The Visual Artists’ News Sheet (VAN) is one of two periodicals published by Visual Artists Ireland. The Visual Artists’ News Sheet has been devised primarily as an information resource for artists in Ireland. It is published 6 times a year in a 36 page, colour/B+W, tabloid newspaper format. It is useful, practical and relevant, it is regularly produced and widely distributed, it draws on a diverse range of contributors and assumes a broad readership amongst visual artists. This publication is a valuable and much needed resource for all artists practising in Ireland. The News Sheet is available to pick up free of charge in galleries and arts centres. However, the most effective way to ensure that you receive the Visual Artists’ News Sheet both regularly and promptly is to become a member of Visual Artists Ireland. Membership is open to all artists and entitles you to an annual subscription to the Visual Artists’ News Sheet as well as a host of other benefits.
Kate Dick Squint Acrylic and oil on board 30cm x 30cm Kate Dick Timelines Mark Swords, Head, plasticine & wood, 48 x 20 x 20 cm, 2007 Open Spaces New Places Group exhibition & 7 September – 6 October screening Curated by Eilís Lavelle mermaid arts centre, 12 October – 3 November main st, bray, county wicklow T: 01 272 4030 E:email@example.com www.kevinkavanaghgallery.ie www.mermaidartscentre.ie open: mon - sat, 10am - 6pm Eilis Murphy ‘Work of the Devil’, Installation view, Galway Arts Centre. (15 June – 7 July) News Sheet The Visual Artists’ Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire September – October ISSUE 5 2007 2 The Visual Artists’ News Sheet September / October 2007 INTRODUCTION CONTENTS Introduction Contents WELCOME to the latest edition of the Visual Artists News Sheet. 3. Roundup. Recent exhibitions and projects of note. This is this last issue of the VAN to be produced under the directorship of Toby Dennett. After 5 years 3. Column. Padraic Moore. Elergy forthe Summer of Love. with Visual Artists Ireland, Toby is moving on to a position in the Arts Council. All the staff and board of 4. Column. Slavka Sverakova. Parargon. Visual Artists Ireland congratulate Toby on his new post and wish him all the best in his new endeavour. We 5. Column. Micheal Burke. The Commission Equation. also would like to state our appreciation for Toby’s initiation and management of the growth and 7. News. The latest developments in the arts sector. development of the organisation – ensuring that visual artists in Ireland have access to the highest level of 9. Institution Profile. The Black Church. Aidan Dunne profiles The Black Church Print Studio, Dublin – professional supports and resources. And amongst Toby’s many achievements, is of course the development which this year is celebrating its Twenty-fifth anniversary of the Visual Artists News Sheet. 10. Project Profile. On and On ... Anne Marie Dillon and Chérie Driver report on ‘Appropriate’ – a live art In this issue, continuing our focus on the subject of public art commissioning; we feature three reports project held in Belfast (25 March – 1 April). covering discussions around the relevant practices and processes. Phillip Gaston considers ‘The Cross Land 11. Conference Report. Gathering Insights. The cross lands gathering, part of the Shifting Ground initiative, Gathering’ a meeting amongst artists and other stake holders about the future of the Burren; Vagabond a discussion amongst local stakeholders focused on the future of the Burren. Reviews consider the ‘Situational Drive’, a conference held in New York this May; and Cherie Driver reports 12. Conference Report. Site & Situation. Vagabond Reviews discuss some of the key issues arising from ‘The on ‘Public Art! What For? Who For?’ that took place in Belfast also in May. Situational Drive: Complexities of Public Sphere Engagement’ a conference / event held at Cooper Brian Connolly the VAI Northern Ireland representative considers the plight of Creative Exchange Union, New York, 12 – 15 May this year studios in Belfast. Our Western ‘rep’ Aideen Barry highlights the issues affecting artists who are receipt of 13. Residencies. Helix of Hope. Raymond Watson discusses his experience of a self-directed residency social welfare and supplementary welfare incomes. working in Kolkata, India. We’ve two special focuses – Monica Flynn reports on this year’s Venice Biennale and offers some tips on how to negotiate the mega-show; and Jessica Foley considers some Irish artists use of publications as 14. Conference Report. Imaging Back. Susan Gogan discusses ‘Global Photographies: Histories; Theories; mediums for presenting and encouraging discourse. Practices’, held at the Institute of Art, Design and Technology, Dun Laoghaire, 27 – 29 June. Besides this, we have our regular features – the roundup; news; artists residencies; career development; 15. International Events. Thinking with the Senses. Monica Flynn Offers her impressions of the 52nd Venice project profiles; how is it made; regional focus; and all the latest opportunities. Biennale – along with some tips for negociating the mega-show. On page 37 details can be found of the ‘2007 Professional Development Training Workshops for Visual 16. Conference Report. What is it Good For? Cherie Driver reports on the seminar ‘Public art! What for? Artists’, that Visual Artists Ireland have devised in a joint initiative with the National Sculpture Factory in Who for?’ organised by Interface, held at the Farset Centre, Springfield Road, Belfast, 29 May. Cork. 17. Focus. Dabbling in Discourse. Jessica Foley considers artists’ use of publications as a medium and In September VAI International Representative, Michael Burke, will travel to Sibiu in Romania platform for discourse. (Cultural Capital of Europe 2007) to attend The European Council of Artist’s (ECA) annual conference 19. Residencies. Bridging the Gap. Niall DeBuitlear Describes Flax Arts Studios’ Graduate Residency entitled ‘Artists, Creativity, Society – Challenges for the Status of the Artists in the beginning of the 21st Programme. century’ (28 – 30 Sept). Saoirse Higgins will attend the EFAH (European Forum for the Arts & Heritage) 21. Career Development. Balancing Act. David Sherry outlines his approach to managing his art career. annual conference and AGM ‘Inside Out – Re-imagining cultural action in Europe’ at Fabryka Trzciny in 22. Art in The Public Realm. Recent commissions and socially-engaged projects. Warsaw, Poland. (8 – 11 Nov). 24. How is it Made? Paper Demons. Eilis Murphy outlines the making processes and conceptual In October, we will be distributing Printed Project issue 8, entitled ‘Artistic Freedom – Anxiety and underpinnings behind her recent body of work. Aspiration’ curated / edited by Munira Mirza. We will be launching the issue in Belfast and London – details 25. Project Profile. Soap Boxing. Sally Timmons discusses her project ‘SoapBox Sessions – a Public Enquiry of which will be made available in due course. for Artists’ ,which took place 18 – 19 May 2007 in Galway. 27. VAI Northern Ireland Rep. Creative Exchange. The plight of Creative Exchange, East Belfast. 27. VAI Western Rep. Welfare & Artists. Aideen Barry, discusses issues affecting visual artists in receipt of Social Welfare and Supplementary Welfare incomes. MEMBERSHIP APPLICATION FORM 28. Regional Focus. Visual Arts resources and activity in Kildare. 32. Opportunities. All the latest residencies, commissions, grants and calls for exhibitions etc. Name: 40. The Theatre of Agony. Guidance from our curator / consierge of agony. Address: 40. Horoscope. Your Stars by Nicholas Keogh Production Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout: Monica Flynn; Opportunities: Tara Kennedy / Monica Flynn; Proofing: Anne Henrichson; Invoicing: Valerie Earley. Home Telephone: Mobile Phone: Contributors Email: Website: Padraic Moore, Slavka Sverakova, Micheal Burke, Aidan Dunne, Anne Marie Dillon, Chérie Driver, Phillip Gaston, Vagabond Reviews ,Raymond Watson, Susan Gogan, Monica Flynn, Cherie Driver, Jessica Foley, Category of Membership: * Professional Associate Friend Niall DeBuitlear, David Sherry, Eilis Murphy, Sally Timmons, Brian Connolly, Aideen Barry, Nicholas Keogh, Lucina Russell, Sinead Redmond, Carly McNulty, Fifi Smith, Una Collins, Dominic Thorpe, Pamela Di Bri. *If applying for Professional membership please tick which of the following apply. To qualify as a Professional member you must meet a minimum of three of the below criteria. 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The Visual Artists’ News Sheet September / October 2007 3 COLUMN ROUNDUP Roundup REM materialism in Ireland, to establish new Padraic Moore relationships with traditional values of Elegy for the Summer of Love the land and the community.” www.iziko.org.za FORTY years ago, the Summer of Love (as it would come to be known) was www.royalhibernianacademy.com mellowing into autumn. It had been a particularly notable year in terms of music, with the release of both The Beatles’ Sgt. Peppers Lonely Hearts Club Band AT LCAG and historic debut album by The Velvet Underground and Nico. Both albums were seminal in musical terms – the Beatles dabbled with mechanised equipment and Eastern instrumentation, the Velvet Underground drew the avant gardist approaches of John Cage and Fluxus ever closer to the mainstream – and for their iconic cover sleeves, by Peter Blake and Andy Warhol respectively. Though musically very different both albums are characterised by a tendency toward defiance and experimentation, at that time a seeming prerequisite of all Risa Sato In Roses (from ‘Rapid Eye Movement’ at TBG&S, aspects of culture. Dublin. That year proved equally momentous in cinema, producing iconoclastic Artspace studios & artists. Melanie O’Rourke. Work from ‘The Colour of Surprise’ works reflecting the changes within society which continue to exert a lasting ARTSPACE 21 impact upon the way life was lived thereafter. Depicting, representing and, no During this year’s Galway Arts Festival, ‘The Colour of Surprise’, curated by Pippa doubt, inciting paradigm shifts was Godard’s apocalyptic Le Week-end – a Artspace Studios marked their 21st Little at Limerick City Gallery (6 July – 28 polemic targeting not only the materialistic, excessively consumerist anniversary with ‘Artspace 21’ a major August) brought together works by bourgeoisie but also the leftist revolutionaries, who are portrayed as exhibition of work by present and former Jeanette Hillig, Michele Horrigan and cannibalistic savages. Mike Nichols’ The Graduate was equally provocative, members, some sixty artists in all, at Melanie O’Rourke. These artists works precisely calibrating the generational conflict within American society – indeed, Galway Technical Institute. Founded in focussed on “brutal changes brought within all of Western society – at the time. By 1967, facilitated by the availability 1986 Artspace is an independent, artist-led about by growth and pollution” and the of lightweight and affordable cameras, an underground avant garde film organisation and service provider. works in show ranged from “depictions of movement was also thriving, with Michael Snow and Stan Brakhage (to name Artspace Studios undertake many varied disregarded objects; an industrial factory, just two) producing several of their most experimental and influential movies. activities, including community Work by Eoin McHugh from ‘Rapid Eye Movement’ at TBG&S, Dublin. discarded toys, and an unlikely unification The wave of dissent which rocked North America that year, in the form of workshops, studio open days and of primary coloured plastic objects … The group show ‘Rapid Eye Movement’ at mass protests against the Vietnam war and sexual and racial inequalities, was exhibitions. The studios facilities drawing attention to the waste spewing Temple Bar Gallery and Studiosm Dublin reinacted throughout the world, as traditional mores and modes of authority comprise 13 individual studios with from our society”. brought together the work of Irish artists buckled under the pressure of powerful opposition. The convictions, motives excellent facilities for members and guest Running concurrently was Joe Eoin Mc Hugh and Mark Garry with and hopes that informed the progressive ethos pervasive in 1967 (and of course artists, a print room with printing press, a Duggan’s show ‘The Family Man’. London Japanese artist Risa Sato (17 July – 25 1968) echo the anarchic dynamism of the 1920s and 30s. This analogy is most fully equipped dark room, a multi-media based, Limerick born photographer, Joe August). The three artists in the exhibition apparent in the sphere of visual art. Instead of debating the superiority of one room; a workshop room; exhibition and Duggan constructs deceptive scenes of were invited to explore the fragile and style over another, many artists sought to break totally with precedence by performance area, and a library. Many artificial lifestyles suggested by subliminal world of Rapid Eye Movement adopting the language of conceptualism in order to interrogate what art was and Artspace members have made their names advertising, fashion shoots, media and (REM) sleep. Discovered by Nathaniel where it was going. Initially a North American phenomenon, the idiom of nationally and internationally over the film. In this exhibition Duggan explored Kleitman and Eugene Aserinsky in 1953, conceptualism was embraced internationally, partially because it enabled the years, they have created lasting male emotional expression and self-image REM is a stage of sleep when dreams are dissemination of ideas while simultaneously negating the cumbersome legacy international contacts and fruitful through a series of self-portraits. most lucid. of traditional mediums, casting aside “the tyranny of the commodity” and exchanges with artists in countries like The previous show at TBG&S was reducing art to unadorned information. It was in June ’67 that the term Germany, France and the United States. www. artspacegalway.com ‘Saphir’ the first Irish show by Zineb AT CATALYST ‘Conceptual Art’ entered into general parlance for the first time after Sol Lewitt’s Sedira (30 May – 7 July). The show Paragraphs on Conceptual Art appeared in the pages of Artforum (a publication in AT THE BUTLER GALLERY comprised a recent series of photographs which Michael Fried’s Art and Objecthood featured that same year). Meanwhile, in Europe, Germano Celant coined the term Arte Povera to describe the loosely and a two-screen projection, shot in and affiliated set of artists whose practice shared affinities with other conceptual around the port of Algiers – entitled movements but was ultimately an idiosyncrasy. Saphir. www.templebargallery.com The art of the late 1960s stemmed from the same urges as campus protests, Psychedelia, sexual liberation and anti-Vietnam rallies. For the last time a SINGING THE REAL powerful, capable and cohesive counter culture emerged, and with it a healthy willingness and desire to protest. Revolution was in the air, and there developed, Barry McGee 2007 between several artforms, a synchronised, spontaneous avant garde. For the last The Butler Gallery, Kilkenny is showing time – on such a scale, at least – there was a sufficient balance of optimism and the first exhibition in Ireland of the work idealism for people (particularly the young) to believe that change was not only of Barry McGee (11 Aug – 30 Sept). As the possible, but was worth striving for. Of course, hindsight grants the aforementioned events – and many others press release notes “acclaimed for his besides – an artificially cohesive synchronicity and warm glow of nostalgia. street graffiti, working under the name However, as one looking back from the beginning of the 21st century, I cannot Twist and for his painted installations in help but feel that spirit of urgency and activism is altogether unimaginable galleries, museums and art festivals Dorothy Cross, Basket, 2007 giclée print, 77 x 65 x 5 cms, today. Despite the fact that we are as out of control and doomed as ever before, around the world, McGee crafts a unique Courtesy of the artist/ Kerlin Gallery, Dublin. Work by Mai Takahashi the conviction that art, idealism and ambition are capable of changing – and visual language. Fusing together found ‘Singing the Real’, an exhibition of indeed improving – the world has been entirely abandoned. Imagination and and invented imagery, tags and assorted contemporary Irish art organised by the Mai Takahashi a Japanese textile artist responsibility are surrendered and considered the work of others, and there Royal Hibernian Academy, Dublin is who specialises in the traditional Japanese objects, McGee’s poetic works proliferates now a resigned sense that it is preferable to produce material that currently on show at Iziko South African textile technique Bingata, recently showed communicate the artist’s strong empathy critiques or celebrates that which preceded rather than attempting to construct National Gallery, Cape Town (20 July – 3 works at Catalyst Arts, Belfast (3 – 25 with people who have been left behind by a language for the future. I do not for a moment suggest that I am anything other Nov). The exhibition features works by August). The exhibition presented works than inextricably complicit in this state of affairs – the nature of this article is contemporary society”. Barrie Cooke, Dorothy Cross, Grace Weir, by the artist along with an introduction to evidence enough of that. The previous exhibition was Frances Susan Tiger, Cecily Brennan, Nick Miller, the history and the process of the Surely, if the Revolutions of ’67 had been successful (in the accepted sense Hegarty & Andrew Stones ‘Tactically Neva Elliott, John Gerrard, Gary Phelan technique supported by workshops run of the term, at least) we would not find ourselves in this state. Yours’ – an installation with video and and Martin Healy. Commenting on the during the course of the show. Takahashi’s To argue, this, however is to deny that noble failure is, in itself, preferable to audio (23 June – 29 July). Featuring an show Patrick T. Murphy, the Director of works explored themes relating to mediocrity and conformity. The greatest tragedy of our contemporary condition array of 24 CCTV monitors and two large- RHA and the exhibition’s curator noted environmental and biological issues. is not that the promised revolution never arrived, but that – through scale video projection the installation the show “explores the combination of The previous exhibition at Catalyst complacency and self-satisfaction – we are unwilling to acknowledge that in scientific method and art practice that is “tested the isolated gestures of the was ‘Turning Things Around’ a showing of revolution it is not the arrival but the journey itself that matters. an evident and strong strain in Irish art individual against the idea of the social or photographic and video works by Jason Without a realisation of this fact, is there anything left for us to pin our today … as if by the co-option of empirical political act” Oddy (8 June – 21 July). hopes on? that the artist can directly engage the www.catalystarts.org.uk www.brighter.org www.butlergallery.com material, and indirectly the new 4 The Visual Artists’ News Sheet September / October 2007 COLUMN ROUNDUP Slavka Sverakova VANISHED EDEN sauna was presented as meditation on how “climate change means landscape Parergon change”.. Landscapes ‘07 is the third in a series of four exhibitions which commenced in THE curatorial modes of the four current major art events in Europe differ. 2005. Each exhibition presents three solo Giancarlo Politi of PragueBiennale3 (www.praguebiennale.org), with some 20 exhibitions connected within a landscape curators and 220 artists aims at an openness that includes lesser known artists, theme. The 2005 exhibition featured Karl eg the School of Cluj. Critics have lamented the absence of a unified theme and Burke and Mark Garry, Nick Miller and one strong curator. Both conditions were fulfilled by Robert Storr in the Venice Hazel Walker, while the 2006 show Martin Healy, Skywatch III, 2007, c print 122 x 160 cms. Biennale, ‘Think with the Senses – Feel with the Mind. Art in the Present Tense’. Declan Clarke I Have Doubts Courtesy: the artist / Rubicon Gallery, Dublin. comprised Malachy Costello, Helena In uncluttered installations of art by 96 artists, he placed the well-known in the Gorey and Stephen Rennicks. Each of Italian Pavilion and the lesser-known into Arsenale; critics said it was “risk- these exhibitions endeavours to bring averse”. In Kassel Roger M Buergel and Ruth Noack with 150 artists aimed at “an together work of different genres from oeuvre called Documenta”. Critics have voiced, their (even angry) painting and 2D work to sculpture and disappointment. The three curators in Munster – Brigitte Franzen, Kasper multi-media / installation-based work. Koening and Carina Plath, invited 37 artists to make projects about www.thedock.ie interdependence of art and the city. Critics approved. TRACE In reference to the large numbers of exhibits, a highly intelligent art critic once Stefan Kürten African Safari Club, 2003 whispered: “I can model the history of art on instant coffee”. Indeed, the short time spent with a work of art has become a crucial aspect – art is asked to give Running in parallel was German Walker and Walker NIghfall its meaning, its visual power, instantly. And art obliges, even when a severe painter Stefan Kürten’s ‘Shadowtime’ – ‘The Garden of Eden has Vanished they which was presented as a co-production thunderstorm in Kassel ruins Template I by Ai Weiwei – built from numerous Say’ curated by Cliodhna Shaffrey was between the RHA, Dublin and the windows of old temples; the artist is delighted with the new form. My instant recently shown at Ballyjamesduff Kunstmuseum, Krefeld, Germany. In a reflections include: man and nature become co-authors; the intrinsic value of Museum, County Cavan (27 July – 31 new series of work, specially created for art is the matter of the mind. Replacing intention by chance does not equate art Michael John Whelan The Meeting August). Titled after a line from a local this exhibition, Kürten explored ideas of with nature, it does create a temporary autonomous zone for complex Irish artist MJ Whelan – now based in song – the exhibition consisted of works domestic utopias as expressed in interventions. (www.hellokassel.de/documenta12.html). Pawel Althamer’s Berlin, participated in a two-man show at in painting, photography, drawing, digital suburban architecture and interior design. Path is an interventional reflection on attitudes to order that transcend the University of Arts Gallery, London (12 print, sculpture/object and film by nine www.royalhibernianacademy.com individual responsibility. (www.skulptur-projekte.de). The citizens of Munster July – 24 August). Entitled ‘Trace’ the artists whose work makes connections prefer separate designated paths for cycling and walking. Disenchanted with show, which also featured work by into remote distances, locations and time, ORDER & CHAOS their unwillingness to deviate, the Polish artist made one path that ends Canadian Paul Jackson, presented moving and touch on elements of the sublime, the abruptly in the middle of a barley field. This somewhat jejune case of exploring image works focussed on themes of poetic and strange, the gap between cultural difference, oscillates between a reasonable conduct and an opposition stillness and absence. The artists first met being in and out of place. The to rules. Nothing new, in the 1920s people opposed the introduction of traffic in 2004, on the MA Fine Art at Chelsea participating artists were Declan Clarke, lights as threat to individual’s freedom. College of Art and Design, University of Oliver Comerford, Elizabeth Magill, Janet the Arts London. Mullarney, John O Connell, Kathy I have not seen all 77 exhibitions and 34 events in Venice. I left the Spanish Prendergast, Ailbhe Ní Bhriain, Gerda pavilion curious how a video of man’s shoes dancing flamenco got inside that ARRANGEMENTS Teljeur and Walker & Walker. electric bulb. The boisterous domestic appliances animated by Shih Chieg www.cavanmuseum.ie Huang (Taiwan) exuded power of witty entertaining surprises. Besides the spectacle of huge curtains made from bottle tops, washers, labels etc (El Anatsui, LANDSCAPES ‘07 Ghana), or the dignity of the quiet palm sized drawings of the portraits of Americans killed in Iraq (Emily Prince, USA), or the emotionally taxing rectangle made from liquorice sweets (Gonzales – Torres, USA), or the revolting ants in chocolate (Vincent and Ferra, Venezuela), I keep returning to the work of three artists. Masao Okabe (Japan) made Is there a future for our past? with 16 metres of stones Sharon Murphy Coral Formation One. from Ujina railway station in Hiroshima, and gave us paper and charcoal to Oil and Acrylic on Canvas. Fiona Mc Donald & Nicholas Ward [e++] Sound cycle 40 minutes / Electrolytic cycle 24 hours. trace the traces of the atomic bomb. On the walls some of 1400 frottages from Sharon Murphy’s ‘Arrangements’ at ‘Order and Chaos’ a collaborative project the Ujina port double-acted as witnesses. Okabe released his control over our Monster Truck, Dublin was the artist’s between The Lab and the Black Church participation – making us partially co-authors of drawings we take home. The first solo show (13 – 17 July). Murphy’s print studio, featured new work by Janine gap between a concept and drawing mirrors that between a historic event and paintings focussed on explorations of Davidson, Tom Moore and Fiona private experience. planes of colour, juxtaposing shape and McDonald in collaboration with Nicholas Cora Cummins ‘On a Thousand Islands on the Sea ...’. Installation view. The Dock. line, building colour layers and variations Ward. The show hosted by the Lab, Dublin Callum Morton (Australia) relates his work Valhalla to a childhood spent in his At The Dock, Carrick-on-Shannon (14 July of texture. While the works contained no (1 – 25 August) was devised as part of the father’s dream house, erased later by property developers. The outside of the – 1 Sept) three separate projects and specific references, some key source 25 year celebrations of the Black Church dark building embodied tragedy. Inside, the cool, calm, highly lit up room felt exhibitions by Peter Brooke, Cora elements included sheet music, grids, print studio. The artists were invited to like a happy dream. I thought of music and of the Japanese concept of ‘yohaku’ – the resonance of emptiness. Cummins and Gareth Kennedy – relating cellular and organic structures, found produce work in response to the specific to the theme of landscape, environment patterns and audio rhythms. conditions of the LAB’s gallery space. As http://sharonmurphyart.blogspot.com The dreamy co-existence of numerous objects, materials and scale in David along with issues of space and place, were www.monstertruck.ie the press release notes the work “is Altmejd’s Index (Canada) revived a trust in intuition. Altmejd assembled stuffed presented under the title ‘Landscapes ‘07’. characterised by an experimental BELIEVING & SHADOWS squirrels, man with a bird’s head, bridges, shelves, a reclining giant, mirrors, Peter Brooke showed recent oil curiosity that engages with a variety of Martin Healy’s exhibition ‘I want to berries, mushrooms etc: “I start making something, but at certain point it starts paintings on paper that combined media and subjects and challenges believe’ at the Royal Hibernian Academy, making choices by itself… I am interested in how the elements create energy – observation, memory, geology and traditional definitions of printmaking on Dublin (13 July – 26 Aug) featured two not language… I want my works to have intelligence of their own, not just be geography. Cora Cummins’ exhibition ‘On a number of levels”. video installations – Skywatcher and www.print.ie slave to my meaning”. Altmejd’s words impress me more than the installation. a Thousand Islands in the Sea …’ Genesis 28:12 and a series of photographic I thought of the artist Lee U-Fan (showing Resonance in Venice) – “It is difficult to comprised a “constellation of floor-based works, continuing the artist’s interest in say what is perfect and what is balanced, but the movement of vision in relation sculptures, print works and paintings … popular myths and conducting a kind of KILKENNY ARTS FESTIVAL to similarity and difference is endless.” focused on the idea of islands – as sites, artistic anthropology. The shows concerns The visual arts programming of the 34th (www.artfacts.net/index.php/pageType/exhibitionInfo/exhibition/14581) spaces and zones that exist as separate encompassed UFO folklore, science Kilkenny Arts Festival (10 – 19 Aug) was entities within the wider fabric of fiction and the alleged hidden message in curated by Hugh Mullholland. As part of everyday reality”. While Gareth Led Zeppelin’s Stairway to Heaven – the festival Mullholland brought together Kennedy’s Weather Cube, a temporary supposedly audible when the track is a showing of a diverse range of Irish and public artwork, a functioning steam- played backwards. International artists works, which he felt The Visual Artists’ News Sheet September / October 2007 5 ROUNDUP COLUMN “could contribute something to the location in which it was exhibited – not show – René Zechlin and Matt Packer, ask two key questions with this exhibition OPEN YOUR EYES Micheal Burke site specific, but site sympathetic”. The “How can art continue to be made after The Commission Equation artists on show include Bill Viola, the great examples in Modern Art? How Factotum, Amar Kanwar, Mark Orang, can artistic ideas be developed further THE VAI AGM held in Galway was interesting. A few faces I hadn’t seen before Eithne Jordan, Marie Hanlon, Cerith Wyn beyond duplication?” ‘Overtake’ features and a few new topics raised. But guess what? Public art came up for discussion Evans, sAntonio Riello and Maud Cotter. works by Bernd Behr, Andrea Büttner, again. We didn’t go down the road of listing difficulties with recent In addition a numerous other Kerstin Cmelka, Annelise Coste, Tacita commissions – after all, what’s the point … we all know what they are. Once exhibitions were presented during the Dean, Carsten Fock, Iain Forsyth/Jane again, it must be stated that everyone is supportive of the Percent for Art festival by organisations of a national and Pollard, Wade Guyton, Bertrand Lavier, Scheme, no one wants it done away with, but difficulties that can and do arise international standing, based in Kilkenny. Mark Leckey, Sean Lynch, Simon Dybbroe with its implementation must be addressed. For example, this years ‘Sculpture at Kells’ Møller, Jonathan Monk, Falke Pisano, Tilo Suggestions were made that there should be a VAI committee established exhibition (12 – 19 August), curated by Schulz and Mario Garcia Torres. to identify the difficulties and to make recommendations on the issue and that Mark Garry, featured work by David Running at the same time is ‘Gerhard there should be collaboration with other bodies to have research undertaken on Beattie, Karl Burke, Marie-Dorothee Richter: Survey’ is a collection of some 27 the topic – nationally and internationally. Neugebauer, David Hastie and Nina works that give an insight into all the One recent bit of good news is that the Arts Council has announced that it McGowan. phases of Richter’s creative work – from is commencing a tendering process to fill the position of Public Arts Advisor so Endangered Studios’ exhibition (11 – the photo-paintings of the 1960s to the at least we will have someone to talk with and the Inter Departmental Working ‘A Synesthesiac’s Sketchbook’ publicity flyer 19 Aug) held in their workspace featured abstract paintings of the 1980s and 1990s. Group on Public Art might start to function again. the work of Patrick O’Connor, Helen The title is taken from a work by Richter On 14 July, G126, Galway hosted ‘I see (www.artscouncil.ie/en/tenders – for anyone who is interested in applying) Comerford, Etaoin Holahan, Steven Aylin, from 1998 in which he made a chart prisms’ co-ordinated by the Glasgow based Those of you who weren’t in Galway for the AGM missed a great meal in Alan Raggett, Jean Conroy and Richard listing important artists, poets, Open Eye Club. The evening event Nemo’s Restaurant that evening. Once again public art was a topic for Coughlan. ‘Re-produced’ a mix of philosophers, musicians and architects by featured video, animation and discussion. I can’t remember who said it to me, but in one person’s their performance, contemporary dance, film, date, without any evaluation or performance by nine artists. G126 also opinion, public art is the result of a complicated equation, in which there are visual art, spoken word and audio/visual commentary. invited the organisers – Karen many variables – and that the commissioner is by far the most important www.glucksman.org determinant of a successful outcome. DJs and featured artists from Canada, Cunningham and Leonora Hennessy to Belgium, the UK and Ireland (12 Aug). The curate a show at G126 as part of the Where C is the Commissioner (and includes additional variables such as ONCE UPON A NOW predetermined location, theme, material and style of work), B minus E is the Festival also launched a new initiative Galway Arts Festival (18 – 29 July). The ‘Verge’ in conjunction with Kilkenny Co, result, ‘A Synesthesiac’s Sketchbook’ Budget less Expenses, A is the Artist, and PA is the resultant Public Art: Council providing an exhibition platform featured work by Glasgow-based artists for emerging artists – this year’s inaugural Neil Clements, Fred Pedersen, Dave Sherry C + ( B - E ) x A = PA recipients being Polly Minett and Gwen – along with Cunningham and Hennessy. Stephenson. www.g126.eu Even talking about equations – quadratic or otherwise – give me shivers. I’d www.kilkennyarts.ie hate to be back in school trying to cope with them again and I am not looking COME TOGETHER forward to homework when my son gets to them either. CONTEXTS The importance of the commissioner was illustrated recently when a competition to select an artwork for a primary school was announced. The notice gave no indication as to the budget or the nature of the work sought. As no phone number or e-mail address was given, I posted a letter requesting the brief just to see what the story was. By return I received a brief brief. The text could have been expanded a bit, but it was okay as far as it went. The only ‘visual’ information given was a Anne Marie Dillon ‘Once Upon a Time’. Installation view PS2, Belfast. description of the school crest – no image was provided. At €24,924.00 the budget was okay. The last page was a photocopy of part of the floor plan of the Work by Padraig Cahill from ‘Contexts’. ‘Once Upon a Now’ Anne Marie Dillon’s Clodagh Emoe It seems as if I would always like to be school marking the location of the proposed artwork. No indication was given installation at the Paragon Studios PS2 Somewhere Where I’m Not as to style of building under construction, or the materials and finishes gallery in Belfast (25 June – 14 July) was proposed. The Artwork costing €24,924.00 is to be located in the draught lobby the first in a series of projects entitled ‘Constructs’ looking at the subject of space, location and the built environment. ‘Once Upon a Now’ resembled a careful re- construction of a traditional Irish cottage – albeit one inhabited by a blow up doll staring pointlessly at a small colour TV. www.pssquared.org Linda Quinlan We forgot to write the end 2007 DVD projection. Work by Gerard Reilly from ‘Contexts’. TAMARA GANGNUS ‘Come Together’ at The Douglas Hyde Gallery, Dublin (29 June – 11 Aug) ‘Contexts’ at the Farnham Centre, Cavan presented sculpture, photographs, (2 – 21 August) was an exhibition of at the entrance to the school building. drawings and films by Nina Canell, digital media, photography, painting, I suppose we could all manage to spend €24,924.00 in a space such as this. Clodagh Emoe and Linda Quinlan. As the sculpture, video and sound works by five Perhaps the commissioner wants a glasswork or a painting on the wall over the press release noted early discussions with of Cavan’s recent fine arts graduates radiator – fine ... just say so! – preferably in the announcement for the the artists focussed on Mount Analogue an Yvonne Cullivan, Padraig Cahill, Ross competition. My question is whether this location – decided upon by the client unfinished novel by René Daumal, “a Cochrane, Paul Burns and Gerard Reilly. – will elicit an appropriate response from artists. I know I didn’t proceed any spiritual autobiography transposed into The work on show spanned explorations further with it than getting the brief, will many others? Perhaps some will, in Tamara Gangnus In the nursery of the imagination, acrylic fantastic fiction”, whilst adding that the of artists personal histories to global on canvas, 30 x 20cm, 2007 the hope of keeping their foot in the door of the draught lobby long enough for show was “ not a thematic exhibition … themes of religion, corporate culture and the commissioner to offer other possible locations? Surely there is an outdoor ‘In D’Lush Café’ Tamara Gangnus’s show what the artists share, at least in this globalisation. space suitable for a €24,924.00 artwork? Surely there is a better indoor location of paintings at Wexford Arts Centre (7 July context, is a mood of tentative for a €24,924.00 artwork? If this really is the best or the only possible location – 18 Aug) was concerned with “narratives hopefulness”. for an artwork, then perhaps the brief should explain why such a site had to be OVERTAKE & SURVEY www.douglashydegallery.com inferred though collaged visual elements”. chosen. ‘Overtake – The Reinterpretation of The main protagonists of the artist’s works Who if anyone advised the commissioner/school/board of management? Modern Art’ at The Lewis Glucksman LAPSUS EXPOSURE were old toys depicted in domestic Did they consult with the Arts Council, local authority arts officer or a local Gallery, University College Cork (6 July – 7 James Coleman’s Lapsus Exposure recently settings – through which Gangnus artist with experience in the area of public art? Oct) presents international contemporary got its first Irish showing at IMMA (27 July explored “the role objects play in In this case the commissioner may have an excuse, in that they are likely artists that reconstruct and reinterpret – 26 August). The slide installation, dating activating memories and telling stories to never to have been involved with public art before. Some local authorities existing artworks and practices of a former from 1992-94 is one of a trilogy of create an ambiguous space where the real repeatedly provide poor briefs. Perhaps we are coming to a time where an generation in order to produce and pioneering works by Coleman from the and the imagined converge”. agency of some kind will have to be put in place to guide those implementing instruct new works. The curators of the 1990s, acquired by IMMA through the percent for art scheme. 6 The Visual Artists’ News Sheet September / October 2007 ROUNDUP funding from the Heritage Committee SKULPTURUDSTILLING THE OWL SERVICE release noted in a “fantastical sitting ... AND MORE WAR PLAY of the National Cultural Institutions in room”. Commenting on the show the Project Arts Centre, Dublin recently 2004. Lapsus Exposure comprises an gallery co-ordinator, Mark St.John Ellis showed ‘Play Safe (Battlefields in the array of panoramic and dissolving views noted “Vanessa Donoso López collects Playground)’. Curated by Jonathan of a production set, suggesting the objects, images, toys, small mechanisms, Carroll, the exhibition considered the location of a film or fashion shoot. The Victorian dolls and imagery from the creativity of ‘play’, as both a characters appear to be musicians, in past that are often related to childhood sophisticated means of simulating war; both contemporary and recent historical games. What interests Vanessa about as well as a method of peaceful protest costume. childhood is not so much the story against war and other injustices. The The work will be was shown in the telling and fairy tales but the games she artists in the show were Yael Bartana Great Hall at IMMA. The final work in Sean Campbell, work shown at used to play with, when video games (IL), Ralph Borland (ZA/IE), Joost Conijn ‘Skulpturudstilling I Olgod 2007’ the trilogy, Background, from 1991-94, and television were not so much part of (NL) Gintaras Makarevius (LT) and Axel will be shown in 2008. our lives.” Stockburger (DE). www.imma.ie www.royalhibernianacademy.com www.project.ie BOYLE ARTS FESTIVAL FROM THERE TO HERE VISUAL ARTS AT DRAIOCHT The visual art component of this year’s Clara Conlon. Work from ‘The Owl Service’ Boyle Arts Festival (27 July – 3 Aug) at Clara Conlan’s exhibition ‘The Owl King House, featured an emphasis on Service’ at Limerick Printmakers Studio showing emerging artist alongside more and Gallery (19 July – 9 Aug) comprised established figures. Participants in the large-scale screen print works focussed show included Fiona Dowling, Ronnie Sean Campbell, work shown at Hughes, Jonathan Hunter, Michael ‘Skulpturudstilling I Olgod 2007’ on imagery of skeletal trees and vibrant In June Irish artist Sean Campbell was birds. For the show Conlon literally Minnis, Alan Keane, Alison Pilkington, an invited participant in the Danish broke out of the traditional method of Basil Blackshaw, Priscila Fernandes, Sculptors’ Society’s event the framing a print and filled the gallery Colin Martin, Mark O’Kelly, Stephen ‘Skulpturudstilling I Olgod 2007’ (runs space, deploying her prints directly on Loughman, Linda Shevlin, Michael until September) in Denmark. The bi- the gallery walls and surfaces, like Boran and Diana Copperwhite. www.boylearts.com annual exhibition takes sculpture out of wallpaper. www.limerickprintmakers.com the context of the gallery space and HUNT FOR HY-BRAZIL places work in a wide variety of public Evelyn Sorohan. Work from ‘From There to Here’. NO FIGHTING IN THE WAR ROOM (Collage from 1920’s book) locations. Sean Campbell exhibited a range of kiln-formed glass works. Maggie Madden Building Castles in the Air 2007. Evelyn Sorohan’s ‘From There to Here’ at http://olgod.ugeavisen.dk Axis Arts Centre. Ballymun (20 July – 24 ‘Utopias’ Tina Meehan’s exhibition at August) comprised mixed media ATTRACTION the ground floor Gallery at Draiocht, paintings and assemblages. The works in Blanchardstown (8 June – 25 Aug) the show utilised found objects and the comprised mixed media sculptures, artist’s own collected memorabilia. As intended to evoke imaginary scenarios Work by Sean Lynch the press release noted “through the and narratives. The sculptural works on Sean Lynch’s exhibition at Galway Arts relics that contain imprints of her show were constructed from everyday Centre (16 July – 11 Aug) presented a ancestors’ lives, the artist decodes her ‘throw-away’ objects – ranging from Alan Mongey. There goes the Neighbourhood. new project as part of the artist’s own genetic imprints and becomes cigar boxes, ping-pong balls, paper cups, ongoing investigations into and aware of both the interconnectedness of Alan Mongey’s exhibition ‘No Fighting contact paper and string. recovery of overlooked cultural life and its transformative nature”. in the War Room’ at the Lab, Dublin ‘Synergies’ a showing of paintings www.axis-ballymun.ie Deidre Houlihan Untitled. Oil on Canvas. artefacts. The starting point for the show (July – 25 Aug)was the a culmination of by Maureen Meehan’s and Juliette de la was a consideration of Hy-Brazil – a TOUCHES: DRAWINGS ‘Attraction’ the summer group show at a five-year body of work by the artist, Mer’s was presented in first floor gallery phantom island which features in many the Talbot Gallery, Dublin (5 –24 July) The show featured interactive (8 June – 25 Aug). Meehan’s works Irish myths – which was reportedly last featured work by artists – Laura Kelly, sculpture, video and printworks, employed the use of masking tape to sighted by the writer TJ Westropp in Deirdre Houlihan, Mary A Fitzgerald, inspired by the continuous threat of create her brightly coloured striped 1872. Matthew Cave, Dave Comiskey, Nicky global terrorism and warfare – both real works on non-traditional supports such www. galwayartscentre.ie Hooper, Paul MacCormaic, Ida Mitrani and imagined. as plastic, glass and Perspex. Whilst De la Mer deployed oozing blobs of FROM BETHANY TO BEACON FALLS and Cecilia Bullo. The nine participating artists were specially invited to make household and industrial paints on VANESSA DONOSO LOPEZ aluminium and plastic supports. work interpreting the theme of ‘attraction’ and related issues. Building Castles in the Air, a www.talbotgallery.com sculptural installation by Maggie Madden was presented in Draiocht’s INTRICATE SEDUCTIONS foyer and first floor spaces (8 June – 25 August). Comprising of an accumulation of hundreds of boxes – Donald Tesky The Studio at the Joseph & Anni Albers Arno Kramer Untitled 2006, 51.6 x 43 cm Foundation Charcoal Wall Drawing Installation, from matchboxes to the delivery boxes Rubicon Gallery 2007. of large domestic appliances – the work Green on Red Gallery, Dublin showed ‘From Bethany to Beacon Falls’ Donald was described as a “monument to ‘Touches: drawings’ its second Teskey’s show at the Rubicon, Dublin packaging and capitalism”. exhibition of new drawings by Dutch www.draiocht.ie (12 Jul – 24 Aug), presented new artist Arno Kramer (6 July – 1 Sept). The paintings exploring the tree-filled artist’s recent body of work which MORE CONFLICT landscape of Connecticut. The works featured small drawings and site specific Work by Elena Duff, from her show ‘Intricate Seductions’ ‘Flag the White Room for Conflict’ at the were the result of Teskey’s residence at works, depicting an array of figures: ‘Intricate Seductions’ Elena Duff’s show White Room Gallery (16 July – 29 July), the Josef and Anni Albers Foundation in animals such as hares, swan, and deer at Monster Truck, Dublin (22 – 26 June) Galway was an exhibition of Bethany, Connecticut, near Beacon Falls, which he relates both to human, female comprised semi-abstract paintings multimedia and printworks by in late 2006. members of Lorg Printmakers. The www.rubicongallery.ie bodies or to fragments of the Irish combining intricate renderings floral Vanessa López,Installation shot of artist'studio,2007 landscape. As the press release noted and plant-like elements. As the press show, which was presented as part of AT HIGHER BRIDGES “Kramer’s practice is rooted in his suggested the works were “at once Vanessa Donoso Lopez’s exhibition at Galway arts festival included works by Bill Saunders ‘The Studio Branches’ at fascination in the development of obsessive in their detail and joyful in the Ashford Gallery at the RHA, Dublin Sandra Bunting, Padraic Conway, Shane the Higher Bridges Gallery, Enniskillen contemporary drawing”. their execution”. (12 July – 1 August) featured an Crotty, Eileen Graham, Paula Henihan, www.greenonredgallery.com (3 – 29 August) presented recent www.elenaduff.com installation of paintings, drawings and Jennifer Hutton, Ursula Kelly, Maev www.monstertruck.ie installations and works on paper. The sculptures – arranged, as the press Lenaghan and Rocky Meaney. www.lorgprintmakers.com The Visual Artists’ News Sheet September / October 2007 7 ROUNDUP artist described the works as having a CLOUDBUSTING Errata strong connection to “ the ‘thinking APOLOGIES are due to the Arts Council space’ of my studio – its walls, floor and of Northern Ireland. In his column in collected contents. As process it seeks Get into The Roundup the May/June issue of the Visual Artists the poetic; in the main enquiring into, News Sheet Brian Connolly wrongly and developing the notion of tree as attributed a quote to the Arts Council of To have your exhibition or event witness...”. The previous exhibition in Northern Ireland. In his column Brian the venue was ‘Parallax 1977 – 2007’ a considered for inclusion in the referred to “...the perceived need for retrospective of works by Colin Micheal Fortune. Work shown at House Projects ‘Living round-up section, simply e-mail text a Box’ Lindsay House, Dublin, July 2007. studio group rationalisation in Belfast, McGookin (28 June – 26 July). and images to the editor bringing art to the public by exporting as mentioned in the Arts Council of www.colinmcgookin.com Kevin Cosgrove. Workshop 2. Oilon Canvas (firstname.lastname@example.org). www.fermanagh.gov.uk the artists into the field, House Projects Northern Ireland’s Five Year Plan.” The invite the public into the artist’s wording ‘studio group rationalisation’ does not in fact appear anywhere in the Your text details / press release DIANA COPPERWHITE community – each event responding to ACNI’s Five Year Plan or any other ACNI should include: venue name, AIB winner Diana Copperwhite’s the ‘home turned venue’ of a variety of document. For clarification the section location, dates and a brief exhibition ‘Blind Spot’ at Limerick City art practitioners involved. House of text from the ACNI Five Year Plan that description of the work / event. Note Gallery of Art (6 July – 28 Aug) presented Projects is co-ordinated by Sonia Shiel, the writer intended to refer to states that ‘hard-copy’ cannot be accepted new works by the artist. Copperwhite, as Mary Cremin and Gavin Murphy. www.houseprojects.net “We will carry out a full survey of the due to the volume of material that the press release noted her work “owes working conditions of artists in needs to be collated for this section as much to the feeling of contemporary POLISH PARTY Sophie Linehan, Chair, Video still Northern Ireland to make sure our of the publication. Inclusion is not digital printing qualities as to the history ‘Polish pARTy Summer Festival’ was an ‘Cloudbusting’ at the Stone Gallery, systems for supporting them are garanteed, but we aim to give of painting” and that “the mood of her event organised by ArtPolonia – an Dublin (17 Aug – 9 Sept) is a group show relevant, focused and effective. Working everyone a fair chance. paintings is generally lyrical and soft initiative established in 2006 as a of work by recent art college graduates – with others we will explore options for with liquid layered surfaces that create ‘laboratory’ for intercultural co- from NCAD, Dublin; LSAD Limerick and providing affordable, high quality Our criteria is primarily to ensure an air of ambiguity”. www.kevinkavanaghgallery.ie operation and exchange. The festival, DIT Dublin. The works by Louise workspace for artists.” We apologise to that the roundup section has a good which took place at the Project, Dublin Roberts, Kevin Cosgrove, Tracy Hanna, the Arts Council of Northern Ireland regional spread and represents a HOUSE PROJECTS (13 – 14 July) was a mixture of both Sophie Linehan, Dianne Whyte, Anne and to our readers for publishing the diversity of forms of practice, from a House projects is a series of seven experiment and celebration. The incorrect information. range of artists at all stages in their Healion and Philip Lee reflect a diverse individual events taking place over a programme included stage shows range of contemporary concepts and careers. period of 5 months (May – September featuring jazz, vocal, and electro- IN the round up section of the July / media. 2007), which “address current agendas of acoustic music, dance, sung poetry, rap, www.stonegallery.ie August edition of the VAN, the image Priority is given to events taking contemporary art practice, while rock and opera. There was also film, that accompanied the mention of the place within Ireland, but do let us questioning the idea of its audience and animation, painting, photography, exhibition ‘We Must Follow The Circle’ know if you are taking part in a graphics, comics, sculpture and at Triskel, Cork (5 June – 10 July) was encounter”. Each event features a significant international event. jewellery – along with events and not captioned. The piece was a found combination of International and Irish workshops for children. photographic work by Maureen artists, critics and curators. Rather than www.project.ie O’Connor, entitled The Golden Horn. The Visual Artists’ News Sheet Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire Digital Projector Hire for members of Visual Artists Ireland Don’t miss your next issue! Visual Artists Ireland now has a number of new Digital Data Projectors available for Subscribe Online both short & long-term hire by artist members. as a member or friend For further information, see the Services, of Visual Artists Ireland & Facilities & Resources section of our web site. receive 6 issues annually, directly to your door. www.visualartists.ie To subscribe – see the subscription form on page 2 (inside front cover) of this issue, visit our web site or give us a call. Visual Artists Ireland 37 Nt. Great George’s St, Dublin 1 www.visualartists.ie T: 353 (0)1 872 2296 T: 01 872 2296 E: email@example.com www.visualartists.ie 8 The Visual Artists’ News Sheet September / October 2007 NEWS News been designed and cast in the Foundry at LIMERICK CERAMIC WORKS the Crawford College of Art & Design in Limerick Ceramic Works (LCW) is a Cork. new facility for artists located in the The Irish Art Medal Society was heart of the city. It provides workspace DEMPSY AT HUGH LANE and III. The Freyer Award of €1,500 went granted construction will start in 2008, founded in 2002 by Roger Hannam, and the use of specialised equipment to Dublin City Gallery The Hugh Lane has to Alissa Kleist, Limerick, also LSAD, take 8 months to build and cost in the Lecturer in Sculpture and in charge of members as well as facilitating ceramic appointed curator Michael Dempsey as while the RDS James White Arts Award region of €1.6 million. Foundry at the Crawford. It is one of 38 classes to the public. Operating on a Head of Exhibitions. Dempsey will be of €3,150 was won by Roisin Morris, www.antonygormley.com / www.ddda.ie Modern Art Medal Societies worldwide. membership basis, LCW offers three working with the gallery’s diverse Dublin (Dun Laoghaire Institute of Art, The exhibition opened in August and different types of membership; full-time, programme as well as the two Design & Technology). The winner of DUN LAOGHAIRE COMMISSION will run for ten months. part-time and associate with full and forthcoming centenaries – the gallery’s the RDS Printmaking Award of €3,150 Dún Laoghaire-Rathdown County www.fidem-medals.org centenary in 2008 and the Francis Bacon was Sarah Duffy from Westmeath Council (DLR) has recently announced part-time members also entitled to Centenary programme for 2009. (Galway-Mayo Institute of Technology). its first major percent for art studio space. LCW has space for ten NEW GALLERY IN KILKENNY Next year, as part of the The RDS National Crafts commission in the context of its Arts artists to work at any one time and also The Hazel Williams Gallery recently celebrations, there will be an exhibition Competition has been held annually Strategy 2007-2010. Focusing on themes boasts a small exhibition space. It opened in Kilkenny with an inaugural of the entire collection of 39 paintings since 1968 to promote Irish craft and of place and identity, the commission is encourages artists working in all art show exhibiting the work of artists known as the Hugh Lane bequest of design. Aileen Johnston from Wicklow a county wide public arts programme forms to use the space as a resource Emma Berkery, Helen Booth, Louise 1917 on loan from the National Gallery was awarded the Award of Excellence across all art forms. Butler, Samantha Clarke, Chloe Early, centre and artists currently utilising the London. This will be the first time this for her entry in the contemporary By pooling funding from Hugh McCarthy and Stephanie space include a printmaker, a sculptor, a collection will be exhibited in Dublin embroidery category. Second place Environment and Housing capital Malossane. Hazel Williams also runs Art performance artist as well as ceramic since they were removed from Clomell overall went to Gary Leahy from Mayo projects under the Per Cent for Art Dublin in conjunction with BT2 in artists. The overall goal of the studio is to House, Harcourt Street in 1913. for his hand-made violin bow which scheme, DLR has in excess of €500,000, Dublin, an exhibition in aid of Focus establish a strong creative community As founding Director / Curator of also won the Crafts Council of Ireland available for the programme. Place and Ireland. The Hazel Williams Gallery is in the Limerick area as well as raising the ‘Tulca’ season of visual art in Galway Purchase Award. The RDS New Entrants Identity is the County’s first major located at: No 1 The Parade, Kilkenny, awareness of ceramics as both a design (2002 – 2006) Dempsey developed new Prize was awarded to Brian Lofthouse, round of commissions and comprises opposite Kilkenny castle. and fine art medium. hybrid ways of approaching cultural Mayo, for his F-hole mandolin in the two distinct strands: six artists’ www.hazelwilliamsgallery.com Limerick Ceramic Works was production within communities. His musical instruments section; while residencies and two once-off projects established by a group of graduates from recent work includes ‘Obscured by Geraldine Grubb, Limerick, scooped the taking place between May 2008 and DCC RESEARCH TENDER AWARDED Limerick College of Art & Design Architecture’ for ‘Fused 06’ at Dublin RDS Graduate Prize for her ceramics January 2010. Dublin City Council Arts Office has (LCAD) who needed a creative and South County Council; ‘Fear Not’ as entry, Knell. With ‘Place and Identity’ DLR is announced that Vagabond Reviews has supportive space in which to work and invited curator for Iontas 17th National www.rds.ie/arts advocating the commission to all art been awarded the tender to research who wished to continue making and small works exhibition and ‘Heliotrope’ forms recognised by the Arts Council; international models and programmes exhibiting their work in the city of an organisation that works with visual GORMLEY FOR DOCKLANDS these are Architecture, Circus, Dance, that support innovative engagement of Limerick. The organisation is self- artists on the production and The Dublin Docklands Development Film, Literature, Multidisciplinary Arts, artists with urban and suburban open directed and self funded and located presentation of collaborative projects. Authority (DDDA) has announced that Theatre, Traditional Arts, Visual Arts, space. Arising from this initial research close to other artists facilities in the city www.hughlane.ie internationally renowned artist Antony and Collaborative Arts. Traditionally, phase, the Arts Office will design a such as Limerick Printmakers, Contact Gormley will undertake a major public the Per Cent for Art scheme has been seminar to explore key issues through ARCHITECTURE DIRECTOR Studios, Daghda, the Belltable and art commission for the Docklands. widely availed of by visual artists with interesting models and case studies, Nathalie Weadick, former Director of LCAD. Gormley was selected through an limited take-up across the performing aimed at inspiring thought and suggest For enquiries call: T: 061-408714 or email: the Butler Gallery in Kilkenny, has been firstname.lastname@example.org international competition and year long arts. new creative partnerships to support appointed Director of the Irish selection process. According to the press Applicant artists and arts artists engaging with public open space. Architecture Foundation, the body GRADUATE PHOTOGRAPHY ONLINE release “engaging hereto unused practitioners will be asked to engage Vagabond Reviews is an responsible for promoting the Belfast-based Source photography construction techniques, it is hoped to with and seek inspiration from the interdisciplinary platform for socially importance of architecture in Ireland. magazine has launched Graduate be able to build a sizable structure, up to County – its people, place and identity – engaged art practice and critical inquiry She returns from London where she Photography Online, web pages 48 metres high, that will be architectural in ways that are meaningful to the comprised of artist Ailbhe Murphy and held the position of Deputy Director at in scale and be a signpost for the artists and the citizens. sociologist Ciaran Smyth. Vagabond specially designed to exhibit the work of the Architecture Foundation (UK). realignment of Dublin’s epicentre An Cathaoirleach, Councillor Reviews specific interests include art in new graduate students from Weadick has also written for many eastwards. Denis O’Callaghan, with an the public domain (in particular, public participating colleges, including Dublin publications including the Visual Artist Gormley has been inspired by the international special guest speaker to be art practice which critically responds to Institute of Technology and IADT Dun News Sheet and Circa Magazine and has research of Professor Weaire of Trinity confirmed, will officially launch ‘Place the social implications of urban Laoghaire. Work by students from contributed on panels including College, Dublin who with Professor and Identity’ in the Pavilion Theatre, regeneration). Vagabond Reviews is several other colleges will be added over Architecture as Art Cork, Spatial Phelan unlocked the geometries of the 6pm on Thursday 27 September. A committed to forms of critical research the next few months. Source intends to Imagination Bartlet School of bubble matrix, to radically re-describe detailed information brief including which can traverse the territorial further develop this initiative to provide Architecture London, Curating the the human form as an open structure. In descriptions of the County, its six boundaries between art production and a comprehensive overview of Collection UCC Cork and the National combination with the advanced electoral areas and a list of the County’s more traditional modes of social inquiry. contemporary graduate photography in Eisteddfod of Visual Art Wales. www.dublincity.ie geometry unit of Arup Engineers services will be available in the launch Ireland and the UK. www.architecturefoundation.ie (London), he is hoping to be able to day. The work currently on display will STUDIOS ALLOCATED AT TBG&S make a river-sited work that arises from The Art Office also plays host to a remain so for an entire year, alongside RDS WINNERS Temple Bar Gallery and Studios has the water as a drawing in space. public art symposium A Cultural Force: links to the colleges and direct contact The RDS Student Art Awards recognise announced the artists awarded studios Commenting on the proposed Practices and Possibilities in Public Art details for the students. It represents an excellence in young emerging Irish for the year 2007/2008. Dennis McNulty design, Gormley said: “The work will on Friday 28 September. opportunity for recent graduates to artists and provide support to enable www.dlrcoco.ie/arts and Nevan Lahart have been awarded allude to the human body as a dynamic exhibit to a wider audience, and for them to further their artistic three-year membership studios. Jackie interconnected matrix evoking the longer than is possible in a graduation development. ART MEDAL WORLD CONGRESS Summel and John O’Connell have been collective body, which is in itself in show alone, and to be able to offer a link The largest prize in the RDS Four Irish Artists, members of The Irish allocated one year project studios while dynamic relation to the movement of to the site as part of their CVs. It’s also Student Art Awards, the Taylor Art Art Medal Society, have been invited to Diana Copperwhite and Oisin Byrne will people in the street and across the new intended as a one-stop, quick-browse Award of €20,000, was split in equal exhibit at the Art Medal World Congress be taking up eight and four month Sean O’ Casey Bridge.” resource for gallery curators, amounts between four art students. Ceri – FIDEM XXX, in Colorado Springs, USA. project studios respectively. The The proposed work has evolved commissioning editors and media and Garfield from Clare (Limerick School of The exhibiting artists are Tim international studio has been awarded from Gormley’s work Field (1991 to advertising researchers looking for Art & Design); Sam Keogh from Collins, Robin Daly, Eamon Gray and to Lynsay Mann and Oliver Hein, for a 2003) which was exhibited in IMMA in promising new photographers, or work Wicklow (National College of Art & Mary Gregoriy. Mary Gregoriy won the three-month period each. 1993. Field comprised of an installation in a particular style or addressing a Design); Clive Moloney from Tipperary competition organised by the Central TBG&S integrates a gallery with 30 of 35,000 tiny clay sculptures which particular subject. (LSAD); and, Harriet Tahany from Bank of Ireland to design the new silver artists’ studios. Currently the studios looked up at the viewer. The final form www.source.ie/graduate/index.html Leitrim (Sligo Institute of Technology) €10 coin and gold €20 coin which house artists working in photography, of the proposed work has, however, yet were all recognised for their work. celebrates the Irish influence on Celtic video, sound, sculpture, print and to be decided. This will be the result of The R.C. Lewis-Crosby Award for culture in Europe. Eamon Grey has been painting. ongoing discussions between the www.templebargallery.com Painting of €3,150 was awarded to Fiona commissioned to make a medal for the research team and the artist. The work is Burke, Galway, studying at LSAD, for her British Art Medal Society, which has subject to planning permission but if work Translates well into smaller space II The Visual Artists’ News Sheet September / October 2007 9 INSTITUTION PROFILE annual membership subscription is currently €484. Applications for membership are considered twice annually. According to Betts and administrator Hazel Burke, individual access never seems to be a problem. Members can book workshop time when preparing shows, for example, but thus far resources have been adequate to cope with the demand, and a certain camaraderie prevails. As one printmaker remarks: “people are naturally supportive of one other.” Non-member artists are also accommodated. “There’s one-to-one assisted access,” Burke points out. And the studio has taken on the task of editioning prints for a large number of artists, including Alice Maher, James Hanley, Fergus Feehily, Michael Coleman and Fergus Martin. In addition, Black Church initiated a National Print Studio Network with other studios South and North, including Belfast Print Studios, Seacourt Print Workshop, The Graphic Studio Dublin, Leinster Printmakers, Limerick Printmakers and Lorg Printmakers. Part of the rationale of the network is a reciprocal arrangement offering access to facilities to visiting artists from other studios. Betts moved to Ireland from England 10 years ago and within a couple of months had joined the Black Church. “It’s been a tremendous support for me as an artist, and I really wanted to give something back.” She’s been chairperson for a year. “It’s been hectic, and I’ve had to learn so much, but it’s been good as well. I’ve had to deal with a huge variety of people and that’s been rewarding.” Apart from the board of directors, there is an administrator – Burke – and one full-time technical post, split between two people, David McGinn and Studio view. The Black Church Print Studio, Temple Bar, Dublin. Studio view. The Black Church Print Studio, Temple Bar, Dublin. Catriona Leahy. The studio’s educational programme has been something of a The Black Church revelation, Burke notes: “There’s a huge demand for classes, and we’ve gotten really good feedback from people who’ve been involved.” Between evening courses and, now, weekend workshops, they find AIDAN DUNNE PROFILES THE BLACK CHURCH PRINT STUDIO, DUBLIN – WHICH THIS YEAR IS that places are snapped up. Among those attending, they find, are CELEBRATING ITS TWENTY-FIFTH ANNIVERSARY. artists active in other areas who want to improve their practical knowledge of printmaking. Other possibilities are opening up in terms BRENDAN Behan famously remarked that the first item on the agenda of educational events. Such classes are not regarded as an optional of any Irish organisation is the split. It’s undeniable. It does happen. extra. In Betts’ view: “There is a real curiosity out there about print and Irish organisations are forever seceding from each other, articulating it’s very important for all of us that we raise awareness of subtleties of intention and identity, whether it’s to do with an innately printmaking”. fractious character or a dialectical inclination. The Black Church Print Part of that process has to do with the exhibition programme. Studio began 25 years ago with what was, in many respects, such a Because it’s an anniversary, this year’s is particularly hectic, involving split, when a number of former members of The Graphic Studio a show of members’ work selected by Abbey Director Fiach Mac moved to establish their own space. Conghail, ‘Hung, drawn & quartered’, Emma Finucane’s Grattan The initiative came about because of a perceived need to develop Bridge Kiosk project ‘Reflect’, the inclusive members’ show at the and expand the Graphic’s traditional printmaking ethos, part of a Original Print Gallery, ‘The Salon Show’ (until Sep 30) and, at the OPW perennial debate about tradition and innovation. What it came down St Stephen’s Green in November, ‘Milestones’ a showcase of work by to was the issue of introducing photo-reprographic technology, past and present members accompanied by a substantial publication. though underlying this technical point were broader questions A Friends Exhibition and Raffle follows at the end of November (each relating to the definition of print as something fixed or as an activity Studio view. The Black Church Print Studio, Temple Bar, Dublin. friend, individual or corporate, has the opportunity to choose a print). open to evolutionary change, in response to environmental pressures While The Original Print Gallery is a stand-alone exhibition and opportunities. the Temple Bar Cultural Trust. Its striking doorway was designed by space, which is sublet from the Black Church, sharing the building is, The Black Church took its name from its prospective home, a Andrew Folan (at the time a member of Black Church) and Valerie Betts says: “Mutually beneficial. Members’ work is usually available in landmark building in Dublin’s north inner city. In the event, however, Mulvin. Each floor is devoted to a different area of activity: the gallery and, as part of the agreement, two Black Church shows are the church was deemed unsuitable as a printmaking space and was lithography, etching, photographic processes and silkscreen. The latest fixed in the calendar every year.” Though independent, in terms of never used as such. All the same, the name stuck, even when the piece of capital investment is fairly prosaic but nonetheless essential: a public perception the gallery is associated with the studio, and its shop studio relocated to another inner city building, across the Liffey in The sophisticated ventilation system. The provision of computer facilities, front presence in Temple Bar is important. Coombe. Alas that building was grievously damaged by fire in 1990, scanners and a large digital printer underline the studio’s enduring Needless to say, there is no such thing as a Black Church house and for several years the studio was homeless. commitment to technological developments. “We do feel it’s style. The membership spans a huge range of approaches. “For me,” However, the redevelopment of Temple Bar created an important to keep up to date with what is happening,” says Black Betts says, “it’s vitally important that it is an artists’ organisation. The opportunity for the Black Church. Group 91, comprising eight distinct Church’s current chairperson, Kate Betts. artists are the heart and soul of the place, it doesn’t exist to serve any architectural practices, won a competition for an overall Framework She sees the studio as an active constituent in an ongoing debate other interests. And the artists have always put a lot into it.” Plan for the area. Among them were McCullough Mulvin (Niall about just what constitutes a print, rather than starting from a fixed The openness to innovation is not compulsory, it should be said. McCullough and Valerie Mulvin) and, apart from their original input definition, and points to ‘Order and Chaos’, an exhibition at the Lab in Lithographic stones once used by the Ordinance Survey are still in use to the overall plan, including the development of Curved Street and Foley Street throughout August last, as an example. As part of a packed at the Black Church. Etchings are still made in a thoroughly the Music Centre, they eventually took on the task of revamping programme to mark the studio’s 25th anniversary, the Black Church conventional manner. Even Betts herself, while she firmly advocates Temple Bar Gallery and Studios and, immediately adjacent to it, the and Dublin City Council’s Arts Office jointly commissioned three openness to change, owns up to a lingering regard for analogue Black Church Print Studio and the Original Print Gallery. members of the studio to make experimental work. Fiona McDonald photographic processes as opposed to digital. “Despite the advances in The Black Church site is a difficult one, constrained on every side, chose to work collaboratively with Nicholas Ward. Janine Davidson digital there’s still something about analogue. Perhaps it’s the almost and McCullough Mulvin’s solution to the problem was so ingenious and Tom Moore were the other two artists. None of their pieces fitted organic quality of the light that excites me.” And it is entirely fitting that it merited the Architectural Association of Ireland Downes Medal conventional definitions of fine art print, but all were recognisably that both options, analogue and digital, are catered for in the studio. in 1996. Above a double height gallery at street level are three floors of related to print in various ways. Equally, such members as Cora workshops and related facilities. Space is limited and the street is Cummins, Margaret O’Brien, Catherine Kelly and Jan de Fouw, to pick Aidan Dunne narrow but there is, all the same, a sense of spaciousness and light. In just a few pertinent examples, have produced work that is persuasively fact generous natural light from both front and back (there is a small and thoughtfully innovative in various ways. The Black Church Print Studio courtyard to the rear) is at the core of the design. The architects looked Make your way up through the workshops and there is an air of 4 Temple Bar, Dublin 2. on the print shop as essentially “a small urban factory like the clothing relaxed industry. The spaces are well organised and easily negotiable. Contact: Hazel Burke, Administrator. workshops which formerly existed” in Temple Bar. Everyone seems to have enough room, everybody knows what they T: 01-6773629 The building was completed in 1995 (by which time it was are doing. The current membership stands close to 70. Each is a key www.print.ie already occupied and functioning) and is leased by Black Church from holder with generous access to the building and its facilities. The 10 The Visual Artists’ News Sheet September / October 2007 PROJECT PROFILE ‘Appropriate’ writing on postcards. ‘Appropriate’, Marquee in the University of Ulster. ‘Appropriate’ image taken at the Giants Ring. After the week of performances, a discussion, which then became On and On ... an evaluation and critical analysis of the project, began to emerge between us (Cherie and Anne Marie) and this response was to take on its own momentum. So from the beginning it was clear to the both of ANNE MARIE DILLON AND CHÉRIE DRIVER REPORT ON ‘APPROPRIATE’ . us that any critical discussion or other validation of the process, would itself have to be opened through a shared analysis of the project. Thus ‘APPROPRIATE’ was a multi–phased project, that ranged across a a series of meetings took place between ourselves (Cherie and Anne number of projects, events, conversations, practices, locations and Marie), which drew directly from having seen the event, along with encounters, which culminated – but didn’t end – in the series of public input from recorded interviews by Alma Suljevic and the and private events that took place over a week in Belfast earlier this conversations the artists had experienced with invited guests over year (25 March – 1 April). The main public element was a ‘dialogical’ dinner or travelling together. Added to the mix were audience discussion based, exchange between artists and audience through a responses that had been on the back of the project postcards’ and the performative event and a series of talks about the artist’s – Sandra written stories emerging from Susanna Bosch, Marilyn Arsem and Johnston (Belfast), Susanne Bosch (Belfast, Berlin), Alma Suljevic Sandra Johnston’s works. (Sarajevo) and Marylin Arsem (Boston), individual practice’s and the Our analysis meetings had engaged with some key issues in processes. relation to the project and the Northern Irish context – politics, The performance event centred on food; its preparation, the motherhood and the role of women in the Northern Irish conflict. The exchange of stories it associated or evoked, cooking – and of course its value of art in society was also considered; along with socially engaged consumption. The artists invited the audience to participate in the practice, the canon of art and art criticism. From summarising and performance; and directly encouraged them to be involved with reviewing these meetings the ‘dialogical’ process was extended – raising ideas, mapping through drawing, storytelling and to allowing us to re-focus our ongoing discussion – in order to dig deeper ‘Appropriate’ cleaning space where students congregate into the intersecting discourses emerging from this project. contribute actively to the direction and outcome of the project. This food was being prepared for consumption. The conversations Throughout this process we drew from our own positions as seminar-like event took place in a marquee in the Foyer of the afterwards dealt with questions of political participation and practitioner and researcher. A developing of a process of shared University of Ulster’s new building on the Belfast campus on the 28 responsibility. What is a successful public art piece in a conflict area? analysis emerged; and a conscious decision to find a way of opening up March. What could be the role of an artist in this context? What is an ethical participatory / dialogical models of art practice models to writing The University of Ulster’s main foyer is the centre-piece of the approach? What might be appropriate to do as an artist who wants to processes was made. And it was generally felt that this had been spanking new corporate building, it is a marble floored space located deal with issues of politics, conflict and trauma? achieved, in part, through the way the project had worked over the last in an atrium / light- well some six floors high. Pitched in the heart of In addition to this main public event, the artists took each other few months. Some working ground has been gained; and it is hoped this space was a marquee, furnished with cushions and soft fabrics on on a series of explorations of college as a site and Belfast, utilising that this will continue into additional writing projects. the floor; and kitted out with a projection screen and a trolley of various approaches. Sandra Johnston suggested a ‘clean up’ of a site The ‘Appropriate’ project has set off another set of actions and equipment. Outside stood a table laden with various cooking utensils where students tend to have meetings, as the artists had “felt very responses, initiating further work. Particularly for the student and facilities as well as a large bowl of potatoes and a bucket. thankful for the students responses to the project and they were happy attendees / participants – for whom it was their first experience of A significant crowd had gathered for the event – familiar faces of to clean up their site early Friday morning before their arrival”. performance based work. ‘Appropriate’ has been a catalyst for future students and staff at the school of art and design. Some stayed inside Susanne Bosch organised ‘house viewings’ in Belfast; in order to plans, meetings, events and projects and has created a platform for the the marquee for the duration of the event, while others hovered “discuss notions of home, feelings of safety and the idea of public / exploration and examination of the possibilities of a shared concern around the open doorway to watch for a while and then went on their private, the ‘staged’ home – for viewings by potential buyers – versus a with the creative facilitation of dialogue and exchange amongst way. At the beginning visitors to the event were greeted with a gift – a ‘messy’ real home”. audiences, readers, artists and critics / writers. potato; and told to take it to a quite space in the foyer, in order to Marilyn Arsem took everyone to Carrickfergus, where they reflect and recall a story about our first or most prominent memory of visited a 60-minute performance by the Bbeyond performance group. Anne Marie Dillon and Chérie Driver a potato, then we were to come back to the marquee, peel our potato The group also visited an old cemetery, where Arsem handed out pens and sit down on the floor. Sandra Johnston http://www.belfastbenchstops.co.uk and notebooks and invited all present to write in silence for 30 Susanne Bosch http://www.susannebosch.de Later Susanna Bosch would say that this was a strategy to get the Alma Suljevic http://www.ipak.org/mine/photo/index minutes in silence. Alma Suljevic interviewed those present on topics Marilyn Arsem http://marilynarsem.net/ audience more engaged with the process, than just listening and such as space, empathy, trauma and art – and also got others to write Bbeyond www.bbeyondperformance.org consuming. Each artist spoke in turn about their past art projects and stories about animals for children. The final trip was, Sandra describing pivotal personal moments and decisive cultural Johnston’s excursion to the Giants Ring, to explore the ancient burial experiences which had shaped their practices. During this discussion site and to reflect on the experiences had during the week. the audience were also encouraged to share their ‘potato stories’, while The Visual Artists’ News Sheet September / October 2007 11 ART IN PUBLIC Gathering Insights you could attend all the meetings you liked; it always came down to economics in the end. Consultation must be ‘lived through’. Tokenism or paying lip service to consultation is dangerous, said Eileen Healey, adding, “we must look for winnable victories, building with very small ‘THE CROSS LANDS GATHERING’, PART OF THE SHIFTING GROUND INITIATIVE – A DISCUSSION steps”. Ruairí Ó Conchúir also underlined the need for community AMONGST LOCAL STAKEHOLDERS FOCUSED ON THE FUTURE OF THE BURREN. engagement, recommending that state and semi-state bodies should engage the people of the Burren in a process of active participation. He ON Saturday 23 June a public stakeholders discussion, entitled ‘The knock-on environmental effect with unnecessary sewage flowing into also pointed out that Burren farming has a representative voice – but Cross Lands Gathering’ was convened in connection with artist the rivers and lakes that were once mainstays of Ireland’s fishing- many choose not to be represented by organised agriculture. Deirdre O’Mahony’s project Cross Land (1) which engages with issues of tourism. Carol Gleason pointed out that “tourism exists” and that the Jay Koh was interested in the fact that only a small number of agriculture, community, ecology and tourism. The meeting was crux of the matter was to find out best how it could be managed. farmers were represented at the meeting. He asked why Ground Up prompted by the inauguration of ‘Branding the Burren’ an official Paddy Matthews Fáilte Ireland’s Environmental Officer said that had not connected with local dissenting voices? From his experience, initiative by Fáilte Ireland’s Development Scheme Fund in partnership some people working in tourism tended to have a ‘callous’ attitude to artists working with such people create more sustainable modes of with Clare County Council, Shannon Development, National Parks & landscape – seeing it as ‘product’ and consigning the farmers’ role to education and action whereas artists who are effectively just working Wildlife Service and Burrenbeo. Chaired by Ed Carroll from City Arts, merely producers of this landscape-product. He noted that more ‘top down’ leave nothing when they are gone. the gathering of interested parties, including artists, farmers, publicans progressive current thinking conceived of conservation as a creative Brendan Dunford from BurrenLife (5) thought ‘branding’ wasn’t and other members of the local community (2) took place at the Carron activity, which aimed to engage visitors. Indeed, he pointed out the necessarily an entirely negative proposition – it could be harnessed to Research Centre, Carron, Co. Clare and considered this initiative and creation of his own department with Fáilte Ireland was an reflect and promote new approaches. Paddy Matthews illustrated the other developments effecting the Burren. acknowledgement that tourism needed to enter a dialogue with other changing direction of the tourism sector, by highlighting that Fáilte Proceedings centred around discussion of the ‘Branding the sectors and constituencies engaged with the local landscape and Ireland had recently opposed holiday homes in Sligo because the Burren’(3) initiative as outlined by project manager Carol Gleason who environment. water treatment plant wouldn’t be able to cope. He added that tourism, provided the gathering with an overview of the project. Chair Ed Carroll, speaking about the ‘Ground Up’ (4) public art if well managed, could be used to advocate better rural facilities and Local artist Chris Wallis felt that any managerial input to the programme, described it as a process of allowing “ventilation” – as infrastructures. Burren was “a kind of colonisation” and that the Burren would be opposed to confrontation; and perhaps letting people have a glimpse Closing the discussion Ed Carroll invited all present to describe “happy left on its own”. Countering this view Colin Johnson, another ‘over the hedge’ at new ideas or ways of proceeding. In particular, in he their hopes for the future for the Burren. Amongst the aspirations artist, noted that that the Burren had been an actively managed pinpointed Carol Gleason’s Visitor Management Initiative as a were: changes in education that would help foster a solid vision and environment over many years – in other words, ‘letting the Burren get possible model of a more responsible kind of tourism. sense of place in future generations; low input sustainable farming on with it’ involves people. Brendan Dunford of BurrenLife, who cited In terms of the ‘branding’ of the Burren it was suggested that eco- maintaining the land; a changed, locally based, tourism model and research showing that ‘moderate’ environmental management tourism offered some kind of way forward. Colin Johnson foresaw some kind of sensible and sensitive planning system at County encouraged maximum species diversity, backed up this point. problems to do with access, quipping that the Burren’s brand in the Council level. Likewise, Carol Gleason posed the rhetorical question “when had past might well have been a ‘No Trespassing’ sign! Fiona Woods noted Phillip Gaston people been taken out of the idea of ecology? Were they not part of it?” that all kinds of tourism, even the most eco-sensitive had impacts on Fiona Woods of Shifting Ground, a partnership project between communities and landscape. She cited the example of a similar project NOTES 1. Deirdre O’Mahony’s project The Cross Land is a large scale artistic intervention in the Clare County Council and GMIT researching art in rural contexts, in the Lake District in the UK, an area that had seen a lot of people landscape. It’s process and outcomes raised awareness and became the catalyst for ‘The raised the issue of the models of decision making. She asked how do making lots of money; but with the result that local workers could no Cross Land Gathering’. Through the Shifting Ground and Ground Up projects The Cross Land will continue to mark the spot where the stories of the Burren can be heard. The four arms we to step back from purely monetary models that define longer afford to live in the place. As with the Burren planning was a of Deirdre’s coppiced 60 metre cross indicated four major perspectives from which the communities as no more than ‘service providers’? In artist Deirdre problem in the Lake District, with local people unable to build. Carol future of the Burren could be perceived: agriculture, community, ecology and tourism. The wide-ranging discussion touched on all of these topics. O’Mahony’s view the full-time farmer was the most endangered Gleason said that during her research, as soon as the environment was 2. The participants were Eileen Healey (artist), Colin Johnson (artist), Deirdre O’Mahony species on the Burren. Since joining the EU the farmer has been mentioned, people wanted to know if it was going to be used as a (artist), Chris Wallis (artist), Fiona O’Dwyer (artist), Fiona Woods (artist), Maria Kerin (artist), portrayed as living on grants and got little sympathy from the wider weapon against planning, while many people citing areas that had Brendan Dunford (BurrenLife), Anne O’Connor (BurrenBeo), Patrick McCormack (farmer), Robert Cassidy (Publican & Businessman) , Carol Gleason (Environmental Protection of the public. O’Mahony argued that the move away from notions of land- been destroyed by holiday homes. Burren through Visitor Management Initiative Project Manager), Paddy Matthews (Failté use for farming to leisure was bringing about a totally new situation. In light of the various points made Ed Carroll put two questions Ireland Environmental Officer), Jay Koh (Artist / Shifting Ground collaborator), Ute Bohnsack (REPS planner) Ruairí Ó Conchúir , Philip Gaston (writer). Jay Koh, an artist who had experience of working on community art to the group: Who benefits? Who does not have a voice? . projects in difficult situations from Malaysia to Myanmar, pointed out In response, Patrick McCormack stated that the people who look 3. Branding the Burren is now retitled the ‘Environmental Protection of the Burren through Visitor Management Initiative’ due to feedback from the start up consultancy process. that history was linear, there could be no turning back the clock. In the after the land do not have a voice and added that the Burren must be Brendan McGrath & Associates have been appointed to prepare a signage plan for the Burren and to develop a Burren brand. These are two key components of the Burren past and present farming in Ireland received subsidies, tomorrow it conserved for the people who live here – tourism must come second. Initiative, a Fáilte Ireland Tourism Development Scheme project being carried out by Clare could be Poland that sees its agriculture heavily subsidised and Artist Maria Kerin was of the opinion that tourism, even eco-tourism, County Council, in partnership with National Parks and Wildlife Service, Burren Beo and Shannon Development. The branding exercise aims to develop a Burren brand that is controlled. must not be imposed or led from the outside, instead small, local distinctive and memorable, that will be supported by the local community and will Chair Ed Carroll moved the discussion onto what farmer’s sons or interventions would be influential and beneficial. Following further become an effective marketing tool for local service providers. For information and community feedback on the program to date see daughters might see for the future. Farmer Patrick McCormack discussion, the consensus was that the paramount questions were; http://www.shiftingground.net/Brandingtheburren.htm returned to the problematics of the purely monetary model, noting who has power? who can make a difference? who has a voice? 4. The Arts Office of Clare County Council initiated Ground Up to foster a new type of that while many of the current generation of farmers still worked the Carol Gleason emphasised that her project was about engagement between Public Art and rural contexts. The program was developed in three stages and curated by Fiona Woods, The Cross Land was the final commission of the land for love they would probably be the last. For emphasis he quoted consultation – and as such people had a responsibility to participate. program. from Barry Lopez’s Arctic Dreams, “Western Culture has tainted the On the other hand, Fiona O’Dwyer was sceptical about the notion of 5. BurrenLIFE: A project is to develop a new model for sustainable agriculture in the Burren in vision of the indigenous peoples”. He felt that attitude was the greatest consultation – giving an example of trying to get a local playground order to conserve the habitats designated under the European Habitats Directive. http://www.burrenlife.com problem, giving the example of farmers who were taking 70% grants constructed. In this case the County Council enacted a ‘consultation’ for slatted (cow) houses whether they were needed or not. This had a process but nothing ever happened. Anne O’Connor felt that while 12 The Visual Artists’ News Sheet September / October 2007 CONFERENCE REPORT Site & Situation VAGABOND REVIEWS DISCUSS SOME OF THE KEY ISSUES ARISING FROM ‘THE SITUATIONAL DRIVE: COMPLEXITIES OF PUBLIC SPHERE ENGAGEMENT’ A CONFERENCE / EVENT HELD AT COOPER UNION, NEW YORK, 12 – 15 MAY THIS YEAR. “The space of a tactic is the space of the other. Thus it must play exploiting the cracks in the technological and spatial strategies of the emanating from a social group about themselves. Drawing on on and with a terrain imposed on it and organised by the law of a city as an embattled security zone, interrupting diverting and feeding techniques borrowed from word-of-mouth marketing and social game foreign power.” off the technological flows of exchange between the circulation of theory, thousands have been recruited through an IT-driven node Michel de Certeau The Practice of Everyday Life 1984 privileges and their proximity to what Saskia Sassen might call the system from both sides of the border to actively spread the good non-glamorous zones. rumours. IT has by now become almost a matter of cultural imperative to New York artist Michael Rakowitz provided some precise These are perhaps examples of art turning information-flow interrogate the space of the city according to an ensemble of practices, illustrations of public art as tactical trespass. In Return (2006), he theory borrowed from all sorts of disciplines against the force of their which have taken public art far beyond the jaded traditions of 19th created a store with a singular trading goal: the importation for sale of own instrumentalisation, involving a co-opting of their usual century monumentality. It also seems that in the face of such a dates from war-torn Iraq. The shop became a public site for reporting relations of production. In these virtual experiments a certain proliferation of new spatial practices there may be a need of fresh on the global dramas of the dates as they made their precarious epistemological generosity can be detected, an effort to harness the navigational co-ordinates, some maps that might serve as conceptual journey across a whole series of war zones, legal territorialities, power of global systems of informational exchange and distribution in frameworks for thinking about the multiplicity of form and structure commercial realities and ideological tensions, all pitched against a the cause of reversing some of its effects. that has been gathered under the coherence of art in the public definitive ‘sell-by date’. Return set up a transversal conversation across domain. a familiar divide, those assembled on either side of the US invasion of HOUSES ARE NOT UNITS Organised by Creative Time (www.creativetime.org), MIT, inSite Iraq. “House are not units they must be attached to services and structures”, and The Cooper Union, ‘The Situational Drive: Complexities of Public This potential for public art practice to generate new from this deceptively simple proposition architect Teddy Cruz, has Sphere Engagement’ proved to be precisely such a rich cartographic conversational possibilities was echoed by artist Krzysztof Wodiczko. developed a socially engaged practice among neighbourhoods on the opportunity. This was a multi-disciplinary event, which brought Revisiting his Homeless Vehicle project from the 1970s he reminded us Mexican side of the Tijuana/San Diego border that is self-consciously together an impressive line-up of artists, curators and practitioners in that the homeless vehicle came to function more or less like a mobile articulated in response to the complex social, economic and political order to rethink “the challenges of artistic, curatorial, architectural and friction zone, providing a way of speaking through rather than context in which those communities are embedded. As an instance of theoretical engagement in urban and other public spheres”. directly to the subject of homelessness. socially engaged architectural practice the work of Estudio Teddy Cruz seemed particularly impressive both at the level of the quality of the LIBERTÉ V SECURITÉ LONG-TERM CURATORIAL INVESTMENTS collaborative commitment and the ambition of the project. Cruz has Speaking recently at UCD, the sociologist Zygmunt Bauman argued In relation to the use of time there were examples presented of curated taken a global frame of reference on the question of architecture and that globalisation has eroded a number of symbolic functions that public art programmes, which could hardly have afforded a greater housing in Tijuana. For him the border zone represents eighty square once belonged to the formal political repertoire of the nation-state. As durational contrast to the brief tactical trespass. One of the most miles of collision between the global and the local, a laboratory for the the destiny of citizens is increasingly placed beyond the reach of salient characteristics of the curatorial work of Mary Jane Jacob over a triangulation of the social, the natural and political. Art can be used to national governments, the old Enlightenment project of liberté, 10 year timeframe in Charleston and of France Morin in The Quiet in the de-stabilize those boundary conditions through a process of égalité and fraternité has been all but abandoned. Having surrendered Land Project in Laos Cambodia was a shared commitment to the engagement with citizens in an effort to produce some kind of its burdensome duty of care with respect to the well-being of its investment of time. Perhaps the most compelling aspect of these consensus. In the process of working out how to support and shape citizens to the market economy, what then can the nation-state extended curatorial investments is the possibility of carefully making what he terms ‘communities of practice’, the neighbourhood becomes legitimately claim to provide? Bauman suggests that securité has connections between the lived histories of particular communities a site of experimentation where people become active in shaping their become the new currency of political legitimation: we must all now and those grander narratives of history, which can so often remain dis- built environment. consider how much of our former freedoms we are willing to trade in embodied, operating as they do above the threshold of everyday life exchange for the promise of securité. This friction between freedoms and practice. Maybe the distinctive capacity of such extended GLAMOROUS ZONES AND THE GLOBAL CITY and constraints turned out to be a sort of meta-narrative threading its curatorial trajectories is that very attention to history, granting some In the closing discussions sociologist Saskia Sassen evoked an image of way through ‘The Situational Drive’, particularly in relation to the visibility to embodied narratives that only time and the establishing of the global city made up of increasingly dis-assembled elements. From political economy of public space and the city. more enduring relations of trust can allow to drift to the surface as a its urban glamour zones to the shanty-towns on the periphery, we In his opening remarks Maarten Hajer, Professor of Political set of collective memories that may then find some purchase at the were offered an image of a fragmented city. Sassen spoke of Science and Public Policy at the University of Amsterdam considered level of official institutional and social history. reassembling the urban, as though it might be possible to somehow public spaces as articulating themselves along a construct running consolidate the bits and pieces of the urban that are becoming from freedom into friction, assigning to public art the function of VIRTUAL PUBLIC SPACE unsettled. In the ‘state of the art’ urban environment we are no longer shedding light on how public spaces are organised and revealing their Although virtual space is often considered ahistorical, it has become a in the realm of buildings as structures; they are now encountered as political economy. In discussing the limits to how art might serve such distinct arena for public art practices. While not arranged during the infrastructures. Sassen proposes that we have entered a new spatial a function he evoked some contemporary Dutch examples conference on any common platform, there were a range of artistic economic era of flows, mobilities and immobilities in which the real constructed around this tension between friction and freedom. Both practices which seemed to offer the outline of a coherent modus past has been arrested. the Islamic cartoon controversy and the murder of Dutch filmmaker operandi. Such work displayed know-how at the level of information Such sensibilities on the global city return us in some ways to Theo van Gogh in 2004 were cited as examples of cultural production technology systems and of modes of distribution that are more usually where we started out: the loss of that 19th century tradition of leading to violence and death. Not for the last time over the course of associated with the capacities of global corporate culture than the monumentality. If public art once functioned exclusively in the the conference, public art was ascribed the work of revealing the interests of marginal social groups. service of state systems for referencing larger historical narratives it is voices of multiple strangers in our contemporary cities: art as a Artist Laura Kurgan uses “technologies of mapping for the as though that function has been reversed. ‘The Situational Drive’ multiplicity of signifiers of otherness. network society”, for example, mapping numerical relations between serves as an illustration of how public art practice has affected Vasif Kortun, Director of Platform Garanti sees their work as a a specific New York neighbourhood and the population of a state something in the order of a liberation. From the grounded confines of continuation of the situationist spirit. Istanbul has afforded Platform prison. She described her work with the Justice Mapping Centre on the memorial location it has wandered out of our parks, across war Garanti the possibility of some 1960s style street level agitation in the mapping prison populations as ‘communication strategy’ through the zones, into housing struggles, our civic histories and our virtual form of situationist-like practices. Situationist Volley Ball as a tactical construction of crime geographies. Her work produces scientific connectivity. What then of that final singularity, the figure of the intervention involved lightening-strike games set up at traffic lights, narratives for relations that a state may not wish to illuminate so artist-producer? Here again we have seen a transformation of practice lasting 30 seconds to coincide with the traffic light changes. Kortun clearly, for example, the relationship between ethnicity and certain in the form of new allegiances and re-alignments. It seems now that a has retained the space of the gallery as a sort of strategic base from negative social destinations. new multi-disciplinarity has emerged in which a whole range of other where public art might: “inhabit some of the possibilities for Swedish artist Mans Wrange directs a combined inter- knowledge can be brought to bear on the question of navigating our performativity in extreme public space”. disciplinary think-tank and studio called OMBUD. Their Good Rumour contemporary urban drifts. Project created for inSite ‘05 researched rumours as social phenomenon Vagabond Reviews BRIEF TACTICAL TRESPASSES within the politically sensitive border area between the US and Vagabond Reviews is an interdisciplinary platform for socially engaged art practice and critical In the New York-based work we began to see the practical Mexico. Demographically composed focus groups constructed two inquiry comprising artist Ailbhe Murphy and sociologist Ciaran Smyth. Vagabond Reviews was accumulation of a different sort of public art intervention more suited rumours – one about the inhabitants of Tijuana and the other recently commissioned by Dublin City Council and the Arts Council to conduct research on international models of support for ‘Art in Urban and Suburban Open Space’. to the idea of a city as a series of flows and exchanges – of information, concerning the inhabitants of San Diego. Having established through money and cars. These interventions shared a certain rogue sensibility, sociological research that most rumours consist of negative perhaps a common gaze on the global city as a site for tactical descriptions of people outside the originator’s own social group, the opportunities. Typically artist-initiated, such practices thrive on rumours released were the precise opposite – good rumours The Visual Artists’ News Sheet September / October 2007 13 RESIDENCIES Painting workshop for Helix of Hope. The young artists with Helix of Hope. Helix of Hope, prior to immersion in the Ganges. Helix of Hope RAYMOND WATSON DISCUSSES HIS EXPERIENCE OF A SELF-DIRECTED RESIDENCY WORKING IN KOLKATA, INDIA. IN August 2006 I embarked on my first long haul journey to Kolkata location. The public launch of the ‘Helix of Hope’ was conducted by Sujata (formerly Calcutta), India, to visit the Seagull Foundation for the Arts. I also visited the slum area of Kalighat, location of the Hindu Kali Sen, Director of the British Council for East India, and Padma Sri The motivation – my wife Shona McCarthy was due to embark on a Temple and home of a community of traditional artisans, who year in awardee Sister Cyril. On the next stage of the project the ‘Helix of NESTA Cultural Leadership Fellowship in Kolkata. This short trip lead and year out make the hundreds of religious idols for the Durga Puja, Hope’ was once again taken publicly through the streets en route to to four hot months in Kolkata on a residency, that saw the completion (festivals). The artisans construct Shivas and Ganeshes galore from the Hoogli River, a local stretch of the Gange. Here, in front of a large of the first phase of an ambitious project called ‘Helix of Hope’. basic materials of bamboo, rice straw, mud and paint. The elaborate audience - amongst them were people taking ritual baths, performing Until that August my knowledge of Kolkata was limited to idols are commissioned by local communities or families – who then tribal weddings, Hindu funerals, washing clothes and cooling off, the associations with Mother Teresa, the slums of Calcutta and legendary have massive Hindu celebrations to honour the deities. After Helix was ritually immersed in the river and floated away to wherever stories of the Black Hole of Calcutta. But from the moment my feet hit approximately 10 days the idols are ritually immersed in the religious all good Durga sculptures go. The immersion event was completed Indian soil, I was fascinated by the place; and I returned home after 10 Ganges river, symbolic of returning everything to the mother God. when the ‘artist’ was requested to don a ‘lungie’ (a traditional male sort days with ideas galore about Kolkata as a possible future location to Again, as some one who has a history of using local materials - while of saree/kilt) and join his sculptor colleagues for a ritual bath. The conduct an arts project - the social and human circumstances that I on a residency in Valencia, Spain, I produced a public installation from water wasn’t clean but in the 45 degree afternoon sun it was bloody had encountered were compelling. oranges – the mud, bamboo and techniques of the idol makers ‘called refreshing! The Director of the Seagull Foundation had visited Belfast and me’. viewed an exhibition of mine, ‘Barriers of Belief’ installed in the tunnel A theme and design started to emerge. I wanted to do something AN ONGOING PROJECT under the Lagan Weir. By the later end of 2006 a formal residency that would address the human rights of children and their right to The ‘Helix of Hope’ is an ongoing project with at least one more invitation arrived from Seagull. I applied for a travel grant from the aspire to a better future and to reflect the spiritual nature of the Indian journey to make. At this point I feel a sense of pride and privilege to Arts Council and at the end of January 2007, I was on a plane to people. have witnessed the unique way in which art can capture the Kolkata. imagination, challenge thinking and engage a community. I had an A MEDIEVAL WORKSHOP interpreter and the daily dialogue and living and sharing with the CREATIVE ELBOW ROOM I returned to Kalighat and spoke to the artisans. I met with Aloke Pal community of artisans was a two-way exchange of experience. I Named the ‘City of Joy’ by its own municipal establishment, Kolkata and his family of sculptors to seek technical assistance and the acquired new artistic skills and was inspired by the ability and skill of was a big culture shock and a real assault on the senses – noise, smells, necessary materials to realise the design for my own unique ‘idol’ - one the artisans to create their beautifully sculpted idols in such cramped heat. Everything happens on the street – people bathe, cook, trade, that worshiped the future of our children. Aloke Pal, and his family and basic conditions. I believe the artisans were challenged by the idea gossip, work, scratch, laugh, sleep, eat and live life to the full in the lived and worked in what I can only describe as medieval conditions. of an artistic concept and shifts of thinking and technique that were narrow overcrowded spaces. It is a chaotic cacophony of sound and There were mud, bamboo and tin walls and straw on the mud floor. beyond their usual formula - a new non-religious large-scale image colour and aromas – dirty and brilliant and brutal and tactile. The The family and at least six workers all lived, ate and slept in the same emerging from their workshop was a local phenomenon. The Aloke grinding poverty and harsh conditions are physical, extreme and in small place. They cooked meals over a ‘cooking pit’ dug into the clay family took huge pride in having a foreign artist around; and I feel that your face at every juncture. And yet what struck me was the human floor - this was a typical workshop in Kolkata and they were a happy their own artistry was validated by my eagerness to learn from them. spirit and the great sense of warmth and daily celebration of life that is and exciting group. People from Seagull and others from the Kolkata art’s Kolkata. Mother Teresa, perhaps the city’s most celebrated citizen, I struck an agreement to locate myself with this family and their community made regular pilgrimages to Kalighat to witness the work captured something of the humanity of the place when she said, “You workers for six weeks or so; and this proved to be more than just an in progress. For most it was the first time they had set foot in the might find four people sleeping out with only one blanket, but they artistic learning experience. I presented them with a clay model of a workshop of the artisans and there was a real sense that the process will share the blanket”. double helix, and indicated its 10 foot high dimensions and provided a was breaking new ground on many fronts and possibly chipping away The Seagull Foundation was keen that I find an old building as a rough outline of the plan. We set about the construction of the at other unseen class/caste barriers. location for an installation project. A daunting task, finding an old bamboo skeleton, padding out with sheaths of rice straw and the building that did not already house perhaps a dozen or more families application of buckets of mud. The spirals of the helix were brought to INTERESTED CURATORS? was a problem; besides I like my own creative elbow room. Kolkata is life with a series of relief sculptures of children’s faces, scenes from To date the process of the ‘Helix of Hope’ project and the experience of a city where nothing is laid on for artists – as opposed to well- nature, wild life, dancers and flying kites. Clay handprints of Sister Kolkata and its people has been so different from anything that I have established residencies in places like Rome or New York. Most people Cyril’s Rainbow children were made and plastered into the base. gone through before, that I am still making sense of it all. I have barely survive in Kolkata; and public art is really an unknown luxury. Inspirational poetic quotes were written around the base in Bengali documented the entire event and am currently beginning a gallery ‘The City of Joy’ is a place that requires trail-blazing hard work and and English. The entire piece was then colourfully painted. based audio-visual installation, as possibly the final phase of the where proactive self-initiative and levels of endurance are required at project. Any interested curators out there? every step of the way. A TRAFFIC STOPPING EVENT For me the success of the project was its ability to reach out and This first stage of the ‘Helix of Hope’ completed, it was then publicly involve a wide span of people - the artisans, the public, teachers, STREET KIDS AND ARTISANS transported through the streets of Kolkata, which was a head turning, parents, the local arts community but most of all the children and Normally in a foreign city, I would seek out an Irish pub and ex-Pats as traffic stopping event. The first leg of the journey ended in the young people of Loreto Sealdah school. I loved Sister Cyril’s approach a link into the fabric of the place; but alas no pub or community courtyard of Loreto Sealdah school. As you can imagine the to life and she loved the ‘Helix of Hope’. At the launch she said: “The existed in Kolkata! I did track down an inspiring 70 year old Irish nun, sculpture’s arrival created a real buzz. At first the children saw it as power of this project was in providing a catalyst for the children to Sister Cyril, who was running an amazing project. She had developed something essentially visual and tactile - it was mobbed by kids create and artistically visualise their future in their own heads and her Loreto Sealdah school into a community resource centre for the wanting to touch it, find their own hand prints and use it as a climbing then on paper – in other words to imagine something beautiful and really poor and established the Rainbow project to provide frame! The artwork lived here with the children for 10 days, during then do it!” accommodation and schooling for hundreds of abandoned children which time I conducted art workshops and initiated a project where Raymond Watson and ‘street kids’. Over 400 street kids lived and slept on the roof of the the children and teachers created their own artistic responses to the NOTES school. I entered the schoolyard only to be mobbed by wee barefoot themes of the ‘Helix of Hope’. The result was 40 exceptional paintings children, it was humbling and emotional. Most of my work at home portraying their dreams and hopeful aspirations for the future. Their 1. A Padma Sri is one of India’s highest national awards and not normally given to foreigners. Sister Cyril was nominated to acknowledge her exceptional contribution to education and and internationally to date has had a strong community and social paintings were then displayed on the links between the spirals of the development. justice rationale; Sister Cyril’s school jumped before me as a prime helix. 14 The Visual Artists’ News Sheet September / October 2007 CONFERENCE REPORT practitioners from Asia, Africa and Latin America aiming to challenge Imaging Back an exploitative global economic system – and Western practitioners who are visiting such places for a finite period. He argued that issues of access, trust and acceptability by the community means that local SUSAN GOGAN DISCUSSES ‘GLOBAL PHOTOGRAPHIES: HISTORIES; THEORIES; PRACTICES’, majority world photographers can express a deeper emotional HELD AT THE INSTITUTE OF ART, DESIGN AND TECHNOLOGY, DUN LAOGHAIRE, 27 – 29 JUNE. involvement with the subject and benefit from a closer understanding of the social climate (9). Paul Leite, Marta Zarzycka and Hannu ORGANISED by Justin Carville, ‘Global Photographies’ offered Vanhanen echoed Alam’s concerns in relation to the displacement of perspectives on photography and globalisation by 67 practitioners, Brazilian identity, World Press Photo and the representation of curators and writers from around the world. Key issues were – Kurdistan respectively. photojournalism; the image and US foreign policy; digital culture; On the subject of environment, Andrew Langford discussed his environment and urbanisation; migration; global labour; colonial work in Almeria, Spain, where landscapes immortalised in Sergio archives; photographic and artistic practices; and an interrogation of Leone’s spaghetti-westerns have been bulldozed to fill 2,500 hectares photographic theories within these contexts. Keynote speakers were with plastic greenhouses growing supermarket produce for a Dr Shahidul Alam, Professor Iain Boal, Dr Steve Edwards and Professor globalised market. Langford showed startling Google Earth images of Allan Sekula. this vast utilitarian space (10). Poisoned ecologies were of primary In late April 2004, reports of abuse and torture of prisoners held in concern to Eamonn Slater, who revealed the unanticipated Iraq’s Abu Ghraib prison came to public attention via a 60 Minutes environmental damage to local ecosystems as a result of the global television report and an article in The New Yorker magazine. Both spatial expansion of suburbia. He noted how the chemical technology reports contained graphic, disturbing images of torture taken by US used to achieve and control the pervasive aesthetic of the front lawn, military guards with digital cameras, reaching the media and the driven by its “exhibition value” as conceptualised by Walter Benjamin general public before they had even arrived at the Pentagon. Alexandra (11) , causes native flora to go into decline. The lawn evokes a number of Sze Tsung Leong, Tiananmen Square, Beijing, 2002, C-Print. Courtesy Yossi Milo Gallery, NYC. Murphy discussed these images – revealing the full horror of the cultural mythologies crucial for the construction of suburbia such as politics implicit in their production as private mementos and objects the ‘rural idyll’ evoking a ‘healthier environment’, which are mediated of exchange. Some of these images have frequently reappeared in through photographic representations. political graffiti and cartoons, including an episode of The Simpsons (1). Keynote speaker Allan Sekula led a journey through the creative The image of a hooded man with outstretched arms, positioned on a process of his work currently exhibiting at Documenta 12, Kassel (12). cardboard box awaiting electrocution, was one of the most prominent gravediggers, midwives and shipyard workers were introduced via of these to be featured in the media. Symbolically likened to the Statue personal stories, framed by his overall aim of critically remapping of Liberty and the Crucifixion, it is now used on the business card of experiences of globalisation. Sekula’s film The Lottery of the Sea, was a the Association of Victims of American Occupation Prisoners. This visual essayistic voyage exploring a matrix of narratives – Panama’s body of photographs was frequently discussed within the wider decision whether to expand its canal, Galicia’s clearing of an oil framework of the development of Western visual, and specifically spillage, American classic films and stray dogs in Athens – via the sea, digital, culture. the market and democracy. Iain Boal discussed the present turn to empire and enclosure by Historical and colonial archives were the inspiration for the US, in the guise of military neo-liberalism, with reference to Guy contemporary works such as Simryn Gill’s physical modification of Debord’s argument that everyday social life is colonised by the the Life World Library series of picture books using sandpaper (13) ‘spectacle’, “…a social relation among people, mediated by images” (2) (presented by Daniel Palmer), and Brook Andrew’s impressive work controlled by the ruling economy. The imaging of the global ‘War on referencing 19th century ethnographic archives of Aboriginal people Terror’ is carefully manipulated using a narrow range of recurring (14) (presented by Marianne Riphagen). Mark Curran’s The Breathing motifs and scenarios. Yet imperialism is struggling for hegemony in Factory, which critically addresses the representation of global labour the world of images. Both Boal and Liam Kennedy pointed out that in practices within the context of Ireland’s accelerated economic the digital age, contradictions within declared values and policies are development, reveals ethnographic methodology whose process is quickly exposed through what Kennedy referred to as “visual made visible in the final exhibition of the work. Curran discussed the blowback”, images that question and destabilise the authority of state Anthony Haughey, work from the series Between 2007 use of the portrait, a critically disputed device in the history of policy. Boal pointed out that the texture and structure of everyday life whereby residents used postcards to write to Ireland’s former Minister photography given its association with anthropological systems of provides the answer to breaking the control of the spectacle. Kennedy for Justice via the gallery space. classification, pointing out that the portrait can now be seen as co- also presented soldiers’ photoblogs, where new representations of Melanie Friend who works collaboratively with detained authored and a collaborative process within visual ethnographic warfare are being produced (3). Shots of soldiers bathing in Saddam migrants and asylum seekers in England, presented images of empty research (15). Hussein’s son’s swimming pool were presented alongside images of visitation rooms at Immigration Removal Centres. Friend exhibits her The closing panel discussion emphasised the need for increased visiting cheerleaders and scenes of baseball games, depicting images with voice recordings made by detainees, whose soundtracks dialogues and collaboration across countries, to allow photography a domesticated routines being re-inscribed onto the Iraqi landscape. reveal personal stories and experiences, while also reflecting on British central role in creating solidarity in the face of globalisation. Shahidul Steve Edwards emphasised the need for new ‘agency’ to come into culture and its accepted norms. Alam highlighted the representation of Bangladesh in the media, play against the global empire, emphasising that artworks require an Veronica Vierin talked about her current research practice, which where people generally exist as numbers when plagued by a disaster assertion and imaginative presence (as opposed to being simple sees contemporary flows of migration as dynamic social movements, such as a flood. However a photograph in a newspaper is highly ‘documentation’). He discussed specific photographic practices within demanding more flexible notions of citizenship and social practices. important to the individual as it lifts them from statistical anonymity. this context, questioning Philip Lorca diCorcia’s street works (4), Working with migrant workers in Italy, Vierin sees the emergence of This understanding came to Alam when, during the aftermath of believing that they represent the crowd as an empty backdrop to new transnational social spaces outside of the political and judicial massive floods in Bangladesh (1988), he was surrounded by a group of individualism following the logic of ‘self’ and ‘other’ – rather than sphere of the nation state (eg. illegal occupation of buildings), children wanting their picture taken, including a blind boy who ‘difference’. He placed them in contrast to Allan Sekula’s works on producing a reconfiguration of the city created through the everyday pushed himself into the centre of the image with a beaming smile (16). protest marches, which immerse the viewer within the crowd. Joel practices of the migrant worker. Sternfeld’s work on the G8 protest in Genoa, 2001, was seen as taking a In 1954 Henri Cartier-Bresson published D’Une Chine à lAutre Susan Gogan different approach again, deliberately avoiding images of the (From One China to Another), following the transition from the fall of ‘demonstration’(5). This work intersperses portraits of protesters with Nationalist China to the beginning of the People’s Republic from 1948 NOTES signifiers of the protest from around the edges – images of a broken –1949. Douglas Smith highlighted the important moment in 1. See http://www.youtube.com/watch?v=wxF4mZajJgM door or spilt blood remain behind as symbols of the violence protesters photojournalism history that this book represents. In the book’s 2. Guy Debord. Society of The Spectacle (1987) Rebel Press, thesis 4 3. http://www.mudvillegazette.com/milblogs were subjected to. Unity and diversity are simultaneously expressed preface Jean-Paul Sartre expresses how Cartier-Bresson explodes racist 4. http://www.noorderlicht.com/eng/fest99/wonder/corcia/7. 5 http://www.whiteboxny.org/prog_list/prog_list21.html through this work, and was cited by Edwards as an example of the kind and exotic stereotypes, demystifying the Chinese culture of the French 6. To view Gold Distribution, Shanghai, China (1949) see of work needed to represent the class of our time. colonial imagination through the variety of emotions depicted and the http://www.metmuseum.org/toah/hd/cabr/hob_2002.419.htm 7. http://www.edwardburtynsky.com Anthony Haughey also promoted an ‘active citizenship’, and material realities of a divided society in transition (6). 8. Shttp://www.popphoto.com/americanphotofeatures/3492/ discussed how the commitment of an artist to political struggle can be Hugh Campbell explored the Western world’s attempts to history-images-by-sze-tsung-leong.html 9. http://www.majorityworld.com expressed through cultural production. Within the context of his understand the unprecedented scale and nature of China’s current 10. Google Earth coordinates 36°52’47.53”N 2°21’01.81”W current work with Nigerian asylum seekers residing at Mosney transformation through the artistic works of Edward Burtynsky (7) and 11. Walter Benjamin.“The Work of Art in the Age of Mechanical Reproduction” Illuminations (1968) New York: Schocken Books, p. 225 Accommodation Centre, he discussed issues around collaborative Sze Tsung Leong (8). Both photographers produce large-format prints 12. http://www.cgrimes.com/artist/sekula 13. http://www.ccp.org.au/docs/catalogues/SGILL_catalogue.pdf practice – such as the shifting of power towards those politically with incredible detail, Burtynsky declaring his intention to reveal the 13. http://www.tolarnogalleries.com excluded from society; the role of the artist as mediator between the impact of growth on the environment while Leong positions his 15. http://www.belfastexposed.org/exhibitions/index.php? exhibition=2&year=2006 &show=past subject and the spectator; and the building of friendships. Mosney’s images within the historic processes of urban renewal. 16. http://www.asiamedia.ucla.edu/article.asp?parentid=51509 history as a Butlin’s holiday camp, recorded in the richly saturated Shahidul Alam questioned the differences that may occur images of the John Hinde Studio is also referenced in this work – between images produced by majority world photographers – The Visual Artists’ News Sheet September / October 2007 15 INTERNATIONAL EVENTS Dmitry Gutov and David Riff with their work The Karl Marx School of the English Language Press room, Venice Biennale. ‘Check List-Lunda Pop’ exterior – Arsenale, Venice Biennale. Thinking with the Senses MONICA FLYNN OFFERS HER IMPRESSIONS OF THE 52ND VENICE BIENNALE – ALONG WITH SOME TIPS FOR NEGOCIATING THE MEGA-SHOW. SO many of the people queuing for the early morning Ryan Air flight bookshops. This provides maps of the various areas mentioned above GIARDINI to Venice were part of the Irish Visual art scene, that one of my MAVis and a numbered guide with images representing each participating Riff and Gutov’s work and stance was a marked contrast with the slick classmates joked darkly that if the flight went down half of the visual artist or exhibition as appropriate. The actual Biennale catalogue digital work on show in the Russian Pavilion – but both are perhaps arts population in Ireland would be annihilated in one fell swoop! It comes in three parts; and though a treat, it weighs a ton, so I’d advise just different responses to the same context of contemporary Russia. was a quip which also perhaps highlighted the smallness of the Irish picking it up at the end of the day – and if you can’t get a press While Gutov used traditional media in installation the Russian scene within the larger global picture we were about to experience. discount, bear in mind it is €70. Pavilion artists had fervently embraced new media. The AES+F group’s Thankfully, we all arrive safe and sound – albeit in a sopping wet work presents a stylised hyper-reality, were eternal youth plays out an Venice – and we merge into the general tourist hubbub to find our ARSENALE eternal violence on a large scale, three-screen projection. To my mind, accommodation. Travelling along the canals by Vapparetto the first Because of the sheer size of the space, it is difficult to judge how much the slickness of the Russian pavilion suggested a desire to distract, glimpses of the Biennale are the large banners announcing the so- time to spend in the Arsenale. Nonetheless, it is not a totally rather than engage – bearing out Riff’s criticism of the first Moscow called ‘collateral events’ in various palazzi along the Grand Canal. disorientating experience, the structure lends it self well to an Biennale as nothing more that a re-branding exercise for the city and I travelled to Venice in a two fold capacity; as part of a MAVis / exhibition of this scale – and there are divisions within the long hall, Russian art (1). IADT study group and to assist with the launch of Printed Project Issue that create micro-experiences and areas for works to play off each The Giardini is a pleasant outdoor space to walk around – and if 7 at the Republic of Ireland exhibition. It is the next day before I can other within the overall presentation. you have time to take a leisurely approach to this area – all the better, pick up my press pass for the Biennale and start taking everything. My Soon after entering the Arsenale, Storr’s overwhelming anti-war as it takes more time to navigate than the Arsenale. During the first point of call is the Venice outpost of the Peggy Guggenheim message becomes apparent – yet not in an overly didactic fashion. opening days of launches and press events, there was an atmosphere collection; and I’m rewarded with an opportunity to see ‘All in the Many works take you unawares. For example seemingly innocent of a trade or county fair in Giardini as the national pavilions Present must be Transformed’ – an exhibition placing the works of landscapes are revealed by the label to be minefields and militarised distributed their publicity and catalogue material; and dotted around Matthew Barney and Joseph Beuys side-by-side. Curated by Nancy zones (Tomoko Yoneda, Japan) and Bouncing Skull (Paolo Canevari, the Giardini were smaller stall holders. Bernard Cella offered us Spector the show was presented to coincide with the Biennale and it Italy) on second glance, shocks us from our presumption that we are Neokuratin – a sticky plaster “for use in cases of opening paralysis, fear examined similarities between the artist’s modes of working and their viewing an everyday scene of a boy kicking what seems to be a football of the future and other known effects of advanced curatorial personal cosmologies. – closer inspection reveals it is a human skull. Storr’s selection of dependency”. The next day, Jenny my MAVis classmate and I perambulate works remind us that war is not a spectacular business of ‘shock and distractedly through the immense warehouse space of the Arsenale awe’ that can be passively viewed from a distance – but a brutal in- COLLATERAL EVENTS towards the elusive press room, momentarily sheltering in a doorway humanity, that becomes entwined with all aspects of everyday life Due to time constraints, I didn’t take in as many of the collateral with an exasperated art critic, who bemoans the ill-logic of placing the wherever it rages in the world. events as I wished. I did of course, get to see Willie Doherty’s show – press room at the very end of the Arsenale! We wait in vain for a While taking in the Arsenale, I got chatting to two Russian based Northern Ireland’s representation in Venice – as it was in the same downpour to subside; and then launch ourselves once more into the artists – Dmitry Gutov and David Riff. They talked to me about Andrei building as Gerard Byrnes exhibition for the Republic of Ireland. If you deluge in the name of art criticism. Acquiring the press pass feels like Monastyrski and the Collective Actions Group and their own are planning on attempting to visit all or a good number the collateral a victory of sorts – but rather than lounging on the bean bags provided collaborative project The Karl Marx School of the English Language. Their events, a detailed map of Venice (available at Tourist Information in the press area, we head off to ‘soak up’ the art, leaving behind a reflections offered an interesting insight into the contemporary art points) is a must – but be prepared for the ‘joy’ of getting lost on a throng of press people already feverishly emailing their copy in the scene in Russia. With David helpfully translating Dmitry’s comments, regular basis. internet zone. they related how in the last few years’ contemporary art has become The Republic of Ireland exhibition benefited from its new The Biennale comprises four main elements. Firstly there is hugely fashionable in Moscow. Prior to Perestroika, artists had few location in proximity to the Northern Irish exhibition and the S. ‘Think with the Senses Feel with the Mind: Art in the Present Tense’ – opportunities to exhibit their work and access to audiences was Zaccaria vaparetto stop. Gerard Byrne’s exhibition had already had the thematic show, curated by this years Biennale Director, Robert limited. They were mostly forced into underground practice, which over 2,000 visitors by the first 3 days of the show – prior to the opening Storr, presented in the cavernous warehouse spaces of Arsenale Riff, described as being like “inner emigration. Gutov described how of the Biennale to the public. (including a former rope factory) and the Italian Pavilion at the he missed the 1970’s – when there was time a-plenty for intense and Being a newbie to Venice, I was excited to catch this spectacle of Giardini. Incorporated with Storr’s show at the Arsenale, is the show- interesting discussion’ along with thought and reflection. In Russia’s the larger mechanics of the visual art world in action. Attending the within–a-show that is ‘Check List-Lunda Pop’ – an exhibition of work current market economy, artists find themselves time starved; and in Venice Biennale, feels like you’ve wandered into a breathless comedy by African artists. Thirdly, there are the national representations – essence, their work The Karl Marx School of the English Language is an of manners – where it’s obvious there are norms of behaviour (but if centred in the national pavilions located in the Gardini, but also attempt to claim back this reflective space. Gutov said that “the most you have to ask…). Hierarchies within this social and economic sphere scattered across Venice. Finally there are the officially sanctioned dangerous thing in Russia now is money … when someone comes and are condensed and enlarged in a sweltering atmosphere of openings, collateral events – which include regional representations, such as they have $15,000 in their pocket and they say ‘if you change this parties, hyper-tourism and the concentrated whiff of the uber-wealthy Scotland, Wales and Northern Ireland; and even cities – this year there piece just a little bit ...’ –that’s a really big seduction, that’s really who converge on Venice at Biennale time. It becomes difficult to keep was an off-site exhibition calling itself the ‘Sheffield Pavilion’. dangerous”. a focus on what is real and what is actually meaningful. Although As a newcomer, I quickly learn that it is impossible to take David Riff is of American extraction but as his parents were Robert Storr invites us through his title for the Biennale to articulate everything in; even if you had all the time in the world. One rapidly involved in Slavonic Studies he spent quite a lot of his early years in and value all our senses in meeting the artwork – it really does takes adopts a ‘scanning’ mode of art viewing – you don’t dally too long with Russia and “just got sucked in” as he says initially in his work as an art some serious concentration to avoid sensory overload! any one work. By default, it is the most robust works and pieces which critic writing books about Russian artists of the early 1960’s. He found Monica Flynn gel most with ones own predilections that determine what you choose Marxist Russia a really fascinating context, as one of the few places in NOTES to spend time with – and what stay with you after the art binge. In the the world where Marxism is or had been a reality. Riff is now involved first couple of days, attending openings and press events I picked up a in activist and pacifist publication projects – including Choto delat? 1. David Riff, http://xz.gif.ru/numbers/moscow-art-magazine/face-control/view_print/ See also www.chotodelat.com variety of guides, each aimed at different visitors and offering a range (What is to be done?), which aims to politicise and create dialogues of recommendations. The most useful of these was the official short between the areas of theory, art and activism. This publication is one guide publication, available for €5 in the Arsenale and Gardini those included in the Documenta 12 magazines project. 16 The Visual Artists’ News Sheet September / October 2007 CONFERENCE REPORT Tim Rollins, Deirdre Mackel, Declan McGonagle, Ailbhe Murphy, Francis Lord, Aisling Prior and Declan McGonagle, Billy Drummond, Eleanor Wheeler, Lorraine Leeson and Vivienne Lovell. Suzanne Lacy, Keynote Address, Interface Seminar ‘Public art! What for? Who for?’ at Farset Brian Connolly. Interface Seminar ‘Public art! What for? Who for?’ at Farset Centre, Springfield Interface Seminar ‘Public art! What for? Who for?’ at Farset Centre, Springfield Road, Belfast, Centre, Springfield Road, Belfast, May 29th 2007. Road, Belfast, May 29th 2007. May 29th 2007. class, upper class areas?” Prior also critiqued the failure of art criticism What is it Good For? to address dialogical / participatory and socially engaged practices. Brian Connolly, an artist and lecturer at the University of Ulster gave the next presentation. Connolly’s work evolves out of dialogues – with CHERIE DRIVER REPORTS ON THE SEMINAR ‘PUBLIC ART! WHAT FOR? WHO FOR?’ ORGANISED BY specifics of place, location, context and site – through performance, INTERFACE, HELD AT THE FARSET CENTRE, SPRINGFIELD ROAD, BELFAST, 29 MAY. street action and engagement processes with and in the community; taking form both in the public and gallery / museum realms. DECLAN McGonagle, director of Interface opened the morning with community groups and organisations as a means to effecting Connolly’s presentation of two works, Turning Point (1991) and a session, explaining that Interface had been commissioned in February social change. Lesson talked about the project ‘Cascade’ which dealt public art commission in Ballysally, Coleraine, fore-grounded as a by the Department of Social Development / Belfast Regeneration with the Thames Gateway redevelopment and the Olympics 2012 bid. counter balance to the earlier presentations, the commissioning Office as part of the preparation of a public art strategy for the West It involved young people through three levels of education, – process and what can be possible in broad community setting rather Belfast and Greater Shankill Area (1). McGonagle argued that we face a university students acting as mentors for young people in college; who than specific settings. number of challenges that are fundamental to the future of our well- in turn where then placed in schools to facilitate workshops to Francis Lord, freelance curator, consultant and writer, talked being as a civil society – in particular in relation to cultural identity; empower young people and to help them have input into the re- about the ‘Heart of Reeds Project’ (2005), a seven-year collaboration something he stressed that was neither “dispensable, unimportant or development processes. The next speaker was Vivien Lovell, curator, with the artist Chris Drury. Lord’s detailed presentation outlined this marginal”. The issues therefore were – what is the relationship and commissioner of public art, and founder member of Modus Operandi project’s stages – from its initiation, developing and then managing social processes between art, artist and society? What would it mean, an independent consultancy formed in 1999. Lovell discussed three the work – all in partnership and dialogue with the local authority and he asked, to have a community-led public art processes? What would case studies the Liverpool Action Housing Trust, the Phoenix Initiative environmental agencies in East Sussex. Deirdre Mackel, the fourth case be the implications for the existing definitions of art, artist and in Coventry and the BBC Broadcasting House Redevelopment, London, study of the afternoon session, outlined how her activities as community? What would be the implications for funding structures? 2002–9. Lovell’s presentation fore-grounded cross-disciplinary, community arts development officer at the Upper Springfield The strategy document, he explained, would raise some challenges to innovative and site-specific approaches to public art whether Development Trust. Mackel gave a brief socio-political and economic these existing structures, and definitions. permanent, temporary or process/dialogically based. overview of the area and the organisation she works for, the public art The first keynote speaker was Suzanne Lacy, an internationally Billy Drummond, Manager of the Shankill Alternatives Project department that she runs – and she discussed a number of case studies known artist, who works predominantly in installation, video and and a member of the West Belfast & Greater Shankill Public Art to illustrate the work that takes place in her area. large-scale performance. Lacy’s presentation responded to three Steering Group presented the third case study. Ailbhe Murphy a visual artist who has a particular interest in particular questions. Is it possible to sustain a community led public Drummond discussed projects that had been carried out in collaborative community based practice in the context of urban art process? What are the implications for communities and artists? partnership with the artist John Johnston – working with young regeneration discussed the 2003 project Tower Songs, “a cross city And what new forms of commissioning and advocacy’s are possible? people from the area these projects explored issues of identity, human collaborative project which engages with a number of communities in In response, she declared, “It is possible, and more, because art is rights and restorative justice. The projects discussed where the Dublin undergoing profound changes in their architectural, social and nothing if not the exploration of both the possible and the impossible”. ‘Conflict Mural with the Ulster Museum’, ‘Anti-Racism Mural for the cultural landscape via major regeneration initiatives”. Murphy So, to embark upon this endeavour, a community led public art Shankill Road’, the ‘Anti-Racism Mural with Mount in Gilbert College’ introduced the programme and like Lacy and Prior, she called for the process, she argued, one must first “learn some things, understand and the ‘Conflict Mural-Boys with the Model School’. Drummond’s application of “a critical register to work that is emerging in the public some things, have a community discourse about the nature of art […] presentation showed how the principles of restorative justice, using domain?” Murphy asked, “if you are occupied with notion of and align the community in order to have a broad based process, in a the methodologies of art, could be utilized to explore really hard issues extracting value out of evaluation – then at what point in that process sense of broad exploration”. and give young people a means to articulate and express themselves. does value become evident?” The arts sector she argued, “has become Her presentation went on to weave three threads. The first Drummond noted that this process can be transformative and gives habituated, resting its gaze at the moment work emerges into the concerned the skeleton, mechanics and delivery of public art – there pride and confidence to young people. public domain; and that comes from the historical model of the gallery must be, she argued, “community consultation in the beginning of The final case study of the morning session was by Eleanor and that’s appropriate for that process / site, but that is wholly initiating projects, community participation in the selection of artists, Wheeler, who gave a detailed overview of well-known Belfast projects, inadequate for trying to build an analysis of work over time, I think the consensus building procedures within, before, during and after the art which she had worked on over the last few years. Wheeler is an artist community development network has a sophisticated understanding process/production, using multiple strategies for informing and in residence in the urban development section of Belfast City Council, of the durational nature of learning, that the arts sector has much to presenting the work to multiple ‘publics’, post-project critique such as who is involved in the thinking, development and implementation of learn from”. The final keynote address was by Bronx based artist Tim the critique sessions in art schools, where artists put forward their BCC’s ‘Renewing the Routes’ and ‘Brighter Belfast’ programmes. The Rollins. In a charismatic and moving presentation, Rollins talked about work to enquire into ways in which it works, doesn’t work, and how it morning session finished with a discussion predominantly contesting the background to the formation of the KOS (Kids of Survival) project, operates in the constructs of the community”. She highlighted these as the analogy that socially engaged practice is ‘sociology by other established by the artist in the early 1980s out of art and knowledge the processes that ensure representation and the democratic process. means’. It was generally felt that what distinguished art from sociology workshop for students with learning disabilities. The second thread was art’s functions and uses. “What can art do?” she was that art was about product and about making meaning and could The seminar concluded with an open discussion, with an asked – noting that of course this is hotly debated. She stated that art be utilized as a lens or platform offering people disadvantaged in emphasis on questions of representation and documentation. Also builds – in terms of civic participation – “capacity in a community, it society a voice. stressed was the importance mainly of recognising the need to give offers a motivating pedagogy through a reciprocal process”. The afternoon session began with a presentation by Aisling Prior, participants a voice and audience the opportunity to hear those voices. Art is, she also argued, used to build identity – and it is this aspect who since 2002, has been the artistic director of Breaking Ground, the Issues of evaluation, critical analysis and validation were also that the public sector uses to build ‘tourism’. Finally the community, art programme within the Ballymun Regeneration Scheme. Prior’s identified as crucial. Likewise, addressing the critical deficit or “the she postulates, can transform itself physically through a concentrated position reverberated with Lacy’s earlier keynote talk, particularly killing through indifference” was seen as one of the biggest challenges and focused art programme. The third strand Lucy drew upon was art around the issues of integration and doing consultation with /in for socially engaged practices. as art – art for the sake of art, art as an aspirational process. Lacy communities; the time and work this process takes; the work that must Chérie Driver unpicked this framework with references to her practice and gave a be undertaken to listen to the vocal activists on the one hand – and the http://interface.rehabstudio.co.uk www.suzannelacy.com http://www.cspace.org.uk www.modusoperandi-art.com/cur.html substantial presentation on two projects; Skin of Memory: Barrio sensitivities needed to draw those who don’t possibly comment. Her http://www.diacenter.org/kos/home.html www.breakingground.ie Antioquia, Past, Present, and Future (1998-1999) and The Oakland Projects presentation postulated rigorous self-reflexivity and demonstrated a www.extern.org/restorative/Alternatives.htm www.artscouncil-ni.org/urbanalchemy/UA_transcripts2.pdf from the early 1990s. high level of criticality being maintained in overall strategies and http://urbact.eu/fileadmin/subsites/udiex/pdf/Deirdre_Mackel_rev_0.pdf The second part of the morning session comprised a series of case within projects. Prior went so far to question the appropriateness of NOTES studies – beginning with Lorraine Leeson, an artist and director of commissioning art in Ballymun – was it actually, she asked, 1. This came about by the Public Art Steering Group – members of which are from the West Belfast and Greater Shankill partnership boards and representatives of various arts and cSPACE which is based at the University of East London Docklands “contributing to the isolation or ghetto-isation of Ballymun by community development groups – who lobbied for a strategic approach to public art in Campus. For a number of decades Leeson has worked collaboratively commission public art, because there isn’t that practice in more middle their area. The Visual Artists’ News Sheet September / October 2007 17 FOCUS Dabbling in Discourse artists and so. These discussions are transcribed and published in printed form in various editions of The Metropolitan Complex. They are also available on line from Piece’s website (www.themetropolitancomplex.com), which is styled as a virtual JESSICA FOLEY CONSIDERS ARTISTS’ USE OF PUBLICATIONS AS A MEDIUM FOR DISCOURSE. archive. In the issue of The Metropolitan Complex entitled The Concept of Documentation, Ren Zechlin, makes the point that “in both research practice and art, an archive avoids any purposeful interpretation of its contents. The archive is the neutral totality of documents, which serve as a basis for an interpretation. The archive thus pretends to be a kind of pre-documentation and appears, paradoxically, in its lack of purposeful direction, to be closer to an objective truth” (5). Pierce’s use of the archive is a reflexive comment on the nature of dialogue and discourse, wherein she engages with the apparent authority of the archive, while conscious of its ‘neutral totality’. Her roundtable discussions are dense with references, commentary, opinion, experience and analysis – simulating a kind of hall of mirrors, where discussion is endless. Interdisciplinary is a key concept in the consideration artists’ use Printed Project Circa (artists project pages – detail) of publications and pre-occupation with discourses. For example, for ‘Sweet Futures’ Sarah Browne undertook the roles of editor, designer, photographer, researcher, marketing executive, and so on, in order to build up a work that engaged with discourses of all these fields along with the focus of her research of sugar industry, which was likewise diverse – exploring issues of property development, colonialism, community, economics, exploitation, geo-politics and so on. As Roland Barthes observed “interdisciplinarity occurs when the ‘solidarity of the old disciplines breaks down – perhaps even violently, via the jolts of fashion – in the interests of a new object and a new language neither of which has a place in the field of the sciences that were to be brought peacefully together, this unease in classification being precisely the point from which it is possible to diagnose a certain mutation” (6) In contemporary interdisciplinary art practices, it is accepted that Sweet Futures publication (detail) artists assume a range of roles and discourses, which strictly speaking they are not ‘qualified’ to do – there is an inherent questioning of boundaries and definitions in this kind of practice. Besides this ‘mutation’ of the artist’s role, the notion of the publication itself has the potential to be opened up. Think for example of art magazines inclusion of artist’s pages or project spaces. Here in Ireland Circa art magazine has hosted projects such as Niall de Buitler’s Thesaurus Generated Text Loops, Chen Jiale’s Manhole Covers and, Belfast Gareth Kennedy’s & Sarah Browne’s Episode 306: Dallas. Peter Fitzgerald editor of Circa, has commented “I like the idea of Circa being a producer of art, via artists’ projects, and not just a consumer … a magazine is a medium; I like the notion of offering artists the opportunity to use this The Fold, Issue 2 ‘Clouds’. Presented at ‘Pleasures and Days’ the Lab, Dublin (24 April – 9 June) Sweet Futures publication (detail) medium” (7). Circa, usually a space for critique of art and the practice of artists, is eager to become a hybrid as a kind of magazine-gallery space, “All speech and writing is social.” (1) Discourse, “neither precise argument nor thorough research can claim where artists can exhibit their works-in-progress, or finished works, to offer a neutral or natural truth. Indeed, such work finds part of its major or minor, in a widely circulated Irish publication. FOR good or for bad – dialogue and discussion are prevalent terms in function in its ability to unmask discourses and knowledge which, Visual Artists Ireland’s publication Printed Project likewise, contemporary art practice. More and more art is ‘discoursing’ with from various institutions, and in the face of all the inequality that seems to suggest the idea of a hybrid and a crossing of forms. Issue 1 itself and about itself – as well as everything else – exploring the divides our society (the base inequality of class, the imposed ‘There Once was a West’, Curated / edited by Sarah Pierce, focussed on nature of language and meaning; of communication and inequalities of race, gender and religion), claim to speak on behalf of ideas of misinterpretation or mistranslation. Pierce wrote in her representation. Contemporary culture is complex, fast moving and everyone, saying in effect: we are all the same: we all speak the same introduction “territory is mythical … so perhaps a new journal might fractured – such attempts by artists to engage with discourse might be language and share the same knowledge, and have always done so.” (4) be a myth”(9). Each issue of Printed Project is curated / edited by seen then as a way of pushing ‘pause’ – creating pockets or moments Sarah Browne is an artist who is currently engaging with both different invited individuals; and this approach suggests a kind of where this all-pervasive nature of discourse might be utilised and artist-led publications and institutional publications. Browne ‘purposeful aimlessness’ – that is more concerned with generating addressed. undertook the project ‘Sweet Futures’ with curator Ciarán Walsh, associations, links, coincidences; rather than fixed ideas or definitions. Yet there is a paradox in the effort made to assimilate a complex which culminated in a publication representing a year of research On a smaller ‘The Fold’, a recent artist led publication, does something reality, into more simple and digestible bundles – to ‘caption’ reality as examining the effects of the closure of Carlow’s sugar industry in the similar – offering a forum for invited artists to respond to a set theme. if it were a stuffed giraffe in a natural history museum. This ambition context of local, national and global issues. The ‘Sweet Futures’ The first issue presented visual responses to the theme of torch songs, is a kind of myth. As Roland Barthes put it in Image Music Text “writing publication was distributed for free in Carlow Shopping centre over a the second notion of ‘clouds’. As a project just picking up momentum, ceaselessly posits meaning ceaselessly to evaporate it” (2). Likewise weekend in June. The artist set up a stand, not dissimilar to the ones it will be interesting to see the connections that might emerge Robert Smithson had a similar understanding of the ambiguity of employed by supermarkets when they hand out free samples, between one theme to the next; and how this will build up its own language and writing; “books entomb words in a synthetic rigour featuring banners and a bowl of pink bonbons to entice passing abstract and responsive discourse. mortis, perhaps this is why ‘print’ is thought to have entered consumers. Thus, Browne utilised the ‘discourse’ of marketing and The play with discourse available to artists who engage with obsolescence.” (3) As such, while it may seem that the written word is commercial graphic design strategies, to ‘sell’ an alternative vision of publications, texts, archives and documents of all kinds, is remarkably straightforward, in actuality, discourse is malleable, it has ‘multiple the sugar industry. This encapsulated a playfully critical take on the open – and probably underdeveloped. Hopefully artists will continue personalities’; and it can be misinterpreted and misunderstood. There plans of the Greencore property group, who are redeveloping the to engage the subject in more challenging ways; using incisive is constantly a constant struggle within discourse-based art practices Carlow sugar factory site, fused with a consideration of sugar’s origins manipulations and appropriations of discourse which have the to define, understand, and discover ‘truth’ in the world, while at the in the plantations of Barbados and mediations of the decline of potential to jolt us, as readers, out of our built up conventions. same time acknowledging the mythical and elusive nature of ‘truth’. It industry and rise of the so-called ‘leisure industries’. The publication Jessica Foley is this tension which entices so many artists to engage in a practice itself replicated the graphic language of holiday and property NOTES that explores discourse and writing, and the potential benefits and marketing brochures – with a deliberately tacky and heavy-handed 1. Diane MacDonnell, Theories of Discourse: An Introduction Blackwell, 1986. 2. Roland Barthes Image Music Text, Fontana Press, 1977, London. hazards of such exploration. design approach and rather cheesy typefaces. 3. Robert Smithson quoted in Robert Smithson: The Collected Writings, Ed. Jack Flam, UCLA A thoughtful scepticism about the printed word or image, has led Another artist engaging with discourse is Sarah Pierce, through press 1996, USA 4. Diane MacDonnell, Theories of Discourse: An Introduction Blackwell 1986. many artists to explore the notion of archives, research and the her project ‘The Metropolitan Complex’. A central part of Pierce’s 5. www.themetropolitancomplex.com, 6. Roland Barthes Image Music Text, Fontana Press, 1977, London. ‘document’, as an enriched notion of discourse –as opposed to practice is conducting roundtable dialogues on various topics with 7. The writer in conversation with Peter Fitzgerald. wwww.recirca.com definitive or ‘finished’ texts. As Diane MacDonnell notes in Theories of members of the artistic community – educators, theorists, curators, 8. The Fold – theworkroomelsewhere.blogspot.com 9. Printed Project, Issue One,‘There Once was a West’ Sept \03. Curator / Editor Sarah Pierce. West Cork Arts Centre North St, Skibbereen, Co.Cork Tel: +353 28 22090 F: +353 28 23237 Email: email@example.com www.westcorkartscentre.com Arno Kramer Untitled watercolour & charcoal on paper 2007 Everywhere is here – Arno Kramer 8 September – 20 October An exhibition of drawings and works on paper including a site-specific work for WCAC by this Dutch artist. Cadere – Cecily Brennan 27 October - 24 November A series of video works exploring an interest in the precarious balances that exist between the human body and mind. The title of the exhibition comes from the Latin to fall. The Visual Artists’ News Sheet September / October 2007 19 RESIDENCIES Bridging the Gap is not the sense, as there can be at college that your work is being judged while still in its early stages and before you yourself have formed a definite judgement on it. The fact that there are no marks at the end removes the competitive element, pressure to do well, and fear NIALL DEBUITLEAR DESCRIBES FLAX ARTS STUDIOS GRADUATE RESIDENCY PROGRAMME. of failure that this can lead to. I was afforded the time and space to make my own critical judgements about my practice without any intrusions. The input and opinions of your peers is an important aspect of art college but it certainly did feel good to be able to be able to work without this. Perhaps, if I felt that a certain amount freedom was lacking in art college, that may have been partly my own failing – or perhaps it is inevitable that the nature of an academic institution enforces certain restrictions. At Flax Art there are a number of large studios downstairs and several smaller open plan spaces upstairs where my studio is located. My studio, while being relatively small, is still the biggest space I have worked in so far. There is 24-hour access to the studios which has allowed me to maximise the free time I have available and fit my work around the hours required at my part-time job. As well as having my Niall DeBuitlear’s studio at Flax Art, with various works in progress. Niall DeBuitlear Assembly, woven cable ties own studio space. the residency includes access to the communal THE Flax Art Studios Graduate Residency programme is open to for group shows and focus on the development of a new body of work. workshop area where there is the opportunity to work on a larger scale graduates from BA or MA courses in Ireland or the UK. I read about the I needed to clarify for myself the kind of artist I wanted to be and to than my studio would comfortably accommodate. There is an residency on their website and it seemed like a good opportunity to develop a more focused practice. A change was definitely called for. excellent range of equipment available for use in the workshop. I have bridge the gap between art college and a career as a professional artist. An interest in the ephemeral traces we leave behind in an urban access to a communal computer area where I can use the internet and My application was successful and I have been based here since environment has always been an aspect of my practice. Some of some basic software including Photoshop. I also have the use of an October 2006. A place on the residency was also awarded to Leo previous work involved using photography and drawing to document offline computer in my space on which I can run any programs that I Devlin, a graduate of the University of Ulster. The residency involves these traces and leftovers of various human activities on the streets of like. The computers are quite old, though they do meet most of my studio space for one year with access to a communal workshop area Dublin. I had also worked with installation using found objects for my basic needs. and computer facilities, a materials allowance; and regular meetings project The Found Bookmark Archive. This project involved the The ‘mentoring’ sessions with Peter Richards have been very with an arts professional to discuss the practical side of being an artist. collection of found objects from between the pages of library books useful. Peter, given his years of experience as both an artist and In the immediate six months or so after leaving DIT last year, I and the presentation of these objects in installations and artist’s books. curator/gallery director, has provided some interesting and participated in a number of group shows. Most of the work I showed The first significant work I made in Belfast involved the collection of enlightening insights into the various application and selection was taken from my graduate show, with some of it being reworked and small blue pens used in bookies while walking around the city centre. processes involved in being a professional artist. These meetings have expanded upon. I worked from home during this period, but produced This transitional work was a performative piece, where the pens were always involved positive and open discussions – which I hope will little new work, apart from a series of digital drawings – which I fitted together to form a growing, swaying column – which eventually help me to better present my work in a professional context. With Leo installed in a display case in Fisheries Tower in Galway during the became unstable and collapsed. Devlin, I have successfully applied for a two-person show at Queen ‘Artisit?’ events in October 2006. I believe this lull in the production of After this work I began to produce sculptural objects using found Street Studios, which opens in mid-September. I am currently working work was largely due to the lack of a dedicated workspace and partly materials mostly collected from the street or from skips. Sculpture has towards a solo show in the project space at Dublin City Council’s due to a degree a kind of post-college fatigue. I never had much work always been the medium that interested me most in terms of looking gallery The Lab in November – which I was awarded as a part of the space allocated in art college – but having none at all was an at other artist’s work, but it was something I never really got to grips ‘Launch / Making Do’ exhibition and awards programme. I have also unworkable situation. I was working part-time in a shop and the only with in any significant way while at art college. The city is for me a been invited to Lithuania in early October to produce an installation at way I could afford a studio would have been to work full time – which source of both materials and inspiration. My materials – such as CAC in Vilnius, as a part of an event involving a number of Irish artists. would have been counter-productive as I’d not have had adequate time bookies’ pens, cardboard boxes and plastic crates, are often collected on In May, Flax Art participated in the ‘art(Tour)ist’ event which involved to make work in it. This is a catch 22 that seems to affect many young walks around the city. most of the studios in Belfast opening their doors to visits from the artists trying to establish a practice in Dublin. I was generally In my current work I am primarily concerned with the public at which I think the response to my work was generally good. considered to be a ‘conceptual artist’ – so people were always telling production of forms from found objects. The sculptures I make are At the time of writing, I have developed a body of new work from me things like “Sure, you don’t need a studio anyway” – to which I essentially abstract – but are suggestive of cells, fungi, landscapes, which there is plenty to draw from for the shows in Dublin and Belfast. would reluctantly concede with an unconvinced shrug. cityscapes, graphs, vessels, phalluses and standing figures. I use a I have also now got a solid portfolio of images with which to seek out On being offered the residency at Flax Art, I decided to make the variety of variety of simple techniques to construct my work. I have new opportunities to make and show work. I am currently seeking a move to Belfast for at least one year to take advantage of the become increasingly interested in traditional craft techniques and the solo exhibition opportunity for 2008. My first year out of art college opportunity. The beginning of the residency was a difficult time for potential for applying these techniques to disposable modern has been a very positive and productive one – thanks in no small part me; and the first few months were unproductive. I’ve little work to materials. I have made a number of pieces using simple basket- to the residency at Flax. The most important thing I have gained from show from this time – and all of the ideas for potential projects I had weaving techniques such as Assembly, a group of freestanding forms the residency has been the time and space to produce new work before beginning the residency were scrapped. After having spent the woven from cable ties which I have cut down from lampposts and independent of an academic environment. I feel I have begun the preceding six months without producing much and with previous poles where they were left behind after election posters had been difficult transition from art student to professional artist and am approaches to making work beginning to fail me, I felt uncertain about removed. optimistic about the prospect of my second year out of Art College. how to proceed. Offers to exhibit tapered off after an initial post-end-of- Outside of the art college environment in many ways I have year-show flurry; and having re-shown most of my graduate work at found it easier to experiment with my work and take more risks Niall DeBuitlear http://www.p-art-icles.com/niall least once in one form or another, I decided to curtail my applications (though perhaps this is what art college should really be about). There http://www.flaxartstudios.org Continuing Education in Art & Design NCAD AUTUMN PROGRAMME Part time non credit and award bearing courses commence October 2007. For full details and a brochure www.ncad.ie (Lifelong Learning) email: firstname.lastname@example.org NCAD, 100 Thomas Street, Dublin 8 For brochure phone: 01 636 4214 The Visual Artists’ News Sheet September / October 2007 21 CAREER DEVELOPMENT Balancing Act DAVID SHERRY OUTLINES HIS APPROACH TO MANAGING HIS ART CAREER SURVIVING as an artist is a balancing act. I try to think at least six Knowing what to apply for can save a lot of time, an application months ahead, I check artist opportunities through the Scottish Arts can take weeks sometimes to get right. I have applied for Council and I look for relevant opportunities in art magazines and on- opportunities and failed; but some months later a panellist has got in- line. I am constantly applying and sending my work out. I can be touch wanting a piece for a different exhibition opportunity. This is doing great at one moment with shows coming up, sales and why applying for things can really be about letting people know what commissions – but like most self-employed people I always have to you’re doing. I like making applications for many reasons – keep an eye on future projects and finances. Being an artist includes applications demand that you sit down and succinctly establish the many areas I never dreamt of. The interactions concerning art and the content and direction of your work. This in itself really helps projects business of art are fascinating. to move forward. I have recently finished a yearlong residency in Germany, at the Promoting your work as an artist is very important. I have made Villa Concordia in Bamberg. This was a fabulous year, making art, editions of self-published books; I send these off to bookshops, fully subsidised in the heart of Bavaria. Late in 2005, the Scottish Arts gallerists and people I have met over the years. Sometimes I don’t get a Council asked me if I would be interested in this residency – of course response immediately, but I’ve found things do come to the surface I was very excited. Last year in Germany was incredibly influential. I through a series of connections. I also have a website; and every time I was able to make new work and travel to group shows at Gallery West update it I let my mailing list know that I have new stuff on there. In Germany in Berlin and to Workplace Gallery in Newcastle. I was also 2003 I showed in the exhibition Becks Futures – this show increased able to focus on two important solo shows, one at Catalyst Arts, Belfast my profile. Being part of such a high-profile show was incredibly and the other at Mother’s Tankstation in Dublin. The break from my encouraging; it also leads to exhibitions nationally and usual routine also threw up many new ideas and working methods. internationally. The best thing about a show like this is that you can Readjusting to life in Scotland over the past three-months has see the repercussions through subsequent shows; even recently I met been a blitz of hyperactivity – from running workshops, to applying someone who knew some of my work through that one exhibition. for grants, giving talks on my work, receiving commissions and Being able to exist outside the gallery system is something I making sales of my work. All of these areas contribute to my income. firmly believe in. I am not against galleries but it is important to keep Becoming self-employed in 2003 was an important step for me, I David Sherry Pancake generating art when there aren’t any gallery shows in the diary. These realised that I needed to access the different areas mentioned above, in works can be anything from self-published books, performances, order to make a living and be able to spend time and money making a career together. The first step was to start buying my own videos, blogs or web-based work. Creating a work or project on your art as well. Although I would prefer to spend all my time working on equipment. I started to amass cameras, computers, printers, scanners own is important. my own practice, I see the workshops and community projects as a and tripods – then I started to annoy my friends about how to use I like to keep my working practice varied. Mostly I draw and privilege. Making art can sometimes be a solitary process, having them. Having a studio is not essential. I find working in different develop ideas through a spontaneous process; at times I will distance these brushes with real employment can give you an important places best for me, some days I will stay at home; some days I will use myself from my work and write statements that form the content of perspective on art and its a great way to meet interesting people. I the library; other days I will go to the studio – all around a series of what I do. Sometimes I will concentrate on research this can be keep in touch with the galleries in Glasgow and Edinburgh and make complex coffee stops. anything from books on artists, art magazines, fiction novels, myself available for any short-term workshops. Making an exhibition takes a lot of time, money and work. All newspapers, science and space exploration articles and the radio; Coming to Glasgow was a natural step, some of my favourite shows are different, but the process usually works out that I send the where there are always great documentaries. Then I decide that the artists were working here; and the buzz about the art scene in Glasgow flyer image, CV and a statement to the gallery by email – these things reading and researching has to stop and some action has to start. made its way to Belfast where I was studying. Since moving to are important so I try to make them the best I can. Then I pack up the Sometimes I decide to impose a ban on art magazines or some Glasgow I have seen some of the international names take-off from work, when it is finished in the studio and post it off with plenty of element of my research that has become to big and greedy humbler beginnings. This has been inspiring. I am always full of time to spare. If the show is abroad I fly there; and spend five days unbalancing everything else. The best way to find influences and admiration for artists who are doing really well and getting into the installing and meeting people – hopefully they are friendly. Then I what’s going on is with pals and other artists. I like to go to openings big shows, because it’s not easy. I like to search out new and come back and think about the event, realising that the whole process and this is where I bump into people and find out what they are up to. interesting artists, keeping in touch with what’s going on. had started six to eight months ago. I think about the work, effort and It is also the best place to hear what’s happening in the world of art, Over this past two years I have been represented by Mother’s the general input and what was successful and unsuccessful. Then I after an art-fair there is always some kind of gossip – like someone Tankstation who have taken my work to art fairs in Miami, New York, collect the receipts together from everything – including the flight sold something and someone bought something and “Oh right! You Basel and London. This has generated a lot of sales. Having a gallery to and the hotel and send that off, if it hasn’t already been reimbursed. I don’t say”. promote my work has been important – not only in terms of sales, but do enjoy travelling and putting on shows and meeting people. David Sherry www.dave-sherry.com the most important part is making connections and letting people Making new connections is really important and you end up know about your practice. It has also great to talk to someone meeting the same people at different events, sometimes they even David Sherry will be participating in ‘Home Made’ in Dublin (6– 9 Sept) – part of www.houseprojects.net and ‘Poetical and Political’ Kunsthalla Tallinn, Estonia (17 Oct – 25 professionally about my work. show your work or buy it. Every exhibition and project I make is Nov) In 1997 I finished my BA in Fine Art at York Street Belfast; and usually on a tight budget and this is why looking after that budget is since then I have been making art seriously and putting the pieces of important. 22 The Visual Artists’ News Sheet September / October 2007 ART IN THE PUBLIC REALM: ROUNDUP Art in the Public Realm RECENT PUBLIC ART COMMISSIONS, SITE-SPECIFIC WORKS, SOCIALLY ENGAGED PRACTICE AND OTHER FORMS OF ART OUTSIDE THE GALLERY. NA HOILEÁNAIGH Project Partners & Support: Leitrim Arts Office, diversity and richness go hand-in-hand with Type of Commission: Limited Commission (5 The Dock, Carrick-On-Shannon Rowing Club, traditional local farming methods. artist were invited to take part) Inland and Coastal Marina Ltd., Leitrim Civil This intervention was intended to encourage Commission awarded: March 2006 Defence and Water Safety, King & Moffat Electrical, dialogue concerning some of the complex issues Project partners: Cast and Arthurstown Access Plastics, Black Church Leisure. Audio affecting land use in the area (1). The Cross Land was Construction Company Limited narrator; Renate Regan. documented from the air. As using a helicopter Description of Project: Love All is a large bronze Description of Project: The Weather Cube was a would be ecologically and economically spherical sculpture about a metre in diameter. The transparent cube structure, which was sited on the unsustainable, a simple alternative was devised bronze is patinated green and resembles a tennis banks of the river in Carrick-On-Shannon. The piece using a kite for aerial photography – and after ball from afar. Close up, the sculpture looks more functioned as a steam-sauna. The work was several months of waiting for the right weather, the like a scaled down world with tiny detail of houses, influenced by German conceptual artist Hans image was produced. roads, cars and people emerging from the textured Haacke’s Condensation Cube from 1962, and the The Cross Land Office was set up two evenings green surface of the piece. The notion a globe of the tradition of the Leitrim sweat-house, a long-lost a week in the month of September 2006, in world is further suggested by the fact that the piece tradition in Northwest Ireland. Cassidy’s pub in Carron. The objective was to put a is mounted on an axle and slowly rotates around if For three weeks, members of the public were face to the project and be available to answer pushed. When coming up with the concept for Love invited to partake in a steam sauna. A specially questions and to listen to comments about local All, Joynt was inspired by the location for the composed audio work narrated by Renate Regan issues. A diary account is available on sculpture, close to Templeogue Lawn Tennis Club. guided the visitor through this experience, and www.shiftingground.net The artist concept was also greatly influenced by reflected upon the notion of how “climate change NOTES the significance of the Dodder River to the Village. Eamonn O’Doherty Na hOileánaigh means landscape change”. 1. Hazel scrub threatens to overwhelm many archaeological sites and colonise unique rare plant habitats on the Burren. The This is expressed in the sculpture where what Artist: Eamonn O’Doherty In late September 2007, with support from implementation of the Rural Environmental Protection Scheme appears to be the seam of the tennis ball turns out (REPs) obliges farmers to preserve their lands including the dry- Title of Work: Na hOileánaigh Culture Ireland, Weather Cube will travel to the Lake stone walls. Feral goats on the Burren knock walls and threaten on closer inspection to represent the local river. Commissioning Body: Mayo County Council District in Cumbria, England as part of ‘Fred’, subsidies. Unregulated goat culls have taken place for the past 5 years. Many believe the goats play an important role in controlling Type of Commission: Limited Competition Europe’s largest festival of site specific art. the spread of the scrub, however during the research phase of this THIS TIME THIS PLACE Date Advertised: 2005 project it became evident that the issue was far more complex www.fredsblog.co.uk than the reduction in wild animal herds. Budget: €30,000 www.thedock.ie Project Partners & Support: Department of www.youtube.com Search: Weather Cube, Ireland THE LIGHT OF DUSK Community, Rural and Gaeltacht Affairs Description of Project: Eamonn O’Doherty was THE CROSS LAND commissioned to produce a sculpture for the Island of Inishturk. The artist took into consideration the lifestyle and heritage of the Island past and present, and the importance of the sea. The sculpture Na hOileánaigh is a 2 meter bronze concave dish representing the sea and the horizon; a currach floats over the void as over the depths of the ocean. The dish itself is reminiscent of the basic form of the Eoin Llewellyn work from the ‘The Light of Dusk’ series currah and also forms a mappa mundi of the Eoin Llewellyn’s ‘The Light of Dusk’ was a series of islander’s world. Jim Vaughan work from This Time this Place projected photographic works presented on Deirdre O’Mahony The Cross Land Artist: Jim Vaughan buildings on West Essex Street Dublin (25 June – 7 WEATHER CUBE Title: this time this place July). The artist described the works as “political, Commissioning Body: Mayo County Council they comment on the existence of Guantanamo and Type of Commission: Limited Competition the emotional experience of those within. They also Date Advertised: 2005 reference the work of Beckett and the existential question of presence and existence”. The project Budget: €60,000 was facilitated by Spiderfish, a new arts collective Project Partners & Support: Department of dedicated to working in unused areas of the city and Community, Rural and Gaeltacht Affairs re-animating them. Description of Project: Photographer Jim Vaughan was commissioned to work with the people of Clare LOVE ALL Island on a photography project, throughout 2006, which was open to everyone on the Island. Jim Vaughan’s proposal was to produce a body of work that would challenge stereotypical ideas about life on an island. During his time on Clare, the artist worked Deirdre O’Mahony The Cross Land with various community groups, encouraging the Islanders to take their own photographs, Artist: Deirdre O’Mahony concentrating on ‘familiar aspects of their day to Title: The Cross Land day lives’. At the same time Vaughan was taking Dimensions: coppiced ‘X’ or cross, each arm 60 photographs, focusing on the everyday details of metres long and 1.5m wide. life. The resulting work has been published in a Gareth Kennedy Weather Cube Materials: Coppiced Hazel Scrub. special limited edition book of photographs which Rachel Joynt Love All Artist: Gareth Kennedy Location: The Burren near Carron, North Clare. was presented to everyone living on the Island at Title of Work: Weather Cube Type of Commission: Invitation the launch of the book. A poem, Fifteen Contacts, Artist: Rachel Joynt Commissioning Body: The Dock, Carrick-On- Date Installed: March 2007 composed by Macdara Woods, serves to Title of Work: Love All Shannon and Leitrim Arts Office Budget: €5100 Location: Templeogue Lawn Tennis Club, Dublin complement the photographs taken by both Jim Date & Location of Installation: Temporary Commissioner: Ground Up 2, Clare County Arts Sited: 23 June 2007 Vaughan and the Islanders. A paperback edition is public artwork made available to the public Office. Main Project Partners: Clare County Council Commissioning Body: South Dublin County available for further distribution. In addition to the between 14 July – 5 August. Carrick-On-Shannon Description of Work: The Cross Land takes the Councillors Discretionary Fund 2005 and publication, a high quality website was developed; Rowing Club, Carrick-On-Shannon, Co. Leitrim. form of a coppiced ‘X’. Each arm measures 60 metres Department of Environment, Heritage and Local www.thistimethisplace.com Type of Commission: Commissioned as part of long and 1.5m wide; and is cut through an area of dense hazel wood in the Burren. This is an area of Government’s Per Cent for Art Scheme ‘Landscapes ’07’ exhibition at The Dock, Carrick- great ecological importance, where botanical Budget: €70,000 On-Shannon. The Visual Artists’ News Sheet September / October 2007 23 ART IN THE PUBLIC REALM: ROUND UP THE WADER THE CIRCLE OF LIFE Barry Wrafter The Circle of Life Artist: Barry Wrafter Title: The Circle of Life Commissioner: Clare County Council, Ennis Town Council, FAS and HSE Location: Post Office Field, Ennis, County Clare Materials: Stone, Marble, steel rods John Rowlands The Wader Commission: Dromore Woods Sculpture Trail, Artist: John Rowlands organised by sculptor Carmel Doherty as part of the Title of Work: The Wader Ennis Sculpture Initiative. Commissioning Body: Mayo County Council Installed: 2007 Type of Commission: Open Competition Dimensions: 230 cm high Advertised: 2003 Description of Work: The first stone is a Budget: €45,000 recognition of the past – ogham lettering Project Partners & Support: Department of inscription reads “A generation goes, a generation Environment, Heritage, and Local Government comes, yet the earth stands firm”. In the middle of Description of Project: The Wader is a female this stone is a spatial divide, where the light can organic form almost 3 meters high, cast in bronze shine through showing the marble’s sedimentary and sited along the river Deel in Crossmolina, layers, which are a visual record of time. The centre County Mayo. John Rowlands aimed to focus on the stone is similar to an hourglass; and the twisting flow between the river and this amorphous form; form is symbolic of the transition from old to new. the flow between man and nature is expressed as At the centre is a sphere – iconic of the earth and one. The Wader is a heron-like figure, long, reed-like, encapsulating it is the circle, as in the ‘circle of life’. tall and elegant, reflecting the rivers movement and The final stone is an off-set portal – through this flowing lines as they twist and curl. This figure is people view themselves; the steel rods represent sentient, her gaze constantly watching the life of telecommunications and the computer age; and the river as it flows past her and the town. our striving forward as a technological and multi- cultural world. 24 The Visual Artists’ News Sheet September / October 2007 HOW IS IT MADE? Eilis Murphy ‘Work of the Devil’, Installation view, Galway Arts Centre. Eilis Murphy ‘Work of the Devil’, Installation view, Galway Arts Centre. Eilis Murphy ‘Work of the Devil’, Installation view, Galway Arts Centre. Paper Demons EILIS MURPHY OUTLINES THE MAKING AND CONCEPTUAL PROCESSES BEHIND HER RECENT BODY OF WORK. THEY say “the devil makes work for idle hands” – he certainly kept me very busy for the early months of 2007 – when I was designing, planning and building a five-foot-high paper sculpture of Satan, that was to become the centrepiece of my exhibition, ‘Work of the Devil’, at the Galway Arts Centre (15 June – 7 July). For several years my practice has involved unearthing fragments of local folklore and social heritage. I am intrigued by the way a snippet of a story or rumour develops and becomes fact and attains mythical status by word of mouth. Using sites and stories to which I have a personal connection, my work explores wider issues, such as local identity, heritage and belief systems. In 2005, I began investigating the legends surrounding Tooreen dance hall, located close to my native Ballyhaunis in Co Mayo. The hall was a thriving venue during the showband era, especially the Eilis Murphy Devil Dance 1950s and ’60s, one of the epicentres of Irish nightlife. Across Ireland, people of a certain generation are familiar with Tooreen and the many stories associated with the dance hall – the most famous of which concerns an appearance by the devil at a dance in 1954. This prompted me to trace visual representations of the devil and evil throughout the ages. I was particularly intrigued by woodblock prints produced in Europe during the late Middle Ages and the Reformation. These stark images depict every type of devil imaginable, from the papist devil to the demon of vanity. I was fascinated by the effect of these images at a time when churches provided virtually the only exposure to visual imagery. Demonic representations would have Eilis Murphy working drawings. been highly potent to the layperson, instilling a very really sense of horror and dread, in marked contrast to the present, when such images Fast-forward through several months of this tedious trial and have been rendered quaint to the point of comedy. error process and I was now ready to make the large-scale model. I Eilis Murphy ‘Work of the Devil’, Installation view, Galway Arts Centre. For my recent exhibition at the Galway Arts Centre, I recreated scanned and re-scaled each section in Photoshop. Not knowing which one of these woodcuts, re-appropriating the image as a three- paper or card might be best suited to the sculpture, I printed the plans develop a more concise design. For some parts of the model, I also used dimensional piece. I chose Satan applying his claw mark to an apprentice and started carbon copying them onto various weights of paper. the Internet patterns as a guide to designing my own shape – re- sorcerer from R. P. Guaccius’s Compendium Maleficarum (Milan, 1626) (1). Through experimentation, I discovered that the most important test of shaping and adding to them - until I had developed it into the required This woodcut depicted the devil laying his hand on a man’s forehead, appropriate paper-weight was in the curved sections of the model. form. while several wayward accomplices anxiously but enthusiastically Some papers buckled when forced into a cylindrical shape. I The next step was to add tabs to the edges of the intersecting push him towards his demonic destiny. I wanted the viewer to walk eventually settled on a Fabriano 200gsm paper, which stood up to a lot panels. These tabs are glued to the inside of the model during around and interact with the sculpture. By placing themselves in the of curving and folding, while becoming very strong and rigid when construction and result in a seamless look. I then copied the altered installation, they would become part of the scene, unwittingly glued into shape. It was also slightly transparent, allowing light to pattern/plan, using carbon paper, onto a new piece of paper. Using a mimicking the spectators in the original woodcut. diffuse through it. sharp blade, I carefully cut out the pattern, making a light crease along I wanted the model to be as lightweight as possible, to give it a The final model had to be assembled in the gallery because it any part that needed to be folded. I then glued the pattern together simplified, skeletal feel. I decided to build it with paper, to accentuate would not have travelled well. After three days of assembly, Satan was using PVA glue. Having tested several glues, I found PVA to be the most the ethereal character of both the devil and the sculpture, while held in place with several strands of fish wire, as well as small lead suitable – it dries quickly and is extremely strong. However, it stains simultaneously inverting the power and menace of the traditional weights dropped into his feet. The demonic sculpture was installed in the paper remarkably easily, so I made sure to apply it sparingly, devil. Having little experience of paper manipulation, I started by the middle of a room on its own, lit by a single theatre lamp at ground wiping my hands after each gluing. studying the construction of various paper models. For this, the level in one corner. This resulted in a 10-foot-high shadow on the back Once the basic shape had been glued together, I could assess Internet was invaluable. I began by downloading numerous paper wall, which helped to lure viewers into the room. which areas needed to be altered. This was by far the most time- model patterns – everything from tortoises to the Taj Mahal. I spent The rest of the exhibition consisted of a mixture of collage and consuming part of the model-making process: adding mere several weeks assembling these ready-made models, in order to build prints that touched on historical artistic conventions surrounding millimetres to one section could profoundly change the overall look up an idea of how paper reacts when cut, folded, curved and glued representations of the devil, altering their original meaning through of the piece. I also had to make sure that each part slotted into the using a variety of techniques. playful juxtaposition with depictions of everyday objects. adjoining section and that everything was in proportion to each other. From here, I started to design a small-scale devil. This was done by Eilis Murphy When altering a shape, I did so on the older flat pattern and copied it www.eilismurphy.com trial and error. I started out with a simplified shape, eg sphere or twice using carbon paper, so that I had one copy to make into the 3-D cylinder, and developed it by adding panels of paper until I got roughly Work of the Devil was held in the Galway Arts Centre from June 15th to July 7th, 2007. shape and the other copy to use if the shape needed further the desired form. I then cut the new shape along new intersecting NOTES remodelling. In total, there were 40 separate sections to this paper 1. Taken from reproduction in Ernst and Johanna Lehner’s Devils, Demons, Death and panels, leaving a small section uncut on each panel to hold it together, sculpture and each of them was remodelled, on average, 30 times to Damnation, New York, 1971. until one flat shape remained, with different panels jutting off it. At get it right. Any minor irregularity at this stage will come back to this stage, I copied the shape onto a new piece of paper using carbon haunt you as a greatly magnified error in the final piece. copy paper. This process left me with a basic pattern from which to The Visual Artists’ News Sheet September / October 2007 25 PROJECT PROFILE curators. Moreover, I believe that if ‘SoapBox Sessions’ is repeated in Soap Boxing the future, it will be in the interest of curators to volunteer for an opportunity that is not to be missed. ‘SoapBox Sessions’ was modelled on the notion of a Feis; as well as SALLY TIMMONS DISCUSSES HER PROJECT ‘SOAPBOX SESSIONS – A PUBLIC ENQUIRY FOR ARTISTS’ , having parallels with the more contemporary example of televised WHICH TOOK PLACE 18 – 19 MAY 2007 IN GALWAY. talent competitions. The difference being that ‘SoapBox Sessions’ did not rely on immediate promulgation through spectacle – but more on a trickle of influence through word-of-mouth – through conversations over coffee, where the mention of the next event that someone is planning in their new gallery space, might just trigger the mention of a performance that someone saw and so on. ‘SoapBox Sessions’ encouraged and allowed artists to consider new approaches to presenting their visual practices. This I think was significant – in light of the current emphasis on research based practice, where there is need for artists to devising ways of presenting their work that are not overly constrained by standardised academic models or the stress on the written word as the be-all and end-all of research documentation! ‘SoapBox Sessions’ did not claim to offer a thorough survey of the artistic endeavours taking place in the West of Ireland – but rather it Louise Manifold at Soapbox Sessions was devised to act as a starting point for a possible review of the kinds of activities and interests relevant to artists based in the West. During the two days of the project, a waiting area provided a relaxing environment and info-pool; where artists could watch and listen to a live screening of the talks, discussion and presentations taking place in ‘SoapBox Sessions’ room upstairs. This waiting area acted as a means for the participants to critically scrutinise the panel’s function over the two days of vigorous meetings – and it should be mentioned that the event was mostly a low-key, enjoyable, relaxed and social experience for all of the participants involved. A directory of contacts and key quotes from each Soapbox has been circulated among all of the participants who attended the two day event and I have been told that the directory in itself has become an invaluable resource that should be expanded upon also, in the future. Three awards were devised over the two days and were presented The Soapbox Panelists Paul Timony at Soapbox Sessions during an informal evening ceremony that took place in Aras Na county council’s were generous in supporting the event – and nGael on Saturday 19 May. Functioning on a minimal budget, the I devised ‘SoapBox Sessions’ in response to an invitation in late 2006 recognised that applications from outside of Galway should also be three awards were tailored to suit the needs of a number of selected from Galway Arts Centre to co-ordinate a discursive forum and accepted. artists as an opportunity to exhibit new work, to travel and to research networking opportunity for visual artists. The event comprised an With these issues in mind, I decided to invite curators to the West new interests. The three artists who received awards were – filmmaker, invitation to artists to volunteer and register (free of charge) for a of Ireland in order to meet with the artists there. The panel of curators Tom Flanagan who was awarded a solo exhibition in Basement chance to meet with invited guest curators for designated ten minute comprised Marianne Greated from Switchspace, Glasgow; Pierre Gallery, Dundalk – including an artist’s fee. Visual artist, Louise time-slots; and to subsequently attend an evening ‘award ceremony’ Coinde and Gary O’Dwyer from The Centre of Attention, London; Manifold has received support towards her research into holography. celebrating creative activity in the West of Ireland. Austin Ivers of G126, Galway, Sile O’Sullivan, Basement Gallery, And video/performance artist, Paul Timoney has been offered the My first thoughts on being asked to develop a series of talks – was Dundalk; Aoibheann McNamara, Ard Bia, Galway; Maeve Mulrennan opportunity to travel to one of the larger international shows in that Galway-based artists were not actually in need of any more talk of Galway Arts Centre; Oonagh Young, gallerist, Dublin from Dublin Europe before the end of 2007. based events! The Project ’06 talks had just been run concurrently with and myself. The format of the event was simple – for artists to attend a My aspirations for the future development of Soapbox would be the Galway Arts Festival; there was Tulca’s ongoing success; and two-day event and make presentations on their work (in some cases for it to become an annual event whose catchment’s potential is growth in the past three years of organisations such as Artspace, Enso comprising actual performances) to the panel and engage in expanded by means of instigating a touring aspect to the project. The and G126 who were making very active contributors to the local discussions with the panel. future of ‘SoapBox Sessions’ will rely on the co-operation of a number cultural landscape. Through verbal consultations with members of the It was my intention to devise a number of small-scale awards – of venues around the west of Ireland. The event should be supported West of Ireland artistic community, it became apparent to me that one sourced through the resources available to the invited curators; and locally through resources such as County Arts Services and Town of the key issues was access – in terms of geographic positioning; and tailored to the needs of the soapbox projects participants. It is Councils and should always consider the negotiation of non-fiscal also access to the communicative tools and resources that might shift important to note, that I saw the opportunity offered by ‘SoapBox opportunities for artists based on the exchange of available resources their activities to the next level. The artists I talked to felt that they had Sessions’ as a two-way thing – it was as much a privilege for the volunteered from contributing panellists or curators. demonstrated the ability to make things happen, but the question now curators to be given an opportunity to meet with a large number of Sally Timmons was – who is watching and where things are going? Galway’s town and visual artists over a short period; as it is for the artists to meet with the ‘Regenerate’ CALL FOR ARTISTS The ‘Regenerate’ project aims to enrich the quality of life for local communities across Craigavon, Armagh, Banbridge, Cookstown and Dungannon District Councils by tackling regeneration issues through a participatory creative experience. Artists Philip Napier and Michael Hogg (Carbon Design) lead the project and a number of artists are engaged in projects across the districts. Over the next two years opportunities exist for practising Artists to develop new work and engage diverse groups of people in creative programmes which examine community issues at local level. The Steering Group invites expressions of interest from Artists working in a range of media and genres. Short listed individuals will form a pool of Artists who will be invited to make proposals to the steering group to engage in projects that might deliver our project aims and objectives. To enable this there is no deadline but we would ask you to liaise with our Project Officer or Lead Artist regarding submitting an expression of interest. Artists should demonstrate: A minimum of 2 years experience of Artistic practice in their specialist field A minimum of 2 years experience of programmes that engage with the community in a meaningful way We have a particular interest in expressions from Artists with the following expertise: Able to engage meaningfully with the community in a range of arts projects Creating work in the public domain Visual Artists who use a range of media and technologies Work that demonstrates innovative approach, useful processes and risk taking An ability to engage more than one project at a time Have a clear understanding of longer term time scales from proposal to activating/completing work For an Artist’s brief and details of how to apply please contact: Emma Wilson, Arts Development Officer, Craigavon Borough Council on 02838 311680 or email@example.com OR Michael Hogg, Lead Artist, Regenerate Project on firstname.lastname@example.org The Visual Artists’ News Sheet September / October 2007 27 VAI NORTHERN IRELAND REPRESENTATIVE VAI WESTERN REPRESENTATIVE Creative Exchange Welfare & Artists VAI NORTHERN IRELAND REPRESENTIVE BRIAN CONNOLLY ON THE PLIGHT AIDEEN BARRY, DISCUSSES ISSUES AFFECTING VISUAL ARTISTS IN RECEIPT OF CREATIVE EXCHANGE STUDIOS IN EAST BELFAST. OF SOCIAL WELFARE AND SUPPLEMENTARY WELFARE INCOMES. CREATIVE Exchange Studios inhabit an area of Creative Exchange believe that due to the recent THIS report focuses on some important issues that income to that recipient”. some 8,400 sq. feet on the top floor of Loop Mill, a property boom in Belfast, the owners may now have been raised both my information clinics and In some cases I have been informed that even former linen mill on the Castlereagh Road in East realise that the mill location may be actually more with private consultations with visual artists living when receipts have been produced to Community Belfast (1). The studios have occupied the building lucrative, if it is used for a mixed-use development, in the West of Ireland. However the points could be Welfare Officers, in order to make them aware of the for 12 years and they have a strong presence within including residential and commercial aspects. applied to any visual artists who are – or who ever materials that are being purchased for projects, they the local community – through running outreach Fleming comments “there are other bids for have – been in receipt of payments either from the still do not accept materials costs as a genuine and workshop activity in the surrounding East environmental improvement schemes on the table Department of Social and Family Affairs or in the expenditure. This has actually turned people off Belfast area. They have also been very active over which take in the Loop River and mill complex – so form of Supplementary Welfare Allowances from making applications for the funding awards. I have the years in developing artist-led projects and it would be nonsensical to demolish it at this point the Health Service Executive. also found that all of the artists that I spoke to were collaborations. in time”. To this end the group are now entering The issues around the provision of a social unwilling to have their names mentioned in this discussions with government departments, the welfare entitlement are quite a minefield for article – as most of them were afraid to aggravate The Creative Exchange group evolved out of mill owners, the managers of the supermarket and anyone; however I have been encountering visual any existing situation that they currently found discussions with Castlereagh Borough Council key political representatives; in hope of bringing artists who have had particular difficulties – having themselves in. about establishing resources for artists in the area. about community-centred and creative solutions been refused social welfare entitlements – as I feel that this is an area that needs further Around 60 interested people attended their first for the whole site. individual social welfare officers have categorized exploration by Visual Artists Ireland and public meeting, some of whom eventually formed them as engaged in pursuit of a ‘hobby’ (1) and are clarification from the Department of Social and the organisation. With the aid of artist Sam Ian Fleming describes his and the studios position not making themselves available for full-time Family Affairs. The reality of the situation is that the Fleming, the owners of the mill were contacted; as follows – “as an artist, I feel I need to make some employment. This is something of a contradictory idea of artist as a professional, is not being protest, and I want other people to get up and do stance for social welfare to take – given that most recognized by the state and state-run departments and they agreed to let Creative Exchange occupy artists who apply for a supplementary income from such as the Department of Social and Family Affairs the top floor. The group pay low rent – as one can something about it. If the superstore goes ahead the state (in order to support themselves) have been and the Health Service Executive. The lack of expect for a building that is in a poor state of repair. and the mill is starting to be demolished I will through formal education in state supported art relevant documentation, guidelines and At the start Creative Exchange had approximately chain myself to some part of the building! I do not schools – that implicitly recognize arts as a career, information available to artists who are in need of 70 associated members; but the group now consists want to be obstreperous and negative about it, but not a mere hobby. This begs the question – why are supplementary support, is one area that could be of a cohesive and active group of 12 studio we need to raise the issue within this community. there art schools and departments of art and design tackled – and dare I say, the notion of a state-support members. We have had good media coverage but we are in Ireland, if other state organizations do not payment for visual artists, who are earning well aware that this needs to happen on an ongoing recognize art practices as an appropriate career below the minimum wage, should be debated. In recent post-conflict times, a planning proposal basis. We need to shift the mindset in this path? Artists who declare themselves self-employed has been made for the development of a shopping community; as we are still recovering from the The denial of supplementary welfare should enjoy the same status as other self-employed centre, which would occupy the majority of the troubles and idea of feeling a strong ‘attachment’ allowances to genuinely hard up artists is so persons who find themselves in need of financial mill site, and would see the building demolished. It for architecture is not something that we have been extreme two artists that I have spoken to have had support. I do acknowledge that these systems can be is rumoured that the shopping centre would be the able to do during the last 30 years of strife. to give up their studio spaces and art practices in prone to abuse; however I do feel that artists should biggest in Belfast covering some 89,000.00 square Attachment to architecture is/was not one of our order to feed themselves. Both artists have gone to be supported to the same extent that emerging feet. Other proposals for the site have been made – priorities! However in other cultures people would work for large state supported factories here in business entrepreneurs receive start-up grants from some of these are more sensitive to community and not let this building be demolished, so why here?” Galway. It is unfortunate that both the artists I state supported organisations such as the Irish sustainability issues; and do not call for the In relation to the ‘Save The Mill Campaign Ian spoke to now do not have the time to work on their Enterprise Board (2). destruction of the mill – Creative Exchange are states, “We have to ask ourselves why are we doing practices – either in their studio or elsewhere. On final note, I feel that all artists who are supportive of these plans. this? It isn’t my job – but seems it is nobodies job. I have also been quite appalled to learn of a experiencing problems with social welfare And then you start to think that it must not be number of community welfare officers who have entitlements and the Department of Social and In light of the re-development plans, Creative important – but it is important! Our commitment deducted supplementary welfare income from Family Affairs should make their concerns know to Exchange was given six months ‘notice’ last on one level is due to social responsibility, but on visual artists for a number of obscure reasons. A Visual Artists Ireland. The more information that is November. They are currently working on a the other it is personal attachment”. number of artists have told me of how they were received the better equipped the organization will month-to-month notice to quit basis. This situation successful in receiving visual arts bursaries from be in order to deal with these issues. has spurred the committee to establish the Save the Fleming has slept in the mill for over 200 nights local authority arts offices, towards the funding of a Aideen Barry Mill campaign – and they have had some media and his work is linked to the mill and its history. In project – only to have the grant docked from their Notes success in the recent past. The campaign isn’t just fact one of Creative Exchange’s more recent rent allowance! In relation to these incidents I called 1. In a letter from one Social Welfare official to one of the artists I about self-preservation, as Ian Fleming a founding projects invited each studio holder to create an the Citizens Information Bureau to inquire about spoke to, they referred to the artist’s decision to pursue art as a member of the group explains “we are not looking artwork / print within a box set, which is based on this procedure. According to the representative that career was little more that a hobby and not a professional pathway. from selfish point of view as our primary objective their experiences of the Mill. Ray Duncan another I spoke to, the HSE through its community welfare 2. www.enterprise-ireland.com is the Irish state development agency focused on transforming Irish industry. Their core mission is to is not to preserve Creative Exchange on site, bit to studio holder is continuing to produce work about regional offices “can deduct any and all additional accelerate the development of world-class Irish companies to preserve the building”. This stance is backed up by the mill. So not only does the mill have a long income from a recipient of a Supplementary achieve strong positions in global markets resulting in increased national and regional prosperity. the fact that the studios will have to relocate, industrial history; it is now laying down new Welfare Allowance – as it is perceived to be an whether the mill is demolished or developed. cultural history on an ongoing basis. Ideally, Creative Exchange wish to see the mill protected, preserved, and regenerated community-oriented and sustainable way. It is in For more information on Save the Mill Campaign or to offer your support please contact the Save the Mill Web-site: http://www.savethemill.net/ IVARO Irish Visual Artists Rights Organisation their hope that they can have studio space after NOTES APPLICATION FORM redevelopment occurs – but this remains to be 1. The linen mill operated for 35 years and was then sold to McCaw, To register with IVARO – the Irish Visual Artists Rights Organisation simply complete this application seen. Stevenson, & Orr Printmakers. Much of the mill’s history has been well documented and this can be seen in the book From Linen form and forward it to: Visual Artists Ireland, 37 North Great Georges Street, Dublin 1. Hall to Loop Bridge: The story of McCann Stevenson and Orr Ltd. Printers 1876-1990. The mill is currently owned by the Lagan Creative Exchange believes that the mill’s re- Surname Firstname Group, a major company who have been closely linked with a development could be mixed-use – and still include number of Belfast’s recent regeneration schemes. It sadly is not a Address ‘Listed Building’ but as Bill Hammond (Industrial Archaeologist) a large supermarket. As Fleming notes “we are has stated it is only one of three fully intact Mill complexes left in asking all those involved to take a creative the Belfast area. It therefore stands to reason that this site is of more Industrial/historical importance than one may at first think. Tel: approach – which will help to regenerate this area, Email: not decimate it. The local community still does not Visual art form(s) fully realise how such an massive super store will impact in the locality.” I hereby applyfor membership of IVARO, Irish Visual Artists’ Rights Organisation Ltd. Signed Date 28 The Visual Artists’ News Sheet September / October 2007 REGIONAL PROFILE Visual Arts in Kildare Making Inroads Riverbank Arts Centre Whites Castle workshop Whites Castle workshop BORDERING the capital city, many of Kildare’s contemporary visual artists have looked to the Dublin for their formal training and support of their practice. Within the sheltered college environment, facilities such as studio space, opportunities to meet other artists and exhibit work, attend lectures and talks with internationally renowned artists, are widely available, and are, perhaps, taken for granted. For many visual art students (myself included), the emphasis was on the final year show, with little thought of “what Whites Castle workshop happens next?” For many artists, the reality of such as train stations, shopping centres etc. A returning to a small town, or a rural setting can be starting point for this work took place this summer deflating – the same applies to new residents of the with two interactive installations, Lovely Room, county. And here is a key challenge for Kildare Leixlip Library and Words Escape Us, Maynooth The Divine Normal Sources County Council – how to engage these artists in a Library devised by artists Barbara Nealon, Jennie meaningful and sustainable way. Moran and Tara Kennedy (featured in the RIVERBANK Arts Centre, which functions as the Two of the strategic objectives outlined in July/August edition of VAN). The aim of these Municipal Arts Centre for County Kildare, is based Making Inroads: An Arts Development Plan for Kildare interventions was to stimulate the public’s in at the heart of the County in Newbridge. Funded consciousness around contemporary visual arts. County Council 2006-2011, namely ‘Exploring and by Kildare County Council and The Arts Council, A key part of Kildare County Council’s work is broadening definitions of the arts’ and ‘Redefining Riverbank aims to provide a high profile, regionally ways of working’ present further challenges for the to develop strategic partnerships and and nationally significant, accessible arts venue local authorities contemporary Visual Arts collaborations, with international, national and that runs a relevant, welcoming service meeting programme, both for artists and the wider public. local partners: agencies, organisations and the needs of residents and visitors to County In addressing these objectives, Kildare County individuals. Ongoing revenue support is provided Kildare, thus contributing to the social, cultural Council have embarked on a challenging three- for the Leinster Printmaking Studio, which and economic well-being of the county. phase programme with curator Sally Timmons that facilitates a significant number of artists from the Riverbank has a 180 seat auditorium where we extends existing boundaries and interpretation, wider Leinster area. Kildare based artist Pauline Work by Lynda Tobin-Howes. host a varied number of productions, including while supporting artistic excellence and Keena, is currently working on a collaborative dance, drama, music literature, critical debates, and the resulting group exhibition, which innovation. project with a group of woman who have video installations. Gallery facilities available at the investigated peoples differing perspectives on The first phase, a monthly lecture/workshop experienced the death of a baby, facilitated by the centre include a foyer exhibition area and a space, proved to be one of our most successful series entitled ‘Temporary Foray’ took place in early Rotunda Hospital. Keena, who is also a trained mid- designated exhibition space (black/white box exhibitions to date. 2006, exploring contemporary arts practice and wife and specialist in neo natal care, hopes that this space). In August 2007 Katarzyna Gajewskas’ thinking in Ireland and abroad. This was followed process will inform a wider national project. Riverbank organises and administers a variety exhibited her fascinating exhibition ‘Based on in autumn 2006 by ‘Temporary State’, an intensive Far from neglecting permanent works, Kildare of exhibitions throughout the year. The Dreams’, where she delved into the dreamworld. In weeklong symposium held in Whites Castle, Athy, County Council has a significant municipal art programme includes a large number of order to be closer her artwork, Gajewska doesn’t use for seven Kildare artists, with invited artists collection. Although many of the works date from professional artist exhibitions. Selection of the any tools, besides her hands, which resulted in a Andrew Duggan (Ireland), Cesare Pietroiusti (Italy), the 1970s, (Evie Hone, Patrick Pye, Patrick Collins, programme takes place via a visual arts selection textured, vivid exhibition, which enlivened our Ulrika Ferm (Finland). ‘Temporary State’ allowed Sean Mc Sweeney, Norah Mc Guinness), the local panel which meets annually and selects spaces. the Kildare artists to reflect on their own practice, authority continues to acquire contemporary exhibitions that are diverse and innovative, while From 14 September 2007 you will be able to to interact with other artists and to work as a works including Paul McKinley and Fergus Feehily. incorporating a range of mediums. Promenade view a joint exhibition by Fifi Smith and Lynda collective – this aspect of the work proved to be a Planning for the Lantern Municipal Gallery, a exhibitions are incorporated into the programme Tobin Howes in Riverbank Arts Centre. particular challenge for artists who usually work permanent home for the municipal collection where possible; exhibitions which emerge from the ‘In(ter)dependent’ and ‘An Fómhar’ will provide an alone. within the Aras Chill Dara campus, Naas, is exhibition spaces and follow through to other exhibition with fundamental links of darkness and The ‘temporary’ theme applies to the time underway. An acquisitions policy for the Municipal spaces within and outside of the building. light. Using movement, light and shadow, Smith frame of each programme and also to the nature of Collection is currently being devised. ‘The Divine Normal Sources’ exhibition in will explore the relationship between the the work explored during each intervention. This While the public art repertoire for the county February 2007 is a case in point. Cathy O’Kennedy, individual and the crowd. In tandem with this, created a certain flexibility and openness to the is largely sculptural, – the most significant being the Director of Riverbanks’ award winning dance Tobin-Howes will work with glass to create a new process. The ‘permanent’ element of the work is the Perpetual Motion (1996), by Remco De Fouw and company in residence, Fluxusdance, gathered a visual world using the reflective and transmitting ‘Temporary Foray/Temporary State’ catalogue, Rachel Joynt – the broader potential for the percent diverse and gifted group of artists for a unique qualities of glass. Opening hours of the centre is which will be published in autumn 2007. The for art scheme is being explored. For example, presentation. The public were invited to journey 2pm to 5pm from Monday to Saturday, so please catalogue is “intended as a gauge or indicator of painter Chris Banahan is currently completing a with performers through many spaces in come along to enjoy this exhibition and our future what emerged as the most important and relevant portrait series with the residents of a Local Riverbank, including the visual arts spaces. During undertakings. topics raised during the event series, rather than a Authority housing scheme in North Kildare and the day, installations by acclaimed Irish sculptor Sinead Redmond ‘conclusion’ to the project”. plans for other temporary commissions are According to Sally Timmons, the third phase, underway. A public art co-ordinator has recently Seamus Dunbar and London based film maker Jana – ‘Temporary Collection’, “will be a means to been appointed to lead work in this area. Riedel provided room for contemplation and engage with a diverse cross-section of people in inspiration. order to develop a Temporary Collection of art Lucina Russell, Successful exhibitions in 2007 included the works that normally reside in the everyday Arts Officer for Kildare County Council. ‘Portals: Space / Place’ exhibition which drew four surroundings of people’s homes … that questions artists together (Monica de Bath, Saidhbhin Gibson, The Temporary Foray/ Temporary State catalogue and details of the good and bad taste, expertise, and amateurism”. Temporary Collection project and other initiatives are available on Janet Maher / Mary Ronayne). Although these It is envisaged that this work will inform www.kildare.ie/artsservice. artists did not submit their applications as a group future interventions in non-traditional arts spaces, exhibition, their work investigated similar themes The Visual Artists’ News Sheet September / October 2007 29 REGIONAL PROFILE Carly McNulty Dominic Thorpe Work by Dominic Thorpe I am from Newbridge in Kildare and now live and ‘Temporary Foray’, and ‘Making Inroads’ the have a studio about six miles from the Curragh. It’s Kildare arts development plan. the first time I’ve based my practice in Kildare A central theme in my recent work is suicide. (having often found it difficult to base work near The decision to deal with such difficult subject where I grew up). The main reason for being here matter is not taken lightly but it came with a sense however is that Dublin proved too expensive. So of inevitability. Male identity in Ireland today is of the story of Kildare is often the same for me as for huge personal significance in my practice, which I Carly McNulty. Cover design for ‘Temporary Foray / Temporary State’ publication many here – A Dublin suburb. often identify through ideas of the political, of Much of my recent work has been based in or private and public struggle, nationalism, the REMARKABLY, after living here for the past nine home – finding a studio space in the county is near organised from Dublin. For instance recently I’ve economy and consumer culture. Up to 500 people years, I have not bumped into any significant on impossible. I was fortunate enough to rent a worked on a collaborative commission with young choose to end their lives in Ireland each year. Most visual arts scene in county Kildare – other than the studio in the Labour Party offices. The party has men from Finglas on the subject of suicide in the do it in a violent way. The majority are young men, Leinster Printmakers. Kildare may be a county that been incredibly supportive. After a few years area and I’ve been working on research for NCAD many around the same age as myself. is rich in everything – other than its support of the however, the studio came under threat as the and FM Communications making artwork The direction I have taken and the visual arts. There are no real gallery spaces to speak building was up for sale. So I became studio-less. describing physical pain. collaborative and interventionist processes I have of; and there has been little development in Shortly after, I was fortunate enough to get I use varied media and processes including begun to use are the welcome result of a number of supporting the day-to-day needs of the visual artist. involved with two other artists, Susan Connolly photography, video, performance, sculptural and factors colliding (or conspiring). I had been Personally, as an artist who wants to live and work and Aimee O’Neill, who were experiencing the collaborative work, often employing struggling with my practice and a lot of ideas never in Kildare, I have found it a real struggle. same difficulties. Through a contact made by interventionist means to making and positioning made it beyond the studio. I felt the visual Of course there are the artists working in the Aimee, we were initially offered the use of a work. I would find it impossible to sustain my language I was using had been in many ways county – and it’s an increasing bona-fide line up fabulous house over looking the Curragh – but practice in Kildare in terms of support structures. appropriated by a relentless advertising culture of too. But frustrated by the lack of galleries in unfortunately this didn’t work out – the period of While I am aware of a number of very good artists selling and buying and I was beginning to see the Kildare, artists do flock to yonder pastures. In short excitement and planning was again only short based in Kildare working with traditional processes of art and its conceptual language as also anyone with an art interest born in Kildare, leaves lived. Finally after knocking on a few more doors, processes or subject matter I have met few using being appropriated by this culture. – and sets up shop in some other area. Any of us the army have now provided me with rooms to set any newer media or ways of working. A door opened for me on a college trip to who live here – well, we just commute to Dublin. up artists’ studios at the Curragh Barracks. So I don’t feel the Riverbank Arts Centre in Brazil led by Brian Maguire during my MA at Little happens here except for horse racing! Maybe fingers crossed – we will see what happens – I will Newbridge has developed a strong grounding in NCAD. I began to identify ways of working that that might be considered unfair, because things are only quite believe it, when I sign the contract. contemporary visual art, perhaps evident in the gave the processes and results a new life. An starting to pick up – but it is at a very slow pace. Sometimes I feel that there is a lack of vision fact that the Foyer (once a coffee shop) is a bigger, integral part of my practice has since become the The Riverbank, in Newbridge is a reputable and a widespread misunderstanding of what brighter and more accessible space than the gallery building of relationships with individuals and centre for the theatre and performances, however contemporary art practice is and what it can be in which I have on occasion had to find a key to let communities through the making and positioning in my opinion, it is a very awkward space for the within the county. With the right supports and myself in to view a show. It has been my experience of work in various contexts, affecting changes visual arts. networks in place there could actually be a vibrant that the arts centres need to move beyond the within the work and outside the work. These With limited funding into the arts in Kildare, and interesting art scene. The recently published commercial and broaden their understanding of processes inform all elements of my practice our arts officer, Lucina Russell has her work cut out. Kildare Arts Office’s five-year plan suggests that varied motives professional artists can have for including work made in the studio on my own. Last year saw the first visible visual arts event with there is scope for a brighter future for us – but making work. There is some hope however Dominic Thorpe a curated series of talks and lectures by Sally without the right consultation and interest from considering the series of talks last year called Timmons – which was generously supported by the wider community, I fear that this could be a Lucina and the arts office. This event saw an influx missed opportunity. Time will tell. Association of Kildare Artists of artists, who otherwise had no meeting point. My own plans and ideas for the future include On a personal level the networking it applying for funding to the Arts Office and Arts THE Association of Kildare Artists (AKA) is a association holds its annual exhibition in a venue provided seemed at the time to suggest something Council in order to develop the studio spaces at democratic, non-profit organisation, making in County Kildare, the most recent being at the more, but which has still to be realised. The event Curragh; in order to develop it as a base for artists formed by artists for artists working or living in Riverbank Arts Centre in Newbridge (2005) and at was well overdue and a blessing in this forgotten in the county to meet and work in. Additionally, County Kildare. The functions of AKA are to Barberstown Castle 2006. At present plans are part of the country. we are applying for an Arts Council Small Festivals improve the creative and financial status of its active for its 2007 exhibition, which will feature a Out of the woodwork we crawled – and made Grant, which will give artists within the members. Central to this policy is the maintenance re-vamped and re-formed organisation. All funds ourselves known; and what an eclectic and community something to participate in and look of high professional standards while ensuring accrued by AKA are re-directed into the interesting group emerged! Through various forward to. Rumour has it, that Kildare County greater accessibility of members work. AKA development of resources and support . discussions we were all united in our frustrations Council have recently acquired a period building achieves accreditation by fulfilling the criteria of Members now work in a variety of media, oil, about the lack of facilities for the visual arts in the in Naas in which they propose to house their standards of the former Association of Artist in acrylic, watercolour, drawing, sculpture, video and county. Here was the opportunity to meet and permanent collection. I would like to suggest, that Ireland (AAI). Members are required to satisfy a print. It is hoped that future exhibitions will continue to establish more of a visual arts maybe they could facilitate artists studios upstairs minimum of three criteria relating to professional include installation and photography. AKA momentum in the county. and have a rotating exhibition of works from the practices of Visual Artists of Ireland (VAI). published a catalogue of members work in 2000. Improvising exhibition spaces seemed so art collection downstairs. It’s really a very simple AKA was established in 1995 and has included Their website will be launched shortly. exciting and far more interesting than working in suggestion and it could be the beginning of sculptors such as Bríd Ní Rinn, Eileen McDonagh, For further information please contact Pamela the dark and dreary downstairs space of the arts something quite beautiful. Fifi Smith, the late James McKenna, Kieran Behan, de Brí at email@example.com or Fiona Marron centre. Unfortunately for those who had lived here Carly McNulty David Dunne, Annette McCormack, Brian at firstname.lastname@example.org for quite some time, their improvising skills had O’Connor, Catherine Green, Zita Hartigan and Pamela de Brí worn out. They rightly wanted to move on to the painters such as James Flack, Seán Walsh, Nina next stage – the development of a purpose built Patterson, June Brilly, Leslie Fennel, Patrick Cahill, visual arts facility. Which begs the question where Elizabeth Cope, Phillipa Bayliss, Eamonn Keenan, lies the apathy of the arts in our county? Fiona Marron among its members. It has held a Most, if not all the artists in Kildare work from number of group exhibitions around Ireland. The 30 The Visual Artists’ News Sheet September / October 2007 REGIONAL PROFILE Critical Locality Leinster Print Studio THESE are very exciting times for the Leinster Print literary writings and mythological legends of Studio. A collaboration between the studio and the Ireland and India. An exhibition was also held in Regional Print Studio in Wrexham, North Wales, April 2006 in the Crow Gallery, Dublin. was announced earlier this year– co-ordinated by LPS is dedicated to providing a professional Monica de Bath and Alison Craig in Ireland and working environment and studio facilities. It is a Wales respectively. Geraldine O’Reilly is the curator ‘safe’ or ‘green’ studio which means that, whenever on the Irish side, while Stefan Hughes-Jones will possible, members strive to use safe and non-toxic curate on the Welsh side. materials. The project has received funding from There are five presses of varying sizes, a drying Cultural Co-operation and Touring @ Aberystwyth press, plenty of storage space and a small library. Arts Centre & Temple Bar. CCAT is an Interreg III The studio offers facilities for intaglio, (etching and programme designed to develop relationships drypoint), aquatint, and carborundum. Recently between cultural practitioners on both sides of the photo-etching facilities have been installed, with a Irish sea; and to raise the profile of the arts of Wales darkroom and an exposure unit. There is a plan to and Ireland both at home and internationally. The have silkscreen facilities set up by the end of this Fifi Smith In(ter)dependent (detail) project began with proposals being exchanged by year. LPS is also a member of ‘Studio Network’. THE word ‘local’ has a bad name in the arts. You I express a lot of these ponderings in steel, members from both studios and visits to each In the last year the studio has been running a know the sort of thing, a newspaper proclaims bronze, leather, etc – because I love the physicality other’s studios. variety of workshops. Paula Gleeson gave a “opening of exhibition by local artist”. To be honest, of these materials. They provide a strong aesthetic At this stage members are exchanging and workshop in safe etching, while Carmel Benson doesn’t it makes your toes curl up? The problem is language for me. An example of this kind of work is responding to themes, ideas, writings, research and gave one in carborundum and Val Hennigan that the description ‘local artist’ smacks of Sunday The Appeal a study of the effects of trying to have prints. The next stage will be a collaborative demonstrated and tutored in linocut. At the painting of the worst kind, of mediocrity, leverage when an individual is outside the group. publication scheduled for late 2007. The exhibition moment Jill McKeown, from Seacourt in Bangor is dilettantism, and a complete inability to recognise But for the last couple of years, I have also been at will open in the Riverbank Arts Centre in giving a series of workshops in photo etch and is quality and innovation. The inference is, that in the developing installations in the form of kinetic Newbridge, Co. Kildare in February 2008 and will training a member of the studio in this process. The warm glow of a close, neighbourly, and uninformed shadow displays. Using this form I feel I can best begin a tour in Ireland, Wales and possibly studio members give classes, workshops and audience, critical debate, and therefore, the cutting address the constant and changing nuances of Australia. The Graphic Studio in Dublin will host regularly participate in Outreach and education edge, tends to be absent. But the ‘local’ artist can be interpersonal interactions that I am so fascinated the exhibition in April 2009. programmes. a serious contributor to the visual arts at its best! by. In shadows my fascination and fear of group Also ongoing are preparations for an Following a successful sojourn at Cill Rialaig, Let me explain. I have lived and worked in dynamics come to life. The aesthetics of this exhibition taking ‘the bog’ as its theme, to be Co. Kerry in 2006 members have been invited to many places, but I always come back to Celbridge, immaterial medium creates a very personal world. curated by printmaker and lecturer Peter Jones; return in December 2007. In June three members County Kildare. This is because by being ‘involved’ One where I can push out the boundaries of my opening in the new Arts Centre in Tallaght in visited Seacourt to take part in a workshop by March 2009. Kathy Thomson on multi-coloured dry point. in this immediate population, my role as a ‘local practice, as in my next show ‘In(ter)dependence’. Recent LPS shows include ‘Where Siva meets Pamela de Brí artist’ becomes that of an investigator ‘embedded’ in It is difficult to get supported venues for this Medb’ – a travelling exhibition exploring the the war zone that is the interactions, politics, and kind of experimental work, but thanks to the passions of a local community. Kildare Arts Office, the Riverbank Arts Centre in As part of a local society, a person employs Newbridge, will host this next venture for me. The Finding a Place various strategies to orientate themselves in the growth of the County Arts Office system has the world, dependent on and interwoven with, and potential of transforming what is local into a I moved to Kildare in 2005. I started out working language and space. This project is supported by changed by, each individual’s psychological conduit for excellence. Of course, a lot depends on from a spare room at home in the middle of the CCAT at Aberystwyth Arts Centre & Temple Bar. character. These differing perspectives can be quite the quality of the Arts Office. In the case of Kildare, countryside, but that can be insular after a while. I In putting my past and current skills to use, I complex and subtle and can operate on many the enabling energy poured out into the county by work mainly in 2D – drawing, printmaking, and registered as self-employed in the area of ‘arts levels. A lot of my work centres around this the Arts Office is amazing,; and is one of the reasons photography installations and while I need administration services’, and in this capacity I have liminality; or transition stage between these two I’m glad I live in this county. facilities for printmaking, I am lucky that I don’t worked on a contract basis with Kildare County different perspectives. A missing ingredient, however, is a lively need too much space to work. Nonetheless, I knew Council Arts Service on two separate occasions – Part of my process, is looking at how we feel commentary from good quality critics. With a few in order to survive I needed to be working with producing internal reports on public art and public about belonging to, or being isolated from, our exceptions, they seem very reluctant to venture far other artists. Having been to college in Dublin, I library services. perceived group. In particular the astonishing from home – especially if home is Dublin city! But found that most of my experience of art workers, I was then asked by Brigid Harney, difference in behaviour and thinking between our because good and interesting work is being shown venues, spaces, galleries, artists etc was Dublin photographer and artist, to get involved in another actions as an individual and our actions as a at the local county level, my hope is that all those centred. In moving to Kildare, I was starting from artist-led initiative – the set up and running of a member of our community / group / mob. What city-based critics will recognise this, and, at least scratch in building my knowledge of local art temporary contemporary exhibition space called level of need and / or affinity reduces or increases occasionally, go beyond the Pale to seek out local art activity, support services, facilities and networks. Artworks – at 33a North Main Street, Naas (Nov 06 the ease with which we can identify with, or break of an international standard. As a result of an unwillingness to face the – Mar 07). This space provided an opportunity for away from, that community and so on? ‘In(ter)dependence’ a shadow show, my next commute and financial necessity, combined with a professional local and national contemporary chance encounter with Lucina Russell – Arts artists to show current work in Kildare. Artworks And this is where my place as a ‘local’ artist in installation can be seen in the McKenna Gallery, Officer for Kildare County Council, I went in search received a very positive reaction from the local Co Kildare comes in. I consider that by being an Riverbank Arts Centre, Newbridge from (17 Sept – of other artists. I met a number of Kildare based press, community and artists. ‘embedded’ artist in this specific community, my 10 Oct). working artists at the ‘Temporary Foray’ events in Along with affordable studio space, there is an work can address these complex states of mind and Fifi Smith www.fifismith.com the Riverbank Arts Centre, Newbridge. That proved enormous requirement for more exhibition spaces feelings that are played out in the intensity of to be a crucial first step in my settling into Kildare. in Kildare – white cube and experimental. Artists community interaction. One such artist is Margaret Becker, Director of need venues and spaces that will expand practices the Leinster Printmaking Studio (LPS). Margaret is a and offer access to new art-forms. From my recent very persuasive and resourceful woman – experience, there is a burgeoning interest in CONTACTS membership of the LPS alone would not suffice; I contemporary visual art on all levels in Kildare. found myself with the role of treasurer! Working on While public bodies like Kildare County Council committees for an artist-led organisation certainly Arts Service and local development agencies such Lucina RussellArts Officer, brings you face to face with issues affecting as KELT provide some support – via funding and Kildare County Council. working artists today. You find that the role residencies, there is always room for more. As T: 045-448318/ 448328, E: email@example.com mushrooms into other roles, as there is always artists, we must strive to push the boundaries and something to be done – it demands time and energy create our own opportunities. Perhaps it is time for Riverbank Art Centre, but the experience in invaluable. an artists’ network in Kildare? Find a place to meet, Main Street, Newbridge, Co Kildare I not only found the much-needed talk, exchange ideas, a place to think and be. T: 045 448314 E: firstname.lastname@example.org professional working environment and facilities at LPS, but also importantly opportunities to show Úna Collins. Margaret Becker, Studio Manager, work. For example, I am currently working on a Artist & Arts Administration Services. Leinster Print Studio, Loughanure, Clane,Co. Kildare collaborative project with a Welsh artist, Ian www.unacollins.moonfruit.com http://leinsterprint.com E: email@example.com Williams of the Regional Print Centre, Wrexham in www.leinsterprint.com Wales on the concepts of cultural identity, Marcel van Eeden, from the series The Archaeologist,The Travels of Oswald Sollmann, a Cycle of Drawings, 2006/07, pencil on paper, 19 x 28 cm The Archaeologist, The Art of Botanical Painting The Travels of Oswald Sollmann, First Floor Gallery, a Cycle of Drawings 9 November 2007 - 12 January 2008 Marcel van Eeden Ground & 1st Floor Galleries Artist in Residence 7 September – 3 November 2007 July – December 2007 Maggie Madden The Colour Fields Eamon Colman, William Crozier, Martin Finnin, Darren Murray and Alison Pilkington Ground Floor Gallery 9 November 2007 – 12 January 2008 Draíocht Blanchardstown Centre, Blanchardstown, Dublin 15 T: +353 1 885 2610 F: +353 1 8243434 W: www.draiocht.ie 32 The Visual Artists’ News Sheet Sept / October 2007 OPPORTUNITIES N6 PHASE 2 Email Expressions of interest by 20 working in any discipline. Dept of Environment and local firstname.lastname@example.org September 2007. Presentations Meantime is a temporary artist- Govt. Westmeath County Deadline and interviews in early October run project-space operating as an Council invites submissions for 21 September 2007 (Phase 1); design and open, experimental platform for the following artistic scheme. N6 manufacture from November the production and presentation Phase 2 Kilbeggan to Athlone RNLI MEMORIAL onwards(phase 2). The fee for of new work and cross- dual carriageway. Total Budget Expressions of interest from the project is in two stages: disciplinary practice. Artists are €64,000. This commission will public artists working alone or phase 1 stg£250, Phase 2 invited to make and present OPPORTUNITIES be awarded by open competition with a two-stage selection with landscape designers to submit proposal for a memorial stg£13,000. For further details and application form contact: work in and around the building. This is an opportunity to devise, process. Artists are required to and commemorative garden Email produce and present work in an submit the following: A typed including public art with hard Tapartproject@yahoo.co.uk interested, dynamic, critical FUNDING partnerships or groups. The statement of intent; A typed and soft landscaping, to celebrate Deadline environment, and to contribute fundamental aim of the Arts proposal outlining details of the the Royal National Lifeboat 20 September 2007 to the development of this new CULTURE IRELAND Programme is to support art work, including materials Institution and acknowledge the artist-led space. Additionally Culture Ireland's purpose is to research and development specifications, dimensions, a lives of the crew that have been RESIDENCIES Meantime will host a number of promote and advance Irish arts activities for unconventional breakdown of costs, outline lost since it was established in networking events over the in a global context by helping to and unusual art projects, details as to how work would be 1824 (183 years ago). Anticipated WELSH / IRISH LANGUAGE coming months and is open to create international particularly involving two or placed and installed; Drawings budget stg£150,000 with Plas Glyn y Weddw is a gallery suggestions for work in which opportunities for Irish artists more artists with different and/ or sketches; A current CV. additional landscaping budget to and community venue in a tiny basic needs, social interaction and cultural practitioners. specialist areas of expertise Examples of work in be confirmed. Garden to be village on the coast of Penllyn in and/or entertaining diversions Culture Ireland considers working collaboratively. photographs, slides or catalogue; located in RNLI Headquarters, the extreme North-West of are broadly considered. To apply, applications for all forms of the Telephone Completed application form; A4 Poole, UK. Contact Nicky Hall for Wales. It is close to the town of to discuss proposal, or just to get arts whether traditional or +44 (0)207 636 5313 SAE for return of materials. more information. Pwllheli and is set in a involved contact Sarah: contemporary, in whatever form, Email Please ensure that individual Address dramatically beautiful position Address and includes, in particular, visual email@example.com items are clearly labelled. RNLI, West Quay Road, Poole between mountains, rocky cliffs, Meantime, Oxford Passage, arts, theatre, literature, music, Www Incomplete applications will not BH15 1HZ, UK ancient woodlands and the sea. Cheltenham, GL50 4EFt , UK dance, opera, film, circus and www.gulbenkian.org.uk be considered. A site visit will Telephone We would like to invite one or Email architecture, and includes any Deadline be facilitated on Wednesday +44 (0)1202 663207 more arts practitioners from the firstname.lastname@example.org medium when used for those Ongoing September 5th 2007. Please Email Gaeltacht or from rural areas in Deadline purposes. The applicant must email the arts office for an email@example.com Northern Ireland who are able to 30 September 2007 demonstrate how the event will PUBLIC ART appointment, as a limited Deadline output work in Irish, to work and meet the required criteria. number of places are available. 23 November 2007 live here for six weeks to two WOODA ARTS, CORNWALL Decisions on applications for LOUGHEGAR N.S. Full details and brief are months in May/ June 2008. The Annual Wooda Arts Residency at funding will be made by the Dept of \Education and Science. available from: TOLWORTH TOWER gallery can offer free Wooda Farm, Cornwall. Open to Board of Culture Ireland based Loughegar National School Address Seeking artists to produce a work accommodation and food, a artists in any medium who have on the extent to which they meet invites submissions for the Catherine Kelly, Westmeath of sculpture for Tolworth Tower studio to work in, and the a strong commitment to specific criteria. There is a high following artistic scheme. County Arts Officer, County external reception area. opportunity to develop creative experimentation. The Second demand for Culture Ireland Loughegar National School Library HQ, Dublin Road, Targetfollow would like to project work both with children Annual Wooda Arts Award. A six grants and it will not be possible Permanent Visual Art Indoor Mullingar. commission a site-specific and older people. We could also week residency in an architect to fund all applications deemed Wall Mountable Feature or Telephone artwork for the reception of one offer an interested person free designed studio space with eligible. The next deadline for Freestanding Sculpture. Total 044 9340781 of its iconic office blocks. lessons and workshops in the cottage accommodation. grant applications to Culture Budget €20,000.This Email Through this commission, we Welsh language, and the Stg£1,500 + travel and materials Ireland is 15 November 2007 for commission will be awarded by firstname.lastname@example.org. seek to engage an artist to design opportunity to be immersed in a allowance. Residency takes place activities taking place in open competition with a one- Deadline and produce a sculptural piece largely Welsh-speaking society. from 26th January to 6th March February 2008 and onwards. For stage selection process. Artists 12 October 2007 for the external reception area Voluntary Arts Wales will 2008. For further details: details of application procedures are required to submit the which responds to the design of support Plas Glyn y Weddw and Email and specific criteria please see following: A typed statement of LLANBRADACH COMMISSION the building but works on a Galeri in raising appropriate email@example.com the website. intent; A typed proposal Llanbradach and Pwyll y Pant human scale. Artists are invited financial support to cover the Www Email outlining details of the art work, partnership and Caerphilly to submit a response to the brief, costs of materials, and to provide www.woodafarm.co.uk firstname.lastname@example.org including materials County Borough Council, would a CV and up to eight images of a residency fee for the artist(s) Deadline Www specifications, dimensions, a like to commission two pieces of recent work. The Fee for the involved during their stay. In 5 October 2007 www.cultureireland.gov.ie breakdown of costs, outlining work at Llanbradach at locations project is stg£25,000. Brief return, the artist(s) will Deadline details as to how work would be prepared either side of the main available from Sarah Cannell. undertake some activity in the THE NETHERLANDS 15 November 2007 placed and installed; Drawings road. The artist shall work with Address community, as agreed in Jan van Eyck Academie institute and/ or sketches; A current CV. local groups in devising the Riverside House, 11-13 Riverside previous consultations, as well as for the research and production CALOUSTE GULBENKIAN Examples of work in designs. Work shall be Road, Norwich, Norfolk NR1 1SQ developing their own work. The of Fine Art, Design & Theory The Calouste Gulbenkian photographs, slides or catalogue; completed and installed by 31 Telephone residency will be documented, calls for artist's applications. The Foundation provides funding for Completed application form; A4 Jan 2008. The budget is +44 (0)1603 218368 and an exhibition of both work Jan van Eyck Academie is an Arts, Education Social Welfare SAE for return of materials. stg£40,000 (half of which is Email and process will be mounted institute for research and and Anglo-Portuguese Cultural Please ensure that individual inclusive of VAT) to include costs email@example.com both in North Wales and the production where artists, Relations projects. The items are clearly labelled. of workshops, design, Deadline Gaeltacht. For more information designers and theoreticians work foundation supports projects Incomplete applications will not construction and installation. 30 September 2007 and to register your interest alongside each other and which are genuinely original in be considered. Full details and Funding is from Caerphilly contact Meic Llewellyn at establish cross-disciplinary their field, and favours those brief are available from: County Borough Council and HEALTH CARE CENTRE Voluntary Arts Wales exchange. We welcome artists, which take place outside Address The Arts Council of Wales. To Gracefield Health Centre, Telephone individuals and groups, without London. As a guide, there is a John McCormack, Loughegar apply artists should submit CV London, are seeking furniture, +44 1650 511778 stipulating conditions regarding present a limit of Stg£15,000 to National School, Loughegar, Co. (relating to previous experience), theatre, landscape, interior or Email form, content and media. Artists any one grant. The UK branch of Westmeath. along with CD or DVD of images concept designers & sculptors, firstname.lastname@example.org are invited to apply for a research the foundation deals only with Telephone and an SAE to David to produce an interactive Deadline period in the Fine Art grant applications from 044 9372321 Chamberlain, Arts Development artwork for an internal Ongoing department of up to two years, organisations (usually registered Email Officer, Caerphilly Borough courtyard in their new health starting in January 2008. The charities) in the United Kingdom Lns.email@example.com County Council: centre. Gracefield Health Centre CHELTENHAM, UK central element of the and the Republic of Ireland. The Deadline Address would like the area to be used as Residency opportunity for local, application is your project Arts Programme is aimed at 12th October 2007 Blackwood Miners Institute, a community space for regional, national, or proposal, in which you set out helping professional arts High St, Blackwood, Caerphilly performances, exhibitions, a internationally based, self- the form and content of your organisations and individual NP12 1BB, Wales. place to sit, talk and share. motivated, contemporary artists research and production plans. professional artists working in 33 The Visual Artists’ News Sheet Sept / October 2007 OPPORTUNITIES All researchers in the Fine Art piece of work made during the have achieved an international those invited to participate in current biography and SAE. . For material. Also it must be signed department are given an residency as a donation to the reputation for research in art, these month-long programmes. further information please by the creator but only on the individual studio and a stipend. HMC. Donated work will be science and technology. All basic supplies will be contact Jean Forbes-Cooke at the reverse. The exhibition will take Funding for individual projects exhibited Vizivarosi Gallery, Address provided, and the facility will be Tipperary Institute place in Arts Office Gallery, 72 can be applied for on a project- Budapest in July 2008. Studio, 3530, Saint-Laurent Boulevard, made available whenever classes Address John Street, Kilkenny and it will by-project basis. Interviews will room, breakfast and lunch, suite 402, Montreal (Quebec), are not in session. Residents are Tipperary Institute Nenagh run for a period of November to take place in October and must exhibition, seminar, artists’ talk H2X 2V1, Canada expected to make their own Road, Thurles, Co. Tipperary December 2007. include your project proposal, and gallery tour are included in Telephone work during a residency. To Telephone Address documentation material and an the cost of €610 for 13 days. For +33 514 987 7177 apply send 10 slides or digital 050 428411 Kilkenny County Council Arts application form. A application forms or questions Email images on CD (not via email) of Email Office, 72 John Street, Kilkenny downloadable application form regarding the International firstname.lastname@example.org your work, two letters of email@example.com Telephone and more information about the Artist Residency: Www recommendation, a written Deadline 056 779 4138 application procedure can be Email www.fondation-langlois.org proposal (including detailed 28 September 2007 Email found on the website below. For firstname.lastname@example.org Deadline information on your residency email@example.com more information please contact Www 30 September 2007 plans; necessary supplies, ORMEAU BATHS Www Leon Westenberg. www.hungarian-multicultural- equipment, and assistants; and Call for submissions for www.kilkennycoco.ie Address center.com VIRGINIA, USA the best months for you to upcoming print exhibition at Deadline Jan van Eyck Academie, Deadline The Virginia Centre for the participate), and a CV tothe Ormeau Baths in Gallery 15 October 2007 Academieplein 1 6211 KM 19 October 2007 creative arts is an international address below. For further details: association with Seacourt Print Maastricht, The Netherlands working retreat for visual artists, Address Workshop. An exhibition of BELLTABLE LIMERICK Telephone DENMARK writers and composers. Located Residency Programs, The Studio Northern Ireland Printmaking Belltable is currently looking for +31(0)433503724 Residency opportunity at in Amherst County, Virginia, of The Corning Museum of Glass, will accompany an exhibition of submissions from Visual Artists Www Guldagergaard International approx 160 miles from One Museum Way, Corning, NY prints and paintings by Howard for the period July to December www.janvaneyck.nl Ceramic Research Center for Washington D.C. Residencies 14830-2253, USA Hodgskins at the Ormeau Baths 2008. Please send a written Deadline artists, craftsmen and designers, last from two weeks to two Email Gallery from November 2007 to proposal, Resume and portfolio 1 October 2007 who wish to complete specific months and artists stay in a firstname.lastname@example.org January 2008. The exhibition to the address listed below ceramic projects for a period of private room in a comfortable, Www will be selected by John marking your envelope OPEN OMAHA,USA one to six months. The residency modern residence building. The www.cmog.org McKechnie of the Glasgow Print SUBMISSION – Hardcopy/Disk Residencies available at the program is for short or long term residencies provide a chance to Deadline Workshop. No framed work will applications only please. Email Bemis Centre for contemporary residencies throughout the year, work uninterrupted for long 31October 2007 be considered. Paper size: applications not accepted. arts, Ohmaha, USA. The art- with preference given to longer periods of time in single studio 70x100cm (Any size print within Address making process has been the periods in the winter. All spaces. To apply, artists should EXHIBITIONS paper size). Submission: Up to 3 Belltable, 69 O’Connell Street, highest priority at the Bemis applications will be evaluated by submit an application form, prints. Exhibition dates are 2 Limerick Center for Contemporary Arts, Guldagergaard ceramic board of curriculum vitae and samples of 24 HOURS NON STOP ART November 2007 to 5 January Www where both the atmosphere and advisers. It is a non-profit- their work. For an application Call for 24 multi-disciplinary 2008. For further details or www.belltable.ie environment offer ideal making foundation, and form, please download one from artists for the event ' 24 hours submissions: Deadline situations for creative growth residencies are offered at the the website, or email. to request non stop art'. The event will take Address 10 December 2007 and experimentation. Located in lowest possible rate. All studio a copy. place at Tigh Fili Cork Arts Ormeau Baths Gallery two urban warehouses totaling residents are expected to work Telephone Theatre, on the 28th to 29th 18a Ormeau Avenue, Belfast DIGITAL HUB 110,000 square feet, our facilities independently and collaborate +011 (434) 946-7236 October 2007. 24 hours non stop BT2 8HS The Digital Hub has launched are designed to foster creativity in using the common studio Email art is an artistic event about the Telephone the second series of Projected and the productive exchange of areas and kilns. Download more email@example.com experience of duration. In the +44 (0)28 9146 0595 Weekends. We are now opening ideas. Artists from around the information and application Www course of one day and one night Email the call for this year's series that world come to the Bemis Center forms or contact Ann www.vcca.com (24 hours), viewers will be able to firstname.lastname@example.org will run from September 2007 to work in this supportive Linnemann for details: Deadline see a whole range of possibilities Deadline through to March 2008. If you community and confront new Address 15 September 2007 offered by videos, visual arts, 2 October 2007 have work that you would like to challenges. We provide well- Guldagergaard, Heilmannsvej 31 performances, dance, music, see projected outdoors in The equipped studio spaces, living A, DK - 4230 Skaelskor, Denmark GLASS ARTISTS, USA theatre, poetry, from artists, who MILL THEATRE GALLERY Digital Hub, send your proposal accommodations and monthly Email The Corning Museum of Glass form a part of the international The Mill Theatre Gallery, to the email address below. This stipends. For more information email@example.com Studio's Artist-in-Residence scene. The project will present a Dundrum Town Centre is an open call, there is no please contact Residency Www program brings artists from variety of events with an welcomes submissions for it's deadline for submissions. All Program Director, Cary Tobin: www.ceramic.dk around the world to Corning. emphasis on the 2008 calendar. Contact Aoife. work of any subject and Address Deadline The artists spend a month at The interdisciplinary and Telephone discipline will be considered. As Bemis Centre, 724 South 12th 15 October 2007 Studio, trying new techniques in interactions between media, 01 2969340. the areas that are being used to Street, Omaha, NE 68102 USA glass, or to enhance their current artists and viewers. Each event Email display the projects are Email LANGLOIS FOUNDATION work, while using the immense will be recorded and broadcasted firstname.lastname@example.org residential areas, sound will not email@example.com Through its Grants for resources of the world's leading at every show. More informatio Www be played on the street. For Www Researchers in Residence, the glass museum. At the end of the contact: Angelique or Frances on: www.milltheatre.com further details please contact www.bemiscenter.org Daniel Langlois Foundation for residency, each artist gives a Telephone Elaine: Deadline Art, Science and Technology short slide presentation and 087 2904212 or 0877941712 POSTCARDS FROM THE Telephone 30 September 2007 supports research projects. The lecture about his or her work. Email EDGE2 01 4806200 program aims to promote This is a free event held in The firstname.lastname@example.org Kilkenny County Councils Arts Email BUDAPEST research projects that take an Studio Lecture Room and open to Www Office needs to display a email@example.com The Hungarian Multicultural innovative approach to the public. The Artist-in- www.24hrsnonstopart.blogspot. minimum of 5000 postcard size Www Center is currently accepting disseminating research results Residence program at The Studio com pieces of work to fill the Arts www.myspace.com/ applications for the Budapest - via data communications. The of The Corning Museum of Glass Deadline Office Gallery. The only criterion projectedweekends Hungarian International program of Grants for gives artists the opportunity to 24th September 2007 for the work is that it must be Deadline Artist/Writer Residency Researchers in Residence is open expand their work and to master standard blank white postcard in Ongoing Program. The program is open to to artists, historians, curators, techniques using glass. Each TIPPERARY INSTITUTE size, i.e. 9cm x 14cm. Cards in any international artists working in critics, independent researchers, artist spends one month utilizing Tipperary Institute is inviting medium welcome, drawing, EGGLIVING all disciplines who are engaged and scientists in various fields, the full resources of the Museum, submissions for its 2008 knitting, sewing, print etc. Also Eggliving, a new boutique in the research, development or including computer science and including its state-of-the-art exhibition programme at its there is no limit to the number of homestore and art gallery which creation of work. Approximately related areas of social science. glassmaking studio, the Rakow Thurles Campus. Both solo and cards one can submit. Every recently opened on Oughterard's 20 artists are invited for this 2 Applicants must be researchers Research Library and the group submissions will be work submitted will be included main street in Galway is looking week workshop/seminar at the doctoral or post-doctoral Museum collection. considered. To apply please in the show; any exclusion will for artists to show in its gallery program in Budapest, Hungary. level, or demonstrate that they Transportation, as well as room submit 10 to 12 images of be at the discretion of the arts space. The gallery is currently Artists are expected to leave one have equivalent experience or and board, will be arranged for current work together with office, for example any offensive showcasing local artists, with a 34 The Visual Artists’ News Sheet Sept / October 2007 OPPORTUNITIES view to stage various group and program matches the aims of the second Rose Project Student Art Email Art Wales is funded by the Arts SPARK PLUG AWARDS solo shows over the course of the Red House, financial sources and Awards. The Rose Project Student firstname.lastname@example.org Council of Wales and Cardiff Spark Plug Curator Awards. coming year. Submissions are the budget needed for the Art Awards will focus on Www County Council. For further Annual award scheme offers currently being accepted. Please project, enclosed CVs of the recognising excellence in your www.business2arts.ie details: successful applicants stg£5,000 include a SAE if you wish your curator, the artists or the team emerging Irish artists. It will also Deadline Address to develop an ambitious and submission to be returned to that is making the proposal. provide support to enable them 14 September 2007 Public Art Wales, 4 Sovereign innovative exhibition project you. Please send 6-8 images of Please address your proposals or to further their talent and artistic Quay, Havannah Street, Cardiff that engages with contemporary work (digital format) plus art any further questions to: development through a bursary IRISH CONCRETE SOCIETY CF10 5SF. craft. The Awards will actively related CV to: Email of €5,000. The awards will be The Irish Concrete Society is Telephone support and develop innovative, Address email@example.com judged by a panel of pleased to continue a special +44 (0)2920 489 543 high quality exhibitions of Eggliving, Main Street, Www professionals, including Mr Award scheme for sculpture, in Deadline contemporary craft. Applicants Oughterard, Co. Galway www.redhouse-sofia.org Jason Oakley, Visual Artists which the Society wishes to 30 September 2007 must be based in the UK and Email Deadline Ireland, Mr Jack Gilligan, City make an Award for excellence in projects must take place in the firstname.lastname@example.org 30 September 2007 Arts Officer Dublin City Council, the design/construction of a MANIFESTO ARTS AWARD `UK. For further details visit Www and Ms Mary Donohoe, Founder sculptural project. The Society is As part of the Annual Imagine contact Annabelle Campbell, www.eggliving.ie MOUNT PLEASANT GARDENS of The Rose Project. Winners will sponsoring a cash prize of €1000 Waterford Arts Festival October Exhibitions and Collection Deadline Established and emerging artists be announced at the official to the winning sculptor. This 2007. Manifesto gallery in Manager: Ongoing based in the UK and Ireland are awards ceremony on the eve of Award scheme enables the Waterford city is setting up the Telephone invited to submit original works World AIDS Day, Friday 30th Society to acknowledge the work 'Manifesto Arts Award', an open +44 (0)2078062521 EXHIBITIONS of art suitable for an outdoor November 2007. An Exhibition of sculptors who use concrete as competition for the submission Email INTERNATIONAL setting. Mount Pleasant Gardens, of the works of excellence will a medium of expression. Entries of original artworks with prizes email@example.com an RHS reccommended site near then run from 1st to the 7th which use concrete as the main worth €2000 from k 100 TINY ARTWORKS Chester. Seeking original work in December at the Lab, Dublin visual element in the sculpture artmaterialsco.com. The theme Www A new art project from any media, and of any size City Council. The Rose Project is are eligible. The adjudication of the competition is 'Outside www.craftscouncil.org.uk onelosthousemate in association (within reason). The exhibition an Irish based charity established will be carried out by an the box'. There are two Deadline with 27a Access Artspace. An will run from the 3 to the 28 by Mary Donohoe to fund the independent jury convened by categories, 13 yrs to 19 yrs, and 20 October 2007 ‘affordable art market’ vending September 2008. For more delivery of quality medical, the Council of the Society. aged 20 and over. Work can be machine. All works made for the information and an application nursing and psycho-social care to Nominations for the award may submitted for consideration by JOBS vending machine will cost just form please contact Caroline on: people living with HIV/AIDS and be made by sculptors or others email or by bringing the work to 20p to buy, and we are looking Telephone their families in Africa. For more directly involved in the the gallery (Saturday afternoons TCD COLLECTION CURATOR for 100 artists to come up with +44 (0)1829 741322 information please contact nomination. Nominations must only, or by appointment). Out Trinity College Dublin seeks to 100 different art works which Email Andrina Moore: refer to work completed since 1 of the entries a short-list of works make this new appointment to can fit inside a 2.5cm spherical firstname.lastname@example.org Telephone January 2006 which is currently will be chosen from both support its strategy for capsule. The vending machine Deadline 086 8185618 in Ireland and which can be categories to hang for sale in the developing and enhancing its will then be entered into this 20 November 2007 Email made available for inspection exhibition 'Outside the box' at major artistic collections. The year's Open Exhibition at The email@example.com. by the jury later in the year, if Manifesto gallery, which will be Curator will be responsible for City Gallery. All artists taking THROES Www requested. All entries will be opened by international artist the management of the College part will be credited in the An exhibition exploring the www.roseproject.org displayed at an Awards Evening Jim Fitzpatrick on the 28 October collections. Duties will include project, and all money raised will darker side of human nature and Deadline held in early 2008, at which the 2007. Final date for entries is 19 the preparation of a fully be donated to 27a Access the human condition, to provide 2 November 2007 winner will be announced. The October by 5 pm. digitised inventory and visual Artspace. Artwork can be sent an antidote to easily-viewed, closing date for the return of Address record of the collections; the via email, or to the address below. unchallenging artwork shown in THE DAVID MANLEY AWARD nominations is Friday 28 Manifesto, 2 Georges Street, management of loans and Address pristine white spaces. To apply Opportunity for emerging artists September 2007 and nomination Waterford. accessions; the supervision of 27a Access Artspace, 27a Belvoir for this group exhibition your or arts organisation to win forms may be obtained from Telephone hanging and display within the Street, Leicester LE1 6SL work needs to be anything that is €10,000 cash and €70,000 in Emma Flood at the address 051 853333 College; the coordination of Telephone not particularly easy to view, business mentoring in areas such below or you can download the Email conservation treatments, and the +44 (0)7716 024338 whether this is as slight as as finance, marketing, identity entry form on the VAI website. firstname.lastname@example.org management of the College Email creating an uncomfortable and brand, management and Address Www picture store. Applicants should email@example.com atmosphere or as blatant as legal, as well as places on Irish Concrete Society, Platin, www.manifesto.ie have a good honours degree in Deadline presenting a shocking image. It training programmes in Drogheda, Co. Louth Deadline the History of Art or a related 28 September 2007 can be installation art, drawing, marketing and management. . Telephone 19 October 2007 discipline, together with the machines, photography, The David Manley award was 041 987 6466 professional experience of THE RED HOUSE, BULGARIA performance, sonic art, established in 2003 to reward Deadline THE DISCERNING EYE working in a gallery The Red House Centre for painting...anything! All work enterprise in commerce. 28 September 2007 The discerning eye is offering environment. Experience in Culture and Debate, Sofia, created relates, in someway, to Business2Arts urges any artist or Stg£1,000 drawing bursary to collections management is Bulgaria announces an their makers' human nature so a organisation that is interested or ARTIST-LED AWARDS WALES interested artists. To apply please essential, so too good IT skills, invitation to curators and artistic link to the human condition feels they may be eligible to see Artist@Work & Good Ideas are submit up to six slides or digital including a familiarity with formations to offer a project for does not necessarily have to be the website listed below or to award programmes open to images of work, CV and written digitised catalogues and the Red House Curator Season in the main concern of the piece. contact Business2Arts to discuss artists working in any media, for statement (max 300 words), databases, some experience in the field of contemporary visual "Throes" is part of Tether Festival, the application process further. residency projects in Wales of detailing how you would spend project management, arts and new media suggesting 4 – 27 November 2007 in Individuals or organisations exceptional interest. this bursary. Please include a SAE documentation and reporting. also a certain critical view. Nottingham. For further details should be at least one year in Artist@Work: Up to stg£6,000 if you would like your slides The ideal candidate will have Creative projects or proposals for contact Charlotte Prately: business, but not more than for ideas from artists for returned. excellent communication skills, a series of exhibitions or other Telephone three years and be able to residency projects within a Address both written and oral. The post is accompanying events will be 07766241791 demonstrate innovation in their business or in a workplace DE 07 Drawing Bursary, c/o tenable from 1st October 2007, or given the opportunity to fulfill Email product or service. A committee environment. Good Ideas: Up to Parker Harris Partnership, 15 as soon as possible thereafter .We their potential at the Red House firstname.lastname@example.org will choose three nominations to stg£6,000 for artists’ proposals Church Street, Esher, Surrey welcome applications by e-mail. areas as well as to be included in Www go forward from the arts to the for innovative residency projects KT10 8QS The appointment will be made the Red House Centre www.tether.org.uk jury panel. The panel will select a involving a ‘community’ in the Telephone on the Administrative III scale Programme. The proposal Deadline winner in each of the three areas broadest sense. Artists are +44 (0)1372 462190 (€36,256 to €46,496 per annum) should contain a clear concept in 17 September 2007 of business, social and the arts to encouraged to submit ideas, Email and the commencing salary the field of visual arts and new go forward for the prize. For which are of benefit to the host email@example.com point will not exceed the 2nd media for the period chosen, AWARDS further information contact or collaborator, will take forward Www point €38,205 per annum. including a description of the Business2Arts for entry criteria the artist’s practice, extends the www.parkerharris.co.uk Candidates should submit a authors, exhibitions and the THE ROSE PROJECT and booking form. understanding of residency Deadline covering letter and a completed accompanying events and The Rose Project would like to Telephone projects and opens new avenues 5 October 2007 application form by 12pm pm on information on how this invite art students to enter the 01 672 5336 for art in the public realm.Public the deadline, and return to 35 The Visual Artists’ News Sheet Sept / October 2007 OPPORTUNITIES Emer Casey, Recruitment Container', 'The Design' and 'The new works on film. There is no to the address below. The dates being used? How do artists and Telephone Executive. Architectural, Sculptural or set theme for submissions. Films for the festival are the Friday activists react to the popularity 01 8556599 Address Conceptual Ceramic'. The will be selected in response to 12th, Saturday 13th and Sunday of YouTube and other 'user- Email Staff Office, Trinity College, competition is open to residents chosen venues, and vice versa. 14th October 2007. The film generated-content' websites? firstname.lastname@example.org Dublin 2. of countries who are members of Films by emerging artists will be should not be longer than 15 What is the impact of the Telephone the European Union. The shown alongside more Minutes unless agreed by us availability of massive on-line CRAFT IN THE CLASSROOM 01 896 1962 Biennale will be held from July established works, though there before hand. For further images and sound databases on Craft's Council of Ireland (CCoI) Email to November 2008, during which is no emphasis on submitted information: aesthetics and narrativity? How Craft in the Classroom project email@example.com time competition entries will be films being ‘art’. First events will Address is Cinema, as an art form and trains craftspeople in designing Www exhibited. To apply please be in a rural woodland setting Victoria Melody, Phoenix Arts experience, influenced by the and delivering creative crafts www.tcd.ie/vacancies download application details and the courtyard of an old Association, 10-14 Waterloo Pl, development of widely projects for children, as well as Deadline from website factory warehouse respectively, Brighton BN2 9NB, UK spreading internet practices? raising the profile of craft in 14 September 2007 Address should artists wish to respond to Email What does YouTube tell us about primary schools. Providing Comité de la Biennale these venues. Submitted films firstname.lastname@example.org the state of art in visual culture? craftspeople with training in LIGHTHOUSE ARTS Internationale de Céramique must be in English or subtitled. Www And how does the participation devising projects that Seeking Media Arts Programme Contemporaine, Hôtel de Ville, To apply send work (DVD or www.phoenixarts.org culture of video-sharing and complement the Primary School Manager. Lighthouse Arts and Place Jacques Cavasse, 06220 minidv preferable) and related Deadline vlogging reach some degree of Visual Arts Curriculum, links Training Ltd are looking for an Vallauris material to: 1 October 2007 autonomy and diversity, with schools seeking to develop experienced and highly Email Address escaping the laws of the mass projects with craftspeople, motivated person to develop and email@example.com Moving Things, 11 Cannon St, SOUNDCAST media and the strong grip of support in undertaking creative manage its programme of Www Sherwood, Nottingham, UK, Daily Constitutional is Seeking media conglomerates? This partnerships with schools, creative and professional www.biennale.vallauris.free.fr NG5 2HB. Sound Art for SoundCast, a Video Vortex conference is the funding support to work in development initiatives for Deadline Email downloadable sound exhibition first in a series of international schools. An information day for artists working with the moving 31 December 2007 firstname.lastname@example.org curated by the folks at Daily events, aimed at critical research interested craftspeople will be image, animation and digital Deadline Constitutional. Audio works and reflection surrounding the held on Wednesday 19 technology. Located in Brighton. PHOTOGRAPHY AWARD Ongoing should be mixed for two channel production and distribution of September in Enniscorthy For more information or to International Photography listening (i.e. Stereo). There is no on-line video content, at the Teachers Centre. Contact download an application pack Award - British Journal of SINGLE SCREEN length limit to the audio works instigation of the Institute of Amanda for more details and see website. Photography. The third annual Submissions invited from both but remember people will be Network Cultures (INC). registration form. Address BJP Photographic Award is open new and established artists downloading them and large Speakers: Lev Manovich, Nora Telephone 1, Zone B,28 Kensington Street for entries with a stg£10,000 wishing to show their work to a files might be a deterrent to Barry, Keith Sanborn, Tomas 056 7761804 Brighton,BN1 4AJ, UK prize package. Any gallery audience. Submissions listeners. Submitted sound files Rawlings & Ana Kronschnabl, Email Email photographer with a substantial must be single screen, forward should be compressed in MP3 Simon Ruschmeyer, Peter email@example.com firstname.lastname@example.org body of work is invited to enter. projection films that must last no format (we will not be Westenberg, Johan Grimonprez. Www Www The winner will receive a longer than 15 minutes and responsible for loss of quality Others tbc. Moderated by Geert www.ccoi.ie www.lighthouse.org.uk Hasselblad H2 camera kit, contain subject matter suitable due to compression and/or Lovink (Institute of Network Deadline including medium format body for a general audience. Work is to conversion to a MP3 format if Cultures) Please note: on Sa 6 21 September 2007 and 80mm lens worth stg£5,700, be exhibited in a small dedicated WAV, AIFF or any other formats October 2007, the day after together with an exhibition of projection space at The are submitted) Submissions 'Video Vortex', Argos organizes COMPETITIONS their winning work at The Collection in Lincoln. Each film should also include: 1 Image to the conference 'Media, Memory Association of Photographers is to be shown for 1 month, accompany download, Title of and the Archive', with Richard IMAGES ‘08 Gallery in East London in early starting in August. Funds piece, Date, Artist Name, Length Rinehart, Steve Dietz, Josephine The Grand Prix International de December.Spectrum available. To apply, for more of piece. For further information: Bosma, Oliver Grau, Charlie Photographie de Vevey Photographic will work with the information or to send films (on Address Gere, Wolfgang Ernst, Jean- competition is open to winner to create the exhibition DVD format only) contact PO Box 4683, Richmond, VA, François Blanchette. For further professional artists and quality prints, which the Maggie Warren. Include SAE for 23220, USA information: photographers, as well as to photographer will retain at the return of artwork. Email Address DON’T FORGET to look at photography students. The end of the show. The judges, Address email@example.com argos, Werfstraat 13 rue du the advertisments in this theme and genres for work is drawn from the photographic art The Collection, Danes Terrace, Www Chantier, B-1000 Brussels, VAN, also check our web site & subscribe to our e-bulletin open. The prize is worth €18,000 world, will be looking for a Lincoln LN2 1LP www.dailyconstitutional.org Belgium. for further opportunities. The selected project will have to coherent set of images based Email Deadline Telephone be completed and exhibited at around a single concept, but firstname.lastname@example.org. Ongoing +32 2 229 00 03 the Images’ 08, which will take entrants are free to find their uk Email WATCH OUT. While every CONFERENCES / effort has been made to place in Vevey in 2008. The jury, own theme. The series entered Www email@example.com SYMPOSIA ensure the accuracy of our chaired this year by Balthasar must be between 20 - 30 images www.lincolnshire.gov.uk/ccm/ Www information we strongly Burkhard, is composed of key long, and can be submitted either Deadline www.networkcultures.org advise readers to verify all figures from the visual arts as prints or on CD. They must 28 September 2007 VIDEO VORTEX www.argosarts.org details to their own satisfaction before world. At the end of October, it also be accompanied by an entry Argos, Centre for Art & media, WORKSHOPS/COURSES forwarding art work, slides will designate the winners of the form, available online, and a OPEN PHOENIX FESTIVAL and The Institute of Network or monies etc. with regard Grand Prix International de stg£20 entry fee (or €30). For 2 days of screenings curated by Cultures (INC) present Video to opportunities. Photographie de Vevey. Check more details visit: Victoria Melody, combined with Vortex: Responses to YouTube,, LIFE DRAWING SESSIONS the website for submission Www live performances, talks, and Brussels, 5 October 2007. Over The Talbot Gallery will continue details. www.bjp-online.com/award open studios. The Open Phoenix the past years the moving image its series of life drawing sessions Address Deadline 2007 Video Art Festival is a has claimed an increasingly on Saturdays in October 2007. Images'08 Rue du Clos 1 CP 443 20 October 2007 showcase for artists working prominent place on the internet. We will be facilitating drawing THANKS 1800 Vevey , Switzerland within the medium of moving Thanks to a wide range of sessions to give artists a full day Email LENS BASED / NEW image. The themes for this year technologies and web to study the figure. There is In addition to the firstname.lastname@example.org MEDIA are humour in art, performance applications it has become already a good interest in these information forwarded directly to us, Visual Artists Deadline for camera, the extremes and possible, not only to record and full day sessions so please enroll Ireland also exchanges with 20 July 2007 MOVING THINGS Brighton bred. If you are an artist distribute video, but to edit and early. Maximum 8 people per and sources information Moving Things will be a series of working with video, film or remix it on-line as well. With this session. The dates of sessions for from: A-N:The Artists’ CERAMIC BIENNALE video events and screenings moving image and would like world of possibilities within 2007 are as follows: Saturday 6 Information Company; The International Sculpture Invitation for participants in operating outside of the the opportunity to showcase reach of a multitude of social October, Saturday 13 October, Centre (New Jersey / USA) major competition forming part traditional cinema environment. your work please send a actors, the potential of video as a Saturday 20 October. For further and the National Sculpture of the 2008 Ceramic biennale Video artists and filmmakers completed submission form, a personal means of expression info and to enroll in the classes Factory Cork held in Vallauris, France. making single channel work of DVD copy of your work and a has arrived at a totally new please contact Elaine Grainger: Competition categories are 'The any sort. are invited to submit SAE for the return of your work dimension. How is this potential Continuing the Tradition Bronze Art Ltd Fine Art Foundry Leaders in Fine Art Casting For your next project contact: Cris Neumann or Rosemary Flavin. T: (3531) 8552452 F: (3531) 8552453 E: email@example.com Bronze Art Ltd., Unit 3, Gaelic Street, Dublin 3 CARRICK-ON-SHANNON St. George’s Terrace, Carrick on Shannon, Co. Leitrim T: 071 9650 828 Fionna Murray, Double , oil on canvas E: firstname.lastname@example.org W:www.thedock.ie 7 Sept. 7 - 12 Oct. CONVERGENCE - curated by Mark Garry Featuring Karl Burke, Robert Carr, Charles Matson Lume, Norman Mooney, Paul McKinley, Christophe Neumann, Jenifer Phelan, Martha Quinn, Robin Watkins and Nina Canell. 19 Oct. - 1 Dec. APPARIZIONE Adrian Paci A REAL CORNER OF THE WORLD Fionna Murray A STAGGERING 10 MILLION Yvonne Cullivan Ongoing DREAM DIARY Robin Whitmore Professional Development Training Workshops for Visual Artists 2007 A joint initiative of Presentation Skills for Artists Galleries & Curating The National Sculpture Factory Tutor - Kerry McCall The International Art Market and Visual Artists Ireland CORK - Wed. 12 Sept, 10.30 am - 4.30 pm Tutor - Caoimhin MacGiolla Leith Fee: €40 non-members NSF/ VAI members: €35 DUBLIN - Wed. 19 Sept, 10.00 am - 4.00 pm CORK - Fri. 2 Nov, 2.30 pm - 5.30 pm Fee: €30 non-members NSF / VAI members: €25 DUBLIN - Wed. 7 Nov, 2.30 pm - 5.30 pm Earning Opportunities for artists ‘From Hand To Mouth’ Peer Critique (Painting) Tutor - Jason Bowman Tutor - Mark O' Kelly CORK - 18/19 & 20 Sept, 10.00 am - 4.30 pm CORK - Wed. 7 Nov, 10.30 am - 4.30 pm Fee: €100 for 3 Days non-members Fee: €40 non-members NSF/VAI member: €35 For information & booking contact the DUBLIN - 25/26/27th Sept, 10.00 am - 4.30 pm DUBLIN - Wed. 14 Nov, 10.00 am - 4.00 pm NSF/VAI members: €90 respective organisations by phone or email. Full details of the programme are also available on the web sites listed Handling VAT Peer Critique (Lens-based media) Tutor Cork - Ger Manning (Ernst & Young) below. Declan Clarke CORK - Thur. 8 Nov, 2.30 pm - 5.30 pm National Sculpture Factory, CORK - Wed. 3 Oct, 10.30 am - 4.30 pm Tutor Dublin - Gaby Smyth (Gaby Smyth & Co.) Fee: €40 non-members NSF/VAI member: €35 Fee: €20 non-members NSF/VAI members: €15 Tel: +353 (0) 21 431 4353 DUBLIN - Wed. 24 Oct, 10.00 am - 4.00 pm DUBLIN - Thurs. 11 October 2.00 pm - 5.00 pm email@example.com www.nationalsculpturefactory.com Writing The Artist's Statement & CV Copyright & The Internet Visual Artists Ireland Tutor - Mark Garry Tutor - Nicky Gogan and Caroline Campbell Tel: +353 (0) 1 872 2296 CORK - Wed. 10 Oct, 10.30 am - 4.30 pm CORK - Wed. 21 Nov, 10.30 am - 4.30 pm Fee: €40 non-members NSF/VAI members: €35 Fee: €40 non-members NSF/VAI member: €35 firstname.lastname@example.org DUBLIN - Wed. 17 Oct, 10.00 am - 4.00 pm DUBLIN - Wed. 28 Nov, 10.00 am - 4.00 pm www.visualartists.ie Improvement commission competition, Autumn / Winter Programme 2007 institutional relationships, and of course, the phenomenon of Jessica Mason and Peter Little, will international showcase event-culture. present their new home - a renovated Holly Asaa This discursive event will explore how horsebox (pictured). Their entry was tap into sound for a prime mate culture, and specifically visual art, is chosen from a shortlist of three videos Venue: St. Anne's Church, Shandon, being impacted and mediated in the which were on exhibition earlier this Cork context of globalisation. Issues to be Date: 5, 6 & 7 October year, in conjunction with the des/IRE explored include the idea of an conference at the Webworks building, Developed during her NSF residency 'international style', cultural exchange earlier this year, Holly Asaa will present Cork, and online on YouTube.Com and diversity v homogenisation, an interactive sound piece at the top (search for 'homeimpcork'). biennial culture and a look at the Irish of St. Anne's Church in Shandon from context. Speakers include Dr Brigitte 5-7th October, as part of Art Trail 2007. Franzen (curator for Skulptur Projekte NSF & VAI Professional Training for The sounds will be recorded from the Münster 07), Caoimhin Mac Giolla Artists see call of the gibbons and other monkeys Leith (write/critic/curator). John Byrne www.nationalsculpturefactory.com/f Competition winner Jessica Mason & Peter that live on and around the islands in (John Moore University and Site, f_training.html for full programme Little’s horsebox, image courtesy Sarah Browne . Fota Wildlife Park, east of Cork City Liverpool), Lucy Cotter (writer and Belinda Guidi Centre. See also www.arttrail.ie critic) and Katie Holten (artist). The Films in the Mezz L'Eclisse seminar will be followed by Salon du Selection of short films by Ken Wardrop Do you speak art? (or where are you Chat, a social event involving Venue: Shandon, Cork and Peter Tscherkassky coming from?) discussion topics in the form of Date: 28 September - 7 October Globalisation and the 'International' Introduced by Isabelle Meerstein with menus, set up to encourage focussed special guest Ken Wardrop Former NSF Artist-in-residence, Belinda Language of Art conversation and exchange. No chat Guidi will develop a large-scale public Venue: Stack Theatre, Cork School of Wed. 12 September, 7pm allowed! Presented in conjunction art intervention in Shandon as part of Music, Union Quay, Cork with CIT Cork School of Music & Art Trail 2007. She will wrap a building Date: Sat. 3 November, Hochtief. L'Eclisse with a sentence or phrase (taken from a 10.30 am - 5.30 pm & 7.00 pm for (dir. Michelangelo Antonioni) Cost: €20/ €15 (NSF members) conversation in the film L'Eclisse) Salon du Chat Sarah Browne Introduced by Belinda Guidi consisting of large-scale letters made Home Improvement event Thurs. 4 October, 7pm from black plastic sheeting - the Today, globalisation affects almost all Venue: National Sculpture Factory material used to wrap a building when art practice on some level. This is Date: Thurs. 22 November For more information see in process of regenerating/re- evident through travel, research, Time: 6.00pm www.nationalsculpturefactory.com/ structuring it. See also www.arttrail.ie exchange, residencies, economics, Winners of Sarah Browne's Home program_current National Sculpture Factory, Albert Rd, Cork T: +353 (0) 21 4314353 F: +353 (0) 21 431 3247 E: email@example.com W: www.nationalsculpturefactory.com www.corkcaucus.com The Visual Artists’ News Sheet September / October 2007 39 PROBLEM PAGE HOROSCOPE The Theatre of Agony Your Stars by Nicholas Keogh MIS-GUIDED QUESTIONS, ADDRESSED WITH BARELY DISGUISED DISINTEREST AND CONDESCENSION BY OUR ANONYMOUS CURATOR / CONCIERGE OF AGONY. THE NAMES Aries (21 March – 19 April) Before the powerful eclipse of the moon in your sign on the 29th, dear Aries, things are likely to get worse before they get better. You may be experiencing hysteria and are AND WHEREABOUTS OF THE ANXIOUS AND CONFUSED CORRESPONDENTS HAVE BEEN likely to cause trouble. You need to snap out of it and get this silly nonsense out of your head. Ask your GP WITHHELD. for a pelvic massage to bring you to hysterical paroxysm. Later in the month your rosy cheeks, optimistic approach and hard work will be rewarded. What selection of biscuits and other baked fancy goods, might I best entice the inclusion of my studio on the itinerary of an upcoming junket-visitation of curators from interestingly marginal Taurus (20 April – 20 May) Expansive Jupiter has moved into your solar seventh house of ‘Foundacion’s Experimental’, ‘Institutes Du Mond’ and ‘Kunstwerk uber-dorms’? I had thought that partnerships. Bestowing Jupiter’s competitive edge can dissipate your feelings of inadequacy. Viennese whirls would be effective in conjuring up my practices concerns with fin-de-siecle Smoking nicotine will give you the burst of dopamine needed to incorporate small connective gestures into anxieties of old Europe, ambitions to set up my own quasi-secessionist art movement – along with a your routine and make you look more sophisticated. No other sign looks quite so fertile this year, so get used nod to the cutting edge lap-top bothering electronica emanating from the grand old crucible of to the smells and sounds of latex. Freudian psychoanalysis, Adolph ‘ornament is crime’ Loo’s, the dirty pictures of Egon Shiele and Gemini (21 May – 20 June) Jovial Jupiter the benevolent protector of the zodiac is spending this year posh cream buns. in the health and fitness area of your horoscope. At the end of the month vulnerable emotions, aphids I regret to inform you that at the present-time I am not permitted to entertain such a badly thought-out, and and red spider mites are all potential problems. From today and for the next few weeks your home and clearly ‘made-up’ inquiry. family life is likely to come under the spotlight. Difficulty swallowing may be a sign of upper digestive problems. But fear not dear Gemini as mono sodium glutamate might be the key holder. I’ve mis-placed the original thoughts and motivations behind my now sprawling meta-archival based practice. Where do I begin looking? Cancer (21 June – 22 July) Your natural element water will result in fluid retention, but Saturn is ‘I’ for idea? well placed to favour your diet and weight loss efforts. This is your cue for a dramatic transformation in looks and attitude, as Jupiter hits an unstable orbit, bee stings on the lips will give you a voluptuous pout Some of my artist pals have formed a reading group – and a what a super idea it is too, we all sit and the lift you deserve. The venom contains enzymes and peptides, which are wonderful at reducing swelling and increase blood circulation. As your metabolism speeds up at the end of the week, don’t be afraid round and share our mutual bafflement and mis-readings of key theoretical texts; and then swear if an aggressive turtles head reveals itself. Facing this visitor may be painful, but believe me dear cancer, he not to ‘fess up to anyone beyond the group that we are truly none the wiser about yer Debord’s, is an old friend. Deuleuze’s, Heidiegger’s, Lacan’s and Baudrillard’s as the next pleb. The thing is, despite this mutual support and general ‘love-in’ vibe; there is fierce competition to sound clever and dig up some hither Leo (23 July – 22 August) Leo rules the heart and spine and is here to inform you that love and hate to unheard of tract. And so, something inside me has snapped. I know I’ve truly upset the apple cart can co-exist indefinably. But love and depression are opposites in a fight where love has bad odds. Even this time. About a fortnight ago I suggested a reading of One Billion Avalanches / Up-cast Glances. All out the odds with monoamine oxidise inhibitors, if this is ineffective, blood letting may be required to in the group sagely nodded. Some even murmured that they had read it ‘years ago’, but would relish release past demons and the absorption of cholesterol. If you can embrace a good cardiovascular fitness the chance to “re-read the text in the context of contemporary paradigms”. Of course – as you may regime while Saturn is in your sign this year, then you will reap the rewards. have guessed, I just made the title up. How to I spare my colleagues blushes and the inevitable subjection of my good self to the devilish disciplinary procedures these theory boffins are no doubt Virgo (23 August – 22 September) Mercury the winged messenger god that rules your sign blessed you with an analytical eye and restless mind. You are genetically blessed with messy thinking and capable of devising? should celebrate your natural edge. On the weekend of the 11th, the fear of the Lord adds length to life, just Undermining such a sacred bond of trust – you scoundrel! And yet, part of me wants to embrace you like a like magic. Don’t question it. From the lips of an adulteress drip honey. Don’t be surprised if a happy family third cousin and sloppily French kiss your ear while mouthing the words “Gwaan-my-gurl!” What ever the event or occasion is announced soon!! The majority of leg ulcers are caused by poor circulation check for the rights and wrongs of the matter, which in this case I choose not to, adjudicate between; I would advise early warning signs: sores and varicose veins. saying no more about the matter. The whole business can be simply pinched in the bud by you repeatedly bemoaning the loss of your treasured 1973 edition (Detournement Press) and your ongoing failure to track Libra (23 September – 22 October) The Aries eclipse opposes you at the end of the month; your down a copy through specialist book sellers and biblio-fairs. All should go smoothly enough – providing the thoughts have recently become increasingly clammy and slimy and are contagious. Similar to a laws of probability, relativity and the space-time continuum are truly on your side; and that no one in your verruca the treatment needs to target the root. On the forehead directly in front of the left frontal sinus drill a 15mm hole to reveal the top layer of the dura mater. From here you can access the bad thought giblet. With group ever appears at a meeting with an edition of the said text. a well cleaned soldering iron set on high you can give your self a boo-hoo lobotomy. The grumpy gland can be located by touch alone as it is likely to feel upset. I am painter of vintage farm machinery and stream locomotives; and I’ve recently become completely besotted with the body of theory that goes under the name of ‘visual culture’. In Scorpio (23 October – 21 November) If you think your dogs are safe, then think again, due to the particular, I’ve come to adore the withering critique it offers of ‘scopic regimes’ – the ways in which dominant position of Mars they are likely to be stuck in an elevator for hours or hit by flying ice. we frame, contain and control the world by the conventional ways in which we look it and visually Lucky Jupiter in your sign this month is sure to keep you from eating too much. Experiment with ways to represent it. But the thing is, I’m having second thoughts about a viewing strategy I’ve devised in use positive thinking and creative visualisation to manifest what you want. Your view of the world is greatly order to counter the ‘kingly’ perspectival gaze – you know ‘the master of all I survey’ views afforded influenced by your past experiences, but most of the time this isn’t conscious, particularly when fear and by the deployment of the laws of perspective, that privileges a singular idealising viewpoint. shame are involved. According to my reading, it seems only logical to me that I should insist that visitors to my Sagittarius (22 November – 21 December) Dear Sagittarius, complex does not even come close exhibition don skin-tight metallic grey latex body suits, in order to writhe and wiggle on the floor- when it comes to you personality. This month Jupiter’s position suggests that your natural space of the gallery; traversing the surfaces of my canvases (which will lay face-up on the floor) like exuberance and enthusiasm, is not a deep-seated personality trait, but a malleable attitude about the self. beetles – in order to encounter the visual terrain in a more cartographical, research-based, Being carefree is not the same as being careless. Admit your mistakes at least to yourself, rather than through experiential and non-hierarchical mode. Is this, I ask you, pushing things a bit too far? the distorted dark glass of self-justification. Later in the month you may have generalised anxiety disorder. Not at all. This all sounds perfectly well thought out to me. Where is the harm in it? Go for it. I dare you! Capricorn (22 December – 19 January) Dear Capricorn, with the new moon rising in Gemini your I know that commercial notices are not usually entertained in this section of the publication, but I brain needs to preserve a coherent belief system and protect your view of your self. At the end of the do think I have a proposition that would be the answer to many artist’s needs and questions. The month you will be richer in collagen and elastin and able to withstand repeated trauma and friction. Now is idea came to me while I was lashing up some plasterboard partitions in the out-of-town light the time to experience a love beyond words, but beware, your ruling planet, Mercury, could cause you to miss or overlook the finer details later in the month, leaving you, itchy and perplexed. industrial unit I am leasing as an artists studios complex. I thought to myself, “with more and more artists working in fields of research, negotiation, discussion and socialising – what am I doing Aquarius (20 January – 18 February) Mars moves into your opposite sign in August. Aquarius installing three-phase power couplings, heavy lifting equipment; daylight balanced lighting and rules the ankles, Jupiter is at the top of your chart, and you are worried about yeast infection. Try building a communal kiln / foundry / barbeque unit? To my mind these cutting-edge dudes just need being a little messier in some ways, eat less sugar and see if there is an improvement in your creative two things 1) space in which to think their thoughts and operate their teeny-weeny laptops, 2) thinking. Most people with genital herpes got it from their partners. This month, all in all, when you put temporary respite from the flux of the everyday, the social and the public in order to recharge their things in perspective things aren’t so bad. Unexpected new interests may change your plotted course in critical reserves”. surprising ways. Try salsa dancing, smiling at strangers or shooting rats. So I’m proposing the concept of ‘the hive-pod-studio’. The aesthetics are similar to a hybrid of serried ranks of self-storage units and bunk beds. Rents would be super low and I’d be open to time- Pisces (19 February – 20 March) Dear Pisces, this week a misplaced garden hose, toy truck, un-even share options. I’m reliably informed that on the most part, the majority of artists use their studios as paving and slippery surfaces, can all result in a fracture. But Jupiter is well aligned to give you an added dose of determination with the help of geranium oil, which has both stimulating and refreshing qualities. little more than places to have a brief nap and dump shopping bags before heading of to private Your computer keyboard festers 75% more bacteria than a broken pub toilet, not only is this where vermin views and boozy nights therein. So, all in all, I think I have come up with really great idea. Would breed – but this is where the bad guys will steal your identity, at the start of the month. With the rising of you be so kind as to pass my contact details onto your readers? And would a slight modification of mercury in Pisces on the 15th in conjunction with fellow water sign cancer, Gaviscon double action should my scheme, with strict curfews, slopping out and visiting rights also be viable? go to the source of the problem. Readers, I reproduce the above correspondence as a chilling warning about the myriad of outlandish prejudices and misconceptions about artists that are abroad these days … national irish visual arts library Public Research Library of 20th Century & Contemporary Irish Art & Design Vivienne Roche Note of Silence John Behan Spirit Boat National College of Art & Design 100 Thomas Street, Dublin 8 firstname.lastname@example.org www.ncad.ie/nival Stephen Lawlor Horse Guggi Vessel Contact: Leo / Ray CAST Ltd 1a South Brown Street, Dublin 8 Tel: 01 4530133 Fax: 01 4735029 Email: email@example.com www.cast.ie E O I N L L E W E L LY N New Works 8 - 30 September, 2007 reception Sat. 8 September, 3 - 5pm Alternative Entertainment Gallery, The Civic Theatre, Tallaght, D24 T: 01 452 0611 E: firstname.lastname@example.org for further information: www.llewellyn.ie This show is dedicated to the philosopher John Stephen Moriarty, 1938 - 2007
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