The Visual Artists’ News Sheet ISSUE 6 2010 November – December Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire
A volunteer standing on Populloss 3 in the Depaul tent at Electric Picnic 2010. The work was made by artist Alan Mongey in collaboration with Depaul service users.
Culture Action Europe – the umbrella advocacy organisation for the arts and culture in Europe has launched the large-scale campaign we are more. we are more seeks to mobilise arts and culture players; along with everyone else who cares about culture in Europe. The campaign, which will run until 2013, calls on European decision-makers to strengthen the recognition of the role of arts and culture in the development of our European societies, by explicitly supporting culture in the upcoming EU political negotiations on the 2014 2020 budget. we are more’s campaign objectives focus on improving the quality and quantity of support that the sector receives from 2 key EU policies (the Culture Programme and the EU cohesion policy). The aim is thus to increase support for cultural activities that will affect all European inhabitants and stimulate their participation in and enjoyment of the arts in the next ten years, whether at local, regional, national or European level. www.wearemore.eu
Northern Ireland Arts At Risk list (2011 – 2015) VULNERABLE 350 Performances 70,000 people with no performance to attend ENDANGERED 80 Exhibitions 60,000 people with no exhibition to attend
CRITICAL 15-20 Organisations 100 jobs EXTINCT Opportunity, Careers, New Talent Northern ireland’s artistic reputation
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The Visual Artists’ News Sheet
Contents
Introduction
Introduction
November – December 2010
Contents 5. Roundup. Recent exhibitions and projects of note. 5. Column. Mark Fisher. Speculative Realism.
Welcome to the November – December edition of the Visual Artists News Sheet.
5. Column. Andrew Dodds. Knowing when to stop. This issue opens with a double-page spread of urgent information notices about important campaigns for the arts. All artists should support and inform themselves about these campaigns, in order to ensure that the arts remain valued with the upcoming government budgetary decisions being taken in Ireland, the UK and in Europe. Detailed information on all the campaigns can be found in the first items in this editions news section. Visual Artists Ireland is also stressing very strongly the importance of being a member of our organisation. Simply put, the bigger and more diverse our membership, the stronger voice we will have for lobbying for the visual arts. The VAI membership application form can be found at the bottom of this page. In terms of the content of this issue, we present the usual array of features and profiles that demonstrate exactly the kind of creative ingenuity and talent that should be nurtured and sustained as part if a holistic approach to social and economic recovery across Ireland.
5. Column. Jonathan Carroll. Being Stalked by Francis McKee. 5. Column. Chris Fite-Wassilak.The Balance of History. 9. News. The latest developments in the arts sector. 11. Regional Profile. Visual arts resources and activity in Derry. 14. Profile. No Picnic. Seán O Sullivan profiles 'Life’s No Picnic on the Streets', a collaborative art project
15. Profile. Debunking Elitism. Stephen Doyle discusses his project ‘The Great Belfast Art Hunt’ 16. Art in Public. Sites of Becoming. Bryonie Reid discusses ‘Fields of Vision’, a project initiated by the Leitrim
large-scale permanent commissions and more temporary site-specific work.
18. Profile. An Evolving Showcase. Joan Healy reports on ‘An Instructional’ a touring exhibition project
initiated by the artist-led organisation MART.
19. Profile. The Discaplined Sharing of Knowledge. Emilio Largo profiles The Rossnaree School of Art. 21. Residency. Immersion in Space. Ella Burke, recipient of the IADT / IMOCA Graduate award discusses her
The new edition of Printed Project will be published in November. Curated / edited by Lytle Shaw the issue is focussed on the subject of art and writing; including the emergence of conceptual poetry and the visual artists engagement with text. A launch / discussion event for the issue will take place at 2.00pm 11 December at the Goethe Institute, Dublin – organised as part of a series of discussion events on the subject of art and writing, organised by PhD researcher Fiona Fulham.
Sculpture Centre in 2008, from her perspective as a cultural geographer
17. How is it made? Origami, Hedgehogs & Kangaroos. Alex Pentek discusses the relationship between his
Details of our autumn / winter programme of professional development training workshops can be found on page 22. The workshops, devised and run in partnership with The National Sculpture Factory cover a range of essential topics including: documenting your work; preparing proposals, residencies, copyright, working with galleries along with a range peer critique sessions and master classes.
organised by volunteers from Depaul Ireland, hosted at The Electric Picnic, Co. Laois.
year long residency at The Irish Museum of Contemporary Art.
23. Opportunities. All the lastest grants, awards, exhibition calls and commissions. 27. How is it made? Collaborations in Music. Artist / Curator Mark Garry discusses two if his recent projects
involving visual arts collaborations and music.
28. Problems. The Problem Page. Our consierge / curator of agony responds to artworld dilemas. 28. Laughism. Laughism. Cartoons by Borislav Byrne.
Other upcoming VAI events include a series of discussions and gatherings, relating to our social and professional networking site for visual artists, www.thecommonroom.net. Further details will available soon on the VAI website and e-bulletin.
29. Residency. Jacks-of-all-Trades and other Talents. Finnish curator Laura Köönikkä discusses her residency
at Temple Bar Gallery and Studios.
31. Art in the Public Realm: Roundup. Recent public art commissions, site-specific works, socially
engaged practice and other forms of art outside the gallery.
32. Regional Perspectives. The VAI regional contacts report from the field. 33. Profile. Flourishing Alternatives. Curator Ciara Hickey profiles ‘Arrivals’ an exhibition of work by
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The Visual Artists’ News Sheet
5
November – December 2010
CoLuMN
Mark Fisher
Speculative Realism A the beginning of September, I spoke on a panel at an event, which set out to AT explore the connections between art and the philosophy of speculative realism.
RouNDuP
Roundup
hEARTBEATS @ cAKE
ExhIBITIoNS ExhIBITED
ThE moDERNS
Organised by Urbanomic, the publishers of the journal Collapse, and hosted by Tate Britain, the event entitled ‘The Real Thing’, featured the work of artists such as Amanda Beech and Mikko Canini and musicians like Florian Hecker and William Bennett. What is speculative realism, and why should it have interested
'Exhibitions' Project, Dublin.
artists and musicians?
‘Exhibitions’ at Project arts Centre, Dublin
Speculative realism comes out of Quentin Meillassoux’s short but explosive
presented the work of Martin Beck, Nina
book After Finitude Finitude, which provocatively rejects the commonplace in continental
Beier, Luca Frei, Sriwhana Spong and
philosophy that everything human beings can think about only exists “for-us”.
Pernille Kapper Williams (16 Sept – 13
The view that the objects of our cognition only exist “for-us” dates back to the
Nov). As the press release noted the show
philosophy of Immanuel Kant, who famously made a distinction between how
reflected upon the basic characteristics of
things appear to the human mind and how things are in themselves. Kant claimed that we could only know the world as it appears once it has been mediated through the structures of the mind; we can never know things as they
Miha Srutrukelj – work on show at CAKE Lucien Freud – work from 'The Moderns' IMMA
really are. In effect, Kant’s philosophy argues that the human mind is a kind of operating system; without the operating system, we would perceive and experience nothing. But since everything we do perceive and think depends upon the operating system, then we cannot legitimately say anything at all
Kelly who outlined that the installation of
whose existence long preceded the emergence of human beings. How can we
works throughout the space aimed to
make sense of a claim that this ancestral object only exists “for-us”? Meillassoux’s
dedicated to speculative realism, or on the internet, where speculative realism is proliferating and mutating at incredible speed. It should be easy to see why the themes of speculative realism would fascinate artists. In many ways, speculative realism ushers us back to an older moment in art, when, rather than being fixated on issues of text and mediation,
ZADoc NAVA
McCann. The show was curated by Noel
know the world as it appears to us is his example of the “arche-fossil”, a relic
whom published their work in Collapse or in Speculations, the new journal
www.project.ie
Mark Gubb, Miha Srutrukelj and Niamh
Meillassoux’s devastatingly simple rebuttal of the idea that we can only
to be called, have in turn inspired a whole range of younger theorists, some of
the gallery and theatres of the venue.
Ólafsson, Marie Voignier, Mark Clare, S
realists focus on things-in-themselves.
beyond human experience. The four initial “speculative realists”, as they came
listen in I hear my own heart beating’ (17
Fiona Mulholland, Libia Castro & Ólafur
philosophers have chosen to emphasise the intricacies of the “for-us”, speculative
Meillassoux calls “the Great Outdoors” – the world as it exists outside and
This showing of artist’s works utilised both
artists – Alan Phelan, Alina Abramov,
radically different from the world showed to us by our senses. If most of Kant’s
itself not with the linguistic and the socially constructed, but with what
season with the group exhibition ‘And if I
image works by Irish and international
enlightenment, the awareness that the world disclosed to us by science is
very different thinkers, but they all agree that philosophy ought to concern
which then co-exist with other artworks”.
pencil on paper drawings, and moving
– the first speculative realist. His philosophy registered the trauma of
the panel at the Tate event), Graham Harman and Ray Brassier. These are three
time, space and discourse into artworks
Camp, Co. Kildare commenced it new
installation, sculpture, wall drawings,
If Kant is what speculative realism repudiates, he is also – in a certain sense
state of much continental philosophy: Iain Hamilton Grant (who appeared on
context of production, condition of display,
Cake Contemporary Arts, The Curragh
Sept – 29 Oct 2010). The show featured
about what the world is like as it in itself.
book excited three other philosophers equally dissatisfied by the moribund
the medium of the gallery exhibition “a
Jasper Johns – from the Novak / o'Doherty Collection
A major exhibition examining the
“build up a sensation of movement through a contemporary city that is both physical and psychological with zones
development of modernity in 20th-century
that meld into each other in a cacophony
Ireland through the visual arts, architecture,
of life”.
literature, music, photograph and film is
As part of Culture Night (24 Sept),
now on show at the Irish Museum of
Cake screened Interference Interference, an experimental
Modern Art – 'The Moderns: The Arts in
documentary outlining the preparations
Ireland from the 1900s to the 1970s' (20
for the presentation of the works of Miha
October 2010 – 13 February). The show is
Strukelj at the Slovenian National Pavilion,
one of the most ambitious exhibitions ever
Venice Biennale of Contemporary Art
undertaken by the Museum, comprising
2009. www.cakecontemporaryarts.com
some 250 works by more than 180 artists, writers, film-makers, architects, designers
Zadoc Nava – work from 'Shadowlands'
Belfast exposed recently presented Zadoc Nava’s exhibition 'Shadowlands' (27 Aug – 8 Oct 2010). The show featured photographs taken on the streets of Tehran, alongside his short film House of Strength, on the subject of Persian martial arts. The press release noted that the show revealed “a glimpse of ordinary life on the streets of Tehran; the separate but parallel existence of men and women within Iranian society, the tension between modernity and tradition, and an atmosphere of disquiet and uncertainty”.
commoNAGE
www.blackdogonline.com www.belfastexposed.org
artists confronted the “Great Outdoors” of nature and the cosmos. Urbanomic
and composers. It presents the work of
acknowledged this with their re-captioning of the Tate Britain room Art and the
many of the 20th century’s leading creative
Sublime under the rubric The Real and the Sublime.
minds and constitutes the most extensive
GEoRGE ShAW
showing to date from IMMA’s own
Void Gallery, Derry presented ‘Looking for
Collection.
Baz, Shaz, Gaz and Daz’ (31 July – 3 Sept) an
My own example of a precursor of speculative realist ideas in art is the anamorphic distortions of Holbein’s The Ambassadors Ambassadors. Here, we famously see the two ambassadors, displaying all the symbols of wealth and power belonging to
As the press release notes "The
exhibition of new works by the painter
the human realm; but, at the bottom of the painting, we see what first appears
Moderns focuses on the innovative and the
George Shaw. As the press release noted
to be a bizarre stain, but which is revealed, when looked at a from a certain
experimental and employs a broad,
“Shaw’s work has a unique appearance as
angle, as a skull. Either we see the ordinary human world, or we see the skull –
interdisciplinary approach". The exhibition
the two cannot be made compatible, cannot be seen together. Amanda Beech’s
is jointly curated by Enrique Juncosa and
film The Sanity Assassin, which webbed together LA noir, Theodor Adorno and
Christina Kennedy, Head of Collections at
the work of Ray Brassier, implied a similar disjunction. “The sanity assassin” is
IMMA.
the Real itself, which cannot be contemplated without the disintegration of the
Also on show at IMMA is ‘Post-War
frames we use to make life liveable. “Life is a myth” went one of the sampled
American Art: The Novak / O’Doherty
slogans in Beech’s film, and this is the dark provocation behind Ray Brassier’s
Collection’ (8 Sept – 27 Feb). The exhibition
philosophy. What we call “life” is a work of vanitas covering over the Real =
features 76 artworks by leading American
Death, it suggests. Brassier’s book Nihil Unbound: Enlightenment and Extinction
post-war artists gifted to the IMMA
makes us confront the fact that a form of intelligence has emerged through
Collection by art historian Barbara Novak
human beings which is capable of contemplating, not only the death of individual organisms, not only the conditions for life as such, but the death of the sun and, ultimately, the disintegration of matter itself. Brassier’s thesis is devastating in its baldness: enlightenment entails nihilism, but a cool and sober nihilism utterly divorced from the febrile tone of nineteenth century nihilism. If this sounds bleak, there is also something invigorating about it. Brassier’s dead universe or Meillassoux’s arche-fossil – entities which it is simply impossible for us to experience – are as strangely exhilarating to contemplate as were the lifethreatening seascapes and volcanic eruptions which inspired the artists of the sublime.
Culturstruction – work from 'Commonage'
‘Commonage’ a project that took place across five locations in Callan, Kilkenny, invited artists and architects to undertake a “radical exploration of the built environment of a town that is unique yet familiar and whose stage has become a
his favoured medium is Humbrol enamel paints, more commonly used to paint Airfix models ... the 12 paintings shown in Looking for Baz, Shaz, Gaz and Daz, communicate a lost suburban era of nostalgic longing”. The exhibition was curated by Greg McCartney. www.derryvoid.com
fertile ground for contemplation and research”(31 July–8 August 2010). The
mARy ThERESA KEoWN mAR
project comprised newly commissioned
The Higher Bridges Gallery, Fermanagh.
work from Rhona Byrne, Gerry Cahill, Lisa
(23 July – 11 Aug) presented Mary Theresa
Cassidy, Culturstruction, The Good
Keown’s exhibition of new paintings
Hatchery, HURL Henrietta Williams and
Revisits. The show was described as “a
existing work from Gabriella Kiss, Dominic
body of work that has been revisited,
Lavelle and Katie Mangan, School of
recomposed, resurfaced ... the practice of
Architecture UCD. The sites utilised in
mimicking collaged images in paint,
‘Commonage’ included the former home
provides a base upon which Keown
Arnold Newman and Elise Asher are
of the Callan Co-op, the Augustinian lands
chooses to compose more mimicked
included in the exhibition.
and the riverbank.
images or abstract marks as a demonstration
and artist Brian O’Doherty / Patrick Ireland, in association with the American Ireland Fund. Works by Joseph Cornell, Dan Graham, Jasper Johns, Roy Lichtenstein, Robert
Rauschenberg,
Christo,
Mel
Bochner, William Scharf, Peter Hutchinson, Les Levine, Sonja Sekula, John Coplans,
www.imma.ie
www.commonagecallan.com
of her process”.
6
Column
Andrew Dodds
The Visual Artists’ News Sheet
Roundup Bernadette Kiely
the public can drop in and be sure to
Budgie Butlins
experience art that will challenge, excite or
Knowing when to stop. There is a familiar artist’s cliché most often associated with abstract painters of the modern period. Usually vocalised as ‘knowing when to stop’, what is implied is that the artist alone has the capacity, possibly mysterious, to avoid the overworked and channel the ‘just so’ of a piece. One brush stroke too many or one impasto daub too far and the work would lose its aesthetic and ‘spiritual’ coherence. In contemporary, critical practices where audience participation, dialogue, collaboration and the temporary are to the fore, this phrase is rarely heard and has Belfast Corn Mark. Circa 1980. perhaps gone the way of those other Image from the book It Makes You Want to Spit outré artistic ‘signifiers’, the cravat Sean O’Neill & Guy Trelford. 2003. and beret. I was reminded of ‘knowing when to stop’ during a series of recent visits to Belfast city centre. When visiting a city sporadically (especially the one where you grew up and relate to intimately) the burgeoning infrastructures of a society under regeneration can be glimpsed from a privileged vantage point, as if from afar. However, this ‘time-lapse’ perspective can also lead to misconceptions about what is actually taking place. Last summer, sitting in a cafe overlooking Corn Market, I noticed a new public structure had been installed in the square. The large, circular, stone platform – durable but beautifully constructed – was being used as a stage by groups of young people who took turns to dance for each other. For that brief moment I understood the work to be a kind of social sculpture, perhaps drawing inspiration from the recent history of Corn Market as a gathering place for the city’s counter-cultural youth, inaugurated by punks in the late 1970s (1) . The bandstand, the precursor of today’s structure, continued as a regular meeting point for those who rejected the binary sectarianism of the Troubles and, happy in the city centre’s neutral ground, preferred alcohol-fuelled chats about music, not religious difference. Now undergoing extensive regeneration the Corn Market area is home to Belfast’s newest, glossiest mall – Victoria Square. The impromptu performances on the ‘stage’ seemed to reflect both a link to the sites past use and read as a bold, forward-thinking gesture within spitting distance of the new retail development. In The Tourist Gaze John Urry notes the role, played by “privately owned and controlled consumption spaces” such as malls in “the changing nature of public space in contemporary societies” with particular regard to ‘exclusion’ (2). Urry describes the symbiotic relationship between the malls and counter-cultural youths: “young people with little intention to buy invaded the malls [and] consumed images and space instead of commodities.” (3) “The positive pleasure of offending ‘real’ consumers and the gents of law and order, of asserting their difference within, and different use of, the cathedral of consumerism became an oppositional cultural practice.” (4) So, was the ‘stage’ in Corn Market a very public sign of a maturing, tolerant culture that acknowledges and accommodates the marginal and oppositional in society? A little online research revealed the structure to be a plinth for a forthcoming public sculpture (5). Leaving the cafe to take a closer look I could read the title of the impending artwork, The Spirit of Belfast, laid in metal into the stone base. On a return visit some weeks after my initial, optimistic encounter the stainless steel, abstract sculpture had been installed, restricting access to the plinth. It was then I was reminded of the abstract painters’ introspective cliché. And yet, we might salvage something positive from this inherently claustrophobic artistic method and apply it to the current debates about permanent public art, its audience and the complicity of artists in regeneration agendas (6). ‘Knowing when to stop’ embodies the importance of process, indicating the artist does not begin with a predetermined outcome in mind. Ideally, the finished piece is the product of research, its environment and of the moment – a result of chance and myriad, accumulated decisions up to the point at which it is deemed ‘finished’. The commissioners of these public works often cite a ‘period of public consultation’ during the early stages of major projects as evidence of their relation to community and place. What if this consultation period had been extended into the build phase? (a passing visit on a Saturday afternoon would have revealed the collective, celebratory uses of the empty plinth). The city might now have a piece of public art representative of the sites recent, civic history and a public pavilion for a new generation But if we, the public, are involved in guiding the processes from commissioning to completion, perhaps the outcome will be a public art which celebrates the moments to come, not merely monuments to those which have passed. Notes (1) Sean O’Neill & Guy Trelford It Makes You Want to Spit, Reekus Music, 2003, in particular, Henry McDonald, Escape from Spidermen p112–113 (2) John Urry, The Tourist Gaze, SAGE Publications, 2006, p134 (3) ibid, p135 (4) ibid, p135, Urry quoting Fiske, J., Reading the Popular, Boston: Unwin Hyman, 1989 (5) www.dsdni. gov.uk/index/news_items/public-choose-spirit-of-belfast.htm (6) For a detailed critique of arts and regeneration see Craig Martin’s essay Moments not Monuments, Art & Architecture Journal, issue 66/67, 2008. Free to download at www.arcade-project.com/sacrifice/moments-not-monuments.pdf
November – December 2010
inspire them.”
TBG&S’s new programme began in
July with a benefit gig entitled ‘Summer Lightning’. Following this was Sonia Shiel’s
exhibition ‘Bran New Brains’ (16 July – 19
August); the next show was ‘Black n’ White’
a group show featuring of new moving
Catherine Robersts 'Budgie Butlins' Bernadette Kiely – Thomastown Arts Festival
As part of Thomastown Arts Festival, an exhibition of works by Bernadette Kiely was presented at the Barracks, Thomastown, Kilkenny (8 – 15 Aug). Entitled 'Locality', the show presented works made by the artist over the last 13 years – including small drawings made directly from the landscape, four small paintings based on the river Nore, four small works on canvas paper based on ‘lichen’ and a large drawing on canvas based on the riverbank of the
‘Budgie
Butlins’
Catherine
installation at PS squared, Belfast (9-25 Sept) took the form of a diorama / aviary. For the duration of the show, the work housed 37 budgies, specially loaned by the Northern Ireland Budgerigar, Zebra Finch and Foreign Birds Society. As the press release noted the show “presented a bird’s view on the Butlins holiday camps ... the budgies enjoyed nesting boxes in the form of a caravan park and leisure, pool and recreation facilities”.
www.taylorgalleries.ie www.hammondgallery.com
image work by Finnish artists (8 Sept – 6 Oct). Currently on show is Alan Butler’s solo show entitled ‘I know that you believe
you understand what you think I said, but
I’m not sure you realise that what you
heard is not what I meant ‘ is (22 Oct – 27
Nov). TBG&S’s will close the year with an
exhibition of work by Swedish artist Anikka Strohm (7 Dec 2010 – 29 Jan 2011), curated by Aoife Tunney. Bewick at 75
www.pssquared.org
Nore. All the works were related to the Thomastown area and immediate locality.
Roberts
RHA Autumn
Hybrid Cabinet
Rhona Byrne Coaster Conductor, 2010, Video Still
Ronnie Hughes 'Hybrid Cabinet' Installation View.
The autumn programme of Royal Hibernian Academy, Dublin (3 Sept–24
As part of its ongoing series of exhibitions
Oct
entitled ‘The Golden Bough’, the Dublin
exhibitions:
2010)
featured
the
following
City Gallery The Hugh Lane, presented
‘Futures 10’ was the second in the
Hybrid Cabinet an installation by Ronnie
second series of futures shows – “a
Hughes (5 Aug – 24 Oct). The work
sequence of exhibitions that endeavours
comprised six small paintings; a horizontal
to document and contextualise the work
sequence of 15 hybrid drawings; and
of emerging artists, around who exists a
Anatomy Lesson a large drawing displayed
growing critical and curatorial consensus”.
on a glass-topped stainless steel table. As
The featured artists were Oisin Byrne,
the press release noted thus drawing was
Rhona Byrne, Fiona Chambers, Niall de
derived, “from a series of points on a
Buitléar, Damien Flood, Magnhild Opdøl
Chinese acupuncture chart but which
and Ailbhe Ni Bhriain.
Hughes has extended to form a unique
Also on show was Clare Langan’s The
circuit that is intended to simultaneously
Wilderness, Part 1: A requiem for a vanishing
suggest both the physical and the
planet. The video work, shot in infrared HD
immaterial”. This exhibition was curated
was described as “an examination of an
by Michael Dempsey.
extinct world that strangely resembles our www.hughlane.ie
Work by Pauline Bewick – on show at the Taylor Galleries
Pauline Bewick’s 75th birthday was celebrated by the Taylor Galleries, Dublin
with an exhibition featuring new works by the artist including watercolours; pastels; tapestries – featuring Irish, Tuscan and
South Seas imagery; as well as a series of
paintings from a recent trip to China and the Far East (6 – 25 September 2010). Pauline Bewick at 75: A Photo Biography, by Alan Hayes was published by Arlen House in September 2010. www.paulinebewick.ie/exhibition.html
Monkey & Me
own”. Langan’s film featured a soundtrack by composer Jürgen Simpson.
UNBROKEN LINE
Sinéad Aldridge’s video projection Unattainable / Joy was shown in the Ashford Gallery. Amplitude a large sculptural work by Cathal Curtin’s installed in the atrium space. www.rhagallery.ie
Michael Warren 'Unbroken Line' Installation view.
Visual, Centre for Contemporary Art, Carlow, (23 Sept 2010 - 13 Jan 2011) is currently showing ‘Unbroken Line’ an exhibition of works by Michael Warren. Commenting on the show, the artist has stated, “with the magnificent space that is VISUAL in Carlow, I have embarked on one of the most ambitious projects I have ever undertaken. The aim is to bring together all that I have worked on for over 40 years as a sculptor, in one multi-part installation”. www.visualcarlow.ie
Siobh McGane - work from 'The Pillar, The Monkey and Me'
TBG&S Programme
Unit H, The Market Studios, Dublin
Following funding cuts, which lead to a
presented the exhibition ‘The Pillar, The
period of closure earlier in 2010, Temple
Monkey and Me’ by Siobh McGrane (23
Bar Gallery & Studios has announced its
Sept – 2 Oct). The exhibition comprised a
new organisational structure and its
series of portraits of apes and monkeys,
artistic programme for the rest of the year.
which as the press release explained sought
The venue has commented “TBG&S
to pose questions about the paradoxical
programme into the future will combine
nature of portraiture – “peering out from
exciting and challenging exhibitions by
the void, eye to eye, are we met with
Irish and International contemporary
anthropomorphic dignity? Or are these
artists with a high energy programme of
faces imposing a silent judgment?” The
events, gigs, screenings, launches, lectures
exhibition was accompanied by a specially
and seminars. The organisation aims to
commissioned text by Áine Ivers entitled
take its place as a leading Visual arts
Darker for Gryllos.
resource in the country, and a place where
http://themarketstudios.wordpress.com
7
The Visual Artists’ News Sheet
Roundup LCGA Off-site
Gallery of Art. As the press release
“bluring the lines between performance
As part of its off-site programme,
explained, “as Ricks did not see the
and gallery art”. The artists involved
Limerick City Gallery of Art presented
original show these works are based on
were: performance artist Dominic
'The Woods' at Istabraq Hall (10 Sept – 29
the exhibition catalogue photographs.
Thorpe; visual artist Niamh Jackman;
Oct 2010) – an exhibition of works
Through this process of re-interpretation
guitarist and painter Jonathon Dickson
selected from The National Collection of
based on limitations, not unlike a cover-
and Emma Hill a knitwear designer and
Contemporary Drawing. The selected
band or karaoke, the imitations change,
craftsperson.
works in The Woods, were accessioned
distort and take on a new layer of
into the collection over the past fifteen
meaning. At times updating and at times
years, and included pieces by David
imitating the original methodology,
Godbold, Patrick Hall, Seamus Heaney,
Ricks consciously ‘riffs’ off of Molloy’s
Alan Keane, Alice Maher, Eoin McHugh,
originals”. Occupy Space is an artist-led
Mary Moloney and Garrett Phelan. The
initiative,
exhibition
wall
Limerick, which incorporates a dynamic
commission by the Creative at All Out
gallery with a new experimental project
Design.
space.
also
included
a
supported
2010), a solo exhibition by Karl Burke –
Hunt Museum and The Jim Kemmy Municipal Museum and its contemporary exhibitions programme. Karl Burke and Russell Hart gave a sound performance at Istabraq Hall. http://gallery.limerick.ie
Douglas White
The Glasgow School of Art, “the only art school in the world where the building Macintosh. The college was purpose built to encourage the making of art – and it encourages one to contrast the impetus behind the construction of this building
Magnetism
with that of our own schools of art in Ireland. Many of our art colleges occupy former convents – DIT at Portland Row, GMIT at Cluain Mhuire, or in the case of LSAD’s Clare Street Campus, a school for the poor. This tells its own story about the institutional understanding of art and its place in society in Ireland – it’s a vocational calling, whose value – like religion – is not always tangible. The former religious buildings also suitably provide the ‘necessary’ stark conditions for artistic / religious contemplation – while also presumably encouraging
Shana Moulton Mountain Where Everything is Upside Down
Works by Sam Keogh, Eilis McDonald, Isabel Nolan, Ciaran Walsh, Linda Quinlan, Rory McCormick and Shana Moulton were presented in the group show ‘Instantaneous Personal Magnetism’ at Galway Arts Centre (9 Sept – 2 October) The press release explained that the show was named after a 1926 self–help book by Edmund Shaftesbury and noted that the exhibition was “intended to
some form of rebellion against the regimented repetitiveness of its stiff architecture.
Aidan Kelleher – work on show at 126, Galway.
Of course, the housing of art colleges in defunct holy buildings, might also just
126 presented “Who dares this pair of
demonstrate that art occupies the vacuum left over when other enterprises wane –
boots displace?” an exhibition by six
will we see a future college of art in the IFSC or some newly vacant industrial centre?
recent graduates from Galway & Mayo
On the other hand NCAD, occupies an old distillery once serving the other major
Institute of Technology and Limerick
cultural entity in Ireland, the alcohol industry.
School of Art and Design. The works in the
show
explored
themes
for Contemporary Arts). While the architecture again somehow embodies the ethos
“displacement, new processes, dialogue
of the institution occupying it, the main personality energising this is its director
and interaction”. The exhibiting artists
Francis McKee. On entering the CCA from the sloping street level, you find yourself
were – Steve Maher, Fiona Hession,
disconcertingly on the first floor walkway overlooking (as if from the upper tiers of
Tadhg McCullagh, Anne O’Byrne, Aidan
a prison) a smart restaurant / canteen. Looking down I saw the ever-conversational
Kelleher and Brendan Hoare.
McKee below, chatting to his latest artist in residence.
www.126.ie
10 / 10 Date
leaving, Francis tells me he will be in Sligo’s The Model on the 12th September for a characteristically critical talk for the symposium Sectarianism and Identity in Ireland
curator Padraic E. Moore expressed the
Today (5). Now I am already feeling guilty for thinking you can take a holiday from art
hope that “those who view the exhibition
matters. We bid Francis farewell and leave Glasgow for Edinburgh.
will return to the outside world having magnetised
by
their
Francis immediately greets me and offers a quick tour of the CCA, accompanied by rapid-fire commentary on his vision for the centre and how it functions (4). Before
of cultural production”. The show’s
been
Crossing the road from The Glasgow School of Art one enters the CCA (Centre
of
trigger a re-appraisal of what we take as given in terms of the power and potential
As we tramp up from Waverley Station Edinburgh, my eye is drawn to two
close
smart looking art centres on either side of the road. Stills gallery (6) was setting up for
encounter.”
an imminent opening and debate, while across the way Collective had Glasgow
www.galwayartscentre.ie Douglas White 'Black Sun' installation view
travellers into a nostalgic tour of Charles Rennie Macintosh’s Glasgow. I had toured
is worthy of the subject”(3), embodies to this day the personality of its creator
sound work creating a new experience
from its permanent collection at The
however resist a tour of The Glasgow School of Art and I enticed my fellow ‘lay’
Glasgow, avid blogger, curator and writer – for this (2).
versatile practice of sculpture, film and
Quarter Art Trail’ taking in exhibitions
thinking about art. I escaped to Scotland to take in some of the Highlands. I could not
drew me back in. I blame the ubiquitous Francis Mckee – the director of The CCA
Creative
Quarter of the city, Method C presented a
September). LCGA organised a ‘Medieval
While the art world hibernated during August, I tried to take time off from seeing or
from this initial sojourn into art the unavoidable coincidences of the art world slowly
press release noted “set in the Medieval
As part of Culture Night 2010 (24
Being Stalked by Francis McKee
for the always interesting Glasgow International Festival of Visual Art (1). Anyway,
Johns Castle in Limerick City. As the
castle”.
Jonathan Carroll
History. But since bitten by the contemporary art bug, I only ever return to Scotland
another LCGA off-site project – at King
within the historic structure of the
Column
Scotland with the History of Art Department of UCD when an undergraduate of Art
boots displaced
www.occupy-space.blogspot.com www.jimricks.info
The Six Memos project presented Method C (19 September – 19 November
by
www.tinahely-courthouse.ie
November – December 2010
based Irish artist David Sherry (last seen showing with Mother’s tankstation)
Kevin Gaffney
cleaning passers-by’s change as an all day performance (part of his Health + Safety
‘Black Sun’ was an exhibition of works by
Effects performances developed for Deveron Arts). I can’t resist – I have to show
Douglas White, held at the Kevin
support for the Irish artists Diaspora – I excuse myself from my friends and pop into
Kavanagh Gallery, Dublin. (2 – 18 Sept). Work presented at 10.10.10
The show was curated by Elaine Byrne, who noted, “Whites works are always rooted in the appropriation of found materials”. Other particular themes explored in the show included alchemy – the ‘black sun’ being symbol of transformation and rebirth. The other pieces presented developed the idea of transformation. www.kevinkavanaghgallery.ie
Kevin Gaffney Unnamable
Irish artist Kevin Gaffney recently exhibited as part of a group of graduates from the Royal College of Art (RCA) at the Liverpool Biennale Independents exhibition 2010 (18 Sept -17 Oct). Gaffney is currently studying for an MA in
Yo llo mmot
photography in London. The show featured photography, film, video, and new
site-specific
works.
Morgan
Quaintance an MA student from the RCA Curating Contemporary Art course, curated the show.
Caption.
Jim Rick’s exhibition ‘Yo llo mmot’ at Occupy Space, Limerick (9 – 25 September), comprised a re-creation of another artist’s exhibition –Tom Molloy’s 2005 solo show ‘Yo lo vi.’ at Limerick City
Courthouse Arts Centre, Tinahely, recently presented ‘Alterations’ (2 – 29 August 2010) an exhibition arising out a residency project by Curious Tail Theatre Company, with support from Wicklow County Arts Office. The project explored the possibilities of collaborative creation
Collective is set up like a drop-in centre for contemporary art addicts, with
Creative Exchange Artist Studios, Belfast
overly-comfortable artily chosen leather designer seats at reception. I then discover
presented ‘10.10.10 ... its-a-date’ (2 – 30
that they also house an information booth for The Edinburgh Festival of Art. Yikes!
September). The exhibition marked the
They kindly hand me a list of openings and events taking place for the Festival. Top
launch of an ongoing collaborative
of the bill is Symposium: How to inform without informing City Observatory, Calton Hill.
project, entitled ‘xChangeVisions’, that
To celebrate the launch of two new commissions, Collective organised a talk with
the studio has embarked upon in
exhibiting artists Hito Steyerl, Kim Coleman & Jenny Hogarth with other speakers
partnership with The Common Interests
including Alfredo Cramerotti (author of Aesthetic Journalism and co-curator of
Charitable Trust. The show presented
Manifesta 8), Lisa Panting (Director of Picture This, Bristol) and, low and behold,
documentation of artworks “created 144
Francis Mckee (didn’t we leave him behind in Glasgow?) (8).
locations across Britain and Ireland that
Well, I am not one to ignore the will of the art gods; and I endeavour to convince
celebrated birth, life and death”. The
my mates of the joys of visiting the post-symposium barbecue and beers followed by
project is due to manifest itself again in
a champagne reception of the re-opening of City Art Centre; preceded by a quick
12 years time, with another show on the
view of the ever clever Martin Creed in The Fruitmarket Gallery (9). If they are still
10 October, the date and form of the
talking to me the next day, I would convince them to partake of the free coffee offered
event being as yet undecided.
by Stills gallery and; as a matter of courtesy, have a good look at Lisa Le Feuvre’s
www.creativeexchange.org.u
www.kevingaffney.co.uk
Alterations
Collective (7).
Fledglings The Fledglings exhibition at Lavit Gallery, Cork (31 Aug –14 Sept), featured a selection of work from third and fourth year students from the Crawford College of Art and Design. Twelve artists participated in this year’s exhibition: Carol Breen, Rebecca Brown, Clare Cahill,
exquisitely curated Alexander and Susan Maris The Pursuit of Fidelity (a retrospective). Now where did Francis go? Notes 1. http://www.glasgowinternational.org/ 2. http://www.francismckee.com 3. The Glasgow School of Art information sheet. 4. http://cca-glasgow.com 5. The Model symposium coincided with the exhibition Duncan Campbell Make It New John. 6. www.stills.org 7. www.collectivegallery.net 8. Many of the artists I mention avail of the increasing trend for art institutions to fund the film production of artwork. 9. Martin Creed’s exhibition Down Over Up, included, Ballet (Work No.1020) at the Traverse theatre. http://fruitmarket.co.uk/ http://www.traverse.co.uk/
The Visual Artists’ News Sheet
8
November – December 2010
Column
Chris Fite-Wassilak The Balance of History
Roundup Colette Cronin, Bridget Delahunty,
experiential is transmitted between
Helen Doherty, Laura Healy, Patsy
viewer and artwork; dealing with aspects
Hennessy, Fionnuala Kelly, Raphael
of experience, atmosphere and the
Llewellyn, Svetlana Shuks and Sabine
senses”. www.pallasprojects.org
Weissbach. Each year the Lavit Gallery awards a prize for the student of the year. This year the prize was jointly Now over a decade into the new millennium, the African continent is still a cultural afterthought. In literature, it is taught as a ‘post-colonial’ optional addendum; in art it
Hair & Happiness
awarded to Pam Carroll and Aine Maher. An exhibition showcasing their work Clare Henderson – work from 'I can't go on, I'll go on'
will be held in January 2011.
is essentially second-hand, through influences on Picasso, Shonibare, Ofili. Its many
www.lavitgallery.com
Clare Henderson’s exhibition ‘I can’t go
forms of music have perhaps been most ‘successful’ in infiltrating our consciousness, with West African figures like Fela and Femi Kuti and Baba Maal or Ethiopian Mulatu
on, I’ll go on’ was shown at the Talbot
Lithos @ Monster Truck
Gallery, Dublin (25 Sept – 22 Oct). The
Astatke rightfully finding large audiences, though to some extent many projects like
gallery notes stated that Henderson’s “
Damon Albarn’s Mali Music still follow a Paul Simon and Peter Gabriel model of
Principally working from a monochrome
Western patronage.
and muted palette the artist creates
Architect David Adjaye’s photographic survey ‘Urban Africa’ was at London’s
etchings, lithographs, water colours and
Design Museum for a good chunk of the middle of this year. You might have seen the
pencil drawings, in an effort to respond
London-based, Tanzanian-born Ghanian Adjaye’s work before, coming as he has
to the powerful human emotion that she
through more art world than architectural connections: in 2005, he’s the one who actually designed and realised Olafur Eliasson’s 2005 Your Black Horizon Pavilion at the Venice Biennale. That same year, he designed the it’s-not-a-library ‘Idea Store’ for
believes is inherent in us all. The works Work by John Pusateri – shown at 'Lithos'
of Samuel Beckett, Don DeLilo, Paul
The exhibition 'Lithos', held at The
Vanessa Donoso Lopez – on show at the Bluewall Gallery
Monster Truck Gallery, Dublin (13 – 29
‘Where There Is Hair There Is Happiness’
Aug) presented works by the participants
an exhibition by Vanessa Donoso López
in the Black Church Print Studios three-
was on show a Bluewall Gallery,
year international lithography residency
Corracanvy, Cavan (2 – 27 Oct). The
programme – John Pusateri, Ben Moreau
press release commenting on the artists
and Jessica Harrison. The residency
work noted “Vanessa Donoso López
programme aims were to further the
creates scenarios with endless imagery
professional development of artists by
and references where unusual, animated
enabling the creation and production of
constructions of hybrid worlds and
new work, fostering an exchange of
separate disciplines coexist. She collects
ideas and influences, encouraging the
and creates objects, images, scientific
sharing of expertise and inspiring new
sahel (pre-desert), savannah, rainforest, and mountain. The final, and main room,
experiments, paper sculptures, videos,
works of art and creative collaborations.
surrounded you with photos from each city in an uneven grid, all presented in small
www.print.ie
toys and mechanisms that are used to
Whitechapel and the entrance for the Frieze Art Fair. Currently, he’s working on the National Museum of African American History and Culture in Washington, D.C. ‘Urban Africa’ has been a side-project of Adjaye’s for the past 10 years, an assembled set of snapshots taken from the 53 capitals of every state on the African continent (except Somalia’s Mogadishu for safety reasons). His methodology seems to have been deliberately surface-scratching, riding around each city in a taxi, using a digital camera to simply capture every type of building and structure he saw. The result was dizzying: three rooms, the first a set of six maps of the continent, displaying borders and capitals, population density, languages, flags, terrain types and a simple satellite image. The second room was hexagonal, with projected images from each city flipping by, changing every three seconds, the images and cities grouped according to the six terrain typographies: maghreb (Mediterranean coast), desert,
6x4” snapshot size, and tiered into to civic, commercial and residential buildings. The journey takes you from massively overscaled monuments to mud huts, from
I can’t go on
PCP Shows
colonial civic buildings to impromptu wooden stalls, sun softened with the occasional
develop,
through
her
Auster and Buster Keaton have each played a part in inspiring the images made by Clare Henderson. So too has the sea, rain, mist, and fog.” www.talbotgallery.com
David Finn
personal
experience, new interpretations of contemporary making”. www.bluewallgallery.com
glare of the taxi window he’s shooting through. He makes a point of capturing both Gillian Campden
the centre and outskirts of the cities, though often the shots are unpopulated. Hundreds of square, squat, sun-washed concrete buildings and terraced houses start to
David Finn - work on show at Custom House Studios
merge so that a few quick details pierce through: Accra’s Ashanti stool-shaped assembly building, an odd RC Cola inflatable ‘bop bag’ sitting roadside in Khartoum,
David Finns debut solo exhibition, held
an abandoned Art Deco style Fiat garage in Asmara. Only in an outer shantytown of
at Custom House Studios, Mayo. (19 Aug
Harare does a man acknowledge the camera with a casual wave. In the outskirts of
– 12 Sept), showcased a body of works –
Abuja, Adjaye found a white villa with its roof cast into the shape of an airplane, its tail
paintings, installation, sculpture and
painted with the Lebanese flag; in his comments on the city, he doesn’t mention the
prints – that considered the subject of
fact that Nigeria’s new capital built in 1985 took its planning model from Milton
landscape. As the press release noted
Keynes.
“undergoing injudicious change over the
Within the exhibition, they’re keen to emphasize the sketch-like quality of the project, posing the digital camera as the architect’s new sketchbook; and its rushed immediacy and non-authoritive stance is one of its biggest strengths. But I’m tempted to see it as a distance as well, with Adjaye’s background: a mobile diplomatic family, graduating from the RCA in London in 1993 and starting up his own architectural practice only a year later, making his name with celebrity endorsements. There’s no denying that out of his painfully hip practice has come something genuinely worthwhile, but it does put a different spin on the dirt of the car window we can see in some of the photos. Still, Adjaye’s project is a move in the right direction, capturing colloquial and formal architecture as something living and relevant, in a cultural world that’s more interested in Berlin than Bujumbura. ‘Urban Africa’ is a timely gesture inviting us to pay more attention to worlds outside our own, but it is still a flawed one. Adjaye’s conceit of simply capturing capitals has meant losing out on the insight of several of the continent’s biggest and most varied cities like Johannesburg and Lagos. But more disconcerting is the presentation of the images; civic and commercial buildings are presented as most important in our main eye line, while residential constructions are near the floor, discouragingly necessitating squatting over 50 times. The un-peopled photos become unsettling; his focus is not how a building is used, or what attitudes might have shaped it or been shaped by it, but simply the rough facade of the thing. As a result the cities blur into an almost abandoned, dusty sameness, ending up
last few decades, this landscape is perhaps
Gillian Campden – work from 'Converging Contrasts' Sofie Loscher – work show in 'Liminal Margins'
‘Liminal Margins’ at Pallas Contemporary Projects, Dublin was a group exhibition exploring the phenomena of ‘liminality’ – a threshold phase of moving from one state to another (16 Sept– 2nd Oct). The show featured work by Martina McDonald, Sofie Loscher, Jennifer Harborne and Siobhan Boyle. The exhibition was coordinated by Moya
Reubens
Artspace,
Tralee
hosted
'Converging Contrasts '(30 July – 25 Aug) a collection of 23 paintings by Gillian Campden. The press release explained that the works were “inspired by the contrasting landscapes and people of Ireland the collection investigated the natural convergence of colour, texture and structure in the landscape around us”. www.gilliancampden.com
Revins and Ewelina Bubanja. A fold out publication was produced to accompany the show, with an essay by Edel Horan. 1Liminal Margins1 was one of the outcomes of Pallas Contemporary Projects’s intern programme, which offers participants engagement with both resource and programming aspects of the venues activities. Previously on show at the venue
recreating the very impression he sought to disperse: the generalising of a richly
was ‘Dyad’ and showing of works by
heterogeneous, massive continent as one uniform country. Adjaye’s cool factor has
Dáinne Nic Aoidh and Eve Parnell,
guaranteed attention to the project, as well as visits from Kofi Annan and Robert
curated by Aoife O’Toole (2– 4 Sept).
Downey Jr., so here’s hoping his initial baby steps are taken up for more sustained and
The press release described the
accurate attention.
exhibition as “an exploration of how the
a tangible reflection to the shifts in our societal and political attitudes and trends”. www.davidfinn.ie www.customhousestudios.ie
Switched Dublin As part of an ongoing exchange between Catalyst Arts, Belfast and The Joinery, Dublin recently presented the exhibition ‘Switched’ featuring works by Belfast based artists Linda Monks (9 – 14 Sept). As the press release outlined “the artist’s
Gerard Cox
ideas come from many sources including
Sirius Arts Centre, Cork presented
television, film, comic books, comedy
Undercurrents (6 – 29 Aug) an exhibition
and everyday life. Monks uses drawings,
of new paintings and prints by Gerard
photography, paper, puppets, video and
Cox. As the press notes outlined: “In his
stop-motion animation to communicate
works he attempts to capture the
to an audience her relationship with art
intensity
a
and popular culture and to explore the
representational way, but rather through
juxtaposition of banal familiarity and
the spirit of emanating from living
idiosyncratic strangeness”.
of
living,
not
in
www.thejoinery.org
things”. www.siriusartscentre.ie
9
The Visual Artists’ News Sheet
November – December 2010
news
News Arts Funding NI This issue of the VAN opens with a series of notices relating to a range of UK, Irish and European campaigns that each stress the importance of cultural funding in light of upcoming budget decisions being made in the UK, Ireland and Europe. In terms of the cultural sector in Northern Ireland, the Arts Council of Northern Ireland website is hosting up-to-date information on the UK Governments plans for funding the arts, how public spending on the arts serves a public purpose, and what impact cuts will have for the arts sector and for society. Artists in Northern Ireland are recommended to check the Arts Council of Northern Ireland’s website for the latest information of relivant campaingn, statistics, policy documents and resources – www.artscouncil-ni.org ACNI report that the Northern Ireland Executive is planning to make substantial cuts to government spending during the next Comprehensive Spending Review (CSR) 2011 –2015. One scenario presented by the Department of Culture Arts and Leisure (DCAL) to the CAL Committee, reduced the Arts Council’s and Sport NI’s budgets by a disproportionate 20% compared to other elements in the DCAL family, over this four-year period. Moreover, the cuts to arts funding are front-loaded within the first year 2011-2012, and with new arts facilities coming on-stream such as the MAC and the Lyric Theatre, the Arts Council has calculated that the cuts, under this scenario, are more likely to be closer to 25%. DCAL’s forecast represents only one possible scenario, and it won’t be known precisely what the spending limits on public services will be until the Chancellor of the Exchequer, George Osborne, has announced details of his spending review in late October and the Northern Ireland Executive has produced its Draft Buget. The Arts Council of Northern Ireland states that it is “very concerned that, not only are the Arts and Sport potentially shouldering a greater burden, but also, that burden appears to be frontloaded with the biggest reductions occurring in year 1, 2011-12”. www.artscouncil-ni.org
EMAIL YOUR TD FOR THE ARTS The National Campaign for the Arts is calling on visual artists email to their TDs between now and Budget Day in the Repbulic of Ireland. The campaign states that “we must protect public funding for the arts and local and national level, including artists bursaries, travel awards, public art schemes etc. It is dead simpleIf possible take a second to personalise your email, tell them who you are and what you do. Make your voice heard. . You can do it in 1 minute online here: www.ncfa.ie/index.php/site/email.” www.ncfa.ie
We arE more Culture Action Europe – the umbrella advocacy organisation for the arts and culture in Europe has launched the large-scale campaign we are more. We are more seeks to mobilise arts and culture players; along with everyone else who cares about culture in Europe. The campaign, which will run until 2013, calls on European decisionmakers to strengthen the recognition of the role of arts and culture in the development of our European societies, by explicitly supporting culture in the upcoming EU political negotiations on the 2014 2020 budget. We are more’s campaign objectives focus on improving the quality and quantity of support that the sector receives from 2 key EU policies (the Culture Programme and the EU cohesion policy). The aim is thus to increase support for cultural activities that will affect all European inhabitants and stimulate their participation in and enjoyment of the arts in the next ten years, whether at local, regional, national or European level. www.wearemore.eu
VALUE THE ARTS A new campaign, ‘I Value the Arts’, went live on Monday 13 September 2010 urging the UK public to voice their support for the arts. Anyone from Ireland or the UK who values the arts in their community is being asked to register their details on a new website: www. ivaluethearts.org.uk. All those who register will be kept in touch with plans that could affect arts provision nationally and in their local neighbourhood, with practical suggestions on what they can do to strengthen the arts in their area. ‘I Value the Arts’ is led by the National Campaign for the Arts (NCA), the independent umbrella body for all the arts in the UK. Industry bodies are lining up to support the promotion of the campaign, including the Society of London Theatre, the Theatrical Management Association, Visual Arts and Galleries Association, the Association of British Orchestras, Equity and Audiences UK. The campaign website and associated technology has been made possible thanks to generous donations of skills, time and resources by industry suppliers. No public money is being used to fund the campaign. Louise de Winter, Director of the NCA commented: “Three quarters of the adult population attend or participate in arts activities every year and an even higher proportion of young people. At a time of recession, more and more people are turning to the arts and culture. Reduced opportunities to take part in the arts could have a major impact on the quality of people’s lives and the vibrancy of their communities. As the Government is encouraging us all to get engaged and create a ‘Big Society’, we believe it is important for those people who care about the arts to get involved in the decision making about what their communities will look like. This campaign gives everyone who cares a chance to have their voice heard and
collectively show that the arts provide a valued public service. www.ivaluethearts.org.uk
Richard Tuttle Dublin City Gallery The Hugh Lane is hosting the first Irish museum show by internationally renowned artist Richard Tuttle (B.1941). Tuttle’s is regarded as a leading post minimalist, his reputation resting on the artists use of improvisational working procedures and non-traditional materials, that realise "a multiplicity of concepts through a seeming paucity of means". The exhibition, entitled ‘Triumphs’ (19 Nov 2010 – 10 April 2011) features a site specific project made in collaboration with the artist. Responding to the ‘local’ as encountered in the early Georgian architecture of the main gallery house (designed by Sir William Chambers in 1765) and to the Hugh Lane collection (established in 1908), Richard Tuttle has installed a multipart horizontal installation in the galley’s new wing. Using works such as his shaped plywood wall reliefs of the 1990’s – to recent handmade printed paper assemblages – Richard Tuttle will configure his artworks in new forms referencing the architecture and history of the gallery. As the press release explains, in particular the show is described as focussing on “neo-classicism, the governance of imperial states and the power of the visual” A fully illustrated catalogue with essays by Richard Tuttle, Thomas McEvilley, Barbara Dawson and Michael Dempsey will accompany the exhibition. Richard Tuttle has had one-person exhibitions at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; ICA Philadelphia; Kunsthaus Zug, Switzerland; Centro Galego de Arte Contemporánea, Santiago de Compostela; and the Museu Serralvesin, Porto, Portugal. SFMoMA organized a 2005 Tuttle retrospective.This will be the first museum show by Richard Tuttle in Ireland. www.hughlane.ie
Art Dictionary A new publication offering a guide to Irish contemporary art has just been launched – ‘The Dictionary of Living Irish Artists’ by Robert O’Byrne. Written by arts commentator, Robert O’Byrne, the Dictionary of Living Irish Artists features Sean Scully, Hughie O’Donoghue, Dorothy Cross, Kathy Prendergast as well as many young practitioners based in Ireland and overseas. Further information is available from: www.livingirishartists.ie
O’MALLEY RESIDENCY Magnhild Opdøl is the recipient of the Tony O’Malley Studio Residency, 2011. The residency, administered by the RHA, is awarded on an annual basis to an artist who wishes to work primarily in the medium of paint. During his lifetime Tony O’Malley was the recipient of subsidised studios and accommodation in St. Ives, Cornwall.
Administered by the Arts Council of Great Britain it offered the artist time to concentrate on creating work. Jane O’Malley has never forgotten the privilege of those decades for herself and Tony. A number of years ago Jane O'Malley acquired Tony’s family home in Callan Co. Kilkenny. Jane, working with her architect, set about renovating the building into a first class facility for an artist to live and work in and in association with the Royal Hibernian Academy Jane O’Malley now wishes to offer this home/studio to an artist on an annual basis. Magnhild Opdøl recent work is a detailed investigation into the nature of death, or more specifically the remains after life. She documents these remains using various methods, working around the ides of “the end as the beginning”, creating a new history from the remains of the past. Having completed a MA in Fine Art, Painting in NCAD in 2007, Opdøl now intends to use the space and light afforded to her by the double height studio, to return to painting, while continuing to work on several pieces in different media alongside each other, for a number of solo exhibitions scheduled for 2011 – 2012. www.royalhibernianacademy.ie
CLAREMORRIS WINNERS The Claremorris Open Exhibition 2010 (4 – 24 September) has announced the winners of this years €8,000 prize fund – first prize: Fionna Murray: second prize: Paraic Leahy; third prize: Seamus McCormack. The prizes were awarded by the curator of the 2010 Claremorris Open, Lisa Le Feuvre, Lecturer at Goldsmiths College of Art, London and co-curator of the British Art Show 2010. www.coearts.org
OPEN LEARNING NI Some of Northern Ireland’s most lauded names in literature and visual arts have been lined up to present workshops as part of two new Open Learning courses, supported by the Arts Council of Northern Ireland, at Queen’s University Belfast. Novelist Glenn Patterson, poet Ciaran Carson and visual artists Rita Duffy and Willie Doherty are just some of those who will be hosting seminars as part of a series of lectures beginning this Autumn. The Blackbird Bookclub and Celebrating Contemporary Irish Art will each run for 10 weeks, starting in September, and are open to all adults regardless of qualifications or experience. A further 10 weekly sessions for both courses will then commence in the New Year. The Arts Council subsidy has enabled the Open Learning Programme to attract writers and artists of international calibre. This is the first time that the Arts Council has partnered with Queen’s University to support the Open Learning Programme, which offers a range of opportunities for individual career development or personal growth. Celebrating Contemporary Irish Art, in association with the Crescent Arts Centre, is a special series of illustrated
talks, gallery and studio visits that will give participants the opportunity to engage with a number of practising artists and curators working in areas such as photography, film and fine art. The Blackbird Bookclub, in association with the Seamus Heaney Centre for Poetry and the Bookshop at Queen’s, will include a series of workshops with some of Northern Ireland’s most respected writers and will cover genres from comic fiction to memoir and social history. Celebrating Contemporary Irish Art (part 1) started on 29th September 2010 and will run for 10 weeks. A further 10 weekly sessions (part 2) will then begin on 26th January 2011. The Blackbird Bookclub (part 1) started on 27th September 2010 and will also run for 10 weeks. Part 2 of the course begins 24th January 2011. Online registration is open now at: www.qub.ac.uk/edu/ol
MINORITY ETHNIC ARTS The Arts Council of Northern Ireland is at the initial stage of developing a Minority Ethnic Arts Strategy. This strategy is being prepared in recognition of the priorities set out in our five year strategy, Creative Connections (20072012). Theme three within Creative Connections: Growing Audiences and Increasing Participation highlights our commitment to fostering the expression of cultural pluralism; building dialogue and promoting understanding, through exchanges within and between communities and their cultures. The Arts Council recognises that Northern Ireland is a diverse cultural society. Arts activities can play an important role for those who wish to express their rich cultural background but it can also be a powerful tool in tackling inequality and social exclusion. Arts as an intervention can therefore simultaneously challenge prejudice and promote understanding of difference. It is within this context that the Arts Council is developing a Minority Ethnic Arts Strategy, as we are committed to providing all within society with the opportunity to enjoy and participate in the arts. The Arts Council have begun a process of consultation and discussion with organisations and groups who promote and work with minority ethnic communities across Northern Ireland. If there are individuals and/or groups who wish to engage with the Arts Council at this preliminary stage in the development of a Minority Ethnic Arts Strategy, please contact Jacqueline Witherow, Policy Development Officer on Tel: 028 90 385 219 or by email: jwitherow@artscouncilni.org www.artscouncil.ie
NI Arts Funding The Arts Council of Northern Ireland has published a ‘Funding for the Arts 2011 – 2015 section on its website, providing up-to-date information on government’s plans for funding the arts, the Arts Council’s position, the time-line for the Comprehensive Spending Review and budget consultation, plus guidance on advocacy. www.artscouncil-ni.org
The Irish Visual Artists Rights Organisation (IVARO) is a non-profit organisation for the protection and promotion of the copyright and related rights of visual artists and their heirs, in Ireland and worldwide. IVARO offers copyright licensing services and collects the Artists Resale Right on behalf of our members. As a membership organisation IVARO is owned and controlled by the visual artists and copyright heirs which make up the membership.
Richard Tuttle Triumphs Dublin City Gallery The Hugh Lane
join us today – membership is free
19th November 2010 – 10th April 2011
www.ivaro.ie
11
The Visual Artists’ News Sheet
November – December 2010
REGIoNAL PRoFILE
Visual Arts Resources & Activity in Derry Jane Austen, Prague & Beyond ... I first came to Derry in 1996 as a student backpacker on route from Donegal to Belfast. After a period of solitary hiking in a remote area, I was grateful to be in a place with phoneboxes (the days before mobiles…), cafes and, exquisitely, a cinema (the choice on the night was between Sense and Sensibility and Dead Man Walking, and I went with Jane Austen). My perception of ‘the North’ at the time had been informed by news reporting and various stays in ‘the South’ of the island. As I wondered about the Troubles, I remember walking the city walls and, by a bizarre and personal association, being reminded of the castle grounds in Prague. Being in a place I had heard some pretty horrific things about, I was struck by two things: how safe I felt, and how architecturally beautiful the city was. Little did I know then that my path would lead me back to Derry to live in the place in the autumn of 2000. Coming from another historic city – Nürnberg, Germany, as a teenager with a taste for difference, my initial dream of Ireland was still a predictable one of ragged coastlines, pubs and friendly strangers. Having previously lived in Dublin and Galway, I had experienced my share of its myths and realities. The North was something altogether different. I remember walking the streets of Derry with visiting friends and family members. Sometimes, we did not even talk about it, but I sensed a certain perplexity reminiscent of my own in 1996, “how come this place feels safe, even though we still hear disturbing news?” In tandem, my own experience became complex. The closer I looked, the more I picked up that despite the recent Good Friday Agreement, not all was easy. The repercussions of the Omagh bomb were still palpable, policing was a hugely contested issue. I witnessed bomb scares; visited the fiercely competitive Féis Dhoíre Cholmcílle; did my groceries in British chain stores; got to know people from the ‘two communities’ and overheard many heated discussions about all sorts of topics in pubs and taxi queues. Working as a part-time lecturer at the university, I met students from all over the world specializing in Peace and Reconciliation Studies who were spending a semester at UU Magee Derry, one of the global hotspots for this subject. John Hume, who had recently won the Nobel Peace Prize was a regular face about town, while antisocial behaviour amongst youths became a key theme in the local media. In short, after arriving in the place for personal reasons with no particular agenda of studying the Troubles and their aftermath, let alone make art about them, over time, I experienced them as both subtle and in-your-face. As an artist and writer, I feel
The Context Gallery
Derry 1996. Photo: Susanne Stitch.
that my work has been influenced not so much by the concrete political events but rather the underlying theme of the complexities of securing peace, equality and self-esteem. I witnessed many situations illustrating this theme and its challenges, proving to me also how the simple readiness to make a mark, have a go, stay strong, open and hopeful in the face of adversity is crucial at all times. Another thing about Derry is its relatively small scale as a city. Walk around the place and you can literally observe history unfolding in the streets. This is especially inspiring for me as a German person. Of course I studied my country’s history at school and visited many of its landmarks. However, only when I came to Derry, being confronted with the intricate everyday experience of a society moving from civil war into a new era of peace, did I gain another perspective on my own background, appreciating particularly the complex impact of World War II on my parents’ and grandparents’ generation as much as my own in a new way. Indeed, at present, there’s a great sense of genuine expansion in the city. For me, an image of kids jumping through water fountains in Guildhall Square this summer – rather than the sadly iconic “broken bottles under children’s feet” in the lyrics of U2’s (somewhat simplistic but globally recognised) Sunday Bloody Sunday – marks one of the many new visibilities of Derry at this point in time. While there is still a lot that can be done in this process of peace and reconciliation, I definitely feel this is a new chapter, offering a platform for new and surprising perspectives as much as for filling in some of the gaps left in the past. Also, it feels as if there suddenly is a more justifiable space for bizarre, personal and less primarily politically driven associations ranging from Jane Austen to Prague and beyond… Susanne Stich is a filmmaker, artist and writer. She is a member of the curatorial board at VOID, Derry and recently completed a PhD with Practice at UU Belfast researching the Visibilities of Childhood in Moving Image.
DERRy coNTAcTS Void Patrick Street Derry BT48 7EL T: 028 7130 8080 www.derryvoid.com
The context Gallery 5-7 Artillery Street Derry BT48 6RG T: 028 71373538 www.contextgallery.co.uk
Verbal Arts centre Stable Lane & Mall Wall Bishop Street Derry BT48 6Pu T: 028 7126 6946 www.verbalartscentre.co.uk
The Nerve centre 7 – 8 Magazine Stret Derry BT48 6GJ, T: 028 7126 0562 www.nerve-centre.org.uk Brendan McMenamin Arts officer Derry City Council 8 Strand Rd, Derry
Kent Monkman 'Théâtre de Cristal' installation view, Context Gallery, Derry
Ciarán Ó Dochartaigh – installation view Context Gallery, Derry
foUNDED in 1993, the Context Gallery has established a reputation as one of the most vital venues for the presentation, promotion and dissemination of contemporary art in the North of Ireland. In 2009, the Context Gallery moved from a temporary residence at St. Columbs Hall (the former site of the Orchard Gallery), back to its original home in the Playhouse building on Artillery Street. In this fully renovated space in the heart of Derry, the gallery restarted its rigorous exhibition programme and challenging off-site projects. The Contexts Gallery’s main objectives are to support the promotion and dissemination of contemporary art with a focus on local and emerging artists. Our recent programme has included international artists with emerging reputations such as Delaine LeBas, Paul Butler, Haraldur Jónsson, Mammalian Diving Reflex and Kent Monkman. Context Gallery also has a long history of presenting the work of young Irish-based artists at the start of their careers, notably instances including Susan Philipsz and Phil Collins, and the gallery continues to provide young local artists an opportunity to have their first significant solo exhibitions. Recent solo shows include exhibitions by Fiona Larkin, Amy Russell, Deirdre McKenna and Ciarán Ó Dochartaigh. This autumn, the Context Gallery is launching an annual international curatorial residency program with the appointment of independent curator Miguel Amado (Lisbon / NY). This ambitious and innovative project will consist of a series of field trips, undertaken over a six-month period; and an exhibition – to be developed during the following year. It offers an opportunity for an experienced, dynamic curator to research contemporary art produced in Northern Ireland and the Northwest of Ireland – as well establishing new networks and connections within the local contemporary art scene. Miguel Amado is a graduate of the MA in Curating Contemporary Art at the Royal College of
Art in London. He has worked with Portuguese institutions such as the Museu Colecção Berardo, Fundação PLMJ, Centro de Artes Visuais, Museu da Cidade and Fundação Calouste Gulbenkian. In New York, he was Curatorial Fellow at Rhizome at the New Museum and Curator-in-residence at the International Studio and Curatorial Program. He is a regular contributor to Artforum magazine and has been published widely in exhibition catalogues and books. The central concerns of the Context Gallery are to address the needs for greater access to the local arts community through research and networking opportunities. There are challenges for the visual arts community in Derry and surrounds, – particularly the lack of provision of a professional arts education beyond a two-year diploma. But Context Gallery aims to address these with initiatives such as the introduction of a curatorial lecture series this autumn. This will feature award-winning international curators such as Wayne Baerwaldt. Along with the international curatorial residency with Miguel Amado, this forms part of a research component that compliments and consolidates the Context Gallery’s programme. This ambition will be more fully realised through the start of a capital funding campaign for the development of additional exhibition and studio spaces – that will offer the opportunities for the gallery to provide more experimental and cross-disciplinary programming; as well as the provision for designated studio spaces for local and visiting artists to produce work in. This November Context Gallery is presenting the first exhibition in Northern Ireland of the work of Dublin-based artist Garrett Phelan. Phelan is showing a new project entitled 'ELECTROMAGNETIC PHENOMENON – Portrait of a Broadcaster – Donal Dineen 2010'. From 9 – 12 Nov 2010, during the hours of 12am – 2am Today FM will broadcast live from the Context Gallery. Following the live broadcast the project will develop into a video installation using footage filmed through Dineen’s broadcast at the gallery. The installation will run in the venue during normal gallery hours until 30 November 2010. To find out more about upcoming programmes and events please check out our website www. contextgallery.co.uk or email us at info@ contextgallery.co.uk Theo Sims, Director, The Context Gallery.
The Visual Artists’ News Sheet
12
November – December 2010
Regional Profile
The Void
The Nerve Centre
Void Artschool 'Burn the Gaze' Installation view – opening night. Void, Derry.
Void Artschool 'Burn the Gaze' Installation view. Void, Derry.
Over the last five years Derry has witnessed a reinvigoration of the visual arts through the exhibition and education programmes of Void Gallery. Void – initially set up in response to Derry City Council’s premature closure of the Orchard Gallery – has developed into the premier exhibition space for critically engaged contemporary art in the Northwest. The venue was recently nominated by the Guardian Newspaper as one of the top 15 small galleries in Ireland and the UK. Exhibiting a wide range of artists – selected by curatorial committee, the Void has demonstrated a vitality that surpasses the Orchard and on a percentage of that gallery’s budget. It has been the first exhibition space that has addressed the need for artist studio provision in the city; and has developed an education programme that addresses critical selfawareness in young artists along side mature students. These two primary strands are accompanied by numerous event programmes, including the Whitelight Festival; Void Comix; outreach exhibition programmes; club nights; and the Curfew Tower residency scheme (in partnership with the artist Bill Drummond). Other notable highlights include the curated visual art award, curated by Mike Nelson and organised in collaboration with the Douglas Hyde Gallery, Dublin in 2008; along with the 2006 ‘Molly Aida’ project which saw the moving piece by piece of Tinneys Bar into Void as a relational / heritage installation work by the Void staff and the artist group Null. The Gallery is now at a stage in its development that will undoubtedly require growth, which would expand its ability to deliver exhibitions of major contemporary Artists and would also allow for the growth of its Education programme. Void has been involved in numerous events that have reach far into the community in all respects, two in particular in 2010 Bloody Sunday Trust/ Saville Inquiry public and media address and City of Culture Visual Art programming. Saville and City of Culture, these two poles characterise the political / cultural axis that the city is currently spinning. Following the announcement it was underscored that the designation of City of Culture was won on merit and was not a political decision. Without doubt the process putting the
programming in place galvanised the city’s arts organisations. Yet given the current ecology the process was without question shadowed by politics and the issue of security. Much emphasis has been placed on a ‘shared future’ in the post agreement political rhetoric. This same shared – yet contested – element runs through the narrative that Derry / Londonderry, put forward in its bid document for UK City of Culture. It is here that links might be made with Rancieres idea of the common: “When politics and aesthetics begin the common exists and thus the central question is how its parts are to be shared and distributed?....It is dynamic and artificial produced through a wide variety of social circuits and encounters. Against this economic considerations show that the production of the common is emerging as the dominant economic mode.…large parts of the economy are immaterial, ideas knowledge, languages, communications, images, codes, affects…Affective components, being friendly, creating a sense of wellbeing. Forms of immaterial labour are becoming hegemonic in the economy. Their qualities are being progressively imposed on other forms of production… These bring with them other modes of alienation, exploitation.” (1) Culture as an affective industry also underpins the agenda of Derry City Council and ILEX (the Urban regeneration company in charge of the redevelopment of the ex military sites in Derry). The bid uses the rubric of culture as a means of enveloping a region in the current hegemonic economic model. The investigation of ‘culture’ and shared future, cracking cultural codes, accompanying celebrations, are the main instruments for the embedding of culture as the main economic driver for the city/ region. The cross party backing of the bid for UK City of Culture marks a catching up of politics with particular governmental strategy, that has the process of reframing the culture as potential affective capital, another service industry, promoting positive regional self image. This is a strategy complicit in magnifying alienation within those constituencies that have seen no economic progress since the Good Friday Agreement that might also be construed as further basis for support from within communities for the dissident factions within Republicanism. There is without doubt a generation who have grown up with the legacy of conflict yet have seen few if any real benefits from the peace, it is this constituency that is becoming more antagonistic, ripe for recruitment, dissident from the common both culturally and politically. It is the reframing of Rancieres’ ‘disensus’ to dissidence. There have been numerous community workshops and outreach programmes addressing social need that pay lip service to any rigorous cultural critique, more often sticking plaster
solutions referring to reconfigurations of inherited codes rather than investigating the structures that envelope and produce the individual and community subjectivities on a more global scale. Aside from the much-mooted template of new flagship regional gallery used as a magnet for clusters of creative businesses. The nature of process and non-representational platforms as means of cultural production have only been given the cursory acknowledgement, labelled as workshops under the rubric of outreach targeting community groups. It is this practice and potentiality that needs to be more robustly structured within the aims of Cultural programming in the lead up and in the legacy of 2013. This shifts the emphasis away from mere audiences and towards engaged subjects. A form of engagement and production through discursive critical self-awareness, namely an art/ transdisciplinary education ultimately enables new models of engaged practice and productive resistance to what is being appropriated politically and economically as affective capital projects. Much is being made of the fact that Derry/ Londonderry has one of the largest youth populations on the island of Ireland and that the benefits of the City of Culture status will have real impact on this specific group. If art and culture are being used as instruments of urban regeneration, the co regeneration of its inhabitants is not something to be done through exhibitions parachuted into a new regional gallery partnered with metropolitan silos. It requires opportunities for subjects’ engagement and the articulation of their position beyond spectacle of exhibitions as means of drawing tourism and providing spin off jobs as café staff or gallery security. What is required are forums for production and critique that have real value culturally, professionally and academically, on a regional and international stage. Recently at the forefront of this in Derry, the North West Regional College made a bid for accreditation for a fine art or interdisciplinary Art degree course in Derry, which was frustrated at the very last stage, yet again this regional educational stymieing needs to be addressed. The recent DEL declassification of Foundation Courses status from level 4 to level 3 puts it on a par with A-level and thus not available for student funding. This could potentially lead to the closure of the art foundation course in the city. The University of Ulster have sited the foundation into a year-zero of a four-year degree which avails of funding thus we are back to the situation in the 1970s with the second city starved of third level provision – in this instance the Fine Arts. U4D is an independent drive for a separate University for Derry, along side the University of Ulster. This drive for an independent regional University may be a long term goal, but provision within the city for a Fine Art degree more than any year of events would allow for the real engagement and legacy for its population in Art practice and for non local students a study location rich in historical, political and cultural complexity. A new regional art gallery will be a mere white elephant, if the conduit for real local productive engagement is not simultaneously put in place through education at Degree up to PhD level. Otherwise it is simply an additional brand to consume while on that weekend hotel break that will include culture, shopping and bars, meanwhile we may just have to resort to hedge schools again … courtesy of Void. Damien Duffy is Artist in residence at Void, running Void Education and is a member of Void Curating Committee. Notes (1) Michael Hardt; The Production and Distribution of the Common [on Ranciere] From Open / Cahier on Art and the Public Domain. 2009.
The Nerve Centre was established in 1990 as a focal point for youth culture in Derry / Londonderry. By bringing popular music, film, video, animation and digital media together under one roof, the Nerve Centre promotes creative collaboration and fusion between artists and provides a cultural outlet for many young people who feel excluded from what is traditionally regarded as the ‘arts sector’. Housed in a state-of-the-art building comprising live music venue, cinema, edit suites, rehearsal and recording studios, and in-house film production company, the Nerve Centre currently has over 100,000 people benefiting from its various events, programmes and projects including the annual Foyle Film Festival in November. The centre is a major regional hub for the creative industries in Northern Ireland, producing films, videos, music recordings, digital media content and major regional websites such as www.culturenorthernireland.com Recent expansion for the Nerve Centre has included the creation of Magazine Studios, a new 18,000 sq ft facility which is home to the Northern Ireland Archive of the Moving Image, a Creative Learning Centre and The HUB a creative industries support centre providing office accommodation, meeting rooms and Film and TV post production facilities for the development of the local creative industries. Magazine Studios involves the development of the former youth hostel adjacent to the Nerve Centre, which was unoccupied for 18 months prior to being secured by the Nerve Centre for its expansion plans. The Nerve Centre believes that the establishment of Magazine Studios and the Hub will act as a catalyst for the implementation of the Invest NI Digital Content Strategy by promoting an increased number of new business start-ups, encouraging collaborative projects, facilitating knowledge transfer and supporting digital content companies from the social economy sector. Magazine Studios has a strong strategic fit with the regeneration plans across the City including DCC Economic Development Strategy. DCC Public Realm Plan, ILEX Urban Regeneration Plan and the North West Action Plan. Magazine Studios provides both incubation services and units for rent available to businesses within the creative industries. Combining incubation space with the establishment of a creative industries facilities house in the HUB is a truly unique and innovative infrastructural development for Northern Ireland contributing to the recognition of NI as an Innovation Hub. The Hub provides new media production facilities providing professional services to the Creative Industries sector. Facilities include broadcast edit suits, meeting and screening rooms, print and duplication facilities and audio post production studio. These facilities are aimed at growing businesses from within the existing sector in particular the film, television and sound sectors. The Hub is also being used for post production of broadcast work for 360 Productions (National Geographic and BBC 1), Dumb Productions (Theatre of Witness), Vinegar Hill productions (TG4), Flat 36 Productions (BBC), Brassneck Productions (UTV) and Below the Radar (Sky TV). The capital development at Magazine Studios was supported by Invest NI, Derry City Council and NITB while the purchase of the building was supported by DCAL, Ilex and the National Lottery through the Arts Council of Northern Ireland. For further information on post production facilities, incubation services and office accommodation contact; 02871260562 or www. nerve-centre.org.uk
The Visual Artists’ News Sheet
13
November – December 2010
Regional Profile
Letters
Letters
Hybridization of the Native
Re: Roscommon profile
Ciarán Ó Dochartaigh - work from 'Sub Arctic Expedition’
I live and work in Derry as a practising artist. Having completed a degree in Belfast in 2000, later this year I am on the move – I’m undertaking a twoyear MFA at Goldsmiths London. I have witnessed some dramatic changes in Derry’s art scene – especially in the last five years. The Void and the Context remain the two main galleries in town. The Void showcases established internationals; and the Context highlights upcoming or locally / nationally known practitioners, although on occasion there have been a reversal of these parameters, which can be an interesting prospect. Derry still has plenty of room for the other or the third space(s) in the near future. Derry has interesting characteristics partly due to its location; neither overtly affiliated with Belfast, nor Dublin – it has a unique cultural identity (along with a closeness to Donegal). The people of Derry have always had strength in fighting their own corner, this spirit has transcended to the art community. The Void have forged links in England, Scotland and Europe – as much as with other groups throughout Ireland, – perhaps placing itself at the forefront of the art scene here. The Context, through its director Theo Sims has brought a unique perspective to Derry, Sims having spent several years working in Manitoba’s vibrant art scene, often with up incoming artists and First Nations communities in Winnipeg. My ‘Sub Arctic Expedition’ installation at the Context (29 Aug – 25 Sept) was the culmination of a two-year body of work – an Irish-Canadian transatlantic site-specific piece. The video is set on board a hybrid, traditional Canadian canoe, adapted for fishing The location a mountain lake Lough fad, purportedly contain only Arctic Char yet this has not been confirmed. The fish are post-glacial colonizers. The piece is a voyage of discovery in the form of a staged Arctic tundra expedition on board the vessel. A portable cast is taken from the canoe and transported in a suitcase and re-fabricated in Winnipeg, the canoe then smudged at the culturally symbolic Forks. The piece will later be exported and re-fabricated in the high Arctic to catch the landlocked relative. The installation was presented at Context Gallery in the form of a anthropology display containing, hand made artefacts, two hybrid canoes, and three movies of the expeditions and three light boxes outside the Gallery. A key theme in the work was the local becoming global, highlighting national origins and cultural displacement as represented through a skewed botany and natural history, from the introduction of foreign or adoptive species to the hybridization of the native. There are many advantages to being based Derry – provisions, rent and transport are among the cheapest in Ireland. Artists have the choice of making work in a community-oriented atmosphere, or to work in relative solitude. However it is easy to become isolated like any other place, therefore it is essential to be aware of what is happening outside the region. Support and promotion of the visual arts in the city often comes down to individual selfpromotion.
Ciarán Ó Dochartaigh - work from 'Sub Arctic Expedition’
At present there are good quality, secure studios at Void. Although there are no studio provisions that cater for larger works and no studios with 3D workshop facilities, there are plenty of local companies and trades people who can help fabricate 3D work at competitive rates. There are also facilities to hire digital video and audio equipment with a wealth of non-linear editing software equipment. Generally there are enough resources here to cater for most artists disciplines to work comfortably, with some more specialist facilities like printmaking a relatively short journey away. There is a definite interest from the boarder community to participate in art-making; as demonstrated recently at context gallery workshops ‘Sew What’ as facilitated by Delaine Le Bas as an extension to her show ‘Witch Hunt’ the energy and commitment from the large amount of participants was inspiring. Commitment and much needed support to young students has been evident at Voids art school, as facilitated by Damien Duffy this past few years, has become a strong bridge for building student portfolios and beyond, proven to have become an institution in itself, with students leaving and returning for more. An expansion of the Art school combined with a fully recognised degree at the NWRC or Magee is a necessity as Connor Mc Feely and others have been campaigning for. These initiatives are imperative for Derry’s future. The visual arts community needs an influx of young art practitioners from the age of 18+, who wish to live and make work here, when this happens Derry will be a cultural force to reckon with. Visiting international artists will undoubtedly make the imminent extension to the art community in Derry more layered and challenging. Earlier this year Scott Stevens a Canadian First Nation Anishinabe artist based in Toronto / Winnipeg, visited Derry as artist in residence at the Context. Scott’s presence in Derry was culturally significant, and highlighted further the need for future cultural exchanges that is implicit to our future. The people of Derry welcomed Scott with warmth; the interaction between both will have a lasting significance. Scott is in the process of making work based on his experiences here. The City of culture title is yet to be seen as the financial cultural injection Derry needs. As an artist I am not convinced that potential corporate and financial stimulation, equates a better visual arts culture. I would be concerned that we may lose a grip of the issues that are so important here, and in essence this accolade could dilute our cultural heritage. I am excited with the challenge of moving to a cultural capital in a well-established institution. I hope to learn more and to challenge others in the cultural exchange that the MFA at Goldsmiths will hopefully prove to be. Ciarán Ó Dochartaigh
Dear Editor, I am writing in response to the Roscommon focus in the September / October edition of The Visual Artists News Sheet. Whilst the feature offered an interesting insight of what is happening on the visual arts front in County Roscommon it was not entirely comprehensive. As a Roscommon based artist, I would like to contribute further to this overview, with a few words about an initiative that I run from my home – an arts space and project entitled Mandala. I live 3 miles outside Strokestown in the heart of County Roscommon; and under the auspices of the Mandala project I have held a series of exhibitions promoting the work of emerging and established artists – both from the County and indeed from around the country. Some of the artists who I have exhibited have included textile artist Frances Crowe and painter Honor Lynn – both of whom are founding members of Working Artists Roscommon. This group should be credited with establishing very solid foundations for contemporary art in this county – both on a national and international level. As a painter myself, I have a particular interest in promoting painting through Mandala. Among the painters I’ve worked with are Malachy Costello (Roscommon); Gillian Gannon (Roscommon); Ada O’Donnell(Roscommon), John Brady(Galway); Corry O’Reilly(Galway); Jean Purtell(Galway); Kristy Verenga (Galway) and from Westmeath, Ann Wingfield, Lesley Wingfield, Celine Sheridan and Paul Row – also Jock Nichol(Offaly); Gordon Farrell( Longford) and Ian Wieczovek (Mayo). Sculpture has also been presented at Mandala – Sandra Vernon (Leitrim) and Billy Moore(Sligo) have shown at the space. Mandala has showcased works by recent graduates, such as painter / sculptor, Ruth Cadden,(Crawford); Niamh Beirne, (DIT ) – a Roscommon local; and award winning sculptor Holly Asaa (NCAD)/ Going forward, I am planning a solo show of my own for June 2011 and a group show for this Autumn here in Mandala. I am looking forward to working with some of the artists mentioned above; as well as meeting and working with some new and exciting emerging artists. I am optimistic that the Irish arts scene will flourish in the coming years and am excited to be part of this movement. I feel that in writing a piece about the arts in Co. Roscommon that I really must mention and pay tribute to Fergus Ahern, who sadly, this week, suddenly and unexpectedly passed away. Fergus, a patron of the arts, was a founder of Boyle Arts Festival and was also the inspiration behind the Boyle Civic Collection – both initiatives worthy of national merit. Fergus was a force to be reckoned with. He put Roscommon firmly within the realms of the wider contemporary Irish arts world and for that we must be eternally grateful. Fergus also raised thousands of euros for charities through his art auctions – the most recent being an event for Haiti. Ar dheis De a raibh a anam dilis. I hope that this additional information; give a further indication of breadth and variety of visual arts activities in County Roscommon. The Visual Artists News Sheet is a lifeline for artists such as myself. Keep up the good work!
Best Wishes, Siobhan Cox-Carlos
14
The Visual Artists’ News Sheet
November – December 2010
Profile
Life's no Picnic on the Streets
challenged to act out scenarios that mattered to them, the service users
Seán O Sullivan profiles Life’s No Picnic on the Streets, a collaborative art project organised by volunteers from Depaul Ireland, hosted at The Electric Picnic, Co. Laois.
with such difficult material would end badly, but the service users
were far more open about their respective pasts, and as a result became used to airing sensitive experiences that had never previously come to the surface. The Depaul coordinators initially worried that dealing insisted on continuing to take real-life scenarios into the work, as this was proving more creatively useful, and offered a greater sense of personal value and attachment. Life’s No Picnic on the Streets is grant aided by Dublin City Council, Create Ireland and Pod Concerts. Create Ireland is this country’s only dedicated patron of the collaborative arts, the organisation offers a rough annual total of €80,000 in project awards and bursaries, which they receive from the Arts Council. They split this amount to fund between four and six major projects and between ten and fifteen research projects each year. Create accepts a limited selection of proposals—funding for collaborative arts in Ireland takes only a very small part of the Arts Council’s budget – but crucially, the group offers advice and engagement with groups who are seeking to organise collaborative work. Depaul receives financial support from Pod Concerts, the company that runs the festival, who were happy with the standard of work and are hoping to keep Life’s No Picnic as an annual fixture. In 2008 and 2009, Pod underwrote the cost of with renting and constructing the festival marquee, for which prices can easily run into five digits. Local authorities are a perennially strong source of support for work undertaken by groups like Depaul. Local arts offices are answerable to county managers as much as the Arts Council, and tend to seek out programmes that have tangible value for communities, along with a high quality of artistic accomplishment. McQuaid noted of these issues, “There is something very different about an artist going out and deciding to work with a community because it ties in with the interests of their practice when compared to an artist applying to work on a predetermined relationship of arts organisation with community. There are artists who work within a community context in Ireland and produce art of ‘excellence’ but cannot get support to do so. This is
Alan Mongey standing on Populloss 3 made in collaboration with service users in numerous Depaul services, Electric Picnic 2010.
Sinead Curran doing last minute adjustments to her artwork Hall of Mirrors in collaboration with service user Peter Kelly, Electric Picnic 2010.
something that should be addressed.”[4]
There are some precedents of artists working with homeless people
group’s approach of harm-reduction, which might entail allowing a
project at the scale of Life’s No Picnic on the Streets, but the organisation’s
and the subject of homelessness, and moreover, exploring the tangle of
service user to drink, but in a managed setting, where regular eating
most pressing directive is managed outside of the spotlight, in support
ethical issues that it entails. For example, in Le Mots de Paris, a
and social interaction are given high priority. [4]
groups and workshops that are held throughout the year with social
Depaul Ireland usually requires around 20 volunteers to run a
collaborative art project that took place in Paris in late 2000, Jochen
This is the third year that the Electric Picnic has hosted Life’s No
Gerz installed a large glass surface into the paving outside of Notre
Picnic on the Streets. Throughout its seven-year history, the Laois
These groups would certainly subscribe to the idea of the ‘ethical
Dame’s famous cathedral. He inscribed it with a series of brief,
based arts and music festival has accumulated a strong record of
relation’, the value and results that the facilitators can claim as their
powerful sentiments quoted from interviews with people who lived
support for artist’s initiatives. This year Depaul Ireland transported a
own are offset by the opportunities for personal growth and
on the city’s streets, the inscriptions were punctuated by a discrete coin
truck full of cardboard and wooden palettes to the festival’s ‘Mindfield’
development available to service users. This is augmented heavily by
slot at the glass base. Gerz felt that this would encourage contributions
area, and built an exhibition space inside a large marquee. In 2009, the
the fact that service users are by no means easy to work with; a Sundial
to the lives of the city’s poorest people from visitors and tourists. The
group outfitted their marquee with false walls, a hard floor, and
House staff member noted, “many do not behave positively in groups
artist and his collaborators sought to challenge the normal public
painted it to replicate the feel of a gallery. Life’s No Picnic enjoys a
and as a result argue frequently and fight for attention by being the
perception of their social roles. Gerz presented the street people as the
closed audience, who are keenly aware of the weekend’s cultural slant.
loudest present and displaying challenging behaviour. The art
co-authors of a fluent work of visual art, prominently placed in one of
Last year, the exhibition attracted over 5,000 visitors – an impressive
workshops have made being in a group easier and given them skills to
Paris’ most visited historical environments. But more importantly, the
degree of exposure for a volunteer-based venture.
get on with each other in a group in a positive way, […] staff have
group as a whole shifted the relationship between the Parisian public
Volunteer visual artists and the larger group of service users
and the street people, addressing principally, the perception of value.
associated with Depaul Ireland produced a series of collaborations and
workers, counsellors visual artists and theatre directors.
noticed that they tell their life stories in pictures and communicate experiences they have never spoken about.”
installed their major works throughout the entire Stradbally Estate.
In a very meaningful way, collaborative practice seeks to exclude
This year The Electric Picnic worked with Dublin-based charity
These included Sinead Curran and Peter Kelly’s Hall of Mirrors, a
an individual from controlling the process of artistic realisation,
Depaul Ireland, and their group of volunteer artists to produce Life’s
corridor of distorted mirrors built around a tree, one of which displayed
de-normalising the notion of the individual as the best possible creative
No Picnic on the Streets, a collaborative arts project aimed at
a video of the service users. Alan Mongey’s Populloss 3, produced with
source, sharing research methods, and offering a challenging necessity
highlighting the difficulties faced by Ireland’s homeless. Social status
six of Depaul’s homeless services, featured a random placement of five
for negotiation and flexibility. [3] McQuaid concluded our interview on
is something of a raison d’être for collaborative practice, whether in
hundred original figurines that the audience could either retrieve or
this point, “there is not a lot of training out there for artists relating to
the simple analysis of finding one’s place in the world or the more
ignore.
the sensitivities and values necessary to work in a collaborative
[2]
intricate issues surrounding the reach of the public sphere. For the
Fiona Walsh and the residents of Dublin’s Tus Nua Apartments
capacity with a community group.” The personal resources required
individual artist, extending personal art practice into a group is a
produced Recast, a series of human figure casts that were backlit at
for this sort collaborative practice are extensive, but to those who find
proficient way of refining the process of art production, and for Depaul
night. Service user Peter Kelly has taken fervently to visual art, and
their individual practice to be in flux, whatever the cause, volunteering
Ireland, the ultimate benefit of collaborative practice is that it can
with the help of Katherine Sankey and Sinead Curran, installed his
might not be a bad idea.
teach its service users a range of skills that are distinct to the arts.
work Can Tree, a discarded Christmas tree, painted white and decorated
Life’s No Picnic on the Streets is initiated by Depaul Ireland, and
Depaul focuses primarily on harm-reduction for those whom
with a series of brightly painted beer cans. Paraic McQuaid explained
took place as part of the Electric Picnic Festival, Sept 3 – 5 2010,
other social organisations are unable to work with, including people
“The piece is supposed to be tongue-in-cheek but also has a poignant
Stradbally Hall, Co. Laois.
with problems stemming from addiction, mental illness, incarceration,
resonance because Peter has chronic alcohol problems which
self-harm and domestic violence. Depaul was active in the UK from
contributed to his homelessness.”
[3]
1989 onwards, it now functions in Slovakia, Ukraine, the United States
For the service users, the success of Life’s No Picnic on the Streets
and in 2002, it expanded to twelve locations between Dublin and
relies heavily on artists who can generate a critically strong result and
Belfast, providing just over 300 beds each night.
inform the thinking of the service users in equal measure. A
Depaul is staffed by Event Coordinator Ria Flom, Public Relations
collaboration that fails to attend to both requirements is bound to
Officer Nicola Jordan and CEO Kerry Antony MBE. I spoke with Paraic
eventually disappoint. Paraic McQuaid mentioned that the Depaul
McQuaid, Depaul’s artistic co-ordinator for Life’s No Picnic and a
service users tended to hold back crucial events in their lives when
lecturer in Cultural Policy at IADT, Dún Laoghaire. He explained the
talking with counsellors. However, in theatre workshops, when
Seán O Sullivan Notes 1. http://www.depaulireland.org/ 2. Jochen Gerz, Le Mots de Paris, http://www.gerz.fr/ 3. Mark Dunhill and Tamiko O’Brien, Collaborative Practice and the Fine Art Curriculum, http:// collabarts.org/?p=205 4. Information for this article was provided by Paraic McQuaid, in a series of conversations with the author, between 17 August 2010 and 3 September 2010. 5. Information for this article was provided by staff from Sundial House, in an interview with the author on 31 August 2010.
The Visual Artists’ News Sheet
November – December 2010
15
Profile
'The Great Belfast Art Hunt' – the party and prize draw at Belfast Exposed that marked the end of the event.
Debunking Elitism
Stephen Doyle discusses his project ‘The Great Belfast Art Hunt’ Going on the ‘Whitechapel Art Hunt’ in the London’s East End in the summer of 2008 ended up being a revelation for myself and the friends who attended the event with me. Previously thinking that the London art scene both began and ended with the big institutions such as the Tate Modern, the Hayward and the National Gallery, the event cleverly encouraged us to explore galleries we never otherwise would have dreamed of visiting – primarily because we had no idea such places existed. So off we went searching out tiny gallery spaces in non-descript alleyways, having a great deal of fun in the process. Fast forward two years: and now it is the big institutions we ignore, in favour of the dynamic and innovative things happening in local underground art scenes. I first started exploring the Belfast contemporary art scene when I moved here from London in the summer of 2009, and it came as a welcome surprise to discover that there were over 25 exhibition spaces in the Belfast City Centre alone, with even more on the peripheries. An eclectic mix of artworks could be found: you name it, and it was there: craft, installations, photography, video art, conceptual art, performance art, and then the obvious mainstays of paintings, prints and sculpture. There was even a gallery dedicated to architectural exhibitions. In short, there was something for everyone. And yet there existed the age-old problem: for the most part these galleries were only known to insiders. Many Belfast residents, even those who would consider themselves devoted ‘culture vultures’, had no idea of the exciting plethora of galleries that existed on their doorstep. Of course they knew of the Ulster Museum. Some might also be vaguely aware of the Ormeau Baths Gallery, the Golden Thread and / or Belfast Exposed, but that was about the limit of many people’s knowledge. It was a situation the galleries themselves were unhappy with. Certain private galleries can be forgiven for wanting to keep a select clientele, but not only do most publicly subsidized galleries have an actual remit to encourage wide sections of the public through their doors, but their staff usually have a personal desire and inclination to turn the appreciation of contemporary art into a more mainstream leisure activity. In short, conditions were ripe to bring the ‘art hunt’
model to Belfast. By this time I had discovered that it was not just London’s East End that had hosted an ‘art hunt’, but that the event was a tried and tested formula that had featured in developed cities all over the world, including New York, Sydney and San Francisco. In each case the results were the same – a framework was provided in which contemporary art could be enjoyed in a fun and unpretentious manner by people who were not necessarily art-world insiders. For the event to be a success I needed at least 10 Belfast galleries to take part. I was worried the idea would be met with reluctance, but nothing could be further from the truth. The concept was met with unanimous enthusiasm, with even galleries that were normally closed on a Saturday offering to open up for the day, whereas other galleries were willing to extend exhibitions by a few days so that they would have something on display on the Saturday. The amount of support and help offered was actually rather touching. I also needed funding. There were two primary costs – the printing of flyers, and then the food and drink for the gallery party, which would conclude the art hunt. I received financial sponsorship from the John Hewitt bar, and I stood to generate up to £300 through ticket sales, which were retailing at between £4 – £6 On the day, everything ended up going according to plan. Participants met up outside Belfast City Hall at 12.30pm and were each given their Belfast Art Hunt pack. Inside each pack was a specially created map of Belfast City Centre that listed 26 different gallery spaces. There was another piece of paper listing the rules of the hunt, and then another sheet with a list of clues. Each clue revealed the name of a gallery, which the contestant then had to visit. So one clue might be “come to this gallery for a swim”, with the answer being the Ormeau Baths Gallery. Another clue might be “a gallery open to the elements”, the answer being Belfast Exposed. Thirteen galleries in total participated in the event, and in each one there was a word pinned to a wall which contestants had to make a note of. This was how they proved they had been there. They had just over three hours to visit all the galleries. At 4.00pm they were directed to meet at the secret gallery party, where there would be food and drink, and a prize draw for everyone who had
successfully collected all the passwords. Through the kindness of certain individuals and institutions, a great number of prizes were amassed. The prize that generated the most excitement was a beautiful framed and glazed limited edition print by renowned Northern Irish artist William Artt, part of his latest series of works titled Sedimentary. Meanwhile photographer Frankie Quinn from the Red Barn gallery donated a photographic print, SpaceCRAFT donated a £50 gift voucher, the Golden Thread Gallery donated several books, Belfast Exposed donated a photographic print / poster, and main sponsors The John Hewitt bar donated two bottles of wine and a lunch for two. There were 12 volunteers who helped out on the day as assistants. In order for contestants to clearly identify who to turn to if they needed help, and in order to have a bit of fun, all 12 helpers, as well as myself, dressed as cowboys or cowgirls. These helpers included five of Northern Ireland’s most promising contemporary artists, all of whom were more than happy to look silly for the day; the message couldn’t be any clearer – the world of contemporary art can be fun. This had always been the raison d’être of the Belfast Art Hunt: to provide an antidote to the stiff formality that can all too easily pervade the contemporary art world. Commentator Don Thompson hits the nail on the head with the following remarks, which, although they refer to private galleries, also aptly describe certain public galleries, especially when such subsidised spaces so often follow the private gallery’s intimidating ‘white cube’ aesthetic. Thompson notes: “Observe people looking at art through a gallery window; frequently they pause before pushing the buzzer, then walk away. The quick escape has nothing to do with the art being shown ... It is the fear that the dealer will treat you as an unwelcome intruder or, worse, as an idiot, and will patronize you” (1). It’s a pertinent point; such a fear, of being treated like an ‘unwelcome intruder’ or ‘an idiot’, characterised much of my early gallery-going experiences, and I know plenty of others who have admitted to feeling the same sentiments on more than one occasion. In the end a total of 75 people participated. This number included a wide mix of people, from all backgrounds, and of all ages. Most had no background in the arts, which was exactly what I had hoped for. The reactions were as I had planned: everyone was surprised that Belfast had so much impressive and exciting art on offer. Typical reactions included the woman who informed me she had lived just outside Belfast City Centre for over 20 years and yet today was the first time she had ever set foot in the Ormeau Baths Gallery, one of Northern Ireland’s largest and most exciting art galleries. Meanwhile, there was someone who had been studying at Queen’s university for over two years, yet today was the first time he had entered Queen’s University’s Naughton Gallery, one of the greatest University galleries in the UK. There are a handful of huge art institutions dotted across the globe, places such as the Tate Modern and the Museum of Modern Art in New York, that have proved that the consumption of modern and contemporary art can be successfully transformed from an obscure specialist hobby into a mainstream leisure activity, one that can be enjoyed by people from a diverse range of backgrounds. Such institutions have been able to achieve this thanks, in large part, to their enviable budgets that have funded a series of remarkable marketing and branding campaigns. Such highprofile marketing initiatives are, of course, well beyond the means of smaller galleries in less populated cities; however, the success of the Great Belfast Art Hunt demonstrates that there are other ways that the myth of contemporary art’s elitism can be debunked. As ever, imagination can triumph over financial limitations. As the old adage goes, problems are only opportunities in disguise. Stephen Doyle Note 1. Don Thompson, The $12 Million Stuffed Shark: the Curious Economics of Contemporary Art, Palgrave Macmillan, 2008
16
The Visual Artists’ News Sheet
November – December 2010
Art in public
Seoidin O'Sullivan, Eagles Kite Fying Workshop – Lines of Flight
Moira Tierney Are We There Yet?
Andrew Dodds End Times
Diane Henshaw, Installation View Drawing Music
Sites of Becoming
Bryonie Reid discusses ‘Fields of Vision’, a project initiated by the Leitrim Sculpture Centre in 2008, from her perspective as a cultural geographer. In 2008 the administrators of the raft of funding known as ‘Peace III’ called for tenders from arts organisations planning research, activities and events addressing the legacy of politico-religious conflict in Irish border counties (1). The Leitrim Sculpture Centre responded to a brief requiring four arts-based events to examine ideas of identity and victimhood, and history and experiences of the conflict, and engage with school children. After an open call, artists Diane Henshaw, Andrew Dodds, Seoidín O’Sullivan and Moira Tierney were chosen to implement proposals for both workshops with schools and their own work, the results of which were exhibited at the Sculpture Centre this year as ‘Fields of Vision’(2). With the Sculpture Centre’s director, Sean O’Reilly, as curator and Hayley Fox-Roberts as schools facilitator, I was involved with the project as a cultural geographer. In this article I discuss certain of its processes and outcomes: first, the special strictures placed on visual art projects by Peace III funding; second, the relationship within the project between visual art and cultural geography; and third, the exhibited work, read through the lens of cultural geography (3). I am conscious from my own research of the profound complexity of conflict in Northern Ireland, and was perturbed by the extent to which this complexity was unacknowledged in the brief, which stemmed from the Special European Union Programmes Body (SEUPB). The Sculpture Centre received money with the stipulation that it “organise arts-based events focusing on exploring identities and victimhood” and “use the arts as a medium to portray history and experiences of conflict’, while ‘involving schools and youth groups in peace and reconciliation based arts projects” (4). The remit requires an overlap between art practice and community work, and while many artists make community engagement central to their work, the wording here is sufficiently blunt to have necessitated careful consideration of the way forward. Although ‘identities’ and ‘history’ are conceptually broad enough to interpret in ways appropriate to art practice and working with children, the term ‘victimhood’ has multiple, contradictory and painful meanings for people affected by the Troubles. Not only is it a raw subject to broach, but I question whether it is a suitable subject for children born and brought up since the ceasefires of the mid-1990s and geographically at some distance from the epicentres of violence. Likewise, ‘experiences of the conflict’ may be substantially meaningless to a post-ceasefire generation. A strength of all arts, visual, literary and performative, is that they push beyond ‘the shackles of identity and definition’, alluding to meaning without closing it down, and each artist involved in ‘Fields of Vision’ expressed serious concerns about being asked to address in their practices concepts which were simultaneously vague, limiting and simplistic (5). During the project it became an important (and occasionally challenging) part of the curatorial and exegetic role to read the artists’ work in the light of the funders’ brief, finding and making clear the connections between the two without compromising the artists’ integrity. My contribution to the project concerns its relationship with cultural geography. Having common interests in landscape and place in visual art, Sean O’Reilly asked me to be involved in the formal application
for funding and then in an ongoing consultative and interpretive capacity. Geography was central to the project, given its siting on the Irish border, and we decided to view the notions of identity and victimhood and history and experiences of the conflict through the lens of landscape. This would ground the amorphous conceptual framework within which artists were being asked to work and offer them a means of approaching the requisite subjects obliquely and sensitively. We suggested that these notions could be traced in material and representational landscapes, and that a geographical methodology would be productive in understanding local landscapes and the effect of the border, and help the artists to circumvent the pitfalls evident in the original brief. Changes in the landscapes of the Leitrim and Fermanagh border over the last forty or fifty years (including the geography of smuggling, the closure of border roads, abandonment of farms, transport infrastructures, the presence or absence of community facilities, forestry and recent housing developments) tell stories about politico-religious difference, local and national economies, rural, urban and suburban living in Ireland, negotiating an international border and political violence. Implicit throughout are ideas of identity, victimhood, history and conflict, and the artists could deal with these ideas through examining landscapes in ways fitting their own interests and methods. As the project evolved, the issue of the relationship between the artists’ work and the pieces produced with them by children during the schools workshops arose. Initially I certainly thought of these workshops as a necessity to secure funding, but a distraction from the real conclusion to the project, the artists’ exhibition (6). The limitations of such thinking eventually became clear. While it had been envisaged at the outset that the children’s work and the artists’ work would be produced and exhibited separately, for at least three of the artists the workshop process resulted in the children making work integral to what they were producing themselves, either conceptually or materially, and they requested a combined exhibition (7). Diane Henshaw, in her work Drawing Music, displayed recordings of traditional music from Leitrim and Fermanagh alongside drawings representing the melding of cultural and material landscapes in a distinctive border setting. Several showed the Leitrim village of Kiltyclogher, abutting the border and blighted by the closure of border roads during the Troubles. One resembled a bird’s eye view of the village and surrounding landscape, evoking both its cross-border connections and recent history of geographical isolation. Another spoke of the vagaries of border economies through a disused petrol pump. Henshaw’s schools groups produced four large collaborative drawings. Three were marked respectively ‘Garrison’, ‘Killesher’ and ‘Kiltyclogher’, and other clues to their siting were discernible through illustrations of landscape features and collaged copies of old photographs. These public geographies were layered with the children’s private geographies, with ‘Miss Doherty’s house’ marked on one drawing, offering interestingly subjective and personal views of particular border landscapes.
Andrew Dodds’s piece, End Times, emphasised direct engagement with cross-border landscapes under the guidance of local ecologist Anja Rosler, with evidence from the children’s encounters with these landscapes displayed in the gallery. This included a digital film of the children exploring the former demesne of Glenfarne in Leitrim, now heavily wooded, finding and identifying various forms of flora and fauna as they walked. Photographs taken by the children during another expedition to the nearby Florencecourt estate in Fermanagh were also shown, as well as the tools they used to collect and categorise, the gathered objects and materials and their drawings, all arranged by the artist. Dodds’s work referred to partition, and the effects of their respective locations North and South of the border on Glenfarne’s and Florencecourt’s recent histories cannot help but point to the parallel histories of the border and the two states it divides. The recent pasts of the demesnes were approached from an ecological perspective, so that rather than explicitly outlining political and social histories of the border, Dodds alluded to them by looking at their geographical effects. By presenting his work with the children’s he allowed for multiple individual perspectives on border landscapes and their meanings. Seoidín O’Sullivan brought together several works, including a text and image by Lorcan O’Toole of the Golden Eagle Trust, kites made by the school children and digital films depicting the launching of the children’s kites in her work, Mapping Flight. The group followed the movements of a tagged eagle chick who wandered from Donegal into Fermanagh and Leitrim. It was poisoned at some point on its journey, and the kites were flown at the foot of Truskmore in north Leitrim, one of its roosting spots. Sited near the border, the work made strong allusion to its paradoxical presence and absence (for humans as well as animals) through juxtaposing the physical freedom of movement of the eagle with the impact on it of moving between states with differing regulations and conventions. The idea of shared landscapes made wry comment on border histories of division and conflict, while the violence done to the eagle chick also reflected subtly on the history of political violence on the border. Are We There Yet?, by Moira Tierney, consisted of two Super 8 film loops blown up to 16mm, made by the children and the artist (see figure three). The children’s films addressed the idea of the border elliptically, with only ambiguous or fleeting signs such as variations in accent and references to the BBC in their commentaries locating the sequences geographically. One group’s re-enactment of a Star Wars narrative, and the inclusion of police in another’s role play may be read to evoke the border’s troubled past, but the tone was light-hearted, again tendering a child’s view of his or her border locality as ordinary, familiar and shaped by forces other than national politics. Through Tierney’s eyes, the border was shown to be both banal and strange, unexceptional rural views giving way to the fortress-like aspect of a police barracks. The decision to include all stutters, jumps and flares resulting from the film’s processing reinforced the sense of cognitive dissonance arising from the border’s topographical invisibility together with its social, economic and political effects, manifested in the landscape on either side. Despite the special and occasionally difficult conditions imposed on ‘Fields of Vision’ as a result of its Peace III funding, the artists maintained the particularity and honesty of their individual approaches. The interweaving of the children’s with the artists’ work in the exhibition points towards the integral part played by the workshops in the artists’ research and practice. For a cultural geographer, the four bodies of work offer fresh and creative engagements with a complex border landscape, and constitute a rich resource for interpretation and discussion of the border. All reveal the border to be what J.K. GibsonGraham call ‘a site of becoming’, historically and geographically embedded but nonetheless fluid (8). Bryonie Reid
Notes 1. Peace III Programme money is administered through the European Union’s European Regional Development Fund which is managed by the Special European Union Programmes Body. 2. The exhibition ran from 11 June – 31 July 2010. 3. At the time of the project, Hayley Fox-Roberts worked for Community Connections, a community development project based in west Fermanagh, north Leitrim and north-west Cavan. Her existing relationships with schools in the border area were invaluable in setting up the schools workshops for the artists. 4. All quotes from contract between Leitrim County Council (Lead Partner) on behalf of County Leitrim Peace III Partnership with The Dock (Contractor) – Lead Partner with Leitrim Sculpture Centre. The Dock in Carrick-on-Shannon and the Leitrim Sculpture Centre were able to apply together for one tranche of funding, splitting both the money and the required outcomes between the two organisations. 5. Reginald Shepherd, The Other’s Other: Against Identity Poetry pp648-660 in Michigan Quarterly Review, vol. 42 no.4, 2003, p648. 6. This was a personal view only, not a matter of agreement between the curator, schools facilitator and me. In fact, we did not discuss it until at the stage of planning the exhibition. 7. The exhibition included the following new works: Border Lines and Drawing Music by Diane Henshaw; End Times by Andrew Dodds; Mapping Flight by Seoidín O’Sullivan; and Are We There Yet? by Moira Tierney, with soundtrack including music from Macdara Smith and the Bahh Band, courtesy of Brian Fleming. Due to constraints of space I have neither mentioned nor explained in detail every piece of work included in the exhibition. 8 .J.K. Gibson-Graham, A Postcapitalist Politics, Minneapolis, University of Minnesota Press, 2006, pxxvii.
The Visual Artists’ News Sheet
17
November – December 2010
How is it MADE?
Origami, Hedgehogs & Kangaroos Alex Pentek discusses the relationship between his large-scale permanent commissions and more temporary site-specific work. of public art in an open and humorous way. Since installation in May 2010, Hedgehog has been seen by many, getting two mentions on national radio and while difficult to miss measuring 6 x 8 x 5 metres, cars and trucks have all kept their distance. Earlier this year while Hedgehog was being designed and fabricated, I was shortlisted to one of two finalists in an international competition for a landmark sculpture in Brisbane, Queensland, Australia. After being flown out for a site visit, I prepared a 3D walk through of my idea, which began with a 3D Sketch-Up model that I created. (Sketch-Up is a free software program that is easy to use and has proven invaluable to me on a number of projects, allowing visualization in 3D of any complex geometric shape or landscape). Arup then prepared the finished walkthrough, pasting my sketch-up model into a CAD program, which included a fully rendered version of the park and planting with the proposed work in place. This importantly allowed my site-specific idea to be viewed in context. Situated in a new park on top of Kangaroo Point cliffs in the city, I chose to represent a 20 metre tall, corten steel origami kangaroo with a ‘joey’ in its pouch based on an origami design by Peter Engel, who
Alex Pentek Hedgehog 2010 N11, 5 km North of Gorey, Co. Wexford.
kindly supported the project. This would have been visible across the city and refers to the traditional namesake of the area, remembering a time when it was heavily forested and kangaroos were abundant in the area before it became absorbed by the city. It was also important to me for the work to have meaning to the traditional landowners of this site, as well as a passing public of mixed age and culture. Having presented my idea to the selection panel, final selection was changed at the last minute to a public vote. (See www.artpoll.com/ au ). While my idea was not selected for this commission, I feel that it was an achievement to have made it to one of two finalists in an international contest of this scale, and I learnt a lot from the whole experience. The 3D walkthrough was rendered to a level I had never achieved before – even Arup had never seen such detailed rendering of Alex Pentek Kangaroo. Digital rendering of Kangaroo Point cliffs Brisbane, Queensland, Australia.
Alex Pentek. Digital redering of commission proposal for Burlington City on Lake Ontario, Canada.
plants and trees, (which took a full week of computer time to process
I have been practising as a full time artist both nationally and
consultation, communication and people skills become important to
into one minute of animation and can be seen at the above site). Having
internationally since I graduated from the Crawford College if Art and
the success of a project as well as expertise in the finished material of
given radio and television interviews on behalf of Arts Queensland
Design in 1996. While during this time I have mainly focused on
the work itself.
during the process, public support for this idea had been very positive,
creating large-scale site-specific work, I have also made temporary
This year I completed a landmark sculpture Hedgehog, on the N11,
(including the local community living nearby), and the legacy of the
gallery based works in paper and sound performances. Recently this
5 km North of Gorey, Co. Wexford, which was selected through an
idea lives on with its own anonymous underground following and
has included representing Ireland in ‘Ten Days on the Island:
open competition. The idea for an 8 metre long corten steel origami
website at www.roozilla.com .
International Arts Festival’, Hobart, Tasmania, with a folded paper
hedgehog came from my reaction to this new stretch of motorway that
Thankfully, the last six months have been busy and I am just back
installation and sound performance entitled Otherness in 2007. In 2009
bisects a wooded area lying in its path at this point, and perhaps turns
from Burlington City on Lake Ontario, Canada, where I was recently
I collaborated with Declan Rooney in The Young and the Innocent, where
the tables on passing motorists who will not want to drive over this 12
awarded the commission to create a series of large-scale public works
I created a series of Jazz drumming improvisations over a six-hour
ton object!
through an open international competition. This idea for a series of
period as part of 'Accumulator,' an exhibition at Visual, Carlow (25
While the idea for a large hedgehog came quite quickly after
three giant six metre tall orchids found growing in the region will be
Sept 2009 – 16 January 2010). Long time interests in origami paper
considering this somewhat problematic preselected site and plays on
made from a mixture of patinated bronze and painted poly urea
folding and music have begun to inform my large-scale work – which
the effect of making a small cute hedgehog menacingly large. Further
protective coating over stainless steel, and will be recognizable as
is a theme I aim to continue developing in future projects.
inspiration came from an origami hedgehog I had come across 10 years
indigenous species that are rare or endangered.
I like to stay abreast of current scientific and mathematical
earlier by John Richardson. Echoing elements of this tiny origami
To create the montage I had to resort to re-creating an entire
theories, and elements of these inform my working practice on a
folded paper surface on a large scale in corten steel, allowed the work
stretch of motorway using Sketch-Up, as there were no high quality
practical and philosophical level. The study of light through
to become even more symbolic, not unlike a quick sketch where
images available without travelling to Canada. With engineer’s
holography is an area of particular interest to me where information
unfinished lines are completed by the imagination of the viewer.
drawings pre-approved, the three stems will be fabricated from bronze
about the ‘whole’ is contained within each smaller ’part’ encoded by
However, when I arrived with my tiny assembled paper model to Arup
with the ground level leafs cast in bronze. Made from painted poly urea
laser light interference patterns. I am also interested in the question of
offices in Cork, it presented many technical challenges that could only
coated waxed canvas over steel, the flower heads will be attached
the emergence of life in Earth‘s early oceans, where complex systems
be resolved by the creation of a highly detailed 3D CAD model based
separately after shipping to the site from Ireland. The work will also
achieved order not through top down commands but through a
on my maquette. For practical and safety reasons, together we decided
contain fibre optic and LED lighting elements for the work to subtly
bottom up grass roots level of interaction. Similar ‘passive dynamic’
to represent only visible surfaces over a hidden galvanized sub-frame
come alive at night and during the long winter months in Burlington.
systems can also be found working in today’s communities in the
to allow the work both to be fabricated and lifted during installation,
natural world, from ant colonies to the formation of modern cities. I
and to allow the free run off of rain water.
It has been my aim to engage the passing public and surrounding community in a way that celebrates the rich natural heritage of
enjoy exploring these holistic and interactive ideas, which are relevant
Fully specified engineers’ drawings were then prepared by Arup
Burlington and its environs through the diversity and delicacy of these
to the relationship between ‘self’ and the surrounding ‘community’
which also took into account the final position of the work on the cut
wild orchids, whose stillness will visually contrast the surrounding
and the world in which we live.
away raised embankment. A letter of tender was prepared and given to
built up area. Often with extensive and delicate root systems that have
While the ideas behind each work vary greatly, the work is
a shortlist of fabricators with the fabrication contract finally awarded
a symbiotic relationship with certain types of fungus in the soil, these
interpreted just as differently and validly by all who experience it. It is
to Crowley Engineering, Glanmire, Cork. Having the work as a 3D
orchids symbolizes a deep and hidden connection with the earth, and
my aim to create openly challenging and engaging work that not only
CAD file meant that Crowley’s were able to feed a full cutting list into
their size will momentarily transport passers by to an ant scale view of
explores different themes and ideas but that also communicates on a
their plasma cutting machine and the work was fabricated and
the World which may help to create a sense of place within a broader
more primary visual level.
installed over a period of 4 months by their experienced team. During
natural order.
installation the 12-ton work was lifted and bolted onto the concrete
I am excited by the idea of creating works of such a scale and
behind realizing any project are an important part of the work. Using
raft foundation using a 100 ton mobile crane, which had to reach 17
impact that they become a defining public icon for the community, and
my own set of skills as an artist where possible (such as drawing and
metres from the roadside and caused quite a spectacle!
perhaps even help to create a sense of community through the legacy
As I mainly make large-scale permanent work, the processes
sculpting / casting in various materials); I enjoy the challenge of
With a rusted metal finish, the natural colour and scale of the
working to a large scale by drawing on the skills and expertise of
work aims to visually blur the boundary between object and landscape,
architects, engineers and fabricators to realize a project. Also, often
creating a tension between the familiar and the abstract with a surreal
introducing an idea to the local community through public
physical presence that may challenge people’s expectations of the role
of shared experience. Alex Pentek
18
The Visual Artists’ News Sheet
November – December 2010
PROFILE
An Evolving Showcase Joan Healy rePorts on ‘AN INSTRUCTIONAL’ a touring exhibition project initiated by the artist-led organisation MART
Clodagh Lavelle. Work shown at 'Mart Instructional' Space, Bratislava, Slovakia.
Sophie Losher. Work shown at 'Mart Instructional' Space, Bratislava, Slovakia.
Emma Wade HUGS – Human Utopain Generation System. 'Mart Instructional' Shunt. London.
James Hayes A Room full of Donestic Bliss. 'Mart Instructional' Shunt, London.
Joan Healy Becoming a Franz West 'Mart Instructional'Molesworth Gallery, Dublin.
I recently took part in ‘An Instructional’ a european touring project by MART, an Irish / UK based artist run organisation. ‘An Instructional’ was based on the concept of brocolage, or more specifically ‘making-do’ – that is how artists respond to the challenges posed by their environment by using their own creativity and available resources. DIY culture has always been hugely influential on artistic practice. MART was set up by Matthew Nevin, Ciara Scanlan and Chloe Freaks in Galway, Ireland in 2007. The primary aim of MART – which takes its name from the conflation of the terms media and art – is to educate, involve and promote new media, installation and performance art work to the public. To accomplish this, MART showcase’s artists’ works both online and by setting up temporary gallery spaces within accessible city centre locations providing direct access to public to these art forms. MART has created an online gallery space for New Media artists (www.mart.ie / www.martgroup.org). MART currently has over 50 online artist members. Membership continues to grow each month; and in total there are over 100 active artists in the collective, based in UK, Ireland, Germany, Sweden, the US, Canada, Slovakia, and many more. In Michel de Certeau’s The Practice of Everyday Life (1), he highlights the many ingenious ways people subvert capitalist systems of topdown cultural consumption, by using their collective ingenuity to produce new tools, meanings and uses from existing systems and objects. This subversive ‘tactical’ ethos seems particularly relevant now in times of global economic recession’ and the increasingly difficult financial situation that many artists find themselves in. The tour was an experiment in how to – with only limited means – create a cultural space for artists to express their ideas and promote their work. In each venue, the artist-curators Matthew Nevin and Ciara Scanlan chose a different mixture of artworks from a pool of over 30 participating artists. Their idea was to use works that could be adapted to the unique architectural context of each different exhibition environment. Working on a limited budget, the artworks on the tour had to be easily transportable or reproducible onsite. Practices of potlatch (2) and skill sharing were employed, in this way resources were distributed amongst the artists, with each artist actively participating in the production and running of the exhibition. Travelling to Norway, the UK, Slovakia, Germany and then back to Ireland, ‘The Instructional’ took place in venues such as Shunt in London, Space in Bratislava, Stadtbad in Berlin, and Entree in Bergen. Some spaces such as in Bergen’s Entree were traditional ‘white cube’ gallery spaces with a dedicated audience made up of arts professionals and visual art students. In contrast to this, and possibly due to the low exposure of artists from Western Europe in Slovakia, when ‘An Instructional’ was exhibited in Space in Bratislava, the work was received with massive local media interest. Other spaces such as Shunt in London – a cavernous underground structure– attracted a mixed audience of artists, musicians and theatre-goers. Stadtbad in Berlin is a huge abandoned 1950’s swimming pool complex that had been turned into artist studios and an art venue. Because of its unusual architecture and the legacy of its former use, this
was a particularly challenging space to curate, but it also opened up new opportunities for work, particularly for artists who wanted to play with the small dark cubicles and odd acoustics of the space. Some artists interpreted the theme of making do in a very literal way, while others interpreted the theme in more reflexive ways. Ivan Twohig exhibited work specifically made from a workshop he facilitated at the Glor Arts Centre in Clare. It comprised of a modular paper sculpture, made though collaboration by local students, it was designed to be easily assembled and disassembled in each new location. Others used found objects or ready-mades as a source for their work. Jim Ricks’ 505 for example used a photograph he had taken of some gang graffiti found in Oakland, California, and reproduced it in each gallery space, each time physically mimicking the territorial tagging of the gangs from whom Ricks reappropriated his image. Adam Gibney’s The Semionaut’s Agora; Scene 342 comprised of copies of found imagery of mass produced consumer food items, distorted and reconstructed into confusing simulacra of the original items. Layering found sound from film and TV advertising, he constructed chaotic narratives. Debbie Jenkinson’s Three Word Phrase consisted of a hacked analog flip clock – whereby each number panel had been replaced by a new panel with an image hand painted onto it. The images rotated in the three sections of the clock, and change every hour, every minute and every second, according to the clock’s demonstration of the passing of time. They combined to form a transient visual puzzle – the sequence and narrative of being defined by the parameters of the clock mechanism. Aine Phillips’ wearable piece Strap Wrap was also designed to be easily transportable and adaptable to any location. It took the form of a shawl made from the straps of 123 discarded bras – given to her by friends and family, a monument to the 123 women in Galway who had breast cancer last year. Although made from humble materials, Strap Wrap is a powerful piece loaded with the symbolism of the brassiere as a cultural signifier – both of female sexuality and of patriarchal oppression. In the combination of the intimate personal items of so many women into one wearable unit, Strap Wrap became a new symbol of women’s strength and collective support for one another. Vukasen Nedeljkovic displayed laminated immigration papers that he had received from the Irish / UK governments along with a letter stating that his asylum visa would not allow him to leave Ireland to go to his mother’s funeral in his native Serbia. Because of his identity as a foreign national, Nedeljkovic’s participation in the project served as a personal examination of the darker authoritarian systems of power that control every aspect of his public life. While his artwork was allowed to travel, the artist himself was not. Eleanor Lawler’s Wall playfully interpreted of the themes of the shoe. Using found fabrics, she created an environment where viewers had to lie down on the floor to view a video piece. What viewers saw, replicated the viewpoint they now occupied – the underside of a bed. The piece recalled the child’s game of ‘hide and go seek’ – in the video footage we see feet running around the bedroom in response to nonsensical instructions coming from the direction of the camera,
accompanied by the laboured breathing sounds of someone crouched into a small space and moving around with difficulty. By creating this immersive installation environment, Lawler imposed a kind of kinaesthetic viewing experience upon the viewer, whereby viewers were both physically and intellectually engaged with the work. A strong performative contingent was also featured in ‘An Instructional’, with artists such as Katherine Nolan making temporal body art works where she interacted directly with each space. In Surface Tension, Nolan, dressed as a burlesque artist, put on a simultaneously erotic and grotesque display where she uses the architecture as a fetishistic prop to explore the narcissistic impulse in performance. For my own performance piece – Becoming a Franz West I used discarded objects found on site such as tubing, old furniture and even a toilet bowl to make a living sculpture inspired by the Paßstück sculptural works of Franz West (3). Made from cheap materials such as foam, plaster bandage, sticks and painted in bright colours, I turn myself into an object to be consumed. The performance Our Common Future by Martinka Bobrikova and Oscar de Carmen, used a simple Junior Cert science experiment, with materials such as copper and zinc nails bought from the hardware store, and potatoes, apples and tomatoes, to create miniature electrolytic cells (batteries) which were used to create abstract sounds – the sugar-energy contained in the vegetables created patterns of small analog electrical signals which were amplified to create an unexpected orchestra of noise. MART’s ‘An Instructional’ was a great way for the participating artists to network and to gain exposure to new European audiences. It also gave them a chance to interact with the local art communities of each different city. The tour also grew into a great platform for artistic experimentation, through the combination of so many artists from different backgrounds living, working and travelling together for over four weeks, new opportunities for collaboration and knowledge exchange were facilitated. Pioneering artist / architect Markus Miessen suggests that a new model of participation can be created “through the conscious implementation of zones of conflict” (4) and that through these conflicts new artistic and design ideas can be created. In the creative environment of the tour, with so many opportunities to perform, exhibit and collaborate, the MART ‘An Instructional’ tour became an evolving showcase of new ideas and a great example of participatory art practice. Joan Healy www.martgroup.org / www.mart.ie Notes 1. Michel De Certeau, The Practice of Everyday Life, University of California Press: Berkeley 1984. 2. The term ‘potlatch’ meaning “to give away” or “a gift” originates in the culture of the people of the Pacific Northwest of the America’s. It went through a history of rigorous ban by both the Canadian and United States’ federal governments, and has been the subject of study of many anthropologists. 3. Details of Franz West’s work can be seen at www.gagosian.com/artists/franz-west/ 4. For further details on Markus Miessen’s work and ideas see – www.studiomiessen.com
The Visual Artists’ News Sheet
19
November – December 2010
PROFILE
The Discaplined Sharing of Knowledge Emilio Largo profiles The Rossnaree School of Art, Rossnaree House, Slane, Co Meath
Rossnaree School of Art
Rossnaree School of Art
The Rossnaree School of Art was founded in 2007 by artist Aisling
tomb, and it is still an area of outstanding beauty and serenity.
Law. The school is situated in the grounds of Rossnaree (or ‘headland of
Throughout each course students enjoy the unique, peaceful setting
the kings’), a unique historic private estate located in Slane, County
and atmosphere of Rossnaree, with organic produce from Rossnaree’s
Meath – part of the UNESCO world heritage site – overlooking the
Victorian kitchen garden and freedom to roam the 200-acre estate.
bend of the Boyne, Newgrange, Knowth and Dowth. Rossnaree provides
The intensive programmes also involve exclusive lectures by
an inspiring setting for the development of vital academic skills in the
leading Irish and international artists who provide an informal
visual arts in modular courses that run throughout the year.
introduction to their work and methodology, while the library of
Aisling Law describes setting up The Rossnaree School of Art, in
Rossnaree is transformed into a dedicated screening room where films
order to “cater for a new generation of artists who understand the
relating to the history of art and art practice are screened once a week.
importance of an intensive academic education in their development.
In the evenings students are also encouraged to attend life-drawing
I came back from studying at the Ateliers in Florence in 2007 and saw
sessions in the studios.
a real opportunity to develop something unique and special at Rossnaree, taking the best from these schools while always keeping an
An increasing number of students choose to return on a regular Rossnaree School of Art
basis to take part in different courses, lectures or film screenings, and
open mind about the possibilities of art. So much emphasis is put onto
effectively explore and question the world around them. The aim is
many of the students have developed ongoing working relationships
ideas these days – ideas and philosophy in art. Of course this is
not to narrow ones ability or impulses, but rather to provide a strong
with both the tutors and other students – which often really helps them
important, but to me it seems that our schools and institutions often
grounding, a clear and distinct practical knowledge that will provide
develop. Aisling describes her experience of the school thus far as “quite
focus on this at the expense of the techniques and methods of
visual artists with the tools to more effectively develop a personal
an eye-opener – as to how well people have responded to the training,
representation in painting and drawing that have been developed over
language”
both in terms of their desire to learn these age-old techniques but also
Since its inception in 2007, the school has attracted a diverse
by the marked improvement in their work as a result of the training. On
range of tutors, including James Hanley, Daniel Scott, Joe Dunne,
a personal level I find it deeply rewarding to see people returning to the
The core courses on offer at Rossnaree School of Art include
Imogen Stuart, Gearoid Hayes, Samuel Horler (who now runs
school to continue their learning, and to see how their work has
drawing classes, which are designed to introduce students an academic
Rossnaree School of Art sister school in Dublin- Clarendon Art
developed as a result of the hard work they put in to practicing the
method of practice. Students are taught to use the sight-size method of
Studios) as well as regular visits from artists and teachers from the
techniques and methods taught here at Rossnaree.”
measurement, which trains the eye to view the subject with accuracy
leading Ateliers in Florence. Tutors are selected on the basis of their
The Rossnaree School of Art is less than an hour from Dublin, 40
in order to reproduce it successfully. This method of measurement is
skill levels, the quality of their work, and their ability to effectively
minutes from Dublin Airport and twenty minutes from Drogheda train
applied when depicting casts, the human figure and in portraiture.
centuries- the techniques of the Old Masters like Titian, Velasquez, Sargent – and in the modern era Picasso and David Hockney”.
communicate their craft. Classes are intimate and structured, where
station. Rossnaree House is in ‘Hidden Ireland’, an organization selecting
Aisling Law studied in Dun Laoghaire College of Art in the 1970s;
tutors regularly critique and assist in the students’ work. Artist’s studio
the very best and most stylish country house accommodation available
reflecting on her experience she notes “I remember in the 60s and 70s
easels and boards are provided and class sizes are restricted to ensure a
in Ireland. A limited number of residential places are available at
in art schools in Ireland there was this iconoclastic impulse. In Dublin
comfortable, spacious and professional working environment.
Rossnaree and the RSA also has a special offer with nearby Newgrange
many of the traditions were shunned, with plaster casts used for
The school has attracted a diverse range of students – as Aisling
teaching literally thrown out of the window – I guess the idea was to
puts it “there’s been a real mix- from well-established professional
Considering the future of the school, Aisling Law says “as we
break the mould so to speak, to come up with new ways of seeing far
painters to those just starting out in their careers in the visual arts.
continue to develop and grow, perhaps the most important thing for
removed from the traditions. Maybe this was necessary, especially in
We’ve had architects and graphic designers who are changing careers;
me is that we build something sustainable, something which is not
this country where there had been such shackles imposed on peoples
students doing their Leaving Cert / A-Levels. In fact one of our students
dependent on massive investment or on glossy brochures, but is built
minds by those in charge of our education, but I think now we are
just got a scholarship to Slade school of Fine art in London. We’ve even
upon what is really important: the disciplined sharing of knowledge
starting to see a renewed interest in figurative drawing and painting, in
had a lighting cameraman for film who felt that learning the
and ideas in a setting which is both inspiring and rewarding- where
the old traditions developed over hundreds of years.”
fundamentals of the academic tradition such as chiaroscuro lighting
both the work and the environment have a transformative effect upon
in painting was important in pushing himself forward in his film
an artist’s development.”
In line with the academic tradition, students at the Rossnaree School of Art are familiarised with all the various classic supports for
work”.
painting – canvas, board etc; along with pigment selection; the basics
While the school has been privately funded to date, all income
of colour mixing; the use of mediums, the sight-size method and the
made through the school has been re-re-invested into the school, to
use of tools for drawing and painting. Accuracy in drawing and
purchase materials and in construction of the facilities.
anatomy, the handling of paint, the accurate observation of light,
The facilities include three large studios with north facing
shadow tones and form is strongly emphasised. Students use a limited
natural light, which were specially developed for the art school: “this
palette in painting portraits and copying reproductions of classical paintings and casts, in line with Bargue’s Cours de Dessin (1) as practised
part of Ireland is so exceptionally beautiful and every corner you turn
by artists as diverse as Picasso and Van Gogh.
ancient trees in the glen or even old scrap farm machinery in the big
In terms of the particular type of student the school is aimed at,
Lodge B&B.
there is a painting - either looking onto the River Boyne or some barns.”
Aisling notes “fundamentally, we aim to attract people who are keen to
Rossnaree itself is steeped in history dating back to pre-Christian
develop advanced levels of craftsmanship from which they can more
times. In legend it was the site where Finn MacCumhaill is said to have eaten the salmon of knowledge and site of King Cormac Mac Airt’s
Emilio Largo For updates about forthcoming courses, lectures, film screenings and events please email rossnaree@eircom.net with “RSA” in the subject line, or see www.rossnaree.ie/artschool/ for more info. Note (1) Charles Bargue’s and Jean-Leon Gérôme’s Drawing Course (Cours de Dessin) was first published in Paris in the 1860s and 1870s. For most of the next half-century, this set of nearly 200 lithographs was copied by art students worldwide before they attempted to draw from a live model. The book was re-published in 2003 by Art Creation Realisation.
The Visual Artists’ News Sheet
21
November – December 2010
RESIDENCY
Ella Burke I am not content installation view. IMOCA, Dublin
Immersion in Space
Ella Burke, recipient of the IADT / IMOCA Graduate award discusses her year long residency at The irish museum of contemporary art. “Traditionally, sculpture has been the territory where permanence is celebrated… a founding image of this short century is that of a sculpture being dragged down from its plinth”. (1) “That which is real exists, that is all we can say (but existence isn’t everything – it is, even, the least of things)” (2) I graduated from my BA course in sculpture at IADT in 2009; and I was fortunate enough to be awarded the IMOCA (Irish Museum of Contemporary Art) Graduate Residency Award. The award gave me the opportunity to spend a year immersing myself in a space that allowed me to refine my practice in relation to scale and situation. The award consisted of a studio space and a solo exhibition spot at the venue – I presented my show in June this year. IMOCA is located off Baggot Street, in a warehouse that previously housed the Office of Public Work’s Building Maintenance Service. The immensity of the space available to me was to have a profound effect on the development of my work. My work is primarily sculpture, where I create temporal and transient things with short life spans, that carry on through the mediums of photography and video. I have a penchant for creating sculptures that try to fill the space they inhabit, and so it was liberating to work in a spacious environment where I had to struggle to make something look big. K Bear Koss, the director of IMOCA was very generous and allowed me to experiment with the space throughout the year. One of the more ambitious pieces I created during my time there was I Am Not Content. The title was taken from a quote by Lawrence Weiner in one of his Tate Interviews in which he repeats this phrase over and over in an effort to emphasize that his work is not about himself, rather human interaction and existence. In the large yard at the back of the studios there is a rather romantic looking petrol station that captured my imagination. It was used as a place for the OPW vehicles to refuel, and consisted of one petrol pump, under a mushroom shaped roof. Made from cast-concrete, the station stands 15 foot tall and has an unusual form than looks akin to a cake stand. To me it looked rigid and formal, yet tired – yearning for interaction after years of abandonment, like a man-made stage waiting for the play. Things made from concrete usually indicate the enduring presence of whoever conceived of and built it, and yet here was this melancholy pump, with moss growing on the concrete, and no petrol to entice vehicles. It was the stillness of this large object that intrigued me, and I wanted to draw upon this silence by animating its space in some way. When you draw a circle around an image or an idea it’s because you want to highlight its importance. In this way I wanted to make visible the thought space around the pump. My practice is concerned with notions of idealism and ideology – and so it was a joy to have this aesthetically pleasing, and yet defunct petrol pump as part of the building. Petrol, or the lack of it, made this dormant object a symbol for our current social and political climate – the capitalist dream cemented in a monument to an economic production of the past. I placed an inflatable plastic sphere around the petrol pump as an ‘anti-monument’. I was rejecting traditional sculptural materials and
Ella Burke Grey installation view. IMOCA, Dublin
the connotations of their use. Capitalism, communism, socialism, each political ideology uses art to create a hegemony – and so I wanted to build something that would surpass these associations by using a transient, temporal form. The sphere was 30 foot high, and completely encapsulated the petrol pump, segregating the monument from the rest of the world. It was a composition of opposites, designed to clash, and it is still unknown if the plastic or the concrete was responsible for the destruction of the work. The static concrete – stubborn and unmoving – versus the dancing ethereal plastic. This was quite a violent juxtaposition and I found this pairing of opposites appealing as a fresh way to approach the topic of idealism. The piece lasted about six hours before the plastic tore, and the immovable petrol pump was reunited with the space at IMOCA. The ‘live’ experience of the work was quite over-whelming as the sphere battled for existence against the pump. Huge reams of plastic swayed to and fro as it relinquished its control to the wind. Its scale was so large and yet it was powerless in controlling its fate. It survives now as the video I Am Not Content, and it is here that we can see its quixotic hopelessness, and enduring endeavour, idealistic because it is existing against all the odds, and hopeless because it is impossible for it to continue. This piece also speaks of human existence, as we see something, which was once physically real, embrace death and continue to affect the present through a representation. This poses the question, does it matter if an object no longer exists for it to be regarded as a sculpture? Silent Vibrations’ was the title of my solo show at IMOCA, which took place from 2 – 9 June. The works in the show referenced various avant-garde ideals that shared a faith in art’s ability to change mankind for the better, whilst also pertaining to nothing, and so I created an exhibition of oxymorons – as suggested in the title. I believe that art has not changed mankind for the better, it has however made us more interesting. The piece entitled Grey, comprised of a series of large white inflatable installations that deflated and inflated alternatively. Continuing with the format of opposition, I created a piece with two forms, a light white plastic, and black smooth rubber. Referencing 1960’s inflatable artworks, my pieces were installed in the buildings’ now inoperative duct pipes, which were used to transfer the air from one inflatable to the other. Each large white shape was suppressed in some way by a shiny black rubber tyre tube, symbolic of the industrial
Ella Burke Monument to social networking site installation view. IMOCA, Dublin
realism that both destroyed the inflatable art dream, and rendered the duct pipes inoperable. In a paradoxical twist, the tyre tubes that suppressed the white are also obsolete, (as car tyre’s today are tube-less) creating a cycle of past ideals being suppressed by past industries. This cycle continued for the duration of the exhibition, until the work was dismantled and videoed for future reference. On the other side of the gallery there was a series of copper and rubber installations. Working electrical machines circulate electricity continuously in order to work, however these pieces were built as experimental circuits that failed to relay the electricity, and instead leaked the power that would have made them work. Monument to Social Networking Site, was a piece that was suspended from the overhead pipes, and grounded in a yellow box that was spraypainted on the floor. This faded box has “bedroom”, written inside it, and was part of a previous plan for the space as residential apartments. I found this would-be bedroom of interest as it was an aspiration never realised, much akin to the ideals held by the 1960’s inflatable artists, as well as Russian avant-garde of the 1920s. The piece began by considering everyone I knew on Facebook and linking common friends with copper wire, creating a long, twisting incoherence of strings that would confuse the direction of any electrical current that were to pass through it. By grounding the piece in the imagined bedroom I was anchoring the work in a non-space that is virtual reality, while also linking almost everybody I know to the IMOCA building in a way that would require no effort or knowledge on behalf of the people on which the work was based. Aesthetically, the piece looked reminiscent of Tatlin’s Monument to the Third International – designed as a symbol for modernity, and yet never realised. There is a certain utopianism about monuments that are never built, akin to El Lissitzky’s ‘prouns,’ and this poses the question if in today’s society we believe in something more if it hasn’t been physicalized as that way it can never be corrupted. None of the work from the show is in existence today – although their elements still exist, they are separated into various boxes. The inflatable piece Grey, has been re-worked for a solo show at PLACE, in Gorey, Co Wexford, in which an inflatable art being comes alive in the night and knocks over the commercial entities in the gallery. To return to the present, I am currently on Erasmus in Tallinn Estonia, investigating notions of idealism, as part of my MFA at NCAD. I want to understand the post-communist psyche in relation to the creation an Estonian culture of contemporary art. Upon discovering an empty Erasmus report folder labelled Tallinn, and learning that no NCAD student has been placed there in the past, I decided to explore the Estonian history, and what I found was a country with a history of recurring occupation and a newly formed democracy. This past year has been spent exploring ideas of balance and contrast, scale and society, and as I look ahead to the next year, it is to be spent immersed in this new place, a place where ties with the past contrast with hopes for the future, studying political mechanisms as they strive for balance. Ella Burke Notes 1. Massimiliano Giono, Ask the Dust in Unmonumental. Ed. Laura Hoptman. Phaidon Press 2007 2. Baudrillard, Integral Reality: The Intelligence of Evil or Lucidity Pact. Berg, 2005.
Visual Artists Ireland & National Sculpture Factory present
PROFESSIONAL DEVELOPMENT TRAINING WORKSHOPS AUTumn / WINter 2010 Cork & Dublin Documenting your work. Preparing Proposals. Public Art Proposals . Making the Most of Residencies. Peer Critique - Site Specific & Public Projects. Artist Led Projects. Working with Private Galleries. Working with PUBLIC Galleries. Copyright Issues. Peer Critique – Painting. Masterclass with Nigel Rolfe . So I'm an Artist? artists talks, info & networking day for graduates
Friday19 November Cork. Saturday 6 November Dublin. Tuesday 30 November Cork . Monday 22 & 29 November Dublin. Thursday 2 & Fri 3 December Cork . Tuesday 23 November Dublin. Friday 26 November Cork . Wednesday 24 November Dublin. Tuesday 23 November Cork. Friday19 November Dublin. Friday10 December Cork. Thursday 25 November Dublin only. February 2011 Dublin only. Thursday 11 November Dublin. Friday 12 November Cor. tbc Dublin only . tbc DUBLIN and Cork. early December DUBLIN.
Unless otherwise stated workshops, run from 10.30 –16.30 early booking is advised
Dublin workshop bookings: Monica Flynn / Education Officer, VAI T: 01 872 2296 E: monica@visualartists.ie
Further details: www.visualartists.ie/education
Cork workshop bookings: Elma O’Donovan / Administrator, NSF T: 021 431 4353 E: elma@nationalsculpturefactory.com
printed project 14
the conceptual north pole
curator / editor Lytle Shaw contributors Heriberto Yepez, Jeff Derksen, Lisa Robertson, Matthew Buckingham, Monica de La Torre ,Emilie Clark, Gerard Byrne, Matthew Coolidge, Rob Fitterman, Kenneth Goldsmith, Cabinet In all good gallery bookshops Ireland, UK,, Europe, USA, Australia and Asia. Available to order from www.printedproject.ie www.amazon.co.uk LAUNCH EVENT / DISCUSSION Art / Writing: Place and Possibility In partnership with The Art / Writing Talks Series Curated by Fiona Fulham 2.00pm 11 December Goethe Institute, Dublin
“Passing frozen explorers from the 1960s and 70s, new parties from the camps of art and writing have recently set out for a still poorly mapped disciplinary territory we might call the Conceptual North Pole: there, antiquated terms like ‘inspiration’ or ‘influence’ would give way to a cross-disciplinary poetics involving nominally shared though constantly remade strategies, structures, and terms – installation, site, document, procedure and history are just a few”. Lytle Shaw Printed Project 14: The Conceptual North Pole encompasses new developments in conceptual poetry, meta-documentary; and artists who restage or reframe the idea of literature. Through a series of interviews with a range of visual and textual practitioners, The Conceptual North Pole explores a range of shifting categories and conceptualisations.
The Visual Artists’ News Sheet
23
November – December 2010
Opportunities Eisenhowerlaan 73, will sit
Opportunities
the
organisations
networking
such
as
the
Donegal Vocational Education Committee, wish to commission
Do look at the advertisments in this VAN, also check our web site & subscribe to our e-bulletin for further opportunities.
a new visual artwork to celebrate and
coincide
with
the
construction of the Finn Valley College building in Stranolar, Co Donegal which is due to be opened in September 2011. The budget for the design, supply, ground works, installation and fix inclusive of all costs, expenses, VAT, insurance and other charges of this projects is €30,000. A full artists brief for this commission including maps and images can be found on www.donegalpublicart.ie Stage One proposals from artists should
submit:
a
current
Curriculum Vitae; at least 10 slides, photographs or images on disc of relevant works / commissions completed by the artist;
for the former Yugoslavia (ICTY),
for visual artists; preparing
hosting.
Organisation for the Prohibition
proposals;
of Chemical Weapons (OPCW)
projects; public art proposals;
and the World Forum.
making the most of residencies;
Graphic Design (23 –24
working with private and public
November). This course is aimed
Participants may attend single
galleries; peer critique: site
at those who have some basic
sessions or sign up for four. 12
specific public art projects; peer
skills in using computers and
weeks
critique: sculpture & installation
graphic design. Focusing in
sessions singles session costs
with
Adobe Illustrator, the class will
€35, or a set of 4 is €120 For
masterclass with nigel rolfe;
look
bookings
peer critique – painting .
comparison between vector and
information:
Artists residing in the EU Member States, who can display
full-time
study
art inspired by Europol’s work. Europol is a support centre for law enforcement operations, a hub for criminal information, and a centre for law enforcement expertise, providing a central platform for law enforcement experts from the European Union countries. Its work is
Donegal County Council 087 250 8373
different theme and the gardens
at
the
theory
and
will
be
our
in
3
inspiration.
blocks
and
of
4
further
Dublin workshops take
bitmap artwork, the application
Telephone
place at Visual Artists Ireland,
interfaces, creation of imagery,
Yanny: 01 2819282
Dublin and Cork workshops
ideas for illustration styles,
text: 087 3111620
take place at the National
typography
Sculpture
Cork.
layout. Some time will be also be
Cost Workshop fees range from
spent in Photoshop and you will
€40 – €60 and concession rates
learn how to work easily
ARTIST-LED PROJECTS
apply to VAI and NSF members
between these programs. This
VAI and NSF Present ‘Artist Led
Factory,
and
document
yannypetters@gmail.com
16.30) Dublin, Wed 1st Dec
working environment and the
payment along with a current
design for print. Participants are
(10.30 – 16.30) Cork. Cost: €60 /
need to protect the public by
CV.
encouraged to bring along any
€55 (VAI / NSF members) Places:
Cork
of their own work which they
10. Working through an artist-
Payment
fighting crime and terrorism.
For
The art competition is
workshops payment can be
would like help or direction
led process in non-gallery
divided into five categories: two
made by cheque or postal order
with.
situations involves negotiating
categories for paintings and
made out to the National
Address
with various systems (financial,
drawings; graphical work on
Sculpture Factory.
Digital Arts Studios,
social, managerial and political)
37-39 Queen Street,
whilst retaining an open-ended
paper; 3D objects and sculptures;
For
Dublin
workshops
and photographs. Artists may
payment can be made by cheque
Belfast,
artistic vision at the center of
choose to submit a completed
or postal order made out to
BT1 6EA
the
piece of art or alternatively a
Visual Artists Ireland.
Website
challenges
www.digitalartsstudios.com
philosophical and practical. The
work.
This that
presents are
both
preliminary design proposal for
VAI can also accept Credit
a piece of art to be created after
or Debit card payments over the
closure of the competition.
phone
RESIDENCIES
own knowledge and experience
Dublin Workshops
NSF and VAI present ‘Making
of developing projects in these
Monica Flynn.
the Most of Residencies Tuesday
interface situations, with a view
Education Officer ,
23rd Nov (10.30 – 16.30). Cost:
to discussing the possibilities
Visual Artists Ireland.
€60 / €55 (VAI / NSF members)
and limitations of artist-led
T: 01 872 2296
Places: 10. Janice Hough and
projects and the practical aspects
E: monica@visualartists.ie
Clodagh Emoe bring their own
of carrying them out.
Cork Workshops
perspectives of the IMMA model
Dublin
Elma O’Donovan ,
of Artist Residency and discuss
Monica Flynn / Education
Administrator,
other residency programmes
Officer , Visual Artists Ireland.
National Sculpture Factory
that they are both familiar with.
T: 01 872 2296 E: monica@
T: 021 431 4353
The session will examine:
visualartists.ie
E: elmanationalsculpturefactory.
residencies as a career strategy
Cork
com
for visual artists; how residents
Elma O’Donovan,
two independent established artists, Andreas Horlitz and The 55 winning artists will and prizes of between €450 and €1650 will be awarded. The art must be delivered to the new Europol headquarters in March 2011. email art-competition@europol.
Europol, the European Union’s
Lente. Each course will have a
own source material.
multicultural
technology,
Website
Europol
encouraged to bring along their
Friday 19th Nov (10.30 –
be announced in December 2010
COMPETITIONS COMpetitions
chalet in the gardens at Festina
graphic design, specialising in
terre.duffY@donegalcoco.ie w w w. d o n e g a l p u b l i c a r t . i e
are
only guaranteed upon receipt of
communication, use of advanced
David Lindberg.
a
Workshops will be based in the
Participants
Projects’ with Fiona Woods.
of Europol’s Art Committee and
Public Art Manager,
wright ;
and
rather than the creative side of
be evaluated by a jury consisting
Ms. Terre Duffy,
daphne
domain
class focuses on the technical
effective
after which the pieces of art will
Telephone
copyright;artist led
a
As places are limited early
by
of entries is 26 November 2010
Friday 3 December 2010
for
booking is advised. Places are
characterized
The deadline for submission
Closing Date
recent
– every Thursday, 2 to 4pm.
invited to participate and create
Don’t forget
Watercolours with Yanny Peters
purchasing
programmes of three years, are
Art Office on behalf of County
27th January 2011 Exploring
practical introduction to setting up a basic website or blog,
oriented
Donegal County Council Public
publications will include a
&
talks
graduates; professional skills
creating art or are following art-
Finn Valley College
following:
International Criminal Tribunal
at least three years experience in COMmissions Commissions
Courses and events include
alongside other international
europa.eu
facilitating artist will bring her
selected for the IMMA Artists
Administrator,
DAS WORKSHOPS
Residency Programme; what
National Sculpture Factory.
Digital Arts Studios Belfast are
Residency Programme may look
T: 021 431 4353
offering a range of courses. These
for in artists’ proposals. It will
E:elmanationalsculpturefactory.
incude the following:
also discuss what artists can gain
com
Small Publishing for artists
creatively and in terms of career
(16 – 18 November_. This
development from different
ARTISTS & COPYRIGHT
workshop is aimed at artists
residency
VAI and NSF present ‘Visual
Europol headquarters due to be
who have some basic skills in
Address
Artists and Copyright’ – with
handed over to Europol in early
using
Royal Hospital, Military Road,
Alex
law
enforcement
agency,
launches a unique international art competition. With the new
2011, the aim of the art
Deadline 26 November 2010
COURSES / workshops COURSES/TRAINING
computers
and
are
models.
Davis
and
Caroline
interested in learning how to
Kilmainham, Dublin 8, Ireland
Campbell Thursday 11th Nov
competition is to acquire 55
design
(10.30 – 16.30) Dublin, Friday
pieces of art to enhance the
electronic and print publications.
janice.hough@imma.ie
12th Dec (10.30 – 16.30) Cork.
Development
Some time will be spent using
Website
Cost: €60 / €55 (VAI / NSF
Training for Visual Artists – A
Indesign, learning how to set up
www.modernart.ie
members) Places: 10. Copyright
joint initiative of Visual Artists
artists books, brochures and
Ireland
cards. We will cover the process
Painting Workshops
original
Sculpture Factory, covers a range
of
printed
Painting Workshops in the
musical and artistic works;
of issues and stills relivant to
publications including bleed,
Victorian walled garden at
sound
contemporary visual artists.
crop marks, colour, paper, and
Festina Lente. Old Connaught
broadcasts; the typography of
preparation for print. Electronic
Ave, Bray, Co. Wicklow from
the published edition; databases
design and atmosphere of the new building. The art pieces are to be displayed in conference and meeting rooms, and other semi-public areas. Situated in the city of peace and justice of The Hague, Europol’s new headquarters, at
VAI TRAINING Professional
and
the
National
and
publish
producing
both
protects a wide range of works: literary,
dramatic,
recordings;
film;
24
The Visual Artists’ News Sheet
November – December 2010
Opportunities and computer software.
proposals 22nd October, 12th
In the case of the artistic
WATCH OUT! We strongly advise readers to verify all details to their own satisfaction before forwarding art work, slides or monies etc.
November, 10th December, 14th
work, effectively all forms and
January, 7-9pm: We welcome
media are capable of protection,
RESIDENCIES REsidencies
Artist in Residency award and the Youth Arts Development
award.
brunswickmillstudios@gmail. com
presentation proposals from
Artists in Prisons
Deadline
irrespective of artistic merit, as
artists and researchers in the
The Arts Council offers the
3pm on Thursday 4th November
long as they are original. Some
areas of process-based work,
Artists in Priisons scheme in
2010.
Artspace
artworks are a combination of
experiments, art that asks
partnership with the Department
Address
Artspace studios, Galway invite
different protected forms. An
questions, integration of theory
of Justice, Equality and Law
Artist in Youth Work Residency
applications from visual artists
installation, for example, may
and
Reform. This jointly-funded
Scheme, National Youth Council
for studio rental. Professional
incorporate both artistic work
development.
scheme allows artists to work
of Ireland, 3 Montague Street,
visual artists working in any
and film, or artistic and literary
Address
with prisoners in one of the
Dublin 2
medium
works or film and music.
Centre for Creative Practices, 15
country’s
apply. -All applications will be
Pembroke St. Lower, Dublin 2
centres for a period of 10 days. It
fiona@nyci.ie
kept on file and looked at as
and Resale Rights Manager with
complements an existing arts
Website
studios become available during
IVARO, the Irish Visual Artists
emma@cfcp.ie
and
www.youtharts.ie/content/
the period 2010-2011. -Studio
Rights Organisation. His session
Website
within the prison system. Artists
artist-youth-work-scheme
space is limited and competitive,
will look at: your intellectual
www.cfcp.ie
interested in being placed on the
Alex Davis is Administrator
practice,
works
in
prison/detention
education
programme
are
welcome
to
submitting an application does
property rights as a visual
panel of shortlisted artists
Sculpture WORKSHOP
not guarantee a studio. Artists
artist; how best to exercise your
should contact the Artist-in-
Fire Station Artists’ Studios is
must submit a current CV, artists
Prison Co-ordinator.
offering 2 sculpture workshop
statement, cover letter and 6 – 8
are
residences starting in November
examples of previous work on
carefully considered by the Arts
2010 with a bursary of E500
cd/dvd format, (no slides or
Source Selections
Council and the Department of
each. This residency is for 4-6
originals please)
Caroline Campbell is a
Source Photographic Magazine
Justice, Equality and Law Reform.
months and the artists will have
Deadline
producer and lawyer specialising
is interested in meeting with
As opportunities arise within
full access to the sculpture
4.00pm Friday 15th October
in intellectual property. She will
photographers
the prison system, or as specific
workshop, part time workshop
2010.
an
manager, workshop equipment
Telephone
rights under copyright law; and
PUBLICATIONS PUBLICATIONS
All
the various copyright royalties that IVARO collect on behalf of artist members.
and
artists
look at Copyright and the
working with photography and
proposals
Internet: Appropriation and
applications
are
made,
will be undertaking research
appropriate shortlisted artist
and other resources in the Fire
091 773046
reuse in art – what’s allowed?
trips to the locations listed
may be called on to undertake a
Station. For full details and
Protecting your work online and
below. These are part of our
project within a particular
criteria please go to the website
artspacegalway@eircom.net
making your work more open.
ongoing commitment to finding
prison or detention centre.
below or call:
Website
be
Telephone:
www.artspacegalway.com
Meetings will be arranged
awarded? The fee payable to an
01 8069010
after a selection process from
artist is €2,000 (€2,400 where
Website:
JFK Enterprise Centre
Visual Artists Ireland.
work emailed in advance. If you
the artist lives over 80 kms from
www.firestation.ie
The JFK Enterprise Centre is a
T: 01 872 2296
are interested in showing us
the prison/detention centre).
new work you should email up
The fee will be paid in two
Dublin
How
new work for publication.
Monica Flynn, Education Officer ,
E: monica@visualartists.ie
much
will
new complex for self employed DIGITAL RESIDENCIES
artists
and
other
small
Cork
to 6 screen resolution jpegs -
installments,
Fire Station Artists’ Studios is
enterprises. There are up to 23
Elma O’Donovan,
approx 400k max per image -
commencement of the workshop
offering
media
offices of varying sizes as well as
Administrator,
and a two paragraph description
and the second on completion of
residencies from November
large workshop spaces and
National Sculpture Factory
of your work. Alternatively you
a report at the end of the
2010 to November 2011 for a
warehousing
T: 021 431 4353
can email a link to a specific
workshop.
duration of up to 4 months each
flexible use with flexible short
and with full access to the
and long term leases available. It
the
first
on
For further information
4
digital
available
for
E: elmanationalsculpturefactory.
project on your web site. Please
com
include the venues name in your
and to apply, please contact:
Resource
part-time
is located near the Kylemore and
email.
Veronica Hoen
resource area manager and
Longmile roads at Bluebell just
Co-ordinator
access at subsidised rate to all
of the N8. The Red Luas Line is
Visual Artists-in-prison scheme
the equipment as listed on our
an 8 minute walk and the M50 is
networks so these opportunities
Telephone
website. Fire Station is looking
a 3 minute drive. The offices are
are only open to artists and
087 9548178
for artists who are working on
in very good condition with
photographers based in these
projects or artists who want to
good furniture, there is plenty
The Centre for Creative Practices
areas. Direct submission details
veronica_hoen@eircom.net
experiment with the resources
secure parking available and the
, Dublin calls for artsits to
on line. Source selection days:
And
please
note
submission deadlines. EXHIBITIONS IRELAND EXHIBITIONS
We aim to plug into local
PRACTICE & RESEARCH
Centre,
to develop their practice. For full
building is fully alarmed and
Artist in Youth Work
details and criteria please go to
CCTV monitored 24 hours.
The 2010/2011 Artist in Youth
the website below or call:
Address:
Sunday 5th December The
Work Residency Scheme is now
Telephone:
JFK Industrial Estate,
research is used in arts practice
Little Ghost Gallery / Butler
open for applications. The Artist
01 8069010
Bluebell,
and arts practice is used in
Gallery Kilkenny
in Youth Work Scheme is offered
Website:
Dublin 12
will
as a means of extending and
www.firestation.ie
Telephone
relationship
enhancing opportunities for
participate in practice and research sessions. In these sessions, they will explore how
research. examine
Each the
event
Saturday 4th December Glucksman Gallery Cork
Work should be emailed by
young people to experience and
and how they influence each
24th November for the 2 venues
participate in the arts. The aim
other, through talks, screenings,
above.
of the scheme is to encourage
between practice and research
question and answer sessions, performances, demonstrations,
lecturelive
art,
exhibitions, and so on. This is a platform to share
087 7615196 Email jfkenterprisecentre@gmail.com
STUDIOS STUDIOS
Dublin Studio
Saturday 11th December
artistic collaboration between
Source office Belfast Work
professional artists and young
Brunswick Mill
should be emailed by 29th
people. Young people will have
Studio
in
months on North Great Georges
November
the opportunity to work with
Brunswick Mill Studios from
Street. Central location with
Website
and learn from practitioners of
10th Oct. Space measures 10 x
good natural light, kitchen
www.source.ie
space
Spacious Studio to sublet for 12
available
excellence in their field. Equally,
16ft, €164 per month (internet
facilities and pleasant outdoor
is a monthly evening event with
artists will have the opportunity
included).
parking
space. Could be shared. Wireless
an
atmosphere.
to enrich their own professional
available, 24 hour access. Space
broadband and bills included in
Beanbags, free tea, coffee and
practice through the contextual
can be shared also. To view space
rent. €275pcm.
herbal tea will all be provided,
experience of working with
please contact Mary:
Telephone
and you are also welcome to
young people. There are two
Telephone
Patricia on 087 1231216 or
bring your own drinks. Call for
awards under this scheme: The
086 3956422
Felicity on 083 3731188
ideas and receive feedback. This informal
Some
The Visual Artists’ News Sheet
25
November – December 2010
Opportunities the traditional crafts. Individuals
pickup point for free newssheets
planning a submission should
such as the Vacuum and the
cottage with garden available to
consult
Visual
let in North Tipperary. Ideal
Applicants on the website. The
Selected
peaceful spacious location for
presentation of awards will be
photographic
any creative project realisation.
made during the month of
available to buy from the
contemporary
Long or short term let available.
March 2011
bookshop as well as exhibition
workshops & cottage Studio
Rent
workshops
negotiable,
may
and
suit
the
Guidance
for
Friday 19th November 2010
Telephone:
Website www.goldenfleeceaward.com
CAVAN There are currently 3 very large
Other other
studios available for rent at the
artists have to play in the
prints
RESEARCH RESEARCH
Climate Change debate
Newsletter. from
our
art-and-christianity
archive
are
Abstracts
Following an international
The National Federation of
and
scientists were selected to work
Artists’ Studio Providers is
Christianity conference on the
in each of the five electoral areas
conducting a new survey of artists’
invited
for
art
competition
five
NFASP SURVEY
artists/
are
20th of November 2010 at the
of County Donegal, to explore
the
Avila Centre for Spirituality,
on the ground, the effects of
organisations in the UK –
bookshop and the adjoining
Dublin. The theme of the
climate
its
including Northern Ireland. It is
gallery space available on the
conference is The Baptised
modifications throughout the
vital that artists take part in this
last Thursday evening of every
Imagination. (Abstracts of 250
county.
important survey, which will
month for an events programme.
words
minute
The five selected artists are
help NFASP with its ongoing
We are passionate about the
presentations.) We are interested
Peter d’Agostino (USA), Seema
advocacy on behalf of the studios
promotion of local talent,
in submissions from across all
Goel
of
sector. The information artist provide for the NFASP will
and
enable them to collate statistics
posters and postcards.
Deadline
artists sharing. 085 17 55553.
Artists
determine and present the role
CONFERENCES conferences
We
are
making
for
20-30
change
(Can),
and
TheLeague
studio
groups
and
Former See House, the Georgian
seeking-coloured-tiles
through supporting emerging
artistic disciplines as well as
Imaginary Scientists (USA),
mansion near the Church of
Bright coloured tiles wanted for
writers, artists, critics, designers
relevant theological papers. This
Anthony
Ireland Cathedral situated off
school mosaic project. Can
and independent publishers.
is the third in a series of
SoftDay
Lovely
about the artists’ studio sector.
the Crossdoney Road, 3 miles
collect, in Co. Waterford area.
With these events, we aim to
conferences, primarily aimed at
Weather Projects have taken an
This will help the NFASP’s work
from Cavan Town. Ideal for
Contact Rayleen Clancy.
generate dialogue around the
visual artists. An AGM of the
interdisciplinary approach and
to ensure there are secure,
artists and writers the studios
Telephone
books that interest us.
group will be held after the
have actively involved both
accessible
are available for a minimum
087 6644215
Website
presentations.
local people and scientists.
facilities for artists to make
period of 3 months at a cost of
www.belfastexposed.org/books
information and submissions:
€40.00 per week. For more
rayleenclancy@hotmail.com
information please contact
Shower of Kunst Shower of Kunst is looking
Further
Lyons (Ire).
(UK) The
and
affordable
The Lovely Weather Art
work, for the long-term. The
and Climate Change Exhibition
survey data gathered will remain
Baptisedimagination@gmail.
conference will take place at the
confidential.
com
Regional
information from:
Cultural
Centre,
Further
Address
Engineer Sought
Crossdooney Rd, Cavan
Public Artist seeks a contact for
for reviews, opinion pieces and
Telephone
Letterkenny, Co. Donegal on
Website
Telephone
a reliable engineer who works in
photographs of exhibitions from
(+353) 87 4108165
12th and 13th November 2010,
w w w. n f a s p . o r g . u k / p a g e .
Will Govan: 0872 657 426
stainless steel/ CAD drawing/
outside of Dublin, especially
the exhibition will continue
php?id=185
consultations etc. The ideal
Limerick,
Cultural Tourism
until 22nd January 2011. For
williamgovan@hotmail.com
engineer will be reliable, have
Shower of Kunst, is a website
A day-long information session
further details and on-line
nfasp2010survey@yahoo.com / ask@nfasp.org.uk
Sligo
and
Cork.
an interest in working with
based out of Galway; The site
for arts organisations on cultural
registration contact:
public art comissions and have
aims to provide a space for
tourism. With 2011 in mind,
Telephone
in
previous experiences in this
critical reviews, theories and
Arts Audiences, the Arts Council
terre.duffy@donegalcoco.ie
020 7426 0067..
Donnybrook, Dublin for €200
field. Please contact : Ceara
opinions of contemporary visual
and Fáilte Ireland are hosting a
Website:
per month including 8MB
Conway:
art, especially as it relates to
day-long information session for
www.donegalpublicart.ie
broadband, bills and a4 printing.
Galway and the West of Ireland
arts organisations. This will
This is not a sublet, a deal has
conwayceara@gmail.com:
negotiated directly with the
Telephone
photographs and reviews from
cultural tourism landscape, 2011
Student-led research Day with
landlord. The location is on
087 6934038
recent, current and upcoming
tourism activities, practical
presentations by post-graduate
Desk Space Dublin Desk-spaces
available
We would like to post
cover
information
on
the
Research Day
exhibitions. As well as opinion
examples for arts organisations
and early career researchers – 20
Pantry and Donnybrook Fair.
BX Bookshop
pieces about the state of the arts
on how to attract visitors and
November, Triac, Trinity College,
Contact me (Claire) at:
The Belfast Exposed Bookshop is
in your town or city or academic
information on how to access
Dublin. Organised by Niamh
Telephone
situated at the entrance to the
pieces. No previous experience
supports required to make the
NicGhabhann and Caroline
087 9047500
ground floor gallery. An ideal
necessary. Shows and festivals
most
McGee this event focuses on
location on busy Donegall Street,
outside of Dublin are often
opportunities.
claire@openarchitects.ie
we have a comfortable reading
overlooked,
Address
area to attract passing trade as
unreported.
97c Morehampton Road,
well as encouraging our regular
Donnybrook,
audience of gallery goers and
Dublin 4
workshop participants to stay a
Website
little longer.
Morehampton Rd next to Butlers
of
any
tourism
critical
readings
of
texts,
The day will also provide
exhibitions and interpretations
an opportunity to network with
within print culture that have
Reviews of exhibitions in
other arts organisations. The day
contributed to the development
Ireland are usually gentle and
will take place on 18 November
of histories of art, architecture
philosophical pieces designed to
at Farmleigh House in Dublin
and material culture. Keynote
ignored
and
show the artists intentions in
and invitations will issue to arts
presentations by Professor Tom
independent
the best possible light. At the
organisations in the coming
Dunne, and Dr. Roisin Kennedy
Deadline:
publisher, we stock our own
moment, there are also very
weeks. If you are interested in
This is a free event but
1 Jan 2011
titles
limited possibilities for arts
attending, you can register your
booking is essential. To book,
As
www.openarchitects.ie
FUNDING & awards AWARDS FUnding &
an on
contemporary
photography with a particular
writing in Ireland to be published
interest:
please
focus on more socially and
and discussed.
Website
writingirisharthistory@gmail.
http://www.surveymonkey.
com. All bookings will be
com/s/G57STX3
confirmed within three days.
subject
Shower of Kunst hopes to
matter. We stock publications
address these issues through a
politically
engaged
Kindly supported by Four Courts
from other local galleries and
more direct engagement with
Golden Fleece
institutions such as the third
the opinions and conflicts
Climate Change
Press, and supported and hosted
The Golden Fleece Award is an
space, the Golden Thread, PS2,
underlying visual art production.
Climate change is the issue of
by TRIARC, Trinity College
artistic fund established as a
University of Ulster and the
Specifically, it will re-introduce
our times. The oceans are
Dublin.
charitable bequest by the late
RSUA. These titles are selected
the academic critique through
warming,
are
For a complete list of abstracts,
Helen Lillias Mitchell, who died
by us based on their relevance to
opinion and theoretical pieces,
disappearing and the natural
please visit the conference blog:
in January 2000. She left this
our own ethos and agenda,
and candid reviews of shows. For
world is in sharp decline.
Website
fund in place as part of her
covering subject matter of
more
Donegal County Council Public
writingirisharthistory.blogspot.
legacy to establish a generous
contemporary artists books, art
contact:
Art Office/Regional Cultural
com .
annual award. The Golden
and
Email:
Centre in partnership with
Telephone
Fleece Award aims to support
development of the city, archives
showerofkunst@gmail.com
Leonardo/Olats has established
01 8963178
and promote a wide range of
and collections.
Website:
a unique and ambitious initiative
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entitled ‘Lovely Weather’ Art
photography
theory,
information
please
glaciers
artistic creativity, recognising
We carry journals such as
excellence in painting, textiles
Source Photographic Review
and Climate Change which
writingirisharthistory@gmail.
and sculpture, glasswork, and all
and Foto8 and we’re also a
fundamentally
com
seeks
to
Thanks
VAI sources information for the Opportunites section in partnership with: A-N: The Artists’ Information Company; The International Sculpture Centre (New Jersey / USA) and the National Sculpture Factory Cork.
Milliken Bros., Fine Art Materials Suppliers Available now on line at
www.millikenbros.com
11 Main Street, Greyabbey, Co. Down BT22 2NE Tel: 028 42788293 / 028 42788005 Fax No. 028 42788293 Email: millikenbros@btconnect.com
The Visual Artists’ News Sheet
27
November – December 2010
HOW IS IT MADE?
Exhibition documentation. 'A Generous Act' The Mattress Factory Art Museum. July 2010.
Sending Letters to the Sea , Album Launch St Columbus Church, Swords County Dublin. Nov 2009.
Sean Carpio and Lucinda Chua . 'A Generous Act ' The Mattress Factory art Museum ,July 2010.
' A Generous Act' The Mattress Factory Art Museum. July 2010.
Collaborations in Music
Artist / Curator Mark Garry discusses projects involving collaboration and Music I recently completed two collaborative music projects. Both articulate aspects of my interest in music; specifically the fluidity and democracy of music as a cultural mechanism; and the manner in which music has the scope to integrate complex layering of histories, influences and entities. While complex mixtures of contexts and influences are more often seen to be apparent in architecture, art, design, linguistics and literature – I am really interested in the manner in which these complexities are present in music. The first project Sending Letters to the Sea was a public art commission for Fingal County Council. I undertook this project as an artist – I played and composed music and co-produced the LP made as part of this project. For the second project, entitled A Generous Act, I was the curator; the initiative was undertaken as part of my curatorial residency at The Mattress Factory Art Museum in Pittsburgh, Pennsylvania. Although both projects engaged in very different contexts, there were connections between each project both in terms my conceptual approach and the personnel involved. Both projects involved me collaborating with classically trained and self-taught musicians working in a diverse range of musical genres. The titles for these projects were influenced by an artwork and a piece of writing. Sending Letters to the Sea was influenced by an art project by a young North American artist John Pena entitled Letters to the Ocean, part of larger work entitled A Moratorium on Make-Believe presented at his MFA show at Carnegie Mellon University in Pittsburgh. I saw Pena’s work in the course of acting as an invited external critic for MFA – while I was undertaking an artist’s residency as an artist at the Mattress Factory back in 2007. For this project Pena posted over a fiveyear period, 1,100 letters to a particular part of the pacific oceans coastline. The artist very kindly allowed me to re-interpret and appropriate the title of his project for mine. I chose the title A Generous Act after reading a section of a Douglas Hyde Gallery publication, in an essay by John Hutchinson entitled Questions of Time. In this text Hutchinson discusses the concept of the gift, from a cultural perspective – which in many ways embodies how I feel about music as an artform; my relationship with music; and the necessity for generosity and the gifting of talent’s within collaborative projects.
Sending Letters to the Sea In 2007 I was selected to be one of a number of artists on Fingal County Council’s public art panel; and as such I was invited to respond to “either physically or theoretically, aspects of Fingal’s society, culture heritage and geography, with the aim of expanding the notion of public art and the role of the local authority as a commissioner of new practices”. In response I tried to find a mechanism that would both engage in a local context but have the scope to reach a diverse and far reaching audience.
At the time of receiving this commission I was a very interested in Ireland’s culturally Christian status and the broader cultural impacts of Christianity. I had been reading quite a lot about this subject; and I was also thinking about faith and belief as concepts – and what this might means in the capitalist secular society we currently find ourselves in. I was equally interested in the interconnectedness between music and religion – ie. music’s role within religious celebration. With the advice of Kirstin Kwasniewski (an American PhD theology student at Trinity college) I became more specific in my research and looked closely at the influence that religion had upon music in the west and elsewhere; both in technical and philosophical terms. I made a series of written and musical responses to this research – these acted as starting points for this project. I then approached a number of musicians that I respected – and thankfully they were interested in collaborating with me. The work evolved over a two-year period to become a musical project, which implicated various elements of this research in its development – in a variety of subtle and more overt ways. The outcome from this collaboration was a vinyl and compact disc release that was developed and recorded in Studio East in Berlin and St. Columba’s Church in Swords; along with and a live performance at the church. The recording plays out a historical narrative, implicating elements of the research technically, lyrically and aesthetically.
A Generous Act Since earlier this year, I have been participating in a curatorial residency, along with Irish curator Georgina Jackson, at The Mattress Factory Art Museum in Pittsburgh, Pennsylvania. The Mattress factory was founded in 1977 and is in general dedicated to supporting installation art. The museum is unusual in that it acts as a generator of culture in addition to being a presenter of culture, in that it offers artists the opportunity to undertake residencies at the museum. The museum has a number of buildings and exhibitions that alternate between each building. For a period of time each year they close the non permanent displays to the public and the gallery spaces become studio’s for invited artists, enabling a situation where art works are generated within the space that they are to be displayed. In addition to the need to be progressive in our programming, one of the challenges for Georgina and I is to find new ways to interact with the museum as an institution. During my many visits to Pittsburgh, I have became aware of the diverse group of musicians working at the museum and I thought it could be interesting to enable a situation where the staff were directly involved in the creative output of the museum. I invited nine European musicians – six of whom were involved in Sending letters to the Sea – to undertake a residency at the museum
collaborating with the staff members over a period of sixteen days. During the first half of July 2010, the Mattress Factory converted the fourth floor of the venue into a practice area and fully functioning recording studio. The residency culminated in a performance of the music the collaborators had generated during this period of time. There will be a release later this year of the recordings made during this residency on CD, vinyl and download formats. At the beginning of my residency, I became aware of Pittsburgh’s broad musical history and in particular its jazz history. Although Pittsburgh is not recognised as a jazz centre in the same way as New Orleans, Chicago, Kansas and New York are, a number remarkable Jazz luminaries emerged from this city. These include Erroll Garner, Ahmad Jamal, Billy Strayhorn Sonny Clark, Earl Hines and Mary Lou Williams. While researching this project I became increasingly interested in the socio-political characteristics and generative processes that combined to shape jazz as a musical form and wanted this to be somehow implicated in this project. While this project was in many ways situation-responsive, I wanted to give the musicians some possible starting points and I commissioned five new pieces of short fiction by young Pittsburgh writer Mark Mangini. These pieces of fiction were written in response to two existing pieces of literature. The first, Out of this Furnace is a historical novel by Thomas Bell that is set in the steel town of Braddock, Pennsylvania. This book follows the lives of three generations of a family, from their migration from Austria-Hungary in 1880 to the Second World War. The second book, Paris Without Regret by Ursula Broschke-Davis documents the experiences of four important African American artists – jazz musicians Kenny Clarke and Donald Byrd and writers James Baldwin and Chester Himes, who move from the United States to Paris in the 1950s in search of artistic freedom. Mangini’s new pieces of fiction interplays between these two books, further elaborating the manner in which ideologies traverse the world and reflect the diversity of exchange this project encouraged and the musicians were made aware of these texts prior to the residency. There was also an exhibition held at the museum following this residency. The show comprised three main elements. The first two were – a film by Israel Vasquez that documented the residency; a film entitled Music was free by Sean Carpio and Lucinda Chua. This Carpio and Chue’s films synthesized an interview with significant local African-American sculptor Thaddeus Mosley with influential photographs of jazz greats by the renowned Pittsburgh photographer Teenie Harris. In Music was free, Mosley – a jazz aficionado – discusses the Harris photographs which depict musicians performing in clubs and dancehalls of Pittsburgh’s Hill District – the city’s musical centre during the golden age of jazz. These photographs act as a catalyst for a broader discussion relating to Pittsburgh’s jazz history and the jazz scene that evolved in the Hill District during the middle of the last century. Carpio and Chua arranged a percussive interpretation of a segment of this interview into this film. The exhibition also featured an archive of music by artists from Pittsburgh and music that was created in the area. Hundreds of albums were kindly donated by music shops, musicians, producers, and music fans from the Pittsburgh region. The Pittsburgh-based music archive was presented to the public both visually and aurally via album covers throughout the gallery and several listening stations. A generous act was the first time a visual arts institution has enabled a project of this kind. Another recent outcome from both Letters to the Sea and A Generous Act was that myself and a number of the participants from these projects were invited to perform at the Serpentine gallery in London, during August of this year – the context being an event entitled ‘Sleepover’. Eileen Carpio, Sean Carpio, Karl Burke, Lucinda Chua and I wrote a series of new lullabies specifically for this performance. To conclude I would like to credit in full all the musicians I worked with on these two projects – Karl Burke, Rhona Byrne, Eileen Carpio, Sean Carpio, Mark Garry, Nina Hynes, Fabien Leseure, Benoit Leseure, Geaspar Warfield, John Egan, The Fingal chamber choir, Daniel Bracken, James Broder, Slim Cessna, Lucinda Chua, Nathan Hall, Nina Hynes, Jeffrey Inscho, Simon Jermyn, and Karla Stauffer. Letters to the Sea and A Generous Act were recorded, engineered and co-produced by Fabien Leseure. Leseure also wrote the scores for choir and string sections on Sending letters to the Sea. It is my hope this the ever-expanding collaborative group of musicians and artists continues to work together in the future; and we will respond to new sets of conceptual criteria for ongoing projects and opportunities. Mark Garry To listen to these projects go to: http://www.myspace.com/sendingletterstothesea http://vimeo.com/agenerousact http://www.mattress.org/index.cfm?event=ShowExhibition&eid=100&c=Past
28
The Visual Artists’ News Sheet
Laughism
Problems
The Problem Page
Laughism
Our concierge / curator of agony responds to artworld dilemmas
By Borislav Byrne
Dumbing Down? No Chance!
Unsolicited Data
Dear Concierge,
Dear Consierge,
Problem? Damn sure, I’ve a problem.
The madness, when will it end?
I have a problem with your handling of a problem.
I direct a small regional cultural venue, so for my
I take offence with your response to the legitimate
sins my email address has no doubt found its way
plight of the artist struggling to produce non-
into the mailing lists of many artists. This is all well
knowledge (see VAN July / August 2010).
and good when I am sent juicy unsolicited gossip; information about attractive singles in my area; or
Your attempt to “come over a bit serious and
even information about exclusive cultural launch
clever” failed pitifully. Your dilettantish ravings
events sponsored by artisnal brewers and cheese
indeed demonstrated that a little knowledge is a
makers, aboard yachts in Mediterranean regions.
very dangerous thing. Have you actually read any of Foucault’s books? Tell me you didn’t just look
However, I have just about reached my tolerance
them up in Wikipedia? Why didn’t you mention
threshold for the avalanche of messages I receive
the George Bataille’s (1897 –1962) development of
directly from artists that comprise of nothing more
the concept, and its relation to anthropology? But,
than cut and pastes of official press releases from
oh isn’t that a ‘bit complicated’? I guess we will
galleries and funding agencies, relating to nothing
never know. You won’t ever admit it and I can’t
more interesting than their astounding luck to be
prove a thing.
in receipt various bursaries, residencies, accolades and awards etc.
My main beef is your accusation that the artists and art institutions have in some cases been “pretty
While I completely understand and respect the
much guilty of what they are trying to criticise –
essential role shameless self promotion, self-
wielding knowledge as an instrument of power and
obsession and delusion play in the art world,
exclusion”. But tell me this, how exactly would you
fundamentally I’m sick of being communicated
like the exhibition texts to be worded? In simple
with in this creepy third person voice.
monosyllabic words, perhaps aimed at an average reading age of eight years old?
Artists, how about just prefacing your chunks of self aggrandising blurb with a simple “Howdy, I’ve
The artworld concerns itself with complex and
just got some super good news, if I shout you a few
sophisticated ideas. Get used to it!
scoops to take the edge of my cloying enthusiasm, would you consider a studio visit?” Honestly, I’d
So sometimes there is no getting around using
still have scant interest; and a slight taste of vomit
specialised language. Does this language really
would still be in my mouth, but at least I’d know
exclude? These days anyone genuinely curious can
where I stand, and I’d have a grudging respect for
educate and inform themselves. There are gallery
their pushy ambition.
talks where the artists and curators can be quizzed. There are places called bookshops and a thing
But, in all fairness, subject to this arbitrary assault
called the internet.
of other people’s good news – am I really meant to care a flying fook about these feckers jammyness?
And you know what? Most artists and curators actually credit their audiences with intelligence
Steady – take a deep breath. I think you should
and curiosity. Rather than offer patronising and
always find time to tactfully reply to all
boring definitions of terms, they’d rather offer a fun
correspondence. It is only polite. I believe the
and open playground of ideas.
accepted form of response – according the rules of good etiquette – is “What a fluke! That’s nice
Think about that! And it wasn’t so difficult – even
that, for you isn't it mate?”.
for a stick in the mud curmudgeon such as yourself – to extrapolate some very interesting connotations and implications from the notion of nonknowledge.
Baffled Artist
Shame on you, shame on you. Dear Concierge, Stick to what you know best – trying to be funny. I’d just finished sending out a mass email shot and tweet announcing to the world my good fortune at While my first impulse is to sarcastically write
receiving another bursary award; when I was
“Ohhh – kay–yer. Back away slowly from the
shocked and stunned to receive the following reply
desk please. Call security! We’ve a live one!”;
from a well known art publication – “Nice. How
begrudgingly I have to offer you a fulsome
did you wangle that, you shameless chancer? Hope
“Bravo”. I’ve been well and truly trumped. Let’s
it goes well for you. Never bother me again”.
cross swords again sometime soon? Please. Don’t tell me you are surprised.
November – December 2010
The Visual Artists’ News Sheet
29
November – December 2010
RESIDENCY
Jacks-of-all-Trades and other Talents Finnish curator Laura Köönikkä spent JULY as a studio resident at Temple Bar Gallery and Studios, as part of an exchange between Temple Bar Gallery & Studios and HIAP (Helsinki International Artist-in-residence Programme).
IC-98 – work screened at 'New Black n' White'. TBG&S
Paevey Hirsiaho – worked screened at 'New Black n' White'. TBG&S
My TBG&S curatorial residency came about as an extension of the
A more immediate outcome of my residency was
long-term international artists exchange programme between the
‘New
Black’n’White’ a show of moving image work held at TBG&S from 10
gallery and HIAP (Helsinki International Artist-in-residence
September – 9 October. As a starting point for the show, I was conscious
Programme) – which was supported by The Finnish Institute in
of how Finnish video / media art is currently perceived in terms of the
London, the Arts Council of Ireland, Culture Ireland and The Embassy
large-scale video installations, interactive multimedia works and
of Finland. This was the first time a curator had been selected for the
impressive high tech presentations, by artists such as Eija-Liisa Ahtila,
programme Since 2007, the TBG&S and HIAP partnership has
Salla Tykkä, Terike Haapoja and Hanna Haaslahti. By way of contrast I
supported six artists from Ireland and Finland to undertake new
devised a show focused on a series of black and white works by a new
creative work in Dublin and Helsinki for three months of the year,
wave of younger Finnish artists.
namely Sonia Shiel and Ulrika Ferm in 2007, Niamh O’Malley (IRE)
Hand drawn animations are by their very nature both fragile and
and Heli Rekula in 2008 and Niamh McCann and Antti Leppänen in
epic – in terms of the necessary labour that goes into them – you can
2009.
almost see the touch of the artist in such films. There was something
This year, Irish artist Martin Healy was selected for a residency at
unifying all the artworks I chose for the screenings – a sense authenticity
the Cable Factory studios in Helsinki (1 June – end August); while I was
Jani Ruscica Travelogue. Work screened at 'New Black n' White'. TBG&S
selected for a residency at TBG&S. I was pleased to hear I was chosen for
or simplicity – while all in all there was something ‘purely Finnish’
forms of exhibition and discussion events. One of the talks was based
the residency – I think it’s essential for curator’s profession to travel,
about the works. The artists featured in the show were Paevey Hirsiaho,
around the exhibition ‘Fragments From a Broken World’ at National
research and adapt different cultures and art scene in other countries.
Juha MäkiJussila, Jani Ruscica and the collaborative duo IC-98.
Photographic Archive. This event was lead by curator and photographer
My previous personal experience from Dublin was based on a few
Paevey Hirsiaho’s sensitive and intimate video animations were
Anthony Haughey, who chaired a discussion between the artists
weeks’ holiday during January a couple of years ago. The Irish art scene
accompanied by her unique musical compositions. Based on
Kennardphillipps (Peter Kennard and Cat Phillips) and Sean Hillen. A
was not too familiar to me, so the residency gave me an opportunity to
photographs Hirsiaho’s work explored the meeting of a sense of horror
lot of thought was given to very relevant questions, such as – how is
build my conceptions and networks, starting with a clean slate. Irish art
with childhood memories and imagination. Juha MäkiJussila’s work
history presented in public archives? What can we believe? Can there
has been exhibited in Finland at various scales. A recent example was
Butterfly was an experimental collage film about people who share an
be any authentic, true documentation of our past, let alone our
the 2002 show ‘Something Else: Irish Contemporary Art’ a touring
interest in cookie cutters. This animation was a good sample of his
future?
work; the film utilising a simple traditional form of a cookie cutter to
exhibition that featured the work of over 20 Irish artists and toured to
I had the privilege to meet many talented and interesting artists.
Helsinki, Turku and Oulu. Solo exhibitions and projects by Irish artists
create abstract and variable visual compositions. Jani Ruscica’s work
Experiencing their artworks and hearing what they had to say about
have of also of course been shown from time to time in Finland.
Travelogue was created during his residency for the ‘Magic Lantern’
their practices was more than rewarding. It is admittedly a generalisation,
In May I made a pre-residency visit for a couple of days, supported
exhibition at Camden Arts Centre, London. Drawing on both
but I found that Irish artists have a strong ‘verbal tendency’ and are
by The Embassy of Finland and got to meet some of the artists and staff
contemporary and historical texts about the city of London – from
happy to talk about their work in terms of different points of view.
at Temple Bar Gallery and Studios. This visit provided me with a good
travel guides and blog based travelogues to 19th century fiction –
Another observation, I made was that many of the Irish artists I met, or
peek for the upcoming residency; and it gave me ideas for what I could
Ruscica’s film deconstructed the idea of the travelogue itself as
whose work I got to see, could be regarded as true jacks of all trades –
do and see during my residency in July. I didn’t really want to focus only
romanticized history, factual document and idealized experience.
working with two or more media and being active in a range of artistic
on one particular media. I wanted to see as much as possible and reflect
IC-98’spencil drawn animations had obvious references to the romantic
activities.
Finnish landscape tradition; and the stories explored in each work
upon various exhibitions and artworks as possibilities for the future.
Trying to find a single connecting thread in any place’s art scene,
My goal was to find interesting and unique work that I could possibly
is difficult and ultimately not that relevant in the context of a
then take with me to Finland for future exhibitions.
globalised art world. So rather than trying to find or define ‘national
During my stay in Dublin I made over 20 studio visits and saw
My relationship with Ireland has had a great start; and hopefully
scene’; I focused on following the work of individual artists and
approximately the same amount of exhibitions. I found the Irish
it will become stronger in the future. I am truly thankful for all the help
considering their distinct ways of working. Overall I found Irish artists
contemporary art scene to be very active and versatile. With exhibitions
and introductions I was given through Temple Bar Gallery & Studios
to have a sincere and rigorous approach to their work. Moreover, they
opening thick and fast, it was a challenge to visit all the galleries –
staff, particularly, Claire Power, Studios Development Manager and
seem to have the time and space to focus on their work, even though
sometimes it felt like there was an embarrassment of riches, just
also, Rayne Booth, Studios Support and Marketing Officer, the artists as
they face serious financial challenges.
well as all the other people I met and worked with. To give a boost for
included metaphorical observations of manhood, exploitation and opportunism.
because there was so much to see. From a Finnish point of view the art
Arising out of my residency, the first outcome was TBG&S
scene in Ireland seems to have numerous active professionals, who are
anyone in the art world, I would recommend a visit to Ireland to see
member-artist Eoin McHugh’s participation in the 80th anniversary
working on many various different levels. It was interesting to meet
and experience the energy and overwhelming creativity – at one’s own
exhibition next summer at the Tampere Art Museum and TR1
people from a diverse range of contexts from all kinds of private
risk though – as such feasting can lead to an overdose!
Kunsthalle. Eoin has travelled to Finland in advance of the show,
galleries and museums, along with cultural / administrative
making a short visit to research possibilities for making an outdoor
organisations.
site-specific sculpture and indoor installation in Tampere. In the
Coincidentally, during my stay I got a chance to take part in Ireland’s first international festival of photography and visual culture – PhotoIreland 2010. This event was spread around the city in various
autumn, 2011 the same venue is hoping to work by Rhona Byrne, Vera Klüte and Anne-Maree Barry.
Laura Köönikkä In October Laura Köönikkä was appointed to the position of artistic director for FRAME (Finnish Fund for Art Exchange); among her responsibilities will be Finland’s representation at the 2011 Venice Biennale. www.templebargallery.com
Irish Bronze Kilmainham Art Foundry Ltd
T/A
IRISH BRONZE
for sculptors seeking the perfect cast
telephone: e-mail: website:
Willie Malone 01 4542032. irishbronze@eircom.net www.irishbronze.ie
Death of Cuchulainn. Oliver Sheppard RHA (1865 – 1941). Oliver Sheppard sculpted this exquisite world-renowned piece In 1911/12. The original work in plaster was exhibited at the RHA in 1914. Purchased by the State in 1935, the work was cast in bronze (commissioned by Eamon de Valera to commemorate the twentieth anniversary of the 1916 Rising) and placed in the GPO Dublin. Commissioned by The Office of Public Works in June 2002, the second Cuchulainn was cast in bronze at Griffith College Dublin by Willie Malone. This picture shows the new work on permanent exhibition at the Custom House, Dublin. Ella Burke Filter Copper Wire and Mesh, Courtesy of the Artist
Amharc Fhine Gall VII Recent Graduates from Fingal: Aoibheann Greenan and Ella Burke Curated by Susan Holland 12 November 2010 – 22 January 2011 Home Graphic Studio Dublin Studio Members 12 November 2010 – 22 January 2011 Blanchardstown Centre Blanchardstown, Dublin 15 T: 01 885 2610 F: 01 824 3434 www.draíocht.ie
Finn Valley College, Stranorlar, Co. Donegal
Public Art Commission Donegal County Council Public Art Office on behalf of County Donegal Vocational Education Committee, wish to commission a new visual artwork to celebrate and coincide with the construction of the Finn Valley College building in Stranorlar, Co Donegal which is due to be opened in September 2011. The budget for the design, supply, ground works, installation and fix inclusive of all costs, expenses, VAT, insurance and other charges of this projects is €30,000 Stage One proposals from artists should submit * A current Curriculum Vitae * At least 10 slides, photographs or images on disc of relevant works / commissions completed by the artist. Closing Date for Submission of Stage 1 applications Friday 3rd December 2010 A full artists brief for this commission including maps and images can be found on www.donegalpublicart.ie For further information please contact Ms. Terre Duffy, Public Art Manager, Donegal County Council 087 250 8373 terre.duffy@donegalcoco.ie
The Visual Artists’ News Sheet
31
November – December 2010
Art in public: Roundup
Art In Public: Roundup
public art commissions, site-specific works, socially engaged practice and other forms of art outside the gallery.
megalithic portal tomb, Poulnabrone Dolmen, which is located in the Burren, Co. Clare. As the press release noted “Ricks created the interactive soft sculpture with the intention of bringing a portal dolmen to Aughty, a region that has no dolmens. The artist has combined an icon of ancient Ireland with an icon of contemporary
Lough Mask Regional Water Scheme.
Club Revival
Ireland, playfully re-presenting elements of Irish
The sites explored included bog roads and
culture, often over-used commercially to attract
school routes across fields; along with paths
tourism, in an accessible, witty and visually
between neighbouring houses and leading to local
spectacular way”.
wells. As part of the project Lambert has amassed a
John Byrne Misneach: A Monumental Celebration of Youth.
www.jimricks.info
collection of audio recordings and images of sites. The tours were lead by a number of different local
Bonanno in Parklands
guides who related various stories, histories and anecdotes concerning the different routes. Documentation of the event– along with maps and audio recordings – is featured on a website
Seamus Nolan The Trades Club Revival
In 2008, The Model commissioned Seamus Nolan
and booklet created for the project.
collaborative art project in Sligo. After a period of research, Nolan developed a project entitled The
John Byrne Misneach: A Monumental Celebration of Youth.
www.enroute.ie
to develop a new process-based and socially
Works to a member of the Guinness family; and was subsequently given to an ancestor of Gough’s,
Hunter Gatherer
Sir Humphry Wakefield, who restored and sited it
Trades Club Revival, which has sought to
at
re-establish the traditional Trades Club premises as a self-determined centre for community
members. At its height the club was unique in that
‘an ephemeral art event’ took place on Sunday 19
it attracted people of all ages and backgrounds to
September along the banks of Dublin’s Royal
come together – providing a forum for the
Canal. The work was presented by New York based
exchange of ideas, music, poetry, song and dance.
artist-led initiative Thisisnotashop. The work
However, the premises at Number 2, Castle Street
involved the scattering of origami swans along the
fell into in a poor state of repair and the club
canal bank. Commenting on the thinking behind
closed its doors to the public in 2006. As part of the
the work, Maguire noted:
renovation work was undertaken –
“While walking along the Royal Canal in
including new stairs, plumbing, electrical and
Dublin near the Harold’s Cross bridge area I
carpentry work.Nolan worked collaboratively
noticed there were no swans. As I walked,
with members of the local community on the
pondering on the whereabouts of the swans, I
revival of the old Trades Club building. Their work
found a lonely origami crane / swan on the grass.
culminated in a 10-day exhibition at the Trades
When I looked closer I realised it was made from a
Club (10 –19 September), featuring documents
Tesco’s receipt. There has been an increase in
from the Club’s history. Groups with a past
groups of people gathering along the banks of the
involvement in the Club participated in a series of
canals. It is possible such a person created the
evening performances and events to coincide with
solitary origami crane. Ethnographic data has
the exhibition.
indicated that hunter-gatherers worked far fewer
This programme of events included readings,
hours and enjoyed more leisure than typical
live music, DJ sets, craft fair and flea market –
members of industrial society, and they still ate
participants included Dermot Healy, Inkwell
well”.
Writer’s Group, Dooneel Writer’s Group, The
www.thisisnotashop.com
Glen’s Centre Pig Executive, Complaints, Excuses, Bouncy Dolmen
explosions. Lazybird. Commenting on the project
in 3d software to make a mould for the work. Her mould and the mould made from the Gough Memorial at Chillingham Castle were then combined to create Misneach: A Monumental Celebration of Youth. Alfio Bonanno and Steven Siegel at Sculpture in the Parklands
Trinity Comprehensive School, and upon
Sculpture in the Parklands Co. Offaly (6 – 25 Sept).
completion of the Metro rail project will be resited
Bonanno is a site-specific, outdoor installation
on Main Street Ballymun. This move will see the
artist who has been creating large-scale sculptures
work installed on a new, hand-carved, stone
within selected, natural environments for the past
plinth.
35 years. Since the late 1970’s he has worked in
Breaking Ground, the Percent for Art
many countries with and in natural and urban
programme for Ballymun Regeneration Limited,
landscapes with site specific projects both with
was launched in Ballymun in February 2002. To
large structures of nature’s own materials and
date Breaking Ground has launched some of the
with conceptual acts. The symbiosis between art,
most significant, diverse and challenging public
nature and ecology is an important aspect of his
art projects in Ireland, and has been celebrated
work, as is his role as artist, consultant and lecturer.
widely for contributing to the development of
Bonanno has extended the language of outdoor
contemporary art projects in a socially engaged
installation through his activities with TICKON
context. Breaking Ground has commissioned over
and as an independent artist. His concerns are as
48 projects in eight years, including permanent
much social as environmental. As Bonanno stated, “The other landscape exists at a closer look here where we have always
Ballymun, and large scale temporary projects such
been, where we least expect to find it there it is.
as Seamus Nolan’s Hotel Ballymun.
Where earth meets air, and water meets the sun,
residency has been funded by EU Culture and
years and this is evidenced by the 600+ fans the
Education programme Trans Form Actions, Bord
revival project has attracted on its Facebook page,
na Mona, University College Dublin, Lough Boora
and by the attendance at public meetings about
Parklands Group and Sculpture in the Parklands.
the club’s future over the past few months – it is
www.sculptureintheparklands.com
planned that this vibrant social space will continue to open for selected events on an ongoing basis”.
Aileen Lambert, involving tours and visits to traditional way paths and routes in Balindine and Tulrahan areas of County Mayo. The project was commissioned by Mayo County Council and realised by the artist in collaboration with the residents of Bekan near Ballyhaunis, The commission was funded via the Percent for Art Scheme associated with the development of the
bronze works such as Andrew Clancy’s Cathode / Anode located outside the main civic building in
where it is given a chance to exist.” Alfio Bonanno’s
been badly missed in the town in the past two
‘En Route’ was a public art project devised by
Misneach has been sited temporarily at the
Alfio Bonanno was recently artist in residence at
www.breakingground.ie
we see myriads of vital life cycles. And life arises,
The Model have noted that “The Trades Club has
En Route
in
the latest computer technology, she was scanned
Kathryn Maguire’s Hunter Gatherer – described as
www.modelart.ie
Castle
was subsequently chosen to be the rider, and using Kathryn Maguire Hunter Gatherer
provided a vital social service for its many
Hooligan, Setting off sirens, and Monica and the
Chillingham
to be the rider for the horse. Toni-Marie Shields
the home of a vibrant and self-determined
project,
in
Breaking Ground auditioned 20 local teenage girls
For more than 100 years, the Trades Club was
generations of voluntary management, the club
home
After an open-call in 2006, John Byrne and
involvement.
organisation. Operating successfully thanks to
his
Northumberland, England.
Jim Ricks Poulnabrone Bouncy Dolmen
Misneach John Byrne’s Misneach: A Monumental Celebration of
Jim Ricks’s Poulnabrone Bouncy Dolmen was toured
Youth was official unveiled on 17 September at
venues around the Aughty Region of County
Trinity Comprehensive School, Main Street,
Galway during throughout August and September.
Ballymun, Dublin 9. The work was commissioned
Comprising a giant inflatable sculpture designed
by Breaking Ground, the Ballymun Regeneration
for “members of the public, of all ages, to interact
Ltd percent for art scheme.
with and bounce on”, the work was part of a series
The work is based on a replica of horse
of public artworks commissioned for the region by
sculpture that was an element of The Gough
Galway County Council, with support from the
Memorial by the Irish sculptor John Henry Foley
Arts Council and Clare County Arts Office.
(1818-1874) The memorial, originally sited in the
Poulnabrone Bouncy Dolmen is a replica, at
Phoenix Park, was destroyed in 1957. In the 1980s
twice the scale, of the famous 6,000 year old
the sculpture was sold by the Office of Public
YOUR WORK HERE ! If you have recently been involved in a public commission, percent for art project, socially engaged project or any other form of ‘art outside the gallery’ we would like you to send us images and a short text (no more than around 300 words) in the following format: Artists name Title of work Commissioning body Date advertised Date sited / carried out. Budget Commission type Project Partners Brief description of the work
32
The Visual Artists’ News Sheet
November – December 2010
regional contacts
Regional Perspectives visual artists ireland's regional contacts – Aideen Barry, Damien Duffy and eamonn Maxwell report from the field. funeral headstone workshop in the centre of the city. The artists hope
West Aideen Barry
to build on the identity of this location as a space of manufacturing, by seeking funding to kit it out a space of fabrication for sculptural works
Antrim Laura Graham
and sculpture studios. This project is in it umbilical stage at present but has the potential to become a Leitrim Sculpture Centre or National
Navigating Process
Sculpture Factory type model in the future.
A couple of interesting public art projects have recently been launched in counties Clare, Galway and Mayo. Dr Áine Phillips ‘Aughty Public Art Project 2010’ is a curated community-based public art project, commissioned by Galway County Council’s Percent for Art scheme and supported by The Arts Council of Ireland and Clare Arts Office. For this project, artists from the Ground Up Artists Collective (GUAC) are creating temporary works that engage creatively with the communities of the Aughty area – which includes North East Galway from Gort to Woodford, Portumna and Loughrea. The area also stretches over the
Finally, I hope to start running a few Visual Artists Ireland information sessions around the west over the next few months; and if you or your organisation are interested in having one run near you please contact me on aideen@visualartists.ie
Rock the boat Summer in and around County Down has been full of events and art shows, organised and funded directly or indirectly by local authorities. Often what is on offer through art or cultural centres, promotes and provides facilities for community arts, encourages participation
Notes 1. Documentation of her project can be viewed on http://aughtywalk.blogspot.com www.enroute.e More info on the tours and touring dates for Aileen Lambert’s project for Mayo County Council can be found here. 2. Other projects in the Aughty Public Art Projects include: Jim Rick’s Poulnabrone Bouncy Dolmen, Marie Connole’s Weed or Knotweed, and a documentary project by Tom Flanaghan. more info on www.groundupartists.org
whether through workshops, courses or exhibitions.
Although
laudable – not least in terms of inclusivity and outreach – it seems difficult for such centres to break out from a more traditional view of the role and practice of visual art and its provision. Rather than take risks by pushing the boundaries of art experience for the general
county border into North East Clare. The project is interesting in that
public, they continue to offer the same types of traditional forms of
is it expands across county lines; something public engaged projects
visual and craft-based art.
rarely do, due to parochial funding limitations.
Support for local artists is available in these centres; and with a
One of the featured works included Emma Houlihan’s Aughty
strong community arts incentive built into the ethos, these are often
Walk: Rural Futures a ‘slow’ public walk (with artist camping overnight in various sites) over seven days, which took place 23 – 28 August and culminated in a climb to the top of Ard Aoibhinn, the highest point of the Aughtys area overlooking Lough Derg’s holy island with 30 local people.
(1)
the avenues though which bursaries and public art commissions come
Northwest Damien Duffy
on line – as well as providing space for local art groups, cooperatives and individual artists to show their work. Purpose built facilities are certainly there, however it is rare to see the shows pushing the boundaries of art forms and ushering in a more challenging
The Aughty project is interesting in that it looked at the
Roundup
approach.
the general public rarely go into the old rat-run roads, boreens and
The summer 2010 saw Void hosting its first exhibition of paintings in
Centre in Lisburn when Peter Muschler of PS2 in Belfast curated a show
boarder pass-ways – so there a sense of displacement within the
three years. Curated by Greg Mc Cartney, work by British Artist George
for the Belfast Print Workshop. PS2, under Peter’s direction is a gallery
landscape.
Shaw proved popular. Resonant in its nostalgia, a type of urban
that has focused on urban / spatial elements, environmental questions
romanticism depicting the non-spaces of housing estates of the artists
and the undermining of accepted norms, often offering a cutting edge
home city, Coventry.
and challenging alternative to a more traditional art enjoying public.
relationship that people have with the landscape of North Clare. Recently with the building of the Ennis motorway and by-pass of Gort
Especially in an age of GPS navigation, it is interesting to see artists commenting on our lack of connection; and our in ability to
This was partially redressed earlier this summer in the Island Art
find out where we are without the aid of a Google Map on an iPhone.
The Young Ensembles Project ‘Ways of Seeing’ opened at Buncrana
So it was refreshing and interesting to see how this ideology may
The success of these projects is down to public involvement. Houlihan’s
in Donegal. It showcased the work of young artists, made over several
transfer to the space available at the centre. The shape and structure of
work involved 30 volunteers, who gave their time to participate in this
months in workshops with professional artists.
the gallery space at the centre is ungainly, however the challenged to
camping and navigation project – a little convoy of people interested
The Play House launched its International Contemporary Arts
in discovering more about the way-finding practices of the past; by
Network. This is an ongoing programme bringing International artists
directly engaging with a visual artist; where the out come was not
to Derry and the Northwest, working with publics and community
product, but process.
make use of it was expertly dealt with and the resultant show testament to ingenuity and imagination. The show took the traditional, nostalgic practice of printing, and encouraged immediate engagement by placing tables, chairs and
groups, who would not have international links.
A similar public art project focusing on the notion of place, space,
This, combined with the Contexts Gallery’s International
materials in and around the area, mixing doing with learning
and the vernacular is Aileen Lambert’s en route – a public art project
Curatorial Residencies is proving to be an interesting and revitalizing
information about print processes and procedures. Works selected for
with Mayo County Council. Similar to Houlihan’s, but with a different
mix. Drawing in individuals and outsiders who are providing fresh
show had a contemporary feel and although acknowledging time
objective, Lambert has been leading a series of invitations to members
approaches to the context and the venues, and finally more interesting
served techniques and methods, the sense of the new and untried was
of the public to join her on a number of bus and walking tours of sites
end results.
evident in the choices, particularly so when presented with the twist
(1)
to the show on moving through to the disjointed, ‘other’ space.
related to old routes around Mayo. Lambert is using the opportunity of
Still with the Context Gallery, Derry artist Ciaran O’Dothartaigh
these public engagements to gather stories of these routes from her
has just opened his first major solo exhibition. The accumulation of
This space, through the fire doors, had to contend with the
participants on the tours. This emphasis on process over product is
two year’s work, which involved a residency in Winnipeg. The
separation from the main show, whilst being the same show, and did
quite a breakthrough. The notion of supporting an artist’s process,
exhibition marks a major development in the artists work, having
so by revealing the relationship between print work and ‘other’ forms
while actively generating public interest in the project shows a
produced both interesting and ambitious new work.
of art practice that the artists undertook. The physical split mirroring
Forthcoming in Void is an exhibition of the work of Voids Art
the ‘practice’ split. In this space, alternative forms of work including
In more news, Lorg Printmakers in Galway have just expanded
school students, including work by those who are currently studying
audio-visual and installation works by the print artists were shown,
their premises to include a new gallery space. Grace Mitchell, who has
at third level institutions across the UK and Ireland. Following this is
allowing for an expansion in perception of what the relationship of
been managing the printing workspace for the past year, has been
an exhibition of the British artist Mat Collishaw, known as one of the
these artists to their ‘art practice’ was.
instrumental in the creation of this new exhibition space. The space is
significant shift in local authority funded ventures in the arts here (2).
original YBAs, taking part in the Freeze exhibition while still a student
In this movement from traditional processes and products
currently about to put a call out for open submissions. A shift in the
in 1988, and along with others transforming the landscape of British
through to an alternative understanding of art linked by the artists
power balance in relation to rental properties in Galway city, has seen
art and its reception in both Europe and the US. This will be the first
themselves, can be embodied the idea of how such centres may open
a number of artist-led initiatives take the reigns by approaching their
solo exhibition of the artist’s work in Ireland.
to wider art appreciation and education. Whilst still balancing the
landlords in order to renegotiate rental agreements. In this bold move,
Another local artist Locky Morris is currently exhibiting at the
traditional, this approach could afford the opportunity to encourage
Lorg has managed to expand its premises and with the potential of
Golden Thread Gallery in Belfast. Showing a mini retrospective of
boundary pushing for visual arts in such centres that could benefit
becoming more ambitious for its members, by providing this excellent
works made over the last three decades. Revisiting works made during
communities outside large urban centres, and maintain a time
gallery space and curated programme facilitated by Grace Mitchell.
the height of the conflict and showing more recent playful works. It
honoured tradition in visual art, if only slightly, to rock the boat.
This is a whole new venture for Lorg; and one that could prove quite
would be great to see the same exhibition come to Derry itself.
fruitful for its membership, artists nationally and internationally, by
Amongst all this, the debates around the designation of Derry as
having a curated exhibition programme complementary to its
UK city of culture have revealed the level of political acrimony in
excellent studio practice and educational programmes.
some of the public’s response to it. The detonation of a 200lb car bomb
In Galway alone a spate of artist-led co-operatives has emerged
outside the Strand Road PSNI station, leaving it virtually untouched
almost over night – including the newly established Ground Works
but demolishing a kebab shop and a gay bar and damaging a local
studios (for Textile / Design and Craft based artists) and more recently
bingo hall, shows that evidently some kind of struggle continues.
with A-Merge. A-Merge is a new co-operative of sculpture / multimedia artists, made up of graduates of GMIT. It has just located itself in an old
Damien Duffy
Laura Graham
33
The Visual Artists’ News Sheet
November – December 2010
PROFILE
Flourishing Alternatives Curator Ciara Hickey profiles ‘Arrivals’ an exhibition of work by emerging artists, recently shown at the Ormeau Baths Gallery, Belfast.
Fiona Ni Mhaoilir Of Bricks and Mortar
Michael Hanna Mouth Chamber. Photo: Chris O'Neill
Phil Hessian Performance at 'Arrivals'
Keith Winter Battledrums Galactica opening night performance
‘Arrivals’ (29 July– 11 September 2010) was a response by the Ormeau Baths Gallery (OBG) to the vibrant art scene observed in Northern Ireland over the past few years. The imaginative, wide ranging and assertive practice of early career visual artists provided the momentum and motivation to curate an exhibition designed to discover, support and promote the emerging artist from Northern Ireland. Two factors have helped create this local energy – an innovative approach towards exhibiting and making work through the setting up of new artist-run or alternative spaces and the growing community of organisations and individuals offering support and encouragement to artists. It was important to factor this context into the exhibition and a programme of curated events took place to expand on the world of the emerging artist working in Northern Ireland today. The ‘emerging artist’ category, in the case of ‘Arrivals’ ranged from artists who have recently graduated to those with recognised artist status. ‘Arrivals’ showed the work of 18 artists and included five performances, which took place over the course of the exhibition. The selected artists were chosen after visits to studios, galleries and degree shows and highlight the impressive and wide ranging spectrum of emerging artists from, or living in Northern Ireland. In curating the show, it was one of the aims to harness the aforementioned sense of energy and spontaneity, which has characterised alternative methods of exhibiting in recent years. Keith Winter’s opening night performance, Battledrums Galactica realised this curatorial aim from the outset with an exhilarating live performance that forced the viewer to take notice of this new creative energy. Ear plugs were handed out and after a colourful parade through the crowded gallery (over 400 people attended the opening night) by the three participants, a 15 minute explosion of drumming and synthesiser ensued. The momentum of this dynamic first
performance was kept alive by a wide range of memorable performances by Clodagh Lavelle, Phil Hession, Anne Quail and Sinéad BhreathnachCashell over the course of August and September. Observations and enquiries into aspects of contemporary culture formed the web that ran between the work in the exhibition. Means of communication such as speech and song were examined in several works including the colossal Mouth Chamber installation by Michael Hanna in which he created the quasi-scientific apparatus within which an audio work based on the International phonetic alphabet was presented as an intimate sensory experience. The power and place of song and verbal communication in contemporary culture was further examined in the works of Clodagh Lavelle; Phil Hession and the collaborative filmwork by Gascia Ouzounian, Conan McIvor and the Bird on a Wire Choir. Martin Boyle, Christopher McCambridge, Sinéad BhreathnachCashell, Fiona Ní Mhaoilir, John Macormac and Sarah Poots works offered insights into the fast pace of contemporary living; mass produced goods; recession and overall, the results of excessive consumption. Sarah Poots’ refined paintings depicted the liminal and ‘throw-away’ spaces and moments – assuring us that there is a mystery and a beauty to be found in disregarded moments. McCambridge likewise created patiently produced, elegantly embroidered works, which encouraged the viewer to examine methods of production of luxurious goods. The works by Macormac, Ni Mhaoilir, Bhreathnach Cashell and Boyle built and played with the consumerist nature of our society. Boyle methodically and industriously collected empty soft drink bottles to build a large scale iceberg structure, which was at once an impressive monument to the excessiveness of our culture but also immediately ground the exhibition to a sense of place, using the motif of the iceberg to refer to Belfast’s own history. The juxtaposition of
Boyle’s iceberg with Fionnuala and Aideen Doran’s wall drawing of the unfortunate HMS Terror, taken from a painting at the National Maritime Museum in London emphasised the cause and effect of histories and the implications of specific events to contemporary life. Similarly, Chris McKinney’s work was based on pre-existing imagery. The artist replicated a stained glass window from a cathedral in Armagh that he has known since childhood. At the press of a switch the stained glass (and its meaning) fragmented and then reassembled. The work of Anne Quail, Ryan Moffett and Maria Jankowska dealt in very different ways with memories and attachments to place. Quail’s durational performance referred to and emphasised the quieter, overlooked happenings of day-to-day life. Moffett’s use of the domestic door as the medium through which we viewed his films, could be read as a comment on the ‘behind closed doors’ mentality that is constantly fed to us by an increasingly paranoid media. In Jankowska’s delicate photographs of the female form, the artist celebrated her freedom of mobility and views her new home in Belfast as a place where she feels free to address and explore aspects of her own femininity and issues around cultural censorship. From the initial planning stages of the exhibition, it was decided to involve as many early-career artists as possible, to expand the ethos of the exhibition. Following several smaller-scale curatorial projects this year, I was given the opportunity to curate the exhibition alongside the OBG Exhibitions Manager Feargal O’Malley. Last year The British Council supported an ‘International Young Curator’s Programme’ in which I had been involved and for ‘Arrivals’, they generously funded a publication to accompany the exhibition. This enabled OBG to involve the emerging designer, Andy Henry from Frank Design (Belfast) on the publication and branding of the exhibition. Again, in the accompanying events, OBG was able to expand the ‘emerging artist’ umbrella to create a broader overview of the emerging art scene. Events included ‘Creating Alternative Spaces’, a timely discussion on alternative spaces with speakers representing Brown & Bri (Belfast), Daniel Hancox (London), Good Hatchery (Offaly), Guest House (Cork), The Joinery (Dublin), Shac Residency (Belfast), Shaun McDowell (Lyndhurst Way, Peckham) and Space Delawab (Belfast). One outcome of this event included a discussion on how access to and communication between alternative spaces can be increased in a realistic, useful and sustainable ways. Other events included the premiere screening of ‘Endless Life’, an ambitious feature length film by Michael MacBroom, which was written, shot and edited in the summer of 2010 with a minimal budget, relying instead on the support and enthusiasm of a strong artistic community. The closing event of the exhibition saw the multi-disciplinary arts collective C-13 host a one night exhibition intervention, expanding on themes that had been drawn from the exhibition over its six week period. OBG also collaborated with Visual Artists Ireland on several events specifically of benefit to emerging artists. An information and helpdesk advice session invited the audience to bring questions to the VAI regarding their practice or general art enquiries. A series of three artist talks by Aoife Collins, Aideen Barry and Niamh McDonnell were also organised which offered the opportunity to hear from artists working in a wide range of disciplines who have experience of exhibiting and pursuing opportunities internationally. Through these events, ‘Arrivals’ sought to recognise the importance of the community and context within which the emerging artist lives and works. This enabled at times a meeting of art worlds, which served the purpose of cultivating a confidence not just within the group of artists that were showing work in ‘Arrivals’ but also within a wider community of artists and organisations. The aim of ‘Arrivals’ was to host a major exhibition that would seriously examine and promote the work of early career artists working at this particular moment in time in Northern Ireland. Most of the selected artists were used to the restrictions of the alternative art space or ‘project space’, which although crucial in recent times in providing opportunities and encouragement for the emerging artist, often have technical and promotional limitations. The artwork shown in ‘Arrivals’ flourished with the physical space the OBG offered and the advantage of technical facilities and curatorial design. The exhibition, while promoting, supporting and showcasing a truly diverse and exciting range of emerging artists, has also acted as a wider celebration of the energy and achievements of the current art community working in Northern Ireland. Ciara Hickey
West Cork Arts Centre North St, Skibbereen, Co.Cork
t: +353 28 22090 e: info@westcorkartscentre.com w: www.westcorkartscentre.com
A Social Network for the Visual Arts
Ellen Driscoll, Untitled 6’ x 7’ ink on paper 2009 Photo: Etienne Frossard
1 October - 27 November Ellen Driscoll Fastforwardfossil (Part 3) An exhibition of drawing, photography and sculpture by American artist Ellen Driscoll. 3 December - January 2011 Gilles Perrin Men of the Sea A series of photographic works relating to the Cork coastal fishing industry by French
make connections network campaign exchange ideas The Common Room – A Social Network for the Visual Arts, is a resource for artists, curators, writers and other art professionals and publics to meet and stay connected.
photographer Gilles Perrin at West Cork Arts Centre and Sirius Arts Centre, Cobh. Kindly sponsored by iophotoworks, Cork.
www.thecommonroom.net
Leonora Neary Distant Land 2 acrylic on canvas
Aoife Barrett City of Prints etching Photo: Roland Paschhoff
5 – 26 November 2010 RDS Student Art Awards Exhibition 3 December – 29 January Leonora Neary Coast Linenhall Arts Centre, Linenhall Street, Castlebar, Co. Mayo ( 094 902 3733 * linenhall@anu.ie www.thelinenhall.com
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