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The Visual Artists’ News Sheet
issue 6 November – December 2012
Published byVisual Artists ireland Ealaíontóirí Radharcacha Éire
New Exhibitions November–January 03/11/12–01/12/12 Souvenir Views Wendy Judge 08/12/12–26/01/13 08/12/12 26/01/13 Pallas Periodical Review #2 Image: Wendy Judge
Curated by Eamonn Maxwell, Pádraic E. Moore, Mark Cullen & Gavin Murphy
Pallas Projects/Studios 115–117 The Coombe Dublin 8 Please see website for map/directions Gallery hours: 12–6pm Thursday–Saturday For more info or group visits please contact us at info@pallasprojects.org www.pallasprojects.org
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Dublin Framing Service Ar�san Frames full framing service, is available in Dublin at Stoney Road Press, now agents for Ar�san Frames where you can order: Box frames Tray frames Perspex Box frames DiBond aluminium Exhibi�on framing Stoney Road Press
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Visit us at the RHA Art expo 1st to the 4th of November
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Photo: Vivienne Dick
6 October 2012 – 3 February 2013
Alice Maher, Casandra’s Necklace, 2012, film-still, Courtesy of the Artist
Emmet Place | Cork | Ireland +353 (0)21 4805042 | www.crawfordartgallery.ie
IMMA at NCH at Earlsfort Terrace, Dublin 2 t +353 1 6129900 e info@IMMA.ie Free lunchtime tours, talks, late opening see www.imma.ie
4
The Visual Artists’News Sheet
Introduction
November – December 2012
Contents
Welcome to the November / December issue of the Visual Artists’ News Sheet
1. Cover Image. Dreaming of the Celestial Mountain. Agnes Conway, 2011. 5. Roundup. Recent exhibitions and projects of note. The latest developments in the arts sector.
This issue begins with a regional profile on Co Antrim, focusing on galleries, spaces and collectives in the
5. Column. Mark Fisher.
area, including Belfast Exposed, Catalyst Arts, The MAC and Satis House, followed by a report from Antrim
6. Column. Jonathan Carroll.
Arts Officer, Cathy McNally.
8. News. The latest developments in the visual arts sector.
Columnist Mark Fisher discusses how artistic practitioners should engage with institutions in the current
9. Regional Profile. Visual arts resources and activity in Antrim.
economic climate, referencing Chantal Mouffe and Bifo Beradi, while Jonathan Carroll examines fame and
13. Art and Politics. Living Museum. Brian Kennedy on a recent trip to visit artists in Syria.
anonymity in the art world.
14. Project Profile. Into the Light. Fiona Fullam talks to Karen Downey about a new exhibition showcasing
Also in this issue: Brian Kennedy describes his visit to artist-led projects in Syria, which was followed by an
the Art Council Collection in venues around the country.
exchange to Northern Ireland; Gregory McCartney talks about curating the upcoming Tulca Festival in
15. Festival. Landscape, Change and Flux. Ciara Peters talks to Gregory McCartney about his role as Curator
Galway; Alan Bulfin discusses living as an artist / dish washer in Finland; Una Carmody presents findings
from a recent study on visual arts audiences across Ireland; Nick Kaplony profiles the Artelier international
16. How is it Made? A Sleeping Face. Agnes Conway on her recent commission for Marlay Park.
artist exchange programme; and Fergus Byrne reports on a recent project by The Performance Collective. In addition, we have 'How is it Made?' articles from Agnes Conway and Suzanne Mooney.
of the Tulca Festival 2012.
17. Career Development. Some Possible Infinities. Alan Bulfin describes working as an artist in Finland. 18. Education. The Artist's Apprentice. Lily Power talks to Siobhán Parkinson about a new children's book
In the News section, we announce the recipients of the Arts Council Visual Artists’ Workspace Scheme
grants, provide information about the Get Together 2013 and introduce the new Steering Group based in
18. Policy. Here and Now. Una Carmody gives findings from a recent study of Irish visual arts audiences.
Belfast. Also listed here are details on the VAI Exhibition Fees Survey, which will assist in the ongoing development of the Visual Artist’s Charter. VAI will also be launching a new event, Show and Tell, which will feature fast-paced slide presentations by professional members in an informal setting.
inspired by Velázquez's Las Meninas.
19. Critique. Our four-page Critique supplement features six reviews of exhibitions, events, publications and projects – that are either current or have recently taken place in Ireland. 23. Festival. The Art of Communication. Yvonne Cullinan profiles the trans-art Festival, Cavan. 24. Residency. Artelier. Nick Kaplony describes the Artelier residency programme, run by ArtQuest UK. 24. People. John Carrick. Artists pay tribute to the Fire Station Workshop Manager, who retires this month. 25. Policy. Cultural Strategies. Ray Yeates discusses Dublin City Council's upcoming plans for the arts.
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26. Artist-Led Project. Subject to Ongoing Change. Fergus Byrne profiles The Performance Collective.
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28. Opportunities. All the lastest grants, awards, exhibition calls and commissions.
27. Advocacy. Issue and Impasse. April Britski on CARFAC's debate with the National Gallery of Canada.
30. Debate. Remains of the Present. Michelle Browne reports from performance symposium, 'Remnant'. 31. How is it Made? Outside In. Suzanne Mooney describes recent work developed in Seoul and Tokyo.
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32. International. Notions of Hospitality. Anne Mullee reports from the 2012 Liverpool Biennial.
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33. Art in Public. Public art commissions, site-specific works, socially-engaged practices and other forms of art outside the gallery. 34. Studio Profile. Sustainable Spaces. Maria Tanner profiles a new studio space in Dungarven, Waterford.
o Degree or Diploma from a recognised third level college. o One-person show (including time based events) in a recognised gallery or exhibition space. o Participation in an exhibition/visual art event which was selected by a jury in which professional artists or recognised curators participated. o Work purchased by Government, local authority, museum or corporate client. o Work commissioned by Government, local authority, museum or corporate client. o Have been awarded a bursary, residency, materials grant or otherwise grant aided the Arts Council/Arts Council of Northern Ireland or other funding body. o Have been awarded tax-exempt status by the Revenue Commissioners, or are on schedule D as a self-employed artist in Northern Ireland.
35. Regional Contact. VAI's Northern Ireland Manager reports from the region. Production Publications Manager: Jason Oakley; Assistant Editor, layout: Lily Power; News: Niamh Looney; Roundup: Siobhan Mooney; Opportunities: Niamh Looney / Siobhan Mooney; Proofing: Anne Henrichsen; Invoicing: Bernadette Beecher. Contributors Mark Fisher, Jonathan Carroll, Brian Kennedy, Fiona Fullam, Karen Downey, Ciara Peters, Gregory McCartney, Agnes Conway, Alan Bulfin, Marita Muukkonen, Lily Power, Siobhan Parkinson, Una Carmody, Andy Parsons, Alissa Kleist, Sara Baume, David Brancaleone, Joanne Laws, Laura Gannon, Yvonne Cullinan, Nick Kaplony, John Beattie, Ray Yeates, Fergus Byrne, April Britski, Michelle Brown, Suzanne Mooney, Anne Mullee, Feargal O'Malley, Maria Tanner, Angela Halliday, Mave Dempster, Ruaidhri Lennon, Pauline
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Listings Editor / Membership Assistant: Adrian Colwell Administrative Assistant: Ruth O'Hagan Northern Ireland Manager: Feargal O'Malley The views expressed in this publication, unless otherwise indicated, do not necessarily reflect those of the editor, editorial panel or Visual Artists Irelands’ Board of Directors. Visual Artists Ireland is the registered trading name of The Sculptors’ Society of Ireland. Registered Company No. 126424.
The Visual Artists’News sheet
November – December 2012
COlUMN
Mark Fisher Return to Hegemony
5
Roundup IllUMINATED
Raphaël Zarka, the exhibition draws upon The Brick Moon, a short story written by Edward Everett Hale in 1869. The show was curated by Tessa Giblin and Kate Strain. www.projectartscentre.ie
“SHOUlD critical artistic practices engage with current institutions with the aim of transforming them or should they desert them altogether?” This question is posed by Chantal Mouffe in Strategies of Radical Politics and Aesthetic Resistance Resistance, an important piece written for “the marathon camp on artistic strategies in politics and political strategies in art” held in Graz in September, as part of the Steirischer Herbst festival. At a time when institutions – and not only those in the art world – have been put into crisis by the austerity programme, Mouffe’s question is crucial. She correctly associates the refusal of institutions with post-autonomist theorists such as Paolo Virno, Michael Hardt and Antonio Negri and Franco ‘Bifo’ Berardi, who agree that “the
Fiona byrne,Atmosphere, 2012
multitude can ignore the existing power structures and concentrate its efforts in
‘Illuminated’ by Fiona Byrne was exhibited recently in the Denis Collins Gallery, Wexford (18 Aug – 15 Sep). “The exhibition features 14 works which have been created digitally, outputted as high quality transparencies and back lit with low energy LEDs. The pieces are presented in a low light environment and each one glows with rich colour and appealing biomorphic shapes.”
constructing alternative social forms outside the state power network. Any collaboration with the traditional channels of politics, like parties and trade unions, are to be avoided”. By contrast with this strategy of “exodus”, Mouffe recommends not “deserting the institutional terrain but . . . engaging with it, with the aim of fostering dissent and creating a multiplicity of agonistic spaces where the dominant consensus is challenged and where new modes of identification are made available”. The crucial concept for Mouffe is Antonio Gramsci’s idea of hegemony. Mouffe’s intervention is valuable for two reasons. The first is that the autonomist
www.artupstairswexford.com
rejection of the state, trade unions etc etc, is highly influential in the fields of art and culture. This is especially significant since, as Mouffe argues, art and culture have a central role to play in the building – and the unmaking – of hegemony, because they contribute to the construction of what is held to be common sense. Ironically, the idea that there is no such thing as hegemony is itself now hegemonic, evident in the favouring of networks over “top-down”, “hierarchical” structures and the belief that the state is both inefficient and corrupt: these “horizontalist” ideas are pushed by neoliberals as much as by autonomists. I’m not being so crass as to say that autonomism and neoliberalism are identical. But, in line with Mouffe’s analysis, it is essential to recognise that no idea or strategy possesses a guaranteed and inherent emancipatory potential; what matters is how ideas and strategies are “articulated”, or connected up with, different discourses and practices in a particular context.
HAll OF MIRRORS Limerick City Gallery of Art recently held ‘Hall of Mirrors’ by Cleary & Connolly (23 Aug – 5 Oct). The press release explains, “The exhibition, created with an international team of scientists, uses over 50 electronic devices including kinect cameras, video-stereoscopes and perception-headsets, to explore the complex and beautiful processes that are involved in seeing.” www.connolly-cleary.com
Autonomist thinking played an important role in the struggle to escape the oppressive over-centralisation of the Stalinist communist party, and the question autonomism
PlASTIC ART
was organised around – what form leftism should take in the face of the so-called post-Fordist reconstruction of society, culture and economy – remains fundamental and unanswered. But ideas that contributed to the breaking of a certain mode of leftwing hegemony in the 1970s do not function in the same way now that the international Communist Party is a distant memory and there are few significant leftwing political parties in the western world. In the context of neoliberal domination of parliaments and media, the call to further withdraw from party politics and mainstream media could only be welcomed by the neoliberals, who must be delighted to see horizontalist ideas so popular on the left. The second reason Mouffe’s essay is important is its timing. From the mid-1990s up until 2008, there really was little point in engaging with parliamentary democracy or trade unions in any serious way. The dominance of neoliberalism was assured because of a constellation of factors, which made it effectively the case that “there was no alternative” to its capitalist realism. It’s no coincidence that it was during this time of leftist defeat that horizontalist concepts became highly influential. And, to be brutally honest, the horizontalist revolts – from Seattle to Occupy – have not caused the institutions of capital any serious perturbation any more than they have presaged a widespread withdrawal from capitalist social relations. But, since the financial crisis of 2008, the ideological field is radically open in a way that has not been the case for at least 30 years. Political parties are confused and rudderless, peddling watered-down neoliberalism (or watered-down critiques of neoliberalism) in a world that is hungry for a new vision. In other words, the ground is for the taking. How do we take it? Well, here, some of the insights of autonomism and Mouffe’s hegemony-based approach might be synthesised. How do we shift hegemony? Not by attempting to do it from the top, through the parliamentary process alone – Britain’s New Labour party is an object lesson in what happens when you try to do that. What is required in the first instance is the formation of cultural hubs that can exert influence from below and outside the decadent parliamentary machine. The art world possesses a transnational network that – often uncomfortably – mirrors global capital. But what if this network was used organisationally, as well as aesthetically, as an international infrastructure, which could do for a twenty-first century leftism what the Communist Party did for its twentieth-century equivalent?
From 'Plastic Art', 2012
‘Plastic Art’ was a group exhibition held in Rua Red, Dublin (17 Aug – 13 Oct). The artists featured were Barbara Knezevic, Magnhild Opdøl and Seamus McCormack. “The exhibition explores the notion of the biological network through its manipulations of form, plasticity through the re-working of material, seriality and the interplay of physical change with recognition.” The show was curated by Hilary Murray (2012 Curatorial Residency).
WHERE IS THE HERE Pallas Projects, Dublin recently held ‘Where is the here if the here is in there?’ (24 Aug – 22 Sept). The press release notes, “In the summer of 2011, Paul Murnaghan found himself embedded – while a resident artist at the International Studio and Curatorial Program – in deepest Bushwick, New York…Whilst working on a project with Brooklyn teenagers, he was contacted by PP/S with an open remit to form an exhibition upon return. Murnaghan began collecting video works that in some way reflect the diverse positions of the indigenous and transient artists occupying the same space at one specific moment in time. Each of the artists within this exhibition directs their lens towards a multitude of purposes, while their thoughts are refracted through existence within a global metropolis. In doing so they construct second memory, subvert tradition, entice collaboration, form fragile communities, consider and illuminate individual perspectives. In short they make a ‘here’ for us to view within the vastly over–documented city that is New York.” The artists involved were: Bertille Bak, Andy Cahill, Johannes DeYoung, E.S.P. TV, Kakyoung Lee, Marinella Senatore, Josephine Turalba. www.pallasprojects.org
SCRAPINg OFF THE PAST ‘Scraping Off The Past’ by Polish artist Ewa Fornal was recently exhibited at the Ivy House, Dublin (14 Aug – 4 Nov). The press release notes, “Exploring the unique palette of location, the colours and textures, Ewa incorporates fragments of urban space into her work – looking for the hidden past in the building materials and detritus that becomes the soil from which the work grows. The process involves removing components from their urban context and placing them in a new one where they can grow into new meaning – the layers of plaster and paint like memories painted over and lost. By transferring man-made artifacts into her artworks she attempts to build a new system of references.” www.theivyhouse.ie
SOMETHINg THROWN AND CAUgHT
www.ruared.ie
“In a new body of work Bennie Reilly continues her investigation into the oddities and intricacies of the outside world and demonstrates the strange dialogue which can occur between the eye and the object in the space of a glance. Using her own brand of magic realism through painting and drawing, and elementary and craft-based threedimensional work, Reilly conjures representational forms and patterns from the anti-chaos of nature.”
www.talbotgallery.com
I'M gONNA lIVE ANyHOW
Joanna billing,I'm gonna live anyhow until I die, 2012
‘I’m gonna live anyhow until I die’ by Johanna Billing was held in the MAC, Belfast (10 Aug – 4 Nov). The press release notes, “Johanna Billing’s videos deftly weave together music, movement and rhythm and place subtle emphasis on individual performance and representations of changing societies... The participants in Johanna’s videos all play themselves but take part in staged situations that oscillate between documentary and fiction, as a multilayered interpretation of a place. Billing’s films often involve music, which in her hands becomes a tool for communication, memory and reconstruction. This exhibition will present a series of her recent work alongside a new film, I’m gonna live anyhow until I die die, 2012 – a MAC co-commission with the Fondazione Sandretto Re Rebaudengo, Turin, Italy.”
www.themaclive.com
THIMBlE AND A NAIl ‘Thimble and Nail’ was a recent exhibition by Patricia Looby created for Triskel / Christchurch, Cork (10 Aug – 30 Sept). The press release notes that Looby’s work "further develops her interest in medieval ecclesiastical symbolism and re-constituting redundant domestic and agricultural implements by means of aesthetics and inheritance. This installation of intensively-worked fragments accumulates towards an assemblage of ideas relating to the notion of the ‘relic’ and highly ritualised objects in both rural, socio-cultural and parallel religious settings. What Patricia Looby continues to create is a lexicon for re-readings of what is precious, what can be made iconic and what can be done with memory, jewels, rust and art.”
www.triskelartscentre.ie
WHITEWASHINg THE MOON Project Arts Centre, Dublin showcased ‘Whitewashing the Moon’ (24 Aug – 27 Oct). “Transformation by appropriation and transformation by creation are the stimuli for the exhibition 'Whitewashing the Moon’, in which a twilit garden of sculptures, moving images and installations seek to reveal potentialities within objects and ideas.” The artists featured in the exhibition include: Caroline Achaintre, Jorge De la Garza , Eleanor Duffin, Barbara Knezevic and
bennie ennie Reilly,Bubble Beard, 2012
Bennie Reilly recently exhibited ‘Something Thrown and Caught’ in the Talbot Gallery, Dublin (13 Sept – 5 Oct).
y yARD The Rubicon Gallery, Dublin exhibited paintings by Nick Miller entitled ‘Yard’ (8 Sept – 6 Oct). The show focuses on the artist’s mobile studio, from which he painted landscapes from around the world. The truck now sits in the steel yard at the back of his current studio. The press release notes, “This show centres on a selection of new and unseen works that are focused on the mountain, the yard and the metal that lies in the
6
The Visual Artists’News Sheet
COLUMN
Jonathan Carroll Knowing Me, Knowing You
I Recently got a taste of what it feels like be known within the art world and followed this by giving someone well known a lesson in how it feels to be anonymous. While studying in London for an MA in Curating (yes, one can do this) I would
Roundup foreground. In the contrast between metal and nature in Miller’s work, we are really confronted with wider questions on the relationship between culture and nature. The repeated cycles of life, growth and death are closer to real permanence than metal or machine. Beauty is found equally in the rusting man-made remnants of human construction, and in the rising mountain landscape of Ben Bulben.” www.rubicongallery.ie
find myself visiting exhibitions and art events in the company of an international brigade of my favoured fellow students (Romanian, Italian, Japanese and German). When we encountered artists in the flesh, one companion would identify whether or
enemy blue
not they were ‘important’; another would recall the exhibitions they had been in, something about the artist’s work and their name. One particular companion would remind me that I had already met the artist in question on more than one occasion and
the Golden Thread Gallery, Belfast (23 Aug – 29 Sept). ‘Caution’ featured artists from USA, Peru, Canada, Kurdistan-Iraq, Japan and Lebanon. www.goldenthreadgallery.co.uk
LEABHAR OSCAILTE The Working Artist Studios, Skibbereen, recently presented ‘Open Book – Leabhar Oscailte’ a solo exhibition by Kathy O’ Leary (15 Sept – 13 Oct). The show featured new multidisciplinary artworks including books (notebooks and printed), digital and contemporary etching prints, experimental short-films, interactive word / text play, photography and sculpture. www.dnote.info
could tell me what I was wearing at the time. I became very reliant on this crew and found that certain aspects of the work we saw could be experienced uniquely through our combined knowledge, which was often dependent on our nationalities. For example, when visiting an exhibition by Joseph Beuys, ‘Actions, Vitrines, Environments’, at Tate Modern, each member of our group could identify something in the vitrines relating to their country. Looking at the vitrine Doppelobjekte (Double Objects) (1974-79), I could explain what BNM (Bord na Mona) printed on the peat briquettes with butter (entitled Irish Energies) meant. In another vitrine, the German among us could expand on the type of outdated German script that was used by his grandparents. The Romanian and Japanese nationals spotted some garbage from their respective countries within the sweepings included in Ausfegen (Sweeping Up) (1972 – 1985), while the Italian spotted something relating to the Brigate Rosse terrorist group. Anyway, I digress. I recently met up with some members of my group at Documenta 13, where I decided to demonstrate how capable I was of going it alone without relying on their combined total recall. I had been to see Llyn Foulkes (born 1934, Washington) perform his self-made The Machine, which includes many different acoustic and percussive instruments (cowbells, bicycle horns, xylophone, bass strings) at the Fridericianium. The next day, seeing who I thought was Llyn on the tram into Kassel, I approached him with foolish bravado and applauded him for his performance the day before. “Thanks” he said. Later on, seeing him once again, I recommended that he go to one particular ‘unmissable’ performance. He told me that he had lost his Documenta pass. “No worries” I said, “not only will I give you my spare professional pass but also I have a colleague in the queue for the next performance of Walid Raad and will get them to hold you a place”. (Sycophantic ass-licking you cry! Perhaps; I have always been a shameless fan as well as a curator.) On delivering him to the top of the queue I thought I would ask for my reward: his contact details. He writes them
Allan Hughes, still from Enemy Blue, 2012
Belfast Exposed recently presented ‘Enemy Blue’ by Allan Hughes (30 Aug – 12 Oct). The press release notes, “Enemy Blue is a three-screen synchronised video installation that explores the failure of video to articulate politicised historical narratives. Despite the proliferation of digital high-definition technologies, our access to and experience of the wider world has been increasingly mediated through ‘poor’ images. Hand-held camera phones, transcoded archive footage, surveillance footage and low-res streams proliferate the political landscape. Regardless of their lack of information or detail, the ‘low grade’ aesthetic of these images has become associated with ideas of authenticity and truth. Hughes’ new work examines the mutable nature of video and its place in relation to propaganda and remediation through a narrative on ‘friendly fire’.”
holdfast ‘Holdfast’ by Patricia Curran Mulligan was held at the Yeats Gallery, Sligo (15 – 29 Sept). ‘Holdfast’ is the final part in a trilogy of exhibitions gestated during time spent over 82 days in isolation on the Fred Conlon inaugural Bursary at Easkey Co Sligo in 2009. The press release notes, “Here in 'Holdfast' the innate curiosity of a child's journey stumbles into disequilibrium. Schemas of internal representations to understand the world are formulated. Occasionally a sense of bliss, detachment from reality, lack of attention to the passing of time is examined in the 'moment'. Intense periods of concentration connect mixed signals or indifference. Play is hardwired to our genetic code. It is here that the artist examines the 'Holdfast' from her birthplace, pre-journeying through fragmented zones to a doable state of timelessness.” www.yeats-sligo.com
still
www.belfastexposed.org
down. I look at them and am unable to decipher his septuagenarian handwriting. “Could you print your details for me?” “Sure” he says and writes “Sylvère Lotringer”. Cue internal dialogue accompanied by slight nausea. What! You’re not Llyn Foulkes? Who is this guy? He sure fooled me with his “I had dinner with Catherine David last night”. I want my pass back! With that, I excused myself, leaving him to be looked after by my colleague. Fast forward two months and I find myself alone and slightly jaded as I try to understand some of the overlong, impenetrable labels in this year’s eva International exhibition in Limerick. There are endless talking heads, including six extended videos (in their raw unedited state) of interviews of philosophers, intellectuals and artists by Fergus Daly and Katherine Waugh A Laboratory of Perpetual Flux (2012). Video 5 / 6 has the following line-up: Doug Aitkin (33 mins), Philippe Grandrieux (14 mins), Brothers Quay (33 mins), Gerard Byrne 45 (mins) and finally, several hours later, Peter Eisenman (43 mins). Suddenly, I see a solo video by the same artists featuring an extended interview with Sylvère Lotringer! I watch every minute. It turns out that Daly and
outland arts Outland Arts held a group show in Satis House, Belfast (8 – 29 Sept). Outlands are an artist-led organisation based in Fermanagh, run by volunteers set up to promote and support the ethos of exhibiting contemporary art in rural locations and to support artists whose practice involves ideas of the rural and the remote in its widest context. The participating artists were Ursula Burke, Nuala Gregory, Seamus Harahan, Diane Henshaw, Christine Mackey, Harriet MacMillan, Deirdre McKenna, Duncan Ross and Helen Sharp. www.outlandarts.org
Waugh’s work borrows a quote from my old friend Sylvère (born 1938, Paris), taken from their shorter edited film, The Art of Time, about new temporalities in contemporary art. Like a genie in a bottle, Lotringer’s appearance transforms my experience of the
caution
eva exhibition as a whole. I enjoy my ignorance and note something Lotringer says from the TV monitor: “nobody sees anyone anymore”. Well I saw him all right, I just didn’t know who he was! A month earlier, I experienced the reverse of what I had inflicted on Sylvère. I received an invitation to the launch party for The Tanks at Tate Modern. I am not usually invited to anything and presumed it was one of the opening exhibitors, Sung Hwan Kim, who had asked that I be invited (I was working at Project Arts Centre at the time of his exhibition there). I noticed how differently some ex-tutors from the RCA were treating me, and the response that my name seemed to elicit on introduction. As it turns out, Jonathon Carroll has just opened an art gallery in London (Carroll / Fletcher Gallery). I chose not to disabuse anyone.
November – December 2012
Sinead O'Donell,Caution, 2011
‘Caution’ by Artist and curator Sinéad O’Donnell was the culmination of a twoyear project exploring the nature of invisible disabilities and barriers commissioned for the Cultural Olympiad to coincide with the London 2012 Paralympics. The show was exhibited in
from the Crawford College of Art and Design. The show was held in The Lavit Gallery, Cork (28 Aug – 8 Sept) and featured work from Anne Ahern, Christian Buchner, Tracy Fitzgerald, Gwenda Forde, Teresa Hearne Carol MacGabhann, James Nagle, Katie O’ Donoghue, Shay Quinn, Sarah Ryan, Dola Twomey and Norma Walsh, Cassandra Eustace, Emer Kelly, Jessica Knibb, Colin O’ Connor and Erika Szel.
www.lavitgallery.com
from the open studio Limerick Printmakers Studio & Gallery recently exhibited ‘From the Open Studio’ (30 Aug – 15 Sept), the culmination of Kilkenny County Council Arts Office artists in residence programme, which took place between Oct 2011 – Mar 2012. Deirdre Gallagher (Limerick), Caroline Schofield (Kilkenny), Vicky Cody (Kilkenny) and Maeve Coulter (Kilkenny) shared a studio space at the Arts Office in Kilkenny developing work in printmaking, drawing and textiles.
www.limerickprintmakers.com
sea of exchange ‘Sea of Exchange: Ireland – Los Angeles’ took place recently at the Pacific Deisgn Centre, Los Angeles (18 Sept – 1 Nov). ‘Sea of Exchange’ is a collaborative effort between LAPS and the 2012 edition of the Los Angeles Irish Film Festival. The show featured work by established artists from the US and Ireland that honour the cultural relationship between the two countries. The show, which focused on the artist as storyteller and how she / he explores the human condition, included prints as well as mixed media works. The exhibition, curated by Cathy Weiss, included the following artists: Mary Sherwood Brock, Wanda Decca, Mark Steven Greenfield, Ros Harvey, Nancy Jo Haselbacher, Holly Jerger, Dave Lefner, Poli Marichal, Donal Mac Polin, Simon McWilliams, Suzy 0’Mullane, Gary Palmer, Sarah Pavsner, Tim Stampton and Cathy Weiss.
www.artslant.com
Patrick Hogan, Untitled, 2012
The Gallery of Photography recently exhibited ‘Still’ by the winner of the Gallery of Photography’s Artist’s Award for 2012, Patrick Hogan (15 Sept – 28 Oct). “Patrick Hogan’s partlyautobiographical photographs present an intimate view of his everyday encounters and surroundings in the remote area of County Tipperary where he has lived for the past two years. His compelling portraits, dense still lives, brooding interiors and pensive landscapes convey a sense of uncertain anticipation and quiet foreboding. Though modest and focused in geographical scope, Hogan’s powerful images explore expansive existential themes of love, fragility, decay and loss.”
the what-ifs ‘The What-Ifs’ is the current exhibition of new work by Fiona Ní Mhaoilir at Platform Arts, Belfast (20 Sep – 10 Nov). The exhibition is an installation of 3D and 2D works. ‘The What-Ifs’ is "an experimental exploration of the artist’s position within the conditions of contemporary culture. Irreverent humour, mixed materials and conceptual subversion attempt to unpick current dialogue surrounding art production where private and public converge. ‘What if?’ is the question we keep asking ourselves”.
www.platformartsbelfast.com
there there
www.galleryofphotography.ie
fledglings ‘Fledglings’ is an annual exhibition featuring a selection of recent graduates
Viviane Sassen,Nungwi, 2011
The Visual Artists’News sheet
November – December 2012
7
ROUNDUP ‘There There’ was a photographic event in Cork City, curated by Stag & Deer, which brought more than 30 international, national and local lensbased artists under one thematic banner and was anchored by a selection of works from 'Parasomnia' by Viviane Sassen (18 Oct – 3 Nov). The press release states, “The thematic frame for ‘There There’ is otherness and the possible re-connections and interpretations of the world we are situated in. As exhibition-makers, we are fascinated with the communicative power that photographic images hold and the contextualisation of different photographic / lens-based works from different parts of Ireland and of the globe in an Irish situation. As global citizens, we all are deeply embedded in sociallyconstructed signs loaded with commercial and political connotations, with other humane signs going and remaining unnoticed, ie signs of how we relate to each other and the gifts that happen in living.” The shows featured were: Viviane Sassen ‘Parasomnia’ at The Crawford Gallery; Miriam O’ Connor, ‘Attention Seekers’ at 9 Winthrop Street; Roseanne Lynch, ‘Show’ at CCAE Cork School of Architecture; Zhang Kechun, ‘The Yellow River’ at CCAE Cork School of Architecture; ‘Aspect’, an open submission group exhibition at TACTIC, O’Sullivan’s Quay, Cork, featuring the works of 15 national and international artists; ‘Post Script’, a group exhibition, curated by Peggy Sue Amison, at Camden Palace Hotel.
which hang in the straw bale round house at An Lab, John St, Dingle.” www.deidremckenna.com
IN PROgRESS
in European traditions of absurdism and satire, Stephen Brandes presents an uncanny portrait of Europe, where familiar places are hybridized or reinvented and chronologies are ambiguous." www.cakecontemporaryarts.com
The Way Wiser Collective, 'In Progress', 2012
'In Progress' was a recent site-specific projection onto the DCC Fruit Market in Dublin 7 by The Way Wiser Collective (13 –30 Sept 2012). Drawings, based on original photographs of the Victorian workmen constructing the markets, were used to create an animation that interacted with their ornate stonework.The Way Wiser Collectivewas founded in 2011 with the mission of exploring latent possibilities in the urban landscape and creating interventions to shift public awareness. Members are Mark Ferguson, Gráinne Tynan, Eimear Tynan and Francis Quinn.
ARTISTERIUM Irish artists, Marjorie Carroll, Claire Halpin, Ian Joyce, Heidi Nguyen, Eoin MacLochlainn and Aoife McGarrigle exhibited in Samkura Project at Tbilisi State Art Academy as part of Artisterium, 5th International Contemporary Art Exhibition, Tbilisi Georgia (5 – 15 Oct). Artisterium is an evolving curatorial platform, each year its overall theme responds to timely social concerns. 'The Protest That Never Ends' was the theme for 2012. The exhibition aims to provide a platform to explore what is worth protesting and how a creative work can become a catalyst for change.
TAlES OF SEDUCTION
Una Gildea,Soft, 2012
Siobhan McDonald, installation photo
FROM THE OPEN STUDIO ‘An Béal Bocht / The Poor Mouth’ by artists Ciara McKenna and Deirdre McKenna was held in Strawbale Round House at An Lab, Dingle, Co Kerry (21 Sept – 20 Oct). The press release notes, “This exhibition pays homage to Myles na gCopaleen’s satirical novel, An Béal Bocht, and explores the avarous culture of Bocht greed everpresent in society. Corca Dhuibhne based artists Ciara and Deirdre McKenna exlpore Corca Dhorca through their collection of drawings and paintings
DUblIN
Artists' Projects Proposals Clinic with Helen Carey and Eilis Lavelle Fri 9 Nov (10:30 – 16:30) @VAI 10 places Cost ˆ 100 / ˆ 55 (VAI Members) Peer Critique Session Led by Visiting Artists and Curators including Kati Kiniven, Curator at KIASMA, Finland Spring 2013, Date tba Dublin Health and Safety for Visual Arts Professionals Dates tba in Dublin Presenting Your Work Abroad with Mark Garry and ArtQuest Spring 2013, dates tba Dublin
bElFAST
The Copper House Gallery exhibited ‘Tales of Seduction’, an exhibition by multi-disciplinary artist and illustrator Una Gildea (4 – 20 Oct). Gildea's collage images were selected from the series entitled ‘Tales of Seduction’, which explores the dynamics of attraction, communication and seduction.
www.joannakidney.com
REPUBl REPUB lIC OF IRE IREl lAND
NORTHERN IRElAND SEISM
SINg gy yOURSElF
‘Sing yourself to where the singing comes from’ was shown at The Drawing Project, Dun Laoghaire (24 – 30 Oct). Kidney created a wall-based assemblage that comprised hundreds of felt forms and some monoprinted drawings, driven by a desire to to open out her drawing work from the confines of the 2D surface. A study of symmetrical and geometric structures of botanical and biological micro details and diagrammatic drawings of woven structures also informs the work.
for more information or to register visit: northern ireland http://visualartists.org.uk/services/professionaldevelopment/current republic of ireland http://visualartists.ie/education/register-for-our-events/
www.thewaywisercollective.blogspot.ie
http://there-there-aphotographicevent.tumblr.com
Joanna Kidney,Sing youself to where the singing comes from
professional development training & events autumn 2012
‘Seism’ by Siobhan McDonald was recently held in the Dock, Co Leitrim (7 Sept – 27 Oct). “Siobhan McDonald’s work explores the idea of studying ‘nature’. Her recent works allude to tensions between chaos and entropy, and between the teleological and the merely random. For ‘Seism’, she employs geology as a language to conceive an understanding of time and our relationship to a constantly evolving environment.... She presents a series of newly realised works – drawings, paintings, video and sound works – which consider and reflect on the earth, history, technology and man’s recordings of volcanic events, as they interconnect with human experience through the physicality of the surrounding landmass.” The show was curated by Aoife Tunney. www.siobhanmcdonald.com
Get into The Roundup ■ Simply e-mail text and images for the roundup to the editor (lily@visualartists.ie). ■ Your text details / press release should include: venue name, location, dates and a brief
Gallery Installation Skills - Traditional Media - Gillian Fitzpatrick In partnership with Belfast Exposed Tues 13 Nov (10:30 – 16:30) Cost: £30 / £15 (VAI, BX and DAS members) @ Digital Arts Studios 30 places Gallery Installation Skills - Digita Media - Angela Halliday In partnership with Belfast Exposed and DAS Thurs 22 Nov (10:30 – 16:30) Cost: £30 / £15 (VAI, BX and DAS members) @ Digital Arts Studios 10 places Project Management for the Visual Arts - Noel Kelly In partnership with Belfast Exposed Tues 28 and Wed 29 Nov (10:30 – 16:30) Cost: £30 / £15 (VAI, BX and DAS members) @ Belfast Exposed 10 places
Facillitation Skills for Artists Working with Groups (tutor tbc) In partnership with Belfast Exposed Thurs 7 Feb 2013 (10:30 – 16:30) Cost: £30 / £15 (VAI, BX and DAS members) @ Belfast Exposed 10 places Community-Focused Arts Project Planning - Conor Shields In partnership with Belfast Exposed Feb 2013 date tbc, half-day session @ Belfast Exposed 10 places Artists' Projects Proposals Clinic tutor tbc Spring 2013 (10:30 – 16:30) 10 places Cost £50 / £25 (VAI Members) Peer Critique Session Led by Visiting Artists and Curators including Kati Kiniven, Curator at KIASMA, Finland Spring 2013, Date tba Belfast Visual Artists Ireland Info Sessions VAI is also open to providing information sessions to final year undergraduates and artist groups. Please contact us to arrange sessions for your group. To book and for further information please contact us by email at the address below and check the Professional Development page on our website for up to date details on current training events.
description of the work / event. ■
Inclusion is not guaranteed, but we aim to give everyone a fair chance.
■ Our criteria is primarily to ensure that the roundup section has a good regional spread and represents a
FROM THE TRANSCONTINENTAl Cake Contemporary held a solo show by Stephen Brandes (24 Aug – 28 Sept) entitled 'From the Transcontinental'. "His practice explores visual language (often interplayed with word) as a vehicle for storytelling, employing a range of styles and materials, from monumental drawings on flooring vinyl to digitally designed posters and collages. Grounded
diversity of forms of practice, from a range of artists at all stages in their careers. ■ Priority is given to events taking place within Ireland, but do let us know if you are taking part in a significant international event.
Monica Flynn / Professional Development Visual Artists Ireland Central Hotel Chambers T: +353 (0)1 672 9488 E: monica@visualartists.ie http://www.visualartists.org.uk http://www.visualartists.ie http://www.printedproject.com http://www.thecommonroom.net Twitter: VisArtsIreland Facebook: http://www.facebook.com/VAIProfessionalDevelopment
8
The Visual Artists’News Sheet
November – December 2012
News workspace scheme 2013
sur les Institutions Republicaines IV will be
an open competition, managed by the
vai get together 2013
show and tell
Visual Artists Ireland, on behalf of the
displayed – the first time this will be
Public Appointments Service. The
We are pleased to announce that the VAI
This month, Visual Artists Ireland intro-
Arts Council, has announced the results
exhibited in Ireland outside of Dublin.
Department of Arts, Heritage and the
Get Together 2013 will take place on 28
duces a new event, Show and Tell
of the Visual Artists’ Workspace Scheme
The gallery is the first purpose-built,
Gaeltacht has been in contact with the
June 2013 at the National College of Art
Evening, which provides artists with the
for 2013. Grants of up to a maximum of
modern visual art gallery located in the
Public Appointments Service in relation
and Design, Dublin. Check the VAI web-
opportunity to give a presentation on
€30,000 have been offered towards the
midlands.
to progressing this competition and it is
site for updates on tickets and speakers
their practices in an informal setting
running costs of visual artists’ workspac-
anticipated that the position of Director
for the event.
where they can network and meet peo-
es. In keeping with the Council’s policy
of the National Museum of Ireland will
ple with similar ideas and interests. We are now inviting artists, curators, etc. to
document Visual Artists’ Workspaces in
rhona byrne, block t
be advertised publicly in the coming
Ireland - A New Approach, this scheme
Rhona Byrne recently received Block T’s
weeks. The appointment of a new
steering group belfast
attend this free event. The presentations
has the aim of assisting artists workspac-
Project Space Award. This award pro-
Director at the National Museum of
Last August, VAI issued a call for volun-
will be fast paced, with a limit of 10 slides
es throughout the country to provide the
vides support and studio space through-
Ireland
Director-level
teers to assist us with our active advocacy
/ images per speaker. The images will
best possible environment for working
out the year for both emerging and estab-
appointments by Minister Deenihan, fol-
and representation programme. Our
change automatically, giving the speaker
visual artists and, where feasible, to ena-
lished artists, in order to facilitate the
lowing open competition, at the National
members have responded and we are
a few seconds to talk about what is on the
ble a level of subsidy for resident visual
production of new work. Rhona Byrne’s
Gallery of Ireland, the Irish Museum of
now in a position to begin the process of
screen. This ensures that an equal
artists. 59 applications were received, 26
work is predominantly site and project
Modern Art (IMMA), the Arts Council
establishing a regional network of artist
amount of time is given to each image.
of which were shortlisted and 19 of
specific. Her practice employs an inter-
and the National Concert Hall.
advocacy groups. These groups will
There will be a maximum of 10 speakers
which were awarded funding. The total
disciplinary approach and manifests in
inform VAI of issues at a local level and
asked to present. Speakers must be cur-
demand figure was €926,161, while the
many forms, including sculpture, video,
provide feedback on broader matters that
rent VAI members. The November event
demand from shortlisted applications
photographs, drawings, context-specific
banff residency
affect artists across the country. They
is already fully-booked but we hope to
was €507,201. The total amount awarded
installations, collaborative event-based
Lisa Marie Johnson is recipient of the
will help guide the advocacy work which
roll out moore if the events in the near
was €212,500. The awards are as follows:
projects and books. She has exhibited
BAIR fall residency ( Sept – Oct 2012) at
we undertake while also assisting us
future.
Backwater Artists Group, €29,000;
extensively in Ireland and international-
Banff Arts Centre Canada, supported by
from time to time by engaging directly
Broadstone Studios, €29,000; Pallas
will
follow
www.visualartists.ie
ly and has received several awards, com-
the Arts council travel and training
with the issues at hand. VAI monitors
Artspace
pleted artist residencies and has been
award and by the Banff Centre. Johnson
policies and takes on the key issues that
arts council project award
Studios €28,000; Lorg Printmakers,
commissioned and supported by The
has used her time and research to work
concern professional artists in relation to
The Arts Council has announced details
€20,000; Cork Artists Collective €10,000;
Arts Council of Ireland, Dublin City
with both The First Nations and Matey
their status, rights and income. Covering
of successful recipients under round two
Engage Studios €10,000; Monster Truck
Council, Cork City Council, Culture
and will make a new work, The Passing, in
areas such as tax and self employment,
of the Project Award for 2012. The Arts
Artists Studios €8,000; New Art Studio,
Ireland and the Office of Public Works.
collaboration with the Banff Centre.
funding, social security, contracts, copy-
Council’s Project awards support specific
€8,000; H-Q, €7,500; BLOCK T €5,000;
She is currently working on a project for
right, education and many more. We
project activities under each of the art-
Custom House Studios, €5,000; The
Tate Britain.
Projects/Studios
€29,000;
www.banffcentre.ca
have prepared a series of Advocacy
form/arts practice areas. A total of
VAI exhibition fees survey
Datasheets that give some starting points
€1,768,625 has been awarded to 72
Heritage Ltd, €3,000; Sample-Studios,
The Visual Artists Charter project was
for discussion, for research and to garner
Projects throughout the country from
€4,000; Basic Space, €3,000; Drumcondra
fire station residencies
initiated by VAI to address the profes-
response surrounding the key areas of
322 applications received. The total value
Work Space, €3,000; The Joinery €3,000;
Fire Station is delighted to announce the
sional relationship between artists and
advocacy pertaining to the individual
of the funding sought by the 322 appli-
The Pigeon House Studios, €3,000.
artists selected from the recent open call
those that they work with. The Artists
artist. These are available on the advoca-
cants was €5,825,607.62. Full details on
for studio residencies commencing in
Charter takes the form of a code of prac-
cy section of our website. If you are inter-
www.artscouncil.ie.
Create
June 2013. The artists selected, both
tice, commonly agreed upon, which
ested in joining or helping to establish a
Create, the National Development
short-term and long-term, Irish and inter-
adopts principles of good practice and
group in your area we would like to hear
Agency for Collaborative Arts, support-
national artists are: Bridget O’Gorman
demonstrates why and how they should
from you. You can register your interest
EU Presidency
ing artists who work in social and com-
(Ireland), Dominic Thorpe (Ireland),
be applied. The core aim of the project is
on the VAI website or by contacting Alex
The Arts Council programme to mark
munity contexts, is moving from the
Sonia Shiel (Ireland), Flora Muscovici
to provide a set of practical and ethical
Davis: alex@visualartists.ie or calling
Ireland’s Presidency of the Council of the
Liberties Dublin 8 to Curved St, Temple
(France), Eduardo Mattos and Fernanda
guidelines for the conduct of business
01 672 9488.
European Union will celebrate artists
Bar and the Filmbase building. After 10
Figuerido (Brazil), and Darn Thorn (UK).
between visual artists and organisations.
and arts organisations in Ireland work-
years in Dublin 8, Create is taking up the
Fire Station Artists’ Studios, located in
In the same period, we have seen an
ing in co-operation with colleagues based
opportunity to move to a more contem-
Dublin’s north inner city, currently pro-
increase in the number of artists contact-
philanthropy and the arts
elsewhere in Europe. It will include art
porary premises, in the Filmbase build-
vides nine residential studio spaces for
ing us with stories of being expected to
On 18 October last, Jimmy Deenihan TD,
events and activities in Ireland that con-
ing, and to build new relationships with
visual artists. The studio residencies are
deliver exhibitions and other events such
Minister for Arts, Heritage and the
nect citizens – artists, cultural profes-
arts organisations based in Dublin’s pre-
open to all practicing visual artists who
as talks and education programmes
Gaeltacht, hosted an important seminar
sionals, arts participants, audiences and
mier cultural quarter. It is anticipated
can apply for a studio residency through
either for free or with just their travel
on the topic ‘Philanthropy and the Arts’
volunteers – across borders in Europe.
that Create will be based in Temple Bar
an open call application process. Selected
expenses covered. It is obvious that this
at the Smock Alley Auditorium,
The Arts Council programme will invest
for a period of three years whilst the
artists can live here for up to two years
mode of practice is not only inequitable
Exchange Street Lower, Dublin 8. The
in artistic and professional relationships
plans for capital development are further
and nine months, but international art-
but also fails to recognise the profession-
conference featured speakers from key
that may help resource transnational
expanded. After that period of time,
ists can apply for shorter periods. The
alism of visual artists. In our annual sur-
organisations and arts institutions in
artistic projects and initiatives beyond
Create will begin capital works and fulfil
selection process is competitive and art-
vey, we gather details of artists incomes,
Ireland. The speakers outlined the posi-
the period of the Presidency. It will also
a broader organisational aspiration to
ists are typically selected at least eight
but we feel that it is now necessary to
tive impact that philanthropy can bring
raise awareness of the next generation of
develop a national centre for collabora-
months in advance of a studio becoming
look at the area of exhibition and other
to arts organisations and businesses and
EU funding programmes that will run
tive arts. As a national centre, Create will
available. Studio rent is subsidised and
events fees. We have based this survey on
the greater associated social benefits that
from 2014 – 2020. Information about
continue to function as an essential
includes all utilities, waste disposal, park-
one undertaken by the American organi-
it can generate. Speakers included Peter
current EU funding for culture is availa-
resource to the sector, whilst also acting
ing, internet access, full use of high end
sation W.A.G.E. To assist us in raising
Keegan, Country Executive Ireland, Bank
ble on the Arts Council’s European
as a physical creative hub and a catalyst,
computers in the Resource Centre as well
awareness of the current situation across
of America Merrill Lynch; Caitriona
Cultural Contact Point website. The Arts
supporting artists and communities to
as access to digital equipment and the
Ireland, and to provide detailed statistics
Fottrell, Vice President and Director
Council Programme to mark Ireland’s
connect and develop ambitious collabo-
Sculpture Workshop.
and figures, we ask you to complete this
Ireland, The Ireland Funds; John R. Healy,
Presidency of the Council of the European
survey. In it we wish to get a full and
Forum on Philanthropy; Orlaith McBride,
Union is organised in partnership with
accurate picture surrounding artists’ fees
Director, The Arts Council; Liam Keogh,
the Department of Arts, Heritage and the
national museum director
around Ireland. The survey should take
Revenue Commissioners; Frances McGee,
Gaeltacht and is supported by the
the luan gallery
Jimmy Deenihan TD, Minister for Arts,
no more than 10 minutes. This link will
Director, National Archives of Ireland;
Department of the Taoiseach.
The Luan Gallery, a multi-million euro
Heritage and the Gaeltacht has con-
open a new window. All information is
Stuart McLaughlin, CEO, Business to
contemporary art gallery, will open in
firmed that his department has recently
anonymous and confidential. The survey
Arts; Trevor White, Little Museum of
Athlone next month. The gallery will be
received approval from the Department
will close on 12 November 2012.
Dublin; Patrick T. Murphy, Director, RHA;
officially opened at the end of November
of Public Expenditure and Reform to fill
with an IMMA exhibition featuring the
the post of Director of the National
and Patrick Sutton, Director, Smock Alley
work of national and international art-
Museum of Ireland. The recruitment of
Theatre.
ists including Shane Cullen and Daphne
the new Director of the National Museum
Wright, among others. Cullen’s Fragmens
of Ireland will be carried out by means of
Market Studios, €5,000; Old Ennistyman
rative arts projects.
www.blockt.ie
www.firestation.ie/studios www.create-ireland.ie
www.visualartists.ie
Breda Kennedy, Independent Consultant
www.ahg.gov.ie
www.artscouncil.ie
The Visual Artists’News sheet
November – December 2012
9
REGIONA PROFIlE REGIONAl
Visual Arts Resources andActivities: Antrim Creative Exchange belfast
lesley esley Cherry, Remember, Respect, Resolution, 2011
Digital Arts Studios
Deidre Robb, Stormont Stormont, 2012
CREATIVE Exchange is the only artists’ studio
been engaged in a long-term collaboration with the
group based in East Belfast. Our main objective is to
Northern Ireland Libraries Board, exhibiting his
develop the professional practice of studio members
large-scale abstract paintings in many of their
through the provision of dedicated studios, shared
venues over the past four years, while master
marketing / exhibiting opportunities and our annual
printmaker Colin Davis’s work is constantly in
programme. Since 1996 we have made a significant
demand and has been showcased at the Royal Ulster
contribution to the cultural infrastructure of greater
and the Royal Hibernian Academies.
Belfast, and on a national and international level,
In 2010, Creative Exchange started their most
through exhibitions, artists talks, heritage debates,
ambitious project to date, 'Art in the Eastside'. This
public-art commissions, collaborative projects and
project was the brainchild of Deirdre Robb and
international exchange programmes. As well as
transforms advertising billboards into an outdoor
supporting the growth and profile of individual
gallery, displaying images relating to the celebratory
artists, Creative Exchange has also helped develop
aspects of East Belfast. It was part of the Belfast
the arts infrastructure of East Belfast – which is often
Festival at Queens in 2010 and 2011 and the main
seen as a ‘cultural desert’ – by working collaboratively
visual arts aspect of the East Belfast Arts Festival in
with many arts organisations, notably the Engine
2012. ‘Art in the Eastside’ comprises 26 billboards;
Room Gallery (with whom we have had a long
the work produced relates directly to the social,
association), the East Belfast Arts Festival, Belfast
historical and cultural aspects of East Belfast.
Festival at Queens, Greater Shankill Partnership and
Supported by the ACNI and several local businesses,
The Golden Thread Gallery.
the project has now become the largest, outdoor,
Our annual programmes and collaborations
curated exhibition of its kind within Belfast.
have taken various productive and rewarding forms
As part of Belfast City Council’s Late Night Art
over the past 16 years. The ‘Grasses Projects’, for
Tours, we programme monthly exhibitions at their
example, was an exchange programme with artists
premises in Portview Trade Centre. This scheme
in Kentucky, in which 140 Irish and American
enhances the audience reach of the studios, as well
artists and over 12 organisations, collaborated over
as giving people the opportunity to engage with
five years, resulting in more than 30 exhibitions and
artists in the studio environment. Forthcoming Late
five major collaborative projects. Through this
Night Art events include George Robb from the 4 –
programme, the participants gained major exhibiting
26 October, showing photographs from his residency
opportunities throughout Ireland, UK, Europe, Asia,
at the London Olympics and ‘CEX & the City II’, an
America and Australia.
experimental show by Lesley Cherry and Deirdre
From 2005 – 2007 CEX managed the
Robb, in which they sample ideas and thought
collaborative projects ‘Mill’, ‘Body’ and ‘City’. Each
processes, relating to their female-inspired work, 1
annual event was accompanied by a detailed
– 30 November. This exhibition will also be part of
publication documenting the development and
the Belfast Festival at Queens. From 6 December – 25
resolutions incurred over its three-year lifespan.
January CEX will host ‘50/50’, our annual seasonal
CEX artists, Deirdre Robb and Lesley Cherry,
IN July 2012, the Digital Arts Studios relocated
Laurie Sumiye was DAS international resident
to new premises in the Cathedral Quarter in Belfast
in February and March 2012. Laurie worked on
in order to improve the accessibility and availability
two projects during her residency, House of Glass
of its resources and to expand the services available
and Transplant Transplant. Laurie shipped a number of koki’o
to artists. The facilities now include a workshop and
ke’oke’o or Hibiscus seeds, 7190 miles from her
presentation space, a studio for artists in residence,
native Hawaiian Islands to be planted in Northern
bookable multimedia hot desks and a wide range
Ireland. One of these seeds is successfully growing
of audio-visual equipment and software. A public
in Belfast’s Botanic Gardens where Laurie spent time
workshop programme runs twice a year offering
filming in the greenhouses. The subsequent film
training in a range of areas such as DSLR filmmaking
became part of a unique installation at the Tropical
and Digital Audio Production.
Ravine, a Victorian-era greenhouse built as a sunken
DAS provides a unique service where artists
glen to allow non-native plants to take root. Laurie’s
can develop a range of skills and spend a dedicated period of time on a specific project in a supportive
film was projected onto the glass façade on the night of March 28th and, combined with the lighting and
and collective environment. DAS supports artists
sound, created an evocative, sensory artwork. House
at every stage of their careers and promotes the
of Glass was also recreated at DAS for Culture Night
work of its artists in residence, presenting gallery
2012. Laurie now lives and works in New York.
projects annually. DAS also showcases work by
The winner of the MFA Award in 2011 was
past residents at the Belfast Film Festival, at Culture
Cherith Brown who created the experimental
Night and supports artists with self-initiated events.
video work, Recolo, during her residency. Dealing
DAS offers a total of 16 residencies per year, with
with the problematics of memory and linear time,
four international residencies, nine UK and Ireland
Recolo focuses on an old school, just weeks before it
residencies and three residency awards where artists
was demolished, and explores the dialectic process
are selected through one of three programmes: the
between the persona of the student and that of the
VAI @ DAS Award, the BA Fine and Applied Arts
artist. Recolo was selected by the Digital Arts Studios
Graduate Award (University of Ulster) and the
for screening at the Belfast Film Festival in June 2012.
Master of Fine Art Graduate award (University of
Cherith is currently studying for an MA in Film and
Ulster).
Visual Studies at Queens University.
ARTISTS IN RESIDENCE: CASE STUDIES
NEWS
Lisa Byrne was artist in residence from June –
The 2012 winners of the residency awards were:
September 2011 and produced a multi-channel video
Andrew Martin (BA Graduate Award), Ailíse O’Neill
work consisting of a series of highly personalised
(MFA Graduate Award) and Joanna Hopkins (VAI @
accounts from a family whose two sons were shot
DAS Residency Award). Kim Woong-Yong from South
dead in their family home. With footage collected
Korea will be the international artist in residence for
from interviews, Lisa spent a long time editing and
October and November 2012 and Fergus Jordan will
utilised her time on the residency preparing the
be UK and Ireland artist in residence from October
video work for inclusion in the group show ‘Others’
2012 to January 2013.
Stories’ at the Golden Thread Gallery, Belfast, in 2011. She writes,
DAS has recently purchased new equipment including a Canon 5D Mark II DLSR, Canon EF
“I needed to use the facilities and programs as
50mm f1.2 L USM Lens, Canon EF 24-105mm f4 L
I did not have these myself, whilst the workshops
USM Lens, Steadicam Pilot Camera Stabilisation
provided knowledge into various programs, which
System and a Canon XF305 professional HD
was important for me at the start. The way the
Camcorder. All of this equipment is available for use
residency is set up, with several artists starting at
by artists in residence and for hire with discounts to
the same time, gives more opportunity to interact
members of DAS and VAI.
positively with feedback, creating an environment for discussion. The friendly and helpful atmosphere
Dr Angela Halliday is Manager at Digital Arts
made my quite stressful and demanding project
Studios.
so much easier, providing the technical support I needed.”
www.digitalartsstudios.com
show in which artworks start from £50.
have been commissioned by several organisations
2013 will see the growth of ‘Art in the Eastside’
to deliver community-inspired public artworks
to include up to 50 Billboards, plan to relocate to
within East and greater Belfast, which include
larger premises and expand our studio membership.
‘Hewitt in the Frame’ for the Greater Shankill
In June 2014, we will have been in existence for 18
Partnership. Ben Allen and Katie Blue assisted with
years and plan a celebration for our coming of age.
project, which involved local schools, youth groups, older people’s groups and community gatekeepers.
Mave Dempster is the Development and Finance
Robb also created one of the first community-
Officer at Creative Exchange Artists Studios.
inspired sculptures, Wall of Hope Hope, in the Short Strand area, and her artwork, Jurassic Butterfly, was selected
creativeexchangeartists@gmail.com
to be part of the Blue Mountains Scenic World
http://creativeexchangeartists.wordpress.com/
sculptural showcase in Australia. Cherry has been
http://artintheeastside.wordpress.com/
instrumental in removing paramilitary murals through the ACNI Re-imaging project, replacing them with artworks / sculptures such as Remember, Respect, Resolution, and she was awarded the Arts Council of NI / ARCH Artists Residency in Washington DC in 2011 / 2012. Ray Duncan has
Screening at Digital Arts Studios
Digital Arts Studios workshop room
10
The Visual Artists’News Sheet
November – December 2012
REGIONAL PROFILE
Belfast Exposed
Catalyst Arts Catalyst Arts began life in 1993, in Belfast,
chance to obtain a broad skill set and to act in a
with no fixed abode. It is now nearly 20 years old.
range of supportive roles such as project manager,
Catalyst was formed as a not-for-profit, artist-led
technician, administrator and curator. Often this
initiative in response to a perceived lack of exhibition
type of hands-on experience is hard to gain in a
opportunities for emerging artists living and
more traditional gallery setting and Catalyst
working in Belfast and the surrounding area. By
therefore functions as an important training ground
1994, Catalyst had secured its first dedicated gallery
for emerging arts administration staff.
space at Exchange Place, and has moved five times
Discussion atBelfast Exposed
In April 2012, Belfast Exposed became one of
engagement in our work. However, it is the focus on
nine UK galleries and museums selected as part of
investing in organisational change that makes the
Paul Hamlyn Foundation’s (PHF) ‘Our Museum’
‘Our Museum’ initiative truly ground breaking. At
initiative, a three-year programme designed to bring
Belfast Exposed, we intend to use our grant from the
community engagement right to the heart of
Paul Hamlyn Foundation to build sustainable
organisational practice. Our proposal, entitled
mechanisms for dialogue, evaluation, reflection and
'Where are the People?' is aimed at joining up the
continuous learning into our working practices in
diverse publics and communities currently clustered
several ways:
around different aspects of the work we do – from contemporary photography in the gallery to archive
•
and photography as a tool for community 'The Exchange', we will set up mechanisms for dialogue.
communities •
A number of events are planned for autumn and winter 2012 / 2013 aimed at bringing artists and communities together to explore photography and
•
Conflict, Memory and Commemoration. We hope that these events will build new relationships across boundaries and help spark new projects. The seminar, to be held on 31 October at Belfast Exposed, will consider how photographers and artists can get beyond reportage to the heart of community stories and experiences. We have invited artists, community representatives, activists and interested members of the public to come together and discuss the rewards, benefits, challenges and limitations of arts projects that seek to express social or political purpose. Its aim is to discover imaginative ways in which community experience and arts practice can resonate with each other as we move into the ‘decade of commemorations’. We hope this will prompt debate and fruitful
Providing platforms for local artists and communities within a national network whose participatory practice is exemplary and
recording testimony and experience. These will and group facilitation to a major all-day seminar, On
Opening up space for dialogue and exchange between communities and artists, thus helping identify common values and goals
visual arts as a mechanism for storytelling and range from practical workshops on project planning
Researching the very best local and international practice for skills development,
inspiring •
Opening up funding, partnership and networking opportunities to arts and community partners
the organisation’s considerable archive and
contemporary art programme.
promoting the sustainability of the Catalyst model
Catalyst Art’s constitution was initially
(demonstrated by recent archive-based exhibitions
modelled on Glasgow’s Transmission Gallery, an
at NCAD, Dublin and the MAC, Belfast). With a
artist-led space set up in 1983. Since Catalyst’s
newly elected archive committee, we are working
founding, its model has in turn been adopted by 126
on cataloguing and digitising Catalyst’s archive.
Gallery in Galway. Catalyst is managed at all times
In recent months, the organisation has also
by a committee of up to 10 unpaid directors who
expanded its online presence, providing exhibiting
meet on a weekly basis to plan the gallery’s schedule
artists and members with an opportunity to have
for the week ahead. Each director volunteers at
their work viewed by an ever-increasing global
Catalyst on a two-year rolling basis. This ensures
audience. With thousands of new viewers to the
that the organisation continues to support new
website, we have achieved a marked increase in the
directors and produce a perpetually changing,
number of visitors to the gallery and the amount of
ambitious programme. This non-hierarchical system
artists submitting to open calls. The website also
means that, as directors, we each have an equal say
functions as an accessible archive of past exhibitions,
over, and responsibility for, the day-to-day running
projects and events, as well as acting as a promotional
of the organisation. over nearly two decades, Catalyst
tool for members’ websites.
has had more than 60 directors who have served
Catalyst Arts remains an important part of
their term on the committee, and to this day many
Belfast’s visual arts culture; we continue to promote
of them continue to support the organisation.
young and emerging artists and curators and to
As directors, we aim to provide people of all ages with an opportunity to get involved with the organisation by becoming a member, submitting work for exhibitions, volunteering with the
existing practitioners. Ruaidhri Lennon is a Director at Catalyst Arts. www.catalystarts.org.uk
themselves. As a members-based organisation – whose membership is made up of past directors, as well as annually registered members – we strive to provide opportunities and support to hundreds of members every year. All members have the opportunity to exhibit in the annual members' show, submit for curated members-based exhibitions and have their say in how the gallery should move forward in the future at the annual AGM. We endeavour to create new opportunities for members and emerging artists to show their work and aim to secure the organisation’s future by training new directors to continue to carry the Catalyst torch. The gallery’s annual exhibition programme usually consists of over 20 exhibitions careers. Catalyst also holds the oldest biennial live art festival in Europe, ‘FIX’. Since its inception in
as a way of documenting, understanding and being
1994 the festival has played an important part in the
understood in the world. We believe that being part
organisation’s development and has helped to define
of the ‘Our Museum’ process will produce tangible
contemporary performance art in Belfast.
and long-lasting benefits, translating into sustainable
Admittedly, this is quite an intense two-year
policies, programmes and practices that will
experience for a part-time group of volunteers.
enhance the cultural life of the city and open the
However, this large workload gives directors the Catalyst sign
door to future investment. Pauline Hadaway is the Director of Belfast Exposed.
collaborations between artists and communities
date, we have confirmed Paul Seawright, Eugenie Dolberg and Draw Down the Walls / Golden Thread, who will present case studies followed by Q&As and workshops aimed at providing practical support to enable collaborative projects. Over the next three years, Belfast Exposed will be rolling out more activities to support community
extol art as a viable career option for new and
installation of shows, assisting artists with their
photography practice to the widest possible public
www.belfastexposed.org
twentieth
exploring our legacy, with an emphasis on evaluating
showing hundreds of artists at all stages of their
Northern Ireland’s diverse range of communities. To
its
who work together to deliver a dynamic
today as they were 30 years ago: to promote
info@belfastexposed.org
approaching
organisation consists of eight voluntary directors
Belfast Exposed’s ambitions remain as relevant
interested in developing new projects involving
is
anniversary, and we have begun to focus on
work and, of course, by becoming a director
training and mentoring for artists and
development. In year one of the initiative, entitled
Catalyst
since. Now based at 5 College Court, Belfast, the
Exchange with The Joinery, Dublin
The Visual Artists’News sheet
November – December 2012
11
REGIONA PROFIlE REGIONAl
Satis house
The MAC
SATIS House is at once a new and very old
open their doors to the public – in much the same
domestic space just off the Ormeau Road in South
way as we had been doing in Satis – to showcase a
Belfast. Within a row of terraces on Deramore
variety of work from fine art, performance and
Avenue, a gallery exists in what was once the master
installation, to live music, talks and discussions. In
bedroom of this modest dwelling where we, the
our gallery space we selected and realised six specific
curators, also live.
artists’ works, from Hans-Ulrich Obrist’s ‘do it’
Since our launch in March this year, we have
project, which exists as an online manual of artist’s
been working with both emerging and established
instructions that are fulfilled in various formats in
artists, inviting them to respond in various ways to
various cities around the world. Household’s core
this unique environment, and building upon the
event programme also took place in Satis House.
rich history of alternative exhibition initiatives in
The highlights included a talk by Pauline Hadaway
Northern Ireland.
of Belfast Exposed, a debate with members of
After both completing a two-year directorship at Catalyst Arts, where our close working relationship
ShelterNI, film screenings, kids’ workshops and a
Eithne Jordan, installation view from 'Small World', 2012
From here, a series of domestic tables could be seen
sleazy karaoke session in the living room.
was cemented, we decided that we simply could not
Currently, we are proudly exhibiting work by
from above. Once again, the viewer was invited to
part, and whilst we are both currently employed in
members of OutLands, a Fermanagh-based collective
see this significant work by an Irish artist with a
different arts organisations in the city, our developing
of artists whose practices involve ideas of the rural
growing reputation in the context of an
collaborative curatorial practice at Satis House is
and the remote in its widest context. This project
internationally renowned artist’s monumental work
what we are most passionate about at present.
posed the curatorial challenge of exhibiting 10
– Robert Therrien’s No Title (Table and Four Chairs).
Our opening exhibition was a multidisciplinary
artists in a relatively small room, but so far we have
This exhibition played with the architecture of the
group show with an installation in the upstairs
had a great response from audiences, which is
galleries and our perception of scale, with both
gallery space by Anne Marie Taggart, soundscapes
testament to the extremely high quality of work on
artists contributing to the viewer’s understanding
throughout the rest of the house by Claire Hall, an
display.
and appreciation of the ideas explored in each of their practices.
endurance performance over the course of a month
In the coming months we will be programming
by David Mahon and a limited edition literary piece
events in Satis House and further afield as part of the
by Ricki O’Rawe, commissioned specifically for the
Outburst Queer Arts Festival, as well as working
launch. Following that, we had two solo
with Twelve/Eleven, another artist collective whose
presentations, one by Scottish artist Liam Crichton
ultimate goal is to generate enough money to repay
SINCE opening in April 2012, the MAC has had
and another by recent graduate Hannah McBride.
the debts incurred through the educational process
a staggering 140,000 visitors through its doors; these
Continuing in this vein, we have presented exhibitions by Eithne Jordan and Roxy Walsh,
This mix of national and international Joanna billing, installtion view from 'I'm gonna live anyway until I die', 2012
programming will define the MAC’s exhibition profile and critical to this is our desire to place Irish art practice at the centre of our programme.
Having parts, or at times all, of our home open
of attaining a degree in fine art. In 2013 we also hope
numbers far exceed all initial expectations. There
to the public on what is now almost a weekly basis
to commission further significant solo presentations
was a huge amount of curiosity surrounding the
alongside a survey exhibition of work by Swedish
has taken a bit of getting used to. Recently, we
from both Irish and International artists.
MAC in the lead up to our launch in April, not least
artist Johanna Billing, whose work, ‘I’m gonna live
invited the collective BBeyond to take over the space
Satis House is the first of many curatorial
centred on the building itself, which was designed
anyhow until I die’, was jointly commissioned with
for an afternoon and performances took place both
endeavours that we aim to undertake and we have
by Hackett Hall McKnight. However, a beautiful
Fondazione Sandretto Re Rebaudengo, Turin, Italy,
inside the house, outside in the street, in the back
so far been genuinely overwhelmed with the
building alone is not enough to bring visitors to a
demonstrating our commitment to the presentation
yard, and in other private rooms in the house. This
positive response to the entire project, from
venue, and it will quickly lose its appeal if the core
of new work.
attracted quite a bit of curiosity from residents in the
neighbours on the street to artists in the area, as well
artistic programme does not connect fully with
area, who had not previously attended exhibitions
as from international peers working on similar
audiences.
or events at Satis.
projects in different parts of the world.
Future exhibitions will include ‘Gone to Seed’ by Claire Morgan, whose sculptural works examine
The MAC is a multi-artform venue, which
our relationship with nature, explored through notions of change and the passing of time. She
Engagement with these local audiences beyond
On Fridays and Saturdays you will usually find
includes two theatre spaces with 120 and 350 seat
the art community was also part of the driving force
us working from the dining table, guiding people
capacities, a dance studio, rehearsal and workshop
creates seemingly solid structures from thousands
behind the Household Contemporary Art Festival,
upstairs into the exhibition space, and we are always
spaces. In respect to exhibition programming, we
of individually suspended elements, which have a
which we curated with Sighle Bhreathnach-Cashell,
looking for an excuse to down tools and have a cup
have three magnificent gallery spaces that can
direct relation to nature. Animals, birds and insects
Ciara Hickey and Alissa Kleist from 24 – 26 August.
of tea and a chat, so if you’re in the area, pop in and
accommodate a range of contemporary practices. In
have all been present in Morgan’s recent installations.
say hello.
addition to this, The Tall Gallery has a sophisticated
In some sculptural works, animals might appear to
climate control system, which allows us the
rest, fall or even fly.
Over the course of this weekend, we managed to convince over 30 households in the Ormeau area to
Eoin Dara is a curator based in Belfast. Alongside work at Satis House, he works independently and as the Assistant Curator at the MAC. Kim McAleese is a curator and artist based in Belfast. She is currently working as a curatorial consultant in the Belfast Festival alongside curating at Satis House and is a studio member at Platform Arts. www.satis-house.com
Do itit,, part of 'household' 2012
opportunity to borrow significant works from major museums.
During this period we will also present a major exhibition
of
Mary
McIntyre’s
landscape
The opening programme at The MAC
photographs from 1999 – 2011, in ‘A Contemporary
demonstrated our commitment to introducing
Sublime’. McIntyre’s work will be shown for the first
audiences in Belfast and beyond to the very best
time alongside works by Paul Nash, Jacob Van
work by some of the world’s most notable artists.
Ruisdael, Jean Baptiste Camille Corot and LS Lowry,
The programme also exemplified our determination
all of whom have influenced her practice. McIntyre’s
to ensure that the work of Irish artists is viewed
images explore the subject of landscape, and the
within this wider international context.
Picturesque and Romantic movements in European
There were two broad themes evident in the
landscape painting are also significant influence in
opening programme of exhibitions. The first was a
her practice. Her work examines how painting and
celebration of labour and urban life as represented
photography not only portray but also construct the
in the paintings of LS Lowry and William Conor.
landscape we see. She adopts the traditional, formal
This was contrasted by Nicholas Keogh’s film, A
qualities of landscape painting in order to re-interpret
Removals Job (2011), a MAC commission that offered
them within a contemporary context.
a contemporary interpretation of the subjects
A major exhibition of works from the early to
depicted in Conor and Lowry’s paintings. The film
mid 1990s, by Peter Doig, links in to the concerns of
followed the household clearance of a traditional
both Morgan and McIntyre. Doig’s highly distinctive
two-up, two-down red-brick terrace in Belfast and
paintings have been exhibited in major museums
celebrated the camaraderie of a group of workers,
and galleries worldwide to international acclaim. He
and the unspoken exchanges between them.
records places at the fringes of normality, anonymous
The second theme explored was the building itself and how an artist’s work occupies the particular
locations where the urban and natural worlds meet in much the same way as McIntyre and Morgan.
architectural spaces of the MAC’s impressive new galleries. Maria McKinney’s reinterpretation of her work Somewhere but here, another other place invited the viewer to step down into the MAC’s Sunken Gallery only to invite them to rise above her work bbeyond performance, 2012
liam Crichton,‘]|[ , 2012
again on a constructed staircase / viewing platform.
Hugh Mulholland is Curator at the MAC. www.themaclive.com
12
The Visual Artists’ News Sheet
November – December 2012
Regional profile
The Flax Gallery at Mossley Mill
Antrim Arts Office
Bespoke glass installation by David Esler, 2012
Antrim Borough Council is ushering in a new
British Rock – Photographs from Top of the Pops
era in arts and heritage within the borough. The
1964 – 1973’ by Harry Goodwin. Harry Goodwin
final restoration work is being completed at Antrim
was resident photographer on the hit BBC music
Castle Gardens and Clotworthy House and Arts
show Top Of The Pops during these years. His
Centre to create a complex living museum reflecting
images capture the charisma and style of every
over four centuries of culture and heritage, alongside
chart-topping rock musician of the era, both on
remnants of the Massereene family dynasty. Just a
stage and behind the scenes. This display of
stone’s throw from Antrim's historic town centre, it
Goodwin’s work from the BBC’s archive includes
is the most unique historic garden under public
iconic images from Jimi Hendrix playing guitar
ownership in Northern Ireland. The original location
with his teeth to The Rolling Stones in the BBC
of Antrim Castle has now been integrated within
canteen. His shots, whether focusing on the
the wider garden landscape in a contemporary and
spectacular or every day, have an undeniable
innovative way. At the heart of the garden is the
authenticity and appeal.
refurbished building complex that includes Clotworthy House.
Joanna McMahon, Harland and Wolff , 2012
Opening night of 'Titanic', 2012
In 2010, Newtownabbey Borough Council
and creativity. Members’ interests include: surface
opened The Flax Gallery, the Council’s first dedicated
design, fabric painting, patchwork, quilting, textile
gallery space. This purpose-built venue provides a
decoration, lace-making, weaving, felting and
showcase for both new and established artists,
embroidery.
supports local group exhibitions and provides the
In terms of visual arts, next year promises to be
perfect setting for touring exhibitions of regional,
a good mix between supporting local clubs to
national and international interest. The gallery is
providing a new venue for professional artists.
housed within the unique setting of Mossley Mill, a
‘Interpretations of the Lough’ by East Antrim Artists
converted flax-spinning mill which now serves as
will kick off the year. Most of the artists live close to
the Council’s civic and community centre.
Belfast Lough and the exhibition will consist of
Not many galleries can boast surroundings
paintings and sculpture based on each artist’s
such as these. Beautiful landscaping and wildlife
impression of the Lough. The group work in a
surround the nineteenth-century mill buildings,
variety of fine art styles from abstract and
contemporary theatre and cultural centre. The
impressionist to realist.
gallery space is within Museum at The Mill, which explores the history and heritage of the mill itself.
We are always pleased to welcome local artists to the gallery and 2013 will see both professional
The aims in developing the gallery were: to
and amateur shows displayed. Stephen Jamison will
provide an opportunity for displays of material
display ‘Working Class Hero’, an exhibition focusing
relevant to the cultural heritage of the local area and
on art as a social document, recording the everyday
for displays of a regional, national and international
people who contribute to daily life in Newtownabbey.
interest; to provide all members of the public with
Stephen is local to Newtownabbey and paints a wide
opportunities for inspiration, learning and
range of subjects, specialising in portraiture. His
enjoyment; to offer a varied programme of diverse
paintings hang in collections as far afield as Belgium,
subject matter, with the aim to both encourage
South Africa and the USA, as well as in the UK and
repeat visits and to extend and broaden the range of
Ireland.
the museum’s audience; to use temporary exhibitions
Manson Blair, Thomas Joseph Stephenson and
as a vehicle to address topics of interest and relevance
David Long have come together as Three Ulster
unrepresented by the museum’s permanent displays;
Artists to provide a varied display of Irish Landscape
to allow the museum to experiment with innovative
paintings in both oils and watercolour. Paul
forms of display and interpretation; to involve and
Richardson uses watercolours in a contemporary
support interested bodies within the local
fashion to depict East Antrim landscapes and rural
community, with an aim to forming and maintaining
scenes whilst Desmond Monroe, past Chairman of
strong future connections; to provide a venue to
both Glengormley and Carrickfergus Art Club and a
enable local groups and individuals to display their
professional since 1993, will show a range of
own craftwork, research or other materials
landscape and figurative work in the gallery.
sympathetic with the museum service’s purpose
Our local art clubs are long established and
and objectives; to strengthen and enhance the
produce works of extremely high quality. These
museum service’s public profile within the local
groups meet regularly and, whether it is to paint
community.
together or produce photographic works, they share
Since opening, the gallery has proved popular
their skills and techniques. Throughout 2013, the
with both individual artists and groups, all keen to
gallery will host Jordanstown Art Club, Merville
display their work in a high quality space. The
Photographic Club and Glengormley Art Club. We
gallery is fully booked a year in advance and we will
look forward to seeing a wide range of work, from
be finishing off this season with an exhibition
traditional landscapes, seascapes and still life along
entitled ‘Linen at the Mill’ by Lecora. Lecora is a
with more modern acrylics, oils, pastels, watercolour
group of 10 women who all share an interest in
and mixed media works. So, a busy year ahead, and
contemporary textile art and embroidery. Set up in
planning for 2014 has already begun!
The visitor experience at Clotworthy House
and then went on to work as a renowned press
includes a new display detailing the history of the
journalist. He photographed the bands for the pilot
Gardens that also tells the story of the Massereene
of Top Of The Pops and went on over the next 10
family and how their lives have intertwined with
years to photograph some of the most famous and
the development of Antrim town and the
successful musicians of all time. In many cases the
surrounding area. This display comprises a range of
original footage of the performances is now lost and
archive materials, some of which have never been
these photographs are all that remains of
on public display before.
performances by artists including Elton John, Aretha
Clotworthy House and the surrounding
Samantha Curry is the Flax Gallery Manager and
This year’s group exhibition theme is linen, which
Heritage Officer for Newtownabbey Borough
makes the Flax Gallery a perfect venue for this
Council.
There will be a change of pace in February and
facilities that support garden heritage and the arts.
March as a touring exhibition of Portraits by John
There are spaces for community gardening,
Butler Yeats from the Niland Collection goes on
workshop areas for creative learning, the Eyre Studio
display. This delightful exhibition features several
for community music activities and a new state of
portraits by John Butler Yeats. Born in County Down
the art gallery, The Oriel Gallery, which features a
in 1839, John Butler Yeats was the father of poet
year-round programme of exhibitions. This stunning
William Butler Yeats and artist Jack B Yeats. His
mezzanine-style gallery has now been open for
portraits hang in the National Gallery of Ireland and,
almost a year and, in that time, has hosted exhibitions
although also in demand as a portrait artist, he was
from the International Garden Photographer of the
a poor businessman and the family was never
Year, the National Portrait Gallery and the Hayward
financially secure. Mostly executed in pencil, the
Gallery in London.
portraits have, as their subjects, many important
The autumn programme has just been launched
figures from early twentieth century Irish life.
and features some stunning exhibitions. From 25
Featuring a great many people from literary and
September – 16 November we play host to ‘Beastly
political circles, such as John O’Leary, Lady Augusta
Machines’, a brand new collection of mechanical
Gregory and Douglas Hyde, the portraits beautifully
sculptures by Derbyshire-based artist Johnny White.
capture the individuality and personality of each
All of the sculptures include some element of
sitter, a skill for which he was most famous.
audience participation or intervention; the results
The high calibre of exhibitions will continue
can be humorous, engaging and surprising. Pull
on into 2013 / 2014 with collaborations with the
handles, turn cranks and push buttons to discover
Arts in Health organisation ArtsCare, touring
what these automated animals have in store.
exhibitions from Graphicus Touring and garden-
Lovingly handmade in Johnny’s workshop in
related exhibitions and workshops planned for next
Derbyshire, these playful animal automata are often
summer.
crafted from found or salvaged junk. The exhibition also has a gaggle of games to play. From 23 November – 18 January 2013 we have a collaboration with the Victoria and Albert Museum as we present ‘My Generation: The Glory Years of
textile display. The exhibition pieces are wideranging and demonstrate great individual expression
www.newtownabbey.gov.uk/museumatthemill
Franklin, Dusty Springfield and The Beach Boys.
complex of buildings provide a range of new
2007, the group’s skills range from traditional crafts to artistic use of design and machine technology.
Born in 1924, Harry Goodwin started his photographic career in the RAF during World War II
Clotworthy House and Arts Centre
Cathy McNally is the Antrim Borough Arts Officer.
The Visual Artists’ News Sheet
November – December 2012
13
Art and Politics
Serjilla, south of Aleppo, 2010
Brian Kennedy at Palmyra, Syria, 2010, all images courtesy of Brian Kennedy
Brian Kennedy at St Simeon's Basilica (Qalaat Sam'aan) near Aleppo, Syria, 2010
Living Museum
his dog, came up and asked where she was from. When told she was from Syria he went up to the wall to look at Abir’s Arabic writing and, with a straight face, looked at her and said, "Well your spelling is good anyway".
brian kennedy discusses his 2010 trip syria, where he visited artist-led projects and galleries, and his recent experience attempting to bring syrian artists to northern ireland.
The studio visits were enlivened by the idea of virtual residencies. Nisrine had been offered a residency in Ramallah but, coming from Syria, it was impossible to get a visa to go to the West Bank, so she did a virtual residency with the organisation in Palestine. The final, and perhaps the visit that had most impact on Nisrine and Abir, was to Draw Down the Walls. This organisation was started in one community
I first went to Syria in November 2010 to make a visual study of
full of energy. The organisation often uses alternative venues around
in Belfast but its success has meant that other communities soon saw
the Dead Cities. These are the remains of towns and villages from the
the city to stage events and it also has links with international
the positive possibilities. It engages with young people – its aims are
Eighth and Ninth Centuries: wonderful examples of Byzantine
organisations like the British Council, Centre Culturel Francais and the
intervention, prevention and planning – and attempts to manage any
architecture that have remained remarkably intact. They are typical of
Goethe Institut. Because of their links to foreign embassies and their
possibly violent situations.
the country’s rich heritage and offer a real-life understanding of its
diplomatic significance, these organisations and their venues were less
history. Having remained complete for so long, they are now being
likely to be hassled by the authorities.
It is common now to say that Belfast and Northern Ireland are in a post-conflict situation, but Brendan, who works on the Draw Down
subjected to modern warfare; their rich contribution to our knowledge
After Damascus, I travelled to Aleppo where I met Issa Touma, a
the Walls project, still feels he is in a conflict situation. It is just the
of a past era is being lost forever. Sadly, this is true of many important
photographer and Director of Le Pont gallery, the first photographic
means to an end that have changed. Both Brendan and Ian gave an
sites and places of historic interest across this fascinating country,
gallery in the Middle East. As well as the gallery space, Issa often uses a
enlightening tour of some of the flash-points in their part of Belfast,
which has always been an important crossroads between East and
large adjacent space that used to be Aleppo’s electricity generating
places where, if a local youth was seen writing on the wall, it’s more
West, between cultures and religions.
plant. The Women’s Art Festival, which covers all art forms, was
likely that they would be pulled in by the police than have someone
Another site I visited, now also suffering the effects of modern
regularly shown here. It must be remembered that many Syrians
crack a joke with them.
warfare, was the Krac des Chevaliers, considered to be the finest
consider their society secular and I found it interesting that artists were
example of a crusader fort. The ancient inner part of the fort, once
encouraged to deal with women’s issues.
considered almost impregnable, has already been damaged.
So, what can contemporary art offer a new Syria? Art is often at its best when it has a reason for existence and playing a part in the
Just a few months after I returned from Syria, the violence started.
regeneration of this troubled country is a very real reason. The fact that
I remember standing shivering in the cold desert night air at the
I kept in touch with AllArt Now and Le Pont by Skype and email. Both
some galleries have continued to exist will provide a platform for this
ancient Roman site Palmyra, waiting for the early rays of sunrise to turn
organisations continued to organise exhibitions. It was still possible to
debate and continued contact with international organisations and
the sandstone buildings their famous shade of gold. Palmyra is as far
travel at this time; Issa did a lecture tour of Europe and Nisrine
artists will widen its scope. New media, which became such a crucial
east as the Romans ever built a town or trading centre: they realised the
Boukhari, an artist from AllArtNow, also travelled to Europe to make
tool in the Arab Spring uprisings, has facillitated this dialogue and
never-ending desert beyond was too vast to be controlled. The Free
work. But slowly the situation got worse. Then, in February this year,
helped deepen our understanding of what it means to practice as an
Syrian Army are now dug into this important site, based in an ancient
the British Council introduced a special scheme that allowed Syrian
artist in contemporary Syria. The role that contemporary art will play
castle that overlooks these historic remains.
artists to travel to Britain to meet other artists. Nisrine Boukhari and
in Syria’s future remains to be seen.
Syria is a vast living museum. One only has to walk around to
the curator Abir Boukhari, both from AllArtNow in Damascus, were
experience the culture that is interwoven with everyday life, and there
given funding, as was Issa Touma and a group of photographers from
Brian Kennedy is an artist who also curates and writes about art.
is a tangible sense of history that I had never experienced before. The
Aleppo. For whatever bureaucratic reasons, Abir and Nisrine were
He sees all these elements as part of one practice. For over 10 years,
country has its museums but it is better to simply walk around the
given visas but everyone from Aleppo was denied a visa. So, even
travel has formed an integral part of his practice. When not
streets soaking up the atmosphere. Both Aleppo and Damascus claim
though the initiative was being sponsored by the British Council, the
travelling he lives in his small cottage outside Belfast.
to be the oldest cities in the world and I was certainly aware of an
British Embassy decided to deny visas to the majority of the artists.
ancient culture and long history when in either city.
While I was annoyed that all the planning, working out itineraries
The current violence broke out just a few months before I visited
and almost booking airline tickets was for nothing, Issa was furious. He
Syria but there was absolutely no hint of what was to come. At the time,
had made several lecture tours to Britain and Europe before, talking on
I was interested in seeing what contemporary art practice existed
subjects that would not have gone down well with his own government,
against the long cultural history of the country.
and felt that after years of doing this he had been badly let down.
In Damascus I visited AllArtNow, which lies inside the ancient
I could do nothing but plan the trip for those who did have visas,
city walls and in an area where the Christian, Muslim and Jewish
Nisrine and Abir. Soon after their arrival we started with the ‘tourist’
quarters used to border each other and people lived together in relative
trip. Our driver Billy certainly had ‘views’ about The Troubles, the
harmony. The building that houses AllArtNow is an old decaying
current situation and how to solve everything. While visiting the
house with several rooms closed off as they are unsafe. Like many
‘peace wall’, our guests experienced Belfast humour: Abir was writing
initiatives driven by young artists making a way for themselves, it felt
something in Arabic on the wall and this wee Belfast man, out walking
14
The Visual Artists’ News Sheet
November – December 2012
Project profile
Michael Dempsey, Orlaith Mcbride, Karen Downey, Karl Burke (Fergus Martin and Anthony Hobbs, My Paradise is Now, 2003)
Michael Dempsey, Karen Downey, Pat Moylan, Helen Carey, Dawn Williams, Emer McGarry, Patrick Scott
Into the Light
Placing Patrick Scott's Meditation, 2009
KD: The Arts Council holds a number of works by Patrick Scott in its collection. The earliest work, Gold Painting 18 (1965) was purchased in 1968, just a year after he created the iconic signature image for ROSC ’67, and not long after he decided to become a full-time artist, which
Fiona fullam talks to karen downey, curator of the nationwide 'into the light' exhibition, which showcases the arts council's extensive and varied collection.
was a difficult professional pursuit in Ireland in those days. He is now a Saoi of Aosdana and is widely recognised as a leading figure in Irish visual art. It is a real privilege to have Meditation (2009) as the title image for ‘Into the Light’, and to highlight Scott’s practice and place in
Fiona Fullam: Karen, I know this project is to mark the sixtieth
works from different periods, alongside pieces from its own collection.
anniversary of The Arts Council. Could you tell me how the idea
Limerick City Gallery has invited members of the public with an
developed initially and how it evolved and progressed from the
interest in the visual arts to participate in the selection process. Their
FF: What area of your curatorial experience would you say was
initial stage?
focus is on work acquired in the early years of the collection (the 1960s
important for this project?
Karen Downey: In December last year, I was invited to submit a
and 1970s), and the selection is made up primarily of painting and
KD: I’ve worked a lot in making books, so that experience was
proposal to the Arts Council to manage the exhibition and publication
sculpture. The Model is developing an historical and thematic approach.
important, although this book was particularly ambitious. The venues
projects for their sixtieth anniversary celebrations. From the beginning,
They are interested in exploring a number of salient themes within
were all very keen to engage on their own terms, so much of the process
the Arts Council was keen to develop the exhibition as a multi-sited,
both the Arts Council Collection and The Niland Collection (landscape,
and how it developed came out of dialogue with the institutional
national event and to work in partnership with a number of venues
abstraction, domesticity and craft) to develop an interdisciplinary
partners. I would say negotiation, communication and discussion were
across the country. A key aim for the project was to enhance the
exhibition by artists of different generations.
all very important.
the story of Irish contemporary art.
visibility of the collection, which includes over 1,000 works dating
We have also commissioned four contemporary artists to make
from the early 1960s. The collection could be described as a ‘hard
new work for each exhibition: Mark Clare (Crawford Art Gallery), Karl
FF: How have you found this experience personally? Did the
working’ collection, with many works on display in public buildings
Burke (The Hugh Lane), Emmet Kierans (Limerick City Gallery of Art)
levels of exhaustion and satisfaction balance each other out?
around the country at any given time. ‘Into the Light’ is an opportunity
and Sean Lynch (The Model). They have been selected by the institutions
for the public to see a large number of works presented through a
to produce a work in response to the collection and the curatorial
KD: I was working on this part-time as I also do the programming for Belfast Exposed, but it was incredibly intensive and time-consuming,
variety of curatorial approaches in different institutional contexts. The
concepts underpinning their respective exhibitions.
especially the work involved in the book. I was lucky to have a great set of people working with me at the Arts Council – the curators, the
project also aims to highlight the Arts Council’s policy of supporting artists, which has always been the primary rationale for the collection.
FF: Could you tell me a little bit about the collection, how works
people working on the book – which made a difference. My research
Following discussions with a number of venue directors and
are selected and to what size it has now grown? How and where
assistants, Sabina MacMahon and Emma Dwyer, were absolutely
curators earlier this year, we agreed on the four ‘Into the Light’ partners,
are they stored and cared for?
fantastic. We made the decision not to run with a publisher, so that we
an outline curatorial approach and a timetable for the exhibitions. In
KD: The Arts Council has been acknowledged as the first public
were close to the process at every stage. We didn’t want to be at a
terms of curation, no particular structuring principle was agreed on,
institution in Ireland to collect artwork by living artists. The purpose of
remove, from the proofing in particular. It was a very exciting process.
such as a chronological or thematic approach. Instead, each partner
the collection and of its precedent, the Joint Purchase Scheme, initiated
curator was free to evolve their ideas in response to the collection as a
in 1954, has been to support artists and to bring their work into public
FF: Although ‘Into the Light’ is specifically to mark the sixtieth
whole and to select the particular works that allowed them to explore
view. The collection currently comprises 1,048 works.
anniversary of the Arts Council, Ms Pat Moylan, Chairman of the
and express these ideas. The result is a series of discrete and distinctive
The Arts Council’s purchasing practices changed over the years.
Arts Council, is hoping that the project could have other /
reflections on the character of the Arts Council Collection as a whole,
In the mid-1970s, following the introduction of the 1973 Arts Act and
particular value or relevance, given the economic situation we
which also reflect the interests and ethos of the partner institutions.
a renewed emphasis on regionalisation, acquisitions were made by
find ourselves in. What do you hope to achieve through this
We have also produced a 370-page publication, with illustrations
members of a visual arts sub-committee from public and private
project?
of works by over 100 artists and commissioned essays by Diarmaid
galleries across the country to represent “as wide a field of contemporary
KD: The main aim of ‘Into the Light’ is to enhance the visibility of the
Ferriter and Caoimhín MacGiolla Léith. We are publishing a directory
Irish art as possible”. Prior to this, through the 1960s and early 1970s,
Arts Council Collection, to bring it into broad public view and to
of all works in the collection, along with details of vendors from whom
purchases for the collection had been made, for the most part, from
highlight the Arts Council’s policy of supporting artists and collecting
the works were bought and of those who received works on loan. The
private galleries and large annual exhibitions in Dublin, by the
contemporary art in Ireland at a time when there was very little
publication also features two illustrated timelines that chart the
Director, Father Donal O’Sullivan, with advice from one or two Council
activity in this area, or much public awareness of contemporary art.
development of the Arts Council and state policy on the arts, in the
members, namely Michael Scott and Sir Basil Goulding. By the mid
Through the development of opportunities, arts infrastructure and
context of Ireland’s emergent visual arts scene from 1952 – 2012.
1980s, the Visual Arts Officers, Mebh Ruane and Patrick T Murphy,
education, the situation has changed dramatically since then, to the
shifted its focus towards “the building up of the nucleus of a national
point where working as a full-time artist in Ireland, without subsidy
FF: How were the venues decided? And did those involved have a
collection of modern art”. However, following the establishment of the
through teaching or other work has (or at least had until recent years),
say in choosing works?
Irish Museum of Modern Art in 1991, with its remit to build a national
become a viable professional option. Hopefully ‘Into the Light’ will, in
KD: The Arts Council had a number of criteria for the selection of
collection, the Arts Council’s purchasing priority returned to primarily
some way, remind people of the value of the work of our contemporary
venues. It was important that they were recognised, at a national and
supporting the practice of individual artists and, with advice from a
artists and of the importance of collecting art, whether for private
international level, for the quality of their contemporary visual arts
number of external experts, new media, video and installation work
pleasure or public record, or both.
programme, as well as their education and audience engagement
was introduced to the collection, broadening the range of practice
programmes. The selection needed to represent a wide geographical
represented and including works by a new generation of contemporary
Fiona Fullam is a writer and artist based in Dublin. She has
reach in order for ‘Into the Light’ to constitute a nationwide event. Also,
Irish artists.
published writing in Rubric, News Views, Review, Fugitive Papers
because the project focuses on the history of collecting in Ireland, it
When not on loan, the works are stored in a secure storage facility.
was preferable to work with partners who had an experience of
The collection is managed and maintained by Helena Gorey, Arts
collecting.
Council Collection Manager, who was also responsible for recalling the
Crawford Art Gallery has focused its selection on recent
works and preparing them for exhibition.
acquisitions for the collection (since 2000) and will exhibit mainly lens-based and installation works. Dublin City Gallery, The Hugh
FF: Meditation (2009), by Patrick Scott, is the title image for this
Lane’s exhibition will explore modern and contemporary approaches
major series of exhibitions. Why was this work and this artist in
to abstraction and will present a selection of Arts Council Collection
particular chosen?
and has exhibited in Tate Modern and the Berlin Reading Room. Notes 1. The partner curators for Into the Light are Helen Carey at Limerick City Gallery, Michael Dempsey at The Hugh Lane, Emer McGarry at The Model and Dawn Williams at Crawford Art Gallery.
The Visual Artists’ News Sheet
November – December 2012
15
festival
Daniel Seiffert, Kraftwerk Jugend, 2011
Paul Hallahan, Extinct Like Us, 2012
Louise Manifold, Shot Frontier, 2011
Colin Darke, Petroleuses, 2011
Landscape, Change and Flux
Seamus Murphy, still from 12 Short Films, 2011
I do hope that the themes will work and it will echo with people”. He continues, “This is a festival that is part of the people of Galway; it is part of the fabric of Galway; it belongs there. Therefore is it a special festival with its own merits. It cannot be judged in
ciara peters talks to gregory mccartney about his role as curator of tulca 2012, which takes place across various venues in galway from 4 – 20 november 2012.
comparison to other visual art festivals, as Tulca is unique in itself. It is a stand-alone attraction. It has its roots in Galway for the past 10 years and has grown to be part of Galway’s visual art culture.” It is always difficult to source money for a festival in the current
When a visual arts festival survives for 10 years in spite of the
personal, political through to social. I use a mash of them all…. It’s all
economic climate, but Tulca are remaining strong and are very lucky to
current economic climate, it must have something going for it. Since
about landscape and change and how people react to change in their
be supported by Galway City and County Council and the Arts Council
its inception in 2002, Tulca Festival of Visual Arts has been embraced
own personal landscapes as well as in society. It does reference all the
of Ireland.
by the people of Galway. Tulca features local and international artists,
latest economic circumstances but not directly... The festival is about
“We are very lucky with the generosity of people and artists. It
live art performances, talks and discussions, with free admission to all
creating a response to environments – physical, psychological or
always amazes me and continues to. People love Galway and people are
events. It acts as a platform for emerging artists but also as a showcase
cultural. It is about provoking alternative landscapes and paths and
interested in the festival and they are looking forward to being part of
for national and international artists. The festival this year will
making people consider where they are and how they got there. The
it, even with stretched budgets. Both the festival and the town are on
incorporate painting, video, sculptural work, animation, animated
festival will encourage people to look at the paths they took and the
the map, so to speak. The people are glad to take part.”
wallpaper and print, as well as talks and live performances.
paths they didn’t take.”
Some of the major highlights include a series of new work by
Tulca has always been graced by creative, talented curators –
Greg is keen to stress that this will not be a nostalgic look at our
George Shaw (UK), which comprises paintings of Coventry at different
Sarah Searson (2006), Michelle Browne (2010) and Megs Morley (2011)
chosen paths. However, given that nostalgia can never be totally
times of the year, and a video landscape piece by Kelly Richardson
– who each brought their unique talents to the fore. This year’s curator,
avoided, the aim is to inspire reflection. It is primarily about landscape,
(Canada). Greg describes it as “quite an eclectic mix”.
Gregory McCartney, will offer something equally special in line with
change and flux, and about how people’s reactions to change have
Tulca’s high standards.
determined where they are today. “It is, to a degree, about reflection, but
Other artists include Colin Darke (Northern Ireland), Nadege
in a forward-looking way.”
Meriau (France), David Hepher (England), Ackroyd and Harvey,
Greg, who is based in Derry, is a freelance exhibition maker, curator and “artist in a former life”. In 2011 he completed a PHD in
The title of this year’s Tulca is ‘What Became of the People We
Public Art Piece (England), Brigette Zieger (France), Connolly and
Visual Art and Archives at the University of Ulster. He is also Editor and
Used To Be’. As Greg explains, it is a line from a BBC comedy which
Cleary (Ireland), Daniel Seiffert (Germany), Siobhan Mc Gibbion
Project Coordinator of the quarterly magazine, Abridged, which
concerns two characters: one civil servant and an army veteran who
(Ireland) and Louise Manifold (Ireland).
features poetry and illustrations. Each issue has had a different theme,
return home to find out that neither of them were where they thought
such as ‘Time’, ‘Absence’, ‘Magnolia’, ‘Silence’, ‘Desire’ and ‘Dust’.
they would be in life.
The venues being used John Hughes Building, Fairgreen Road,
Greg is no stranger to Tulca. He took part in the 2008 festival
“It’s all about their adventures and about them trying to escape
The Galway Arts Centre, 126 Gallery, Nuns Island Theatre, St
‘Shower of Kunst’, curated by George Bolster. Greg’s archive piece on
their circumstances, or at least convince themselves that they are
Nicholas Church, Dock Shed, GUH, Bar 8, Niland Gallery and the
Derry’s obsolete Orchard Gallery was displayed in the Galway Arts
happy where they are. I thought it would make a suitable title.…The
Roisin Dubh. These venues are subject to change.
Centre and comprised a history of the Orchard Gallery on clothes pegs
titles I give are usually about time or absence. It is essentially landscape
strung along a washing line. This is Greg’s first time curating in Galway
and change. I like to have themes in the widest possible sense. You’ll see
All quotes from this article were taken from an interview by Ciara
but he is a member of the curatorial committee at Void, Derry and has
a lot of very different work but in my mind they all tie in well
Peters with Gregory McCartney.
curated many projects there, including ‘Park Ave + Resident’ by duo
together.”
Ackroyd and Harvey (2011) and ‘Looking for Baz Shaz Gaz and Daz’ by
Greg’s poetry background is unusual for a curator and poetry
www.abridgedonline.com
continues to inform his work. In poetry, words map out meaning and
www.tulca.ie
All his projects incorporate landscape of one type or another. He
Greg is very much concerned with the connections between the works.
tulcafestival@gmail.com
is interested in the merging of art and literature and the landscape of
The idea of mapping of is stressed in Abridged just as the connection
these respective art forms. This is why Greg brings something unique
between works is emphasised in this year’s festival. He states:
George Shaw (2010).
to this year’s festival. His passion for combining literature and art
“It’s like when you read a poem. You may not have experienced
manifests in a very interesting and sometimes very funny exhibition.
what the poet has but you notice a line or a word and the theme
He states:
resonates with you. It’s reflecting on present tense: the title is a rye
“Everything I do is essentially about landscapes of one kind or
reflection on that. I like things that echo. I’m hoping that the work will
another – landscape in the widest sense from physical, geographical,
echo with the local audience. There might not be a direct reference, but
16
The Visual Artists’ News Sheet
November – December 2012
how is it made?
A Sleeping Face AGNES CONWAY OUTLINES THE THINKING AND MAKING PROCESSES BEHIND HER RECENT COMMISSION, entitled ‘THE CELESTIAL MOUNTAIN’ , FOR MARLEY PARK, DUBLIN.
The mould
Agnes Conway, Dreaming of The Celestial Mountain, 2011 – 2012, all images courtesy of the artist
I first heard of The Celestial Mountain in a documentary about
Moving the head
CASTING THE FACE AND STEPS
I’d anticipated days of hard labour, unbolting the seams and prising
Mongolia. I then scoured atlases, maps and Google Earth trying to locate
Work began in late summer 2008. The mould was brought to the walled
the separate mould pieces off the surface, but as the mould came over the
it. Its elusiveness made it intriguing, magical. The Celestial Mountain!
garden in Cabinteely Park, nuts and bolts tightened and seams sealed. A
face slipped out like an egg from its shell. Job done.
How wonderful must it be to be called The Celestial Mountain by
shallow trench was dug and the mould lowered in, leaving the slings in
‘The lump’ turned out to be unmixed aggregate that had settled
nomads fighting for survival in a harsh landscape?
position. Sand was shoveled in around the mould and compacted using
right at the point of the nose, leaving a hole that had to be repaired. Apart from that, the concrete was as smooth as a baby’s bottom.
My first design for the work was a sleeping face half-buried in the
water. Once the mould was level and firmly held at the base, steel
earth and not visible until a convoluted pathway, based on the Cretan
formwork was put in place around it. More sand was compacted in,
labyrinth, had been negotiated. A seven-verse poem (describing the
finishing up with a few inches of very weak concrete to strengthen the
TRANSPORTING AND SITING
rituals that had to be carried out before starting an imaginary journey)
rim of the mould.
15 months later, in June 2011, work started on the site in Marlay. It was
By now it was autumn. As fast as I cleaned out the mould, leaves and
dogged by problems. The earth had originally been dumped any old way,
twigs blew in. It was like a large boat that had to be bailed out every time
covering a spring that re-appeared once the surface was disturbed. Weeks
it rained. The day before casting I forgot to change into trainers before
went by as an outflow was dug and the water piped away. Every time it
CONSTRUCTING THE FACE
stepping into the mould and went careening down the oiled side,
rained the gash clay of the mound turned into a quagmire, impossible to
The size of the face was dictated by my workspace, which was
finishing up in the nose with my legs and arms up in the air. Smooth,
walk on, never mind moving heavy machinery across.
approximately 8 x 6m. I roughed out a form, 4.7m x 2.9m, using baled
slippery surfaces all around that gave no purchase or handholds. For a
I spent sleepless nights leading up to the move. Every conceivable
wood shavings, then started modeling using unfired bricks.
few panicked minutes I thought I’d be stuck there all day, maybe even all
disaster became not only possible but probable. The slings would be
night...
rotten after their 15 months in the wet earth and break as they took the
would be inscribed on stone slabs set in the ground at different points in the labyrinth.
Modelling the face was six months of physical pleasure, no thinking involved, just pushing clay around to try to make something as beautiful
The mix used for the casting was self-compacting, with a 50 / 50 mix
weight. They’d be in the wrong position to distribute the weight and the
as possible. An unfortunate side-effect was getting tendonitis in my
of OPC and GGBS (ground granulated blast-furnace slag). Just as the pour
face would split across under the eyes. The lorry would go over a bump
Achilles tendons from pushing pallet-trucks of clay across a cobbled
started I saw a lump in the stream. I stopped the pour, intending to climb
on the six-mile journey and the face would shatter. The lorry wouldn’t
yard, and tendonitis in my forearms from hauling clay up the side of the
down and break up or remove the lump, but was assured by the lorry
make it up the hill. The crane would sink in the mud. And so on for hours
face, but that was a small price to pay for such uncomplicated
drivers that it was 'nothing', that the lump would disperse as more
and hours as I’d try to get to sleep.
enjoyment.
concrete went in. Against my better judgment I let the pour continue.
In the event, the crane did sink in the mud. Time went by as new
Disperse my eye! The fresh concrete was covered with plastic sheeting,
earth was brought in and rammed to form a ramp, and the crane-driver
and left to cure.
kept threatening to leave. But finally he made it up the slope and the face
THE MOULDS The leather-hard clay was sealed with several coats of French polish, then
was lifted into position.
waxed and a 15-piece fibre-glass mould taken. The verses of the poem
BREAKING OUT
were cut into MDF and seven fibre-glass moulds made. The large mould
GGBS slows the cure so I left the mould untouched for a few months,
from view a bit, and waited for topsoil to be spread so that the terraces
was then taken to a friend’s field, assembled and left. There it sat for the
apart from removing the hired formwork and breaking up the weak
could be finalised, seeded and the steps with the poem put in position.
next 18 months, while the moulds for the poem constituted a fire-hazard
concrete around the rim. By March I reckoned it was strong enough to be
in my narrow hallway.
handled safely, and hired two cranes to do the turning.
COMPROMISING
started when I realised that the crane drivers were preparing to turn the
Agnes Conway was born in Newcastle West, Co Limerick. After
DLR Parks Department wanted the work for Marlay Park, so months of
mould end over end – easier for them because of the location of the slings
studying sculpture in NCAD, Dublin, she taught for Dublin VEC,
discussion and re-designing followed. There were two main problems:
but potentially disastrous because of the narrowness of the depth of
NCAD, and Bray VEC. In 2000 she gave up teaching to work full-
firstly, they felt litter would collect around stone walls and, secondly,
concrete under the eyes. Having learned from my experience with ‘the
time at sculpture.
they wanted to site the work on a large mound, which had been formed
lump’ I stood on the mould and refused to let them move it. The stand-off
from spoil from the M50.
went on for half an hour with lots of shouting, bellowing over the wind
Over the next few days I shaped the earth around the face to hide it
A year on, after the wettest summer since records began, I’m still waiting.
It was a lashing wet day and the area was a sea of mud. Trouble
Eventually we reached an agreement – that the mound would be
and rain, stamping of feet, threats not to pay.
terraced, so that the labyrinth path wound around and up to the face. I’d
The reason they didn’t want to turn it sideways became apparent
lose the enclosed, inward-looking feeling that I wanted, but I hoped I
once they started the lift – instead of turning, the mould just slid along
could shape the earth so that the face was hidden when viewed from
the mud on its edge. A JCB driver solved the problem by bracing the
ground level.
bottom edge of the mould until it reached the tipping point.
www.agnesconway.com
The Visual Artists’ News Sheet
November – December 2012
17
career development
ab: It’s hard for me to say, having only been here for a year, but it seems that artists are almost unionised, because the whole of Finland is unionised. There is a painter’s union, a sculptor’s union, even the union for alternative artists, which is called Muu. Despite this, I think there is still an absence of adequate representation. Muu, for example, has a very broad remit. This contributes to the lack of opportunities for artists that might want to work in a particular way. Similarly, it seems rare that artists in Finland take strong political positions. This is evident in contemporary intellectual life generally. People tend to go along with the mainstream. There was a documentary art film that aired on Finnish TV – a work by Pekka Niskanen – that would be an example of direct political action through art.1 MM: I think, in Finland, there is more of a tradition of this in documentary filmmaking. Pekka is a rare case, as he combines visual art and documentary filmmaking: genres that don’t often mix here. There is very little dialogue. As an artist, are there Alan Bulfin, Unrequited Hatred, The Shed, Galway, 2012
Alan Bulfin and Tomasz Szrama
things you would like to realise in this Finnish context? I have had a period of time to reflect on my work as I have been asked to write for a free online magazine. The area that I found most interesting was the legal process that is used by the state to define both organisations and individuals. I am directly tied into this singular definition of work. MM: So, there is a certain type of control executed by the state? Yes, that is a certain type of control, but it is also a very banalised force. It makes everything the same, homogenises it, brings everything into the same pattern. There is banality across the spectrum of Finnish society: in art forms such as photography and filmmaking to elements of popular culture such as Angry Birds. Angry Birds is a very banal game. My girlfriend is from Pohjanmaa, which is located in the West of
Alan Bulfin, Unrequited Hatred, The Shed, Galway, 2012
Alan Bulfin, Art's Birthday, Hiap Residency Studios, 2012
Alan Bulfin, performance at Fafa's Kebabs, 2012
Finland. Driving there, it is long straight roads with nothing but trees beside you.
Some Possible Infinities
Banality seemed like something that I should really focus on. What I like about utilising banality is that I am not importing ideas or concepts but using the materials that are latent around me and making something poetic. Banality in the job of a dishwasher is ripe for this. Kitchens and restaurants are a dime a dozen. My work does not just
finnish curator, marita muukkonen, talks to irish artist alan bulfin about moving to finland and establishing his practice.
function as a representation of the conditions that exist in Finland, it becomes a way of materialising those conditions, so that we see them through the artwork. This is a way of making public art that really interests me. At the moment I am exploring the idea of residency programmes in
Marita Muukkonen: Can you begin by telling me how came to
you were an artist? And how did you introduce him your art
the workplace. The creation of art is intrinsically linked to context, and
live in Finland? And how you got started as an artist here?
work and the processes you wanted to develop? ab: When you are working with people who are not artists, or if you
this is where I see its greatest social value. For example, my workplace
Alan Bulfin: I moved here in early 2011 because my girlfriend, Pii Anttila, is from Finland. I first began my art practice when I went looking for
want to make art anywhere unusual, it is always a negotiation. It was
and allow them to experience an artwork in the free space. This creates
a job, which I had to do very quickly in order to stay in the country.
simply a case of talking to my boss, telling him about my ideas and
a very different translation of that space, a very different experience. It
Finland is a place that you really need support to live in. I wasn’t able
asking him if I could bring in a camera to work and have the other staff
also crosses the line between public and private.
to begin the system of becoming a full citizen, where I would have full
members photograph me doing some of my artwork. There are always
social security and be legally registered in the country, until I had a job.
quiet times in a restaurant so I just waited and made my art then. My
MM: Do you find that, in Finland, people don’t really understand
This is why I started a public art project in my workplace.
colleagues were fine and all took pictures of me so that I could produce
that banal is banal? That they take these representations dead
My work is performative and uses the materials in my workplace
the exhibition entitled ‘Some Possible Infinities that May Have Been
and also the context in which I work. Finland completely socialises and
Made by Dishwashers’. For this, I created a booklet, a comic book. The
seriously? ab: Yes. Many of them just photograph banality and try and frame it as
legalises the mechanisms that are inherent in the production of capital.
exhibition that I produced was in a kebab shop, which was in keeping
being pretty. When you talk to Finnish people, they say ‘Why did you
There is a centralised mechanism, creating only one way of defining
with the restaurant theme. The kebab shop is on a really busy street and
come here? It is a boring place.’ I think what they want to say is that it is
work: you work, you get paid a wage and that wage is decided by the
that provided a lot of potential for street performance.
a banal place. But that is not a bad thing. It is my favourite thing about
closes on the weekends, which provides ample time to bring people in
Finland.
value of your work. For the artist, this means a pittance or nothing at
This performance emanated from a concept that has been
all. So I decided to make my art at work – as a nine to five dishwasher
executed thousands of times, but continues to have imaginative value.
/ artist.
The structure originates from the Fluxus artist, Robert Filliou. What
Alan Bulfin is an artist based in Finalnd. He studied at the University of Ulster, Belfast and Limerick School of Art and Design.
directly to my everyday life. It was also a way of engaging with the
interested me about his work was the ‘Art’s Birthday’ idea, when he announced, on January 17th 1963, that on that day 1,000,000 years
art world here, as every single gallery requires that you pay rent. On
previously, ‘art’ had been born when a sponge was dropped into a
and collaborative in intention and structure. Recent exhibitions
a dishwasher’s wage I couldn’t take that risk. The top gallery can cost
bucket of water. The element of simple speculation appealed to me and,
include 'Unrequited Hatred' at The Shed, Adapt Galway (2012) and
up to €4000 to rent (though I am told that almost every artist that
as a dishwasher / artist, I felt I had returned to the birthplace of art.
Master’s Degree show for Art in Public, Belfast (2011).
This became a way of looking at how the state of Finland relates
His study interests are dialogic, participatory, interventionist
exhibits there receives funding). There are some smaller galleries but I
In my performance, I made every day a celebration of art and
think the cheapest rent in Helsinki is €600 and so I decided that the best
turned this idea of ‘eternal celebration’ into a game. The game was
Marita Muukkonen is the Finnish editor at Kunstkritikk. She has
approach would be to begin doing street art and performance works.
designed to create an accident and, if the participants were imaginative
previously worked as a curator at the Helsinki International Artist
I focused on traditional performance and short-term spectacle where
enough, another possible infinity could be created. After explaining the
Programme (HIAP) and for several contemporary art institutions
the audience is asked to participate. We normally play kids’ games that
idea, we placed blindfolds on two of the participants, who then had to
such as FRAME, the journal FRAMEWORK and The Nordic
relate to infinite possibilities. Through this work, I wanted to change
run around after the others trying to catch them. This usually resulted
Institute for Contemporary Art (NIFCA).
the perceived value of my work from my daily wage to the value of
in an accident, which meant that my work was done. www.perpetualmobile.org
infinity. MM: I feel that socially engaged art and truly engaged MM: So, what was the actual art piece that you decided to realise
communities are rare in Finland. What is your impression,
Notes
at work? Did your employer know when he employed you that
coming from Ireland?
1. www.pekkaniskanen.com
18
The Visual Artists’ News Sheet
November – December 2012
policy
education
Here and Now
The Young Apprentice
Una carmody highlights findings from a recent survey carried out to collect data on visual arts audiences across ireland.
Lily Power talks to publisher Siobhán Parkinson about a new children's book by Rachel van kooij – inspired by Velázquez's las meninas – about a young disabled boy with great artistic talent living in seventeenth-century madrid.
In early 2011, Claire Power of Temple Bar Gallery
are more likely to be gallery visitors; 57% of gallery
and Studios approached me with the idea to explore
attendees were employed, 43% were unemployed –
audiences for the visual arts, and in particular gallery
reflecting the very high numbers of students visiting
visitors, in Ireland. Arts Audiences exists to carry out
galleries; A surprising 67% of visitors had attended at
research and analysis on audiences, and also to build
the gallery previously, with 54% having attended in
capacity in arts organisations to enhance their
the previous 12 months and overall the analysis
audience development capabilities. A seminar was
showed a very high level of loyalty among gallery
organised in May 2011 to look at the whole question
attenders; 46% of visitors indicated that they
of audiences, and one of the outstanding presentations
perceived they attended at galleries 6 or more times
on the day came from Pete Gomori, then of Tate
in the previous 12 months ; 29% of visitors described
Modern, who talked about the tools which Tate
themselves as having a specialist knowledge of the
Britain uses to find out about its audiences. He talked
visual arts, and a further 33% said they had a general
about the usefulness of a recent common visitor
knowledge. Visitors were very positive about the
survey for the visual arts in London, and from this the
gallery experience and 91% indicated a positive
idea of having a joint survey for several galleries in
inclination towards visiting that gallery again with
Ireland developed.
67% saying their return was definite, 95% of visitors
The pilot phase of this project, called ‘Here and
said that they would recommend the gallery to
Now’, has now been completed, and Arts Audiences is
others; 85% of visitors said that they had noticed the
currently looking at ways of broadening its scope for
additional supporting and interpretative material at
2013. The findings have been fascinating for the
the gallery and 82% found them very useful or quite
participating institutions and for the visual arts
useful; Marketing channels would appear, from the
generally. They have application beyond the
analysis, to have generally inconclusive results. Only
participating galleries, and Arts Audiences is keen to
articles in newspapers registered as having had an
get feedback so the project can be rolled out in
impact on more that 10% of visitors in four out of the
future.
five galleries; 23% of visitors cited lack of information
In Ireland, our knowledge about visual arts audiences has been limited to individual gallery
about what exhibitions were on as a main barrier to them attending more often.
materials, mainly periodic surveys. These are of
These can only be considered preliminary
immense value to the institution, but cannot provide
conclusions until a bank of knowledge is built up in
a picture of visual arts attenders generally or allow for
years to come, when the real value of studies such as
any comparisons to be made between institutions.
these becomes clear. Nonetheless, the study suggests
These are known as benchmarking exercises
a number of areas for galleries to explore to increase
and they help organisations compare their audience
both their visitor numbers and their engagement.
profiles and performance in certain areas against an
There are certain differences between younger
average. In the Theatre Forum benchmarking study
audiences and older audiences generally, and those
for 2011, for instance, which looked at venues and
who are new to the visual arts. Galleries need to
festivals, it was established that an average of 11% of
exploit marketing channels more effectively,
bookings were made online. Knowing this figure
converting those who are new to the gallery or the
allows venues to see how they are doing in comparison
visual arts into attendees. Expanding audiences is a
to their peers.
key challenge; galleries need to have more direct
Front cover of Bartolomé, by Fidelma Slattery
Back cover of Bartolomé, by Fidelma Slattery
Lily Power: In Bartolomé, the author brings a character from Velázquez’s famous painting to life. Does this help make great works more accessible to children? Siobhán Parkinson: Well, it definitely makes this particular painting accessible to children. You can ask a child to look at a painting and you can talk to them about what’s in it, but when there is a story that opens up the world of the painting and the artist, and that has characters the children have come to know, the painting will be much more interesting to them, and they will see its relevance, even though it comes from a very different world to our own. On the other hand, the book wasn’t written primarily to teach children about art. Rather, the story was inspired by the painting. And that in itself is a radical idea for children, that you can look at a great piece of art from another time and place and you can think about it and respond to it and come up with a story that might be one possible explanation for the circumstances in which the painting came to be. We have created extensive teaching notes to accompany this book (which can be downloaded from www.littleisland.ie). These provide ideas for teachers or parents interested in using Bartolomé as a way into great historical paintings.
Siobhán Parkinson
back) but because it was the front of a book, she designed it in a beautiful arc of print, rather than as a straightforward block of text. And the touch I really love – she placed the barcode on the back of the book inside an image of an artist’s palette. LP: The painting process is described in great detail: the long sittings, the science of mixing colours. Is this something that appeals to children? SP: I think in the context of the story, children will find it interesting. The names of the paints and pigments are very poetic, and the artists’ studio in the palace is presented in the context of Bartolomé’s growing friendship with the young apprentice, Andres, and his growing fascination with painting. So I think that works. LP: Ultimately, Bartolomé accepts that, despite having his talent recognised by Velázquez, he will never have fame and fortune. Is this a wise lesson for would-be artists? SP: It’s not intended as a lesson for today’s would-be artists. This is a historical novel, and the book is showing how things actually were at the time. Bartolomé has faced many challenges in his young
It is, of course, not generally possible to analyse
control over their relationships with attendees
attendance data in the visual arts based on ticket
through use of communication channels; galleries
LP: Throughout the book, the act of learning
life: his own physical disability, his father’s rejection,
sales, and so we adopted a survey approach. Audiences
should look to harness the power of existing loyal
provides a refuge for Bartolomé. Does this stem
the need to hide so that he will not bring shame on
Northern Ireland were appointed to run the common
audiences and should adapt their marketing and
from the author’s experience working in special
his family, his struggle to get an education, his
visitor survey in the five participating galleries:
support materials to appeal to those who do not have
needs education?
humiliation at the hands of the spoilt infanta – and so
Temple Bar Gallery and Studios (Dublin), Glucksmann
a specialist knowledge of the area.
SP: I imagine so. There is a strong ethical thread
the prospect of being an artist, even one who cannot
running through this story about the value and
be accepted into the guild and acknowledged in the
Gallery (Cork), The Model (Sligo), RHA Gallery (Dublin) and Butler Gallery (Kilkenny). For the initial
the future
dignity of human life, and the rights of disabled
way an able-bodied artist could be, is a very joyful
pilot phase, it was important that the galleries were
At feedback sessions, it was agreed that the survey
people to education and fulfilment. The author makes
thing for him. Of course it would be great if he could
on a similar scale and suitable for comparison with
itself needed to be shorter. There was also a consensus
the point that even if Bartolomé’s body is deformed,
become a ‘proper’ artist, but the artist’s way of life is
each other.
that the 2013 survey should be carried out at a
his brain is active and he is bright and artistic.
more important to him than glory, and the possibility
Audiences NI created, with the participants, a
different time of year, as this had an impact on
survey containing both standard and bespoke
findings. We also hope to expand ‘Here and Now’ to a
LP: What was the concept behind the unusual
Again, you have to see it in context. Mind you, even
questions, and a sampling plan to ensure that the
larger number of galleries – approximately 15 – and
cover?
today’s artists don’t always get all that much glory,
results were reliable. Front-line staff and volunteers
build up a picture of audiences that is meaningful
SP: We very much wanted to use the painting, or part
though they do usually do at least get to have their
were provided with training in how to carry out the
and useful.
of it, on the cover, because the painting is so central to
work attributed to them.
to use his talent is for him a wonderful opportunity.
survey so that the process could be repeated. Survey
In the final analysis, the findings of a study such
the story, but it’s a rather brown painting, and it really
results were uploaded to a site created by Audiences
as this are only as useful if the participating galleries
would be too dark (physically dark, I mean) to make
Siobhan Parkinson is a writer and Director of
NI for analysis over a period of six weeks in Spring
can harness them; otherwise they remain merely
an attractive cover for a children’s book. Our designer
Little Island publishing. She was Ireland's first
2012 and were presented in summer 2012. They
interesting. If galleries can look to attract audiences
came up with the inspired idea of putting the painting
Laureate na nÓg from 2010 –2012.
make fascinating reading for anyone interested in
using this information, adapt their marketing and
not on the front but the back of the book, and creating
who visits galleries in Ireland.
exploit the loyalty of existing audiences, the analysis
a bright and attractive front cover using details from
www.littleisland.ie
is worthwhile. If you have any comments or queries
the painting against a pale background. To liven it up
www.siobhanparkinson.com
Key Findings
on 'Here and Now', or would like to know more, the
still further, she included paint splotches, which we
The analysis covered a lot of elements, but some of
report is published on the Arts Audiences website.
picked out in gold. Having put the front cover on the
the key findings were: A majority, 55%, of gallery
back, she then also put the back cover on the front, in
visitors are women; Compared to the population
Una Carmody is the Director of Arts Audiences.
a way --- she filled up the pale spaces on the front of
generally, age brackets between 20 – 34 and 45 – 55
www.artsaudiences.ie
the book with the blurb (which normally goes on the
The Visual Artists’ News Sheet
Critique Supplement Edition 8 November / December 2012
Nick Miller 'Yard' Rubicon Gallery, Dublin 08 September – 06 October 2012 Nick Miller’s new exhibition, ‘Yard’, is a set of
something as humble as a cement mixer with such
works from 2009 to the present day based on the yard
verve is a deeply subversive gesture, in keeping with
of his studio at the foot of Benbulben in Co Sligo. The
the deceptive adventurousness of the show.
work focuses on the meeting between the landscape
Around the room you see a sequence of smaller
and the traces of human activity visible in the yard.
variations on the same theme. The use of the same
The paintings show girders and building materials
motif over and over again – sometimes with only
piled up along with equipment, such as a cement
marginally different compositional structures – links
mixer and a trailer. They also show the iconic
these works to ouevres as diverse as Cezanne with his
Benbulben Mountain and the ruggedly beautiful
Mont St Victoire and Hokusai with his 36 Views of Mount Fuji. And as with both of these artists there is nothing scenic or restful about Miller’s rendering and re-rendering of Benbulben and the yard. Each painting has a specific character, a personality, and, by limiting compositional variation, Miller brings to the fore the range of pictorial invention needed to render what he sees with complete honesty. Miller’s work is about obsessive looking, about recording what is in front of him with great accuracy. In his work, a lack of editing is not a flaw but a strength. In order to accommodate an avalanche of information and sensation, Miller uses material in a complex and audacious way: heavy impasto with spare scumbles alongside turp-stained drips, detailed drawing and swooshes of semi-liquid paint. However, the complexity of the paintings’ construction is never allowed to take over from their function as images. The framing device of the walls and roof of the truck are a constant in most of the pictures. The idea of recording them, along with the landscape, reasserts the fact that we are looking at a painting. It also evokes the idea of the studio as a proxy for the artist’s mind. Looking out through Miller’s truck view is rather like peering into the Hugh Lane Gallery’s Francis Bacon studio: you are aware of the significance of the space in the artist’s world view. These frames contain some of the most adventurous painting in the show and, like Bacon, Miller has used his walls as a palette and, in recording this, he has used huge blobs, agglomerations and splashes of paint. In side-stepping the reductive vortex of Modernism, the paintings have on the surface much in common with nineteenth-century art. Yet they are anything but old fashioned. Miller nails his colours to the mast by using a truck as his studio. Its inclusion as a contextual and formal device situates the work directly in twenty-first century reality. In each painting in ‘Yard’, the jumble of abandoned building materials has significant metaphorical power. In the context of post-crash Ireland, pictures of cement mixers and unused RSJs can take on various meanings. The works could be
Nick Miller, Steel, Yard and Mountain I, 2011, il on linen, 56 x 61cm, all images courtesy of the artist
countryside that surrounds it. These new works were
said to explore the idea of the landscape being bigger
painted from Miller’s now static mobile studio truck,
than the ups and downs of human fortune. They
which is parked in the yard. As the truck is no longer
could be about man’s impact on the environment.
on the road, Miller’s options for what he could paint
What makes the works in this show so powerful is
were limited and the yard took centre stage.
that Miller doesn’t labour the point. By painting
When you first walk into the gallery, the work that dominates the space is Steel Yard, Mountain and
exactly what he can see, Miller is doing something less rhetorical and far more poignant.
Trailer (2012). It’s a large picture which feels even larger because of the precise and compact composition
Andy Parsons is an artist based in Sligo and the
it employs. The painting depicts a view of Benbulben
Co-founder of Floating World Artist Books.
with a trailer dividing the middle ground of the picture. Thrusting forward into the foreground are two steel girders that look like the feet of a fallen giant. The picture has an uncanny pathos and sadness. The objects – scattered and discarded – are like the chaos left behind after the gold rush has moved on to another town. This painting is flanked by two small paintings on paper, one featuring a cement mixer and one of a trailer used to transport the steel girders. Mixer (2012) is painted with the kind of bravura that Picasso would have brought to painting a bull. The idea of painting Nick Miller, Steel Yard, Mountain and Trailer, 2012, oil on linen
Nick Miller, Mixer, 2012, oil on linen, 183 x 214 cm
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
'iArt' Sync Space, bangor 27 September – 13 October 2012
November – December 2012
lorg Printmakers 'spectral' City hall, Galway 24 August – 24 September 2012
THE space I enter looks slick, with its slate grey
sculptors, commercial photographers, textile
and white walls, a large glass front and well-designed
designers and painters, and the app was, for most of
furniture. The music playing in the background
them, a new medium to experiment with. The
gives the gallery a commercial air and makes this
problematic aspect of iPhone and iPad apps is their
visit feel like viewing an exhibition in a stylish
ubiquitous application and use on image sharing
interior design shop. It is evident that the architecture
platforms such as Facebook, Twitter and Flickr. As a
of this converted building has been given a lot of
result, we have become overexposed to the app
consideration, and as a result the room appears light
aesthetic that is used throughout this exhibition:
and spacious. High up near the ceiling hang
that is, a digitally altered and manipulated image,
backdrops and large lights that can be pulled down
often with a Photoshopped or a faux-Polaroid look to
to transform the space into a fully functioning
effect authenticity, age or originality. Everyone is a
photographic studio. The walls are lined with a steel
photographer nowadays, and can, using apps,
wire from which hang more than 35 A3 prints
produce striking, instantaneous, aesthetically-
clamped tightly in rows.
pleasing imagery with minimal effort that, though
Norah brennan, Red Rain on Fun Days, screen print, 2012
Claudia Keegan, Masters, digital print, 2012
Sync Space is a brand new venue, conveniently
generic in style, is visually appealing. What is
located close to Bangor train station. It aims to cater
undoubtedly challenging for any artist working in
for the local artistic community, and the practitioners
this format is adapting this now very familiar method
IN producing exhibition reviews for the
“visual monologue of internal conflict”. This activity
showing in the current exhibition, ‘iArt’, are all based
of photographic manipulation in such a way that the
Critique section, writers are deployed in unexpected
produced an almost psycho-geographic depiction of
in the town and are part of Firsty, an art collective
boundaries of this medium are truly tried and
places, armed with little more than willingness for
human interaction with the external environment.
with over 350 members from around the North
tested.
critical engagement and a disposition towards
The series comprised seven black and white digital
Mark Morgan has chosen a GraphPad Pro app to
artistic appraisal. This commissioning process has
prints depicting semi-abstract imagery including
West. For ‘iArt’, each of the six exhibiting artists
digitally reconstruct familiar consumer products.
proved relatively successful, allowing reviewers to
tree-silhouettes, paths and railway tracks. These
created five images and adjusted these using an
The dimensional technical graph prints of breakfast
engage with artwork that they might not have
physical manifestations of journey proved
iPhone or iPad application, a novel exercise for most
cereal he has produced are simply titled by their
otherwise chosen to write about, with a degree of
graphically striking, but a counter-dialogue also
of the artists involved. The images were then printed
commercial names: Rice Crispie Crispie, Fruit Loop, Coco Pop,
honest reflection beginning to emerge out of art-
existed within the work in the form of blanks spaces
in similar sizes on what looks like quality archival
and, combined with their labels displaying titles and
writing in Ireland. Best practice suggests that
which appeared to be almost erased from the surface
paper. Each image comes in an edition of 25 and is
pricing, perhaps unintentionally become enigmatic
criticality is not defined by ‘good’ or ‘bad’ reviews
of some prints. This carving out of space provided
accompanied by a large laminated price tag.
sculptural objects. Rice Crispie is shown from three
and ‘taking a stance’ potentially releases us from the
reflection on the moments when internal freedoms
On the right hand wall hangs a series of pictures
different angles and the object’s digital, scientifically
voids of neutrality or cronyism. On this occasion, I
can be identified within the everyday grit.
featuring layered images of feminine, textile and
rendered, pockmarked surface transforms the cereal
left the exhibition in question feeling disappointed,
Contemporary printmaking continues to
organic forms alongside depictions of, among others:
into a strange beige meteorite.
but also grateful, because now I have the opportunity
occupy a versatile but insufficiently defined position
to explain why.
in proximity to design, commerce, industry, craft
Ferris wheels to which a vintage-style digital filter
Morgan does not make any effort to disguise its
has been applied; landscapes with ‘silk-screen’ effect
digital construct, but embraces it. The digitally
Lorg Fine Art Printmakers Ltd was established
and the visual arts. As a fine art organisation, Lorg
borders and dramatic contrast; a Pop Art Mona Lisa; a
manipulated abstraction of the familiar is an effective
in 2005 by a group of print-making graduates who
are well placed to identify suitable venues,
monochrome close-up of a shiny motorcycle light;
and interesting way of exploring the show’s app
identified a need for a 24-hour-access professional
exhibition-making strategies and audiences for their
digitally altered Harland and Wolfe cranes (x2);
theme.
printmaking workshop in Galway City. Lorg (which
members’ work. Is contemporary print really best
sepia-filtered lilies; bumble bees; and stylised
The exhibition may have benefited from a
currently operates out of premises in Ballybane
placed in adorning the corridors of civic amenities?
portraits. The subjects for these images, while
stronger curatorial input, with fewer works displayed,
Enterprise Centre) has developed a diverse education
Spaces such as these present a number of aesthetic
doubtlessly captured with a good eye for composition
so that the more unusual images such as Morgan’s
and community outreach programme. This includes
and practical problems. Firstly, the lights were off.
and colour, appear to have been selected randomly,
would have had more space and could be explored
the provision of an excellent Annual Bursary Award
Whether this was a money-saving initiative or
adhering to no visible, concrete theme. The images
further. Despite my mixed reaction to the current
for print-making graduates, which offers access to
whether someone simply forgot to switch them on
are hung close together and are of uniform size. The
exhibition, new initiatives like Sync Space provide
the print workshop for a year. This commitment to
is not the issue. The fact that the viewing area was
installation is conventional, demonstrating limited
for – and serve – a community of emerging artists
supporting graduate artists demonstrates a
severely impinged upon by a wall-mounted radiator
experimentation with scale or display. The price tags,
hoping to exhibit and maybe sell work, and are
willingness to maintain links with the New Centre
and an array of institutional signage, and the
though unavoidable, are extremely distracting and
essential to a varied visual arts infrastructure.
for Creative Arts and Media at GMIT, a resource for
building was closed during culture night, further
the city that many other local initiatives and
entrenched my view that the space was not suitable
organisations fail to recognise.
for exhibition purposes.
make it very difficult to view this exhibition as anything but commercial.
Alissa Kleist lives and works in Belfast. She is a
The recipients of the Bursary Award for 2011 –
As well as providing access to contemporary
2012 were Norah Brennan and Claudia Keegan, who
printmaking workshop, Lorg Annual Bursary Award
experimentation, it risks losing its impact, becoming
both graduated from the BA Fine Art Printmaking
also provides the recipients with a valuable
aesthetically pleasing but bland: sellable but entirely
course at GMIT in 2011. The artists had the
opportunity to interact with other printmakers in a
lacking punctum. The artists exhibiting in 'iArt' are
opportunity to present their new bodies of artwork
professional studio environment, enabling them to
in a joint exhibition which ran from 24 August – 24
make the transition from student to practicing artist
September 2012 in Galway City Hall. It was Lorg’s
– these important benefits were highlighted by the
decision to utilise this wholly unsuitable venue that
two artists when I contacted the them about their
disappointed me most. But, despite its inadequate
experience. This fidelity to professional practice
show-casing, the artwork proved interesting, and
should therefore, in my view, also permeate the
was created using an array of traditional and
stage of public presentation, in order to showcase
contemporary print-making techniques.
not only the high standard of work produced during
When a photograph is taken solely to use the image as a drawing board for post-production
visual artist, co-director at Catalyst Arts and a member of artist collective PRIME.
Norah Brennan’s ‘Imagined Landscapes’ was a
this period, but also the merits of the bursary itself,
series of 12 prints produced using a number of
to further enrich and challenge the parameters of
printmaking techniques. Wood and lino cut, mono-
print-making, with the aim of moving thinking
print and screen-printing processes were combined
forward.
with collage techniques to produce layered and colourful compositions. Aesthetically, the body of
Joanne Laws is a critical writer based in Leitrim.
work was reminiscent of Modernist geometric
She has been published in Afterimage Journal of
painting, with angular shapes intruding upon the
Media, Arts and Cultural Criticism (US), Axisweb
dream-like landscapes. In some works, repetitious
(UK) , Cabinet (US) and Variant (UK).
circular orbs – gestures of solar, lunar or planetary bodies – became increasingly threatening in their invasion of the sky. Claudia Keegan’s new body of work, ‘A Path I Slowly Followed’, utilised landscape Mike Morgan, Rice Crispie, 2012, all images courtesy of Sync Space
Sync Space, belfast
as a more self-reflexive site, with a compelling
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
November – December 2012
Patricia looby 'between a thimble and a Nail' Triskel Christchurch, Cork 10 August – 10 September 2012
jennifer kidd 'marathon irish' Dialogue Gallery, london 08 September – 06 October 2012
IN Triskel’s Christchurch, once a place of
the Middle Ages, relics were placed in the apse area
Christian worship and now an art space and site of
and the ambulatory (an architectural innovation
film screenings and conferences, a contemporary
allowing the pilgrims to view them as they queued,
artist exhibits art objects reminiscent of relics and
prayed and chanted through the church). The
yet totally unique. Patricia Looby’s installation
associations attached to relics are of wealth,
occupies one of the aisles, tinged by the ambient
splendour, exclusivity. Take, for example, the oldest
light of ecclesiastical stained glass in muted shades
relic in the Vatican, the sixth century Crux Vaticana,
and in the company of austere rows of dark, ancient
a cross of silver gilt studded with precious stones.
pews. Most of the work comprises a jam-packed
Maurizio Calvesi described its “hieratic fixity and
collection of artefacts decorated with tiny beads woven into intricate patterns of strong shapes to
abstraction”, which “brings out the intrinsic value and costliness of the object”.1 Forgetting origin and
frame what were once ordinary objects. The display
purpose, what attracts Calvesi’s admiration is not
cases resemble museum collections, which exist to
the aesthetic value, but the monetary value.
remind us of the past by storing its relics (in the
There is a sense in which a relic is also a fetish;
primary sense of reliquia in Latin, from relinquere or
the possession of or at least close proximity to the
'what is left behind').
precious object replaces the initial desire associated
Jennifer Kidd, Noose, 2012, all images courtesy of Dialogue Gallery
Looby’s embroidered materials are juxtaposed
with its origin. The opening paragraph of Marx’s Das
with objects once familiar in rural Irish life. They
Kapital describes how capitalism attaches exchange
include amusing assemblages, such as wooden
value to objects, which are endowed with a symbolic
boxes from the 1900s, alongside remnants of ancient
meaning that “transcends” their use value. Walter
farm machinery: hammers, spokes, hinges and
Benjamin referred to an object’s “aura”, its “unique
scissors, each divorced from their original purpose
existence”, “authenticity” and “its presence in time
JENNIFER Kidd’s animated digital work, Noose, Noose
convention. But when an artwork – especially a
and given pride of place on a plinth or in box frames.
and a place”: elements that have been lost through mass reproduction.2 Benjamin argued, however, that
was placed immediately in the entrance hallway of
moving image artwork – uses theatrical devices, the
These items are arranged at the plumb centre of
Dialogue Gallery, juxtaposed with a projected work
work also explores – intentionally or otherwise –
finely-woven material, which is part gilded glass,
this also heralded a new era of shared knowledge:
by Lisa O’Donnell. The hallway led into a large
the similarities and differences between time and
part white cotton. Fragments of wrought iron are
important films, for example, that remain unique in
warehouse-style gallery space containing the group
space in moving-image and theatre.
assigned an ambiguous new meaning, their presence
our memories though many copies are available.
show of other Irish artists participating in an
glorified by roundels of pearls or shiny beads,
Looby’s artistic craft reclaims old objects – some
evolving exhibition entitled ‘Marathon Irish’.
pointing perhaps to an absence that elicits a feeling
mass-produced, neither precious nor rare – and
Noose was shown on a monitor stacked on top
for the animation work Cathexis Cathexis. Here, the beach
of nostalgia and of loss.
generates an almost silent, uncanny reverence.
of two timber crates all placed at right angles. In a
serves as a setting that creates tension, effectively
Looby invents unexpected combinations that
What might her work evoke? A legacy, perhaps, of
2-minute, 15-second short animation, two identical
combining nature and artifice, playing with setting
reflect the present as well as the not-so-distant past,
unspoken values? A sense of belonging or a sense of
Plasticine-style figures, wearing green floor length
and scale. In psychoanalysis, cathexis is defined as
when Ireland was a god-fearing rural country under
a past that ought not to be betrayed?
dresses, walk onto a grey theatre stage and sit on
the process of investing mental or emotional energy
chairs. Behind them are black cardboard cut-out
in a person, object or idea. Kidd has shown, in both
foreign rule. She presents us with fairy tales of
Dialogue Gallery. london
lisa O'Donnell, still from Slip, 2012
In Kidd’s previous work she has examined various different environments, including a beach
sparkling make-believe: magic keys to a hidden
Dr David Brancaleone is lecturer at LIT Limerick
trees that have overtones of halloween gothic: dark
Cathexis and Noose, that her attempt to create
chest; the metamorphoses of sinuous keys that once
School of Art and Design. His writing has
and foreboding. The figures (who have the
resonant figures or personas in non-narrative
secured solid timbers; ovals of baroque floral frames;
appeared in Circa, Vertigo, Experimental
appearance of girls, rather than women) pick up
animation is highly original. She is looking for ways
spanners and spoons; clusters of tiny knots; rows of
Conversations, Irish Marxist Review, Enclave
some knitting and proceed to knit at a furious pace,
to express intimate feelings or experiences that are
beaten washers red with rust. Are those lakes or
Review and the VAN. He is also a filmmaker.
keeping time with each other.
simultaneously private and universal. This is
continents in a sea of sequins? There is a clear religious theme, for among the objects are fragments of holy effigies. The most
Notes 1. Maurizio Calvesi, Treasures of The Vatican, Skira and Sunday Times Publications, 1962, 13 2.Walter benjamin, 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, harper Collins, 1992 (first published 1968), 211 – 235
The theatre audience continues to talk as they
challenging territory and it will be worth observing
knit, so that while they are performing, they are not
how Kidd further develops these themes in her
necessarily being watched or given the full attention
work.
of the audience. They continue to concentrate on
Noose is an ambiguous work, which could be
crowned Virgin and Child hanging on the wall next
their knitting without talking or interacting. They
further developed to clarify its intension. While the
to a box-framed sea shell, a small speck of rust and
both knit what seem to be cream-coloured scarves
one-stop animation was successfully executed, the
multiple embroidered shapes. It resembles the
and then tie each into a noose. Next, the figures rise,
audio element seemed less resolved. The audio
iconography of the nails of the cross. Emerging from
place the knitting on their chairs and proceed to
representing the voices and whispers of the
a hole in a piece of hessian (the kind of sack-cloth
walk off the stage. One exits left and the other right,
auditorium of the theatre was too generic and could
associated with penance) is a scrap of what might
not together as they did upon entering.
equally have been recorded in a pub or a restaurant.
prominent is a wooden, full-frontal carving of the
have been a popular lithographic print of a
The placing of the work within the exhibition
Sound plays a vital element in moving image work
Deposition. This is encircled by a doily of what
did not provide an optimum environment for the
directing the viewer and providing important layers
might be Limerick lace embroidered by the
viewer. I found it hard to focus on the individual
to the images. The generic quality to the sound
Magdalenes and concentric rows of tiny transparent
pieces when watching two moving-image works so
proved a distraction to the visuals.
beads and sea shells crocheted into place by pale
close together, as sound and image bled into one
In the context of ‘Marathon Irish’, an exhibition
hues of wool or cotton thread.
another. Separated from the rest of the exhibition in
to which work was continuously being added to
Relics become spectacle when they are
the hallway, the works were a physical adjunct to
include talks and poetry performances, both Jennifer
displayed and they gain value when combined with
the rest of the works, so they seemed in dialogue
Kidd and Lisa O’Donnell showed an understanding
precious materials. Lighting and ritual also help. In
with each other rather that the exhibition as a
of contemporary global dialogues in contemporary
whole.
art. They demonstrated an ability to work in an
From 'between a Thimpble and a Nail', Patricia looby, 2012
The use of theatrical devices is a motif currently
international context and define themselves beyond
used by many contemporary artists, including Keren
their ‘Irishness’, which, as young artists, will be vital
Cytter and Ulla von Brandenburg. The latter is
to their future careers.
known for her exploration of stage curtains and cutouts of the audience viewing the performers.
Laura Gannon is a London-based artist.
Similarly, in her series Film Notes Notes, Rose Wylie paints
Forthcoming group exhibitions include: ‘Into
stages
the Light’, The Model, Sligo, December 2012 –
and
curtains,
while
simultaneously
referencing films. In theatre, the audience is often a passive viewer consuming the narrative in front of them as it occurs, knowing that they are there for a defined, finite time, while the stage presents a demarcation between themselves and the actors. Of course this is a generalised description of what occurs in a theatre Patricia looby, images by David brancaleone
and there are many works that challenge this
March 2013 and ‘The House of Leaves’, David Roberts Foundation, London January –February 2013.
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
November – December 2012
Corinna schroeder-vfrihling 'some thoughts' Midleton Gallery, Cork 28 September – 10 October
Corinna Schroeder-vFrihling, When I Think of Mayo, 2012
Corinna Schroeder-vFrihling, Danse Macabre II, 2012, etching on zinc
DOES Irish art, for the first time in decades, have
“I like to connect things which may not normally
a pressing responsibility to be useful, to be vocal? Is it
be connected,” the artist says in the catalogue blurb,
possible for an exhibition to achieve the status of
"when put together, they tell their own story.”
social or political activism, even in its safest and
Although she is referring to her subjects, much the
frilliest of forms? Whatever the answer, I still feel
same can be said of the method with which she has
obliged to speak about and critique visual art in terms
chosen to execute them. What little I understand of
of its capacity for commentary and its transformative
the process of etching is that it connects such
potential. Now more than ever, I rarely have the
otherwise unconnected and essentially conflicting
courage to declare an exhibition thoroughly
substances as crayon and soap with needles and acid.
unchallenging, and merely handsome instead, and
The finished image emerges from a fusion of brush-
then to admit that I gained something uplifting from
like strokes, pencil-like scratchings and fluid patches
it nevertheless.
of colour, which seem to have appeared almost
The Courtyard Gallery is a cosy space. Located
entirely of their own volition.
upstairs in a renovated building off Midleton’s main
In spite of the exhibition‘s subtle serenity, there
drag, the gallery is adjoined by a few modest units
is a trace of something sinister at play. Where birds
selling patchwork materials, miscellaneous craft
appear, they are hooded crows, rooks and magpies.
objects and antiques. The elevation – not to mention
The skies are toiling and tumultuous. Amongst the
the assortment of prettily-organised treasures – mean
strangled branches, the woods are laced with scarcely
that the gallery is somewhat reminiscent of an attic in
discernible spooks. Like every good attic, there’s
a creaky old house: a place you were allowed to
something clandestine prowling within Schroeder-
explore as a child, but told not to touch anything.
vFrihling's pictures, some recognition that even the
Schroeder-vFrihling’s etchings definitely feel at
prettiest of things can have their spiky edges.
home here. The majority hang down from a picture
“Etching, painting, drawing are my ways to let
rail to rest against the gallery’s stone-faced walls.
other people take part in my feelings and visions of
Schroeder-vFrihling is German but has spent the last
the world,” the artist says. It’s a humble statement of
15 years living in picturesque Doolin in Co Clare. The
objective, yet perfectly pitched. The catalogue blurb
pieces which make up ‘Some Thoughts’ have been
also explains that Schroeder-vFrihling doesn’t believe
selected from eight years worth of her etchings. They
in printing editions. The clear patience and care,
show congregations of birds, squally skies and windy
which has been applied to each etching, is proof that
woods, rocks and fields and streams and beaches. A
she hasn’t chosen to work in this medium in order to
few of the titles nod to Irish literature and traditional
be able to produce many multiples of the same
music but for the most part Scroeder-vFrihling’s
picture, but because she gains fulfillment from the
concerns are the earth, the elements and the subtle
process, and maybe even finds solace along the way.
energies that jitter inside them.
The lab presents
Perhaps art should be, first and foremost, useless
The colours are subdued shades of blue, brown,
and voiceless, unshackled by any social or political
red and yellow. Each has been applied with grace, in
obligations that stretch beyond the bounds of its own
the smallest of measure to the most vivid of effect.
physical dimensions. Perhaps we should allow it to be
Between the trunks of tall trees, there are spatters of
merely nice, to be handsome. And perhaps artists
yellow. Between the bumps of cliff-rocks, there are
should aim for nothing greater than to try and invite
sploshes of teal. As I circumnavigate the carpet to
others into their feelings and visions, to absorb
examine one piece after another, I feel myself growing
something of the temporary distraction and quiet
steadily and surprisingly serene. It doesn’t often
comfort that they experienced through the process of
happen that I attend an exhibition of contemporary
conception and production.
Veronica Forsgren
Ett Hem Preview on 15th November 2012 Exhibition runs until 5th January 2013
art and simply enjoy myself. Instead, I tend to feel frustrated that I am probably missing out on
Sara Baume is an artist and writer based in East
something and I’m compelled to claw frantically
Cork.
between the cracks of the obvious for implications, references or statements that reflect some deeper meaning than the picture or object itself portrays.
www.sarabaume.wordpress.com
The lab T: Foley Street, Dublin 1 T: 01 222 5455 e: artsoffice@dublincity.ie H: Monday – Saturday, 10am – 5pm W: www.thelab.ie
The Visual Artists’ News Sheet
November – December 2012
23
festival
Jane McCormick, I made a pinch pot today , clay, video, 2012
Michael Mayhew, still from untitled performance on Main Street, Cavan
Cecily Brennan, Black Tears , video, 2012
The Art of Communication
Amanda Coogan, still from untitled performance at Cavan Institute
sheets against her cheek, or swept the soapy street. Mayhew undertook a solitary march down the main street toward the edge of town after a somewhat unexpected fracas involving some youths, a parent, the Gardaí and Mayhew posing as a double yellow line. Covered head to toe
yvonne Cullinan reports from the multidiscipliary trans-art Festival of contemporary art, which took place in cavan town from 4 – 19 august 2012.
in bright yellow paint and holding his head down with his hands over his ears, Mayhew continued his stricken journey unaware of onlookers who stopped to stare or trailed silently behind him. Sally O’Dowd’s performance-installation was totally dependant on participation. Once over the threshold of her created domestic space,
Curated by locals Joe Keenan (Bluewall Gallery), Sally O’Dowd
were almost identical in their non-expression, their assumed postures
the viewer was immediately invited to take a seat and a cup of tea. At
(performance and visual artist) and Siobhan Harton (designer and
imbued them with character – leaning back in astonishment, staring
any given time, there were a number of random people sitting together.
visual artist), trans-art was an extensive series of performances,
ahead with arms folded, conspiratorially leaning toward another.
This ritual of having tea became a vehicle for “conversation, exchange
workshops, talks, installations, graffiti and exhibitions. The aim was
Within eye-line, the viewer appeared to be the subject of their animated
and reflection between participants, contributors and audience”.
“to bring contemporary art to an international audience, expanding
examination. The result was a sudden consciousness of looking and
Fleeting glimpses of ensuing experiences were transferred in writing
conventional definitions of both art and community-based practice,
being looked at, of returned curiosity. Out of eye-line, the sense was
onto individual envelopes containing the visitors’ used tea bags and
while engaging visitors to and residents of Cavan alike”. The festival
of a narrative unfolding beyond the viewer, witnessed second-hand
pinned to the wall to form a collection of remnants.
was funded by the Arts Council, the International Fund for Ireland and
through these characters.
Cavan Art Office and supported by a number of local service providers
Elisa Haug requested a less familiar form of participation for her
The viewer became a more uncomfortable witness to local
Skype performance from Berlin. She unexpectedly called for a volunteer.
actress Britta Smith’s absolute anguish, in Cecily Brennan’s powerful
Stepping forward, I was asked to don a hand-crocheted orange dress,
In delivery, trans-art reflected several familiar approaches on
video piece. Against a bold red background, Britta faced her audience
rotate clockwise and anticlockwise in succession for ten minutes,
the arts scene – the decentralisation of arts events, the occupation of
and openly expressed immense sorrow, anger and despair. There was
repeatedly calling out semi-invented words. I felt dizzy, I got tongue-
disused space, and the shifting role of the artist. The festival sprouted
no respite from this intense one-to-one. At one point it seemed as
tied, I laughed, I was observed; it was intense. It was also somewhat
from the fertile ground of previous fringe programmes held during
though Britta was shedding tears of blood. At another, her eyes met
empowering and I could sense an affinity from those who looked on.
Fleadh Ceoil na hEireann 2010 and 2011 in Cavan. Confirming Cavan’s
the viewer’s and her accusatory stare, almost unbearable, immediately
Then, the entire audience were on their feet undertaking the same task.
status as a cultural hub, the ‘trans-art’ curators pushed the boundaries
deconstructed the space between screen and viewing bench. This direct
While we collectively cut the dress into tiny pieces afterwards, Elisa
of scale and potential for arts presentation within the town. Over 40
address to the viewer could have been a call to accountability – for their
explained her performance to some inquisitive children.
artists were invited to engage throughout the environs in unexpected,
presence, for their role as necessary observer, witness and completer.
and businesses.
During a measured, elegant performance, Amanda Coogan
private or underutilised spaces. The curators became hosts to fellow
With her installation, I made a pinch pot today, Jane McCormick
conspiratorially administered a wink to two small girls who were
artists, instigators in the creation of new work and mediators between
enveloped the viewer in her practice. A video showed the process of the
reluctant to enter the room and was rewarded by their attention for
the art world, the private sector and the public.
artist forming a clay pot, the camera angled down at her hands fashioning
longer than expected. Perched with unsure footing on a barricade of
The most striking element was the endeavour to “bring art closer
the pot in her lap, as if the viewer were in her place. 365 clay pots in
chairs and accompanied by an excerpt of Opera, Coogan mimed an
to the people”. The festival was curated with public impact in mind.
various states of intactness sat in the space, the majority mandala-style
unexplained narrative. The empty chairs hinted at a notably absent
As an artist, an audience member and a participant, I found myself
in the centre of the floor. The ritual of making one pot per day for one
audience. Almost in the style of a swansong, the performance seemed
thinking about the theme – “trans as a prefix meaning across, beyond
year explored “the possibility of integrating a simple daily art practice
the antithesis to the overarching ethos of the festival, and yet it was the
and through” – in terms of the relationship between artist and audience.
with the limitations of living with a chronic pain condition”. The
embodiment of it – in some sense, a case of ‘if a tree falls in a forest and
There was an overarching sense that the audience were being addressed
ritualistic nature of the work, infused with the reverential atmosphere
no one is around to hear it, does it make a sound?’
across the divide: catching and holding their gaze, drawing them in,
of the subdued Presbyterian Church Hall where it was housed, created
causing active contemplation, physical response or actual participation
both a meditative yet somewhat stifling experience.
beyond the expected, and inviting them to become witnesses to or accomplices in the work through this subtle communication.
The overall feeling of intimate inclusiveness and invited participation was consistent throughout the festival, bringing into
While the visual artworks, those exhibited and those graffitied
focus the importance of the audience. Though clever curation and the
around town, were well received, it was two weekends of back-to-back
accumulation of generous, audience-sensitive artists, trans-art provided
Following a trail of pink and white dots painted onto the street,
curated performances that caused visible sensation during the festival.
an accessible, inspiring and exciting blast of contemporary art and
I found most of the visual artworks housed on the main street within
Setting a table of wares on the Market Square, Brian Connolly invited
generated a positive social energy.
Cavan Institute, also home to a welcoming pop-up cafe and souvenir
passers by to purchase a country from a map of the world, buy a pair
shop. Vanya Lambrecht-Ward’s mixed-media sculptures and Gabhann
of old teeth or take an obscure reading test with distorted glasses and
Other invited artists include: Maria Anastassiou, Michael Fortune,
Dunne’s paintings in particular demanded very close inspection.
an astronomy book. At one point Fergus Byrne sat calmly on a chair
Patricia McKenna, Anika Carpenter, Mark Cullen, Philip and Joseph
Lambrecht-Ward’s small structures were almost imperceptible within
donning a futuristic headpiece, eyes and ears covered. Three teenage
Doherty, Rita Duffy, Julie Forrester, Orla Galligan, Cliona Harmey,
the large room, requiring that the viewer bend down or stretch upward,
girls looked on intently and asked Connolly what he was doing. He
Carlotta Hester, Philip Napier, Morgan O’Hara, Cleary&Connolly,
lean in and adjust their focus. Her half-conjured spaces demanded such
replied that he was selling time and asked if they wanted to buy some.
Aine Philips, Aideen Barry, Vivienne Dick, Jenny Keane, Laura
intimate examination as to become momentarily inhabited, obscuring
After much peer-pressure one girl bravely took the seat after Byrne. For
O’Connor, Karolina Raczynski, Vincent Sheridan, Circo Islu, Leo
the concrete space in which they and the viewer stood. A clever use
the first few moments she blushed and giggled nervously but after a
Devlin, Jessie Keenan and Ellie Creighton, Alastair McLennan and
of perspective in Dunne’s stark, mesmerising landscapes also drew
while assumed a quietly serene expression. By the time she was finished,
Hugh O’Donnell.
the viewer from a stance of detached observation to habitation of the
Connolly was calmly demonstrating an astronomical umbrella device
rendered spaces. Dunne bridged the gap more covertly by unexpectedly
to a large group of confused teenagers.
Yvonne Cullivan is a Cavan-born visual artist based in Galway.
juxtaposing obscure pencilled texts on the walls and linoleum floor.
The energy of public participation escalated with performances
The sense from both artists’ work was of being beckoned closer and
by Chrissie Cadman and Michael Mayhew. Cadman became enclosed
trans-art.cavan@gmail.com
whispered unclarified instructions of completion, an invitation to
in a crowd of onlookers while she energetically washed sheets in a
www.facebook.com/trans-art.cavan
become part of the work.
large tub of soapy water on the street. The crowd shouted questions
www.yvonnecullivan.com
This sense of perceived communication was echoed in the work
and exchanged explanations, as Cadman continued, not wavering from
of Vanessa Donoso López. A solitary shelf acted as a vantage point for
the intensity of her activity. Despite getting splashed, they remained
numerous monotone miniature dolls. Although their porcelain faces
with her as she became exhausted and soaked, paused to wring out the
24
The Visual Artists’ News Sheet
November – December 2012
people
residency
John Carrick
Artelier
John beattie introduces tributes from several artists who have worked with john carrick – workshop manager at fire station artists' studios for 16 years – on the eve of his retirement.
nick kaplony, senior project coordinator at artquest, profiles the artelier programme, which facillitates international residency exchanges for artists, and is available to vai members.
metal craftsman, a technical advisor, a maker, a
Artquest is a London-based organisation that
Members create a profile in which they post
trouble-shooter, someone you can talk things through
supports visual artists by connecting them to the
images of their studio space and outline the facilities,
with. Outside of the artistic community, the incredible
knowledge, opportunities, resources and networks
whether they are offering accommodation for
value of someone like John Carrick might not be
they need to sustain and develop their careers. We
exchange as well (which is optional), and the specifics
appreciated. But his vast experience of working with
believe in the importance of travel and exchange and
of what they are looking for in an exchange (location,
artists, his ability to problem solve and his interest in
have developed a powerful online tool, Artelier, to
facilities, smoking / non smoking, accommodation
the arts are indispensible. Because of John’s broad
facilitate artists’ global mobility.
included etc). By presenting such a detailed picture,
abilities, he also acts as buildings manager, health and
John Carrick at Fire Station Studios
John Carrick started his apprenticeship as an
artists with families and dependents can access
safety officer, handyman, some-time shower drain
Benefits and Challenges of Travel
un-blocker and surrogate father. Fire Station is home
Of all the types of opportunities listed on the Artquest
The next step is finding an artist to exchange
to many different people and John has always
website, international residencies are often the most
with. The site has a number of features to make this
understood the sensitivity required for working
sought after. This is little wonder when one considers
possible, such as a section that automatically displays
somewhere that serves as a home and a workplace.
the benefits they can offer. At its very best a residency
other artists in a desired destination who want an
John is more than a colleague, he’s a good friend who
might provide an artist with a free studio,
exchange with the member’s location. There is also a
will be greatly missed and we wish him well.
accommodation and even a bursary and materials
search facility that allows a more filtered search by
allowance so they are relieved of day to day pressures
map or keyword and a news feed that displays the
alice maher
of life, allowing the artist to spend the residency
latest members to join the site.
One of the art world’s true gentlemen is John Carrick,
period pushing forward their practice uninterrupted.
Having identified potential exchange partners,
full of knowledge in his own field, with an easy,
As well as the physical (and mental) space
members can message each other through the site (or
provided by a residency, practising abroad offers
directly once they are comfortable swapping contact
peripheral benefits to the artist. Exposure to new
information) and arrange a mutually agreeable
generous way of communicating it.
ecclesiastical art metal worker in the well-known
international opportunities as well.
company MH Gill & Son on O’Connell Street, Dublin,
shane cullen
markets, networks and influences, can all play a vital
exchange. Again, there is site function to make this
in 1953. After 14 years in the company he became
John Carrick will be a huge loss to Fire Station and the
role in career development. Emerging trends in
easier: a ‘Request Exchange’ function allows artists to
foreman with a staff of 30 craftsmen. In 1975, the
local community of the North Inner City. I can think
another country’s art scene might make an overseas
negotiate dates back and forth and ensure double-
company closed and, following this, he became
of no problem that John would not have been willing
art ecology more welcoming than a home one. For
bookings don’t occur. Once a date has been agreed, the
technician of craft metal at The National College of
to tackle or solve, either by his own skill and expertise
artists living in a location saturated with other
site automatically generates a letter of agreement
Art and Design, Dublin, a position he held for nine
or by identifying the right specialist who could find
practitioners (like London) competing for exposure
between users to ensure that they are aware of their
years. In 1996 John was interviewed for the job of
the solution. The wealth of knowledge and contacts
can be a real challenge. Working as a bigger fish in a
respective responsibilities. (While Artelier is designed
Workshop Manager at Fire Station Artists’ Studio,
he had built up over his long career in industry was
smaller pond can give an artist the space they need to
to assist practitioners in arranging exchanges, it’s
Dublin, where he remembers the last question put to
generously dispensed to all of the artists who were
increase their visibility. Career development abroad
important to note that any agreements are between
him back then by the panel: “How do you feel about
wise enough to recognise the value of this
ultimately impacts on career development at home.
the respective artists only.) At the end of the exchange,
working with artists?”
encyclopaedic knowledge, which is genuinely born
However, as is the case with most opportunities,
artists are requested to rate and leave feedback about
from experience. The great thing about John is that he
there are more artists than there are residencies, and
their exchange experience. Ratings and feedback
John Beattie in conversation with John
is always willing to make time for people and their
without the support of a well-funded residency
remain visible to other users and act as an indicator of
Carrick at Fire Station Artists’ Studios
questions, even under pressure. Thanks John, for all
programme, the prospect of working abroad may
a potential exchange partner’s reliability.
John Beattie: After 16 years at Fire Station, and with all
the craic and the yarns also.
seem like a costly and intimidating proposition,
the experience, skills and knowledge you have gained
leaving many practitioners missing out on the
Other Applications
working with artists, sculptures and craftsmen from
Alan phelan
possibilities that overseas practice can present. In
Though it was originally anticipated that exchange
all traditions and mediums, how would you answer
John was the one consistant face during my time at
recognition
working
partners would swap studios and trade places
that question now? (John replies laughingly, with his
Fire Station. There were many staff and artist changes
internationally can bring and to mitigate the
simultaneously, Artelier members have taken various
characteristic humour.)
but he was a constant. He was also much more than
challenges it presents, we created Artelier.
approaches to arranging exchanges. Many have
of
the
benefits
that
that: nothing was ever a problem, everything was
Artelier is an international networking and
visited each other first before swapping studios, or
John Carrick: I’ve enjoyed every bit of my job here at
possible (no matter how stupid the question). Having
studio exchange website for visual artists, which
took turns in hosting each other rather than
Fire Station. I’m still being scourged by artists and
John around made the oddness of living in such a
allows any artist to organise their own international
exchanging spaces at the same time. Indeed, artists
sculptors, and will hopefully continue to be scourged
residency so much better and helped make Fire
residency. The premise comes from websites like
have found further uses beyond the site’s original
for some time yet!
Station a better place to work and live. I wish him all
Couchsurfing.com, but is applied to artists. Artelier
intention, using it as a research tool to get insider
the best in his retirement and know that he will never
removes the cost of studio and accommodation
information direct from peers overseas, or using it to
really stop working. That’s just not in his nature.
abroad and connects users directly to networks of
find local rather than international networks: a useful
artists and arts organisations around the world. These
bonus to the site’s map feature is that it can highlight artists who are nearby as well as around the world.
Noel kelly John is a man who runs away from praise. But, when I heard about his retirement, it became very
Caoimhe Kilfeather
networks consist of over 50 national and international
important for us to celebrate him and provide a
I would like to thank John for his generosity, help and
arts organisations with which Artquest built
2013 – 2014 will see redevelopments to the
place for him to know how much he is deeply
advice, and for the great humour he has always
partnerships while developing the site in 2007, and
Artelier website, including a mobile app and a series
appreciated by the artists who have grown to both
brought to my (sometimes tricky) endeavours over
over 500 individual artists in 45 countries.
of small travel bursaries that will make working
admire and respect him. When living in Fire Station,
the years.
John's importance became clear: his support and
abroad even more viable. How it Works
guidance and the informed, engaged, and level-
Fiona Mulholland
Artelier is a free membership site, open to any visual
International country guides
headed practical advice that he had to give when
I first had the privilege of meeting John in 1989 when
artist anywhere in the world. To become a member,
While Artelier assists artists with the practicalities of
problems seem insurmountable. He is a good friend
he was technician in the metals department at NCAD.
users have to be invited on by an existing member.
working abroad, other parts of the Artquest site help
to all that know him, though I have some doubts
John was then, as he is now, the first port of call if
This ensures that the site is only used by artists and
to orient you in overseas art scenes, meaning you can
that this is going to be anything but a very active
anyone needed technical advice in the fabrication of
goes some way towards safeguarding the welfare of
make the most of your time travelling. Our
retirement.
an artwork. He has a huge wealth of knowledge in
its membership. Artists can also request an invitation
international country guides have art- related resource
regard all things metal but, that aside, I have always
from Artquest or one of our partner organisations
listings for most countries around the world, and an
Clodagh, Liz and Jessica (Fire Station
thoroughly enjoyed our chin wags over a cup of tea
around the world, and confirm they are a practising
ever-growing number of more detailed country
Artists’ Studios)
and a smoke. I hold John in the highest regard and he
artist by sending a link to their website or artist's CV.
guides. Countries covered so far include China, India,
Artists work in collaboration, not in isolation as is
has certainly been a part of my professional life. John,
Once membership has been approved (usually within
Armenia, Georgia, Argentina, Spain and Iceland.
often perceived. We forget that artists, especially
I sincerely wish you all the best and I do hope you
48 hours), artists can begin to invite their peers to join
These country guides are broad introductions to key
sculptors, need support and that they regularly
enjoy a bit of down time. Thank you for being there.
the site. This is the main way in which the sites
differences between operating as an artist at home
membership grows and develops.
and abroad.
collaborate with people who possess special skill sets. John Carrick is one of those people: a highly-skilled
www.artquest.co.uk
The Visual Artists’ News Sheet
November – December 2012
25
policy
Catherine Delaney, Other Stuff, image by Ros Kavanagh
Maggie Madden, Site Line, 2012, image courtesy of the artist
Children's finger puppets at Culture Night 2012
Rachel Tynan, Cut Throat dancer, Rachel Ensor, image by Michael Holly
National Tree Day event at Red Stables, Dublin, October 2012
Cultural Strategies
Festival and 'Break Bread Open', a special programme of food, screenings, collaborations and discussions held in FACT Liverpool as part of the Liverpool Biennial. As such, The Lab continues to exist as a strong indicator of developments in Dublin’s contemporary visual arts scene.
Dublin City Arts Officer, Ray Yeates, discusses recent and upcoming events, projects and policy developments across the city.
Forthcoming exhibitions at the LAB include solo shows by Veronica Forsgren, Mick Wilson and Vera Klute. We also continue to encourage new writing through commissioned essays for each of our exhibitions. In partnership with Visual Artists Ireland, we have developed an Art Writing Award, which runs this year
Dublin City Council Arts Office plays multiple roles in the development and programming of the arts in Dublin. Mentor, leader,
investment potential within tourism and the possibilities available in
for the second time. Our programme of talks is archived and available
programming alongside food, hospitality and outdoor events.
publicly through www.vimeo.com/dccartsoffice.
funder, partner, facilitator are just some of them, and often these roles
Another well-documented effect of the recession has been the
Public art has shifted to a new level in Dublin and, as Public Art
combine and change even throughout the life of a project. People
multitude of empty buildings that have potential for artistic use at low
Officer, Ruairi O Cuiv has focused on making public art a feature of all
sometimes view their Arts Officer as running a mini Arts Council but I
cost to the artists. In response to this, the City Council have been
other programmes and public space strategies in Dublin. He has
disagree with that view. Arts Officers as public servants and, under the
developing the Vacant Spaces Programme, a joint initiative by the Arts
reframed the possibilities inherent in different types of public art
direction of City Councillors, represent and enhance the public’s
Office, Property Section and the Economic Development Unit. This has
initiatives looking well into the future. Anu Productions’s The Boys of
engagement and experience of the arts. Often, the best way of doing
been a real learning process and we have discovered the importance of
Foley Street, which took place as part of the Dublin Theatre Festival, is a
this is to support artists, but it is not the only way. I enjoy taking actions
stressing the word ‘potential’. Yes, there are buildings lying apparently
good example of this change in direction.
and encouraging programming that empowers the public to engage
idle, but these buildings have owners and letting agents who all have
There are programmes and events also within the Arts Office
with artistic practice, in different neighbourhoods, as participants. If
different expectations of what can be achieved for their building.
continue to deliver real value to the public. The Dublin Writers Festival
the record crowds at Culture Night 2012 prove anything it is that the
Matching these expectations to the capacity, building management
– now in its sixteenth year – continues to innovate and draw major
public really want this empowerment and they particularly want
ability and financial resources of artists is the daily challenge faced by
literary figures to Dublin and to showcase all that is great about Dublin
young people to enjoy all that the arts can offer.
the programme administrators. Despite this, there have been some
writers and writing. Jim Doyle’s stewardship of The Northside Music
In the first few months of my appointment, the Arts Office was
positive outcomes and there are signs that artists are now engaging
Festival, Opera in The Open and his programmes at The Red Stables are
charged with developing a new cultural strategy for Dublin City
with property owners on their own behalf using the newly-acquired
part of a long list and it will be a couple of years yet before I have a real
Council and we are working hard with all of the sections of our
skills they have learned through this initiative. There are now buildings
grasp on all that the Arts Office does.
particular department: Culture, Recreation and Amenities. We are also
at seven different locations across Dublin that are under Arts Office
working with other departments and organisations such as Events and
control, which are either being used or are about to be used by artists.
One picture, however, has clearly emerged: when you put libraries and the Unesco City of Literature, the Arts Office, the Hugh Lane
Sports as well as Dublin City Gallery, the Hugh Lane and various
For me, the most exciting part of the job is learning from the
Gallery and the City Events Unit together in one organisation then it is
libraries in order to frame a coherent strategy that focuses on
experience of my fellow Arts Officers and their ongoing programming
obvious that the scope, impact and quality of City Council Arts and
strengthening the cultural team within the City Council. The aim is to
across the city. Sinead Connolly, Sheena Barrett, Jim Doyle and Ruairi O
Cultural programmes is seriously underestimated and of national
achieve this through cooperation, joint programming and by framing
Cuiv as Public Art Officer bring a formidable expertise to Dublin’s arts
significance.
new external partnerships and agreements with cultural organisations
scene. To quote Sinéad Connnolly:
and institutions. There will also be a separate Arts Plan to set out the strategic goals and priorities of the Arts Office. The arts are of course changing, both through development from within and synergy between various art forms but also because of
“Unlike other agencies, when artists work with the Arts Office
Ray Yeates is the Dublin City Arts Officer.
they get the support and development ability of an Arts Officer as a
www.dublincity.ie/recreationandculture/artsoffice
unique resource”. This is a facility that is in more and more in demand as traditional resources dwindle.
economic difficulties and the identification of culture as an engine of
Programming at The Lab Gallery, under Sheena Barrett, provides
economic recovery. Festivals and civic events are increasingly important
real opportunity – particularly for recent graduates – and hosts many
to Dublin’s economy, as was demonstrated definitively at the recent
first solo shows for young artists that provide a critical platform for
Tall Ships Festival. Agencies such as Failte Ireland are seeking more and
their development. The Lab’s reflective programming of workshops
more to ‘instrumentalise’ the arts.
and public talks has a key position in the city’s contemporary visual
Artists and arts organisations are rightly concerned about whether
arts scene. Sheena has also curated and encouraged many events and
the fundamental value of what they do will continue to be appreciated
exhibitions in the area of collaboration and negotiation. 'Quantified
if they are not meeting economic targets such as visitor numbers. Here,
Self', a collaboration between Michelle Browne, Bea McMahon, Saoirse
the Arts Office has an important role as an advocate for the importance
Higgins, Cliona Harmey and Shimmer Research, won the award for
of the arts in Dublin. We emphasise that economic value can only be
Best Small Sponsorship at the Allianz Business to Arts Awards this year.
realised and sustained when the programme, exhibition or production
Recently, Sheena also worked with GradCAM’s 'The Food Thing' on
is of high quality. Artists are also waking up to the funding and
‘The Salt Bitter Sweet Sea’, a banquet held at Chq during the Tall Ships
26
The Visual Artists’ News Sheet
November – December 2012
artist-led project
There is no spatial separation between performers and audience. Viewers must be creative in changing positions that can, both by design and chance, give great viewpoints on the overlapping actions of performers. The length of the gallery gives a natural upstage and downstage, to use theatre terms. But these co-ordinates are dependent on where the viewer stands. Pauline dances to Alex’s drum in the back room as I see Frances enter upstage left through the gallery door in a fine act of chance. She pulls herself, like a cross country skier, on two brush handles. Over four hours, the pace is measured. It picks up and peaks only to drop again to something more sustainable. The work has a rhythm. Engagement with the architecture of the space is frequent. There is much taping of the room’s peripheries and lines being inscribed on the wall. It seems like a delimiting of the space yet it reiterates what the walls already do. The group all hail from sculpture origins and marking Performance by Alex Conway
the wall seems somehow innate. This prompts reflection on how the extremities of the body’s kinesphere precede those of the room. The hands, our most immediate tool, reach the kinesphere’s edge. By making contact with the walls, the sense of space is reduced and the sense of touch emphasised. In contrast, softer materials produce subtle actions like the dance of hands between Michelle and Frances as they carry loose hairs about each other’s wrists. At a distance all I see are moving hands. Their weightlessness seems independent of any material. A more significant architectural engagement is with the window.
Performance by Frances Mezzetti, all images courtesy of Joseph Carr
The Performance Collective
In contrast to the mouths that never speak, the windows issue onto the street various arrangements of objects. This organ of communication is
Subject to Ongoing Change
crucial in facilitating an engagement with the public and extends the
Fergus Byrne describes 'ongoing change', a series of performances, by the performance collective, which took place at the galway arts centre from 16 – 29 July 2012.
each time gambles that she will remain low.
collective’s presence. Alex often uses the window. On the afternoon following the ‘Dusk until Dawn’ event, he begins swishing a bamboo pole in close proximity to Michelle who lies beneath him, cleaning.3 He is aware of her but After some time, he joins many bamboos end to end to make a long rod from which he hangs a shoe out the window. It is suspended, as Damocles’ sword, over the road for many minutes. Perhaps people
'Subject to Ongoing Change' was an immense project held at
Items emerge from the mouths of others, feathers spluffing forth,
see this public sculpture, perhaps not. He tires and strains to hold that
Galway Arts Centre by The Performance Collective. Programmed as
their dry texture immediately discomfiting, a paper bag chewed and
rod so the shoe doesn’t slip off to clatter a head. But he gets it in the
part of the Galway Arts Festival, Maeve Mulrennan made the bold step
regurgitated, or a tie entirely consumed within the mouth and then let
window and then goes outside himself. I like this logic: to go to where
of dedicating two weeks of the gallery’s programme to performance art.
fall out. All such activities challenge the breathing yet they are
he has just been focussed. Outside he stands beneath a drain getting
The group: Dominic Thorpe, Pauline Cummins, Frances Mezzetti,
performed with a quiet purpose. In watching it is easy to forget the
very wet. Later inside he stands, soaked, beneath an umbrella.
Michelle Brown and Alex Conway, improvised ensembles for four
implications of the actions as they are made without drama or haste.
Michelle’s action of boring with a lump of coal on reams of
hours without pause every day.1 The Collective formed four years ago to give mutual support to
Action occurs until it finds its meaning in dialectical relation to
newsprint evokes the activity of a life drawing class – charcoal marking
something else. A shallow tray becomes a water vessel. Michelle
paper. She wears away pages and so too does a session of drawing. Only
each other’s performance art practice. Having performed collectively
walked the length of the gallery dribbling water from a kettle on the
here the drawing instantly destroys the page, bypassing the production
only three times prior to Galway, a full two weeks was a challenging
floor until she found that tray and now her pouring seems quite
of endless exercise drawings.
prospect.
appropriate. She carries the tray, slopping the meniscus, then stands
Her progress is slow given the time spent. A ‘Let me help you with
Each time I visited, I wrote with the intention of capturing the live
below Dominic who dips his many ties in the water. He wrings one out
that’ might allow a sharing of the load. It would break the resolute
nature of the work. This engagement became very particular, giving me
over her head before showering her with the contents of the tray; and
singularity of her action: mortar and pestle. I watch her at this task.
a clear role and way of experiencing the work. Ultimately, helpless, I
then, with fierce sentiment, he walks her paternally through the space
That Kafka story, Before the Law, comes to mind. It is her task that she
would lay aside the pen and join in.
to the front gallery. I recall that, previously, they had laughed about
has begun and, although I feel inclined to assist, it is her task to finish.
how he takes this caring attitude toward her in his practice.
Things begin quietly each day and build over time. Through engaging with objects, activity develops in the space. A consistent
No one else could ever be admitted here since this gate was made
tone. A strong sentiment enters the work at such a point. It can turn
only for you. I am now going to shut it.4 No. Ultimately I’m moved to help. It is largely to do with having
things inwards and I wonder if resisting this might conclude a sequence
attended so often, knowing that Michelle will not stop at this until
in more ambiguous ways, rather than dissolving the tension.
spent. But still I try to find a way in that is respectful of her commitment.
These interrelations, originating in daily life, can strike a peculiar
My engagement is through joining my hand with hers.
feature is that of objects held in the mouth. It seems almost a replacement for the act of speech, which is not strictly banned but does
My interaction was unusual as this was not encouraged or desired
not feature as part of these performers’ material. A sign on the door
of the audience at all. Over time though I feel the work, because it has
requests silence. Their interest is in the use of objects and the
Pauline observes others. It has become apparent over days. She
no boundaries of any kind, invites some form of engagement beyond
communication that emerges and dissolves over time through the
will allow herself that time to view, however briefly, as activity passes
that of observer. At the point I entered, it seemed the most appropriate
manipulation of these objects. The objects are mundane and vary each
by. The effect this has is to allow the audience to view others through
thing to do on that final weekend.
day – kitchen ware, shirts, a manual sewing machine, a stepladder,
Pauline. One regular visitor found herself projecting her reality onto
pillows and surgical gloves are only some examples. By not speaking
the actions of the performers, “so that they were all representing me”.
Fergus Byrne is an artist working in visual arts and performance.
the inquiry intensifies as no activity is ever explained or reduced by
When this became emotionally overpowering, she would look at
He works at the Visual Arts Centre, Dublin.
words that can nullify surreal qualities. Dominic sets himself up in sculptural arrangements with objects.
Pauline through whom she could observe things with more distance.2 Such repeated viewing of the work was not unusual. As each day was
A white shirt on a brush handle is wedged between the doorframe and
different and made manifest the patterns within the group, it was
himself, lodged in his mouth. He is a gatekeeper condemned to this
rewarding to return.
position. People can walk beneath the stick but to strike it could
The performers immerse themselves in the emotion that arises
endanger his mouth. Later in the week he holds a bamboo stick bent
through the action performed. The audience has to adjust to an
tense against a wall and lodged inside his inner cheek. Its tension
unusually-charged atmosphere but, once done, the observation of how
releases, springing out of his mouth cutting his lip. While the mouth is
things evolve is compelling. Little is forced or demanded by one
often blocked in harsh images there are also some beautiful exchanges
performer of another, so the reasons for everything occurring are of an
of whistling. The space is unusually divided, spread as it is across three
evolutionary character. At the most intense periods, the audience
rooms on the first floor of the building. Sound is frequently used to
witness events crafted entirely in real time, from moments that will
communicate those distances that lack sightlines.
never be repeated.
Notes 1. Additional shorter performances, of a more planned nature, were made by varying pairs from the group in the time surrounding the four hour sessions. Due to the space restrictions I have chosen, with some regret, not to comment on these shorter performances. 2. An observation made by Nicola Williams, who I interviewed after the two weeks. 3. Half way through the two week, on Sunday 22nd July, the group performed from 10pm – 5pm. The gallery remained open throughosut. 4. Before the Law, a short story by Franz Kafka that also features as a parable within The Trial (1925).
The Visual Artists’ News Sheet
November – December 2012
27
advocacy
Issue and Impasse As part of the VAN’s ongoing exploration of international art law and advocacy issues, April Britski the National Executive Director of Canadian Artists’ Representation / Le Front des artistes canadiens, profiles the organisation and outlines an ongoing debate it has been engaged in with the National Gallery of Canada.
Karl Beveridge, CARFAC's bargaining co-chair, image courtesy of April Britski and Karl Beveridge
Courtroom sketch of David Yazbeck, CARFAC legal cousel, image courtesy of Karen Bailey
CARFAC bargaining team and legal cousel, image courtesy of Melissa Gruber
On October 27, 1980, the General Conference of UNESCO affirmed
having this kind of benefit in its copyright legislation, and countless
The issue and the impasse
the right of artists to the same legal, social and economic advantages
artists have been paid when their work is shown in a public museum
In essence, NGC believes that the Copyright Act, which protects the
enjoyed by other workers, including the right to organise collectively
or artist-run centre.
rights of individual artists, trumps the Status of the Artist Act, which
and defend their common interests. Ireland is a signatory to the
In 1980, Canada was a signatory to the UNESCO declaration
allows artists to organise to protect the rights of individuals, collectively.
UNESCO Recommendation but has yet to formally adopt it into
aimed at improving the socio-economic condition of artists. As a direct
They believe that because CARFAC and RAAV do not have copyright
national law. VAI are raising awareness about this important declaration
result, the federal Status of the Artist Act (1992, c33) was passed by
assignments from all individual Canadian artists, we do not have the
and are campaigning to have it put firmly on the governments
Canadian parliament. The Act recognises the important role of the
right to negotiate minimum fees for their work. We argue that under
agenda.
artist in society and promotes an understanding of the unique manner
Status, we are able to negotiate minimum working conditions for
In 1992, Canada showed its commitment to the UNESCO
in which artists typically work, as self-employed creators. The Act
artists, which includes minimum fees for copyright, and that individuals
Recommendation by passing the Status of the Artist Act. The Act
principally allows for the certification of professional artist associations
may negotiate higher fees, on an individual basis, if they wish to do so.
explicitly recognised the artist's vital role in society. It also established
and unions to engage in collective bargaining with federal institutions,
What we are asking for is akin to a minimum wage for use of an artist’s
a framework for collective bargaining for professional artists and
with respect to payment and working conditions.
work.
producers. The Act gives certain artists’ representative bodies, the
In 1999, CARFAC was certified by the Canadian Artists and
Most interactions between artists and museums are based on the
ability to negotiate agreements with federal institutions. However, the
Producers Professional Relations Tribunal (CAPPRT) as the collective
negotiation of the use of the artist’s copyrighted material. While artists
National Gallery of Canada is refusing to negotiate minimum copyright
bargaining representative for visual and media artists in Canada, under
spend a great deal of time preparing for exhibitions, this type of work is
fees with the artist’ bodies and a lengthy legal battle has ensued. April
this unique area of labour law. Together with our Quebec partner,
not the basis of the contractual relationship. Contracts typically set the
Britski, National Executive Director of CARFAC (Canadian Artists
RAAV, we can negotiate collective agreements with all federal
terms of agreement for the use of artworks, and what the artist may be
Representation) reports on the current state of affairs.
institutions such as the National Gallery of Canada (NGC). Once a
paid for those uses. To remove reference to copyright in a collective
signed agreement is reached, and is ratified by our members, it is legally
agreement guts all meaning from an agreement between artists and
binding.
museums. It is basically the equivalent of an employer telling a union
CAnadian artists in court with the national gallery of
that they refuse to negotiate salaries, but will discuss the length of
canada In 1967, the National Gallery of Canada (NGC) sent a letter to artists
CARFAC-RAAV and the National Gallery of Canada
who were participating in a major exhibition of Canadian art, and
CARFAC and RAAV served the NGC notice to bargain in 2003 and
Until now, CAPPRT had never found a party guilty of bad faith
asked for permission to make reproductions of their work. The artists
negotiations began in earnest by late 2004. Up until 2006, progress was
bargaining, and this is a serious offence to the museum’s reputation.
were not offered compensation for the exhibition or the reproductions,
made on the preparation of standard contracts that the museum would
For many years, they met with us to formalise agreements, which
while the gallery was planning to sell those reproductions for their
use when they engage visual artists, and several discussions about
always included references to copyright payments. When we neared
own profit. Artist Jack Chambers wrote to the other artists in the show,
copyright fees also took place. Suddenly, in 2007, the NGC told us they
the end of our talks about fees, they suddenly and unilaterally refused
calling for a united refusal to work for free. They succeeded, and it
did not recognise our right to negotiate minimum copyright fees for
to discuss copyright fees. They knew we could not accept this and had
started a national debate between artists and museums about fair
visual artists, claiming that there is a conflict between the Copyright
pushed us to a point of impasse. This is known as surface bargaining,
compensation. A year later, CARFAC (then known as Canadian Artists’
Act and the Status of the Artist Act. This is in contradiction with a
defined by CAPPRT as “going through the motions, or a preserving of
Representation) was born.
previous CAPPRT decision (Decision 28) in which the complementary
the surface indications of bargaining without the intent of concluding
45 years later, CARFAC is still at odds with the NGC, as we await a
nature of the two laws was clearly established. In 2008, we filed a
a collective agreement. It constitutes a subtle but effective refusal to
decision on our hearing at the Federal Court of Appeal. Artists are
complaint with CAPPRT against the NGC for negotiating in bad faith,
recognise the trade union”. Most agreements bargained under Status
fighting for the right to negotiate minimum artist fees, in accordance
in an effort to force them back to the negotiating table.
are concluded within two years, and many of them include payments
with our certification under the Status of the Act.
CARFAC and RAAV have always wanted to reach a mutually
employee coffee breaks.
for copyright royalties.
beneficial agreement with the NGC. We attempted to bring them back
CARFAC and RAAV have been fortunate to work with a skilled
What is the Status of the Artist?
to the table to negotiate copyright royalties numerous times before and
lawyer in this fight, and he generously took on our first hearing on a
While CARFAC is not a formal trade union, we negotiate working
even after filing our complaint. An unsuccessful mediation session was
pro bono basis. But the cost of the new hearing, and the strain of 10
conditions for visual artists, and recommend a minimum standard of
held in 2009, and following this, labour lawyer David Yazbeck helped
years of fighting with the museum, have not been easy. We should have
fees that artists receive when their work is exhibited or reproduced. We
us revive our case before CAPPRT. The hearing took place over the
finalised agreements with many additional federal institutions by now.
work with two pieces of legislation that give us the tools to do this
course of a year, ending in 2011. In early 2012, the tribunal found the
They often say the first agreement is the hardest. Here’s hoping we have
work: the Copyright Act and the Status of the Artist Act.
NGC guilty of bargaining in bad faith. Shortly thereafter, the NGC filed
a positive outcome in court, and experience that first-hand in the near
For years, CARFAC negotiated the payment of artist fees with
for a judicial review with the Federal Court of Appeal, and a hearing
future.
public art museums, and over time it became accepted in principle and
was held in September 2012. We are waiting for the decision of the
practice. In 1988, we succeeded in lobbying for the implementation of
three judges that heard our case.
April Britski is the National Executive Director of CARFAC and
the Exhibition Right in the Copyright Act. This right allows artists to
member of the CARFAC-RAAV Negotiating Committee since
require compensation when their work is, “presented at a public
2005.
exhibition, for a purpose other than sale or hire”. Canada is unique in
28
The Visual Artists’ News Sheet
Opportunities Funding Awards funding //awards // Bursaries bursaries arts council touring The deadline for applications for tours beginning in the period July – December 2013 will be Thursday 15 November 2012. Application forms and guidelines will be available online from 12 October 2012 and the criteria for the scheme will be similar to previously-advertised schemes. Continuing the audience-focused approach that characterises the Arts Council’s Touring Policy, the scheme is designed to support genuine collaboration between those who produce work and wish to tour and the presenting venue or local promoter. Touring and Dissemination of Work Scheme – Advance Planning: January to December 2014. The Advance Planning strand of the Arts Council’s Touring and Dissemination of Work Scheme for tours beginning between January and December 2014 will have the same application date: Thursday, 15 November 2012. This strand is to assist those tours which require commitments extending more than a year into the future and therefore require a lengthy planning horizon. For example, certain large-scale visual arts exhibitions often require considerable advance planning. Similarly, the retention of particular performers in other artforms may require confirmation to be made more than a year in advance. Application forms and guidelines will be available online from 12 October 2012 and the criteria for the scheme will be similar to previous Advance Planning schemes. For the first time, Theatre Forum (for all performing arts) and Visual Artists Ireland (for visual arts and architecture) are hosting notice-boards on their websites allowing details of prospective tours to be listed. Prospective applicants are advised to take advantage of this facility. Contact Theatre Forum or Visual Artists Ireland for further details. Deadline 15 November terry o'neill award The Terry O’Neill Award has been running since 2007 and has developed – through the support of Sunday Times Magazine, Remote New Media, Hotshoe Magazine and TAG Creative, the photographers and the photographic industry – to become a hotly-contested
photographic
awards. The categories are: Fine Art,
Reportage,
Documentary,
Fashion, Landscape,
Wildlife, Portraiture. 1st Prize – £3000, 2nd Prize, £1000, 3rd Prize – £500. The Terry O’Neill Award/ TAG is aimed at finding and pro-
moting new talent and creating a platform for upcoming photographers. Photographers must enter a minimum of three pictures and a maximum of six. The categories are open. The entrance fee is £5 per picture for students and £7 per picture for non-students. A selection of the top 10 photographers’ work will also be published in a special feature in The Sunday Times Magazine. 10 photographers will be shortlisted for the award and exhibited at the Strand Gallery in London in January. Martel Colour Print will be sponsoring the shortlisted photographers with printing and mounting for the exhibition. The Judging date is 10 December. Deadline 22 November Web www.oneillaward.com the artstap awards The ARTStap Awards (Vol 2, Issue 3) are now open. They comprise The Makers Awards, Title Award and Open Submission Award. The Makers Award is issued monthly to a promising artist registered at ARTStap Online (it is free to register). Each recipient of the Makers Award becomes a featured artist at ARTStap Online and receives a full feature in the following issue of ARTStap. To have your work included for selection create your profile at ARTStap Online and upload your recent work to your profile. The deadlines for the next round are as follows: 31 October / 30 November 2012. The Title Award is an award issued for an outstanding piece of writing / research. It is awarded to one person per issue of the ARTStap Journal. To enter your work for this award please create your account at the ARTStap website, enter the library and upload your paper to the relevant section. The deadline for the next round of the Title Award is: 16 November 2012. The Open Submission Award is an award issued to the artist we feel really deserves a full feature in the Journal. To submit your work to this award create your account at the ARTStap website and send your work to submission@artstap.com. Please read the submission guidelines
to support and promote the diversity of contemporary Irish creativity in the arts and crafts. Its mission is to help artists of innovate talent who need support in their careers. Details of all the candidates shortlisted for consideration over the years, and the eventual winners and examples of their work, appear on our website. We are calling for applications for the 2013 award.
Etching
hands-on creative session will
McDonald is a weekend work-
(Student Only). The Fulbright
explore the craft of bookmaking
shop. €190. Saturday 10 and
Awards are presented on an
and includes practical demon-
Sunday 11 November from 10am
annual basis to Irish students,
strations on the role of design,
– 5pm. This course offers partici-
scholars and professionals to
(50%
tuition
with
Fiona
pants
illustration, as well as presenting
Electroetch, a non-toxic process
and research at higher education,
imaginative ideas to help chil-
of etching plates for fine art
cultural, and related institutions
dren engage with literacy in the
intaglio printmaking. This is a
in the United States. In 2012 there
classroom. Artist Jole Bortoli
very old process used for making
was a record-breaking 37 Irish
writes and illustrates her own
printing plates electrolytically
Contact Catherine Martin Deadline 23 November Email cmartin@algoodbody.com
Awardees.
to
stories and is Director of Art to
that dates from the mid-nine-
Heart, an organisation that pro-
Contact Joanne A Davidson Deadline 3pm 14 November
vides art courses for children and
teenth century. Web www.print.ie
Web www.goldenfleeceaward.com
Web www.fulbright.ie
www.ark.ie
Telephone 086 4087920
Email joanne.davidson@fulbright.ie
The Fulbright Commission in Ireland will officially open to applicants on Friday the 24 August 2012. The 2013 – 2014 competition for the Fulbright Awards include a monetary grant for postgraduate students, scholars and professionals to travel to the US to lecture, research and study for a maximum period of one year. The following three types of awards are on offer: 1. Fulbright Student Awards: For up to one academic year for postgraduate study or research in the United States in any discipline, including the arts. Grants are a maximum of $20,000. Applicants may stay to complete their academic program if it is longer than one year. 2. Fulbright Scholar and Professional Awards: Grants available for up to €35,000 (Irish Language) and $20,000 (General Awards) for academics and professionals with more than five years experience to research and / or lecture in the US, lasting between 3 – 12 months. 3. Fulbright
Foreign
Language
Teaching Assistantship (FLTA) Awards: 10 month Awards for Irish language teachers to refine their teaching skills in the US by teaching at a US college and taking classes at a post-graduate level. Grants are available for approximately €20,000. There are a number of sponsored awards for students and scholars in specific disciplines including: 1. Fulbright-Environmental Protection Agency Award in Water, Climate Change and
this Award is: 16 November
(Student
Scholar).
2012. Web www.artstap.com
on Any Marine Science / Business
and
2.
Fulbright-Marine Institute Award Topic (Student and Scholar). 3. Fulbright-Enterprise
Ireland
Award in Innovation (Student Only) - Fulbright-Teagasc Award in Agriculture, Food, and Forestry (Student Only). 4. FulbrightUniversity of Notre Dame LL.M.
are
introduction
encouraged in all disciplines.
fulbright awards
Applications
an
tutor
construction, typography and
Environment
golden fleece award The Golden Fleece Award is an artistic fund established as a charitable bequest by the late Helen Lillias Mitchell. The award aims
November. Tickets are €15. This
waiver)
Law
undertake postgraduate study
Sustainable
on the website. The deadline for
in International Human Rights
November – December 2012
unesco The UNESCO-Aschberg Bursaries for Artists Programme has the pleasure to announce the 2013 call for applications. The Programme promotes the mobility of young artists through art residencies abroad. This call is open to creative writers, musicians and visual artists between 25 and 35 years old. To consult the list of bursaries available for 2013 please visit our website. There you will find direct links to institutions and instructions on the application procedures and necessary dates. Web www.unesco.org/culture/aschberg
courses / training / courses / workworkshops shops / training
adults in educational, community and art settings. Web
residencies residencies and and studio exchanges studio exchanges
fire station mentoring Curators Aisling Prior and Padraic Moore will give one-to-one critical feedback and practical support to artists and curators on their practice, how to present themselves or their project proposals. This includes a one hour meeting between artist and a curator at Fire Station Artists’ Studios in November 2012 with a follow up studio visit / meeting in January 2013. The session dates are 27 – 28 November. The price is €20. Open to all artists and curators who are actively practicing or interested in taking a new direction. Applications will be dealt with on a first come first served basis. Payment must be received to guarantee booking. How to apply: We will only accept
online
applications.
Online applications will open on Monday 5 November through
water gilding course A water gilding course will take place on the 17, 18 and 24 November. The tutor is Sue White. 10am – 5pm. The course fee is €295. The course will take place in White’s Gilding Studio beside Smithfield Luas stop. This is an intensive three-day course, with limited space for four pupils, focusing on traditional gilding materials and methods. This practical foundation course in water-gilding will cover all stages of the gilding process, from surface preparation to the application of gold leaf. The fee includes: All materials and the use of gilding tools, brushes etc, three small wooden frames / panels, one book of 23kt gold leaf. Students will learn the basics of water gilding technique and complete a number of gilding projects. This course is suitable for all levels. Comprehensive course notes will be supplied. Web www.whitesgilding.com Telephone 0876561949 creative bookmaking A creative bookmaking workshop for teachers will take place in The Ark, Dublin on 14
Fire Station’s website. Your application should include: A statement clearly explaining what you would like to get feedback on. (max 500 words), CV (max three pages), Artist statement and / or project proposal (max 500 words), documentation (max six images with a clear image list including year, materials, context etc), weblinks for showreels (eg Vimeo, YouTube) Deadline 16 November Web www.firestation.ie Email artadmin@firestaion.ie Telephone 01 806 9010
arteles residency The
Arteles
Residency
Programme, Finland, is an international residency for creative professionals from the fields of: visual arts, media art, music and sound, performing arts, design, architecture,
literature
and
research. One to three-month residencies between January – November 2013. Open call: 19 September – 9 November 2011 (applications for June –November period will be accepted until 31 December). The Arteles Residency Programme is one of the most international creative residency programs in the arctic area welcoming over 80 selected artists per year. It is an inspiring place to produce original work and collaborate with other energetic and ambitious artists and creative professionals for a concentrated period of time. The Arteles Center is a place that encourages experimentation and innovation – a place that also gives voice to works that otherwise have nowhere else to be produced or displayed. The Creative Center is run by Arteles, a non-profit organisation. There are also opportunities to connect with the locals and get plugged into the contemporary art scene in Finland. See Arteles Catalogue to see what has happened here before. Deadline 9 November, 31 November Web www.arteles.org move forward In
the
framework
of
the
black church print
EU-funded Project, Move Forward:
Etching for Beginners, with tutor
New Mexican-European Media
Kate Betts, will run for six Tuesday
Art, the European Media Art
evenings and one Saturday. €265.
Network in cooperation with
6 November – 11 December and
Centro Multimedia de las Centro
15 December. Tuesdays 6:30 –
National de las Artes Mexico City
9:30pm and Sat 10am – 5pm. This
and Centro de Arte y Nuevas
course will provide an introduc-
Technologias San Luis Potosi,
tion to etching and is suitable for
offers a European Media Artists-
beginners and those with some
in-Residence
previous experience who would
gramme, Emare Mexico 2013.
like to refresh their knowledge
The residencies will take place
and improve their skills. Electro
between April and September
Exchange
pro-
The Visual Artists’ News sheet
November – December 2012
29
OPPORTUNITIES 2013. European Artists can apply for a two-month residency at Centro Multimedia in Mexico City and Centro de Arte y Nuevas Technologias (CANTE) in San Luis Potosi. deadline 15 November web www.emare.eu
OPPORTUNITIES IRElAND tbg&s book ook f fAiR From Friday 30 November – Sunday 2 December 2012, Temple Bar Gallery + Studios will host the second Dublin Art Bookfair. This event will take place in gallery in Temple Bar and aims to promote and aid the distribution of artists’ books, ‘zines and catalogues. Over 25 art book publishers from Ireland and abroad will be represented at the fair as well as a programme of live readings and talks. Alongside this, TBG+S wishes to again present an open submission section in which individual artists can present and sell their books, ‘zines and catalogues. We are therefore inviting artists to send us their books, catalogues, and other publications for inclusion in this section. Spaces are strictly limited and books will be selected for inclusion by open submission. Criteria and rules for submission are below: each artist can submit one book title only, and up to five copies of this title; each submission include full contact details, name, address, telephone number and email address of the artist; the book must represent your artistic practice; handmade books are welcome but please note that books will be handled by the public over three days so make sure your book can withstand this; books must be submitted at your own risk; we are not interested in illustration or childrens books; successful applicants will be selected by a panel from TBG+S. You will receive a space for your book on the artists’ table and the
books will be sold by TBG+S staff on your behalf commission free; successful applicants will be notified. How to submit: drop off submission is on one designated day at Temple Bar Gallery + Studios, 5 – 9 Temple Bar – on Tuesday 13 November between 10am and 6pm. If submitting your books via post, send to this address, to arrive no later than 13 November: Artists Bookfair Submission, Temple Bar Gallery + Studios, 5 – 9 Temple Bar, Dublin 2. Please note, books arriving after the deadline of 13 November will not be accepted. A stamped addressed envelope for return of any unsold books must be included if you are sending books via post. All book submissions must have all the following info attached: Artist’s full name, book title, telephone number, email address, book price in euros, postal address. deadline 13 November exCel gAlleRy The Excel Gallery, Excel Centre, Mitchell Street, Tipperary Town, Co Tipperary, Ireland is now looking for submissions for exhibitions to take place in its gallery space from April 2013 – March 2014. The gallery welcomes innovative and challenging proposals from established artists and from artists who wish to present a debut exhibition. Group submissions are also welcome. Submissions should include: eight slides (or a CD with six images) of recent or previous work; an arts-related CV; an exhibition proposal relating to the artists intention for the show; submissions should be marked Gallery Submission and posted to the above address. Contact Mary Sarsfield deadline 18 January Address 062 80520 gAlwA lwAy lwA Ay ARts CeNtRe Galway Arts centre is seeking applications for its Visual Arts
and Education Programme June 2013 – June 2014. To apply please email your CV (max max two pages), an artist’s statement, digital images / video links (Vimeo / Youtube / own website), sound files and a proposal of how you would like to engage with the gallery. Galway Arts Centre’s visual arts policy is to put the arts at the heart of Galway life and people at the heart of the arts. This means enabling artists and arts audiences of all ages to take creative risks and pursue new opportunities in an accessible, engaging and challenging environment. The visual arts programme works with professional artists in a range of art forms from the established media of painting, sculpture, photography and printmaking to moving image, new media, live art, design and architecture. This programme is supported by auxiliary events involving talks, symposia, music, story-telling and screenings. The visual art policy and programme also creates collaborative links with Galway Arts Centre’s theatre and literature policies and programmes. The policy focuses on three categories. Each exhibition or project we execute will address one or more of these categories: engagement with audiences, partnerships and education, support for artists, exhibitions that place innovation and risk as their main objectives. Galway Arts Centre will accept hard copy applications only. All applications will be discarded after adjudication unless a SAE is provided. Adjudication will be conducted by GAC’s Visual Arts Officer, a board Member and an independent practitioner in early December 2012. All applicants will be notified regarding decisions by email. Please send applications to gac@galwayartscentre. ie with subject header 2012 Open Submission. Postal submissions will not be accepted. deadline 30 November web www.galwayartscentre.ie
mAmuskA dubliN La Cat Salons calls local, national and international artists to participate in the upcoming ‘Mamuska Dublin!’ Seeking short live art performance, multimedia and video works for the event, to be held in the Back Loft on the 30 November. This is a unique occasion to present and view evolving works, raw ideas, unrehearsed visions, trials and errors, short masterpieces, playful nonsense, first steps, all in the context of an informal environment where like-minded artists meet, mingle, discuss and receive feedback from the audience. A maximum of 10 artists will present their work, with lively musical breaks for discussion. deadline 12 November email lacatsalons@gmail.com web www.lacatsalons.blogspot.com PAPeRgiRll belf belfAst Papergirl is a non-commercial, guerrilla initiative that brings art to the streets in an alternative and dynamic way by distributing unique rolls of artwork freely and at random to lucky strangers via bicycle. Drawings, paintings, photographs, illustrations, prints, textiles, stickers, T-shirts, poems, prose and zines – basically anything that can be rolled up – will be collected and showcased in an anti-curated exhibition before being shared with the local community. The Papergirl project was founded in Berlin by Aisha Ronniger in the summer of 2006 in reaction to tightening German graffiti laws. Since then, its participatory, non-commercial and DIY spirit has seen it become an international creative movement, and today Papergirl takes place in over 40 cities worldwide. Now Belfast is getting in on the action. The call for submissions is now open. Everything you need to know about the project and how to take part can be found in the FAQ section of our website.
Submit your art and spread the word. web www.papergirlbelfast.tumblr. com
COMMISSIONS loNgfoRd CoCo Longford County Council wishes to commission a public art feature under the Percent for Art Scheme. The piece will commemorate General Sean Mac Eoin as blacksmith, freedom fighter and politician. The piece will be located at Ballinalee Co Longford. Budget is ˆ 50,000. Installation date: 30 May 2013 deadline 30 November web www.longfordcoco.ie
bronze, stainless steel etc etc. It is not envisaged that the names of those lost will be inscribed anywhere on or near the piece. However, appropriate inscriptions or quotations may be used. The location for the monument will be in front of the original lifeboat storehouse in Knightstown in an area between the existing lifeboat store and new apartment building. The total budget for creation, manufacture and erection of the piece, inclusive of all insurance, public liability requirements, transport costs and siting is ˆ 50,000. To request an artist’s brief and / or to arrange a site visit please contact Tony Curran. deadline 30 November email oileanach2011@hotmail.com t telephone 087 226 6634
VAleNtiA seA memoRiAl The Valentia Sea Memorial Committee wishes to erect a memorial in Knightstown, Valentia Island. The Committee is seeking a fixed permanent sculpture work, unique to Valentia Island. The artwork is envisaged to be a representational piece that is a memorial to people that have been lost at sea around Valentia Island. However, it should also recognise the immense heritage of the local community in their contribution to safety at sea in the following areas: the RNLI lifeboat stationed on the island in 1870 that has been in continuous service since 1946, Valentia Coast Radio Station, Knightstown Coast Guard Unit, members of Irish lighthouses. The artwork must be made of a durable material, mindful of its public siting, matters of cleaning the material and vandalism should be addressed by the artist as much as possible in their submission. Please note that Valentia Slate is a local material, distinctive in colour and may used as the primary material or may be used to enhance or complement other materials, eg
o pportunities OPPORTUNITIES INTERNATIONAl jAN VAN eyC ey k ACAdemie Are you a pioneer looking for innovation? Would you like to meet inspiring people who really have something to say? Is it time for confrontation and intensification? Do you long for time and space to develop? Then this is the moment to apply to the Jan van Eyck Academie in Maastricht (NL). The Jan van Eyck Academie is an international post-academic art institute that offers space to artists, designers, writers, curators and thinkers. The Jan van Eyck Academie has a long history of recurrent development. Now, once more, the institute finds itself at the crossroads of change, which will be shaped by its new participants. The Jan van Eyck Academie is looking for pioneers, trailblazers with the ambition to make the academy into the postacademy of the future. deadline 15 November web www.janvaneyck.nl
irish bronze Dedicated to the faithful reproduction of the sculptor’s vision
Sara Greavu Artlink Fort Dunree Residency
Willie Malone: casting sculpture for over two decades Kilmainham Art Foundry Ltd. t/a Irish Bronze, Inchicore Rd and Griffith College, Dublin 8
Winter 2012
Sara Greavu, And your feet unable to find the ground, 2012
T: 01 454 2032 E: irishbronze@eircom.net W: www.irishbronze.ie
Artlink Fort Dunree Inishowen Co. Donegal T: 074 93 63469 W: www.artlink.ie
30
The Visual Artists’ News Sheet
November – December 2012
debate
Remains of the Present
Thorpe in his performance uniform: a grey top and slacks. The egg found its way into his mouth and immediately the performer sent himself hurtling across the large space, rolling along the ground towards the
MICHELLE BROWNE PROFILES ‘REMNANT’, A ONE-DAY PERFORMANCE ART SYMPOSIUM AND DISCUSSION EVENT, HOSTED BY BALLINA ARTS CENTRE, CO MAYO (29 SEPTEMBER 2012).
wall. The speed and ferocity of the movement caused his body to jolt and the fragile egg inside his mouth was suddenly in danger. A series of actions followed: the writing of different sentences, using both hands, on the wall; a jabbing of pointed finger to the forehead creating a hollow sound that reverberated throughout the cavernous space; a loud gagging as the performer tried to speak with the egg in his mouth. Thorpe’s work over the past four years has engaged with issues of silence and power, dealing specifically in recent years with the Ryan Report.5 In light of these issues, Thorpe’s actions combined to create an atmosphere of suppression and shame. The performance concluded with the quiet, unattended urination of the performer, the boiling of a kettle, the adding of Dettol detergent to the water and the overflow of the liquid and subsequent smell out into the room. The performer cleaned up the mess with his top and put it back on, wearing his shame. The burning smell of Dettol left in our noses reminds me of the sterile environments of state-run institutions, but also of childhood and care. To end, the audience was led by the barefoot Thorpe, carrying an office swivel chair on his shoulders, back to the Ballina Arts Centre, where the chair and a spoon were placed in the gallery as part of Thorpe’s documentation. The day’s events were concluded with a panel discussion on the subject of documentation, chaired by curator Cliodhna Shaffrey. Thorpe spoke of how his first experience of performance was through documentation as there was little opportunity to experience live work at the time. People often say they have seen a work, he noted, when in fact they have only seen a photograph. He questioned how this effects
Amanda Coogan performing at 'Remnant', 2012
Dominic Thorpe performing at 'Remnant', 2012
Nigel Rolfe and Sean Walsh, Director of Ballina Arts Centre
people’s understanding of performance. Both Rolfe and Coogan spoke of the importance of word of mouth in the life of a performance and how a mythology is built up around a performance after the event. The example of Chris Burden’s Trans-Fixed (1974) was given – where Burden
‘Remnant’, a performance art symposium held at Ballina Arts
and observations from both the artist and the viewers of these events.3
was nailed to a Volkswagen Beetle. People said they had seen the car
Centre, was devised by Gaynor Seville, Mayo County Council public art
Her live work for the ‘Remnant’ symposium was framed by an
being driven around, but in fact this didn’t happen. Thus, actual events
coordinator in collaboration with the centre’s director Sean Walsh to
arching window, which overlooks the river Moy in the new Ballina Arts
become skewed and augmented and this becomes part of the experience
address the lack of opportunity to experience live performance art in
Centre. Coogan, weighed down with innumerable handbags, was flanked
of the work through time.
Ireland. The event featured works by Aideen Barry, Amanda Coogan and
by two cameras on one side (which I eventually realised were fake) and
Questions from the audience dealt with documentation and the
Dominic Thorpe along with a guest lecture by Nigel Rolfe. The
an ‘interpreter’ to the left. The interpreter (Debbie Guinnane) stood close
dissemination of performance images online. The panel generally agreed
symposium also featured a panel discussion chaired by curator Cliodhna
to the performer with tape recorder in hand, describing the performance
that this was impossible to control, with Coogan welcoming it as part of
Shaffrey, focused on the issue of documentation. The symposium was
over the course of two hours, her voice a whisper in the space. As a sign
the mythology-building apparatus. A theatre practitioner in the audience
followed by the exhibition entitled ‘Remnant(s)’ (5 – 27 October 2012)
language interpreter, Coogan is no stranger to this act of translation, of
asked if the performers were playing a role in their work. “Performance
featuring work by the three ‘Remnant’ artists that further explored issues
making available that which cannot be directly experienced. These two
artists are not themselves, but are not not themselves”, Coogan answered.
of live art and its documentation.
documentational devices acted as a barrier to the space of the performance,
They explore different facets of themselves. Rolfe described performance art as “slow time” that lets one think about what is happening in the
prefaced by the observation that Irish performance art is very strong at an
highlighting the power and dominance of the documenter in the work.4 The performance carried Coogan’s trademark hand gestures, slow
international level, with powerful work being made by Irish artists. He
movements and piercing gaze, punctuated at intervals by Vivaldi’s Dixit
created as he goes along, through a study of form and materials and their
discussed works by Yves Klein, Yoko Ono, Fluxus, Joseph Bueys, Allan
Dominus. As a performer who works predominantly with longitudinal
relationship to the body. “Ultimately, the whole purpose of practice is to
Kaprow, Nam Jun Paik, Francis Alys, Anna Mendieta, Carolee Schneemann
durational performance, it is no surprise that the performance really
get closer to myself” he remarked. The artists were then asked what was
and many more. He spoke of how, as a performance artist, “your body is
began to take shape in the second hour, where the mass of bags began to
needed for performance. Rolfe stated the need for structures that allow
the place where you make your work, it is your vehicle”, noting that
weigh on the hunched performer and a sense of challenge or duress was
for risk taking while Thorpe passionately called for institutions to take
“90% of making art is a notion of making the retrospect present... the
visible in her otherwise controlled movements. Aware of Coogan’s
responsibility for developing ephemeral works and not to rely on video
decision that you will leave something behind from your action is an
penchant for referencing art history, I began to see links with Paul
and images, particularly in application processes.
investment in history”. All art in some way does this, but the performance
Henry’s painting Potato Diggers (1912) (National Gallery of Ireland) and
Both the live work and the documentation presented at ‘Remnant’
artist is making that action visible, “making the present present”. Rolfe
the toil and struggle of these female figures in the rural landscape of
symposium raised questions about an art form that is experiencing a
stressed that the immediacy of live work, coupled with a potential for
Mayo. However, these tangential thoughts were brought back into check
surge in Ireland at present. With the hope that this will become a
failure, is a significant factor in the making of live work and went on to
by the constant murmur of the interpreter as she set out in painstaking
biannual event, ‘Remnant’, along with other performance events across
talk about how flux and change were inherent factors in the ‘live’.
detail the physical actions of the performer. The piece recalled Rivane
the country, shows that there is an appetite for live work, as well as
Nigel Rolfe presented a survey of the history of performance,
present. Thorpe emphasised that his practice is not written for him but
The interiority of live performance practice also exercised him.
Neuenschwander’s First Love, shown in IMMA earlier this year, where a
highlighting the exciting challenges faced by performance artists and
Rolfe impressed upon the audience a need for something to be at stake
police sketch-artist drew the likeness of gallery visitors’ first loves. The
audiences experiencing this medium.
within the work – for the work to have a vitality and urgency in its
images produced looked less like real people and more like a composite
making and delivery. The body as site, and its relationship to a context
of details placed together. It left me wondering whether the mass of
Michelle Browne is an artist who works in performance. She will
and materials, are central to his understanding of performance, with live
information would convey anything of the life or vitality of the live
present new work as part of Connection – Perfolink Europa to Latin
action as the axis on which these elements revolve.
work.
America in Chile and Argentina this November.
Following this, Amanda Coogan and Dominic Thorpe presented
In marked contrast, Dominic Thorpe’s live performance did not
live works. Unfortunately, Aideen Barry’s performance was cancelled due
engage with documentation at all. With one camera at quite a remove
to illness. Barry’s work was represented as part of an exhibition of
from the performer for its duration, his performance transported the
documentation exhibited in conjunction with the day. A seven-part
viewer into another world through sight, sound and smell. The
installation in the Mayo County Council Jackie Clarke Collection
performance was powerful in all the ways that a camera could not
building charted Barry’s performance from 2005 – 2012. Presented on
capture. This was a truly visceral performance beginning with the
small handheld projectors at about A4 size, the short videos had an
audience being invited into a completely darkened room. We were
elusive character, betraying the inability of even video to capture the
disoriented from the start by sounds coming from different parts of the
experience of a performance.
room, the feeling of someone brushing past and the anxiety of banging
In recent years, Amanda Coogan has experimented with live performance exhibition models1 and modes of documentation2. As part
into something. After a time, a faint light could be seen in the centre of
of the exhibition for ‘Remnant’, Coogan presented the notational
imbued with potential. The light went out and reappeared in another
documentation of Yellow and her 2011 performance in Boston’s Museum
part of the room. The audience was forced to pad around in the dark,
of Fine Arts, entitled The Passing. These documents present comments
guided by this light. Eventually, the overhead lights came on and we saw
the space. A torch illuminated an egg, which looked both fragile and
www.michellebrowne.net Notes 1. Notably through her curation of ‘Accumulator’ in Visual Carlow 2009, co-curation of’ Right Here Right Now’ with Dominic Thorpe and Niamh Murphy in 2010 and ‘Labour’ with Chrissie Cadman and Helena Walshe in 2012. 2. Take, for example, her film Yellow, that tracks six different ‘re-performances’ of her work in real time. Made with filmmaker Paddy Cahill. 3. Alongside Coogan’s own notes on her experience, Simon Keogh wrote for Yellow. For The Passing, comments were collected in Boston from performance artist Marilyn Arsem, invigilators and artist assistants. 4. Coogan notes that, in the film Yellow, “Cahill became the seventh performer in the project, reacting to the live performance in an, immediate, embodied way.” (www.amandacoogan.com) 5. The Commission to Inquire into Child Abuse was set up by the government to investigate the extent and effects of abuse on children in Ireland from 1936 onwards. In 2009, the commission published its findings in what is known as the Ryan Report.
The Visual Artists’ News Sheet
November – December 2012
31
how is it made?
Suzanne Mooney, Walking in the City #4, backlight image, LED box frame
Suzanne Mooney, Walking in the City #1
Suzanne Mooney, installation view of Tokyo Summit A, duratrans backlight image, circular LED box frame, 2012
Outside In
Suzanne Mooney, Walking in the City #4
Suzanne Mooney, installation view of Tokyo Summit A, 2012
for the early-nineteenth-century explorer, often depicted by the painters of Romanticism? And why choose Romanticism as a point of reference for my work? I am certainly not alone in this regard. The prevalence of the Romantic aesthetic in European landscape
suzanne mooney two recent bodies of works, Tokyo Summit A' and 'Walking in the City', that she developed while living in seoul and tokyo.
photography, video and other contemporary works has prompted many large-scale exhibitions. However, the overwhelming scale and majesty of our natural environment often does not have the same impact on us that it did on the nineteenth-century viewer. The unknown world has become almost non-existent. Since the advent of
The exhibition 'Experiences of Place' comprises two series of
decided to replace the ‘Remnant Mass’ series with a new work that I had
satellite imagery, global positioning systems and online interactive
works. The first is a series of small-scale light boxes titled 'Walking in
been developing as part of my PhD research. This new work is called
maps, there is very little of the world left unknown to us. Despite this,
the City', the second is the first in a series of works titled 'Tokyo Summit
Tokyo Summit A and is the first in a series of 360-degree panorama
I would argue that the unknown world still exists, not so much in
A'.
images of the Tokyo cityscape. The images are painstakingly composited
relation to the terrain of our planet, but in the unexplored reaches of
from dozens of photographs taken through the windows of city view
outer space and microscopic space, which expands in scale with every
observatories in Tokyo.
development in telescope technology and space exploration. There is
As an artist focused primarily on the body in landscape, my interest in urban landscape emerged while on residency at the National Art Studio in Seoul, and developed following my subsequent decision
While working on panoramic images from different locations in
also another unknown world within the confines of our own planet.
to live in Tokyo. It is now more than three years since I first moved to
Tokyo, I was constantly questioning the merit of trying to reproduce
The rate of development in science, technology, engineering etc is
Japan and the urban landscape has become the central focus of my
the original view. In many ways it would be easy to elicit a positive
creating a new unknown world: that of our near future.
artwork and research. Compared to some of my earlier works,
response from the viewer by reproducing the sense of expansive space
Keeping this ‘unknown’ in mind, it is possible to consider the
influenced by the landscape of the west of Ireland and Iceland, there are
through the kind of immersive experience that is usually the objective
viewer's gaze from a city view observatory in one of Tokyo’s numerous
considerable differences in subject matter, but there are also many
of the classic panorama. But, even in the early nineteenth century,
skyscrapers as comparable to the figure in Caspar David Friedrich’s
similarities. For example, my aesthetic style within this new urban
dioramas and panoramic installations – which were popular attractions
Wanderer Above the Sea of Fog. The unknowable, the unnerving, the
context can still be understood and contextualised within the scope of
at the time, pre-dating cinemas – received criticism for their
immanent, beautiful, man-made landscape of the urban sprawl can
Romanticism. I began to consider the relevance of such an approach to
gimmickries, and for deceiving the viewer through illusion. After
stand equal to the natural landscape in its ability to inspire a sense of
urban landscape photography in relation to today’s society, particularly
much consideration, I decided that my real interest lay in the appeal
awe. But this new urban aesthetic has shifted the focus away from the
within a Japanese context. This became the point of departure for my
and function of the city view observatory in today’s society. Thus, by
supernatural to something very much part of our day-to-day
PhD research, and the series 'Walking in the City' was the first body of
subverting the expectation of the viewer, my purpose would be better
environment: the city – living space for upward of 70% of the
work completed on this theme.
served. I decided to turn the viewpoint of the panorama outside in. In
developed world – and the potential future development of its
This series was originally inspired by a chapter of a book by
other words, instead of wrapping the 360-degree image in a circle
inhabitants.
Michel de Certeau, The Practice of Everyday Life. The title of the chapter
surrounding the viewer, I reversed the curve of the image, placing it in
Over the next year I will develop the 'Tokyo Summit' series to
was also 'Walking in the City'. In this chapter, de Certeau discusses the
a circular frame that excluded the viewer. The viewer is on the outside
include multiple views of the Tokyo metropolis. This body of work, in
view from a high vantage point and a unified view of the city in
and cannot feel any sense of being immersed in the landscape, as you
addition to my thesis, will become the graduate works for my PhD at
contrast to the everyday experiences of the walker at street level. My
might expect from a standard panoramic image. I decided to make the
Tama Art University.
works are not illustrative of de Certeau’s ideas, but rather an attempt to
circular frame a light box for multiple reasons. Firstly, the atmosphere
find an in-between experience of the city: one that is rarely portrayed.
created by the emanating light added a sense of depth to the image, a
Suzanne Mooney is a Dublin-born artist, currently living in
However, the walkers found in each image, despite the fact that they
feeling that there might be another world contained within the
Tokyo and undertaking a PhD at Tama Art University. She has
have the space entirely to themselves, still travel along designated
circular frame. Furthermore, this increased its similarity in appearance
received a number of awards from the Arts Council of Ireland and
walkways, bridges, paths and underground corridors. They are not
to the light box series ‘Walking in the City’, which helped to unify the
Culture Ireland and is the recipient of a Monbusho Japanese
engaged in viewing the landscape, but appear to be part of it, giving a
two bodies of work into a single, visually cohesive exhibition. And
government scholarship, 2009 – 2014.
sense of scale to the space and facilitating our imagined embodiment
finally, because of the back light effect, when one person stands looking
of that space. The final images are printed on backlight film and framed
at the panorama, they are silhouetted and become part of the
info@suzannemooney.com
in light boxes. Although it was tempting to make final images much
installation. For anyone else viewing the work in the same space, they
www.suzannemooney.com
larger, the smaller 300 x 200 mm size encourages people to view them
see the work and the first viewer together. The resulting second
individually at closer range, making for a more personal experience.
viewpoint creates an image similar to that of a figure gazing out of a
Earlier this year, I exhibited this same series at the Talbot Gallery in Dublin, in an exhibition also titled ‘Experiences of Place’. In Dublin,
window, a motif commonly used throughout art history to emphasize ‘the gaze’.
I chose to show ‘Walking in the City’ alongside another body of work,
In my ongoing research, I am exploring how the gaze of the
‘Remnant Mass’, a photo series shot in the Tohoku region of Japan, just
viewer in this urban context can be related to a more traditional
two months after the area was devastated by the 3 / 11 tsunami in 2011.
approach to landscape. Can the urban landscape function in the same
I considered re-showing these works together in Japan, but eventually
way for this viewer that the unexplored terrain of the Alps functioned
32
The Visual Artists’ News Sheet
November – December 2012
international
Marcus Kahre, No Title, 2012
Kohei Yoshiyuki, Untitled, 1971
Ahmed Ogut, Let it be known to all the persons here gathered
Ming Wong, still from Making Chinatown, 2012
Notions of Hospitality
Nadia Kaabe-Linke, No, 2012
Not all the highlights were new or specially commissioned works. The Open Eye Gallery houses the first UK solo show of the late Mark Morrisroe (1959 – 1989), the US artist and art school contemporary of Nan Goldin, whose short but prolific career produced a legacy of over
Anne Mullee reports on the seventh Liverpool Biennial, which takes place across the city from 15 September – 25 November 2012.
2,000 photographs. Morrisroe continued making work even while hospitalised with HIV-related illnesses, building a makeshift darkroom in his hospital room to make some of the photo collages featured in the exhibition. Morrisroe’s work is highly experimental and he uses parts of his own x-rays and ripped-up porn magazines to make his provocative
The Liverpool Biennial, now in its seventh edition, is the largest international contemporary art festival in the UK. It has matured into
focuses on frameworks as sources of identity and cultural belonging: a
images. These works, nearly all made in the few months before he died,
strangely reassuring gesture.
marked a change in tempo from the immediacy of the punk aesthetic
a place for continual exploration, anchored by the central exhibition.
Turkish artist Ahmet Öğüt’s biennial commission, Let it be known
The week that the biennial opened coincided with the long-awaited
to all persons here gathered (2012), takes the form of a performance where
publishing of an independent report on the Hillsborough disaster, the
an actor dressed as a modern-day postman rides on horseback from
Downstairs, a pitch-black room contains a series of photographs
1989 tragedy where 96 football supporters were crushed to death at
Liverpool to Manchester, announcing the imminent biennial to
by Kohei Yoshiyuki, taken in Tokyo parks at night during the 1970s. I
Sheffield’s Hillsborough Stadium during the FA Cup semi-final between
residents through a public address, imitating a town crier or a royal
was given a small torch as I entered the gallery to shine on a succession
Liverpool and Nottingham Forest. The title of the central exhibition in
messenger. The video documentation of the messenger’s journey
of images. The photographs show pairs of lovers, both heterosexual
this biennial is ‘The Unexpected Guest’, which seems poignant now
delves into the sometimes strange and lonely nature of journeying and
and homosexual, entwined in intimate embraces while being covertly
that this most welcoming of cities has finally been given a sense of
connecting, and touches on the discombobulating nature of archaic
– or quite blatantly – observed by groups of male voyeurs. The
vindication over the disaster.
etiquette.
photographs, from a series entitled ‘The Park’, have only been shown
that he is most closely associated with and pose questions about where his work would have taken him.
‘The Unexpected Guest’ was devised by the previous festival
The Cunard also holds Nadia Kaabi-Linke’s No (2012), again a
once before outside Japan since they were first unveiled in 1979.
director, Lewis Biggs (the current Artist Director is Sally Tallant), and
biennial commission, that comprises two video screens portraying an
Predictably causing a stir, they have a sort of sexless repulsiveness that
curated by Lorenzo Fusi. It explores notions of hospitality from every
interview in the form of a sung mass. On one screen a disembodied
still has the power to disturb. Finding them by torchlight, I felt
possible perspective: as guest, visitor or audience (accidental or
mouth sings questions derived from entry visa applications to a
complicit in these acts of voyeurism. “I just went there to become a
otherwise). This central exploration is bolstered by the biennial’s
congregation of possible ‘immigrants’. They respond to queries about
friend of the voyeurs… My intention was to capture what happened in
diverse slate of projects, events and exhibitions including the biannual
their terrorist connections or criminal pasts with a melodious
the parks, so I was not a real ‘voyeur’ like them,” Yoshiyuki states.
John Moores Painting Prize, the Bloomberg 'New Contemporaries'
“Noooooo”. Kaabi-Linke recasts perplexing and ridiculous attempts to
Though he continues, “But I think, in a way, the act of taking
exhibition, the debut Sky Arts Ignition project, site-specific installations
extract ‘official’ information in a simple way using the benign and
photographs itself is voyeuristic somehow. So I may be a voyeur,
and peripheral projects in dozens of locations across the city. It is a vast,
ritualistic setting of a church. This makes for witty comment on the
because I am a photographer”.
somewhat unwieldy offering, drawing on ideas of hospitality,
conditions and limitations of a hospitality that is conferred through
entertaining, visitations, boundaries, journeys and arrivals. Over 60
legal means.
Liverpool’s compact geography means that many of the sitespecific works and smaller shows are easily accessible, salting the
artists are represented and the exhibition includes, with work including
This aspect of being a ‘guest’ is the focus of Ghanaian filmmaker
greater array on offer. But even so, this outline barely scratches the
specially-commissioned projects, existing pieces and rarely-seen
John Akomfrah’s ambitious new commission, The Unfinished
surface. Hidden down a side street is the latest installment in Singaorean
works.
Conversation (2012), which debuted at the Bluecoat. The filmmaker
artist Ming Wong’s Making Chinatown (2012) project, a mixed
The biennial also facilitates the development and support of long-
forges an elegiac celebration of the life and thinking of Jamaican-born
multimedia exploration of identity as homage to Roman Polanski’s
term projects like 2Up2Down, a community development initiative
academic, Stuart Hall, playing archive material from Hall’s life alongside
iconic film Chinatown (1974). Wong plays all of the principle roles with
facilitated by Dutch artist Jeanne van Heeswijk. Here, a trio of properties
material of culturally and historically significant events that occurred
steely intensity and appropriate camp, chasing his prey (himself)
in Anfield were transformed into the site for a ‘cooperative reimagining’
during his lifetime. Shown simultaneously over three large video
through Chinatown in various western cities including Liverpool.
of living spaces and sites of work. The area has long been earmarked for
screens, the narrative is elliptical and disruptive, reflecting Hall’s
At pub / gallery, The Munro, Finnish artist Markus Kåhre pulls off
regeneration, and has been cleared of inhabitants, but lost its funding
descriptions of his feelings as an outsider within his own family and as
a brilliant optical illusion involving two empty rooms and mirrors
in the cuts last year. Van Heeswijk’s cohort of community workers are
a migrant to the UK. “Identity is an endless ever-unfinished
with no reflection (I won’t give it away), reminiscent of the ‘mystery
now designing a new template for living and plan to reopen a defunct
conversation,” Hall tells us. It’s a beautiful and compelling piece, where
houses’ that entertained the hungry masses during the US depression
bakery as a social enterprise. This project reflects Liverpool’s current
Akomfrah’s accomplished documentary filmmaking experience
of the 1930s.
condition, a city partly regenerated by the retail commerce at its centre
dominates in what is an unapologetic love-letter to Hall’s influence as
and still in possession of monuments to its past as an economic power.
a friend and a thinker.
This provides scope for the over-arching leitmotif of hospitality and
The Bluecoat is also the setting for the ‘TV Studio’ where Dora
locations associated with the city’s affluent past have been used to host
Garcia and collaborators Toxteth TV filmed their interactive talk show
the work of contributing artists.
Outside! (2012), a project that began at the time of my visit. It was billed
There are layers upon layers to explore at Liverpool Biennial and this is just a snapshot. The overall event feels embedded in and wedded to the city, a metropolis that, for now at least, fizzes with ideas and welcomes. No invitation required.
The Cunard Building, an elegant emblem of early twentieth-
as an opportunity for Liverpool residents to tell their own stories about
Anne Mullee is a writer and emerging curator currently working
century transatlantic ocean travel, is one such site. ‘A Selection of
the city while exploring the “porous nature of the relationship between
as LAB Gallery and Public Arts Assistant Intern at Dublin City
Recent Works’ by Mona Hatoum occupies corners and alcoves of the
audience and entertainer”. The results are now displayed as an
Council Arts Office.
building’s former first-class departure lounge. Afghan (red and black)
installation in the gallery. Though I cannot report on the finished work,
(2008), an Afghan rug with a world map cut into it and Shift (2012), a
I did overhear researchers briefing interviewers to ask about reactions
carpet depicting a disrupted global map overlaid with a sound waves
to the Hillsborough Report, assuring them that “everyone has an
pictogram, imply a reimaging of borders and of how we map the world.
opinion”.
Hatoum’s commentary, though not made specifically for this exhibition,
www.liverpoolbiennial.co.uk
The Visual Artists’ News Sheet
November – December 2012
33
Art in Public
Art in Public public art commissions; site-specific works; socially-engaged practices; and various other forms of 'art outside the gallery'. Grand Canal
throughout the midlands. They were on show
Title: Electron Cloud
Unveiled: 4 September 2012
throughout the Roscommon Lamb Festival.
Artist: Lucy McKenna
Project Partners: Holywood Arches Library, East
Commissioners: The Arts Council
Belfast Arts Festival
Commission Type: Open submission
Description: During a two-day period in August, Prime Collective investigated the abandoned Bryson Street Surgery (due to be demolished) and developed three separate strands of work aiming to artistically archive an aspect of the building and its past. The resulting works were exhibited in the Hollywood Arches library from 5 – 30 September 2012: Charlotte Bosanquet created a sound installation featuring a hand bell ringing in an empty doctor’s surgery; Alissa Kleist displayed a single photograph documenting a building on the verge of demolition; Tonya McMullen used fabric from the abandoned library curtains to make tote bags for library users to carry their books in.
animation hub
Project Partners: Kilkenny Arts Festival Unveiled: 10 – 20 August 2012 Budget: €3,250
Title: Animation Hub
Title: Grand Canal
Artist: Lorraine Walsh
Artist: Geraldine O'Reilly
Location: Newbridge Family Resource Centre
Commissioner: Offally County Council Commission Type: Per Cent for Art Scheme Date Advertised: August 2011
Commissioners: Kildare Arts Service Commission Type: Youth Arts Residency Project Partners: Newbridge Family Resource
Unveiled: April 2012
Centre
Budget: €15,000 Description: Geraldine O’Reilly created a pop-up exhibition of specially-designed folders. Each of the four folders contains an exhibition of etchings and specially designed easels that allow the work to be presented in any kind of space. A fifth set of etchings were framed for a permanent location. The work is presently touring as part of an exhibition entitled ‘A Very Grand Canal’.
sheep
Date Advertised: March 2011 Unveiled: September 2011 – June 2012 Budget: €2,500 Description: ‘Animation Hub’ was a collaborative youth arts project using stop-motion animation as a creative tool. The project was a development of two previous successful animation projects, ‘Growing Out From Here’ and ‘Animation Expedition’, which were also a collaboration between the NFRC and the artist. The focus of the residency was to develop independence in the participants’ own creativity, developing skills in storytelling using digital technology and materials. The residency was delivered over a series of workshops from September 2011 to June 2012. The participants were from a variety of cultural and family backgrounds in the catchment area of The Newbridge Family Resource Centre. In May 2012 the group won a national film competition run by The Integration Centre for their group film, Diversity. https://vimeo.com/album/1775502
Title: Sheep
electron cloud
Artist: Noel Molloy Commissioner: Roscommon Lamb Festival Unveiled: April 2012
Description: Electron Cloud is a public exterior sculpture, that hung 25ft in the air between two buildings – one medieval, one contemporary – during the Kilkenny Arts Festival 2012. This sculpture visually merges an older, flat scientific diagram of an atom with the newer updated version, which states that electrons orbiting the nucleus of an atom are moving at such speed that their location can only ever be estimated, making it appear as a spherical 'cloud' of predicted particles. The sculpture consisted mainly of steel and polypropylene and contained 235 independently moving parts. The concept for the work began while the artist was on a residency at Kilkenny Arts Office in late 2011, investigating folklore and mythology connected to the landscape and juxtaposing this with scientific explanations.
scarecrow Title: Scarecrow Artist: Barbara Jane Kelly Location: Tintern Abbey grounds, Wexford Commissioners: Wexford County Council, Wexford Arts Department Commission Type: Artist in the Community
Title: Schoolwork
Project Partners: Hook Tourism
Artist: Blaise Smith
Date Advertised: March 2012
Location: Presentation College, Carlow, Visual,
Unveiled: July 2012
Carlow and Crawford Gallery, Cork
Budget: €2,675
Commissioners: Presentation College, Carlow
Description: Scarecrow is a 12-foot high installation made mainly from willow. It was woven directly unto an iron armature, designed in three separate parts that slotted down on each other once each unit was completed. The base of the armature was then buried in the ground for stability. This installation was sited in a newly restored walled garden in the grounds of Tintern Abbey.
Commission Type: Per Cent for Art Scheme
Description: Three wicker-type sheep were made with ash rods, hazel rods, dogwood rods, hazel wood,
A creative method
oak wood, pitch pine and nuts and bolts. The three
Title: A Creative Method
sculptures are a seven-foot ram, a five-foot ewe and a
Artist: PRIME Collective: Alissa Kleist, Charlotte
three-foot lamb and were made to be mobile and
Bosanquet, Tonya McMullan.
displayed at football matches, cattle / sheep marts,
Location: Holywood Arches Library
shopping centres, parades and various public venues
Commission Type: Per Cent for Art Scheme
Have Your Public Art Profiled in the VAN 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 email us the information for publication in the Visual Artists News Sheet. Send images (3 - 4MB in size) and a short text (no more than around 300 words) in the following format:
• • • • • • • • •
Artist's name Title of work Commissioning body Date advertised Date sited / carried out. Budget Commission type Project Partners Brief description of the work
Work must have been undertaken in the last 6 months. Send your info to Lily Power: lily@visualartists.ie
schoolwork
Unveiled: October 2012 Description: ‘Schoolwork’ is a suite of 20 figurative paintings depicting the life and fabric of an Irish school in 2012. It has many group portraits of students and staff at work and play in the classrooms and buildings of a typical Irish secondary school, in this case Presentation College, Carlow. The aim of the work is to record for posterity what the Irish education system looked like in our time. Blaise Smith works in traditional oil on gesso panel with the specific aim of the work lasting as long as a Holbein. He worked from life in the school for the entire school year. ‘Schoolwork’ will go on exhibit in Visual in Carlow from October 2012 and then in the Crawford Gallery in Cork in January 2013.
Olivier Cornet Gallery 1 The Wooden Building, Exchange Street Upper, Temple Bar, Dublin 2, Ireland +353 (0)1 677 0280 info@oliviercornetgallery.com www.oliviercornetgallery.com
1 - 4 November 2012 VUE (National Contemporary Art Fair) at the RHA 21 Nov - 16 Dec 2012 ‘Espacios’ Jordi Forniés Solo show (FILMBASE, Temple Bar) 28 Nov - 20 Dec 2012 ‘AC2’ Group Christmas Show
John Fitzsimons’ 'Foundations I' will be exhibited at VUE at the RHA, 1-4 November 2012
Follow us on Facebook and Twitter : Olivier Cornet / @OCG_Galler y
34
The Visual Artists’ News Sheet
November – December 2012
studio profile
Bridge House Arts studio space
Bridge House Arts, image courtesy of Richard Cutbill
Children's enchanted forest as part of 'My Street is my Canvas', image by Dungarven Camera Club
Poet John Ennis reading Bridge House Arts for Storytelling Southeast
Melinda Coogan, 'Tales from the Wild', image by Dungarven Camera Club
Sustainable Spaces
those regions. The provisional and contingent grounds on which independent arts centres are so often based led me to question Bo Mandeville on his ideas about the sustainability of Bridge House: “The arts space can be made sustainable but it will continue to
maria tanner profiles bridge house studios, which opened in dungarven, co waterford, earlier this year, in the context of sustainable new economies and creative partnerships within the sector.
require inventiveness. Status quo is simply not an option. There is the practical side, with regard to local authorities, but partnerships with other creative groups will be essential. Our international partnerships are more developed than our national partnerships but that is mostly because of the festival’s focus programmes. The former take longer to
Bridge House arts space now features as part of the festival’s
Backdrop
build up, so now can to shift our focus somewhat and continue the
A direct consequence of the recent economic crises has been a shift in
ongoing permanent programme and there are plans to run inter-
the outlook of artists and cultural workers. At the level of cultural
disciplinary events within the space. The aim is to acheive synergy
Mandeville has been working in connection with other festivals
interaction, creative responses to the ambiguous legacies of runaway
between literature, film and visual arts alongside informal educational
such as March Hare in Canada and developing an exchange with Le
inflation and subsequent property market collapse have opened up a
programming. This is intetnded to reflect Storytelling Southeast’s core
Nombril du Monde in France. Storytelling Southeast and Bridge House
new and challenging context for creative engagement. Using vacant
concept: “to observe and explore how we tell stories today”. Rather than
are intended to entrench arts practices in the locality and to form part
urban buildings for the production and presentation of art is now one
responding to selection criteria, the Bridge House artists came together
of a wider international project, connecting multiple audiences.
the key characteristic features of post-boom creative Ireland. Needless
through an organic process that began with conversations between the
From productive intersections to long term survival, what appears
to say, artistic occupancy of vacant spaces is not a new phenomenon
artists. According to Bo Mandeville, it was necessary that the artists
to be at stake for independent arts spaces such as Bridge House, is
and has occured in Ireland since the 1970s. But what marks out the
could connect with the whole concept of Bridge House, which he
embodied in Michael Brenson’s assertions on the “new public art”. He
contemporary movement is the way it has been physically presented to
believes is “as much a community and an exploration as it is a set of
attributes these developments to an experience of the world rooted in
us. In an essay responding to the housing crisis, published in New
studios”.
Guillermo Gomez Pena’s statement that we are “living in a state of
Strategies, Claire Barliant wrote, “This is possibly the first crisis of our
discussion closer to home.”
Resident artist, Tony Hayes, emphasised that “Dungarvan has
emergency”. For Brenson, this change is “very much about infrastructure;
been long overdue a location which will showcase the diverse range of
it works on a grass roots level to listen and mobilise and construct a
Rising in number since the onset of recession in 2008, empty retail
local artistic talent. The prospect of an environment which serves as a
kind of foundation for art, that powerful art institutions cannot now
units, offices, houses, and apartments have continued to blot our local
platform for local artists, film makers and writers is a very exciting and
build”.
urban landscapes. Yet initiatives across country, artist-led or otherwise,
appealing one”. Rayleen Clancy, also a resident artist, stated, “For
At street level, the arts are being continually recreated in order to
have added considerably to a restructuring of the notion of collapse, by
centuries artists have been in collectives, bouncing ideas off each other,
remain relevant and resilient. Precarious economic conditions have
transforming economically-determined vacant spaces into sites of
supporting each other and pooling their energies in order to have a
raised new questions and the development of alternative systems has
concrete practice, interaction and mobilisation for creative
louder voice. When asked if I would like to join Bridge House I jumped
become a necessity. These organisations have become a crucial part of
communities.
at the opportunity, not only to have a wonderful work environment
ongoing practice and discussion. The opening of Bridge House has
but to be amongst like minded-people who are also dedicated to the
created a new atmosphere of possibility for the town of Dungarvan. It
arts.”
represents a continuation of the conversation and belongs to a
times that has a distinctive architectural aesthetic.”
New Developments - Bridge House Arts Space Bridge House is the most recent development of this kind: a former
developing national story whose range of characters and outcomes has
bank building in Dungarvan, Co Waterford, that has been transformed
A Growing Trend
into a new arts space and studios. The doors officially opened on
Bridge House arts is part of a growing trend among larger Irish art
August 2nd, marking a new phase in the cultural life of the town. The
organisations – such as Project Arts Center, Monster Truck and Temple
Maria Tanner is a writer and curator based in Co Waterford, her
development process began after the success of the Storytelling
Bar Gallery and Studios – in devising visual art programming that
recent publications include: The Mart Catalogue (IRL ,UK),
Southeast Festival 2011, which ran for the first time in Dungarvan last
intersects either permanently or sporadically with music, film, dance
Terminal 08 platform (PL) and Paper Visual art Journal, She is
autumn. Cultural anthropologist, film maker and Storytelling
and theatre. This alignment of visual arts with a widened spectrum of
currently curating an exhibition Idionumina (www.idionumina.
Southeast’s Festival Director, Bo Mandeville, became aware of the need
art forms is beginning, in places, to represent a necessary galvanizing of
com).
to establish an active art space within the town through conversations
the cultural assets within our creative economy. Serious shortfalls in
with local artists. As a consequence, Mandeville identified Bridge
the funding available to independent arts spaces has resulted in an
House as an economically viable way for artists to sustain studio
increased willingness to share the resources at hand. This, in turn, has
spaces, while also establishing a permanent HQ for Storytelling
led to more varied approaches to the question of sustainability. A
Southeast.
recent example of this was ‘The Border’, an exhibition held at The Dock,
“It took a lot of negotiation and perseverance to get the initial contract for a year. I think the owners were not confident that we
Carrick-on-Shannon, which featured a highy successful ‘associated events’ programme of poetry and Irish music.
would manage to find artists to make it work. We are now full – with
These trends in creative alternatives are as valuable for the
11 residents – and have made it clear that we’re here to stay. We have
problems they expose as the solutions they provide. Often, complex
had some early discussions about a second lease, hopefully for two
and conflicting pictures emerge. The recent closure of Occupy Space,
years.”
Limerick and SOMA Contemporary, Waterford were significant losses in terms of maintaining an evolving platform for contemporary art in
not yet been written.
The Visual Artists’ News sheet
November – December 2012
35
professional recognition equiptment & facilities hire peer to peer studio clinics discount scheme members' contact area IAA card Artelier
REGIONAl CONTACT
Regional Contact Northern Ireland: Feargal O'Malley
I’ll begin by quoting the theme tune to Cheers, Cheers
conservative. Artist-led organisations, which have
“Making your way in the world today takes
served as the lifeblood of innovation in the visual
everything you’ve got”. Having returned from my
arts, are becoming increasingly important.
cultural walkabout across Northern Ireland (I have
Unfortunately, most artist-led organisations start off
the posterior fatigue and the botched henna tattoo
with weapon-grade enthusiasm and have a shelf life
to prove it – terrible, terrible business), I feel able to
of about two years. This has not been the case with
highlight some central concerns that seem to crop
Catalyst Arts (Belfast). It has managed to stay
up continuously, and tell you a couple (or three)
consistently relevant and adapt continuously to the
things that a man from Strabane told me.
times, while others have hit the 'difficult second album’.
RESEARCH, RESEARCH, RESEARCH
Artist-led organisations are hardly a new thing
I have heard how difficult it is to get an exhibition
in the visual arts – indeed they seem ubiquitous and
when you first start out. Artists say, ‘I feel isolated
commonplace now – but when Catalyst Arts began,
and outside the system, with no way of breaking in,
20 years ago, it had no working model to relate to in
especially as a stranger in a strange land’. One of the
Northern Ireland, so they went out and created one.
most important things to do is research. Before
The website states:
VAI VAI
We depend upon our membership fees and other forms of generated income to add to our Arts Council and Arts Council of Northern Ireland grants.
discount scheme help desk discount scheme help desk advice professional recognition confidential Annual Membership Rates members' contact area insurance members' contact area insurance equiptment &€50facilities hire VAN subscription Standard Rate / £44 IAA card smartphone app IAA card smartphone app - Professional Artist - Standard - €50 peer to peer studio ebulletin Concession- Rate €25 / £22 Unwaged/OAP - €25 Artelier VAI at DAS Artelier VAI at DAS development clinics professional - Associate - Standard - €50 International Rates €65 - Unwaged/OAP - €25 €70 discount scheme help desk - Student €25 members' insurance Friends' Rate €60contact area - Friend €60 Your active support and financial contribution allow us to Your active support and financial contribution allow us to offer you the widest support services in the app sector. - Arts Officer €180 IAA range cardof smartphone offer you the widest range of support services in the sector. To help us provide even better and more extensive services - Organisation Bundle only - €100 To help us provide even better and more extensive services join today: Artelier VAI at DAS join today: Extra benefits - €180 Professional Recognition
“Catalyst Arts was formed in 1993 in response
exhibitions and identify the experience level of the
chronically under-funded, Catalyst Arts is probably
exhibited artists. Another way to better understand
best known for challenging the formal structures of
a gallery is to volunteer or to find an intern position.
curatorship by realising projects of an experimental
That way you can learn by osmosis. It’s amazing
nature which break the mould of the artist-audience
what you can pick up by making yourself familiar to
relationship and confirming art as something to
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the people in charge. Working in a gallery, like any
engage in or react to rather than something to
job, has its down-times: waiting for artwork to
‘consume’.”
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aspirations while unloading work from delivery
curatorial visions. I once heard someone describe it
trucks. You might just be the right person in the
as a ‘finishing school for artists’. Larger institutions
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right place at the right time.
like the Ulster Museum have also seen the merit in
Sighle Bhreathnach-Cashell is the present
members with a meeting place to discuss their work
incumbent and, on a recent visit, her interactive
in peer critique sessions and holds an annual
installation truly took me by surprise. In describing
members’ showcase exhibition. The collective
her intentions, she writes:
recently held a very successful open submission
“I have installed myself as a living exhibit in
photography exhibition called ‘Open Now’ with a
the museum for one month. My aim is to try and
judging panel that comprised Tanya Kiang, Trish
understand what is going on in the world by
Lambe (Gallery of Photography) and Donovan
confining myself to a beige bedsit where I will
Wylie (Magnum Photos). They received over 270
constantly watch television, eat beige food, draw
submissions from 32 countries across the world. The
diagrams and make models. For some reason I think
exhibition was later moved to the Gallery of
this will help me see things more clearly.”
Photography in Dublin. How’s that for putting your name out there in a positive way?
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To help€50 us// £44 provide even better and more extensive services €50 £44 join today: €25 / £22 €25 / £22
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The selection of exhibitions remains endlessly
that it exists solely for photographers. It provides
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visualartists.ie • visualartists-ni.org • +353 (0)1 672 9488
fascinating and encompasses a broad scope of
that feels fresh and on the pulse.
Inclusion in Contact Area
Your active support and financial contribution allow us to Annual Rates Annual Membership Membership offer Rates you the widest range of support services in the sector.
with volunteers about their work and their
many similar entities in Belfast, although unique in
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visualartists.ie visualartists.ie •• visualartists-ni.org visualartists-ni.org •• +353 +353 (0)1 (0)1 672 672 9488 9488
arrive, for example. I have had amazing conversations
established an artist-in-residence programme there
Vote at AGM
+353 (0)1 672 9488 www.visualartists.ie www.visualartists-ni.org
to what was seen as a cultural vacuum. Although
Belfast Photo Factory. This young collective is one of
Equipment Rental
Visual Artists Ireland Central Hotel Chambers 7/9 Dame Court, Dublin 2
check out its mission statement, look at past
opening their doors to Catalyst and have recently
are you a member? are you a member?
professional recognition advice Your active support and financialconfidential contribution allow us to professional recognition advice Visualconfidential Artists Ireland Ð Membership Rates and Benefits offer you the widest range of support services in the sector. equiptment & facilities hire VAN subscription To help us provide even better and moresubscription extensive services equiptment & facilities hire VAN join today: peer to to peer peer studio studio ebulletin peer ebulletin We deliver a lot of our services for free, but with membership you will find that there are additional supports that we offer. As well as contributing to the development of our visualartists.ie • visualartists-ni.org +353 development services for individual professional artists, you will also be contributing toclinics the on-going work that professional we undertake• on the behalf of(0)1 artists. 672 9488 clinics professional development
contacting a gallery, find out its history, visit it,
One group that has tried to address this is
confidential advice VAN subscription ebulletin professional development help desk insurance smartphone app VAI at DAS
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for non-artists & non-arts organisations to keep up-to-date through the VAN and participate in our events
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Visual Artists Ireland Central Hotel Chambers Visual Artists Ireland 7/9 DameHotel Court,Chambers Dublin 2 Central 7/9 Dame Court, Dublin 2 +353 (0)1 672 9488 www.visualartists.ie +353 (0)1 672 9488 www.visualartists-ni.org www.visualartists.ie www.visualartists-ni.org
€65 €70 €60
Visual Artists Ireland Central Hotel Chambers 7/9 Dame Court, Dublin 2 +353 (0)1 672 9488 www.visualartists.ie www.visualartists-ni.org
To say I wasn’t expecting to see an installation of this nature would be an understatement and it is something I would love to see more of within the
lUCK
traditional museum environment.
You also need to know that luck is involved. I don’t
It would be fair to say that Catalyst has been
mean that once-in-a-while, goofball lottery luck, I
one of the most important cultural providers in
mean the persistent, gum shield, obdurate, shop
Northern Ireland over the last two decades (the list
window, bite-your-hand-off kind. Push forward,
of directors speak for itself) and for that it should be
collect yourself, fill your boots with small victories
saluted.
Image: Sonja Landweer – Large Inverted Ovoid, Ceramic
that can sustain you in between bouts of insomnia and create space to think and maneuver. I don’t want
feargal@visualartists-ni.org
to sound chakra-infused and self-helpy, or pretend to
www.visualartists-ni.org
have a magic wand to solve all life’s problems, but I would strongly recommend finding people who are going through the same experience. Support systems are fundamental to dealing with setbacks and disappointments for artists at any stage of their career. ARTIST-lED ORgANISATIONS – THAT DIFFICUlT l lT SECOND AlBUM This is a time when many galleries are watering down their programme to achieve that all-important footfall, becoming less innovative and more
EVENTS 2 Nov 2012 – 16 Jan 2013 National Craft Gallery, Castle Yard, Kilkenny, Ireland T + 353 (0) 56 779 6147 E info@nationalcraftgallery.ie W www.nationalcraftgallery.ie A co-production with Poetry Ireland and with Solstice Arts Centre, Navan, 9th February - 6th April 2013.
Thurs 22nd Nov, 6.30pm Late Date: Informal talk with Dr. Derek Coyle, Poet Sat 24th Nov, 10.30am Family Day: Clay Play Sat 15th Dec, 10.30am Family Day: Yarn Bomb Thurs 20th Dec, 6.30pm Late Date: Festive Choral Ensemble
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Crystalline Exhibition runs 3 Dec – 26 Jan
Millennium Court Arts Centre Portadown info@millenniumcourt.org / +44 2838 394415 www.millenniumcourt.org
Into the Light The Arts Council – 60 Years of Supporting the Arts
Exhibitions highlighting works from the Arts Council Collection to celebrate its 60th anniversary. Lead Curator and Editor – Karen Downey
EXHIBITIONS CORK | DUBLIN | LIMERICK | SLIGO CRAWFORD ART GALLERY, CORK 4 December 2012 – 23 February 2013 Curated by Dawn Williams Commissioned artist Mark Clare
DUBLIN CITY GALLERY THE HUGH LANE 28 November 2012 – 24 February 2013 Curated by Michael Dempsey Commissioned artist Karl Burke
LIMERICK CITY GALLERY OF ART 30 November 2012 – 18 January 2013 Curated by Helen Carey Selected by Paul Tarpey, Anne Horrigan, Baz Burke and John Logan Commissioned artist Emmet Kierans
THE MODEL, SLIGO 7 December 2012 – 24 March 2013 Curated by Emer McGarry Commissioned artist Sean Lynch A publication featuring illustrations of works from the Arts Council Collection by over 100 artists and essays by Diarmaid Ferriter and Caoimhín MacGiolla Léith will be on sale at the exhibiting galleries. The Arts Council, 70 Merrion Square, Dublin 2 T W
Meditation, 2009 © Patrick Scott
+353 1 676 1302 www.artscouncil.ie
West Cork Arts Centre, North Street, Skibbereen, Co. Cork. t: + 353 28 22090, e: info@westcorkartscentre.com, w: wwwwestcorkartscentre.com
James L Hayes
The Essence of Taste 6 October – 24 November 2012
Multi-disciplinary, sensory-based sculptural installations exploring issues related to both environmental and economic conflict.
50% DISCOUNT OFF ANNUAL SUBSCRIPTIONS TO THE IRISH ARTS REVIEW FOR VAI MEMBERS!
Rita Duffy Arctic Circus
1 Decemer 2012 – 13 January 2013
An exhibition comprising oil and watercolour paintings, soap sculptures and a seal-skin, willow and sound installation.
One-year subscription costs €28 inc. p&p within Ireland! Subscribe to the Irish Arts Review by phone or online and quote your VAI membership number. Tel: +353 1 6793525 Online: www.irishartsreview.com
RHA AUTUMN SEASON
Arts Council of Northern Ireland Developing the arts in Northern Ireland
Arts Council of Northern Ireland, MacNeice House, 77 Malone Road, Belfast BT9 6AQ. T: +44 (28) 9038 5200. W: www.artscouncil-ni.org. E: info@artscouncil-ni.org
Image: Brendan Jamison, Green JCB bucket with holes. Arts Council Collection
Stephanie Rowe, Untitled Untitled, 2012, Oil on panel, 10 x 13.5 cm, Image courtesy of the artist
7 Sep – 28 Oct FUTURES 12: Lucy Andrews, Peter Burns, Caoimhe Kilfeather, Ed Miliano, Jim Ricks, Stephanie Rowe Gavin Murphy On Seeing Only Totally New Things / Something New Under the Sun 7 Sep – 4 Nov
Julie Merriman Draw full size
7 Sep – 21 Dec Michael Warren RHA Predella Seán Keating and the ESB Enlightenment and Legacy Admission Free
GALLAGHER GALLERY / 15 Ely Place, Dublin 2 +353 1 661 2558 / info@rhagallery.ie
Warning: This exhibition contains broken glass – children must be supervised at all times.
Bronze Art, Fine art Foundry
Lightness Suki Chan, Tracy Hanna, Sofie Loscher, Grace Weir & Niamh McCann Thu 27th Sept – 29th Nov, Open 10am – 6pm (later on show nights)
Accept no compromise in the quality of your work, come work with the specialists.Best quality guaranteed everytime at competitive prices. For your next project contact: David O’Brien or Ciaran Patterson Niamh McCann, Perch ((Recreating Recreating the Natural Habitat Habitat)), Mixed Media Sculpture / Re-appropriated Neon, Taxidermied Bird, Veneered Wood, Aluminium Fixing
Mermaid gallery Mermaid Arts Centre Main Street Bray Co. Wicklow
Unit 3, Gaelic St, Dublin 3, Ireland. Tel: 353-1-8552452 Fax: 353-1-8552453 Email: bronzeartireland@hotmail.com
www.bronzeart.ie
Call 01 2724030 or visit mermaidartscentre.ie
Maurice Ward Art Handling launch new ART BOX service:
Art Box:A Safe, Insured, Affordable,International,Doorto-Door Art Shipping Service At Maurice Ward Art Handling, our principal interest is the safe and secure transport of your artworks. We are now offering an Art Box service that is designed for sending relatively small, flat, inexpensive artworks from Ireland to any destination worldwide without the need to avail of a dedicated fine art service.
SAFE
AFFORDABLE
ART BOX has been designed using high quality materials that are regularly used in the packing and transport of artworks: • •
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Clean, clear 50μ polythene to keep artwork safe from dust and scratching Four layers of robust, chemicallyneutral 25mm polyethylene foam to secuely sandwich artwork, minimise any movement and provide high quality cushioning 8mm double wall 400lb corrugated card to protect artwork from impact and pressure Initially available in two sizes: the 80 x 80cm size can accommodate an artwork measuring 70 x 70cm, the 100 x 100cm size can take an artwork 90 x 90cm. Either could accommodate several smaller artworks.
•
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INSURED
The price for ART BOX includes delivery of the box to your premises anywhere in Ireland, insurance of the work to a value of €1,000 and national or international courier service to your destination. When compared to separate puchase of packaging, insurance and shipping, ART BOX represents a significant saving for you: see our sample prices below. Check our website or call us for other destinations
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Insurance for ART BOX is based on value and covers works up to a value of €1,000; higher values can be covered on request. ART BOX is also available without transport or insurance, if you just want the box; call us for prices. Because of its solid construction, where convenient, ART BOX can be reused; replacement internal foam is available if required
Ireland
UK
Germany
USA
Hong Kong
100 x 100cm
€89.00
€130.00
€166.00
€226.00
€299.00
€75.00
To find out what’s on near you right now, visit Culturefox.ie on your computer or mobile phone.
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80 x 80cm
Culturefox.ie is the definitive online guide to Irish cultural events, giving you complete information about cultural activities both here and abroad.
€104.00
The ART BOX service will be launched at ArtSource in the RDS, 8 – 11 November, so for more information call over to our stand – A78 – where we will be happy to help you.
€137.00
€185.00
€229.00
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C X O E D V G U O Q P Z
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Donegal County Council Cultural Services Public Art Program invites you to the launch of
Making Shapes 2 Public Art in Donegal 2013 - 2017 www.donegalpublicart.ie
K U A C A
21 Years of Public Art in Donegal Exhibition
(Exhibition continues until Friday 8th February 2013)
Tuesday 4th December, 2pm Regional Cultural Centre Letterkenny Ms. Terre Duffy Public Art Manager terre.duffy@donegalcoco.ie
WWW.MAURICEWARD-ARTHANDLING.COM E: MOVINGART@MAURICEWARD.COM UNIT J10, SWORDS BUSINESS PARK, SWORDS, CO. DUBLIN. T: +353 1 840 9099
One-to-One Mentoring Opportunity —
Sculpture Workshop Space For Hire —
Session dates: 27 & 28 November 2012 Closing date for applications: Friday 16 November 2012 Price: €20
Hire of space in the Sculpture Workshop is available for €50 per week. The workshop can facilitate most scales of work. Each working bay now has wall-mounted gas heaters.
Curators Aisling Prior and Padraic Moore will give one-to-one critical feedback and practical support to artists and curators on:
Further info: www.firestation.ie/facilities
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– their practice – presenting themselves – their project proposals Includes a one hour meeting between applicants and curator at Fire Station Artists’ Studios in November 2012 with a follow up studio visit/meeting in January 2013. Open to all artists and curators who are actively practicing or interested in taking a new direction. —
Apply online: www.firestation.ie (from 5 November) Enquiries: artadmin@firestation.ie or Tel: 01 8069010
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