Visual Artists' News Sheet July - August 2008 by visualartists

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									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.
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 ‘’.
                                                                                                                                                 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.

    Address:                                                                                                                                     production
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    category of membership:                                     oProfessional                  oAssociate                   oFriend
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The Visual Artists’ News Sheet                                                       July / August 2008                                                                                                                                                                                            3

 CoLuMN                                                                                                           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                                                                                                                                      
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                                                                                                                  
event included input from relevant practitioners – which added a depth of                                                                                                                                
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.                                                                                                                                     
                                                                                                                                       and of real places in the course of the
                                                                                                                                                                           artist’s travels.
                                                                                                                                                                                                                                          tRAckING BEAcON
                                                                                                                  thE SpAcE IN BEtwEEN                                                             

                                                                                                                                                                           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 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”.
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
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                                                                                                 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
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                          
                                                                                                                                                                                                                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
artworks that order the chaotic present; while raising issues of authorship,                                                                                                                                    members were considered from which a
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                                                                                                                                                                       
                                                                                      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)
relationship between public spectacle, apparatuses of control and the                                                                              at G126 Gallery, Galway featured new                         plANS, SEctIONS AND ElEVAtIONS
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.                                                   

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
                                                                                                                                                                                 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                                                                                                         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
                                                                                                                                                  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…
                                                                                                                                                                                      "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…
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

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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                                          
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                                                               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.                                                                                                                                                                                                 
      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”.
                                                                                                                                                                                              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”.
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                                                   
                                                                                           and limits of human control”.
understanding, being more connected with immaterial corporeality.                                                                                       “deconstructed and re-evaluated the
      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                                         
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 (
                                                                                           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                      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                                           
                                                                                                                                                        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.           Work’ by the Spanish artist Miquel
3. Press Release for A Voyage in dwelling, Victoria Miro, 2008 4.
                                                                                                                                                        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
                                                                                                                   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                              

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                                                                                                                   Temple Bar Gallery and Studios (TBG&S)
                                                                                                                                                                           NEw NORthERN IRElAND mINIStER
eventually and am pleased with the outcome. OPW organised a competition                                                               
                                                                                                                                                                                                                              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
                                                                                                                                                                                                   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                            
the OPW for including in its Tullamore Courthouse brief are mentioned –                                            public until Saturday 26 July.
                                                                                                                                                                           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:
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                                     
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
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
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


ARt / ARchItEctURE AwARDS                                                                                                      (€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                            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.                                                 

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;                                                                                  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
                  in-house media residency programme.                                                                      and Final Cut Pro 100                              multiple sites for teaching and learning,
                                                                                                       The National Sculpture Factory (NSF)
                                                  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                                
                                                                                                       station and a sea container to collect
2008.                                             and raise issues about the larger context                                                                Biennial.
                                                                                                       local weather data; and Seamus Nolan                                         
        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                                                                            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
                                                                                                                       (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                                  
                                                                                                                                                                                                              platform for knowledge and information
                                                  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                                    
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                        
                                                                                                       (€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:                    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
10                                                                                                                                                            The Visual Artists’ News Sheet                                                  July / August 2008


                                                                                                                                                                      – 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


                                                                                                                                                  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
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


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
                                                                                                                   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:                           F: 01 462 1640                                           with public pitches in Sean Walsh Park, Dodder          this arena, taking the club motto of Thomas Davis                                             e:                                          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:                                      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.                                          e:                             Drumcondra in Dublin.
                                                          W:                                    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


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

                                                                                                                                      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. 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
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.
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                                                        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


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.
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


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


 Pensions 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

            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.


            One of the great features of a pension is they are a very tax efficient way of saving
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               Tax relief on your contributions
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            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
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            As with all of our support services, your feedback is very important. Therefore,
            please let us know how you get on ( and we can then
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The Visual Artists’ News Sheet                                July / August 2008                                                                                                                                                                      17


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
                                                                                                                                                      clustering, sprawl and consumption, estimates are that by 2050 fifty
                                                                                                                                                      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
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.”
unreachable.                                                                     Ideas of music and sound also surfaced in Mark Garry‘s work. As      (1) The National Spatial Strategy 2002 – 2020
                                                                                                                                                      (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 in Public: Roundup

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 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.                                                         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.                                                                                                               
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
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
                                                         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.”
                                                                                                                     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
                                                            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


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.
text – to meet, collaborate, exchange ideas, share work and get            and give somebody else that platform.
                                                  St. George's Terrace, Carrick-on-Shannon, Co. Leitrim
                                              T: 071 9650 828 e: W:

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


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
                                                                                                                                                                                                      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
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

                                                                                                              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
                                                                                                             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
                                                                                                             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.
                                                                              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
                                                                                                             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
                                                                                                             Availability: €20 from
                                                                                                                                                                       See for details.
                                                                                                             Description: Published to accompany the
Further information on the workshop content and dates can be found at
                                                                                                             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    
                                                                                                             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


Migratory Aesthetics

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


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
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


 Fair Potential
 Lee WeLCH dISCuSSeS THe 'ART 08' (16 – 18 MAY) ART FAIR, HeLd AT THe RdS duBLIN

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 – (3). I had to look in
move.” O’Sullivan seems to have had his finger on the pulse of Irish
                                                                           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

                                                                                                                                                         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
                                                                                                                                                         3. The most effective way to find Art ’08 is to google Interior design 2008 (www.
                                                                                                                                                The direct weblink is
                                                                                                                                                         4. As part of the research for this article I talked to exhibitors at the fair, followed up by email
The Visual Artists’ News Sheet                                                     July / August 2008                                                                                                                                                                   29


Kids own
                                                                                                                                                                                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' (
                                                                                                                                                                                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
      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 ‘ –
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  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 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: 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
experimentation and explorations in the classroom. At this point,                                    children leads to a better experience for everyone involved. Children
The Visual Artists’ News Sheet                                 July / August 2008                                                                                                                                         31


                                                                            showing vision in illuminating       from Ireland are especially
                                                                            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

                                                                            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         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:                          figurative using the human          www
Awards & Prizes
AwARDS & pRIZES                       addressed envelope to:
                                                                            www                                  byamshaw/                             form. For further details and an
                                                                                                                             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     
                                                                            aims to motivate young artists       reproduce in b/w and writing,         www.founderssculptureprize.         the 2nd Bangkok Triennial
welcomed. The programme      or
                                                                            artists, cultural operators,         but not poetry is sought. It is an    org                                 International Print and Drawing
offers early research and support
                                                                            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                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
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
                                                                                       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                 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,
                                                                            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
                                                                            grassroots exchanges, research       evidenced by recent scientific         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                  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,
                                                                   office@dajf.             to 25 January 2009. What are        Nicky Butcher, nicky@compass-
8YZ                                   and slides of current work.
                                                                                                 Deadline                              the artists, scientists, and
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                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?        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                Email
                                                                            MA Fine Art Scholarships for         Equine imagery.                       planet Earth? Can it inspire us     tenth DepicT! Competition,
                                                                            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     
                                                                            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                                 www                                 stg£2000, NFTS DepicT! and a
to reward emerging talent in
                                                                            cover overseas fees and provide      Deadline                            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


                                             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                       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
                                             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   
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             membership for all courses if          
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                      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                                     Collaborating with curators and      Berlin and Miami during Art
Forms and further Information:                      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                                  September – 4 October.                 Life drawing classes taking place                projects and exhibitions dealing
Email                                        Deadline                             Email                                  on Sundays on the Orwell Road                    with significant contemporary        Deadline
De@Parkerharris.Co.Uk                        31 July 2008                                  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                                       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                                        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                                 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
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                                refreshers (weekend July, Aug,       fieldwork interviews. Expenses         Address                                          languages will play a role in this
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                               
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 /                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                       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              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                          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                                                 
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             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                                                               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                           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                               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


and in printed form. Materials         your college /university visit      DVD or uploaded with the entry                 Deadline                                                             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                    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                                    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             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              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                          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                                                                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                                    
                                                                                                                          a minumum of 2 years and must
each artist occupying a 3/6m           Address                             ARk4DtV                                                                    
                                                                                                                          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:                        www                                 CD or DVD or Mini DV.                          www                                   for public art opportunities                     invited to submit information
                                          Address                                           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                                                                         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                                    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               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                                   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                                                        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                      Videoclub in collaboration with     competition is held in                         create detailed models or             (Purchasing)                           
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
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                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,
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                                                          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,
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,
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


www                                  nationality and intended to          dining and recreation rooms at       facilities necessary to create         www                                   www        promote creative exchange            Colony        Hall.    Maximum       high-quality works of arts.            www.                        
public_call.html                     between Danish and foreign           residence is two months; an          Accommodation          includes          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                          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                                               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                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                  telephone
telephone                                  www                                  application period for 8 Balmoral      Deadline                              +242 94 0023
+1 212/643-7770                      www                                      Scholarships in Bad Ems. Seven         Ongoing                               Email
www                                    Deadlline                            residential scholarships will be                                                            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
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,                        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
                                   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                    
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                        
information, etc. as well as the                                                                                                                                                            Irish Museum of Modern Art,
                                     Residency up to three months to      common spaces with the                            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                                                                                                                                                                  Email
                                     set in 14,000 acres of natural       will be provided with                Deadline                               pARIS
                                     area in Kentucky. Grant of up to     accommodations and a per diem        19 July 2008                           104 residencies are open to
                                     US$2,500 with a materials            for the entire period. For                                                  international      practitioners
                                     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,               (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                                 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
                                             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                                                                                                                                                                Applications are currently being
                                                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                                                                                                                                                                                 www
                                     thE mAcDOwEll cOlONy                 fellowship            recipients;    AMSTERDAM Netherlands                  accommodation.
                                     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                    
The Visual Artists’ News Sheet                               July / August 2008                                                                                                                                               35


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    
each residency varies. Each                   for your residency. For                Email                                graduate students pursuing             Deadline
fellow is asked to contribute at     www                                   information:                 ,                   studies related to media and           16 January
least 1 finished work to the                  Address                                www                                  public relations, the visual arts,
Ballinglen Arts Foundation.          Deadline                              Wendover Residence Program                        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                          open to photographers and            Interest in not-for-profit arts
                                                                                                                                                                                              check our web site & subscribe                           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                           of contemporary photography.         written and spoken English
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
ranging from 3–6 months, but         application form. Send 10 slides      organisation. See website for               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                                     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                       
www                                          www                  www                         
Deadline                                      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                       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                   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 | |                                     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
                                                                                                            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 or telephone 0860615695.
                                                                                                     Books, New York. Copyright Pablo Helguera. Available at all good art booksellers in Ireland and
                                                                                                     worldwide. Further details from

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