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.
The Visual Artists’ News Sheet ISSUE 4 2008 July – August Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire Suzanne Mooney & Nuria Montblanch – performance installation at Castletown House. BRIAN O’DOhERty; FAF ShOwcASE; JOhN GRAhAm; RAthDOwN cONcOURSE OFFSItE; ARtIStS AND ImmIGRAtION lAw; thISISNOtAShOp; BERlIN BIENNIAl; ARtIStS BOOkS; BElFASt ExpOSED; ARt '08; kIDS’ OwN pUBlIShING; pABlO hElGUERA'S ARt wORlD mANUAl; REGIONAl pROFIlE – SOUth DUBlIN. 2 The Visual Artists’ News Sheet July / August 2008 INTRoduCTIoN CoNTeNTS Introduction Contents AS usual the past weeks here at VAI have been a very busy time with the need for our services and resources continuing to grow. The response to our information services shows that they provide a vital link for many 3. Roundup. Recent exhibitions and projects of note. artists. Visual Artists News Sheet has a circulation of six thousand and is available across the country. The 3. column. Julie Cranshaw. From Here to Where? purpose of the news sheet continues to provide commentary about issues that its artist/writers find of 4. column. Padraic E Moore. Profile: Sarah Morris interest. The opportunities and news sections continue to provide a valuable source of information about 5. column. Jessica Foley. Continued: After Vacation. what is happening across the country. The e-Bulletin now has a circulation of over five thousand subscribers. 6. column. Vanessa O'Reilly. Still in Time. Issued twice weekly, we continue to receive feedback from recipients on its importance as a source of 7. column. Micheal Burke. Balance. information and the feeling that it gives of being involved and supported. This is also reflected in the 7. News. The latest developments in the arts sector. expansion of the website. In particular, the info~pool has shown itself to be both useful and timely in the 10. FAF Showcase. What is Authentic? Paul O’Brien reports on ‘Sensational & Authentic’ a showcase information that it provides. evening organised by the FAF artists collective, at the Lab, Dublin (21 May). Calls to our help desk have continued to rise. We now receive over one hundred calls per week from 11. Regional profile. Visual arts activity and resources in South Dublin. artists looking for assistance with information, and asking for our assistance or advice about issues such as 14. how is it made? Cooler Feeling. John Graham writes about the background and ideas informing his public art commissioning, problems with galleries, sourcing artists, artists’ rights, insurance and contracts. recent exhibition, ‘Opening Sequence …’ We have had many situations where we worked on behalf of artist members. The most recent success was 15. career Development. Coincidences, Chance Meetings and Good Luck. Brian O’Doherty discusses issues assisting the six artists who were shortlisted for the Irish American Art Awards retrieve their works back relating to his art career with Brenda Moore-McCann in his first interview since having officially from the organisers following their withdrawal from the competition. We are extremely grateful to Eugene buried (1) ‘Patrick Ireland’ – the pseudonym / persona the artist had worked under since 1972 in Downes of Culture Ireland for his assistance and moral support in this matter. protest at Bloody Sunday. Coming up very soon we will announce our professional development & education programme which 16. Services. Pensions for Artists. introducing A new personal retirement savings accounts for artists. kicks off in September. Our new Education Officer, Monica Flynn, will be working closely with our 17. Art in the public Realm. Park Life. Sarah Searson reports on ‘Concourse’ – Dun Laoghaire-Rathdown members and our partner organisations, National Sculpture Factory and Belfast Exposed, to ensure that the County Council’s Installation programme in Blackrock Park. programme will cover a broad range of useful and timely topics. Also, a number of discussion events will 18. Art in public: Roundup. Recent public art commissions, site-specific works, socially engaged practice take place around the country lead by our regional representatives. Both Aideen Barry and Daniel Jewesbury and other forms of art outside the gallery. are doing excellent work making VAI known and we hope to be able to widen further our presence with a 19. Advocacy and lobbying. Barriers to Mobility. Pauline Hadaway reports on a public consultation held series of Artists Surgeries around the country. at Belfast Exposed on Immigration law and its impacts on international artistic exchange. We will also continue a number of ongoing projects that are looking at the area of the Social and 20. project profile. A Platform for Possibility. Jennie Guy talks to Aideen Darcy and Jessamyn Fiore – the Economic Status of the Artist. In September we will undertake a survey of our members by which we hope Directors of thisisnotashop. to get an even more accurate picture of the reality of living and working conditions. We are also looking at 24. International. Days & Nights in Berlin. Monica Flynn reports on the 5th Berlin Biennial for the preparation of an Artists Charter. With the charter we will lobby that any institution or organisation Contemporary Art – ‘When Things Cast No Shadow’ (5 April – 15 June) working with artists sign up to an agreement on how they treat artists. In addition, we are undertaking an 25. Artists Books. Listings of recently published monographs and artists books. archive project. As we get many calls from visiting artists, curators and other cultural workers who are 26. conference Report. Migratory Aesthetics. Daniel Jewesbury reports on the 2Move panel discussion looking to find out more about what is happening in terms of artists practices across Ireland, we have a plan that took place in Grosvenor House, Belfast ON 17 May. to create an archive of our members. This will be in partnership with NIVAL and the provision of 27. Institution profile. Strategising for Autonomy. Daniel Jewesbury, VAI's Northern Ireland representative information will be an option when joining or renewing your memberships. Interviews Pauline Hadaway, Director of Belfast Exposed, about the organisation’s implementation This is a small amount of the activities that we have underway at any one time. We know that the key of a new strategy and business plan. to our success is our people and the support of our members and if you feel there is an opportunity for us to 28. project profile. Fair Potential. Lee Welch discusses the 'Art 08' (16 – 18 May) art fair, held at the RDS assist you please contact us at any time. Dublin and considers the potential for the development of the event. Noel Kelly, Director 29. Institution profile. Kids Own. Kids’ Own Publishing Partnership reflects on its ethos and introduces its new research project ‘practice.ie’. 32. Opportunties. All the latest grants, awards, commissions, residencies etc. MeMBeRSHIP APPLICATIoN FoRM 39. pablo helguera's art world manual. Our third extract from the essential guide to understanding and operating within the artworld. Name: Address: production Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout: Monica Flynn; Opportunities: Dierdre Nolan; Proofing: Anne Henrichson; Invoicing: Monica Flynn / Bernadette Beecher. telephone: mobile phone: contributors Email: website: Bik van der Pol, Aideen Barry, Daniel Jewesbury, Monica Flynn,Vanessa O’Reily, Orla Scannell, Julie Craw- shaw, Barry Hughes, Ross Ingram, Sarah Searson, Michael Burke, Padraig Moore, Jessica Foley, John Graham, category of membership: oProfessional oAssociate oFriend Jennie Guy, Rachel McAree, Lee Welch, Orla Kenny,Brian O’Doherty, Alternative Entertainments, Tallaght *If applying for Professional membership please tick which of the following apply. To qualify as a Professional member you must meet a Community Arts Centre, Paul O'Brien, Brenda Moore-McCann. minimum of three of the below criteria. You do NOT need to fulfil these criteria if you are applying for Associate membership. contact western Representive o Degree or Diploma from a recognised third level college. Visual Artists Ireland, Aideen Barry. E: firstname.lastname@example.org o One-person show (including time based events) in a recognised gallery or exhibition space. 37 North Great Georges Street, Dublin 1. Northern Ireland Representive o Participation in an exhibition/visual art event which was selected by a jury in which T: 353(0)1 872 2296 F: 353 (0)1 872 2364 Daniel Jewesbury. professional artists or recognised curators participated. E: email@example.com o Work has been purchased by Government, local authority, museum or corporate client. www.visualartists.ie Board of Directors o Work has been commissioned by Government, local authority, museum or corporate Staff Liam Sharkey (Chair), Therry Rudin (Vice Chair), client. 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Cheques payable to Visual Artists Ireland. Cheques can be accepted in Euro or Sterling. EDItORIAl pANEl OR VISUAl ARtIStS Visual Artists Ireland is the registered trading name of The Sculptors’ Society of Ireland. Registered Company No. 126424. IRElANDS’ BOARD OF DIREctORS. VISuAL ARTISTS IReLANd, 37 North Great George’s Street, Dublin 1, Ireland. T: 01 8722296 F: 01 8722364 E: firstname.lastname@example.org e W: www.visualartists.ie The Visual Artists’ News Sheet July / August 2008 3 CoLuMN RouNduP Roundup event was time based (the artists spent from Caro’s ‘Court’ and ‘Cubic’ series of Julie Cranshaw two weeks in Belfast) its legacy, a fully sculptures made in the early 1990s, along From here to where? illustrated book, has been in progress with more recent pieces from the IN 1997 at the Globe Gallery, North Shields – a coastal town near Newcastle ever since. At the launch of this book, (3 ‘Concerto’ series from around 2000. At wcAc www.hillsborofineart.com upon Tyne – I witnessed artists from Glasgow get off a bus and artists from May) performance artists Sofia Greff Newcastle get on a bus to travel to Belfast. This was ‘On The Buses’, a Catalyst (Transylvania/Frankfurt) and Alejandra Arts project– a vehicle to take you from one place to another. clAIRE hAlpIN Herrera (Chile) simultaneously In 2007, Galway-based artist Megs Morley invited me to think about the introduced and reminded people of the destination of a new collective journey as part of ‘Where do we go from here?’ activity and movement that is an event that took place on the 17 November in Galway, as part of Meg’s ‘Irish ‘PerfoPuerto’. Artist-Led Archive’ project. Besides the presentation of a physical archive, the www.catalystarts.org.uk www.perfopuerto.net event included input from relevant practitioners – which added a depth of www.cqaf.com perspective. These included Brian Kennedy, previous Chairperson of Arts & Research Exchange (set up in 1978 in Belfast) and Julie Ault, co-founder of AIlBhE NÌ BhRIAIN 'Curating degree Zero Archive' Installation view WCAC. Group Material (set up in 1979 in New York); as well as current experiences from Ben Geoghegan and Niall Moore, who set up G126 gallery in Galway in 2005; and Sean Lynch as an artist interested in forgotten histories and fragile ‘Curating Degree Zero Archive’ at the stories. West Cork Arts Centre (15 March – 19 There are 75 projects included in the archive (www.theartistledarchive. April) represented the practice of over 90 Clare Halpin Icon 1 oil & phototransfer on canvas. com), primarily shared across Belfast, Cork, Dublin and Galway, with some international curators. Curated by Mick projects in Derry and Limerick, and individual projects scattered across Co Wilson, the show presented material ‘Always Now’ Claire Halpin’s exhibition Clare, Co Mayo and Co Roscommon. The dominant project format is that of such as catalogues, articles, videos, CDs at the Talbot Gallery, Dublin (5 – 26 June) exhibiting collectives (across media interests) and site-specific (non-gallery) and images. Also showing at the West Work by Ailbhe NÌ Bhriain shown at the Butler Gallery. presented paintings based on family projects as well as including a high level of studio groups. There are also Cork Arts Centre (May 17 – June 21) was photographs and exploring the theme of workshops and resources, collaborative practices, publishing projects, festivals a series of paintings, photographed and loss. As the press release noted “the (music and art), an on-line record label and some galleries (although not as An exhibition of photographs and video made into a slide projection, back- process of creating the paintings, the many as I expected). works by Cork based artist Ailbhe NÌ projected into a model theatre and blurring between painting and Bhriain, was recently on show at the accompanied by music by the artist photography and the very physicality of Butler Gallery (3 May – 15 June). The Andrew Vickery. The paintings were how the medium was applied was works in the exhibition were composed painted largely from memory and important to the overall understanding from details from many different recollect specific personal experiences of the artist’s work”. photographs and video shots, taken in and events. www.talbotgallery.com www.westcorkartscentre.com and of real places in the course of the artist’s travels. tRAckING BEAcON thE SpAcE IN BEtwEEN www.butlergallery.com pAtRIck GRAhAm: cRIt I find the Art Eco System Model (1) a useful lense through which to look at multiple activity, and introduce it here as a tool to look at Irish artist-led practice as a kind of ecology. The Art Eco-System Model is an attempt at describing an arts infrastructure – and how artists are helped to travel within it. What it doesn’t describe is how artists help themselves eg. – how they analyse their own contexts; design their future ‘states’ and build models for Work by Martha Quinn, shown in 'The Space in Between' getting there. Peter o'Kennedy Tracking Beacon (NY12508) video still. The journey for Arts & Research Exchange (ARE) was to introduce “a set ‘The Space in Between’ at the Basement 'Patrick Graham Crit' installation view – Broadcast Gallery. of philosophical and theoretical positions” to the “mainstream arts Gallery, Co Louth (29 May – 27 June) was Peter O’Kennedy’s video work Tracking infrastructure” (2). And through the dedication and doggedness of individuals an exhibition of sculpture curated by Beacon (NY12508) was presented in an who had a belief in making the impossible attainable, ARE successfully ended Fiona Mulholland. It included work by ‘Patrick Graham: Crit’ was an exhibition abandoned squash court on St. Stephen’s up as “a conceptual and irritating thorn in the butt of an arts establishment, Noel Brennan, Brendan Jamison, Maggie of works on paper by Patrick Graham at Green, (May 16 – June 12), which the which had long since given up caring about the aspirations of its non-aligned Madden, Janet Mullarney, Cristophe the Broadcast Gallery, Dublin (10 – 14 artist had converted the space into a constituents”. ARE posed as a gallery and as a resource centre (and probably Neumann, Alan Phelan, Martha Quinn June). The show also included an audio temporary outdoor cinema. The subject many other things) but stayed in the position of the ‘artist-led’ (see the top of and Ralf Sander. The press release recording of a conversation between of the work was an abandoned railway the right hand side of the diagram) – in order to influence the thinking of the described the show as being concerned Graham and the exhibitions curator track that runs through the town of ‘other side’ rather than joining it. From that vantage point they circumnavigated with “the translation of the everyday into Ronan McCrea. The impetus for this Beacon, in upstate New York – and the the designated transport links: critics, dealers and small spaces, and were exhibition was the meeting of Ronan the extraordinary through sculptural piece features footage taken by a successful in contributing to a behavioural legacy. McCrea and Patrick Graham while both form and practice”. miniature camera mounted on a small In 2008, although the vehicles may vary, G126 in Galway is not alone in were teaching on the Fine Art Course at machine built to ride the track; recording maintaining the long drive to create space for its own aspirations and those of DIT – in addition to the unique situation pERFO pUERtO a long, extreme close-up tracking shot. its fellow constituents. Other projects that are using their vantage point to of Broadcast gallery with an educational develop practice and support exchange include Enso, a multi-media context. The show also marked the collaboration in Galway; Blackletter – the Dublin-based publishing mAxImUm twElVE pER pERSON retirement this year of Graham from over environment and SPART who are busy developing “the most evolved form of 20 years teaching at DIT. leisure on the planet” in Belfast. However, as well as designing their ‘project vehicles’, it also feels like ANthONy cARO: SElEctED wORkS artists in Ireland have taken charge of the ‘bridges’ – both by redesigning old models and inventing new ones. In Dublin, Temple Bar Gallery & Studios, initially set up by artists in 1983 “in response to the increasing demands of affordable studio space” now also exists as a publicly funded gallery with an international programme and reputation. Mothers’ Tank Station, set up by artists in 2005, is successfully representing “work of complexity in the Amy Walsh They're only cupcakes commercial context”. After losing their premises both FOUR (Dublin) and Villa K (originally Cork City) plough on. And in the face of fire and fury ‘Maximum Twelve per Person’ by Amy Factotum continues to publish The Vacuum. So dedication and doggedness Walsh at the Stone Gallery, Dublin (25 remains to fuel the drivers… of the vehicles… over the bridges… to go April – 31 May) explored “a contemporary somewhere… new? Anthony Caro Toward Centre, 1984, lifestyle in Manhattan” through the video Performance work by Sofia Greff. steel, 94 x 134.5 x 99 cm Notes installations and photography. The Julie Crawshaw is based in the sticks near Manchester, england. Amongst other things she is a co director of ‘PerfoPuerto’ was an exhibition / residency Hillsboro Fine Art, Dublin presented the www.midwest.org.uk a six-year project that will close this autumn. subject of this two-channel video at Catalyst Arts, which featured nine first one-man exhibition of work by (1) The Art eco-System Model originally developed by Morris Hargreaves McIntyre as part of Taste Buds: How installation was the Magnolia Bakery. to Cultivate the Art Market (2004). The report examines the sector in three major areas: production, supply and Chilean artists that took place in 2007 sculptor Anthony Caro’s in Ireland (1 – demand. The name of the installation was derives (2) As Chris Coppock outlines in the A.R.e. archive entry (as first published in issue 12 of The Vacuum). and part of FIX 2007. While nature of the 24 May). The works in show were drawn 4 The Visual Artists’ News Sheet July / August 2008 CoLuMN RouNduP from a sign hanging inside the door of the illustrations to strong conceptual Padraic e Moore bakery, which states “Don’t be greedy, photography and ramshackle installations profile: Sarah morris there’s more than enough to share, a and dealt with both the beauty and the IN late 2007, I visited the Max Hetzler gallery, Berlin to view ‘Chinatowns’, an maximum of twelve cupcakes per person darker sides of post-modern America”. www.g126.eu exhibition by the artist Sarah Morris – of whom I am a long time admirer. As the in a twenty-four hour period”. Also on title suggests, the paintings and film piece featured in this show were unified show was ‘Lens’ an exhibition featuring subtly by references to China, though all the works were equally capable of VERy cOmmON GlORy works by Desmond Shortt, Kate Murphy, functioning outside that specific thematic structure. The exhibition was Ciara O’Hara, Louise Ward, Dianne constituted mainly of exquisite paintings from Morris’ ‘Origami’ and ‘Ring’ series Whyte, Laura Fitzgerald and Anne – and while in formal terms, the former series initially appeared to homage Hendrick. (7 March – 19 April 08) Vorticism or Constructivism, closer investigation revealed these works to be www.stonegallery.ie paper folding diagrams. In addition to drawing attention to incidental art Peter Richards Butterfly historical parallels between East and West, this clever conflation highlighted that while origami is often assumed to be Japanese, this ancient art form actually EphEmERA Richards recorded figurative-based, originates in China. Equally connotative were the ‘Ring' paintings which strongly abstracted moments in the simultaneously evoke the iconic Olympics logo and the networks of beltway history of performance art whereas, Corry roads which encircle Beijing. drew with light, using fibre optics and Sarah o'Brien work from 'Very Common Glory' Pallas Contemporary Projects, dublin. Though discernibly dissimilar from her earlier paintings – composed filters, creating images that were, entirely according to grids and architectural motifs – the paintings in ‘Chinatowns’ were Pallas Contemporary Projects, Dublin abstract. The exhibition was accompanied executed in Morris’ trademark idiom of sharp polychromic colour planes, presented ‘Very Common Glory’ (17 May by a full-colour, limited edition catalogue, composed in semi abstract formation. They also shared with Morris’s broader –14 June) by Sarah O’Brien. Comprising which contained an essay by the curator body of work, the incorporation of strategic references into images that remain drawings and installation works, the Brian McAvera. sufficiently non-representational to permit subjective interpretation – with www.solsticeartscentre.ie predominant themes were noted as those references pertaining, in this instance, to China’s cultural and historical “plumes – clouds built of terrestrial Work by Simon Starling shown at 'ephemera', milieu. Green on Red Galllery, dublin. explosions, like volcanoes, or bombs of lIkE hORSES AND FOG Also featured in ‘Chinatowns’ was Morris’s film Robert Towne, an interview war, or the gaseous explosions of distant between the artist and the film director and screenwriter Robert Towne – who ‘Ephemera’ at Green On Red Gallery, places in our universe”. won an Academy Award in 1974 for his script for the film Chinatown. Screened Dublin (23 May – 22 June) featured works www.pallasprojects.org in a separate space from the paintings, the film – in which Towne reflects upon by Ian Kiaer, Gabriel Kuri, Jonathan Monk corruption, power and conspiracy in the film industry – offered an alternate and Simon Starling. The show was perspective upon the paintings. Towne’s tales of connivance and domination 10,000 tO 50 described as comprising works that prompted contemplation of the works referring China’s cultural and political “dared the viewer to accept their validity history through the lens of iniquity and improbity. One of the most stimulating and viability as artworks”. Commenting aspects of Morris’ work is this capacity to sew webs of disjointed narratives and on the show Jerome O’ Drisceoil, director Linda Quinlan I’ve seen your bravery and I will follow you parallel occurrences, which reappraise history while and illuminate truths there, 2007. dVd still, 2-channel dVd projection Courtesy of the gallery noted that he had about contemporary life while always avoiding didactic simplification. of the artist specifically sought work that was “anti- A week after viewing ‘Chinatowns’ I had the opportunity to discuss heroic or anti-monumental in nature – Linda Quinlan’s exhibition ‘Like Horses Morris’s work with the artist via telephone. During our illuminating conversation, work that deflates expectations”. and Fog’ was recently presented at I was intrigued – but not surprised – to discover Morris did not attend art school, Galway Arts Centre (6 June – 5 July). The but rather studied cultural theory and political philosophy – disciplines that www.greenonredgallery.com Ronan McCrae M(CE) – work from '10,000 to 50' at The Irish have evidently impacted upon her practice. Morris’ oeuvre is characterised by show featured paintings, video, Museum of Modern Art. her tactic of juxtaposing strategically selected signs within an ongoing, self At mONStERtRUck drawings, sculpture and installation reflexive and polemical process of production, that repeatedly underscores the works. The press release described IMMA and Business to Arts joined forces flaws and perils of the political, cultural and economic systems in which all of Quinlan’s show as “forming an ensemble to celebrate 20 years of the visual art us play a role. of exquisite and precisely calibrated collections of its member companies During our dialogue, Morris recalled how, as a student growing up in contingency”. The show was with the exhibition ‘10,000 to 50’ – Providence, Rhode Island, her interest in cultural production and the arguments accompanied by a publication on the recently shown at IMMA (30 April – 4 surrounding it were piqued from afar through reproductions in art magazines artists work, which features an essay by August). The show included examples of and periodicals. She revealed also that during her emergence she was particularly Sally O’Reilly, a short story by Cathal Irish-based visual art practice, as well as interested in, and influenced by, artists such as Cindy Sherman and Jeff Koons. documenting the commissioning of Coughlan, and texts by the artist and a Though Morris shares with these artists what she terms an ability to “make the number of invited artists created artworks and ongoing corporate support role of the critic superfluous by integrating their critical stance into their specifically for this publication by Anna at community, national and international practice”, in my view Morris’s own work is more relevant and critically engaged Barham (UK), David Joyce (IRL), Lorna levels for the presentation and promotion than either Sherman or Koons. While the aforementioned artists appropriate McIntyre (UK), Giles Round (UK), and of contemporary art. Over 10,000 artworks and pastiche signs, objects and commodities, Morris sequesters entire institutions, identities and occurrences – incorporating them into aesthetically pleasurable Lee Welch (IRL). from the collections of Business to Arts www.lindaquinlan.com artworks that order the chaotic present; while raising issues of authorship, members were considered from which a www.galwayartscentre.ie originality and truth. During our conversation, it became apparent that, though final selection of 50 was made. A specially Morris’ practice is manifest most tangibly in films and paintings, these are commissioned new artwork, a ultimately by-products of a process of dialogue, analysis and excavation with Holly Pereira – work from 'Kin' at Monsteer Truck, dublin. SAcRED AND pROFANE photographic ‘portrait’ of the workplace individuals and organisations that is as radical as her artwork – if not more so. by Irish artist Ronan McCrea, was also ‘Kin’ An exhibition of a series of paintings At the time of our conversation, Morris was commencing editing the 35mm shown. The show was jointly curated by film 1972, which focuses upon the 1972 Munich Olympics. For the film, Morris by Holly Pereira was shown at Monster Christina Kennedy, Karen Sweeney, and interviewed George Sieber, psychologist and international security expert Truck Gallery, Dublin (1 – 6 May). The Jenny Haughton. A publication engaged – in the months approaching the 1972 summer games – to predict exhibition explored Pereira’s Asian accompanied the exhibition, which hypothetical worst-case scenarios which might befall the Olympics. Sieber heritage through portraiture. In ‘Chilce’, featured with by Christina Kennedy and submitted 26 scenarios to security officials one of which, titled Situation 21, was the following show at the venue (6 – 10 an almost precise prophecy of what became known as the Munich massacre, art critic Gemma Tipton, reflected on the June), works by Aniz Durand and Nina when 11 Israeli athletes were murdered by Palestinian terrorists. 1972, like nature of corporate support of the visual Tanis explored the artists shared interests Robert Towne, exemplifies Morris’ strategy of sequestering and dissecting arts and the ways by which companies in chewing gum – as a material and its 'Sacred and Profane' installation view G126, Galway. incidents and reintroducing them into the realm of public discourse via alluring acquire and commission artworks. cultural history. As the release noted, artworks. Morris not only comments upon what she calls “the idea of serial www.imma.ie viewers we invited to “chew over their failure in the Olympics”, but also raises universal issues relating to the ‘Sacred and Profane’ (17 April – 24 May) work”. relationship between public spectacle, apparatuses of control and the at G126 Gallery, Galway featured new plANS, SEctIONS AND ElEVAtIONS www.monstertruck.ie unsuccessfulness of well-planned projects (1). work by a diverse selection of nine The exhibition, ‘Plans, Sections and This methodology of revisiting and reactivating past situations epitomising emerging artists based in the San Elevations’ was presented at the Royal declination or catastrophe, exemplifies to some degree what Morris calls a StANDING IN thE wAy OF cONtROl Francisco area – Alika Cooper, Lisa Institute of Architects, Dublin (8 – 29 “negation of failure”. This process demonstrates a fundamental truth worth An exhibition of photo works entitled Rybovich Cralle, Jeremy Ehling, Cameron May). It comprised works by artists and remembering – that with the passing of time and the alchemistic power of ‘Standing in the Way of Control’ by Peter Hasslebusch, Chris Lux, Jennifer Marshall, architects, which according to the curator, subjective imagination, – it can turn out to be the case that phenomena or Richards and Martina Corry and curated Laura Plageman, Rob Sato and Hank Padraic E. Moore were “collated and occurrences initially judged as failures or successes may reveal themselves to be by Brian McAvera, was presented by the Willis Thomas. The artworks were displayed to demonstrate the potential of quite the opposite. Solstice Arts Centre, Meath (2 – 27 July). described as ranging from “delicate, the visual language of architecture as a Both artists used the photographic (1) 1972 can be viewed at Lenbachaus Munich until September. intimate watercolours and detailed vehicle for non-representational process in highly individualistic ways. The Visual Artists’ News Sheet July / August 2008 5 RouNduP CoLuMN expression”. The exhibition featured Herbert Hamak (April 25 – 17 May) contributions from Detta Allessi, Swollen comprising “abstract, minimal forms” pEARSE GIlmORE Jessica Foley Design Studio, Gary Farrelly, Christoph that were described as “studies in the continued: After Vacation Kronke, Maurizio Scalera, David Turpin saturation of colour”. and Andrzej Wejchert. www.sebastianguinnessgallery.com AROUND thE hOUSE mORRISSON & hEAly Pearse Gilmore Penguins in Connemara ‘Multiplicity and the Search for Infinity’ work by Janet Mullarney was an exhibition of work by Spanish- Janet Mullarney recently exhibited at based artist Pearse Gilmore at The Casa Masaccio, Valdarno, Italy (19 April Georgian House, Limerick (30 April – 12 Haegue Yang Holiday for Tomorrow. Installation view e v+a 2008 –19 May). The show, curated by Susanna May). It was the artists first solo exhibition "you spend this holiday waiting for the next holiday. In the silence the Ragionieri was described as being in Ireland. city comes up clean as if it has been washed. the mind still runs, looking concerned with “making a home wherever for a space called holidays. A holiday is a place where faith submerges. we find ourselves”. SlIGht Margaret Morrisson decay 1 2007 Revolutions make national holidays. the homeless do not throw www.janetmullarney.com holidays either. I’m not sure what holidays are either. holidays are a An exhibition of new paintings by monster. people over look that."(1) I sat down on the white wooden At thE NORmAN GAllERy Margaret Morrisson and Ciara Healy was platform, dusted with vague foot prints, horizontal base supporting the shown at Custom House Studios, vertical headboard hosting the flat-screen television, the kind found in many Westport, Co. Mayo (5 – 29 June). a home these days. The voice sounded lonely – or else detached – it’s hard to Morrisson’s work described as engaging know when one projects or when one observes. She, though of course it could with “colour, form, architecture, beauty have been a He, spoke a sort of abstract speech – like a collage of thoughts, and the transient nature of the subject peeping through a membrane of consciousness, like beads of sweat, lingering matter”. While Healy’s work “drew and not yet streaming, not yet fluid, not yet quite perspired. inspiration from nature’s uncanny ability "the mind still runs." On the TV screen a video was playing – showing to embrace change”. images of an Asian city; Korea, apparently in those moments before waking, Maria McKinney – work from the exhibition 'Slight' at before work, during rest, during sleep. Every so often a ball bounces through Work by Celia Perceval, shown at the Norman Gallery. chIlDhOOD lOSt Ballina Arts Centre. the images in slow motion – then I notice the film speed and that the images Ballina Arts Centre presented ‘Slight’ an are not still, but are in fact capturing time, they are in fact breathing in a way. The Norman Gallery, Wexford presented installation work by Maria McKinney There are multi-coloured blinds all around, above me, they are pretty I think. the work of Australian-born Celia Perceval (June). ‘Slight’ was described as being There is an unusual (and not so pretty I think) form set behind wooden (10 – 25 May). As the press release noted concerned with “predetermined systems screens, built out of shells, a souvenir of sorts, a glob of shell – seemingly “her energetic style, along with an acute and visual tools examining examined excreted onto the bare concrete floor. And there is a silver fan – it is switched eye for incidental detail, brings alive the their authority as genuine and on, moving its head over and back, left and right in a methodical and winter-deadened countryside of counties concluded”. unquestioning manner. Its purpose; to make the air move, in order to make Kerry and Wexford”. This was followed www.ballinaartscentre.com other things move? To cool down the viewer as they enter the space? To by ‘Duende’ (31 May – 15 June) an suggest heat? Or is it there to simply make that gentle and hushed whirr? To exhibition of new paintings and drawings chRONOScOpE add an accompaniment to the voice, a kind of undertone harmony? by Paddy Lennon inspired by a period of All this to contemplate the concept of Holiday – which suggests space time spent by the artist in Spain. and time and stillness and reverence…or perhaps once did – perhaps once Phillip Lee Accident oil on Linen 60cm x 60cm www.normangallery.com suggested a different kind of ritual than that of the everyday of work and labour and social interaction, a ritual of spirituality, however feigned it may JAmES NARES The Stone Gallery, Dublin presented have been. The Holiday. Is it now perhaps a ritual of consumption, a space of ‘Childhood Lost’ – a solo exhibition of karaoke – a kind of sing-along activity not founded in any kind of reflection new paintings by Philip Lee (6 June – 5 but rather saturated in escape and vacancy? "the homeless do not throw holidays either." I had never thought July). Lee’s work was concerned with about it before. In Japanese, Kara means empty, and oke means orchestra. The childhood memories. space of Holiday is empty… www.stonegallery.ie "One expects one would have a clear head on a vacation…this vacation…a perfect time to confess ones love…one could finally pOINt OF NO REtURN explain once and for all the subject that was left hanging… In the coming holiday I swear you will say there is no more love left between the two of you ... " ... but, according to quantum physics, empty space is not actually empty – and this Limerick vacation is not one full of absence… there are spaces inhabited by objects and concepts and stuff – sometimes visited by people – but it is the space that has become inhabited – the empty orchestra Alice Maher Raven (2008) Courtesy Green on Red Gallery has been conducted to play. ‘A perfect time to confess ones Love’ – this vacation has cleaved open the everyday of a city and pierced it through with a Newman House, Dublin was the venue memory of itself. That is the nature of this exhibition – a perennial statement for an off-site Green On Red Gallery show, of contemporariness, even while it drifts into yesterday and yesterday – even Work by Thomas Nozkowski – shown in 'Point of No entitled ‘Chronoscope’ (13 June – 2 July). while the vacation becomes occupied again by vacating… Return' Rubicon Gallery, dublin. James Nares, untitled, 2008, oil on linen, 226.7 x 147.3cm The show featured work by Alice Maher, "you spend this holiday waiting for the next holiday." Tirelessly like Now showing at the Rubicon Gallery, Bea McMahon, Dennis McNulty, Paul Duchamp…”I force myself to contradict myself to avoid conforming to my Works by James Nares were presented for Dublin (7 June – 16 Aug) is ‘Point of no Mosse, Niamh O’Malley and Nigel Rolfe. own taste” – this exhibition of contemporary visual + expression exists to the first time in a solo exhibition at the Return’ an exhibition curated by Caroline The artists were invited to intervene in contradict, to compel, to state, to advocate, to initiate, to protest, to announce, Sebastian Guinness Gallery, Dublin (13 Hancock and Sherman Sam. It explores the spaces of Newman House – the show to document, to present, to re-iterate, to re-iterate…anew, again, again – it is June – 11 July). The works in the show “the crossing of boundaries, physical or being described as an exploration of done now, wait for next time – it will be done again – we will visit once more were created by the artist physically geographical, fantastical or emotional, “residual presences and absences of the – we will see and feel – I will sit and smell and touch and think, and chat suspending himself on a homemade literal or abstract”. The show featured opulent spaces of Newman House … perhaps with bodies I meet around objects and concepts and stuff. I’m not sure sliding contraption, which enabled him works by seven artists – Carl Andre, giving voice to but also subverting the what Holiday is either. But the ritual of it makes me present, if only to drag a loaded brush across the canvas, Stephanie Calais, Thomas Joshua Cooper, dreams for a modernity that never was”. momentarily… www.amexhibition.com resulting in paintings composed of one AK Dolven, Thomas Nozkowski, Robert Notes single brushstroke. The previous show at Orchardson and RafaÎl Rozendaalís. 1. This text is Jessica Foley's second and concluding response to e v+a 2008. The work described above is Haegue Yang's installation Holiday for Tomorrow. The text in bold sans serif is taken from the voice over the gallery was an exhibition of work by of the video piece. The duchamp quote is from Merce Cunningham ed. Germano Celant. Fundacio Antoni Tapies, Barcelona, 1999 (pg 160). 6 The Visual Artists’ News Sheet July / August 2008 CoLuMN RouNduP Vanessa o'Reilly thE SpEctRE AND thE SphERE (25 June – 28 Sept). Comprising some 90 works, the show ranges over the entire of a series of discussions and collaborations with a number of cultural Still in time period of the artist’s association with groups from France, Belgium, England, At first hand, our awareness of the world is experienced in a spatio-temporal West Africa. Scotland, Northern Ireland, Germany, continuum – so it could be said that in this context the static art object stands Also on show is ‘Whose beginning Sweden, Holland, Spain, Croatia, Slovenia incongruent. In particular, I’m referring to the traditional static visual arts; is not, nor end cannot be’ is the first solo and Canada. painting, sculpture and photography. Film, video, performance and sound exhibition in Ireland by German artist www.pssquared.org being more comparable to our real sequential experienced time in its Ulla von Brandenburg at IMMA (28 May associations with narrative. Laura Mulvey writes in Death 24x a Second (1) that Jessie Jones The Spectre and the Sphere (Film Still). – 12 October). Curated by Rachael mEmORy wORk the “attributes of cinema’s movement dovetail with those of narrative’s form Thomas, the show presents new and Finola Jones’ installation, ‘A work of and structure. … Cinema’s forward movement, the successive order of film, Jesse Jones’ 16mm film, The Spectre and the recent works, that explore recurring memory from a great distance’ was merges easily into the order of narrative”. The experienced stasis of the static Sphere was recently shown at the Project, themes and new subject matter through shown at the Oonagh Young Gallery, art object, in particular the photograph / still image, is therefore seemingly Dublin (16 May – 14 June). The exhibition a wide range of media. Dublin (9 – 31 May). As the press release unreal in its denial of motion and temporality – yet it is hyper-real, in that it notes stated the show sought to conjure www.imma.ie noted the exhibition “posed questions to allows a freeze enabling our observant awareness. It seems that by denying up “a particular moment in the early the reliability of ‘camera veritas’ by motion and change, actually allows our consciousness to stand still, as it were twentieth century through the use of mENSchhEIt counterpointing the ‘street-real’ with TV – to contemplate and question – and thus to achieve a comprehensive cultural artefacts, imagining the various reality”. understanding of time and movement. www.oonaghyoung.com Curiously compelling, in relation to a discussion on movement and historical potentialities of the time, and stillness, narrativity and stasis, particular to time and art – is the construction how these residues may be present in our SUmmER FEStIVAl techniques within recent film and video work. My focus here is on my recent construction of the future”. www.project.ie The Project Arts Centre and Dublin viewing of Jesper Just’s (2) work; but is equally applicable to the work of many Docklands Development Authority artists – amongst them Johanna Billing, Annika Larsson and Jonas Dahlberg. JOhN GERRARD & JOy GERRARD recently presented ‘We Are Here 3.0’ (23 Works described as characterised by “glossy production values and emotionally June – 1 July). The programme “explored pitched soundtracks” (3). Recently Just exhibited A Voyage in Dwelling, at the contemporary urban experience” through Victoria Miro (4) in London (20 May – 14 Jun 14). A new trilogy was on show technology and live performance, and – A Voyage in Dwelling, A Room of Ones Own and A Question of Silence, along with “probed the lives of citizens online and this were a selection of the artists’ earlier works. Evident in Just’s work is the importance attached to subject, not as conventional narrative but as the offline in the real world”. www.wearehere.ie threshold of the viewer’s experience. Just’s works are concerned with the subjects of gender and sexuality as A lINE DEScRIBING NOthINGS social constructs. Just has stated that he does not create narratives to be read ‘A Line Describing Nothings’ new work or understood in any particular way, rather the works should be regarded as Work by Joy Gerard – shown at TBG&s, dublin. by Paul Murnaghan was shown at the shifting parts in his “socio-political inquiry” (5). Impressively installed through LAB, Dublin, (9 – 31 May). Earlier this the gallery; the 3 screen trilogy on the first floor; and the remaining works on Ciaran Walsh Station Found wood, aluminium piping, year, Murnaghan offered members of the the ground floor, the show’s architecture was not simply a platform that sheep-wool, steel-wool plastic tubing, water-canisters, tin public ‘Free Past Life Regressions’ with accommodated the works and the viewer, rather it was a successful viewing Temple Bar Gallery & Studios presented a cups, water 270 x 155 x 155 cm 2007 the stipulation that participants sat with mechanism that helped to produce the subject of the exhibition by framing two-person exhibition by John Gerrard an artist ‘post-regression’; and assist them the works and the viewer. A dominant factor in both the films structure and and Joy Gerrard (11 April – 24 May). As The group show ‘Menschheit’ at in rendering drawings based on the the form of the installation was rhythm; the trilogy being chronological the gallery notes remarked “while their Motherstankstation, Dublin (22 May – 28 places and people they had ‘remembered’. timed, moving clockwise through the room. careers are independent, as siblings they June) featured works by Kevin Cosgrove, The Lab show continued Murnaghan’s Strikingly within Just’s films, the characters’ gestures and the scenes are have always taken a strong and supportive Simon Denny, Andre Niebur, Brendan line of enquiry into belief systems and orchestrated around moments of pose, alternating between stillness and interest in each other’s work. This dual Earley, Ciaran Walsh, Torben Tilly and the fragmentary points of intersection movement; stasis and narrativity. Expressing the course of time within the presentation dealt with the artists’ Robin Watkin. According to the press between the spiritual, scientific and frame – the actual passage of time – whether linear or retrospective, is also mutual concern with the environmental release ‘Menschheit’, which means ‘a psychological. made clear in the characters behaviour, the visual treatment and the sound, and the political and with the boundaries where the sound has more of a connection with feeling than with thing of men’ the works on show www.dublincity.ie and limits of human control”. understanding, being more connected with immaterial corporeality. “deconstructed and re-evaluated the www.templebargallery.com Just plays with character identity and the temporal dimensions of past, notion of maleness in contemporary art present and future – creating works that are enhanced, stylised and glamorous. in their own various and often self- Get into The Roundup wIll cOmmON SENSE pREVAIl? The developed gestures of both the camera and actors unfold until they find a reflexive ways”. Garrett Phelan recently launched ‘At www.motherstankstation.com point of controlled pose, easily traversed through the repetition and return ■ To have your exhibition or what point will common sense prevail’, available to film. This gives the image a sense of deferred meaning prefigured event considered for inclusion an online audio project by curated by VOID ShOwS in the pose and it is here where the delay in action, holding the image and in the round-up section, simply Rene Zechlin and commissioned by the ‘Echo Valley / A Guiding Dilemma’ Dan creating these poses directly recalls the stillness of photography and locates e-mail text and images to the Lewis Gluckman Gallery. The project Shipsides show at Void, Derry (17 May – the viewer in a contemplative stasis traditionally afforded the static art forms editor (email@example.com). consists of 26 sound works which will be 20 June) was based around Shipsides’ however here it is present within the narrativity of the film. ■ Your text details / press release While not technically a freeze frame, as seen in film montage, Just’s use presented for a five year period on a experience of climbing with a blind should include: venue name, of ‘pose’, creates a rhythmical expression through his works. Contemplative dedicated website. person. As the press release noted “over location, dates and a brief spaces in the narrativity are frequently created – where this stillness asserts www.atwhatpointwillcommonsenseprevail.com the last fifteen years Dan Shipsides has description of the work / event. the power to enthral and create a space of reverie. Poses and hovering narrative developed an art practice which uses Note that ‘hard-copy’ cannot be creates what Laura Mulvey describes as “the opposition of stillness and thINkING SOmEthING ElSE climbing to think creatively about the accepted due to the volume of movement that reverberates across the aesthetics of cinema”(6). Just’s works An ongoing project, entitled ‘A Space spaces around us – in particular landscape material that needs to be effectively capture the ‘fetishistic’ audience – who hold his posed images in a That Gives You The Possibility To Think spaces and ideas about what landscape is collated for this section of the created ‘embalmed’ time, which is every bit as effective as the freeze frame Something Else’ by Jennie Moran was or could be. The project aims to develop publication. Inclusion is not where energies build by means of the stasis. In fact, the camera – as much as shown at Airfield, Dundrum (12 – 26 new ways of thinking about landscape guaranteed, but we aim to give the viewer – seems to absorb its surroundings, creating a type of personification June). The exhibition was situated in the based on the experiential”. Also showing everyone a fair chance. and meditation on time. grounds of the estate, focusing on a very at Void was ‘London Street’ an exhibition ■ Our criteria is primarily to Important in the art of a society is its ability to address the present in two small building called the ‘Summer by Maria McKinney, curated by Jonathan ensure that the roundup ways – that it is socio-culturally of it is own time – its own present to which it House’. During the exhibition, the Burgess (16 May – 14 June). The show section has a good regional bears witness; and that it partakes of this time, the time it which it, the work building housed an interactive was described as exploring “the many spread and represents a of art is presently perceived; in the moment. The specificity of this two-part installation / resting facility that utilised invisible boundaries segregating a city diversity of forms of practice, sense of the present embodies a paradox, which is within each work of art and wool from sheep kept on the Airfield from an element of its population”. from a range of artists at all in which it actively engages us. estate farm. stages in their careers. The circumstance of this paradox resonates strongly for me in works www.jenniemoran.com URBAN/Act ■ Priority is given to events taking such as Just’s A Voyage in Dwelling and the strategies he elaborates in exploring The publication Urban / Act was launched place within Ireland, but do let and sculpting with time. mIqUEl BARcElO at a discussion event at PS Squared, us know if you are taking part An exhibition, entitled ‘The African Notes Belfast (2 June 2008) that featured Doina in a significant international 1. Laura Mulvey death 24x a Second Reaktion Books Ltd.2006 2. www.jesperjust.com Work’ by the Spanish artist Miquel 3. Press Release for A Voyage in dwelling, Victoria Miro, 2008 4. www.victoria-miro.com Petrescu (AAA) and Fiona Woods event. Barcelo, is currently on show at IMMA 5. Jesper Just: Film Works 2001-2007, Witte de With, 2007 (Ground Up). Urban / Act is the outcome 6. Luara Mulvey death 24 x Second Reaktion Books Ltd.2006 The Visual Artists’ News Sheet July / August 2008 7 CoLuMN NeWS Micheal Burke Balance News IRElAND At VENIcE 2009 ARtIStS wIthDRAw FROm IAAA programme between 2008 and 2010. Six Two artists will represent Ireland at the Visual Artists Ireland can confirm that residencies and three once-off projects Venice Biennale 2009. The Irish six of its members, who had been will take place over during this period commissioner and arts officer with shortlisted for the 2007 Irish American The commissioned artist are: Leitrim County Council, Caoimhín Art Awards, have withdrawn their names Photographer Noel Bowler; The Public Corrigan has selected artists Sarah from the awards’ shortlist. The artists Communications Group consisting of Browne and Gareth Kennedy, both of are: Cecily Brennan, Noel Brennan, Mark artists Brian Maguire, Brian O’Connor Michael Burke. Balance. Stainless steel, bronze, hone limestone, polished red granite. Tullamore Courthouse. whom graduated from NCAD in 2003, to Garry, Conor McFeely, Corban Walker and Dominic Thorpe; Composer Ian A while back I finished off a commission for the OPW. The work, which is represent Ireland at next year’s Venice and Lee Welch. Wilson; novelist and poet Dermot Bolger; located outside the new extension to Tullamore Courthouse, is a contemporary Biennale. Visual Artists Ireland is committed artist Gary Coyle; Dublin Youth Dance take on the traditional personification of Justice – a woman, blindfolded and Karen Downey will curate and to assisting those members, who supplied Company; Ciaran Taylor and Carpet holding the scales of justice. Balance takes the form of a stainless steel bench organise Northern Ireland’s participation art works to the competition, in securing Theatre (BDNC) and artist Patricia balanced precariously on a bronze sphere. At one end, alternating layers of at Venice 2009. Karen Downey, currently the return of their art works. McKenna polished red granite and hone limestone represent ‘the law’. A figure of Exhibitions Director at Belfast Exposed The above artists wish to disassociate www.dlrcoco.ie/arts welded stainless steel walks away at the other end. The balance sought is Photography, will curate a solo exhibition themselves from the awards. between the individual and the law. tBG&S cURAtORS/cRItIcS StUDIO with new work by Susan MacWilliam. I had a few difficulties in completing the work – but it got there www.cultureireland.gov.ie Temple Bar Gallery and Studios (TBG&S) NEw NORthERN IRElAND mINIStER eventually and am pleased with the outcome. OPW organised a competition www.artscouncil-ni.org has allocated one of its 28 studios for Gregory Campbell, MP, is the new to select the work for Tullamore Courthouse and provided an exemplary Minister for Culture, Arts and Leisure in specific, dedicated use by a visual art artist’s brief. Site drawings, elevations, background information and of course mERmAID GREENStAR wINNER the Northern Ireland Executive. Campbell curator(s) or art critic/writer(s) to support the conditions that applied to the competition were all provided. A site visit The winner of the €5,000 Greenstar replaces Edwin Poots, following a the research, planning and development was arranged and was attended be the OPW’s supervising architect and the Award 2008 is artist Saskia Vermeulen reshuffle of the DUP’s Ministerial team of new creative projects. Applications project architect. All our questions were answered and we were met with an from Roundwood, Co. Wicklow for her open, adaptable, can-do attitude on the part of the design team. by newly appointed First Minister Peter were invited from curators and art critic/ stop motion animation Untitled, Many of the briefs I have received in recent times would have benefited Robinson. writer(s) actively engaged with (Duration: 47 seconds). Saskia has greatly were they modelled on the OPW’s Tullamore brief. I don’t know who www.dcalni.gov.uk contemporary visual arts discourse and recently completed her third year in a is advising these people or what template they are using… but it ain’t workin’. practice in Ireland. four year B.A. Visual Arts Practice Course Perhaps they are consulting the Department of Arts Sports & Tourism’s Public AllIANZ BUSINESS tO ARtS AwARDS The studio aims to support at the Dun Laoghaire Institute of Art, Art: Percent for Art Scheme – General National Guidelines 2004. The guidelines Leading visual artists and organisations independent curators and art critics in Design and Technology. are fine as far as they go but they are very general guidelines and only one were commended for their partnerships extending discourse, critique and enquiry In total, the works of 33 artists were page is given over to the artist’s brief. That one page is a list of bullet-points with business, at the Allianz Business to into contemporary visual arts in Ireland. selected for the exhibition and include a identifying all the terms and conditions the artist must comply with; and the Arts Awards ceremony in the RDS on 17 The curator/critic’s studio is awarded things the commissioner should require the artist to provide – but it is all one- diverse range of media including June. Martin Cullen, Minister for Arts, on a project basis and for varying periods way! Nowhere does it suggest, or even give vague guidelines, as to what the photography, print, painting, sculpture, Sport and Tourism was special guest and of time from six months to one year. commissioner should give the artist to assist them in deciding if they should video and textile work. This year’s keynote speaker while the award TBG&S will announce details of who was submit a proposal for the competition – or to assist them in making the best selector was poet and broadcaster Theo sculpture - commissioned by Dublin awarded the studio shortly. and most appropriate submission possible. None of the things that I applaud Dorgan. The exhibition is open to the Airport Authority - was designed by www.templebargallery.com the OPW for including in its Tullamore Courthouse brief are mentioned – public until Saturday 26 July. www.mermaidartscentre.ie silversmith and Visual Artists Ireland plans, drawing, elevations, photographs. Board member Kevin O’Dwyer. FOylE pUBlIc ARt pROJEct So what do we do? Personally, when I get one of these poor briefs I bin it. The awards ceremony was devised Ilex Urban Regeneration Company has It has the same effect on me as an impersonal circular letter. If I can’t get NEw mINIStER FOR ARtS and hosted by artists and was attended by announced a shortlist of six artists for the something from the brief to assist me in deciding that I like the site, or that I New Taoiseach, Brian Cowen announced senior executives from over 80 of Ireland’s Foyle Public Art Project. Launched in might be able to make a suitable proposal – then I bin it. If the brief doesn’t details of his Cabinet reshuffle in Dáil spark something in me and make me want to go to the site visit (if they have leading businesses and arts organisations. January 2008 under the North West Eireann on Wednesday, 7 May 2008. The bothered to arrange one) I bin it and save myself a wasted day and a 300 mile Some of the visual art winners on the Cultural Challenge Fund, the Foyle Public big news for the arts was that Martin round trip. night were as follows: Art Project aims to develop major Cullen was moved from the Department In times past, the Sculptors’ Society of Ireland used to organise public art Corporate Social Responsibility contemporary public artwork/s in the of Social and Family Affairs to head up competitions on behalf of public, corporate or private commissioners. They Award: Dublin Port Company & Fire city. the Department of Arts, Sports and ran the competitions on a commercial basis providing an income for the Station Artists Studios Short listed artists will now develop Tourism. Outgoing Arts Minister Seamus organisation. The greater benefit was the provision of exemplary briefs that Jim McNaughton Perpetual Award detailed design proposals for a major Brennan tendered his resignation from were used by others as a template for later commissions. Perhaps Visual for Best Commissioning Practice: public artwork in Derry, the largest the Cabinet for medical reasons. Artists Ireland could become more actively involved giving artists a renewed Behaviour & Attitudes & Graphic Studio public art project in Northern Ireland to voice to express their needs in the area of Public Art? Perhaps VAI could date. The artists shortlisted are: Dublin undertake even a few competitions to re-establish the standard (1) ? lAtE NIGhtS FOR BElFASt GAllERIES Belfast’s public art galleries are to Jim McNaughton / TileStyle Bursary Vong Phaophanit and Claire Obussier After a long absence, the Arts Council have reappointed a Public Art for Commissioned Artists: Alva Gallagher (London); Advisor. Jenny Haughton, who founded Artworking – a contemporary art introduce late night opening on a commissioning consultancy; and was formally the director of SSI, took up the monthly basis. Venues around the city commissioned by Beacon Medical Group Michael Sandle and Simon Stringer The Dublin Airport Authority (London); position in December 2007; so perhaps we can now expect developments in will remain open until 9pm on the first the area. Thursday of every month. The late €5,000 Arts Award went to Monster Eamon McAteer (Derry~Londonderry); The Arts Council are also going to tender in June with two tenders opening is part of the ‘First Thursdays’ Truck Gallery & Studios. The Award is a Andrew Shoben and Greyworld relating to the development of “a dynamic public art website for those cash prize of €5,000 and is open to all of (London and Paris); initiative, organised by Belfast City working in the public arts arena in Ireland in 2008. The website will provide Council in partnership with Culture the nominated arts organisations. The Dennis Oppenheim (New York) and and generate practical advice, resources and information for anyone wishing prize ‘rewards great relationship Krzysztof Wodiczko (New York / Northern Ireland. The next opening is to undertake commissions whether public, private, or in partnership, in management, and imagination and Massachusetts). scheduled for Thursday 3 July. addition to case studies and examples of best practice”. creativity in working with the corporate Over the summer, the six artists will Galleries taking part are Belfast Perhaps VAI should tender for the position… who better? VAI could community’. For a full list of winners see spend time in the city to research the Exposed, Belfast Print Workshop, Catalyst re-establish a balance between the needs of artists and commissioners. website. context further, consider specific Arts, Engine Room, the Gerard Dillon www.businesstoarts.ie Notes locations, meet relevant agencies and (1) Information on Visual Artists Ireland’s current activity within the field of public art commissioning and Gallery, Golden Thread, Ormeau Baths other interested parties and participate policy can be found in the news section. Visual Artists Ireland is currently undertaking a series of projects and the Naughton Gallery at Queen’s. DÚN lAOGhAIRE pER cENt FOR ARt designed to support and develop the design and delivery of public art commissions. As part of our help desk in parallel events and local engagement support, we provide an advisory service gratis to organisations which are preparing to advertise a Guided tours and artists’ talks, as Eight new projects covering theatre, commission. VAI is also working on an advisory document that will provide commissioning bodies with a with arts organisations. series of questions that they can use to assess the 'health' of their calls for proposals. This document is due well as music and wine, will be included photography, dance, visual art, literature www.foylepublicart.com for completion later this year and will be widely circulated as well as available through the Visual Artists in the free-of-charge promotions, aiming and music have been selected as part of Ireland website. In parallel, VAI will be providing specific training for artists and commissioners. The workshops that are currently in development are: Public Art Commissions: The preparation and design stage; to encourage visitors and locals to explore the Dun Laoghaire-Rathdown ‘Place & Public Art Commissions: The delivery. Also, we are working with The Architecture Foundation in the Belfast’s cultural life. development of a cross discipline series covering Artists Working With Architects. More details of these will be Identity’ Per Cent for Art Programme. In www.belfastgalleries.co available when we publish our detailed education programme later this year. excess of €500,000 will be spent on the 8 The Visual Artists’ News Sheet July / August 2008 NeWS ARt / ARchItEctURE AwARDS www.artscouncil.ie (€960,000), Seamus Ennis Cultural art. Aosdána members receive a ‘cnuas’ The first winners of a new award, IRISh/FINNISh ExchANGE NIckERSON wINS 2008 AIB pRIZE Centre, Naul, Co. Dublin €740,000), from the Arts Council - an annuity for a sponsored by the Arts Council of Temple Bar Gallery and Studios Jackie Nickerson has won the 2008 AIB Athlone Art Gallery, Co. Westmeath term of five years - to assist them in Northern Ireland, for ‘Best Example of (TBG&S) in association with HIAP – Prize. This award identifies emerging (€650,000), Lathern Municipal Gallery, concentrating their time and energies Integrating Artworks into a Building Helsinki International Artist-in- Irish artists of exceptional talent. The Nass, Co. Kildare (€580,000), Artlink, in the full-time pursuit of their art. Project’, were announced recently. residence Programme has announced Gallery of Photography in Dublin Buncrana, Co. Donegal (€570,000), The new Aosdána members are: Architects Robinson McIlwaine, Niamh O’Malley and Heli Rekula as the nominated Nickerson who was born in Graphic Studio, Dublin (€340,000) and Paddy Bushe – Literature, Siobhán working in collaboration with artists recipients of the 2008 International Boston and now lives in Co. Louth. She Soltice Arts Centre, Meath (€390,000) Cleary – Music, Peter Cunningham – Stanley Murray Scott, Diane Artist Exchange Award between Ireland worked as a fashion photographer for www.arts-sport-tourism.gov.ie Literature, Philip Davison – Literature, McCormick, James McKendry, and and Finland. 2008 is the second year of many years in New York before Catherine Delaney - Visual arts, James exhibition designer John McMillan, the award, which provides support for switching to art photography after VAI / FIlmBASE tRAINING Hanley - Visual arts, Claire Keegan – picked up the award for the artworks contemporary Irish artists to participate visiting Africa a number of years ago. In early May, Visual Artists Ireland Literature, Aodhán Madden – Literature, incorporated into the War Memorial on a three month residency at the Cable Nickerson, who is represented by (VAI), announced details of a new Willie McKeown - Visual arts and Peter Home Front Exhibition at the Museum Factory in Helsinki and reciprocally, for the Paul Kane Gallery, wins a prize of training collaboration with Filmbase. Sirr - Literature at Talbot Street in Belfast. Special Finnish artists to undertake a residency €20,000 to assist in the publication of a Filmbase, a key not-for-profit resource Painter Camille Souter was elected commendation went to artists Laura at Temple Bar Gallery and Studios in catalogue and to facilitate the centre for filmmakers, has agreed to Saoi of Aosdána – an honour for O’Hagan and George Walsh and Dublin. production of new work for an partner with training for VAI members singular and sustained distinction in architect Eamon Hedderman for their In June, Heli Rekula will begin a exhibition in the Gallery of Photography, who wish to develop their skills in the the arts. project at the Holy Family Church in thre month residency at Temple Bar Dublin. area of moving image. www.artscouncil.ie Belfast. Gallery and Studios, in Dublin while The three runners-up, who each Moving image has long been a Winners in other categories recognised aspect of the visual arts. mAVIS ShIFtS FOcUS Niamh O’ Malley will undertake her received an award of €1,500, and the included The Alley Arts and Conference This partnership recognises this and The MA in Visual Arts Practices has residency at HIAP from October to galleries who nominated them are: Joy Centre in Strabane by Alan Jones aims to provide artists with the key announced a shift in focus, with a new December 2008. Gerrard Millennium Court Arts Centre, Architects and Glen Howells Architects; www.templebargallery.com skills to work in the particular area. emphasis on the delivery of the Portadown; Eoin McHugh Temple Bar and the Strule Arts Centre in Omagh by The pilot programme includes training curriculum in a range of contexts. From Gallery and Studios, and Margaret Kennedy Fitzgerald & Associates. These FOlkAtRONIcA wINNERS workshops on the following: September 1, 2008 the programme will O’Brien Droichead Arts Centre, Louth building projects were both supported Now in its seventh year, Exercises in Screenwriting for beginners, Direct for no longer be based at Temple Bar Gallery by Arts Council funding Folkatronica is Visual Artists Ireland’s the Screen, DV/HDV Camera & Lighting and Studios. Instead it will make use of NSF DOcklANDS pROJEctS www.artscouncil-ni.org in-house media residency programme. and Final Cut Pro 100 multiple sites for teaching and learning, The National Sculpture Factory (NSF) www.filmbase.ie Exercises in Folkatronica functions as a across Dublin and in Europe. has announced the artists selected to DAVy pORtRAIt AwARDS production award programme that From September 2008, MAVis will undertake projects as part of its Cork Davy has announced the inaugural offers artists up to 4 weeks free access to mcGONAGlE FOR NcAD be engaged in multiple research Docklands commissioning programme. Davy Portrait Awards in association VAI’s full range of digital facilities and Declan McGonagle is to take up the collaborations - an exploration of Three temporary public art works, with Arts & Business. The Awards aim equipment. Artists can use the facilities post of Director of the National College practice-led research with The LAB, commissioned by local, national and to champion innovation and excellence to initiate new work, complete a project of Art and Design on the retirement of curatorial research collaboration with international artists will be launched as in contemporary portrait painting in or simply experiment with a new current Director Colm Ó Briain this Project Arts Centre and an investigation a public exhibition on Cork’s inaugural Ireland. medium. Previous participants have autumn. McGonagle is Director of of artistic production with the National Culture Night on 19 September and run The work will be selected shown their residency projects in the Interface, a practice based research Sculpture Factory. until 10 October. anonymously from an open submission Crawford Open, Perspective and Eurojet centre in the School of Art and Design MAVis 2008 will also prioritise the This project is an opportunity for by a judging panel comprising of Royal Futures. The residency has also led to at the University of Ulster in Belfast establishment of new international artists to engage with an area that is at Hibernian Academy President Stephen offers of solo exhibitions of the new which deals with issues of art, design partnerships, to extend and enrich this an interesting transitional stage - about McKenna, Royal Ulster Academy work. and context. critical exploration of multiple contexts to develop and transform the city, but President Rita Duffy and international The winners of this year’s Exercises Highlights of McGonagle’s career for education, practice and research. still bearing the history of the city’s art critic and writer Gemma Tipton. in Folkatronica production award are include working as first organiser of the MAVis Open Day is Saturday 13 industrial roots. The Awards are open to artists Maya Weimer and John Callaghan & Orchard Gallery in Derry. He has September, 2008, from 2-5pm at The Cork-based artists Eli Caamano based in Northern Ireland and the Johnny McCauley. curated projects at the ICA in London LAB, Foley Street, Dublin 1, where you and Sorcha O’Brien are planning to Republic of Ireland working in Maya Weimer’s research based and was the first Director of the Irish can meet current students and lecturers install large spherical balloon traditional and non-digital media.. The project will explore the stories of Irish Museum of Modern Art. In 2004, he on the programme. The EU application sculptures on the roofs of key buildings main prizes total €19,000/£15,000 and born adoptees who were raised overseas completed the City Arts Centre’s Civil deadline is 4pm, Friday 26 September along Kennedy’s Quay; Iñigo Manglano- will be awarded by the judges at a prize- and who may or may not have returned Arts Inquiry in Dublin and he currently 2008. Ovalle (Chicago) will use a weather giving ceremony in Belfast in November to Ireland. The project aims to address sit as Chair of the Board of the Liverpool www.mavis.ie station and a sea container to collect 2008. and raise issues about the larger context Biennial. local weather data; and Seamus Nolan www.ncad.ie The Davy Portrait Awards will of transnational migration and Irish cONSERVING ARt (Dublin) is planning to initiate worker- also showcase a selection of the entries diaspora. The Irish branch of INCCA (The led tours of the area, framing it as a JEROmE hyNES FEllOwShIp in an exhibition at the Naughton John Callaghan and Johnny International Network for the walkway through a protected Mr. Willie White, Artistic Director of Gallery, Belfast in November 2008, and McCauley’s ‘Turn it Off’ will utilise Conservation of Contemporary Art) was environment. Project Arts Centre, is the recipient of at Farmleigh House, Dublin in early light photography, also known as light www.nationalsculpturefactory.com launched recently at a reception in the the 2008/2009 Fellowship for Ireland - 2009. The Awards will be supported by graffiti or light writing to create an Hugh Lane. known as the Jerome Hynes Fellowship full colour catalogue of the selected animated character-based narrative €10m IN AccESS FUNDING The INCCA is a network of - under the UK-based Clore Leadership pieces plus a website profiling the about urban energy conservation In early May, the then Minister for Arts, professionals connected to the programme. The total value of the prizewinners and showcasing a gallery issues. Sport and Tourism, Séamus Brennan, conservation of modern and Fellowship is in the region of €71,000 of the exhibited works. And two ‘runners up’ places have announced funding of over €10 million contemporary art and was established to www.davyportraitawards.com (i.e. €50,000 from the Arts Council and been award– for artists whose projects to 13 major arts and culture projects in meet the need for an international Stg£15,000 from Clore). the VAI has also recognised as deserving twelve counties under the final round www.artscouncil.ie platform for knowledge and information ARtS cOUNcIl pUBlIc ARt wEBSItE of support. of investments under ACCESS 11, the exchange. The network collects, shares The Arts Council is to develop a Noel Brennan – for his project Arts and Culture Capital Enhancement NEw AOSDÁNA mEmBERS and preserves knowledge needed for the dynamic public art website for those ‘Alternate Beginnings’ that explores the Support Scheme. In early May the Arts Council conservation of contemporary art. Its working in the public arts arena in cosmological and mythical symbolism The primary focus of the ACCESS announced that 10 new members have members include conservators, curators, Ireland in 2008. The website will featured in the opening credits of films scheme is the refurbishment and been elected to Aosdána. scientists, registrars, archivists, art provide and generate practical advice, and other moving image corporate enhancement of existing arts and Aosdána is the affiliation of historians and researchers. resources and information for anyone identities in advertising. culture facilities and support for new creative artists in Ireland set up in www.incca.org wishing to undertake commissions Jim Ricks – for his project exploring building projects in strategic geographic 1981 whether public, private, or in the possibility representing the 9 /11 locations. to honour those artists whose partnership, in addition to case studies and it cultural contexts through a The funding announced includes: work has made an outstanding and examples of best practice. In order montage of imagery derived from big- Sirius Arts Centre, Cobh, Co. Cork contribution to the arts in Ireland and to develop the site, the Arts Council has budget Hollywood disaster films. (€1.6m), Ballina Arts Centre, Co. Mayo to encourage and assist members in invited tenders for the management www.visualartists.ie/AP_eif.html (€1.2m), Limerick City Gallery of Art devoting their energies fully to their and development of the website. The committee and administrative team of oPeN / INVITed e v+ a 2008 Too Early For Vacation (Curator: Hou Hanru) acknowledges the following in regard to the exhibited work of the artist Mark Clare: entitled Splendid Isolation (2007), a wood and plastic installation, 8 M x 3.5 M x 3.5 M, sited outdoors at the venue of King John’s Castle, Limerick. Shortly after e v+ a opened on March 7th a storm of unusually high north winds came off the Shannon River and toppled photo: studioworks.ie the work causing damage in the fall. The artist was so informed. Repairs were made but the work was only partially re-erected according to its original plan due to the further treat of high winds that persisted in the succeeding weeks. This left the work in a condition and appearance that compromised the artist’s original concept and design which is illustrated in the accompanying reproduction. The e v+ a committee and team regrets this occurrence and all the inconvenience and confusion caused to the artist and his audience. The artist, Mark Clare, requests that his own statement below be given public notice: The object that was re-erected after the storm in no way represents the original work submitted by Mark Clare and was done so without his consent. The artist disassociates himself with the object presented by the e v+ a committee. Sound Art Project 2009 / call for submissions draíocht is planning an exhibition of sound art for April 2009. Artist working with sound are invited to submit new and recent work for consideration for this exhibition. It is anticipated that approximately five artists will be selected and it is hoped to commission artists to produce a new work for the show. draíocht is also hoping to provide innovative ways for audiences to experience sound work and is particularly interested in ideas for creating ‘listening spaces’ specifically designed for hearing ambient sound. Work should be submitted in Cd or dVd format, with clear instructions as to how it should be heard (where applicable). Submissions should also include a CV. Submission to: Sound Art Project 2009 Carissa Farrell / Visual Arts officer, draíocht closing date: Friday 31 october 2008 Draíocht is closed to the public from 21 June—3 October 2008 for renovations and installation of a new café, box office and bar. Draíocht Blanchardstown Centre, Blanchardstown, dublin 15 T: +353 1 885 2610 F: +353 1 8243434 W: www.draiocht.ie 10 The Visual Artists’ News Sheet July / August 2008 FAF SHoWCASe – I will act as if what I do makes a difference; to murals in Barcelona. She is concerned about the increasing regimentation of public space under the encroachment of government. She has worked with various groups, from Irish Travellers to ‘sans papiers’ (refugees) and denounces the public hostility to minorities, marginal and nomadic communities. With reference to her work with Irish Travellers, she says “no-one has been so nice to me—ever.” This kind of work operates in the space between aesthetics and civil society, attempting in the terms of Nicholas Bourriaud’s Relational Aesthetics to highlight issues of local power and the control of people over the conditions of their lives. Ian-John Coughlan’s video of the acquisition of a tattoo opens up issues of meaning and representation. The tattoo in question was of a word – “erase’ in the ancient Irish script Ogham. Reversing the video does precisely what the word means. We move into the territory of the relationship between language and reality, familiar at Suzanne Mooney & Nuria Montblanch – performance installation space at Castletown House. least as far back as Magritte’s picture of a pipe accompanied by the text “Ceci n’est pas un pipe.” The representation of the word in the simple Ogham script brings up questions of meaning: the arbitrary relationship between written and spoken language, and furthermore Work by eoin MacLochlainn. the arbitrary link between language and reality itself. Of course tattoos are very difficult to erase, as many SS men found to their cost: the tattoo representing blood-group on their upper arm was a dead giveaway after the war – just as much as the tattooed number on the arm of a concentration camp inmate had already been. The dialectic between permanence and erasure opens up issues of the relationship between body and language, or body and representation. Our presentation of bodily selfhood to the world is in a sense similar to that of an avatar in cyberspace: we have a certain limited control over both. Coughlan’s ethereal paintings with Tippex on white paper, Work by Laurie Legrand / The Laboratory of Living Arts Catherine Harty Petra’s Bitter Tears. similarly raise issues of the relationship between erasure and inscription: erasure becomes inscription and vice versa. Always threatening to fade into oblivion, these ghost-like images trouble the What is Authentic? expectation of representation as definitive and permanent. Suzanne Mooney’s creation – in collaboration with Canadian architect Nuria Montblanch. of an Alice-in-Wonderland space, a PAuL o’BRIeN RePoRTS oN THe ‘SeNSATIoNAL ANd AuTHeNTIC’ A SHoWCASe eVeNING performance installation false history with the aid of paper cut-outs oRGANISed BY THe FAF(1) ARTISTS CoLLeCTIVe, AT THe LAB, duBLIN (21 MAY) in a room in Castletown House, similarly opens up questions of the nature of reality and history. There is no ‘objective’ history in any ‘SENSAtIONAl and Authentic’ was an evening showcase in the Lab a complex of factors including the ideology of individual, creative important way—history is constructed through the clash of in Dublin’s Foley Street (21 May), with presentations by a number of genius and the vagaries of the market. Though the value of art works historians. In that way history is in a sense created. And the creation artists on their recent work. There was sometimes a fairly tenuous cannot be theorised in terms of the labour theory of value in any of history even has its own taboos—in some societies it is a crime to relationship to the theme expressed in the show’s title—judging by meaningful way. Viewed in this way, authenticity evaporates into question the consensually agreed version of the Holocaust. Did the the work submitted, it might more aptly have been called something the miasma of ideology. Second World War – like Baudrillard’s Gulf War that did not take like ‘Politics and Perspectives’, consequent perhaps on the media- Eoin MacLochlainn’s images – for example, that of a figure with place – actually happen? If you live in the West perhaps, but in the dominated milieu in which art work is currently being made. The a bag over its face, exemplify the familiar scenes of war and Soviet Union the conflict; or the part that involved the Soviet Union dichotomy expressed in the title offered to foreground a related split interrogation from contemporary media. In contrast to Goya’s pre- at any rate, was called the Great Patriotic War and lasted from 1941 in contemporary art: on the one hand there are works (from Warhol photographic images of the atrocities of war and his associated to 1945. The Finns have a different perspective, and so do the to YBA) that use the predilection of the mass media for spectacle in a statement “I saw this,” MacLochlainn’s comment regarding his own Chinese. Furthermore, advances in computer technology are making process of relentlessly cynical ironisation; and on the other there are work is “I didn’t actually see it, but it was on CNN”. The work it possible to re-create the past in such convincing detail that in those that attempt to embody some element of authenticity (whether references the monopolistic role of the media in regard to reproducing twenty years it may be difficult for historians to distinguish between creative, social or political). In the era of post-modernism and post- images of war and conflict – going back to Baudrillard’s notorious reality and simulation. Mooney’s Castletown installation playfully structuralism, sensation is easier to produce than authenticity. It is a statement that “The Gulf War did not take place.” In defence of disturbs and interrogates the conventional notion of objective myth that we live in a shock-proof society. We are no harder to shock Baudrillard’s hyperbole – the war was after all an extension of war- history, foregrounding questions of authenticity and the construction than our forebears: we are just scandalised by different things (racism games played on computers to train soldiers and desensitise them to of reality. But it also highlights another taboo: in a world dominated and child abuse to take two examples) and by anything that pushes the effects of their actions, and for most people it happened in the by a relentless work ethic, it is not permitted for adults to play the envelope in terms of our current taboos. realm of simulation—ie on a TV screen in their living rooms. In that (outside of narrowly-defined parameters at any rate). Performance To be sensational, an artist just has to know how to manipulate sense it didn’t take place, but for those who were mutilated, burned undermines the performance principle in the work (just as the the system and push the right buttons. Authenticity, however, is and buried alive in the desert it no doubt seemed real enough. The reconstruction of history undermines the reality principle). more difficult to produce – at a time when the notion of personal gap between simulation and the real is opened up by MacLochlainn’s Catherine Harty’s video piece Petra’s Bitter Tears (referencing a identity, and even the existence of a knowable reality itself, have work, utilising images from contemporary media including the Fassbinder film) features an actress who doesn’t speak German, been problematised by theory. Outside of the play of signification, Internet: is there any knowable ‘reality’ beyond political perspectives, giving an extended emotional monologue in German – or a kind of what is authentic? Walter Benjamin viewed the move away from the and if so, how can that reality be uncovered? German at any rate. Again issues of authenticity are raised: the concept of the authentic, “auratic” work of art as liberatory in both With a similar political angle, Tadhg McGrath’s short video of relationship between the video and the original film, the relationship an aesthetic and political sense, and the notion of a defined art work his ‘interrogation’ of (not by) a special branch police officer at an between acting and “reality” – if there is any difference between the has been under attack since Duchamp’s notorious urinal, submitted environmental demonstration neatly (and perhaps rashly) turns the reality of our everyday lives and the acting-out of our various to an art exhibition and signed “R.Mutt.” Such interventions have, tables on the uneasy relationship between state and citizen. We are quotidian avatars? Arne Witt’s piece also opens up issues about the however, been but fleas on the back of the art market, where the used to being surveyed by the state, but McGrath’s video turns the relationship between film (or video) and reality—what happens ‘in signature of the artist is everything and even “interventionists” – like surveillance on its head, epitomising the use of the video camera in between’ the frames of a film? What is an authentic representation of Duchamp himself, are co-opted by the market. Authenticity in this the ongoing struggle between the forces of authority on the one reality? If you turned around quickly enough, could you catch a sense is something like the opposite of authenticity conceived of as a hand and those of protest on the other. Politics becomes art, or glimpse of the void before they had time to build up the scene behind positive, non-economic, value. It is an authenticity that, paradoxically, perhaps art becomes politics: in any case the piece raises issues that you? Is déjà vu a glitch in the matrix of reality? What (if anything) is is largely determined by hype: art becomes a branch of the advertising neatly probe the problematic relationship between the state with its real? industry. In the society of branding, people wear designer clothes and role of regimentation on the one hand, and civil society on the Paul O’Brien shoes, and their walls display designer art works. A painting that is, other. after all, discovered not to be by Van Gogh will fall to a tiny fraction The work of Laurie Legrand / The Laboratory of Living Arts is of Notes (1) The FAF group, based in dublin, are four artists (Ian John Coughlan, Suzanne Mooney, Linda of its previous ‘value’, though the painting itself remains unchanged. similar establishment-questioning political orientation, focusing on o’Keeffe, Barbara Vasic) who are concerned with examining the possibilities of how art can be exhibited and shared, particularly in relation to digital media. As part of their activities, since Its value is dependent not on any ‘essential’ aesthetic qualities but on ‘contextual’ interventions, from performances on the metro in Paris November 2006 the group has been running a series of showcase evenings. The Visual Artists’ News Sheet July / August 2008 11 ReGIoNAL PRoFILe South dublin Co. Co. Arts office South dublin Profile Alternative entertainments Gabhann dunne – work from the exhibition 'Theckla’s Wood 'at Alternative entertainments Gallery (11 April – 31 May 2008) 'A = Aght Parade' – an element of Jackie Summells project for In Context III dermot Bolger – work from his project for In Context III eoin Llewellyn – work from the show 'New Works' Carolyn Walsh – work from 'Searching for a utopian Vision within SOUth Dublin County Council is the primary at Alternative entertainments Gallery (8 – 30 Sept 2007) the urban environment (7 July – 24 August 2007) agency engaged in local arts development within AltERNAtIVE Entertainments Ltd is a multi- producing and showing fine art. the county of South Dublin. Our belief is that we disciplinary arts and artists resource organisation The organisation has seven artists’ studios in can build for the future of the county by supporting South dublin Arts Centre – under construction based at Tymon Bawn Community Centre Firhouse their facility in Cookstown Industrial Park, adjacent the development of creative people and communities ambitious and progressive local authority Public Road West, Tallaght. Founded in 1982, by a group of to the Cookstown Luas stop (Red line). More than through the arts. Art programmes in the country. The third phase of people from the south county Dublin region who just empty space in which artists can produce their The county area extends from the urban areas In Context is currently underway, with an emphasis wished to provide arts activities and support artists work (itself a precious commodity) the studio of Tallaght, Clondalkin, Lucan, Rathfarnham and on supporting artistic ambition and active in the area AltEnts (as the organisation has become facility consists of a high spec Mac and PC area the new development at Adamstown as well as the engagement with situation, community and place. known) committed itself to sourcing successful and which is wi-fi enabled, and containing a small rural villages of Newcastle, Saggart and Rathcoole. It is also through South Dublin County Council’s innovative national and international artists across resource library and a notice board kept up to date South Dublin County Council Arts Office provides public art programmes that a substantial amount of all disciplines to stage entertaining and high quality with the latest commissions, grant and positions arts services, programmes and events in the contemporary artworks have come into the care of arts events. In the 26 years since its inception the information in the art scene. The studios have County. the county. group has gone from strength to strength building recently been refurbished and have 24-hour access, Opportunities for artists are integrated into Programming and structural supports for each year on its programming and enjoying are alarmed with a 24-hour security patrol. There is such programmes as: the Individual Artists Bursary contemporary arts are provided by the Council enthusiastic and increasing support from the Arts no fixed lease/tenancy, with only a small deposit Award; In Context 3, South Dublin County Council’s through direct funding to agencies such as Tallaght Council and from a number of local authorities, required. Per Cent for Art Programme; artistic residencies and Community Arts Centre and Alternative most notably South Dublin County Council. With work taking place in Ireland and abroad the development of work spaces for artists. Entertainments. The Council has invested It consists of a core staff of three with a large Alternative Entertainments now regularly Bursaries and residency programmes provide significantly in purpose built arts infrastructure, ie. community of artists at its disposable to deliver its programmes a number of projects and events. These opportunities for individual artists to develop their the new county arts centre located in Tallaght due projects and festivals. The visual arts department of include, The South Dublin Rock School, an initiative practice. Over 50 artists across all art forms have for completion in July 2008, with provision of artist Alternative Entertainments runs its own gallery, aimed at young musicians between 13 and 18, the been supported through the Arts Office annual workspaces and presentation spaces. The aim of the artists’ studios, and regularly works with artists in latest module of which has just released a CD of bursary awards since their introduction eight years arts centre is to develop the arts in South Dublin the design and publication of artists’ books and original material written and recorded by the ago. The awards were introduced to provide support County through the support of professional catalogues, while also running workshops in students. Other projects include the Des Carty Music for individual artists to pursue a particular project exhibitions of art by local, national and international Photoshop and digital photography. School, a year round traditional music school; an or to further enhance their career within the arts. In artists; by providing spaces for productions, The Alternative Entertainments’ Gallery is in annual Children’s Art Festival; an annual Traditional particular, artists engaging with unusual or exhibitions and process-based activities and by The Civic Theatre in Tallaght and hosts 8 –10 Music festival – The Des Carty Sessions – each challenging forms and concepts in their practice, providing workspace for arts organisations and exhibitions a year showing the work of national and October bank holiday weekend in Rathcoole and and artists exploring different ways to address artists. international artists in the fields of painting, print, Saggart, Co Dublin; a number of one off trad, jazz complexity and/or engage with ‘an audience’, are The arts centre building incorporates two photography, video and multi-media. Over the years and folk music recitals in venues in Celbridge, encouraged. gallery spaces, six artists’ studios ranging from ‘from shows by artists such as Brian Maguire, Richard Tallaght, Rathcoole, Rathfarnham, Saggart and The arts office has placed particular emphasis 34sqm to 60sqm’. , two multi media studios, and a Gorman, Paddy Graham, Elizabeth Cope, Paul others; a music festival in Trim, Co Meath in honour on developing arts programmes with and in visual arts workshop space. These are placed Lynam, Eoin Llewellyn, Gabhann Dunne, Jimmy of one of its regular and talented contributors, the communities. The quality of participatory arts alongside music and dance rehearsal studios and a Clarke, Brice Issaurat, Geraldine O’ Reilly, Sean late Mickey McKenna; a number of creative writing experience in many contexts, including education, 60-seat auditorium. The addition of this new facility Sweeney – to name but a small selection have been workshops, one-off and eight and ten-week series health, voluntary, community and amateur arts is in Tallaght, which is due to open in October 2008, featured. The gallery also hosts shows by groups with adult, teenage and young children’s groups, established by professional artists. Collaborations will compliment existing cultural facilities such as such as The Architectural Association of Ireland and which have produced three books of short stories, by artists with communities to produce works of the Civic Theatre and the County Library in what is The Irish Contemporary Music Centre. Over the poetry and animation published by the organisation high artistic standard are valued and these are emerging as a cultural hub in the centre of Tallaght. years AltEnts has provided exhibition space and itself. supported through training in specific areas such as The arts centre, will facilitate arts organisations and expertise to internationally renowned and emerging youth arts and arts and disability. artists living or working in the county and contribute artists alike, with the most important criteria for Alternative Entertainments Ltd In Context, South Dublin County Council’s Per towards the development of creative communities selection being that the artist be committed to Cent for Art Programme, is one of the most in the county. 12 The Visual Artists’ News Sheet July / August 2008 ReGIoNAL PRoFILe Tallaght Community Arts Centre Bik Van der Pol – Project for Tallaght Stadium: A Public Arena TCAC (Tallaght Community Arts Centre) opened its which will explore with Tallaght residents what doors to the public in July 1996. Over the last decade their aspirations are for the future of Tallaght. TCAC has worked with countless artists from the TCAC’s first ‘Big Draw’ in October 2007 invited visual and performing arts, as well as involving people young and old to participate in the pleasure hundreds of individuals and community groups in of drawing. Our ‘Create a miniature work of Art’ Tallaght in the creation of work involved 1,500 people who submitted their work. Meaningful access to the arts for the various We aim to make the Big Draw a yearly event and in communities in Tallaght has been a core aspect of the run up to October 2008 extend its projects into TCAC’s work since its inception. TCAC is a centre more schools and community groups as well as for the development of participatory arts. We work making it a fun weekend for families in Tallaght. with people of all ages and support them to be Since moving from Virginia House in 2004 actively involved in arts making. We do this by TCAC has been housed in a small shop unit in the programming artists of local, national and Village Square Tallaght with a small gallery space. international repute who are experienced in We have exhibited a range of work eg - works from working in participatory arts settings. the Kube artgroup, Lee Welch, Clare Cashman and We also support the development of young Dorothy Cross. In addition a range of participatory emerging artists from Tallaght and beyond. Our visual arts work has taken place, ‘Scraping the work embraces gallery based work, site-specific Surface’ with John Kindness and Jobstown performance, open air events and collaborative arts Community College students and ‘The Community commissions. Unity Project’ (Canada) with doctors, nurses and TCAC create and commission innovative arts other hospital staff at The Adelaide and Meath projects that challenge conventional ideas on what Hospital incorporating the National Children’s Photo: Bik Van der Pol art is by providing a framework that supports Hospital Tallaght. participants young and old and artists to take risks In the autumn of 2008 we will eventually take whIlE researching Tallaght, its history and its vast Rovers would play in the new facility. This decision together. We ensure equal access to and participation residence in the new South Dublin County Arts urban developments, we noticed a half finished was reversed in 2006 when South Dublin County in arts making that encourages and develops Centre currently being built by the Luas Tallaght area of what appeared to be Tallaght stadium – a Council wanted to include a Senior GAA pitch as people’s creative potential. We particularly value terminus. This move into a wonderfully well nice green pitch, a half finished concrete stand, well, which would require a bigger size pitch. The and welcome partnerships with local cultural and resourced building with a huge white cube gallery and fences all around. Nothing seemed to happen council reverted back to the original plans again training initiatives in Tallaght that seek to raise the space, rehearsal rooms, visual arts studios, a dance/ here – and for quite a while; though this site was after the Minister for Sport informed the council profile of the arts and their impact on individuals as drama studio, will enable TCAC as a leader in located in the very heart of Tallaght, where new that he would not fund the stadium unless it was well as their contribution to the civic wellbeing of participatory arts and arts learning and training to construction developments – hotels, shops, designated as soccer only. Junior GAA games could the wider community. nurture local talent and ensure that Tallaght is a key entertainment, housing and office facilities – were be accommodated in the current design; this would We have a number of projects for 2008 and player in the contemporary arts in Ireland. TCAC located around this silent, empty site. A not require an increased pitch size. beyond in a consultative stage with local will re-instate its arts residencies, which were a contemporary ruin, where time seemed to have Court cases followed. Thomas Davis initially communities including; a year-long project to grow significant part of our programme in the old Virginia frozen. objected to the original planning permission and cook a feast that celebrates the changing House Arts Centre. After some inquires, this site appeared to be a of Tallaght Community Stadium almost 10 years seasons, a youth arts forum and a radio programme major conflict zone, in which two sports clubs – ago, and tried to overturn the council decision that the soccer club Shamrock Roversand the local assigned the sports stadium for soccer only. In Gaelic football club Thomas Davis along with the High Court in March 2007 it was decided that the community and South Dublin County Council design of the Tallaght Stadium should be changed, MoNAGHAN PRoFILe CoNTACTS were the main players. The construction of the stating that Thomas Davis did indeed have a SOUth DUBlIN VISUAl ARtS – At A GlANcE stadium started back in October 2000, but due to ‘substantial interest’ and grounds for re-vision of financial problems and legal disputes between the planning decisions. But another court case The area of South dublin covers 222.74 SQ kilometres, and lies about two clubs, the construction had been delayed. Both followed, and after so many years and a lot of clubs claimed the stadium as theirs, and a long disputes in newspapers and in the local community, 10 miles south west of the Capital. It is bounded by the dublin period of court cases was the result. it was recently decided that the Shamrock Rovers mountains to the south and stretches from the River Liffey at Lucan One could say that this site was along before should be the ones to play this through Palmerstown, Clondalkin, south to Newcastle, Rathcoole, its actual use, firmly grounded in Tallaght. Like in stadium. Construction is expected to be complete Saggart. It includes Tallaght West, South and Central and stretches east many other cities, sports grounds are regularly in time for the 2009 FAI Premier Division. The moved around because of urban growth. Usually stadium will be owned an operated by South to Templeogue and Rathfarnham. The population of the County is sports fields are located at the fringes of cities – Dublin County Council with Shamrock Rovers as approximately 234,000. which is generally less expensive land. But then, the main tenants. when cities start to grow, fringes become valuable In general, history is usually very quickly and sports grounds are in the way of urban erased from the memory of the community in South dublin Co. Council, tallaght community Arts centre planning departments. areas were new developments are taking place. Arts Officer: Orla Scannell, unit 1 Village Square Here in Tallaght, this does not seem to be any The controversial history of this stadium runs the Town Centre, old Bawn Road, different. For many years the Thomas Davis GAA danger of becoming a ‘bad memory’ in the heart of Tallaght, Tallaght, club played on a field, known as ‘The Graveyard’ in Tallaght, while it aims to be a public place of dublin 24. dublin 24. Old Tallaght Village, before relocating in the early shared interest. 1980s to a green field site on the Kiltipper Road. We feel that this history should not just be T: 01 414 9000 T: 01 462 1501 The club continued to use the Graveyard, together erased. Therefore we are developing an event in e: firstname.lastname@example.org F: 01 462 1640 with public pitches in Sean Walsh Park, Dodder this arena, taking the club motto of Thomas Davis www.sdcc.ie e: email@example.com Park and Aylesbury throughout the 1990s. Then GAA Club “Nascann Dúshlán Daoine (A Challenge Sean Walsh Park fields were redeveloped into a Unites People)” as a ‘leitmotiv’. With the help of Alternative Entertainments ltd, Rachel mcAree, public Art coordinator lake and landscaped areas, with plans for a stadium Dublin based artist Barbara Nealon with whom we Tymon Bawn Community Centre, South dublin County Council, to be there also. closely work, interviews with different parties and Firhouse Rd West, County Hall, Shamrock Rovers were founded in Dublin in players will form the basic material for our work Tallaght, Tallaght, 1901. The club has been without a permanent and a publication, which will include (fictional dublin 24. dublin 24. home since 1987, when a former director sold and factual) stories about the stadium, sports and their ground, Glenmalure Park in Dublin. Since history in relation to issues of replacement and e: firstname.lastname@example.org T. 00 353 (0)1 414 9000 F. 00 353 (0)1 414 9106 then they play their home games in Tolka Park in displacement in relation to urban planning. www.altents.ie e: email@example.com Drumcondra in Dublin. W: incontext.southdublin.ie South Dublin County Council initially Bik van der Pol decided that the stadium would be multi-use with a soccer-sized pitch; and that the Shamrock The Visual Artists’ News Sheet July / August 2008 13 ReGIoNAL PRoFILe Barry Hughes – Suburban Perspective InContext III A=AGHT participants making news broadcast (photo: Jackie Sumell) IN Context III is the third public art programme developed by South Dublin County Council, running from 2006 to 2009. The commissioning strategy, developed by artistic directors Sarah Finlay and Cliodhna Shaffrey, builds on principles learned from the previous two phases and sees an ongoing commitment to projects which support artistic ambition (in all art disciplines) and active Barry W. Hughes Untitled (near a river) from the ‘SToMP’ project, 2007–2008. Courtesy the artist. engagement with context, situation, community and place. The distinguishing feature of In Context III is Jackie Sumell www.AequalsAGHT.org an emphasis on time, enabling artists to research From the project standpoint, it’s been wonderful ideas, establish meaningful relationships with the having adequate time to investigate, research and local community, and potentially to develop develop ideas; I feel the results will show the depth projects that have long-term sustainability beyond of this work”. the remit of the public art programme. The Writer Dermot Bolger interacts with the commitment to supporting ambitious, process-led personal experiences and history within the innovation is demonstrated by the provision of county through the medium of fiction, drama and resources to support the residency artists over two poetry. His play, Walking The Road, uses the life of years, including a Mediation Commission, the Irish poet Francis Ledwidge (who died in 1917) awarded to Sarah Searson, and an Evaluation to tell, by extension, the life stories of numerous Commission, led by Peter Cox. In Context 3 young Irishmen from South Dublin villages like supports five residencies, awarded to Dermot Rathfarnham, Tallaght and Lucan who died in the Bolger, Cleary and Connolly, Bik van der Pol, Jackie Great War. The 'County Lives' poetry series Sumell and Jennifer Walshe and a separate roads responds to the experiences of travellers across the commission awarded to Andreas Kopp. city and invites contributions from local residents. The programme has entered its last quarter, The Clondalkin Suite, part of 'County Lives', explores although the concept of an ‘end’ to the commissions life across the generations, inspired by encounters Barry W. Hughes Container, 2008. Courtesy the artist. is offset by the welcome fact that projects generated with a specific South Dublin suburb, putting the thE arts in South County Dublin are based in artist who uses the internet as much as I do, it is of will continue to develop beyond the remit of the relationship between art and context at the centre Tallaght – where the majority of facilities, real benefit. The internet is vital to my practice programme. Cleary and Connolly’s City Loops films of creative thinking. infrastructure and interest are focused. However, I from research to presenting work and has been record the everyday journeys of a cross-section of The ambition of the programme to support live in Lucan, with a population of over 37,000 in instrumental in getting my work seen beyond the urban community, interlaid with filmed creative vision and process is also borne out by the 2006 and currently on the increase with massive Dublin. images drawn from memories and other journeys. innovative and experimental approach of Jackie new developments like Adamstown for example. A lot of my works explore a suburban identity For the artists the commission has become “an Sumell, whose projects facilitate ideas with Lucan is expanding – and yet Lucan has nowhere and the landscape continually informs my opportunity to examine in depth a single place, a community. www.AequalsAGHT.org is a virtual for artists to work or exhibit beyond a few odd approach to ideas. A case in point is the large work place which on one level is made up of space and town whose ideas, population and rules patches of wall space in the tiny local library. I began in 2007 called the ‘STOMP’ project, which ‘particularities’, its people, its precise location, its are created by young people from Tallaght and New Lucan is part of In Context, South Dublin set out to document the specific ‘stomping grounds’ history etc, but on the other hand assembles a set Orleans as they explore aspects of their identity County Council’s Per Cent for Art programme. I of local teenagers, usually situated near rivers, car of circumstances which make up a worldwide and become involved in creative processes initiated saw some evidence of this once, but I find it parks or next to motorways. I wanted to try to phenomenon, the edgeless city. Possibilities of by artists involved in the project. Sumell generally goes unnoticed by the wider community. uncover and capture an attitude that exists in commented on the project “for someone whose art encounters and learning that would never have As a resident of South County Dublin, I am entitled suburban Dublin, a psychological outlook practice is based on a series of chances and mistakes happened otherwise opened up and will to apply for the local authority artist’s bursary, reflective of its environment. time is the most valuable contribution. I am continue.” which is awarded annually and is of real benefit. I received the Exercises in Folkatronica extremely grateful to South Dublin County for Bik van der Pol investigate urban development, Unfortunately, this is all there is of the visual arts runner-up award from the VAI, which ultimately this residency it was the first, and perhaps only particularly what appears and disappears as a in Lucan from a professional standpoint. Lucan encouraged me to continue working on the project. time I am have to be so indulgent, reflective and result of changes in property ownership. Their seems to be a visual art black-spot. The project is not just an ongoing work reflecting fortunate with time.” research has led them to the “local-specific” of the Ironically, it is because of (or in spite of) this my own history, along with those growing up in unfinished Tallaght Stadium and how it represents South Dublin County Council’s innovative situation, that I tend to always look beyond Dublin South Dublin County at the moment – it is itself dynamics around culture and transition. In approach has been rewarded by the level of creative – and indeed beyond Ireland. My first solo becoming a historical record, because most of the response, they plan a day of events, which is open ambition and the artists’ sense of engagement with exhibition was in the newly built Town Hall Art places I photographed in 2007 have been eradicated to the whole community, releasing the creative the relationship between art and context. Public Centre in Charlestown, County Mayo in 2005. The by new transport developments in 2008. Using the and social potential of the situation. art by definition happens beyond the confines of a building itself was great, I was catered for very well internet as a means to present this project, I have Grupat is the alter-ego collective of South gallery, but the opening of the new County Arts and yet I couldn’t help but feel a little exasperated taken the local and made it global so to speak. Dublin based sound artists and composers created Centre in Tallaght this October presents an by the whole thing. If Charlestown with a So, South County Dublin has not only by Jennifer Walshe, and one which has become opportunity for a wider public to see the work population of around 800 could provide me this influenced my art practice in practical terms, but central to her practice. As Walshe puts it “the generated by the programme. In Context artists opportunity, why not Lucan? also by way of attitude and approach. While I live temporal aspect of this residency has been crucial will exhibit work through an “Open Studio” project To date I have exhibited in the Philippines, and work somewhere between the Kildare to me. On the most organic level, to have two years at the launch, and an exhibition in the main UK, US, Australia, Germany, Denmark and China. I countryside and Dublin city, I am managing to have exhibited more times in China than in Dublin, take advantage of the situation and find alternative see the seasons change in a place is quite powerful; gallery later in the autumn. Performances, public thanks mostly to 411 Galleries. I also publish a lot methods to overcome the splendid isolation South when you’re doing a residency there and you can talks, seminars and an education event are also of work in magazines, both in print and on-line. County Dublin and Lucan, sometimes finds itself see over an extended period how this happens planned. http://incontext.southdublin.ie/ This is a preferred way for presenting my languishing in. both in terms of nature as well as in terms of the Rachel McAree, photographic work and conceptual work although Barry W. Hughes vast social and structural changes the area is going Project Manager, In Context III it won’t pay many bills. Of course, South Dublin www.barrywhughes.com through, there is the opportunity for an has a pretty good broadband network so for an engagement with the place which is deep and rich. 14 The Visual Artists’ News Sheet July / August 2008 HoW IS IT MAde? Cooler Feeling opening into a colloquy, supplying dialogue (as subtitles) and name- checking prominent thinkers. It was fun – and Jerome made a great Wittgenstein; but I couldn’t get it to work. The only evidence of this JoHN GRAHAM WRITeS ABouT THe BACKGRouNd ANd IdeAS INFoRMING HIS ReCeNT exHIBITIoN, version is lines from Jacques Rancierre’s, The Emancipation of the Spectator (3) included in the Press Release. I decided to walk to the ‘oPeNING SeQueNCe …’ AT THe GReeN oN Red GALLeRY. (18 APRIL – 17 MAY, 2008) gallery with my friend Cormac Downes following me with a camera. The March wind and rain lent an air of Kurosawa to the proceedings – but we got some usable footage between the showers. The resulting monitor sequence attempted to make an analogy between the journey to the gallery and the process of making the work; and in turn the viewer’s journey, and the process of seeing it. A lot is determined by how things are put together. I use Final Cut Pro for editing, outputting with Compressor, and formatting and burning with DVD Studio Pro. It still amazes me really; with a computer and some software (and good counsel from friends like Joe Lawlor – 50% of ‘Desperate Optimists’) you can do all this yourself. I use voiceovers a lot, they’re suggestive, and you can play with that. I wrote my own text for the ‘Walking Figure’ voiceover and recorded it with Andrew Rooney at Redlab, his tiny recording studio in Whitehall. John Graham. Opening Sequence … Installation in progress John Graham. Opening Sequence … Video and sound installation 2008. The other was a ‘found’ text, a commentary track on a DVD of Mikio Naruse’s film Sound of the Mountain (1954). One of the things that interested me about the commentary was the tension between the quietly thoughtful American voices (4) and the traumatised post-war Japanese culture they’re commenting on. I edited this to fit with my own footage; it’s interesting to put things together that don’t belong; you can make new relationships and discover resonances between seemingly disparate things. Though cinema is a reference in my video work, I’m not trying to make a cinematic experience. I’m interested in the viewer’s experience of the actual space as well as the illusionistic one; I’m interested in how they intersect. You only have a few days to make an installation and you can’t be sure how it’s going to work. My brother John Graham. Opening Sequence … Video and sound installation 2008. Two dVd video John Graham. Opening Sequence … Video and sound installation 2008. projections on purpose built screens. Two dVd monitor sequences with voice-over narration Peter is a self-taught carpenter and as fussy as I am, so I knew he could on headphones. Ambient sound on dVd. make whatever I wanted. It was important that the projections didn’t thE genesis of Opening Sequence … was a period of inactivity a few Locations are tangible though – and as soon as I saw the appear only as transparent material (as they may have done if years ago, when after an exhibition of prints (1) I found it difficult to abandoned interiors of the old cash and carry warehouse on Thomas projected directly onto gallery walls for example) I wanted them to work. I thought that going back to college might free me from the Street, I knew I wanted to work directly with the space. The Media have their own architectural presence. The adjacent screens were impasse – so I began a Masters at NCAD in October 2004. At the technicians; and friends like Seamus Grogan, had been pestered daily made slightly differently and positioned out of line to better establish commencement of the course, students were asked to make with my stupid questions about pixels and aspect ratios and showed their physicality. The configuration of the built screens, and the presentations of their current practice. My practice had effectively extreme grace under pressure. Now I fancied myself as an AV artist, projectors on tables, effectively emptied out the central gallery space, stopped – and I didn’t want to revisit old territory – so I presented a Anthony Hobbs encouraged me in the delusion and even Kevin confining viewers to the perimeters (in a direct reversal of the video manifesto instead. Atherton was prepared to suspend disbelief. depicted scenes) and helped to re-enforce the presence of the gallery I didn’t own a computer and had no experience with video or Projections / Plans / Elevations (Location A) was conceived and itself as a key component in the work. The empty gallery appears as digital media; but I was fascinated by Gillian Wearing’s use of executed in the last few weeks of my MA. I made a series of slow both an image (a projected series of slowly dissolving viewpoints) ‘surrogates’ in her work and had decided to adopt her approach. My tracking shots across the walls and ceilings of the empty building and as a reality brought into affect by how the work is staged. daughter Rachel became my proxy and delivered a scripted mission and added recorded voices from various sources to create separate “When you say something, say it twice” Alfred Hitchcock (5) – statement to camera – the ‘art speak’ sounded funny coming from a soundtracks. I had interviewed a pathologist, Professor Sean O’Briain, Opening Sequence … has lots of twos; screens, tables, projections, nine year old; and her nonchalant delivery was faultless (including as part of another project, and fragments of that were included. It all monitors, and voice-overs. Doubling and the acknowledgment of tightly choreographed sips of water and straightening of reading seemed to make sense – to me at least; I had made something I could dualities; viewer/viewed, past/present, and real/virtual, are central. glasses). I was asked to run the piece again – but I didn’t know how to build on. Formal juxtapositions featured regularly in my print work and rewind the tape! Sometime afterwards, around the middle of 2007, Jerome appear again in work I’ve made in video. The juxtaposition of two I decided to switch from printmaking to the media department. O’Drisceoil and I agreed I would do a show at the Green on Red screens forms a diptych. Similar information projected onto both At first, I found it difficult to develop ideas, because I didn’t know Gallery in April or May the following year. I had shown very little screens but out of sync and of different durations results in an how to do anything, there was no ‘activity’ to think through. My since my last exhibition there in 2003 and the work I was attempting endlessly varying combined image, a ‘third image’. (6) The sequences confusion manifested itself in a preoccupation with emptiness and to make was very different from what I had done in the past. Jerome repeat. They return in different configurations and present a kind of death. I made a show about this in my studio on Eustace Street – most was committing to the show largely on the basis of trust. closed circuit. Moving from screen to screen to monitor, they create of the people who came hadn’t a clue what was going on – and I had some general ideas about the viewing experience and I a spatial as well as temporal loop, and the viewer becomes implicated neither did I. knew I wanted to make something dealing with that. I began in this. As an undergraduate in NCAD, I had specialized in printmaking videotaping in locations and situations that interested me. I own a I didn’t ask permission from the people who appear in the – but I learned how to do it properly at the Graphic Studio in Dublin. small video camera (Sony A1E) with an XLR connection for proper footage, because I felt it was important to allow that tension. Some The studio members learned from each other. People like Niall sound recording. Sometimes I hire the Sony Z1 from Filmbase, it’s a comments written in the gallery visitor’s book suggested I had a Naessens epitomised the ethos of hard work and sense of pride in the flexible camera and easy to use. I have also hired tracks and lighting jaundiced view, but my position was more detached than cynical. craft. I knew James O’Nolan from NCAD, he was closely involved from them, you learn stuff as you go along, and they’re very good Ronnie Hughes detected the spirit of Warhol and that might have with the visiting artists programme (2) at the studio and spoke to me with advice. been apt. Andy’s quotes are all well worn but Lou Reed speaks with as though I was an artist too – James was like that; he took you Some video works are made like mini movies, with a shooting his voice when he sings, “Mechanical precision or so it’s seeming, seriously, even before you did yourself. schedule, a budget, a crew, a lot of expertise. I haven’t had that Instigates a cooler feeling” (7) The pot-bellied stove was lit every morning in the winter and opportunity. My methods are more improvised, with ideas worked John Graham when the weather was warm you could sit outside at the Grand out through the process. This is similar to how I made prints. NOtES Canal Basin and watch the first of the new apartment buildings Printmaking and video making are similar in some ways – both make 1. ‘Reconfigure’, Green on Red Gallery, 2003. going up. Stephen Lawlor could synopsis the history of print-making a clear separation between the process and the finished work. I like 2. A scheme where established artists were invited to work in collaboration with specialist printmakers at the studio. in about five minutes, (a regular treat for unsuspecting visitors); but that gap, the immediacy of painting, for example, makes me feel ill. 3. “Spectatorship is not a passivity that must be turned into activity. It is our normal situation” sometimes it felt like we were stuck in the Middle Ages. James I was grateful to the Green on Red and Corban Walker for from The Emancipated Spectator, Published in Artforum (p279), March 2007 4. The commentary is by two American critics, Kent Jones and Philip Lopate. McCreary was a brilliant studio manager, once you didn’t mention allowing me shoot at Corban’s opening last November; but it wasn’t 5. Hitchcock, Francois Truffaut, (p90) Simon and Schuster 1985 6. eisenstein describes the occurrence of a ‘third image’ resulting from the “collision between the ‘C’ word (computer) and you weren’t a member of the ‘Lesbian necessarily central to my project. A gallery opening was just another . two shots that are independent of one another” The Dramaturgy of Film Form (1929) Feminist Front’ (woman). It was very old school. I made prints and viewing event – and it wasn’t until after I’d shot the footage that I Quoted in Film Theory and Criticism, ed, Leo Braudy and Marshall Cohen (p27) oxford university Press, 2004. In Opening Sequence … a third image occurs when similar sequences drawings for 10 years. Materials and processes came first; images began to focus on it in particular. of shots constantly change in relation to one another. grew from a direct consideration of these. Working with video is a An early version of Opening Sequence … contained a section that 7. Lyric from, Images, on Songs for Drella Lou Reed and John Cale. Sire Records, 1990. less tangible business. was a kind of parody of contemporary ‘discourse’ – I tried to make the The Visual Artists’ News Sheet July / August 2008 15 CAReeR deVeLoPMeNT Coincidences, Chance Mettings and Good Luck BRIAN o’doHeRTY dISCuSSeS ISSueS ReLATING To HIS ART CAReeR WITH BReNdA MooRe-MCCANN IN HIS FIRST INTeRVIeW SINCe HAVING oFFICIALLY BuRIed (1) ‘PATRICK IReLANd’ – THe PSeudoNYM / PeRSoNA THe ARTIST HAd WoRKed uNdeR SINCe 1972 IN PRoTeST AT BLoodY SuNdAY. Burial of Patrick Ireland, IMMA, May 20th 2008 (Photo: Fionn McCann Photography) Brenda Moore-McCann: The Visual Artists News Sheet focuses BMMc: Your artistic strategies from the sixties on have BMMc: Now that your most prominent (and notorious to some) on artists approaches to the development of the various deliberately sought to evade a consumerist approach. Probably artistic pseudonym Patrick Ireland has finally been laid to rest, professional, administrative and organisational aspects of their the best representative category within your oeuvre is the can you reflect upon the 36 year experience of living and careers. Examining your art practice over the last 50 years ephemeral Rope Drawing installations of the last 36 years carried working as Patrick Ireland? indicates quite a different attitude to such a systematic approach. out by your recently buried persona Patrick Ireland. Can you BOD: Patrick Ireland as you know is a political creation. Bloody One might even say it demonstrates a subversive attitude that comment on your main concerns as an artist? Sunday in Derry influenced me profoundly, as it did everyone else. I also appears in your critical writing. For example, in the 1986 BOD: I’ve nothing against money, except when I don’t have it. But signed my work by that name until the Brits left Northern Ireland Afterword to Inside the White Cube you noted that the economic artists make things and things enter the turbulent economic and all citizens were given their civil rights. Liam Kelly in Belfast and system surrounding art was virtually unquestioned (aside from moneyscape. Then odd things happen. Money becomes more I stay very much in touch. He keeps me well informed. The time had art of the 1960s and 1970s) by the key figure of the artist, so that important than art. Art becomes fetishised. Art fairs and auctions come to abandon Patrick. we get the art we pay for rather than the art we deserve. Earlier become verifiers of value. The magical powers of art depreciate. We I believe that taking another name is a serious business, nothing in the 1960s when art critic of the New York Times, you wrote are in the midst of great decadence. I can claim no moral or ethical larky or funny about it. There are certain subtle effects on your own The Corruption of Individuality, in which you descried the superiority. I made temporary installations the main spine of my person. Patrick Ireland eventually became to me a distinct and visible erosion of artistic freedom in the face of the seductive spoils of work for over forty years because that’s the art I had to make. It kept person with his own thoughts and ideas. A separation took place. It a “hothouse, big-money atmosphere.” Finally, you once said me outside the market. I supported myself—and my art—with other has to do with the power of naming, with the power of the word. about Orson Welles: “To separate Welles, Welles the director, jobs. It helps to have a good wife who sees you over the impecunious Words are intrinsic to my work. I suppose you could call Patrick Welles the actor, Welles the writer, Welles the magician, Welles bumps. All the installations were made by Patrick Ireland, who now Ireland a word, a signature. I must avoid any hokey stuff here. But a in his various persona, from his work is a hopeless task, and has been laid to rest at IMMA, courtesy of Enrique Juncosa. All strange reciprocal exchange did take place, an interfusion, a shudder temporary, except for one in Kalamazoo. Temporary artworks, I through your substance. I became used to working as him. When I eventually a dubious one. Like his films, he was his own fiction. think, sharpen the viewer’s perception. What you see is under threat was him, everything else dropped away. I was alone with the work, or He and his art interpenetrate in ways that some criticism finds of withdrawal. The mortal artwork already includes quotients of with good helpers – in Dublin I was most fortunate to have Brendan unallowable. But who is making the rules here?” All these texts regret, anticipatory flashes of memory, including the memory of - in Earley and Fergus Byrne, who think deeply about their work. Meeting seem to me to reflect attitudes that appear within your art. my case - yourself in the artwork. So occupying a temporary younger artists is very necessary for me. Joe Stanley, who helped with Would you agree? installation can be a complex affair. Patrick’s coffin and effigy; Brian Duggan, who is indirectly related, Brian O’Doherty: Everything seems so random, arbitrary and subject and Jeannette Doyle who lent her shoulder to Patrick’s coffin. to chance that it’s a wonder we end up where we are. My own career, BMMc: Would you agree that your writings can often provide Now I have to get used to making art as myself again. I will miss if you can call it that, is shaped by the usual coincidences, chance indicators of your strategies as an artist? the freedom and concentration that Patrick gave me. But he is meetings, with nudges of good luck. I owe a lot to other people. To BOD: I used to write about other artists, but not so much anymore. I joyfully abandoned. Irishmen are not killing Irishmen and women Thomas McGreevy, to a great woman named Nancy Hanks, to my learn something when I write about other artists. I write about my up North. By the way, Liam Kelly’s book, Thinking Long is full of wife Barbara Novak. Out of all that comes some sort of fiction you own work in letters to friends. I do a lot of my thinking that way. The images of artists responding to that conflict. It has produced some pass off as yourself, whatever that self may be. I never see the self as White Cube book obviously refers, in several indirect ways, to my great works of art—Shane Cullen’s Fragments sur les institutions a stable entity, but as a fluid, multivalent series of accommodations own concerns as an artist. It came out of my installations. I was Republicaines. And remember Bob Ballagh’s powerful gesture at the to inward and outward pressures, giving birth to different personae. clambering all over those white galleries, attaching lines to ceilings, Living Art long ago, in 1972? That’s everyone’s experience, I imagine. I’ve simply literalised some corners, etc. until ultimately I asked myself, “what is this white box of mine—personae, I mean. Of course, all this doesn’t mean you don’t NOtE I’m in?” Or rather the white box asked me, “why are you all over my 1. After the events of Bloody Sunday in derry in 1972, Brian o’doherty began using the have your head together when you cross the road in traffic. I call that pseudonym / personae Patrick Ireland in relation to his art practice; and as part of this virgin spaces?” I was astonished at the immediate reception of White practical everyday person, who shops for groceries and pays the rent, strategy the artist ceased showing work in Britain. After 36 years working as Patrick Ireland, Cube in Artforum. It seems to go on forever. More translations o’doherty formally ‘buried’ his alter ego in a ceremony at the Irish Museum of Modern Art ‘good serve’, a decent sort of fellow but not over-bright. I’d be lost (20 May 2008) as a gesture of recognition to celebrate the restoration of peace in Northern coming up – France, Italy. People now assume I have wise things to Ireland. without him. say about the gallery. I don’t. I said what I had to say. I’m no gallery A second, concluding instalment of this interview will appear in next edition of the Visual Artists guru. New Sheet – the Sept / october issue. Brenda Moore-McCann’s book on the art of Brian o’doherty / Patrick Ireland will be published in 2009. 16 The Visual Artists’ News Sheet July / August 2008 SeRVICeS Pensions For Artists A NeW PeRSoNAL ReTIReMeNT SAVINGS ACCouNTS FoR ARTISTS. FINANcIAl planning for the future is something that is not always at the forefront of our minds. The question that is more usual is how to finance life and art at the same time. For quite a few artists this means having PAYE and/or non- art related jobs to pay the bills, and dedicating whatever time is left to a practice. Even for artists who qualify for the Tax Exemption scheme, studies have shown that 81% of these earn under €10,000 per annum. Outside of the exemption scheme, other sources of income from part-time and full-time employment cannot be claimed for and are therefore subject to standard levels of taxation. When this is combined with some thought towards future financial arrangements, it is a sobering thought that most artists are part of the more than one million Irish workers who have no pension arrangements. Many are reliant on the state pension to provide for them in retirement. At present there are five working people paying tax to every person claiming the state pension, however by 2050 it is expected that this will be just two working people to every one pensioner. The reason for this is that that our life expectancy is increasing but the number of babies being born each year is reducing. This is why artists need to take more a more proactive approach to their retirement planning. It is for this reason that Personal Retirement Savings Accounts (PRSA) were introduced by the Government in 2003 as a pension product that is low-cost, flexible and fully portable. The government is aiming to increase pension coverage in Ireland. Visual Artists Ireland has been in discussion with tax advisors on this matter. Taking into consideration, that artists may have a varied income, we wanted to explore how best to take advantage of the tax benefits on non-creative income, as well as put in place some financial planning for the future. As a result of these discussions, Ross Ingram of the Taxation Advice Bureau has provided some examples of why the PRSA is suitable for artists: Flexible Plan You decide how much you want to pay on a monthly, annually or once off lump sum basis. If you want to stop paying contributions for a time, you can simply halt them and restart at a time that suits you. Tax-efficient One of the great features of a pension is they are a very tax efficient way of saving for your retirement in different ways: Tax relief on your contributions Tax free growth on the value of your fund Tax-free cash at retirement Subject to your age related limits, you will receive full PAYE and PRSI relief on the contributions that you make to a PRSA. Portable Pension A PRSA is individually owned so you can pay into it while you are self-employed, or bring it with you from job to job if your employment status changes. Like most things financial, there are sets of conditions and also a range of variables that need to be taken into consideration when talking about one’s own personal situation. For this reason, we have asked Ross to make himself available to VAI members to discuss planning for the future. To find out more Ross can be contacted on 01 6768633 or firstname.lastname@example.org As with all of our support services, your feedback is very important. Therefore, please let us know how you get on (email@example.com) and we can then provide this back to Ross and The Taxation Advice Bureau so that they can improve their service to members. The Visual Artists’ News Sheet July / August 2008 17 ART IN THe PuBLIC ReALM Alan Phelan Thin Lyrics Alan Phelan Bald Finch Aoife desmond Wetland (Simultaneous presence of land and sea) Park Life art objects placed in public contexts. As discourse of urban life centres on ecological impacts of SARAH SeARSoN RePoRTS oN ‘CoNCouRSe' – duN LAoGHAIRe-RATHdoWN CouNTY CouNCIL’S clustering, sprawl and consumption, estimates are that by 2050 fifty INSTALLATIoN PRoGRAMMe, WHICH THIS YeAR CoMMISSIoNed oFFSITe WoRKS BY THRee ARTISTS per cent of the world’s population will be urban or city living. IN BLACKRoCK PARK. Tension heightens further also around cultural consumption patterns. Mark Garry’s work acted as a calls to a public to participation thIS year, Dun Laoghaire-Rathdown County Council’s installation – through a re-examination of seen / heard or unseen / unheard programme ‘The Concourse’ moved from its usual home. The surroundings. programme ventured out of the County Hall in Dun Laoghaire, to the The installation comprised four Aeolian harps – instruments ‘new’ location of Blackrock Park (1 May – 1 June). The commissioned that literally play on the winds. The harps, which comprise of single artists Aoife Desmond, Mark Garry and Alan Phelan continued The stringed instruments that resemble long wooden boxes, could be Concourse’s 10-year legacy of artistic investigations in civic space. read as unusual nesting boxes – as they were mounted high on Scots Curated by Claire Power and Carolyn Brown, the 2008 programme Pine trees. These trees are some of the oldest in the park – and they ran for a month in May. The works Wetland (Simultaneous presence are nestled in the topographically most complex part of the space. of land and sea) by Aoife Desmond; Lizzy Feeder, Thin Lyrics and Bald They cluster at the edge of a path, which in the tradition of grand Finch by Alan Phelan; and Wind Harps by Mark Garry were made in garden design, opens from a shaded arboretum to the lightness of response to a brief which emphasised issues of time, memory, change open space and lawn. It’s at this point Garry invited park visitors to and impermanency. pause, a space in between shaded darkness and clear light. Initially the curators intended to support works in three The sound from the harps was pale, spectral and barely audible. locations in the county of which Blackrock Park was one. However, it Overall the work was low-fi, gentle and encouraging a call to personal was the park that caught the artist’s attentions. Blackrock Park is a stillness, openness and observation. Garry’s work succeeded in weirdy mash-up of municipal design – it features rockeries, lawns, opening a dialogue with the sensory and stimulated a heightened fountains, a 1960s performance island, a ‘natural’ amphitheatre, awareness of place. follies, a bandstand, tracks of black tarmac and a garishly coloured Aoife Desmond‘s observational installation Wetland children’s play area. The park is choc-full of layered historical (Simultaneous presence of land and sea), launched and ended the interventions. All of which express conflicting generational programme. Her super 8 slide film was projected from the park‘s aspirations – there are many layered narratives working alongside amphitheatre in early May, and later in the month as the evenings the associated conventions of urban recreational space. Not brightened in the more light-safe Avery Cottage. The other- surprisingly, the park doesn’t function well – it is something of a worldliness of the natural was a concern in Desmond’s work. The ‘non-space’. An analysis of its users in 1999 the showed that curiously, film moves through the space from maintained parkland on the visitor numbers drop at the weekend. It works best as a ‘green Blackrock side along its linear aspect; out to the adjoining wetlands traverse’, for the local schools, hospital and town. It is a place Mark Garry Wind Harps and onto the rubble islands in Booterstown bird sanctuary. It also sandwiched between transport lines rather than a destination. hovers, talons extended over its ‘prey’ of beer cans – the results of runs through seasons – and the life cycles of the birds. Over time the The three artists’ researches and subsequent installations all serious drinking – which opens a narrative with the ‘anti-social’ birds, egrets, swans, cormorants and herons emerge as polymorphic. touched on ideas relating to western utopian and modernist night-uses of the park by young people. “Up till now I used to pass my They seem imbued with a type of humanness, as we witness neurotic aspirations, specifically expressing the polarised distinction between time drinking beer” is the opening line of the Thin Lizzy song Honesty repetitions through the franticness of the heron‘s wing-beating. nature and culture, the fetisisation of technology and progress and is no Excuse. A line of which is painted, in collaboration with two The piece combined an irregularly paced thoughtful slide show the ‘othering’ or stigmatisation political dissent and opposition as graffiti artists, on the concrete panelled bandstand. It runs “... and and a super 8 film, which were run slightly abutting each other on being anti-progress or anachronistic. honesty was / my only excuse / took your love/ and used it/ took my one screen / wall. Wetland hinted at a left brain / right brain dualism The works made in response to this brief fused insights into the life/ and abused it”. – the slides offering a more focussed unsentimental documentary context and its coded meanings. Some common threads were shared This reference to Thin Lizzy commemorates their 1971 gig in presentation; the super 8 film being romantic, familial, scratchy and by the works presented by Desmond, Phelan and Garry – the Park; and opens a social and textual dialogue with memory and flickering. preoccupations with layering aspects through documentation, layering of function, from the parks history and public space as a key In an accompanying research publication produced by Desmond mirroring, and research into the socio-geographic dimensions and site of popular culture. The bandstand, a railed-in piece of Victoriana, highlighted the influence of WG Sebald’s book The Rings of Saturn. physicalities of Blackrock Park. is a small formal controlled performance space, which was designed The novelist Rick Moody aptly described this book as a “masterpiece The significance of the installations was also amplified by the primarily for military bands. As a cultural ‘panopticon’, it contrasts [having] virtually no character, no conflict, and no dramatic park’s imminent change. Originally designed a Victorian pleasure notably with the more informal ‘performance’ space and neo- interaction. It gorges itself instead on setting and theme” (3) The Rings garden, the park is soon to be being up-graded to reflect the ‘new’ classical grass amphitheatre designed in the 1960s. It is here Thin of Saturn is a catalogue of Sebald’s walking tour along the eastern interests of planners (1). The place now will be ‘re-imagined’ to Lizzy performed – returning, like so many young Irish of the time, coast of England in 1992, an compulsive record of saltmarsh, streams, support current concerns such as the conservation of nature; issues from London – as part of ‘Rock the Hollow’ in 1971. That same year, rivers, grey waters, and mudflats – subjects and ‘character’s which are of biodiversity and overall the provision of municipal green-space as Thin Lizzy produced a self titled album, its cover image a fish-eye similarly addressed in Desmond’s film. a counter-trade for commercial development. The landscape tradition tends to obfuscate the human need to photograph of a junked car, caught in its headlight mirroring of its own image on suburban street. Phelan took this image and reproduced These works by Phelan, Garry and Desmond were a telling – they control the natural world. Our city parks become apart from the it as a sculptural object – a crushed Vauxhall car (also referencing the engaged the personal and the collective, they pointed to hidden force of the natural world, an oasis for the urban. The flip-side to original park; The Vauxhall Pleasure Gardens), in day-glo colours, and unseen narratives, utilising a mixture of facts, recollections and controlling nature is its irrepressibility, the “natural” becomes hangs from the tree, and one can almost hear it: “ It won‘t be long till silences. “unnatural” and ideologies of fear and annihilation emerge from the summer comes, now that the boys are here again, the boys are back Sarah Searson physiological opposition between the meeting of nature, technologies and the human. The park by virtue of this becomes ethereal, spooky, in town.” Notes unreachable. Ideas of music and sound also surfaced in Mark Garry‘s work. As (1) The National Spatial Strategy 2002 – 2020 www.irishspatialstrategy.ie (2) Kieran Allen, An Appeal to Musicians To Rise Up Against The Neo-Liberal Order, pg 5 The Journal The dark iconography of Alan Phelan’s Bald Finch, in the aviary/ the sociologist Kieran Allen has observed “music is part of a collective of Music in Ireland, March / April 2005 folly was difficult to miss. In Phelan’s work, a finch – a small seed- human endeavour to enforce the human will on nature”(2). Garry (3) Rick Moody, A Short Walk through the Rings of Saturn The Believer Magazine May 2007 eating bird – is morphed into an overbearing carnivorous eagle. It created a slow and poetic inversion of what is traditionally read from 18 The Visual Artists’ News Sheet July / August 2008 ART PuBLIC: RouNduP Art in Public: Roundup ReCeNT PuBLIC ART CoMMISSIoNS, SITe-SPeCIFIC WoRKS, SoCIALLY eNGAGed PRACTICe ANd oTHeR FoRMS oF ART ouTSIde THe GALLeRY. BAllyDERmOt wORkS mirrors, it is like looking into a reflective pool. thE SEcREt GARDEN The space between the earth and sky is diminished. Our micro and macro worlds converge in the moment of the reflection”. StRANGERS IN thE NIGht Artist: áine O’ Dwyer. Title: Strangers in the night. Materials: Live Art installation – vocalists, costume, props, digital imaging, lights. Location: Potato Market, Limerick City. Commissioners: The Unfringed Festival 2008. Date of Completion: 13 – 15 February 2008. Monica de Bath Ballydermot Works Project Partners: Limerick youth theatre and local vocalists from Limerick. ARtFINDER ArtFinder is an open interactive project, available through the Blackletter website, using online mapping tools to create a dynamic archive of art Kenneth Armitage L Shaped Screen projects that have taken place outside the gallery. Title: 'The Secret Garden'. Any artist who has created work of a temporary, Location: The Iveagh Gardens in Dublin. ephemeral or location based nature can add a Dates: 15 – 27 May 2008. marker to the map, to publish a public record of Curator: Suzanne Macdougald, owner of the Monica de Bath Ballydermot Works their project. ‘ArtFinder’ is intended as a publicity former Lad Lane Gallery and the Solomon and research tool for artists and curators alike Gallery. Artist: Monica de Bath. and will form an evolving archive of works. Description of Work: Featuring over 60 Irish Title: Ballydermot Works. www.blackletter.ie/artfinder and International sculptors, the show included Bernie Rutter; Castlederg –Locky Morris; Materials: Paintings on industrial steel plates. over 80 works in bronze, steel, timber and glass Donemana – Maurice Harron; Lifford – Location: Bord na Móna, Ballydermot Works, BAlANcE by a broad range of academic to abstract Codsteaks; Moville – Locky Morris; Rath Iomgháin. Co. Chill Dara. sculptors. In addition to the main outdoor area, Newtownstewart – Dennis O’Connor / Bernie Commissioners: Bord na Mona. there was a pavilion presenting smaller sized Rutter; Plumbridge –Brian Connolly; Ramelton – Dates: Between Autumn 07 – June 08. artworks in a myriad of styles to suit all tastes Brian Connolly; Raphoe – Maurice Harron Sion Budget: €10,000. and superb garden displays by the award- Mills – Eamonn O’Doherty. Commission Type: A joint application with winning garden designer Paul Martin (amongst Description of Work: Twelve towns and villages Bord na Mona to Arts Council Commission other awards, Best in Show at Bloom 2007 and across both council areas were selected for the Award 2007. Chelsea Flower Show medallist) who programme – which included shop front and Project Partners: Bord na Mona, the Arts Council collaborated with the gallery on this exhibition. general environmental improvements; along and the artist. Artists featured in the show included: Henry with a sculpture trail to promote rural tourism. Description of Work: The project comprises a Moore (1898-1986); Lynn Chadwick (1914-2003); Where possible, each commissioned artist was series of 12 paintings, with a number of these Barry Flanagan; Sophie Ryder and Sean Henry; invited to produce two pieces of public art – one painted onto steel panels for siting outdoors. This Michael Burke Balance French artist Bernar Venet; American glass artist for each side of the border. Roisin Connolly, is a body communicates a story about a working Dale Chihuly; and Ireland’s Sonja Landweer; project manager for Heart has stated “We bog site. It explores the connections between Rowan Gillespie; Patrick O’Reilly; Vivienne Roche selected seven artists from over 60 submissions – Artist: Michael Burke. local communities and the bog lands with which and Michael Warren. and the result is twelve dramatic, yet sensitive Title: Balance. they work and interact. Presented alongside the pieces of public art, that combine to form a Materials: Stainless steel, bronze, hone painted images, there was a digital photographic hEARt remarkable sculpture trail taking in breathtaking limestone, polished red granite. record / diary of the artistic work process, scenery throughout the county of Donegal and Location: Tullamore Courthouse, Co. Offaly. accompanied by a photographic record of site the Strabane District Council area … All of the Dimensions: Overall height: 2,350mm, activity. seven artists have sensitively entwined the length: 3,500mm, depth: 750mm history and heritage of each area with its proud Commissioners: The Office of Public Works. Sky + EARth local cultural fabric, unique to each place. Date of Installation: November 2007. www.donegalpublicart.ie Artist: Martina Galvin. Project Partners: Michael Grace of Newenham, Title: Sky + Earth. Mulligan & Associates. BEAltAINE 08 Location: Sculpture in the Parklands, Co. Offaly. Description of Work: The artwork is a Artist: Sarah Stevens. Commissioners: Sculpture in the Parklands. contemporary take on the traditional figure of Title: Artist in Residence – Bealtaine 08. Date of invitation: 2007. Justice – a woman blindfolded, carrying a balance Materials: Drawing materials, photography. Dimensions: 52 feet in length. (or scales) in one hand and either a sword or book Location: Ballymote Nursing Unit, Ballymote, Materials: A series of mirrors embedded into the in the other. The ‘balance’ – a 3,500mm bench of Title: 'HEART (Heritage, Environment, Art, Rural Co. Sligo. peatland landscape. stainless steel supported by a bronze sphere - is Tourism)'. Commissioners: Sligo Arts Service. (Also Official Opening: 8 June 2008. now the main element in the work. At on end, Commissioners: A joint programme by Donegal supported by The Arts Council, Sligo Co. Co. and Description of Work: The brief called for a new alternating layers of hone limestone and polished County Council and Strabane District Council, the HSE) work of art that would coincide with the red granite, represent the law. A figure of welded made possible by funding from DARD Type of commission: Limited competition. International Peat Congress. The landscape as an stainless steel representing the individual walks (Department of Agriculture and Rural Date of invitation: December 07. undergrowth of constant movement and change Development) in the North, and Border Action Date of installation: February – May 08. away at the other end. The balance to be struck is was the inspiration behind Sky + Earth. The artist through Measure 1.4 of the EU’s Interreg IIIA Budget: €2550. between the individual and the law. The work wanted to capture the vast expansive and fleeting programme, the International Fund for Ireland, Project Partners: The Arts and Health located opposite the entrance to the new skies, if only temporarily, in the surface of the Donegal Council, Strabane District Council and Coordinator at the Arts Service and a creative extension, is also used as seating. earth – Galvin felt that, “it’s like cutting into the the private sector. writer. bog to reveal the sky above. It reminds me of the The towns and their designated artists: Ardara Description of Work: The project was carried cut black bog pools you see in the bog landscape. – Elizabeth Caffrey; Ballybofey/Stranorlar – out at three different care unit settings around Then, when you peer over the edge of the Codsteaks; Ballyshannon – Dennis O’Connor and County Sligo. A group of eight elderly people The Visual Artists’ News Sheet July / August 2008 19 ART PuBLIC: RouNduP AdVoCACY ANd LoBBYING Barriers to Mobility either staying at or receiving day respite at tEmpORARy pROJEctS IN cORk DOcklANDS Ballymote Nursing Unit worked with one of three Artists: Sorcha O’Brien and Eli Caamano (Cork/ resident artists. With the help of a creative writer Barcelona), Seamus Nolan (Dublin) and Inigo at the start of the residency, the group established Manglano-Ovalle (Chicago). PAuLINe HAdAWAY RePoRTS oN A PuBLIC CoNSuLTATIoN HeLd AT different concepts that they would like to express Title: 'Temporary Projects in the Docklands'. BeLFAST exPoSed WITH ReGARd To IMMIGRATIoN LAW ANd HoW IT in a creative way. At the end of the residency the Location: The working docklands area of artists exhibited their work in Nazareth House Kennedy’s Quay, Cork. IMPACTS oN INTeRNATIoNAL ARTISTIC exCHANGe. and project participants exhibited their work at Commissioners: The National Sculpture Factory BElFASt Exposed Photography hosts several the fact that following the 1999 UK Immigration the HSE building in Sligo. is generously supported by the Arts Council, FáS exchanges and international work placements and Asylum Act (part V) “it is now unlawful for and Cork City Council. This particular event is each year alongside inviting artists from abroad to any person to provide immigration advice unless lONGA FAOI ShEOl also being supported by the Cork Docklands openings and events and to research and develop she or he is registered by the OISC; authorised by Directorate. new work. Alongside many of our cultural sector Law Society/ Bar Council; a Crown officer; exempt Dates: 19 September– 10 Oct 2008. colleagues, we are concerned that immigration under the Immigration and Asylum Act 1999; or Description of Work: The four artists are policy and procedures may be compromising our working under lawful supervision. currently developing projects that engage with independent decision making around Overall, the consultation drew attention to the site in a temporal way. Cork-based artists, programming and the selection of artists we want how free movement, long enjoyed by travellers Sorcha O’Brien and Eli Caamano, are working to work with. within the British Isles and between NI and ROI is collaboratively and have proposed to install five With this in mind we recently hosted a public being eroded through the imposition of new spherical balloons (between 12 and 20 foot in consultation inviting artists, arts organisations immigration rules alongside requirements to carry diameter) on the tops of buildings in the and interested members of the public to share identity. Within Europe, where the Schengen Jon Barlow Hudson Longa Faoi Sheol docklands area along Kennedy’s Quay. The press information and experiences, identify key issues Treaty permits free travel across national borders, release notes that “ the lightness of touch that the and consider ways of addressing problems. In a the opting out of UK and ROI is creating further balloon sculptures will convey will provide a discussion lead by Noel Kelly (Director Visual inconsistencies and complications. counterpoint to the heavy and dense architectural Artists Ireland), Ceri Dingle (Director, The point was raised that in the face of blocks that comprise the docklands landscape, WORLDwrite); Anthony Haughey (artist and administrative difficulties and ever changing rules and act as beacons visible from many changing writer); Pauline Hadaway (Director Belfast and procedures, arts and cultural organisations are vantage points all over the city and docklands and Exposed) and Anna Morvern (Immigration Lawyer, likely to avoid working with artists whose from the approach of the main Dublin/Cork road.” NI Law Centre), the following observations were countries appear on the visa national list (1), thus Seamus Nolan has proposed to develop a made. compromising their own commitment to equality public artwork in collaboration with the available There is an increasing awareness that changes and diversity, alongside their independence. to immigration rules are creating difficulties for It was agreed that cultural organisations need Jon Barlow Hudson Longa Faoi Sheol resources of the docklands and also with artists requiring visas to enter the UK and the to become more assertive and to review and the dockers employed in the area. The piece will Republic of Ireland. Many instances of refusal, strengthen their policy around international Artist: Jon Barlow Hudson take the form of a worker’s tour of the region, of delay and outright hostility and scepticism on the exchange. To this end organisations should refer to Title: Ships Under Sail/Longa Faoi Sheol. facilitating and relating this contemporary history part of immigration authorities were given. It was their mission statements and establish a Medium: Stainless steel as a natural resource, echoes the nature generally agreed that, in a generally inhospitable philosophical basis for their policy alongside a set Location: Lisdoo Estates, Dundalk, Co. Louth walkways and protected environments prevalent atmosphere of suspicion and closure, much recent of criteria for defining and selecting artists. Dimensions: Approximately 9 feet high and ten in our post-industrial societies. anecdotal experience suggests that artists and While many in the sector may hold differing feet diameter and weights one ton. Iñigo Manglano-Ovalle has proposed to cultural workers, particularly those born in parts views on what defines an artist, there was Date of installation: April 2008. suspend a shipping container from a crane – “so of Asia, Africa, The Middle East and parts of Eastern agreement on the principle that our definitions as Type of Commission: Open competition. that it is neither arriving or leaving, echoing the Europe, are being regarded with suspicion and professionals are valid and should in fact carry Project Partners: Art Consultant, Vincent O’Shea, ‘state of suspension’ of the docklands itself”. The required to provide evidence of artistic credentials greater weight than official definitions, which are Kilkenny, Brian Harten, Co. Louth Arts Officer. container will be customised to look like a that many of us simply regard as unrealistic and reductive, utilitarian and tend towards exclusion Description of Work: The work explores the floating ‘white cube’ and will have a glowing red inappropriate. rather than an embrace of diversity. theme of sailing, as the original site was to be on a light in the interior –visible through transparent Also, whether through implementation of As a next step it was agreed that we circulate dock near the sea. Even though the site was doors at either side. A weather station will be new filtering systems, such as the ‘tier system’, the a summary of key issues raised in the meeting; changed, the theme remained that of sails as seen attached to the exterior of the container that will abolition of programmes supporting international publish an account of the meeting in the June from a distance of small boats sailing around one translate local climate data into changing lighting exchange and scholarship or through difficult, edition of Visual Artists Newsletter and consider another. The 1/2” stainless plate is ground with a for the interior of the container. expensive and impersonal administrative systems, strategies for widening public and sectoral www.nationalsculpturefactory.com cup wheel to create the surface treatment, it appears that immigration restrictions are tending awareness, alongside raising our concerns with reminiscent of the mottled and multi-refracting to discriminate against amateur artists, most relevant government departments at the highest surfaces of the water. community artists, unpublished artists, students level. yOUR wORk hERE ! and indeed anyone who supplements their income Pauline Hadaway mOthER tERESA If you have recently been involved in a public as an artist through other employment. Notes commission, a percent for art project, socially Moreover, it was noted that application 1.The ‘visa national list’ sets out which nationals need a visa for certain types of entry to the uK (eg – tourist visit). Practically without systems lack clarity and transparency and, with engaged practice or any other form of ‘art exception, all non-eeA cultural workers coming to the uK need a visa the introduction of outsourcing to commercial to enter as a cultural worker – whatever country they come outside the gallery’ we would like you to send from. This is inscribed in the Immigration Rules eg for “writers, agencies like World Bridge official departments composers and artists” at paragraph 232, the requirements are set us images and a short text (no more than are increasingly difficult to contact and out and include, at (v), “holds a valid united Kingdom entry clearance around 300 words) in the following format – for entry in this capacity.” http://www.ukvisas.gov.uk/en/doineedvisa/ unaccountable. The meeting was also informed of visadatvnationals Artists name. Title of work. Commissioning body. date that the commission advertised. dates when the project was sited / carried out. The project budget (NB artwork budget / site work breakdown). Robert Mullen Mother Teresa What type of commission was is? (eg direct invitation, open compition, limited compitition, did you have to prepare a Artist: Robert Mullen. submission at a short-listing stage?). Title: Mother Teresa. Who were the main partners for the Medium: Oil on canvas. project? (eg did you work with a local Location: The sisters of Mother Teresa in St authority arts officer, community Hellen’s, Blarney Rehab Centre. representatives, architects, engineers, Dimensions: 36 x 24 in project managers?). Description of Work: The life story of Mother Brief description of the work. Teresa is represented in this work. 20 The Visual Artists’ News Sheet July / August 2008 PRoJeCT PRoFILe A Platform for Possibility JG: What about the practicalities of funding? AD: We have received some funding this year from the Arts Council duRING THe ART 08 ARTFAIR AT THe RdS, duBLIN 15 –18 MAY, JeNNIe GuY TALKed To AIdeeN in recognition of supporting emerging artists. But mainly we have been funding it ourselves. We’ve established ourselves as a charitable dARCY ANd JeSSAMYN FIoRe – THe dIReCToRS oF THISISNoTASHoP, A NoT-FoR-PRoFIT organization – we’re approaching some private financial institutions exHIBITIoN / PRoJeCT SPACe BASed IN THe SMITHFIeLd AReA oF duBLIN to increase our options. We want thisisnotashop as ongoing. JF: Yes we see it as a long-term project, we intend to keep working. In terms of funding resources, it is something that will hopefully just snowball – based on the quality of what we’re producing. JG: Would you consider collaborating with other galleries? JF: For particular projects, definitely. But we will always stay independent and particularly not-for-profit, that’s a really important element to us. AD: We have been considering an off-shoot where we will keep the base of thisisnotashop and look at other avenues for when artists become better established, such as bringing their work to another gallery in New York, London or Berlin. Thisisnotashop stand at Art 08 Thisisnotashop exterior – Benburb Street. JG: Is there such a thing as a sexy gallery with morals? JF: Yes. We are the epitome of sexy and moral! Jennie Guy: When did thisisnotashop open its doors and how feedback. The writers’ workshop has been meeting on a bi-weekly did it evolve? basis since July 2007. At the end of February 2008 we had a week- long show where the writers each night presented their work. It was AD: Have you seen my shoes? Aideen Darcy: thisisnotashop came into being in January 2006 – when a friend of mine asked me if I wanted a space in premises on in various forms, sound pieces, performances, interactive installations and readings. JG: Are you surprised by the attention you’ve attracted – both in Benburb Street – in Dublin’s Smithfield area. He said that he would Ireland and abroad? live in the back room; and that I could use the front room as a studio JG: Can you explain your decision to set up as not-for-profit? AD: We’re absolutely delighted. But we’ve been so busy working at – as I was planning to go to art college. What he wanted was “an AD: At the time people seemed to be consuming a lot – hence the what we were doing that we weren’t necessarily fishing for attention. interesting living room” – that’s how he described it. He wanted to name thisisnotashop came to us immediately. We are concerned We want to build a strong reasoning for doing what we’re doing and come home in the evening and find people talking, discussing things with experimentation and value of interaction. It is about people support the artists. Maybe this has just shone through and people and for plans to evolve from that. Then there were a few artists that looking at work, less about selling things – and more about have turned and noticed which is fantastic because what it is doing we knew, who wanted to exhibit their work, so we worked towards platforming. The space is presented to artists as a ‘gift’ – and as a is upping that profile. But getting recognition is important – it gives that gradually doing exhibitions and installations over the first year. space that won’t confine them. I think if an artist is given that extra the artists we’ve worked with a boost, helping them a step further along the way. JG: So you span the private and public domains? bit of freedom they can ‘release’ a bit more – I think that that’s where AD: Yes – that’s initially where we came from. And when I started the the buzz comes from. JG: I notice there is a blog on the website and that people can IADT MAVis course, my friend decided to move away – so I phoned JF: It’s an important step for artists to know that there is a space there contact you directly. Do you have more-and-more artists another friend – Jessamyn Fiore – who was living in New York at the that will support their work without the pressure of ‘can we sell this? approaching you? time, found out that she was moving back to Dublin and didn’t have – which is such a huge question nowadays, particularly with the art JF: Yes, we are approached quite a bit. particular plans – so three days later we shook hands and decided let’s do this 50 / 50 and see where this goes. market having exploded in the last few years. There is something lost in the whole process of being an artist if at the end of the day it’s AD: We’re very much about meeting artists. People are not afraid to At the time there was nothing really happening on the street. just the dollar sign. We’d rather invite them into the space and say come into us – and we hear about artists through other artists. I think But once we’d spent some time there and opened up the shutters it “this is your blank canvas… what do you want to do?” being on the ground level in Dublin and interconnecting with changed. People who had known it as a newsagent that had been Dublin galleries and Art 08 is great for that. We have a chance to there for 60 years started knocking on the windows, calling in and JG: It’s interesting that the context for this interview is Art 08 – spend time with the other gallerists and discuss individual artists asking us what we were going to do and what was going to happen? where all of the other galleries participating are commercial. It work and also discuss various professional pathways for artists. They were delighted that it was going to be an exhibition space but again the space was still evolving into that. seems like a generous gesture and an acknowledgement of the way you have decided to go. JG: What’s coming up in your programme? AD: In June we’ll have a Spanish month – showing experimental JG: Was there an official first show? AD: We were invited by the Art 08 committee to participate because they believed it was important to give us a platform as a not-for- film, and artists are coming over from Spain. Two of them will be AD: There was. It was Will St. Leger who is a stencil artist. I met him profit space. exhibiting in the National Gallery and then one of them will exhibit on a festival I was working on. He was walking through Temple Bar at thisisnotashop. We also have a piece called The Fog which is an one day with a bin liner with something inside it and I asked him JF: I think it’s an acknowledgement of the quality of our programming. outdoor installation. what it was. He had a stencil of Michael Collins carrying two shopping bags, called Duty Free State and I said that it would look We work hard to put on great shows of artists working within a variety of mediums from a first show to established masters like JF: It’s a movable ‘fog’ that is by a wonderful Spanish artist called really good in the gallery I was thinking of opening. Gordon Matta-Clark. So even thought we are not-for-profit space and Marta Fernandez. Basically you have to invite the fog to a space for a day and then she’ll bring it there. That’s at the end of June. JG: When did the writer’s workshop evolve? have a high turnover of events, there is a quality that is being recognized through the invitation. We love being involved with different events that include the Jessamyn Fiore: I’ve been writing plays since I was 13 and studied whole city – for example this year thisisnotashop is involved with writing. I loved the idea of thisisnotashop being a place of creation as JG: The turn over of events is something I wanted to discuss. the Dublin Fringe Festival; Dublin Culture Night; the DEAF Festival well as exhibition. It’s really a meeting point for a community of AD: Things are flexible. For example. At the end of the first year the and the Darklight Festival. And probably one of the most exciting artists to come, see the shows and have a chat, but also it can be a lease was up and a group called The Projector Collective came in, said things we have coming up is a major Fluxus show in October. We’re space where people can create new work, where they can collaborate that they really liked the space and they wanted to propose something bringing over one of the original Fluxus performers Larry Miller, with other artists. and I said, “well, you’ve got three days at the end of the month of who is going to work with 15 – 20 artists to put on a Fluxus concert. I moved back from New York in March 2007. My history is that March and then our lease is up, what do you want to do?” It’s amazing We’re also going to show Fluxus films. I’d also like to involve I grew up in the New York city art world – particularly with the what people can do in a matter of days. contemporary Irish artists who are influenced by Fluxus to respond artists of the 1970s, the ones who moved into Soho and started Other places have a different style of programming – that’s very and bring all of that into context. converting empty factory spaces into artist run galleries and studios. I saw thisisnotashop in that same vein. forward planning based – whereas we have flexibility, we programme just three months at a time. JG: It is really remarkable that given the size of thisisnotashop that you can do so much in terms of bringing art in and out of AD: I thought it would interesting to bring writers and writing into JF: It’s simply about trying to do as much with the space as possible it! thisisnotashop, I had met Jessica Foley –a writer – who was at the – as the demand from artists is there. It is a small space, yet it’s AD: Thank you. We may be seen as a small space and a very recent time finishing the NCAD ‘Art in the Contemporary World’ MA. transformed with every show. Even though our durations tend to be space – but we believe anything is possible and we are working to Rather than it being a workshop where you teach writing, instead we talked about it being a forum for artists and writers who work with short and sweet, they have a high impact. And then we can move on make it happen. http://thisisnotashop.wordpress.com text – to meet, collaborate, exchange ideas, share work and get and give somebody else that platform. LeITRIM St. George's Terrace, Carrick-on-Shannon, Co. Leitrim T: 071 9650 828 e: firstname.lastname@example.org W: www.thedock.ie 24 may‑6 July 12 July‑30 August Architecture – The Bridge landscapes 08 Four Artists: Rhona Byrne, Ronnie Hughes, Robin Whitmore Stephen Rennicks, Ciaran Walsh Drawings from Moving Trains Four Architects: pen and ink on till roll dominick Comerford, Thomas Flynn dominic Stephens, Micheal Sweeney Patricia Burns What’s your story? New Paintings Video Installation: A collaborative community project by dennis Mc Nulty Mella o’Brolchain, Roisin Loughrey the migrant/landscape film Admission is free to all exhibitions in the galleries. opening hours are 10am - 6pm, Monday to Saturday. 24 The Visual Artists’ News Sheet July / August 2008 INTeRNATIoNAL Aleana egan, Grey luminous light from the sea (A Structure for Readings), 2008. Installation view. Koudlam’s live performance at Cyprien Gaillard’s Crazy Horse screening, Skulpturenpark Berlin, Ania Molska, W=F*s (work), dVd 9mins, installation photo Monica Flynn Steel, metal paint, 274 x 162 x 3 cm. Courtesy Aleana egan; Mary Mary, Glasgow; Galerie Sandra 5 April, 2008, photo Monica Flynn. Bürgel, Berlin. Copyright Berlin Biennial. days & Nights in Berlin water, a looping blue ribbon suspended from the ceiling above viewers’ heads playfully mocking the sombre minimalist space. The Schinkel Pavillon (5), seemed to me the weak point of the entire event – although I only got to see one of the series of five MoNICA FLYNN RePoRTS oN THe 5TH BeRLIN BIeNNIAL FoR CoNTeMPoRARY ART – ‘WHeN alternating exhibitions shown there. In this venue participating THINGS CAST No SHAdoW’ (5 APRIL – 15 JuNe) artists were asked to curate an exhibition of work by a designer or thE 5th Berlin Biennial – entitled 'When things cast no shadow', gatherings. We comfortably viewed the exhibition in its entirety over artist of a previous generation influential to their own practice. Nairy curated by Adam Szymczyk and Elena Filipovic, announced itself in a three days – which included time to revisit particular works or Baghramian’s exhibition, the first of the five, 'La Lampe dans l’Horloge' quite understated way to the visiting art world public during its venues at our own pace. exhibited a series of mirrors designed by the Swiss born designer preview days (5 – 6 April). I attended the event as part of a self The KW Institute showed four floors of work, with a considerable Janette Laverrière. Laverrière’s mirrors defied expected use, being organised group-trip with artist and curator friends. Refreshingly, the amount of sensitively installed moving image work. The highlights more akin to playful objects with titles referencing literature and real local arts scene was not sidelined by the hoopla of the ‘big event’ – for me at the KW were Manon de Boer’s 35mm film work Two times life narratives. Baghramian’s own practice also employs titles that unlike our experience of the Venice Biennale and Documenta at 4’33” documenting performances of John Cage’s 4’33”. Focusing on attribute lives and stories to her sculptural works. Kassel. Instead, Berlin’s not-for-profit art spaces and small commercial this silent self-reflexive piece of Cage’s, de Boer seemed to comment My companions and I managed to take in two of the night events galleries, located close to the main Biennial venue – the KW Institute on the role of the audience in lending artworks their legitimacy; and including Cyprien Gaillard’s film Crazy Horse a collaboration with of Contemporary Art, were highly visible; and indeed many galleries activating the artwork even as the limits of form are extended. Also the French composer Koudlam and Ahmet Ogüt’s performance work scheduled openings to coincide with the international event. Though memorable was Pushwagner’s Soft City, a comic strip drawing similar at the KW Institute. Though viewed from under umbrellas in the the Biennial was somewhat below the radar of the ‘regular’ Berlin in display to Lu Hao’s work, Recording 2006 Chang’an Street (2). The Skupturenpark Crazy Horse was worth the discomfort for Koudlam’s citizen, it felt very much an intimate art event, taking place within a drawings were displayed on a viewing stand, which zigzagged through accompanying soundtrack and impressive live vocals. We were 'city of artists'. Enjoying its status as the primary European locus for the gallery space; and this lent a durational aspect to the work. serenaded from a height as the film showed documentary footage of international artists, present day Berlin is as much a magnet for artists Depicting a dystopian ‘day in the life’, Pushwager’s narrative seemed work on the world’s largest public sculpture, the figure of the Sioux as it was previously a magnet for young West Germans avoiding the to reference other similar visions, such as Orwell’s 1984 and Terry leader Crazy Horse being hewn from the Dakotan Black Hills. Though draft. It could be said that vibrancy in the face of adversity and a Gilliam’s Brazil – with the violent thoughts of his regimented the supposed intention of the film was to highlight the environmental healthy sense of history are both characteristic of the city and its’ protagonists escaping occasionally in thought bubbles. Cezary damage cause by the sculptural project (6) the impressive scale of the Biennial. Bodzianowski’s video works also examined urban space, but played endeavour depicted seemed to overwhelm this message. We happened This years event exhibited the work of over 50 artists in its with our expectations of public behaviour, as did Kohei Yoshiyuki upon Ahmet Ogüt’s performance on Augustrasse by chance. A daytime exhibitions – and over 100 artists and cultural producers in 1970’s series of nighttime photographs – Park depicted lovers and stationary motorbike with headlight illuminating the basement of a series of 63 night events entitled 'Mes nuits sont plus belles que vos voyeurs in Toyko parks creating a cumulative voyeurism that the KW revealed Ogüt receiving a shave in the otherwise dark jours / My days are more beautiful than your nights'. implicated both audience and photographer. interior. This performance recreated an event the artist had observed While the venues for the 4th Biennial in 2006 were all located on The Skulpturenpark (3) was a surprise, consisting of overgrown during a power cut in Istanbul. Augustrasse – this years Biennial was spread over four distinct lots of fenced off waste ground. Interventions in the space were quite What Biennial would be complete without a hefty catalogue? In locations, in the former east and western areas of the city. As the subtle and challenged visitors with ‘art / not-art’ puzzles. A sound this case the curators thwarted expectations, producing a publication Biennial was originally initiated by the Kunstwerk Institute for work by Susan Hiller emanated from a heap of over grown rubble; of images and texts relating to the research processes of participant Contemporary Art – and continues to be so – the ‘KW’ remained the while Neue Nachbarn, (New Neighbours) 5 trees planted by the Berlin artists and their own curatorial process rather than images of the hub venue for the event. The other three locations were the Neue artist Ulrike Mohr had only a number of small plaques to distinguish works exhibited. In light of the Biennial’s title it seems apt that the National Gallerie, Mies van der Rohe’s glass box in Potsdamer Platz; the piece from the wild foliage that surrounded it. Mohr had legacy of the event will be read speculatively and by means of the Skulpturenpark Berlin Zentrum (close to the former Palast der transplanted these wild trees from the roof of the nearby Palast der after-life it has gained through visitors and reviewers. Republik, the dismantled seat of parliament of the former GDR) sited Republik a few years earlier. Other works also referenced the site’s The future of the Berlin Biennial looks secure and promising, last in the former militarised zone within the Berlin wall; and lastly the history – including an intriguing video Berlinmuren by Lars Laumann. year its principle funder Kulturstiftung des Bundes / German Federal Schinkel Pavillon. This documentary style work focused on Eija-Riitta Berliner-Mauer, Cultural Foundation agreed committed €2.5million of support for A number of artists showing the Biennale were represented an objectúm-orientated woman (4) who ‘married’ the Berlin wall in each of the forthcoming events in 2010 and 2012. across two locations – and in these cases the various works referenced 1979. Laumann’s concern with the socially marginal in this case With an overall budget of €3m in 2008 (7) it is notable that the each other. For example Ania Molska’s video document, W=F*s exposed strange contradictions in the confluence of sexual and majority of works exhibited were commissioned and produced or (work) at the KW Institute, showed labourers constructing an oddly political peripheries, personal freedom and mass oppression. Also co-produced by the Berlin Biennial – and that its directors chose to shaped scaffold (1) – and it turned out that this object was sited in the exhibited here was a sculptural work by the Dublin born artist Aleana forgo corporate sponsorship as a funding source. One might be Skulpturenpark. Overall it seemed that in their choice of artists Egan, Grey luminous light from the sea (a structure for readings) a bare tempted to comment that less-is-more when considering the larger Szymczyk and Filipovic concentrated their attentions on practices metal armature suggesting the bones of a possible or previously scale of Documenta 12 – which had a budget €19m and featured dealing with the ephemeral, the intangible, and work that troubled or existing shelter. Egan has more recently had a solo show, also curated approximately 109 participant artists and only a few commissioned contested social and political norms. The selected artists made strong by Szymczyk, at Kunsthalle Basel alongside a solo by fellow Biennial works. references and responses to the context of Berlin both past and participant Ahmet Ogüt. Monica Flynn Notes present and the modernist legacy in particular. Moving on to the formal Neue National Galerie from the 1. The scaffold became a platform for the workers to stand on – while its purpose seemed nonsensical there was a satisfying sense that the structure served the whim of its builders. There was a simple ‘no fuss’ map /guide to the exhibition Skulpturenpark made for a shift in register in terms of reading and 2. This work took the form of a Chinese scroll painting and was exhibited at Aue Pavillon, venues, comprising of basic directions and lists of the locations engaging with work. Here the largely open plan glazed space of the documenta 12, Kassel, Germany, 2007. It depicted a changing contemporary cityscape in China but used a traditional Chinese scroll form. artist’s works indicated floor plans. In addition, two small pocket ground floor was utilised and several works commented on the 3. From 2006 –2008, KuNSTrePuBLIK e.V., a German art association, has curated and hosted guides were available – one for the daytime exhibitions and one for building itself. Some artists utilised the formal space while others three exhibitions, Bestandsaufnahme, Parcella and Spekulationen, which supported site- specific projects dealing with the historic, geographic, cultural, and contemporary the series of night events. Notably, neither publication included railed against its formality. In twin installations Susanne Winterling significance of the land, KuNSTrePuBLIK e.V. works with the owners of the sites to present images of artworks – instead there were simply textual descriptions set herself up to avenge Le Corbusier’s alteration of Eileen Gray’s these exhibitions. 4. objectúm sexuality – a sexual orientation towards objects. of the artists’ works. To some extent, this deficit of images served as seaside house E1027, while highlighting Gray’s contribution to the 5. The Schinkel Pavillon, small hexagonal building designed in the 1960’s by the Bauhaus trained GdR architect Richard Paulick. enticement to viewers to encounter the artwork first hand – and largely male dominated modernist project. Similarly, in two 16mm 6. Initiated in 1948 this sculpture is set to be the largest free-standing work in the world when therefore discouraged the rushed ‘scanning’ approach that these large films observing the play of condensation on the windows of van der it is completed in a predicted eighty years time. The scale of the project requires the use of dynamite in carving the structure and this activity is causing environmental damage in the events so often entail. Rohe’s Neue National Galerie, she underscored the failure of the surrounding National Park. During the preview days we had the luxury of being bussed notion that ‘form follows function’. Gabriel Kuri’s bright yellow 7. Additional funding was from –LuMA Stiftung, Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA) both non-profit cultural foundations and Peter Marino Architect. around the various venues and the overall scale was manageable in sculptural forms Items in care of items provided resting places for tired comparison to the sensorial workload of other international art viewers and their baggage and Aleana Egan’s Ended casually in the The Visual Artists’ News Sheet July / August 2008 25 10 ARTISTS BooKS Artists Books chRIStINE mAckEy the Goethe Institute, Dublin. Contributors: Artist/Editor: Christine Mackey. Title: Wendy Judge, Antonio Beecroft, Sarah Pierce, RIVERwork(s). Co-editor: Cliodhna Shaffrey. Aeneas R. Brown, Mark Garry and Niall Sweeney Publisher: Ignition press 2008 Design: Carton (PONY). LeVert. Printer: Drukkerij Rosbeek. Distribution: Ignition Press and Sligo Arts Office. GRAhAm GOSlING Commissioned by: Sligo Local Authorities as Artist: Graham Gosling. Title: Light over Time. part of Unravelling Developments. Funded by: Publication: May 2008. Dimensions: 11” x 13”. The Department of Environment, Heritage and Format: 36 pages. Perfect bound hardback. local Government Per Cent for Art Scheme with Contributors: Graham Gosling. Description: additional support from The Arts council of Examines the artist’s most recent work, which Ireland and The Sligo Art Gallery. Edition: 750 highlights the move to rural Kilkenny from Dimensions: 15cm x 18cm. Format: 156 pages. Dublin. All images are constructed using a Hard-bound and stitched in full colour. ISBN: technique of layering dozens of photographs the Art of living with Strangers 9780955225697. Description: RIVERwork(s) is a reflection of three related activities that engaged taken over a period of time, from a few minutes to several weeks. There are also some shots on www. with a specific landscape and an eclectic range of flickr.com/photos/ggosling/ individuals both living and dead. Contributors: Dermot Healy – writer; Bryonie Reed – Researcher ADAm mAy Printed Project: Issue 10 in Cultural Geography; Sam Moore – Archaeologist; Don Cotton – Botanist; Terry O’ Artist: Adam May. Title: 365daze. Produced: 2007. Dimensions: 200 x 200mm with a 32mm Regan – Landscape Alliance Ireland and Ciara spine. Format: 288 pages printed in colour on Curator / editor: Lolita Jablonskiene Healy – Artist and publisher of ignition press. 115gsm Munken volume 18 paper with a black foil embossed cover on black Fedrigoni 260gsm chRIStINE mAckEy board. Edition: 365 signed and numbered. Artist: Christine Mackey. Title: Tidings – from here Description: ‘365daze’ is a record of a year-long Autumn 2008 to there. Design: Language www.Language.ie Publisher: Dublin City Council 2006. creative project (18 November 2004 – 17 November 2005). Availability: Entire project Distribution: Dublin City Council Arts Office. available in its original format at www.365daze. www.printedproject.ie Commissioned by: Dublin City Council with org additional support from The Firestation Artists Studios. Funded by: The Department of 10˚ 06 IlDÁNA Environment, Heritage and local Government Per Curated and edited by: Andrew Duggan, Cent for Art Scheme. Dimensions: 18.5cm x Nicholas McLachlan and Bob Ó Cathail. 24.5cm. Edition: 350 Format: 78 pages. Full-colour Published: May 2008. Format: 20cm x 20cm, 144 with French fold and stitched. Commissioned pages, colour and black and white, soft cover, text: Ruth Jones – artist and writer. Description: perfect bound. ISBN: 978-0955119903. Price: €20 Visual Artists Ireland / Filmbase the presentation of an open invitation to the Distribution/sales: Nicholas McLachlan, 80 mph, residents from Ballybough, who had moved into Dingle Writing Courses, Ballintlea, Ventry, Co training programme their new homes. This work explored the impact Kerry. Description: Imprint of 80mph Dingle of re-location on their lives and families, in a Writing Courses. This is a printed book with dynamic and positive way for the community. bi-lingual text with the work of 80 artists and writers living or working in west Kerry. Filmbase provides the expertise to enable Visual Artists Ireland to offer training in Moving Image skills. chRIStINE mAckEy Filmbase, a key not-for-profit resource centre for filmmakers, has agreed to partner with training for VAI Artist: Christine Mackey. Title: Points of Departure. ADAm chODZkO members who wish to develop their skills in the area of moving image. Design: Denzil@onanistdesign Publisher: The Artist: Adam Chodzko. Title: Then. Publisher: Context Gallery 2006. Distribution: The Context Breaking Ground 2008. Dimensions: LxWxH – Moving image has long been a recognised aspect of the visual arts. This partnership recognises this Gallery. Commissioned by: The Arts Council 215 x 170 x 10 mm Format: 56 pages. Stitched and aims to provide artists with the key skills to work in the particular area. Ireland. Funded by: The Arts Council Ireland, The perfect bound, soft-back, unique wrap cover. Arts council Northern Ireland and The Context Contributors: Jaki Irvine, Caoimhin Mac Giolla The pilot programme has reserved 20 spaces for VAI members on a first come first served basis with Gallery. Dimensions: 14cm x 21cm. Printers: Leith, Andrew Wilson ISBN: 978-1-904662-08-2 Filmbase. The workshops that are available are: Brown Printers, Letterkenny. Edition: 1,000. Price: €10 Availability: Contact Breaking Format: 80 pages. Full colour, soft bound. Ground on 01 8832110 www.breakingground.ie Contributors: Alicia Zamort, Patricia Belli, Helen Description: This book documents Adam workshop Duration Normal price VAI member’s Temple, Rolando Castellon, Santiago B. Olmo, Chodzko’s commission by Breaking Ground, Rodolfo Molina. which resulted in four new artworks across Dublin that shift our perception of our own sense Screenwriting for beginners, Level 1 8 evenings €280.00 €190 wENDy JUDGE of place, community and time. Screenwriting for beginners, Level 2 8 evenings €280.00 €190 Artist: Wendy Judge. Title: Collected Views of Great direct for the Screen, Level 1 6 evening €340.00 €220 Works from the 20th Century. Publisher: Wendy dV/HdV Camera & Lighting Beginners, Level 1 1 Weekend €280.00 €180 Judge. Dimensions: width 24.5cms X 30cms Many of the above titles are available from dV/HdV Camera & Lighting Beginners, Level 2 1 Weekend €280.00 €180 height. Format: 16 pages. Soft staple bound, Circa Art Magazines new online artists Final Cut Pro 100 2 days €350.00 €300 colour and black and white. Edition: 300 Design: publications store. Niall Sweeney at PONY www.ponybox.co.uk Availability: €20 from email@example.com See www.recirca.com/shop for details. Description: Published to accompany the Further information on the workshop content and dates can be found at www.filmbase.ie exhibition ‘Great Works’ at the Goethe-Institut, Artists should note that to have your Dublin, March 2008. This catalogue highlights publications stocked by the Circa online coincidences and associations in literature, film, shop, you simply need to contact: shop@ and painting related to particular hazardous recirca.com structures in the contemporary landscape, illustrated with recent drawings and concrete sculptures from an exhibition by Wendy Judge at 26 The Visual Artists’ News Sheet July / August 2008 CoNFeReNCe RePoRT Migratory Aesthetics dANIeL JeWeSBuRY RePoRTS oN THe 2MoVe PANeL dISCuSSIoN THAT TooK PLACe IN GRoSVeNoR HouSe, BeLFAST oN 17 MAY. 2mOVE Ireland(1) an exhibition of video work by international artists shows an immigrant in Murcia, Spain, recording a message by video Hand concluded by suggesting that the medium-specificity of exploring the connections between video, mobility and migratory for his family in north Africa; this is cut with his family's reaction to ‘video’ should not be conflated with more general remarks about the culture, took place in Belfast Exposed Gallery and the Solstice Centre, the message, and their recording of a reply, which he then watches. moving image, and reiterated that the Irish context should be better Navan, between the 3 May – 6 June. The project was initiated by Four stages of message and reaction are made instantaneous in the integrated in future presentations. Mieke Bal and Miguel Hernández-Navarro and had previously been work, but this is only made possible in the editing and is not actual. O’Brien interjected to ask how one might get beyond the dense exhibited in Spain, the Netherlands and Norway. The Irish instance The delay of epistolary temporality is annihilated, collapsed into the language of the essay and unpack the work for other audiences. of the exhibition was curated by Niamh Ann Kelly and Siún instantaneous (media) time of the country of his adoption. The true What we think is complex is often complex because of our discourse; Hanrahan, who added work by Anne Cleary and Denis Connolly, time of the migrant is the conflict between the two: it's in this time sometimes art world discourses mirror the complexity of state Anthony Haughey and Michael McLoughlin to the show. In that the migrant lives. The work revolves around the tensions of discourses, which is very problematic given the show’s contexts. conjunction with the Irish showing of 2Move a discussion event these temporalities, and the synchrony between means, medium and Michelle Williams, a member of the collective Cinema Suitcase relating to the show was held in Grosvenor House, Belfast (17 May) representation. The final image in the film is the water of the and a participant in the exhibition, responded at short notice to the Bal and Hernández-Navarro gave presentations about the contexts of Mediterranean that divides sender from recipient, and is the medium presentations. She shared some observations on the show and on the exhibition and áine O'Brien chaired a panel response with artist of real distance and time. documentary generally: on the importance of moving away from Brian Hand, Michelle Williams, a member of the Cinema Suitcase Hernándes-Navarro then touched on a use of redundant voiceover and allowing subjects to tell their own story; on listening collective exhibiting 2Move, and theatre practitioner Bisi Adigun. technologies, and on an interrogation of the limits of technologies, in and empathy as key objective of her work. She reflected that the Mieke Bal got the discussion underway by introducing her the works in the show. He referred this to Heidegger's Question show has several 30 or 40-minute films, which created a great concept of ‘migratory aesthetics’. She began by noting that her Concerning Technology, which posits all modern approaches to responsibility for the audience, to take the time to sit and listen, and understanding of ‘aesthetic’ was that originally defined by technology as intrinsically instrumentalising. Hernándes-Navarro suggested this as a further evidence of the negotiation implicit in the Baumgarten as a “binding of the senses”, and proceeded to describe talked of a temporal-technological collapse evidenced by works in show. Hand suggested that a cinematic or theatrical context might be three ‘movements’ that were of crucial importance in work with a the show, seeking some affective approach to memory, beyond better suited to such works than presentation in a gallery. migratory aesthetic - firstly, an affective ‘moving’ of the viewer; instrumentality, an empathetic relationship between non- O’Brien responded to these comments with some thoughts on secondly, the ‘moving image’; and thirdly, the act of migration itself. contemporary technology and the human. collaboration and the politics of trust., versus a model of reciprocal Bal noted that the work in the exhibition was not ‘about’ Daniel Lupión's Interviews with immigrants reversed the usual exchange. The mode of production is important; this refers to what migration per se. Rather in ‘2Move’ the different ‘movements’ – interview process, by asking immigrants to interview him; his Les Back calls the politics of listening. Williams said that artists were technical, physical, abstract – intervene in one another, so that the answers are then cut out. The immigrant is not objectified, the bringing much learnt from visual anthropology into their work. viewer is presented with different histories of video and of migration. immigrant looks and talks, said Hernándes-Navarro. Crucially, the Bisi Adigun asked, are we beginning to complicate matters? An Bal discussed work by Mona Hatoum (a video of a still image, that immigrants, who were unfamiliar with using a video camera, artwork should be either explanatory, raise questions or provoke was about the process of migration from one culture to another, and pointed the camera at his chest rather than his face, and this thought. The context of ‘migratory aesthetics’ uses migration as an which was affectively ‘moving’ also), and Conce Codina (whose technological illiteracy introduces an interruptive staging of abstraction, of one element of experience. video showed the blurred, cropped faces of people praying, the faces difference and identity. This non-teleological, non-instrumental use Adigun said that the sheer simultaneity of works in the gallery slowly blending into one another in a series of long dissolves). might, argued Hernándes-Navarro, be a resistant use. made if difficult to concentrate on just one work. Clearly, he said, Bal then examined a number of works in terms of four different Chairing the responses, áine O'Brien noted that within Ireland Ireland is undergoing a serious cultural metamorphosis, hence ‘framing mechanisms’: homeliness, colour, the ‘cut’ or edit, and migration needs to be seen in an all-island context, and that there is 2Move coming; but whose journey is really complete, in the sense ‘heterochrony’. On the first, Bal noted that video is a ‘homely’ an impoverished language to speak about migration. She warned that Bal described, asked Adigun. It’s not only about immigrants. technology, since it is one that many people are familiar with from also against fetishising the experience of migration. The reversal of positions within Lupión's interviews was home movies and the like. She added that the possession or lack of a O’Brien said that anthropologists might describe ‘heterochrony’ interesting, but, from a black perspective, he wondered what was ‘home’ was at the centre of the experience of ‘outsiderness’. On using other names: Ernst Bloch wrote of “the synchronicity of the noteworthy about Ward's Kofi Cleaning? Anthony Haughey’s work he colour, Bal commented that video is intrinsically a colourful medium non-synchronous”, for example. found very good – with its concentration on the experience of and that this reflects the ‘colourfulness’ of contemporary society. The In Ireland, she argued, the celebration of ‘diaspora’ is set against arriving. cut, she said, was particularly important, with regards to the the backdrop of the myth of Irish monoculture. On the subject of the Underlying everything is the issue of physical migration. structuring of experience through video: one makes video by language used in the opening presentations, O’Brien wondered who Adigun regretted that no images of animal migrations were shown: removing material. The joining of different contexts in video might be the intended audience of the work. If the language used to every year, he said, the crocodiles and the lions wait by the river for produces different levels of ‘authority’, and brings together different describe the work is alienating, whether it be an academic or the migrations, to gorge themselves – they know where and when it voices within a work. “Seeing cuts”, she commented, “is seeing the technical discourse, there might be some problems engaging with will come. There are many ‘crocodiles’. He concluded by asking, staged reality”. Finally, Bal explained the term ‘heterochrony’ in the politics of curating. which will come first, the theorisation or the works? terms of the co-existence of multiple experiences of temporality. The Brian Hand, responding, noted that video and installation, are O’Brien then asked whether we mightn’t learn from practice migrant knows that uniform time is an illusion: theirs is an experience terms with problematic dimensions and histories. He suggested that how to challenge the theory? The art should be taken seriously as a of sudden haste and indefinite standstill. The work of Gary Ward the DVD accompanying the publication of the exhibition would be mode of argumentation. Bal responded that the works always come expressed this formally, with the circular movement of the mop in better if it were to include full versions of the works rather than before their theorisation. She said she had felt it would be immodest the film Kofi Cleaning becoming an expression of the circularity of small fragmented excerpts, which are not useful for teaching. to describe the Irish works, which were only very recently selected time. Gonzalo Ballester’s work Mimoune was also mentioned by Bal, By way of introducing some context specificity, Hand showed for the exhibition. She felt it immodest to talk about the experience and described as an epistolary video that gave access to the different an illustration from the Irish language textbook Búntus Cáinte, of the migrant also. 2Move is about forcing Europeans to find a more experiences of time for the migrant. Heterochrony means more than entitled A day’s shopping, in which two Irish women are accompanied empathetic approach, not about trying to ‘relate’ migrant ‘subjective’ – it attests to the political, said Bal, as she concluded her by three black ‘bearers’ carrying their shopping. He also noted that experience. remarks. the European convention, which reinterpreted the onus of care Comments from the floor followed about the importance of Miguel Hernándes-Navarro continued with some observations articulated in the Geneva Convention was signed in and named after collaboration and the innovation of splitting the exhibition between on contradiction, time and technology. He reiterated that the work in Dublin. Under the Dublin Convention, refugees must claim asylum two venues on either side of the border. A momentary discussion the show was not art about migration, but a migratory art, of in the first EU state in which they find themselves. ensued about the continuing ‘reality’ of the border (this was instability, about double movement. For most people, said Hernándes- Hand expressed frustration that the Irish artists in the exhibition reasserted). Adigun spoke about the importance of interculturalism: Navarro, a journey has a beginning and an end. But the migrant is were not more fully acknowledged, and nor was the context of his and Roddy Doyle’s adaptation of Synge’s Playboy of the Western always arriving; the migrant is an intruder, a non-inhabitant., and Ireland. Regarding the 'heterochronic' Hand noted that this temporal World could only have worked with their collaboration, he said. cannot escape from the border, which is inscribed in their body and disruption could be found in modernist literature from Joyce to Miguel responded that it was important in such collaboration always their daily life. Wandering, said Hernándes-Navarro, is a disease of Mallarmé. to shed notions of one’s own cultural ‘purity’, before seeking to time and space. Hand then showed a 19th-century political cartoon concerning approach the ‘other’. Exploring the concept of migratory time, Hernándes-Navarro the export of potatoes from famine-stricken Ireland, and discussed Daniel Jewesbury discussed the way in which it introduces temporal cuts into the the manner in which the episode was portrayed at the time and has Notes hegemonic time of modernity, and mentioned the global time been understood since (returning for a moment to the Búntus Cáinte 1. Works by the following artists were featured in the show The Atlas Group (Walid Raad, Gonzalo Ballester, ursula Biemann, Célio Braga); Cinema Suitcase (Mieke Bal, Gary Ward, Michelle discussed by Paul Virilio. He argued for an antagonistic model of image, Hand wondered whether Cáit and Nora, the women shown, Williams) Anne Cleary and denis Connolly; Conce Codina; Keren Cytter; Wojtek doroszuk; Mona Hatoum; Anthony Haughey; Samira Jamouchi; Liza Johnson; Farhad Kalantary; William temporality, saying that art must make evident temporal conflict. might actually be in Africa, rather than the bearers being in Ireland). Kentridge; daniel Lupion; Zen Marie; Michael McCloughlin; Melvin Moti; Pedro ortuno; Javier Referring again to Bellester's Mimoune, Hernándes-Navarro described The relationship between Ireland and empire, and with histories of Pividal; Jesús Segura; Thomas Sykora; Roos Theuws. it as montaging different temporalities into one sequence. The piece colonialism and migration, has been a complex and 'doubled' one. The Visual Artists’ News Sheet July / August 2008 27 INSTITuTIoN PRoFILe Anthony Luvera's ‘Residency’ project – participants reception at Belfast exposed Anthony Luvera's ‘Residency’ project. Anthony Luvera ‘Residency’ – exhibition at Belfast exposed. Strategising for Autonomy out there. When you relinquish social autonomy, get out there, you’re letting down your guard, you’re exposed to risk. Belfast Exposed is on the street, it has roots in that. It’s a public organisation.” dANIeL JeWeSBuRY, VAI'S NoRTHeRN IReLANd RePReSeNTATIVe INTeRVIeWS PAuLINe HAdAWAY, Hadaway attaches great importance to the idea of prolonged dIReCToR oF BeLFAST exPoSed, ABouT THe oRGANISATIoN’S IMPLeMeNTATIoN oF A NeW engagement between artists and society at large, and not only for a STRATeGY ANd BuSINeSS PLAN. city with a history like Belfast’s. Political exploitation or manipulation of the concept of community, and of communities themselves, is still BElFASt Exposed began life in west Belfast in 1983 as a community that it will implement a new strategic and business plan designed to an obstacle, however. “External forces often only have a political, photography initiative, designed both to counter prevailing, distorted safeguard the autonomy of its various activities. The plan provides instrumental interest, seeing art reductively, as a tool. On the other representations of the conflict in the North of Ireland, and to bring for a new commercial arm of the organisation to take education and hand, artists value what they do as artists, it’s not social work.” the means of representation into the hands of those people who were outreach in new directions, with new emphasis on career What’s at stake here is a notion of cultural democracy: a move experiencing that conflict every day (and who more usually found development and training for artists wishing to work in a public beyond a false dichotomy which poses the defence of art’s themselves on the other side of the lens). Twenty-five years later, the context. Talking to me about the plan, Hadaway explained, “Belfast transcendent status at one extreme, and the delivery of short-term organisation now runs the only gallery dedicated to contemporary Exposed is, and will continue to be wide-ranging in the projects that therapeutic community projects at the other, toward a more general photography in the North, manages a vast archive of a quarter of a it delivers. We have many different publics and can achieve many participation in complex, uncompromised, critical forms of art, at all century of imagery produced under its aegis, and continues to things. The different kinds of funding should work separately – for levels. facilitate a wide range of photographic education and outreach the gallery, and for the archive. Each of these exists on its own terms, “Photography is amenable to going public, it’s pretty robust,” projects with communities across the city and beyond. and has its own ‘authenticity’. says Hadaway, and perhaps one could add that it would need to be; These three parallel activities obviously inform one another, “It’s easier for the gallery, strangely enough. It’s clear what it’s certainly there could be few communities in receipt of publicly- sometimes directly, but they also enjoy a large degree of autonomy. doing, and it’s totally dependent on funding. The Arts Council of funded art interventions who have not at some stage been asked to The organisation thus finds itself able to speak to many different Northern Ireland are, relatively speaking, unprescriptive of new portray themselves with disposable or digital cameras, perhaps for publics at once, without being under pressure somehow to find a work, there’s no great interference. The limitations there are just transfer to a mural or hoarding (in these times of post-conflict link between activities when that link might not be necessary, or how much money is available. Money for the archive can be more ‘community re-imaging’, when many existing murals are deemed desirable. Projects exhibited in the gallery may well have ‘outreach’ limiting and be given according to access; but it’s versatile, and we insensitive or inappropriate, the practice is becoming more, not less, dimensions to them, as with Anthony Luvera’s recent show can also find other streams of funding. The difficulty is around common). Such engagements might well represent the very lowest ‘Residency’, which he made over 16 months working with individuals community photography projects.” point of ‘community engagement’: no skills are offered, no knowledge with experience of homelessness in Belfast. But the over-riding aim is Hadaway argues that participants may have quite simple imparted, no access gained to the mystifying world of ‘proper art’. to allow each of the organisation’s three strands independence to expectations of a workshop; for instance, a desire to learn technical The type of ongoing, multi-faceted interactions that Hadaway pursue their goals without undue instrumentalisation. skills, which can be straightforwardly taught. But as ‘customers’ of envisages would presumably need to get beyond any initial scepticism This is not as obvious or as straightforward as it may sound. In the organisation, they develop a different, potentially limiting that prior projects might have bred amongst potential participants. Belfast, ‘professional’ visual artists and those working in the relationship with it; similarly, artists facilitating workshops can find Visual Artists Ireland is keen to play a role in this new model community sector sometimes have little to say to one another, each themselves viewed simply as technicians. What’s needed, she and will be sponsoring further career development workshops at suspecting the other of a lack of ‘authenticity’. Outreach projects maintains, is a more sustained engagement between public and Belfast Exposed. Ultimately, Hadaway sees the organisation becoming have often been used as convenient fundraisers for organisations or artist, which it’s the job of Belfast Exposed to help bring about. a space where artists and communities can meet and work together individuals who have little interest in advancing public practice or Through the development of this relationship, workshops can to develop new responses to creative production, in the context of a facilitating broader and more meaningful cultural participation; at become a forum for a different kind of engagement with art, and with city where division is ongoing and cultural provision at a low ebb the same time, community leaders and councillors in many cases artists, an environment where each party has something to offer, and (with the exception of the efflorescence of new, largely unpopular only value art as a tool for social engineering, or for short-term, something to learn. permanent public art). The main funders, the Arts Council of sectional political advantage. The danger of instrumentalism cuts "The structures and the funding don’t give a lot of space for Northern Ireland and Belfast City Council have been both receptive both ways, and is not just a problem of the ‘professional’ product creativity. We want to find a way out of this, but it’s about and supportive, she says. “They recognise it’s all dependent on the somehow being tainted by contact with the public or community- understanding what people want, what their purpose is in coming to quality of the artists who’ll be working in the projects. We really have driven agenda. Furthermore, even for an organisation with a clear us, and what our purpose is in working with them,” Hadaway to excite people in this area, there must be progression. It must be awareness of its own remit, the demands of funding bodies can often stresses. really non-instrumental.” produce pressure for ‘outcomes’ that are not relevant to the task in She gives an illustration of the problems posed by funding We’ve come to accept that the proper place, indeed the only hand, a problem that’s compounded when different funders have managers’ outcome-driven demands: a photography project run with place for the apprenticeship that artists take, through which they incompatible ideas about where a project ought to be going. young people, who are told in their second session that an exhibition hone their critical and technical skills, is the art academy. Universities Belfast Exposed has approached these issues in a number of has to take place in six weeks because that’s a condition of the are certainly keener than ever to enrol new students, at Masters and ways over several years, and writing in the July 2007 issue of Printed funding. By making participation and learning geared toward such a Doctoral level. But it could very well be that there’s an urgent need Project, director Pauline Hadaway summed up the tensions: “… in arts specific outcome, the potential for learning for its own sake, and for for an institution that sits outside the academy to foster an encounter organisations operating in the voluntary and independent sector, developing personal approaches or interests, is stifled. between artists and the work they do, and their publics, with a view conflict often arises from tensions between those responsible for Luvera’s project is cited by Hadaway as a model of how the both to bringing art to new audiences but also, more crucially, to managing resources, whose job it is to negotiate in the market place, relationship might develop. Belfast Exposed was able to handle all extending the remit of art itself. In such an engagement, there will be and those with an ideological investment, whose function is to the administration of the project, from liaison with funders to new demands on all those involved, not in the context of some defend core purpose – which is essentially non-negotiable… Whether deciding with the artist on appropriate and relevant aims. Luvera taught programme but of an ongoing, mutual engagement. in a spirit of political vetting or political partnership, where policy was then free to discuss with his participants his ideas as an artist, to “So let’s clarify,” says Hadaway. “Some things are artistic, they makers want to lay down the law on how communities and artists demonstrate his techniques, and to talk with them about their own should be led by the artists. Other things are skill-based, they’re very should relate to one another, or where grants officers and interests as the engagement developed. Hadaway’s keen to emphasise different – don’t lump it all together as ‘community photography’. administrators agree delivery schedules for exhibitions and that this isn’t a question of making value judgements about what We can supply the space, the money, the skills. But it’s not ends- publications before an artist even gets to work and where outcomes type of engagement might be ‘better’; rather, it’s about what’s based. This is about institutional reflexivity, about asking what are politically approved, the only purpose remaining for arts appropriate, and about there being a range of ways in which the direction we’re all going in. But these are ambitions, and it’s the organisations will be the technical delivery of targets on time, in organisation makes itself accessible to its users. beginning of a long process.” budget and in accordance with appropriate methodologies.” Community arts, she insists, is an area that’s very vulnerable to In response to this diagnosis, Belfast Exposed has now announced external pressures, and even, for the practitioner, personal risk: “It’s Daniel Jewesbury 28 The Visual Artists’ News Sheet July / August 2008 PRoJeCT PRoFILe Fair Potential Lee WeLCH dISCuSSeS THe 'ART 08' (16 – 18 MAY) ART FAIR, HeLd AT THe RdS duBLIN ANd CoNSIdeRS THe PoTeNTIAL FoR THe deVeLoPMeNT oF THe eVeNT IN 1966 Louis O’Sullivan, then public relations officer for the Irish Although Four is not a commercial entity, we do deal in another type thing that could bring an international presence to the fair – tied Sugar Company, initiated the Irish Antiques Fair – and O’Sullivan’s of ‘commodity’. Instead of sales, we prefer to create future with a strong line up of Irish galleries that will encourage galleries timing was perfect. Commenting on the fair he noted “In the mid ‘60s opportunities for the artists. These opportunities included Francis and collectors from abroad to look at Irish artists’ work. Ireland was just emerging from the long, dark tunnel … there was a McKee inviting Anna to exhibit in The Hague in the Netherlands and The web presence of Art ’08 was also an issue. While researching terrific atmosphere of expectation. Bord na Mona and Aer Lingus her inclusion in Caoimhin Mac Giolla Leith’s curated show in the to write this article I googled ‘Art 08’ with various keywords. I was were forging ahead and, economically, things were beginning to Tanya Bonakdar Gallery in New York. Art 2007 worked well for Four; unable to find any links to the site – www.art08.ie (3). I had to look in move.” O’Sullivan seems to have had his finger on the pulse of Irish (1) and I gathered through my conversations with the other galleries last year’s catalogue for the website; as it is not listed in this year’s. In culture for some time – and his interest reaches far beyond antiques. that it proved to be commercially successful for the other order to present this fair internationally, (or even nationally) I In 2003 he produced the ‘Mind, Body and Spirit Festival’, which participants. believe that it certainly needs more easily accessible web presence. included soul reading. kinesiology (which is used to pinpoint Now in its second year, the fair – now named Art 08, had grown For example, if a curator based in New York was doing some web- imbalances in the body), tarot card reading as well as the opportunities to include 22 galleries, 17 from Dublin, two from Belfast, two from based research, the first place they might look is for details about to make appointments for Indian head massages and colonic Cork and one from Galway/Berlin adding an international flair. This contemporary art fairs in Ireland. irrigation. In an Irish times interview he remarked, “peoples interest year participants included Ard Bia, Cross gallery, Fenderesky gallery, The Art 08 website’s homepage features images of artist’s work in empirical things is weakening and their interest in spiritual or Fenton gallery, the Graphic Studio, Green on Red gallery, Hillsboro scrolling across the screen. The gallery page has links to the even esoteric things is increasing enormously” – moreover O’Sullivan Fine Art, Jorgensen Fine Art, the Kerlin gallery, Kevin Kavanagh participating galleries websites, but it offers no further information. speculated that “people are much more liberated now … they have a gallery, the Molesworth gallery, Mother’s Tankstation, Paul Kane I know this is fairly typical of art fair websites – but why just conform higher standard of education and they are not bound down by gallery, Peppercanister gallery, Rubicon gallery, Solomon gallery, to the norm? I believe having a synopsis of each gallery and at least religious disciplines. People have got freedom of choice now”.(2) Stone gallery, Stoney Road Press, Taylor gallery, The Third Space one image to represent each gallery would make it more informative Perhaps these factors of education and freedom; allied to gallery, Thisisnotashop and Vangard gallery – along with the art – and if nothing else more visually pleasing. economic growth in Ireland have also helped create the recent publications Circa and Irish Arts Review. Art 08 kept to the model of proliferation of contemporary art spaces in Ireland within the last partitioned spaces of three by 12 meters; and four by nine meters – Last year there was some discussion around the idea of three years. And, with all these new galleries it makes sense that with white walls and grey floors. The returning galleries were in the scheduling projects / events to occur during the course the fair. Art there would be a development in the contemporary art fair arena. same spaces as the year before. 08 introduced the €5,000 Louis O’Sullivan Award, to recognise and Again, Louis O’Sullivan, being perceptive to such developments, I was disappointed by the branding of the fair – Art ‘07’s honoured the work of an individual artist represented by one of the instigated Art 2007, an art fair representing eighteen galleries – 15 of graphics had a clean look, utilizing a palette of black, white and red. participating galleries. Isobel Nolan, represented by the Kerlin which were from Dublin; two from Belfast and one from Kilkenny; This year the identity, in my view was less distinctive, using a rather Gallery, Dublin was this year’s recipient. In terms of other projects or along with the art publications Circa and Irish Arts Review. It was unimaginative preset looking gradient effect. I would have thought events, I think the musician Chequerboard performed as part of held in Serpentine Hall at the RDS as a new dimension to Interior that for the fair – an enterprise dealing with art and design, would Thisisnotashop’s booth. However, this was not listed by the Art 08’s Design 2007, a fair that O’Sullivan had founded in 2005. Participants view clear and innovative branding as one of its top priorities. On the information or Thisisnotashop’s website. in Art 2007 included Cross gallery, Fenderesky gallery, Four, Green on plus side, the catalogue, which gives a synopsis of each gallery, Including more projects / events within the framework of the Red gallery, Hazel Williams gallery, Hillsboro Fine Art, Jorgensen produced to accompany the fair was larger this year and much easier fair would certainly raise the events profile in Ireland and abroad. A Fine Art, Kerlin gallery, Kevin Kavanagh gallery, Mother’s Tankstation, to navigate in terms of its design. However the publication could simple and key first step, I think would be to invite an international Paul Kane gallery, Peppercanister gallery, Rubicon gallery, Solomon have been something far more beneficial to the exhibiting gallerists, curator or critic to select the O’Sullivan Award. Besides the prize gallery, Stone gallery, Stoney Road Press, Taylor gallery and Third artists and visitors to the fairs – if it only had images. Ideally, I would monies, it would benefit the artists nominated and selected for the Space gallery. envision the publication comprising a book / catalogue format, award by bringing them to the attention of an international art My first-hand experience with Art 2007 was a very good one. It which at the very least would give a synopsis of the gallery along world figure – which in turn could raise international curiosity was actually the first art fair I had attended – and my first time to with an image and bio of the represented artists. Certainly this comes about Irish art in general. The curator or writer in question could also participate in one as a gallerist. When I was approached about my with a financial burden, but would definitely add a certain ‘weight’ to be utilised by inviting them to deliver a talk as part of the fairs events. gallery – Four – taking part in the fair, I saw it as an opportunity to the fair. Again this would raise the national and international profile of the present the work of Anna Barham, that I had been unable to As I flipped through the catalogue this year, I noticed that the art fair. accommodate at the gallery, as our programme schedule for that year Interiors Association was presenting a programme of lectures. I This leads me to my final point. Just before the opening night of was booked out. I never really considered the commercial aspect of hurriedly flipped to the gallery section in anticipation to see what the fair I got a press release from Monster Truck Gallery and Studios the fair – instead my approach was in keeping with Four’s philosophy talks or events would accompany Art 08. I did not find anything. announcing that they would be unable to participate in Art ‘08 due – one of promoting, supporting and bringing contemporary art, Perhaps if Art 08 had partnered with Visual Artists Ireland (who are, to the placement and conditions of the exhibition stand. They had curators and the artists who take part in its evolution to the public’s for some reason, not represented at the fair) a symposium around been allotted space in the Interior Design ‘08 section of the fair, attention. The fair offered us great exposure to the general public and current debates in contemporary art could have been programmed. instead of the Art ‘08 section – they felt this location would be of it also provided a great context for networking with other gallerists. This debate could have featured a panel made up of international little if no benefit to them. We can however draw a positive By this I do not mean working the ‘angles’ – but just a general curators and critics; along with representatives of key Irish conclusion from this. At present the interior design section ‘shadows’ communication. For me, this was one of the highlights of the fair. institutions such as IMMA or the Hugh Lane. This would be the the whole fair – Art 08 is to some extent an annex of the Interior Design fair. I believe that the art fair has to go solo, if it wishes to continue to be a success in national terms and develop and international profile. This option seems to be feasible – as nearly all the responses I received from the exhibiting galleries (4) was that most of the business they had done, was their existing collectors; rather than new buyers drawn from the attendance of the interior design fair. I would argue that it would be very viable for the Art ‘09 art fair to be run as stand alone event – and one that incorporates projects, events along with international input from curators, critics and even exhibiting galleries. Lee Welch Notes 1. Sunday Business Post, (28 September 2003), Antiques make for a fair deal, Ros drinkwater. 2. The Irish Times, (17 March 2003), Healing the mind, body and soul at the RdS, eithne donnellan. 3. The most effective way to find Art ’08 is to google Interior design 2008 (www. interiordesign2008.ie) The direct weblink is www.art08.ie 4. As part of the research for this article I talked to exhibitors at the fair, followed up by email correspondence. The Visual Artists’ News Sheet July / August 2008 29 INSTITuTIoN PRoFILe Kids own KIdS’ oWN PuBLISHING PARTNeRSHIP ReFLeCTS oN ITS eTHoS ANd INTRoduCeS ITS NeW ReSeARCH PRoJeCT ‘PRACTICe.Ie’. and the other participants involved learn more about the artist’s process. The artist learns more about their own processes and are inspired by the children and the experience. The children are given status as collaborators and given a sense of the importance of their own work. Kids’ Own are a small arts organisation, and we are committed to this way of working. We recognise that each artist and child collaboration is a unique partnership and our structures need to reflect and support that. We also recognise that exciting things do not happen without effort. We feel that the success of all our past, current and future programmes depend on the combined commitment of all participants. We recognise that all this work takes time, it takes time to develop partnerships and relationships between people, it takes time to make work, it takes time to build trust. In all our projects we try to cater for the needs of the artist and child to ensure that they bring their whole selves to the programme. To further develop practice we realise the importance of reflecting back on our experiences, both positive and negative and turning them into learning experiences. The point for us, and those who work with us, is to constantly question and reflect in order to improve and develop. We feel we are on a creative journey, collaborating together with the artists and children figuring out the Kids own – virtual artist in residence; programme 'Space and Place' (http://journal.kidsown.ie/spaceandplace) way as we go along. In fact there has been a constant theme of kIDS’ Own Publishing Partnership was established in 1997, to make Kids’ Own raised the challenge that artists would need to leave journeys within all our work. Our focus now is to continue to inspire books with kids. The idea was rooted in the concept of ‘book- behind their tried-and-true, ‘safe packages’, and bring their own and guide artists practice working with children. To continue to ownership’, and research which drew on correlations between book- working process to the collaboration. We found it was a generous create opportunities for children to engage in authentic arts practice owning families and the success of their children, in terms of way of working, providing the opportunity for artists to learn and with artists and to advocate for a wider acknowledgement and completing school, and achieving their goals and acting as responsible have a syn-energy between their work in the classroom and their recognition of artists working with children. citizens in a democratic society. Kids’ Own still continues this work, work in the studio. publishing books in collaboration with children. Artists were always ‘giving, giving, giving’, but weren’t getting Practice.ie Through this process, Kids’ Own discovered a way of empowering anything back from their experiences. By constantly working on gig children through the arts, and realised that more than ‘just’ making a after gig, artists could be closing down opportunities for good things A practical application of this is our current research ‘Practice.ie – book; the experience of working with a professional artist was to happen. Nevertheless, it’s a really daunting thing to bring your Reporting on Artists’ Practice with Kids’. This is the first all Ireland transformative. Within a project the children are given the space to own approach into the classroom. It is not easy to verbalise and share professional network for artists working with children and young develop their own individual creative expression and encouraged to your process. In order to share, you must be able to articulate what people. This research is building on what we’ve learned about the take ownership of their work. Each child has input into how the you do. importance of shared experience and the professional development book looks, what content goes where, what will be included or edited With the next project, ‘Create / Trading Places’ we realized the of artists’ practice. Recognising the fact that it is a journey, this out. At the outset of a publishing project children are instilled with importance of three things: time to build trust, valuing thinking time research is open to all artists who work with children and young the sense of urgency, importance and seriousness of purpose of their and learning through sharing. From the start of that project, the people. We feel it is important to make this research public and involvement. There is a high level of integrity and professionalism artists involved had a strong sense of how supported they were not collaborative in order to empower artists working in this field and amongst the kids and the artists and writers who work with them. only in working directly with the children, but also in the reflection validate their practice. This approach marks the starting point of the Kids’ Own process. It is process and planning. Create / Trading Places was a more social Kids’ Own is integrating elements from this process in to this this approach, which Kids’ Own wanted to bring forward into other project, because when it comes down to it, the success of a project research. This includes the use of journals as a tool for documentation collaborative residencies. Kids’ Own was ambitious and knew, as one depends on people’s relationships, and how they get on. To foster this and reflection and Creative Exchanges to bring people together; as or two artists, we would be limited in how many children we could we had events and activities bringing together artists and teachers well continuing to develop and manage residencies and book reach. outside of the classroom, without the children. programmes. Over a one-year period, Kids’ Own will gather research In 1999, with funding from Co-operation Ireland, Kids’ Own Four of the 11 artists on Create had continued on from through direct observation and conversation with artists involved on started ‘Multimedia Maps’, involving six artists in 12 schools, working Multimedia Maps, their continued involvement had been pivotal to Practice.ie. Through discussion seminars, interviews and voluntary north and south of the Irish border. While continuing the publishing the success of the project. They were able to share their learning and input from artists, we will investigate questions for discussion programmes, Kids’ Own expanded the original idea of ‘publishing’ experience, which meant the knowledge gained during Multimedia around current practice. By calling this research Practice.ie we are from hand-printed books to all forms of art making and expression. Maps was not lost. Kids’ Own are constantly building on and feeding recognising artist practice with children as an authentic way of This project explored the use of technology in the classroom for back into a shifting and moving experience for everyone involved. working and valid arts practice. creativity and exchange. By involving technology and media which This is a slow, deliberate process of mentoring, guiding, The objectives of this work will be to report on contemporary artists and teachers were not familiar with, the project levelled the supporting and inspiring and this happens amongst the artists, artist practice with children, develop resources by artists that assist playing field for kids. This allowed everyone to learn something and teachers and children. Kids’ Own ensures this happens through artists in their work, publish research and learning for a wide share something together. Children could take on a leading role, consistent contact for support and motivation. This contact is audience, build an online resource that facilitates the development changing the classroom dynamic. comprised of frequent phone calls, emails, site visits every two to of a community of practice for artists working with children and During this project Kids’ Own developed skills in managing arts three weeks, online journals and documentation; as well as gatherings young people, guide artists through their first experience using residencies. The most important task Kids’ Own had was to encourage for presenting and training which we call ‘Creative Exchanges’. online blogs for professional development. This work will provide an and guide artists to integrate their own work into the projects. At an Through reflection, evaluation and planning we discovered a on line space to showcase work and process to a wider audience and early stage, Kids’ Own observed artists working with ideas and model and structure for artists working with children. We wanted a will aim to influence the commissioning process of artists working techniques that they didn’t use in their professional work, and the way that the learning could be shared to other artists. Kids’ Own is a with children and young people. work seemed uninspired. All of the professional artists had experience learning organisation, and the last thing we want to do is repeat We want this research to reflect the varied approaches taking working with children but in a ‘delivery’ capacity. They had formulaic ourselves. place around Ireland. This research will commence in September ‘gig’ packages that they could deliver efficiently, which could cover Kids’ Own are still aware of the lack of recognition and support 2008, if you are an artist working with children and young people art-making techniques, yet there was nothing more they were for artists working with children. We feel strongly that our work and please contact us and contribute to this research. bringing to the classroom. learning should impact on structures and policies, and make change Orla Kenny & Heather James Kids’ Own wanted to see a transformation within the classroom, on a wider scale. Kids’ Own want to raise the status of artists work but realised it had to be a two-way exchange. In fact, while the work with children and young people, because we feel it is still The Kids own Team: orla Kenny, Creative director; Heather James, Multimedia Programme developer; Yvonne Cullivan, Programme Co-ordinator; declan Feeney, Financial and operations the artists were doing in the classroom bore no resemblance to their undervalued. Manager. e: firstname.lastname@example.org T: 071 91 24945 studio work, their studio work seem uninformed from their We feel strongly that the way we encourage artists to work with http://kidsown.ie/index.php http://journal.kidsown.ie experimentation and explorations in the classroom. At this point, children leads to a better experience for everyone involved. Children http://practice.ie The Visual Artists’ News Sheet July / August 2008 31 oPPoRTuNITIeS showing vision in illuminating from Ireland are especially cOmpEtItIONS the issues of diversity in Europe. encouraged). Students are Competitions In the build up to the 2012 Cultural organisations and eligible to apply for scholarships Olympic Games, The Arts individual artists from Europe once they have been offered a FOUNDERS’ pRIZE Council of Northern Ireland has are invited to submit projects place on the course. For further Entries for this biennial been asked by the Legacy Trust that are assessed specifically on information contact: competition are open to UK, through its Northern their artistic quality. Artistic telephone figurative sculptors in the first Ireland Advisory Group, to oPPoRTuNITIeS uniqueness and European +44 (0)20 7514 2350 ten years of their sculpting administer the disbursal of its relevance are the main selection Email careers. First prize of stg£5,000 funds in this region. Full criteria. Average grant €15 email@example.com and a bronze cast of the winning guidelines, funding available 000-25 000. For more www sculpture, which will be and application procedure at: information: www.courses.csm.arts.ac.uk/ figurative using the human www Awards & Prizes AwARDS & pRIZES addressed envelope to: www byamshaw/ form. For further details and an www.artscouncil-ni.org/award/ Address www.eurocult.org application form: legacy_trust.html cAlOUStE GUlBENkIAN Jerwood Sculpture Prize 2008, Deadline cOllABORAtIVE pROJEctS Collaborative projects Address Deadline The Arts in Public Spaces: 3rd c/o Parker Harris, PO Box 279, 1 September The Founders’ Sculpture Prize Not specified (decisions to be and final year of this programme. Esher, Surrey, KT10 8YZ pEEp Administrator, Founders’ Hall made by the end of September). Prioritizing rural areas telephone J D FERGUSSON AwARD A new quarterly publication Number One, Cloth Fair, London applications from Scotland, +44 (0)1372 462190 European Cultural Foundation called PEEP! is looking for EC1A 7JQ , UK. 2ND BANGkOk tRIENNIAl Wales, Northern Ireland and the Email A mobility fund called STEP contributors. Artwork that will www Silpakorn University present Republic of Ireland are firstname.lastname@example.org aims to motivate young artists reproduce in b/w and writing, www.founderssculptureprize. the 2nd Bangkok Triennial welcomed. The programme www.jerwoodvisualarts.org or artists, cultural operators, but not poetry is sought. It is an org International Print and Drawing offers early research and support www.jerwoodsculpture.org curators and researchers open submission and the Deadline Exhibition. Held every three for activities leading to Deadline travelling within wider Europe publication is looking for 31 August years to offer Thai and foreign especially imaginative and 31 October 2008 to explore, experience, gain honesty, integrity and artists an opportunity to display unusual projects devised for inspiration and stimulate intelligence in the work. AESthEtIcA cOmpEtItION their most recent works and to rural areas, to be presented in SZpIlmAN AwARD BERlIN innovative creative connections Multiples or small objects also The Aesthetica Annual Creative demonstrate the progressive non-conventional locations. Applications invited for the through: exploring unknown considered. Send all Works Competition will development of Modern Art in Partnerships with strategic Szpilman Award, a prize for grounds and discovering submissions to: champion new talent in the Thailand, which enhances the locally agencies are of particular ephemeral works. The purpose different ways of working; Email genres of visual arts, interaction and exchange of interest. The Arts and Science: of the award is to promote works collaborating and exchanging email@example.com photography, poetry and fiction. cultures among people through Although this programme has with forms consisting of views and ideas and networking. Deadline The competition accepts entries out the world. Application ended after 10 years Gulbenkian ephemeral situations. European countries EU and non- Ongoing of creative writing (poetry and forms on: will continue to advise and Individuals or groups may apply EU, including the countries of fiction), artwork and www promote the role for the arts in and works submitted must have the South Caucasus (Georgia, IpAk photography. Each section will www.interprint.su.ac.th relation to science through been realized between1 Oct Armenia and Azerbaijan). For Artists, worldwide, working in have one winner that feature in Initial Deadline grants for high-profile umbrella 2007–30 Sept 2008. Applicants more information visit: visual, sound, text media are the Aesthetica Annual, which 1 August projects demonstrating must send significant www invited to submit to a major will be available from Borders interdisåciplinary approaches. documentation of the work, an www.eurocult.org online, interactive and stores. Entry allows the Five minutes of mystery www application form, and an SASE Deadline participatory exhibition (14 submission of either five images Five Minutes of Mystery www.gulbenkian.org.uk for the return of same. See web Ongoing March 2008 – 13 March 2010) . of artwork, three short stories challenges filmmakers to create Deadline for details. The themes include: the (up to 2000 words each), or five and submit short films around a 10 October 2008 Address ANGlO‑JApANESE re-generative force of art, of art- poems (up to 40 lines each). The theme of mystery. Part of ‘The Szpilman Award, Brunnenstrasse Grants (stg£1,000 - £5,000) are making as a medicine to entry fee for the Aesthetica Compass of Mystery Festival’. pAINtER‑StAINERS pRIZE 10, 10119 Berlin, Germany offered to individuals, societies, transcend suffering, pain, and Annual Creative Works Judged by a panel of industry Call for entries for this prize for Email associations or other bodies to trauma; and of inspirational art Competition is stg£10. For experts in Bristol awards will be representational painting, firstname.lastname@example.org cover all fields of activity, and original ideas emerging information: for Best Film, Audience Award, sponsored by The Painters’ www including educational and from tragedy. - the notion, as www Local Film-maker and Youth Company Charity and The Lynn www.award.szpilman.de grassroots exchanges, research evidenced by recent scientific www.aestheticamagazine.com/ Award. Entries must be no Regional collection points will Deadline travel, the organisation of research, that social factors - submission_guide.htm. longer then five minutes in be provided across the UK. 30 September 2008 conferences, exhibitions, and such as marginalisation and Deadline length. Submissions will be London submission September other projects and events that racism - cause mental illness. 31 August accepted in DVD, Mini DV or as 2008 (exact dates tbc). Total pOllOck‑kRASNER fulfill this broad objective. You will have an opportunity to full quality DV QuickTime files. prize money stg£22,500. Entry International Grant Scheme, Contact: create a gallery page of yourself, DIGItAl 08 Submission to be accompanied forms and labels can also be open to established painters, Address with a biography and DIGITAL’08: Imagination On by Five Minutes of Mystery downloaded from the web. To sculptors and artists who work The Daiwa Anglo-Japanese descriptions of the work you are Behalf Of Our Planet, the 10th Entry Form, and sent to: apply send SAE to: on paper including printmakers. Foundation, Daiwa Foundation exhibiting. Full details at: International Digital Print Address Address Gants are intended for a one- Japan House, 13/14 Cornwall Email Competition/Exhibition will Compass Film, 9 Walton Street, Lynn Painter-Stainers Prize, year period of time. To apply Terrace, London. NW1 4QP email@example.com take place at the New York Hall Easton, Bristol BS5 0JG Parker Harris Partnership, PO artists are required to submit a www www of Science from 4 October 2008 Email Box 279, Esher, Surrey, KT10 cover letter, application form, www.dajf.org.uk office@dajf. turbulence.org/Works/iPak to 25 January 2009. What are Nicky Butcher, nicky@compass- 8YZ and slides of current work. org.uk Deadline the artists, scientists, and film.co.uk telephone Application form online. Deadline 31 December 2008 technologists of the twenty-first Deadline +44 (0)1372 462190 Address 31 March / 30 September century thinking about our 5 August Email Attn: Request for Application, EqUEStRIAN A Rt current environmental firstname.lastname@example.org The Pollock-Krasner Foundation, Uk mA SchOlARShIpS. cOllEctIVE challenges? Can their artwork DEpIct www Inc. 863 Park Avenue, New York, Lismore Castle Arts: MA Fine Visual artists to provide images imagine new, positive Can you do it in 90 seconds? www.painter-stainers.org or New York 10021, USA Art Scholarships. There are two of horses for online catalogue of approaches to sustaining life on Enter your mini-movie for the www.parkerharris.co.uk Email MA Fine Art Scholarships for Equine imagery. planet Earth? Can it inspire us tenth DepicT! Competition, email@example.com 2008-2009 available at Byam Email to confront the consequences of held on 18-23 of Nov in Bristol JERwOOD ScUlptURE pRIZE www Shaw School Of Art, University info@equestrianartcollective our current ways of living? as part of the Encounters Applications can now be www.pkf.org/grant.html Of The Arts, London Central, St. www To obtain guidelines & entry International Short Film submitted for this stg£25,000 Deadline Martins. There is one scholarship www.equestrianartcollective. details: Festival. The first prize is commissioning award that aims Ongoing for an international student to co.uk www stg£2000, NFTS DepicT! and a to reward emerging talent in cover overseas fees and provide Deadline www.asci.org/artikel981.html short course at the National outdoor sculpture. Full entry EcF towards living expenses. A 30 December Deadline Film and Television School in details available on the web or European Cultural Foundation further scholarship is available 10 August 2008. ‘09, including travel bursary. To by sending a large stamped supports artistic projects to a UK/EU student (applications apply: 32 The Visual Artists’ News Sheet July / August 2008 oPPoRTuNITIeS are dialogic, participatory, Aspects of Aquatint (23 & 24 techniques through the creation This call is open to all Road Nottingham NG1 3FB, Uk. www interventionist and collaborative August), 8 Places, €185. Non- of a digital cutout animation. undergraduate and postgraduate telephone www.depict.org/news/72 in intention and structure. toxic Relief Printmaking (30 & Other topics in this course students, including those who +44 (0)115 9348435 Deadline During the programme students 31 August), 8 Places, €180. include motion tracking and have graduated during 2008. All Email 8 September will be required to develop self Photo-Screenprinting (13 & 14 stabilizing, linking and media are welcome. For more firstname.lastname@example.org initiated, innovative enquiries September), 5 Places, €185 expressions as well as learning details and information on www DIScERNING EyE BURSARy into public space, and also to telephone about alternative uses of after submitting work, see our www.surfacegallery.org Invitation To Submit Digital work in conjunction with an 021 4322422 effects. Dates: 28 to 30 July. website: Deadline Images Of Work For £1,000 external partner organization, Email Cost: €450 (plus filmbase www 18 July 2008 Drawing Bursary. To Apply: pertinent to supporting the email@example.com membership for all courses if www.catalystarts.org.uk/index. Send Digital Images Of Work research process. The course is not already a member). For php?page=call-for-submissions BRIDGE ARt FAIR Along With A Written available in part-time / full-time ARt cOURSES IN SlANE further information: The Independent International Explanation (Max 300 Words) options and takes place at the Thursday morning and telephone BERlIN Exposition is now accepting Detailing The Role Of Drawing University of Ulster, Belfast afternoon life drawing class (01) 8815114. WOOLOO is an artists-run applications for its fall/winter In Your Current Practice; How campus. For info: taught by Sam Horler. Email organization that aims to foster 2008 shows. The lineup includes You Would Propose To Use The telephone Residential and non-residential firstname.lastname@example.org new and relevant opportunities fairs in London during Frieze Bursary; The anticipated benefits +44 028902 67321 week-long oil painting intensive www for emerging artists. Art Fair, Berlin during Art Forum of receiving the Bursary. Entry Email course, taught by Roderigo Www.filmbase.ie Collaborating with curators and Berlin and Miami during Art Forms and further Information: email@example.com Oliviera Nunes. 20 – 27 July and art institutions around the Basel Miami Beach. For info: telephone www 21 – 27 September and 28 lIFE DRAwING clASSES world, we work to develop www 01372 462190 www.interface.ulster.ac.uk September – 4 October. Life drawing classes taking place projects and exhibitions dealing www.bridgeartfair.com Email Deadline Email on Sundays on the Orwell Road with significant contemporary Deadline De@Parkerharris.Co.Uk 31 July 2008 firstname.lastname@example.org in Rathgar, Dublin 6 with model issues. Wooloo Productions 14 July 2008 (Miami) www www (11.30 am to 2 pm). Contact works as space providers by Ww w. Pa r k e r h a r r i s . C o . U k / pRINtmAkING www.Rossnaree.ie Declan: creating and maintaining mINI pRINt ExhIBItION Artists/Downloads Printmaking course in etching telephone collaborative frameworks for Call to artists using any Deadline from 19 – 21 July 2008. A 3 day phD RESEARch pROJEct 0879893058 human interaction. printmaking medium, submit 5 September course in Softground, Participants sought for PhD Email up to three works, max size Hardground and Multi-plate research project on thE lIGht ExchANGE email@example.com 70cm2, for international wORlD cERAmIc BIENNAlE Etching – in Airfield House, commemoration, mourning and The Light Exchange is now www exhibition touring throughout Korea 25 April – 21 June 2009, Dundrum. Cost €180 including creativity and forms of visual or offering short summer modules www.wooloo.org the UK from April 09. To apply: international ceramics materials. To book contact other representation (Queen’s in Compact Camera and Digital Address competition with two categories: Elaine: University). The researcher is SLR foundations. These modules NEthERlANDS 7th Mini Print Exhibition, ceramics for use and ceramics as telephone particular interested in are ideal for anyone who is new The Hague - a project about Printmakers Council, Ground expression open to ceramists of 087 9712847 responses which make a to using a digital camera. Digital gardens and gardening on the Floor Unit, 23 Blue Anchor Lane, any nationality, gender or age. connection with Irish customs, SLR, Saturday sessions, 5 July or edge of extinction or on the London SE16 3UL Email There are no specific themes. To pRINt cOURSES – lImERIck rituals, Irish history and society). 19 July €80, 6 places threshold of creation (utopias firstname.lastname@example.org apply see: Colour etching (weekend July) I am also looking for up to 20 telephone more welcome) in a physical or or write to www Silkscreen for beginners and volunteers for face-to-face 01 4975626. metaphorical way. All visual www www.wocef.com refreshers (weekend July, Aug, fieldwork interviews. Expenses Address languages will play a role in this www.7thminiprint.com Deadline Sept). Photo etching (weekend paid, and a thank you original The Light Exchange, 22A project. Deadline Registration for preliminary Aug & Oct). Monoprint signed print by artist-researcher Fortescue Lane, Rathmines, Email 1 November 2008 screening 4 August – 30 (weekend July & Sept). will be given to each participant Dublin 6 email@example.com September Collograph and chine collé on completion. www www wAR & pEAcE (weekend July, Aug). Drypoint telephone w w w. t h e l i g h t e x c h a n g e . i e / www.geborgenkamers.nl Call for artists working with cROAtIAN cERAmIcS (weekend Sept). Principles of 07753756265 courses.htm Deadline moving image submissions Kerameikon International abstract art and their exploration Email 15 September 2008 sought on the theme War & festival of post-modern ceramics through the medium of maildrohr.demon.co.uk. SOUth tIpp ARtS cENtRE Peace for screening on World 6 Mar-4 April 2009. Open to collograph (2 weekends Aug) South Tipperary Arts Centre is NEw GREENhAm ARtS OpEN Peace Day at Arnolfini (Bristol), individuals or groups of artists www cOURSES At FIlmBASE now accepting proposals for its Call to established and emerging Stroud Valleys Artspace, and the from all over the world working www.limerickprintmakers.com Adobe Flash: drawing in flash, 2009 Gallery Programme. To be artists working in all media Museum of Bath at Work. in ceramics. Open call for works creating and manipulating considered forward a CD with (traditional, new media and live Screening fee paid (stg£100/ which embody the concept of cRAwFORD SchOOl timelines, basic animation six images of recent work and art) - invitation to submit work work selected). 21 Sept 08. To ceramics as a means of free This year’s summer school is for techniques, tweened animation, also include two hardcopy for selection for In-Common. apply submit in DVD format artistic expression. .A beginners and those with colour effect, publishing, images (photographs or telephone with statement, CV and SAE to: combination of various more experience using a film overview of advanced features printouts). A submission +44 (0) 1635 817480 Address materials may be used but the camera. Fee is €310, to include (importing video, audio and proposal, artist’s statement - Email Fiona Meadley, c/o Stroud work must be primarily workshops and basic materials. other media, action scripting, informing the viewer about the firstname.lastname@example.org Valleys Artspace, 4 John Street, ceramics. The exhibition title is Workshops run from 11 – 15 integrating flash into standard subject matter, content and Deadline Stroud GL5 2HA Nature as Adventure. To apply: August. Enquiries at: web pages). Dates: 8 – 24 July (6 processes. Art related C.V. & any 5 September 2008 www Address telephone Tuesday & Thursday evenings) additional visual / written www.war-and-peace.info Kerameikon, Croatian Ceramic 021 4966777 Cost: €300. Adobe After Effects support. Include an ssae for SURFAcE GAllERy Deadline Association, Krizaniceva 13, www - level 1. Students will become return of materials. Submissions Artwork from any medium, as 11 July 2008 42000 Varazdin, Croatia www.cit.ie follow link to familiar with the after effects should be marked ‘Gallery show will be a diverse and multi- Email summer school. interface and its connections to Programme 2009’ and sent to: mediated exhibition. Calling for SEAttlE email@example.com other programmes such as Address submission for the Open Show Crawl Space Gallery provides www cORk pRINtmAkERS adobe photoshop and final cut The Artistic Director, South 2008, Nottingham, 4 - 22 August. guest and member artists with www.kerameikon.com 5-Day courses include an pro as well as gain hands on Tipperary Arts Centre, Nelson Submission fee of £7.50 per the opportunity to show their Deadline Introduction to Lithography experience of 2D and 3D St., Clonmel, Co. Tipperary work to be considered for work in solo exhibitions. Artists 30 October 2008 (Mon 2 – Fri 6 July), 5 places, compositing techniques, Deadline submission. Please send a are responsible for all related €320. Introduction to animation, titles, graphic 31 July 2008 completed submissions form expenses. Work is not insured. mA ARt IN pUBlIc Waterbased Screenprinting overlays, masking and colour www along with: images or moving Proposals must include at least The Master Art in Public has (Mon 28 July – Fri 1 August), 5 correction by completing a www.southtipparts.com images of the work to be 10 digital images of the work to evolved from current complex Places, €340. Weekend courses bluescreen project. Dates: 14 to considered, entry fee, artist’s be shown or similar past work. concerns for the role of art / include Carborundum, 16 July. Cost: €450. Adobe After cAtAlySt statement, CV and SAE (for Artists must also submit a artists in a changing society. The Collograph & Drypoint (12 & 13 Effects - level 2. Students will Catalyst Arts are calling for return of images) to: written description of the programme seeks to develop July), 6 Places, €200. Mezzotint gain hands on experience of submissions for the Annual Address proposed installation, an artist testing modes of working that (26 & 27 July), 8 places, €175 advanced 3D compositing Student Show in October 2008. Surface Gallery 7 Mansfield statement, and a résumé on CD The Visual Artists’ News Sheet July / August 2008 33 oPPoRTuNITIeS and in printed form. Materials your college /university visit DVD or uploaded with the entry Deadline fuse.net considered for every public art will be retained in the digital www form. Films must be between 4:30pm Friday, August 8, 2008 www project within their discipline slide library for consideration www.myspace.com/ 1–12 minutes long without the w w w. c i t y o f s c u l p t u r e . o r g / category. Registration in the for future projects and will not bestinshowireland credits. For information: VANcOUVER, cANADA Journal_Square.html slide bank is required in order to be returned. Crawl Space www The Vancouver Organizing Deadline qualify for Art in Public Spaces reviews submissions 3 times per ShORt FIlm FEStIVAl www.renderyard.com Committee for the 2010 30 September 2008 projects. For inclusion in the year. Mail applications to: We would like to invite Deadline Olympic and Paralympic Winter slide bank, artists should submit Address filmmakers from around the 21 August 2008 Games invites proposals for the lOS ANGElES an application form, 10–19 Crawl Space, 504 E. Denny Wy. world to submit short films Cultural Olympiad 2010. Arts The Civic Art Program of the slides, a slide identification #1, Seattle, WA 98122 (animation, music video, artist E32 NEw yORk and cultural organisations may Los Angeles County Arts sheet, a résumé/CV, and relevant Email films, narrative, documentary Public Video Screening, open to submit proposals for events, Commission invites artists to support materials. Registration firstname.lastname@example.org etc.) up to 10 minutes on the video artists taking place in exhibitions, or installations sign up for the first southern CA form and details online: www theme “Money Money Money”. Manhattan, NY. E32 is looking within the metro Vancouver master public art opportunities Address www.crawlspacegallery.com The entry form with all required for 3-minute videos for and Sea-to-Sky corridor e-mail list, which will generate Ann Holley, Art in Public Spaces/ Deadline information accompanied by a Worldwide Moving Image III. scheduled to occur 22 Jan–28 periodic e-mails regarding new Public Art Slide Bank, 2 August 2008 DVD-preview copy required. For Application form online: Feb and/or 12–21Mar, 2010. An projects from the Civic Art Connecticut Commission on preview only DVD copies will Email organization may submit a Program, the Los Angeles Culture and Tourism, 1 Financial wExFORD ARtS mARkEtS be accepted. If the original Linda@lindagriggs.com proposal alone or in County Arts Commission, other Plaza, 755 Main St., Hartford, CT collaboration with other Wexford Arts Market, A Visual language of the film is not www public art programs in southern 06103 organizations, but 1 must be Arts Celebration, is providing English, the preview copy http://e32.hitart.com/ CA, and private art consultants telephone designated as the lead proponent. an indoor exhibition area. We should be subtitled. Please note Deadline and developers. To register, +1860/256-2800 To be eligible, the lead proponent will have approximately 70 that we can only accept one film Ongoing visit: www must have been in operation for meters of hanging structure, per director. For details: www www.cultureandtourism.org a minumum of 2 years and must each artist occupying a 3/6m Address ARk4DtV www.lacountyarts.org be either a nonprofit professional wide area. The first market will “Betting on Shorts” – London Call to Film and video artists for mIAmI arts and cultural organization, take place on the bank holiday Consortium – Institute of work that has been made with cAlGARy, cANADA The Art in Public Places Artists an aboriginal arts and cultural weekend 2 – 4 August. To take Contemporary Arts, 12 Carlton one camera, one tape and no The City of Calgary Public Art Registry serves as a resource in organization, or an education part in this Art Market contact House Terrace – London SW1Y editing. For online broadcast. Program seeks expressions of the selection process for new institution or museum. John at: 5AH – U.K. Fee of €50-250 if they broadcast interest from experienced artists public art commissions. Once Proponents must have a history Address telephone your tape, you set the price and for inclusion in its Artist Roster. artists are part of the registry, of presenting, exhibiting, and/or Mount Folly, The Folly, Wexford +44 (0)20 7893 8669 then negotiate when they judge This call is open to local, they will be notified of all producing professional arts and telephone Email the quality. The limit for work is national, and international upcoming public art cultural events on a public 053 9147714 / 086 8554890 submissions@bettingonshorts. one hour or a loop that fits an artists. The roster will pre- opportunities. Professional context.. For information and Email com hour. DV material Prefered on qualify artists for consideration artists working in all media are guidelines: email@example.com www CD or DVD or Mini DV. www for public art opportunities invited to submit information www.bettingonshorts.com Address www.vancouver2010.com/en/ commissioned by limited calls for the registry. Artists should RUA ExhIBItION Deadline P.A.R.K. 4DTV, PO BOX 11344, CultureEducation/ or direct award contracts. This is send 5–20 images of current Submission forms are now 15 August 2008 1001 GH Amsterdam, The CulturalOlympiad. a different process than Calgary’s work (image specifications are available for the 127th Annual Netherlands Deadline open calls for applications, available on-line), an image list, Royal Ulster Academy NEthERlANDS, thE hAGUE Email 30 September 2008 which artists must still apply for a résumé, relevant printed Exhibition open from 19 Dreamscape Video compiled by firstname.lastname@example.org individually. Selection for the materials (articles, September–19 October. The fragments of 7 second videos www OhIO roster does not guarantee a announcements, and reviews), exhibition will be held in the made by different artists. The www.park.nl Hamilton, City of Sculpture contract. Selected artists must an artist registry form and an former Titanic Drawing Offices subconscious language of Deadline seeks a sculptor or sculpture prove their practical, SASE for the return of materials. at Harland and Wolff Shipyard humans expressed on images Ongoin team to design and create a site- demonstrated, public art Artists are encouraged to update Belfast. This year, the Adjudicator and assembled in a common specific work for a prominent experience, including their materials annually. is Anna Cutler, Head of dream. Public Art pUBlIc ARt location in the city. Proposed collaborating with teams. Address Interpretation and Education, Email works may be static or kinetic Working within set budgets and Art in Public Places, 111 NW 1st Tate Modern. For full details and email@example.com EDmONtON, cANADA and may include light or water construction schedules will be St., Suite 610, Miami, FL 33128, forms: www The Edmonton Arts Council, on features. The site, Journal considered an asset. Applications USA. telephone www.geborgenkamers.nl behalf of the City of Edmonton, Square, is a central gathering are accepted on an ongoing telephone 048 / 02890320819 Deadline invites all Canadian and place and can be viewed online. basis. Interested artists should +1 305/375-5362 Email 15 August 2008 international artists to submit All artists and artist teams are request Expression of Interest Fax firstname.lastname@example.org proposals for a public artwork at eligible to apply. Four finalists #05-008 from Edwin Whang, +1 305/372-7659 www VIDEOclUB Fire Station No. 5. This open will receive a $500 design fee to Buyer, Finance and Supply Email www.ruaonline.com Videoclub in collaboration with competition is held in create detailed models or (Purchasing) email@example.com. Deadline Northwest Film Forum is accordance with the City of graphic representations of their telephone www 1 August 2008 developing an artists’ film and Edmonton policy “Percent for proposals and budget outlines. +1 403/268-4090 w w w. c o . m i a m i - d a d e . f l . u s / video exchange; work will be Art to Provide and Encourage The final art budget will not Email publicart. Film & New Media selected via open submission Art in Public Areas” exceed $50,000. Work must be firstname.lastname@example.org. FIlm & NEw mEDIA and will be screened at (C458B). Budget: $60,000 low-maintenance, relate to the BOStON DIGItAl hUB Lighthouse in Brighton during (maximum, all inclusive). area, and suited to the cONNEctIcUt Artists are invited to submit In November 2008, The Digital September 08 and screened at Installation: Summer 2009 An Midwestern climate. The Connecticut Commission work for the Cambridge Arts Hub will host “Best in Show”, an NWFF’s venue in Seattle later in information package, including Applications must include: on Culture and Tourism (CCT) Council slide registry, the main exhibition that showcases a the year. To apply: entry form and terms of the letter of interest, résumé, initial has numerous upcoming public resource for the selection of selection of work from graduate www competition, can be downloaded concept drawings/description, art opportunities that range artists for public art in exhibitions from a cross section www.videoclub.org.uk from our website: 10 images of recent work (in jpg from $75,000–$400,000. The Art Cambridge. All professional of colleges/universities under Deadline Address format, no more than 1 MB each in Public Spaces Slide Bank is a artists are eligible for on CD), a list of 3 referees with one roof. Work shown will be 15 July 2008 Edmonton Arts Council, #808, catalogue of photographic slides consideration. Artists may contact info and an SASE for from different disciplines 10310 Jasper Avenue, Edmonton, used to select submit up to 16 labeled slides or return of materials. including Vi s u a l RENDERyARD FEStIVAl AB T5J 2W4 artists/ craftspeople for public digital images on CD, résumé, Address Communications, Design, Fine Call to film-makers for The telephone art commissions. Art in Public and support materials such as Hamilton, Ohio, City of Art, Interactive Media, Virtual Renderyard Short Film Festival +1 (780) 424-2787, ext. 222 Spaces projects are catalogues or reviews. Mail Sculpture, 1 High St, PO Box Realities, Film/TV, Digital Media which attracts high quality Email announced on the Web site as materials to: 545, Hamilton, OH 45012 Technologies, Animation, Model experimental short films and email@example.com they become available. With Address Tel. 513/895-3934. Making and Multimedia courses. animations, scripts and film www one entry to the slide bank, Arts Council, Attn: Slide Registry, Email If you think your work is ‘Best in music from around the world. w w w. e d m o n t o n a r t s . a b . c a / registered artists are 344 Broadway, 2nd Floor, hamiltonohiocityofsculpture@ Show’ at your graduate show in Films should be submitted on publicart automatically reviewed and Cambridge, MA 02139 34 The Visual Artists’ News Sheet July / August 2008 oPPoRTuNITIeS www nationality and intended to dining and recreation rooms at facilities necessary to create www www www.cambridgeartscouncil.org/ promote creative exchange Colony Hall. Maximum high-quality works of arts. www. www.104.fr public_call.html between Danish and foreign residence is two months; an Accommodation includes amsterdamsgrafischatelier.nl Deadline artists and art institutions. In average stay is four weeks. The individual apartments and Deadline 15 October 2008 NEw yORk 2009, the program offers MacDowell Colony offers studio. None MTA Arts for Transit selects residencies ranging from 3-6 Fellowships and stipends to Kala Art Institute, 1060 Heinz AFRIqUE pROFONDE artists for their programs months, but application for accepted artistsand currently Avenue BERKELEY, CA ARtlINE BERlIN Open to International artists through competitive processes. shorter periods are also possible. offers artists two grant programs 94710 USA International residency open to working in Music, Visual Arts, Artists are pre-screened by Each artist receives a grant of based on financial need. telephone artists in Drawing, Painting, 2-3 months residencies. Afrique reviewing the portfolios on file 10,000 DKK per month to cover Applications are reviewed +1 510 5492977 Film, Multi Media, Photography, profonde wants to facilitate at the Percent for Art Slide expenses. To apply: monthly and approved grants Email Sculpture cultural exchange and dialogue, Registry of the New York City Address are disbursed during or after firstname.lastname@example.org Disciplines. It is the mission of internationally and locally, by Department of Cultural Affairs The Danish Arts Councils residency. For information: www gallery twenty-four, through it’s bringing together artists from (DCA). The deadline for International Committee for Address www.kala.org Artline Berlin project to assist international cultural submission is ongoing. To obtain International Visual Arts, The The MacDowell Colony, 100 Deadline autodidactic and undiscovered backgrounds with artists from a slide registration form, Danish Arts Agency, The Visual High Street, Peterborough, New 31 July 31, 31 October 31 artists, who wish to complete an the democratic Republic of contact: Arts Centre, HC Andersens, Hampshire, 03458, USA art project or series of works in Congo and Africa. Address Boulevard 2, DK-1553 Telephone GERmANy Berlin. Address DCA directly at the Department Copenhagen V, Denmark 603-924-3886 F: 603-924-9142 International Residential E‑mail Afrique Profonde, of Cultural Affairs, Percent for telephone Email Scholarships at the Künstlerhaus email@example.com Enspännargatan 49, 2Tr 165 57 Art Program, 330 West 42nd St., +4533744527 admissions@macdowellcolony. Schloß Balmoral 26 May 2008 www Stockholm Sweden 14th Floor, New York, NY 10036 Email org is the starting date for the www.artlineberlin.org telephone telephone firstname.lastname@example.org www application period for 8 Balmoral Deadline +242 94 0023 +1 212/643-7770 www www.macdowellcolony.org Scholarships in Bad Ems. Seven Ongoing Email www www.danishvisualarts.info Deadlline residential scholarships will be :email@example.com www.mta.info Deadline 15 Sept 2008 (for Winter-Spring awarded, six of those to visual AmStERDAm www 15 August 2008 09 / 1 Feb-31 May) artists. In order to promote the Open to International artists www.afriqueprofonde.org Symposia dialogue between research and working in Applied Arts, Deadline SympOSIA art, one scholarship will be qUARtIER 21 l’OEIl DE pIOSSON ‑ mEDUSE Drawing & Painting, Film, Media 12 July, 15 August, 15 December lEEDS 5 free live/work studios available Residencies open to international awarded to a junior scholar of Art, Multi Media, Visual Arts, 2008 The VII International Sculpture to international artists for two – artists working in Multi Media, the humanities (preferably in Performing Arts, Photography, Symposium entitled Approaches six month periods. €1,050 Photography, Sculpture, the field of Art Theory). Working Sculpture media. Residencies DUBlIN ImmA To Sculpture In The Landscape stipend per month. Application Woodcraft. and agreed in close cooperation January – June / July - December Artists are invited to apply for is being held at the University of form online. Duration: 3 months (19 with the Künstlerhaus and Agentur offers one guest studio the Artists’ Residency Program Leeds, United Kingdom from Address January–12 April 2009). l’Œil de resident artists she or he will for international artists and is at the IMMA. The facility 4–7 September 2008. The 3-day MuseumsQuartier E+B Ges. Poisson is committed to topical play an active part in the located in Amsterdam West. includes 8 studio spaces, and symposium brings together Elisabeth Hajek, Koordination issues within contemporary art. organisation and the activities Projectspace available (30 m2) each studio has the possibility authorities on aspects of quartier21, Museumsplatz 1, Highly involved in multimedia of the institution. In addition and accommodation costs 400 of accompanying room and Sculpture in the Landscape A-1070 Wien, Austria. and inter/multidisciplinarity, Balmoral will award a project Euro per month. board. Applications should across Europe, examining the Email the centre promotes grant to allow a selected visual Address include a CV, visuals and diverse approaches to the choice, firstname.lastname@example.org experimental art and artist to realise a project Agentur, Wibautstraat 150 1091 documentation of work, and a placement and organisation of www breakthrough practices, thereby elsewhere. GR AMSTERDAM Netherlands full proposal for work to be done www.quartier21.mqw.at/Artist- stimulating transfers and Address telephone Sculpture in different landscapes. at IMMA. Applications are in-Residence mergers between disciplines. Villenpromenade 11 BAD EMS +31 20 681 6921 The symposium includes a day accepted twice a year. For Deadline While developing the project, 56130, Germany Email visit to the Yorkshire Sculpture additional application Ongoing the artist will have access to telephone email@example.com Park. For information on information: equipment contained in the +49 2603 94190 www speakers, accommodation, travel Address BERNhEIm ARBOREtUm wood and metal shops, vast Email www.agentur.nl information, etc. as well as the Irish Museum of Modern Art, Residency up to three months to common spaces with the firstname.lastname@example.org Deadline registration form see: Royal Hospital, Kilmainham, explore the relationship between guidance of professional www 1 September 2008 www Dublin 8 man and nature in an arboretum technicians. The selected artist www.balmoral.de www.sculpture-network.org/ Email set in 14,000 acres of natural will be provided with Deadline pARIS leeds email@example.com area in Kentucky. Grant of up to accommodations and a per diem 19 July 2008 104 residencies are open to www US$2,500 with a materials for the entire period. For international practitioners Slow www.modernart.ie budget depending on the information: AmStERDAm working in Applied Arts, A proposed national touring Deadline proposed project. Individual Address Amsterdams Grafisch Atelier, Curating/Research, Drawing & exhibition Slow is proposed to 30 September 2008 houses and studio in a woodland L’Oeil de Piosson – Meduse, 541, Stichting – Printmaking Painting, Film, Literature, Media launch in late 2009 and tour setting. To apply send a proposal, rue Saint-Vallier Est QUÉBEC, residencies open to International Art, Multi Media, Photography, throughout the UK to between BElFASt qSS CV, statement and 10 images on QC, G1K 3P9 Canada artists. The Atelier invites artists Printmaking. Residencies are for eight to ten museums and Queen Street Studios, which slide or CD. DVD or video telephone to make project proposals and 1–10 months and will start as of galleries. Artists and makers are provides 22 studio spaces for documentation are also +1 418 6482975 the Atelier will provide their May 2008. Invitations for a sought who may contribute to painters, sculptors, live art, acceptable. Fax technical knowledge and residency at 104 are based on the exhibition and its events installation, and mixed-media Address +1 418 6488284 assistance to realize the project. the following principles: artists programme. The exhibition is artists at various stages of their Bernheim Outdoor Art Email The printmaking workshop are hosted from the very likely to show work from around career development, is accepting Fellowship, P.O. Box 130, firstname.lastname@example.org (600 m2) is open to professional beginning of conception of their 15-20 makers including some applications for its Digital Clermont, Kentucky 40110, www artists. The workshop specialises projects, the process is composed international makers. Further Residency Program. The program USA www.meduse.org/oeildepoisson in printing techniques that are of 3 phases: research, information on: provides professional Email Deadline environmentally friendly and experimentation and www multimedia facilities for artists email@example.com August 15 offer a large variety of printing production. The teams chosen www.makingaslowrevolution. working in new media. www facilities like lithography and will be provided with: a monthly wordpress.com/opportunities/ Applications are currently being www.bernheim.org kAlA ARt INStItUtE etching presses. grant of a minimum sum of Deadline accepted for October Deadline Open to international artists Address €1500 per person (maximum 19 September 2008 2008–January 2009. For 28 February / 1 November working in Drawing & Painting, Grafisch Atelier, Stichting, two people per project), for non- additional information: Media Art, 6 months for Laurierstraat 109 1016 PL Parisian grant holders, Residencies RESIDENcIES www thE mAcDOwEll cOlONy fellowship recipients; AMSTERDAM Netherlands accommodation. www.queenstreetstudios.net Designed to facilitate a balance indefinitely for regular artists- telephone Address DENmARk Deadline between a focus on work and in-residence. Aims to provide a +31 20 6252186 104, 11 Bis Rue The Danish Arts Council has 7 August 2008 interdisciplinary interaction. diverse, international body of Email Curial, Paris, France. established an artist-in-residence Private studios are available to artists with the tools, techniques amsterdams.grafisch.atelier@ Email program open to artists of any BAllINGlEN artists 24 hours a day with and well-organized professional planet.nl firstname.lastname@example.org The Visual Artists’ News Sheet July / August 2008 35 oPPoRTuNITIeS The Ballinglen Arts Foundation’s - residency at an open-air and for project materials. To CD-ROM to present visual The Solomon R. Guggenheim Slides/CD/DVD /Photographs, Artist’s Fellowship Programme museum in Vilnius, Lithuania. apply submit a one-page essay material is optional. Applications Museum is currently seeking list of works detailing size, is open to visual artists One week during May, July and explaining why you want to to: candidates for a Fall 2008 or medium, and year. throughout the world with Sept. Accommodation and participate in the Wendover Address Academic Year 2008-2009 ADDRESS professional standing in their meals provided. To apply: Residency Program, and what Dennis Elliott, Director, internship in our Media and John Mc Hugh, Custom House fields. They are given cottages Address you plan to do when you get International Studio & Public Relations department. Studios, The Quay, Westport, Co. for living and purpose-build Europos Parkas, Joneikiskiu k., there. At the top of the page, list Curatorial Program (ISCP), 323 Our Media and Public Relations Mayo. studios for working within a LT-15148 Vilnius r., Lithuania your name, address, phone West 39th Street, Suite 806, New internship is open to upper-level Email rural community. The length of Email number, and the proposed dates York, NY 10018, USA undergraduates or current email@example.com each residency varies. Each firstname.lastname@example.org for your residency. For Email graduate students pursuing Deadline fellow is asked to contribute at www information: email@example.com, studies related to media and 16 January least 1 finished work to the www.europosparkas.lt Address www public relations, the visual arts, Ballinglen Arts Foundation. Deadline Wendover Residence Program www.iscp-nyc.org and business. Candidates must Application forms are available Ongoing Application, The Centre For Deadline have familiarity with the on-line: Land Use Interpretation, 9331 Ongoing Microsoft Office suite, Address BEmIS cENtRE Venice Boulevard, Culver City, Photoshop, and InDesign; DON’t FORGEt Ballinglen Arts Foundation Ltd., Experimental residency in California 90232, USA mONtREAl graphic design skills will be do remember to look at the Ballycastle, County Mayo Omaha, 2009. Individual Email Dazibao an artist-run a residency extremely useful to the position. advertisments in this VAN, also Email stipends of $750 per month to firstname.lastname@example.org open to photographers and Interest in not-for-profit arts check our web site & subscribe email@example.com artists awarded a studio www dedicated to the dissemination sector is desirable and excellent to our e-bulletin for further www residency. 7 live/work studios in www.clui.org of contemporary photography. written and spoken English opportunities. www.ballinglenartsfoundation. which the artists-in-residence Deadline To apply send a proposal, CV, necessary. Further information wAtch OUt org.. reside. Spaces range from 860 – Ongoing statement and a maximum of 20 at: While every effort has been 2,400 sq ft. Each studio its own slides. www made to ensure the accuracy cOpENhAGEN bathroom and kitchen areas, pENNSylVANIA Address w w w. g u g g e n h e i m . o r g / of our information we strongly The Danish International Visual installation room, sculpture The Mattress Factory, Dazibao, centre de photographies internships advise readers to verify all Art Exchange Program (DIVA) is equipment, research library, installation, visual and sound actuelles, 4001, rue Berri, espace details to their own satisfaction now accepting applications for woodshop, dark room, analog artists’ residency in Pittsburgh, 202, Montreal (Qubec) H2L 4H2, cUStOm hOUSE StUDIOS before forwarding art work, its 2009 artists in residence. The video editing and AV equipment. USA. 1 – 8 weeks all year round Canada. Applications are now invited for slides or monies etc. program offers residencies To apply download an all costs are paid by the Email Studio Occupancy: Artists are thANkS ranging from 3–6 months, but application form. Send 10 slides organisation. See website for firstname.lastname@example.org now invited to submit proposals VAI exchanges with and shorter periods of residency are of work completed within the details. www for year-long and short-term use sources information from: also possible. The Visual Arts last two years, a current CV, Address www.dazibao-photo.org/ of Studios and exhibitions in the A-N:The Artists’ Information Centre will provide residents $35.00 application fee. The Mattress Factory, Residency Deadline years 2009–2010. Please send Company; The International with free living space and Address Programme, 500 Sampsonia 1 September & 1 January letters of interest, CVs and Sculpture Centre (New Jersey studios in Copenhagen. Each Bemis Centre for Contemporary Way, Pittsburgh, PA 15212-4444, documentation of work / uSA) and the National artist will receive a grant of Arts, 724 South 12th St, Omaha, USA. GUGGENhEIm mUSEUm including: Artist Statement, Sculpture Factory Cork. 10,000 DKK per month to cover Nebraska 68102-3202, USA. Email expenses. Email email@example.com www firstname.lastname@example.org www www.danisharts.info www www.mattress.org Deadline www.bemiscenter.org Deadline 15 August 2008 Deadline Ongoing 30 September & 28 February AmStERDAm, DE AtElIERS IScp NEw yORk De Ateliers, an independent JApAN Residency for visual artists and artists’ institute run by visual Iamas residency open to media curators of any nationality. The artists, offers a residency artists combining with science. International Studio & program. It focuses on the A program to support new and Curatorial Program (ISCP) is artistic development of young, creative activities wherein located in midtown Manhattan talented artists from within the scientific knowledge and artistic and within walking distance of Netherlands and abroad. The sensibility are aesthetically the Chelsea gallery district. The residency program includes combined. 6 month period program prides itself on access to studios with tools for between 1 May 2008 – 31 March providing an infrastructure, wood- or metal-working and 2009 1 person. Fee ¥320,000 per which accelerates integration darkroom facilities. A stipend of month plus one return and interaction with the host approximately €9,700 is given flight. Full equipment support. culture and in the course of its to all participants, both Dutch Application form online. development, has become a and foreign, to cover basic living Address catalyst for introduction, costs. Interested artists should Institute of Advanced Media presentation, connection, submit a completed application Arts and Sciences (IAMAS) 3-95 exposure and dissemination. To form along with documentation Ryoke-cho, Ogaki-shi, Gifu, apply send a CD (up to 10 PDF or of their recent work, including 503-0014, Japan. JPEG images) or DVD (copies slides, video, DVD, or CDs with www only, no original art work, digital images in tif or jpg www.iamas.ac.jp material is not returned), up to 3 format. The working year for all Deadline catalogues and/or reviews, two residencies runs 1 Sept –31 May. 31 December 2008 letters of recommendation from For information: distinguished art professionals, Address cAlIFORNIA CV and cover letter in which De Ateliers, Stadhouderskade Wendover Residence Program preferred participation dates are 86, 1073 AT Amsterdam, the open to all visual artists, the stated. For the Curatorial Netherlands residency exists to encourage Program send a two-page letter www new and compelling ways of of intent including proposal for www.de-ateliers.nl thinking about the built projects to be realized at iscp e.g. Deadline landscape of the region. Remote exhibition, presentation, 1 August 2008 area of California (car essential). research, screening, etc., 3–8 weeks. Allowance $250 per curriculum vitae, up to three EUROpOS pARkAS week plus partial support for catalogues and/or reviews, Open to contemporary sculptors travel to and from the residency, preferred dates and DVD or The Visual Artists’ News Sheet July / August 2008 39 RDS National Crafts Competition & Student Art Awards Exhibition RDS Concert Hall, Ballsbridge, Dublin 4 PABLo HeLGueRA'S ART WoRLd MANuAL August 6 – 14* openings: Social Choreography RDS National Crafts Competition Winners Exhibition Foxford Woollen Mills, Foxford, Co. Mayo September 2 – 25 National Craft Gallery, Kilkenny, Co. Kilkenny October 4 – 27 Strule Arts Centre, Omagh, Co. Tyrone OpENINGS, also known as vernissages, are crucial events that facilitate the various transactions that November 7 – 25 conform the dynamics of contemporary art life. In the tradition of XIXth Century balls, openings tend to have a complex choreography amongst interest groups that intertwine amongst each other in a harmonious and sophisticated manner. Although in contrast to those social events of the olden days, openings have a RDS Student Art Awards Exhibition commercial subtext, since almost all of those in attendance have something to offer and to promote. This Alley Arts & Conference Centre, Strabane, Co. Tyrone fact can profoundly confound the simple visitor who may come to an opening just to “see the art”. The experienced opening reception visitor knows that each one of those in assistance has something to September 1 – 26 offer in terms of his/her career. As in the previously discussed in the previous article ('The Rules of the Game' Damer House, Roscrea, Co. Tipperary – The VAN. May / June '08), it is the professional’s duty to reach the most important pieces of the game. October 7 – 27 The ideal choreography for an artist at an opening can be appreciated in the diagram above. It is important to note that, in terms of the actual career interests of the artist, the exhibiting artist is the least important person of the evening, but one has to make sure still to say "Hi" to him/her. The artist visitor will Further information: 01 240 7255 | email@example.com | www.rds.ie/arts have as a primary objective to arrive to the table with drinks and hors d’oeuvres. Once having drink and food Admission with Fáilte Ireland Dublin Horse Show ticket on August 6 – 10. * at hand, one will need to survey the room, determining which are the most important persons to approach. One has to operate in a hierarchical manner, starting with collectors and curators, and avoiding the critics In association with: (as will be discussed at a later date, the interaction between artists and critics is best when reduced to a minimum). It is key for the visitor to walk through the gallery and do his/her approaching with absolute elegance and indifference – since the carefully displayed indifference can be an indicator of power. In contrast, being impulsive while approaching people, or being too promotional right away, are indicators of desperation to all, and as a result, generate the impression that the artist can’t figure where to receive support. Explicit self- promotion is considered of bad taste and generally associated with amateur artists. Even though it arises from a pragmatic attitude and goes directly to the point in regards to the objective of openings, nobody likes to see when someone tries to break the appearance of social refinement that these events have. There are several ways of tastefully inserting self-promotion in a conversation: 1. No artist or curator during an opening should initiate a conversation promoting his or her work. Before mentioning one’s work, one must wait for the invitation of someone in the group to ask about their job. 2. No artist should excessively show off his/her recent achievements or recognitions, especially while being before other artists who may find themselves in a much less advantageous position. Such attitude tends to depress and cause envy amidst other artists. 3. While an artist is speaking about his/her achievements, one should never interrupt, and even less interjects with phrases that would denote competition, such as “I also was at that biennial”. Such phrases will indicate that the other person is trying to minimize the importance of what the artist is narrating. 4. Party guests will flee from those who don't do anything other than self-promote themselves. It is important in any conversation to ensure that we give the opportunity for others to speak – and so that they will return the favour, and give us a chance to insert our own message. 5. The finest self-promotion is the one that takes place without making any explicit announcements, but instead influencing the interlocutor to give us a cue to speak about that which we are interested in. For example, international artists may like to exaggerate their jetlag, as this generally means that they have a heavy travel schedule and that they are in great demand. Using the subject of their tiredness and jetlag can be an elegant entry to proceed to talk about their work, as long as they are invited to do so. Conversations can go like “it’s just that I am so tired because I just arrived from Amsterdam”. “Oh, and what where you doing in Amsterdam?” Etc. 6. It is important to remember that if we are not asked about our work (in whatever capacity we may work) most likely is not even worth it to attempt to speak about it – it is an indication that we have the wrong audience for that purpose. 7. For those who carry the exhibition postcards with them, they have to ensure to distribute these in good taste and not like someone who distributes flyers to every passerby. One ideally should give out an exhibition postcard only when he/she is asked about their upcoming exhibition. 8. During group conversations in openings, it is a common tendency amongst artists and curators alike to take over the discussion, starting an endless recitation of all their projects. Such tendency is not only in bad taste, but it also is counterproductive and suspicious – under the reasoning that, if one has so many projects and takes them seriously, one would not be spending time in attending social events. Although this manual does not recommend the listeners to point this out to the speaker, it is ExpRESS yOURSElF wIth pAINt understood that some people may reply with phrases to the effect of “wow, you are so busy, perhaps you should go back home to work instead of being here with us”. Discover your creative side in a FUN PARTY environment with all professional art materials. Ideal for Corporate & Staff events,team building, a fun afternoon or a private party. Art Jam Ireland extracted from The Pablo Helguera Manual of Contemporary Art Style Guide, published by Jorge Pinto encourages non-artists to get creative. For more info visit www.artjam.ie or telephone 0860615695. Books, New York. Copyright Pablo Helguera. Available at all good art booksellers in Ireland and worldwide. Further details from www.pintobooks.com
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