Visual Artists' News Sheet - 2012 March April

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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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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. Regional Contacts. Visual Artists Ireland's regional contacts report from the field.

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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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35. Residency Profile. Cardboard Cities. Anna Wnuk profiles Sinead B Cashell's residency in Poland

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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

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The Visual Artists’ News Sheet

March – April 2012

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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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Adapt Galway is a coalition of visual arts organisations. These groups are working together to create a united vision for the visual arts in Galway. www.adaptgalway.com

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

Nova is about new composers, new trends and new audiences; chronicling what’s radical and what’s conservative, who’s established and who’s in the avant garde. A blend of contemporary classical, electronic, experimental and more. Featuring composer interviews and profiles, Irish works and concerts from home and abroad.

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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