO@RUARED.IE WWW.RUARED.IE
All forms of Metalwork and Sculpture commissions undertaken
Bronze Foundry New works recently finished at the foundry
Paddy Campbell Lar na Pairc
Chris Wilson Oceans Edge
CAST BRONZE FOUNDRY Located in the Liberties area of Dublin, we provide a total sculpture service to artists and commissioning bodies. We pride ourselves in providing a comfortable, welcoming working environment. Our multi-skilled team brings personalised attention to every bronze casting project.
Cast Ltd, 1a South Brown St, Dublin 8. www.cast.ie info@cast.ie Tel: +353 (0) 1 453 0133 Contact Leo or Ray for your next project
Fire Station Sculpture Workshop Residency and Bursary
Arts Council of Northern Ireland Developing the arts in Northern Ireland
2 sculpture workshop residencies starting in July 2012 with a bursary of €500 each. This residency is for 4-6 months and the artists will have full access to the sculpture workshop, part time workshop manager and workshop equipment.
Arts Council of Northern Ireland, MacNeice House, 77 Malone Road, Belfast BT9 6AQ. T: +44 (28) 9038 5200. W: www.artscouncil-ni.org. E: info@artscouncil-ni.org
Image: Brendan Jamison, Green JCB bucket with holes. Arts Council Collection
Fire Station Digital Media Residencies 4/6 digital media residencies from July 2012 (up to four months each), with access to the Resource Centre, technical support and high end digital equipment. Note: these awards are non-residential
— Closing date for applications: Thursday 26th April 2012, 3pm
Full details on these opportunities: www.firestation.ie Email / artadmin@firestation.ie Phone / +353 1 8069010