The Visual Artists’
ISSUE 1 2009
January – February
Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire
A still moment for the group – image taken at the Body/Landscape workshop held on Inis Oirr September 2008.
2 The Visual Artists’ News Sheet January – February 2009
HAppy New Year and Welcome to the January / February 2009 edition of the Visual Artists News Sheet. 3. Column. Séamus Kealy. A Few Notes on the Recession.
In this issue several articles revisit the ongoing issue of artist’s mobility. Alex Davis reports on the 3. Roundup. Recent exhibitions and projects of note.
‘Artists’ Mobility – Aspiration or Reality? The European Council of Artists Conference', held at IMMA (8 4. Column. Micheal Burke. EU Information on Artists Mobility..
Nov 2008). John Byrne discusses ‘You’re Not Welcome’ the discussion on the implications of the UK’s new 6. Column. Vanessa O'Reilly. Miami.
points based visa system, presented by VAI and Belfast Exposed last September as part of the talks 7. News. The latest developments in the arts sector.
programmes of the Liverpool Biennale. 9. project profile. Activating Space. Sarah Lincoln profiles Culturstruction, a weekend of architecture
Two other important seminar / conference events are also covered – Anna Colford writes on related art projects (17 – 19 Oct '08)
‘Museum 21; Institution Ideas Practice’ – a conference on museums and galleries held at IMMA in 10. International. An Epic Art Journey. Rayne Booth reports on Manifesta 7 (19 July – 20 Nov 08), held in
November 2008; and Cora Cummins discusses the Arlis / NY Contemporary Artists Conference held in Trentino, South Tyrol, Italy.
New York in October. 11. Focus – Internships. That's Showbiz, Baby. Sara Baume considers the pitfalls and possibilities of
Workshops, training residencies and professional development are another key theme in this issue. internship programmes currently being offered by variousvisual art institutions
Our cover image shows some of the participants in the Body Landscape workshop held on Inis Oirr in 13. project profile. Always the Right Time. Áine Ivers reports on an innovative week of training in methods
September – Séamus Dunbar provides a detailed profile of the event. Lisa Fingleton discusses her of public dialogue and negotiation, organised by interface in Belfast (10 – 16 Sept ’08).
experience of the esteemed EsoDoc – the European Social Documentary film programme. With 14. Workshop / Residency. What do you Want to Say? Lisa Fingleton discusses her experience of the
EsoDoc (the European Social Documentary film programme)
discussion and dialogue being central to much contemporary art practice, Áine Ivers report on a week of
15. Regional profile. Visual Arts Resources & Activity in Dun Laoghaire Rathdown. Corolyn Brown, Gary
training in methods of public dialogue and negotiation, organised by interface in Belfast in September, is
Coyle, Cora Cummins, Cliodna Shaffrey.
both interesting and instructive. Sara Baume’s article ‘That’s Showbiz, Baby’ discusses the benefits to both
17. Focus – Spart. Play is Older than Culture. Justin McKeown discusses the concept of SPART and other
participants and institutions of internships.
Sport / Art hybrid practices.
The Dun Laoghaire / Rathdown region is the focus of this editions regional focus. For our regular
19. How is it Made? Disquieting Beauty. Kate Minnock discusses the ideas and processes behind her recent
‘How is it Made’ section Kate Minnock outlines the making and thinking processes behind her
exhibition ‘Karkinoma’ at thisisnotashop (2 – 12 October 2008).
‘Karkinoma’ project which comprised the creation of an artists book and animation work.
23. project profile. Emptying the Body. Séamus Dunbar profiles the Body/Landscape workshop held on
This issue sees the sixth and final extract from Pablo Helguera’s art world manual – focussing on the
Inis Oirr, 14 – 20 Sept 2008.
subject of the art collector. As the saying goes – watch this space for a similarly informative and amusing
25. Conference Report. A Different Frame. Anna Colford reports on ‘Museum 21; Institution Ideas
new column. Suggestions are welcome!
Practice’ – a conference on museums and galleries held at IMMA (12 – 13 November 2008).
Other features include a profile of Culturstruction, a weekend of architecture related art projects
26. Advocacy and Lobbying. Attitudes to Movement. Alex Davis on Artists’ Mobility – Aspiration or
held in Dublin during October; a report on Manifesta 7; along with Justin McKeown’s exploration of
Reality? The European Council of Artists Conference', held at IMMA (8 Nov 2008).
SPART – hybrid art / sport based cultural practices.
27. Conference Report. Booked Out. Cora Cummins reports on The Arlis / NY Contemporary Artists
All this and all the latest opportunities, news and roundups of recent projects, events and
Book Conference (Various locations, New York 23 – 26 Oct 2008).
28. VAI West of Ireland Representative. The Rest of Ireland Rep? Aideen Barry considers extending her
Finally VAI members are reminded that the Living Artists Archive is now up and running, and that
remit and pays tribute to Lochlann Hoare.
they are encouraged to submit work for this resource. The VAI Living Artists Archive is intended as a
28. Artists Books. Listings of recently published monographs and artists books.
central point of research for curators, artists and researchers looking at current practice across visual art
29. Art in the public Realm. Paradigms creaked. Piia Rossi outlines ‘no man’s land’ a print-based project
disciplines in Ireland. Information on how to get your incuded in the archive can be found at www.
that explored notions of location and space.
29. Art in the public Realm Roundup. Recent commissions, socially engaged projects and other
instances of art outside the gallery.
MeMBeRSHIP APPLICATION FORM 31. Opportunities. All the lastest grants, awards, commissions ect.
36. Advocacy and Lobbying. You're Not Welcome. John Byrne discusses the re-definition of the artist, in
Name: light of the discussion on the implications of the UK' s new points based visa system – which was
Address: presented by VAI and Belfast Exposed last September as part of the talks programmes of the Liverpool
39. problems. The consierge of agony profers some solutions to various art related woes.
Telephone: Mobile phone: 39. pablo Helguera's art world manual. The Collector – the sixth and final extract from Pablo Helguera's
Email: Website: essential guide to understanding and operating within the artworld.
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o Degree or Diploma from a recognised third level college.
o One-person show (including time based events) in a recognised gallery or exhibition space.
o Participation in an exhibition/visual art event which was selected by a jury in which Séamus Kealy, Micheal Burke, Vanessa O'Reilly, Sarah Lincoln, Rayne Booth, Sara Baume, Daniel Jewesbury,
professional artists or recognised curators participated. Áine Ivers, Lisa Fingleton, Cliodna Shaffrey, Justin McKeown, Kate Minnock, Séamus Dunbar, Gary Colye,
o Work has been purchased by Government, local authority, museum or corporate client. Cliodna Shaffrey, Carolyn Brown, Anna Colford, Alex Davis, Cora Cummins,Aideen Barry Piia Rossi, John
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The Visual Artists’ News Sheet January – February 2009 3
Other recent shows at the venue
Séamus Kealy include ‘Bye Bye Polaroid’ (16 – 28 Oct), an
The Douglas Hyde is currently showing an
A Few Notes on the Recession exhibition of photographs shot on exhibition of photography by Czech artist
IN mid-1990s Vancouver, I graduated from art school to emerge to what was discontinued or out-of-date film by Miroslav Tichy (21 Nov 08 – 22 Jan 09)
FIRE FROM STONE
thought to be the tail end of a national recession. I was working as a painter who Richard Gilligan, ‘Things That Go Bump’ selected by the artist Annelies Strba. As the
utilised photography as a key aspect of production. In short, I was a painter (30 Oct – 4 Nov) an exhibition of work by press release explains Tichy’s eccentric
producing work in the pre-eminent city of post-conceptual photography. Along Martina Cleary, and ‘Diversions’ (6 – 28 oeuvre of was assembled on cameras
with a good number of recent graduates and less-conceptual-photography- repaired with lavatory paper rolls and
Nov) which featured work by Rhoda
oriented artist-practitioners, I found myself feeling caught outside of the plastic lenses taken from children’s toys
Cunningham, Tristan Fennell, Susan
dominant forms of art discourse, and thus, spending too much time alone in the and glasses – with which he “followed
Gogan, Emer Fitzpatrick, Sarah Philp,
studio stubbing out cigarettes on my paintings. With the tough economic women and young girls, photographing
Patrick Gleeson, Bríd Ní Luásaígh, Louise
climate, there was also a shortage of galleries that would take on young artists them incessantly”. Only in recent years
Cribbin and Niall O’Riordan.
– despite the growing number of visual arts graduates every year since the 1980s. www.monstertruck.ie have these works, which are often altered
The local art schools were producing literally hundreds of graduates every year eileen Mac donagh 'Fire From Stone' installation view. with pencil and paint been exhibited. As a
and the question of where and how they were to be ‘accommodated’ was on MADE TO MAKE DO complement to Tichy’s photographs, a
everyone’s mind. There had also been an ongoing series of annual cuts to new series of works by Strba – inspired by
Canadian arts funding. The generations of artists then dominating the art scene the writings of the Brontë sisters, is being
had benefited from generous, at arm’s length funding schemes throughout the presented in gallery 2.
1970s and 1980s. Like many of my colleagues, I never received a grant from the
Canada Council (equivalent to the Irish Arts Council) until I was four arduous ECLIpSE OF A TITLE
years out of art school.
So, about six months after graduating, within weeks of returning from an
artist residency in Quebec, I founded and organised a non-profit society,
eileen Mac donagh 'Fire From Stone' installation view.
earnestly named the Progressive Arts Society, and made my way through the city
enlisting artists and arts enthusiasts to join the ranks. The first event – which Liam O'Calligan – work from 'Made to Make do'.
The Centre Culturel Irlandais, Paris
cost about a 100 dollars (70 euro) to produce, including artist fees – had 50
recently hosted ‘Fire from Stone’ (19 Sept
people turn up. The next events were a mix of mild successes or dismal failures,
– 19 Dec) sculptor Eileen Mac Donagh’s ‘Made to Make Do’, an exhibition of
but eventually word began to go around about artist-organised events, and I
first exhibition in France. The exhibition, sculpture and photography by Liam
began to learn whom it was I should be sending press releases to. The marketing
featuring large-scale works in stone, such O’Callaghan was recently held at The
department consisted of me setting an afternoon or two aside within a local
as Lunar Chessboard, Orbit, and Seven Stars Rubicon Gallery, Dublin (17 Oct – 15 Nov).
unemployment office to use fax and email to distribute publicity materials.
was installed in the courtyard of the Irish Describing his work the artist explained
Within a year, I was organising exhibitions with a number of other artists
College, Mac Donagh. “my work comes from the need to make diana Copperwhite, Six Degrees of Separation,
in a heritage house, which we converted into a professional gallery to every www.centreculturelirlandais.com oil on canvas, 150 x 150 cm, 2008
pieces that are more of a free flow of
degree possible. It was my girlfriend’s house – rented with her roommates – and
creativity, focusing on the physical
we had crowds of five, six, seven hundred people turn up in one evening for our BILL DRUMMOND West Cork Arts Centre recently showed
pleasure of making, something that is
events. Elder artists turned up. Then curators began to come to these events. ‘Eclipse of a Title’ by Diana Copperwhite
rough in aesthetic, where you can see the
Then the press began to take a keen interest, and for one exhibition, which, in (25 Oct – 19 Nov). The exhibition
thinking of its maker, something that is
part, contained the theme of young artists, hunger and ambition – ‘This kind of comprised of large paintings and an
hunger’ – the gallery became nationally known. freer from the limitations I put on myself,
installation / projection work – which
That project cost about 500 dollars (340 euro) to produce. To ensure that is simple in thought, but unashamed,
featured animation, drawings and mirrors.
professional standards, we would, for example, get racks of lights from a large confident and honest.”
www.rubicongallery.ie It was noted in the press release that the
hardware store and then return them all intact a few weeks later for full refund. works addressed the subject of memory –
To turn small profits, I sought out local breweries to donate kegs of beer for our “how we see, how we remember and how
openings. Then, inevitably, the relationship with my girlfriend ended, and so did we know”. Commenting on the show,
Bill drummond – work from 'The 17: Birth, Marriage &
the gallery, for a short time – so exhibitions moved to another location until I death, at The Void, derry. Copperwhite stated “I try and catch a
was able to negotiate with her the organising of a grand finale project. This The Void, Derry recently presented the moment that seems to occur to me in an
project turned out to be a springboard into a whole range of results for the lot of most recent manifestation of Bill unconnected instance from another
us; artworks sold by several artists to significant collections, an artist residency Drummonds choral project ‘The 17’(21 dimension where reality, memory and
abroad, my then first Director job of a non-profit gallery, a burgeoning tradition Oct – 15 Nov). Over the course of a week fantasy collide”.
of independent, non-government funded art spaces, and the mythologizing of artist Drummond worked closely with
my former girlfriend’s house, which she eventually bought. These exhibitions three families in preparation for the
also introduced a generation of artists to the nation – many of whom are AT THE HEART OF CHANCE
launch of ‘The 17: Birth, Marriage & Death’
continuing to produce artwork professionally, and a couple of whom who are composed and performed by this group of
leading very successful professional careers. people.
Whatever the outcome for any and all of us, we had the satisfaction of www.derryvoid.com
producing a series of projects, collaboratively, from virtually zero resources. We
had to share what we had amongst ourselves – I had never even owned a
AT MONSTER TRUCK
computer – and to sometimes bail each other out of financial troubles, which,
believe me, is very unusual in Canadian society. There were, of course, ongoing
Paul Seawright Cage. Shown as part of 'Anxious
disputes and differences about how to move forward, but nowhere near the kind Landscape' at the Golden Thread Gallery, Belfast.
of administrative blundering I found myself faced with years later in the
university gallery context. ‘Anxious Landscape – selected works from
Those early years, not so far back now actually, were the formative period the 1980s & 1990s, at the Golden Thread
for the artistic, curatorial and ethical style I have committed myself to since Gallery, Belfast is an exhibition of work by
then. Where I had imagined the early projects emulating 1930s Paris café society Paul Seawright with a particular focus on Orla Whelan – work from 'At the Heart of Chance' draiocht,
– where Breton, Callois and Bataille would insult each other over wine while the political situation in the North of Blanchardstown.
Eleanor Fini scoffed at them across the table – we assembled ourselves, our work, Ireland (28 Nov – 10 Jan). ‘At the Heart of Chance’ by Orla Whlelan
and our ideas together, with our differences animating us, to put on a show. This, According the press release, (28 Nov 08 – 17 Jan 09) is an exhibition at
for me, is an essence of curatorial and artistic production, and it has thrived in Seawright’s works offer an “alternative Draíocht, Blanchardstown of paintings
times when cash and credit run short. It isn’t unreasonable to suggest that young visual analysis of locations and subjects made while the artist was on a residency at
Richard Gilligan – flyer for 'Bye Bye Polaroid'
artists today might find some parallels in this experience with the realities to dominated by mainstream media”. the venue. The press release notes that the
come, or even those now upon them. It is perhaps a matter of continuing the Seawright’s works have looked at the RUC, paintings, which employ the figure as a
Monster Truck Gallery, Dublin recently
productive and discursive circles established in a good art school programme – sectarianism, the Orange Order, protestant central motif “celebrate love, connection,
exhibited ‘Digitalis’ by Rachael Gilbourne
ensuring they are reinvented and that they thrive and advance into the great bonfires, defensive architecture, peace
(10 – 14 Oct). The show featured new touch, intimacy and the awkward and
unknown of this apparent, post-fluid-capitalist society. lines, and the psychology of urban space.
works utilising ink-on-paper, acrylics and vulnerable presence of the human form”.
Séamus Kealy www.gtgallery.org.uk
carbon line, and incorporating sculptural www.draiocht.ie
Director / Curator
Model Arts and Niland Gallery, Sligo.
4 The Visual Artists’ News Sheet January – February 2009
domestic setting”. Speaking about her
Michael Burke ONE FOOT SQUARE
Fermanagh District Council’s Arts Office
Mise Art Space, Barna, Co Galway recently work the artist said “through my work I try
EU Information on Artists Mobility recently held ‘One Foot Square’ an hosted a solo exhibition of paintings by to deconstruct the reality, reinterpret the
exhibition of invited artists work at the Lesley Wingfield (14 Nov – 12 Dec). The objects and humanise them, returning to
THE European Council of Artists (ECA) (1) was recently contacted by ECOTEC, a Higher Bridges Gallery, Fermanagh (28 paintings, which are based on underwater them their communicative capacity.”
firm of researchers and consultants undertaking a study for the Director General Nov – 22 Dec). The artists included in the photographs, were described as “inspired
of the EU’s Department of Education, Audiovisual and Culture. The purpose of SyCAMORE SALON
show were Rita Duffy, Christine Mackey, by the light through the water reflecting
the study is to suggest improvements in the quality and the flow of information
and Niall Walsh. on skin tones, and movement”. The
on issues relating to artists mobility between the stakeholders in the cultural www.fermanagh.gov.uk
exhibition includes works created by the
artist while on residency at the Tyrone
In connection to this study, I represented ECA at Stakeholder Workshop (2) A CENTURy OF SpIN
Guthrie Centre, Co. Monaghan.
in Brussels on 9 December. A wide variety of cultural organisations were present. www.miseonline.ie
Some, like ECA had travelled specifically for the event, others have permanent www.lesleywingfield.com
representation in Brussels. Freemuse (3) – with whom ECA has recently
collaborated on a white paper Visas / The Discordant Note – was represented by THE DIVIDED pLANE
Ole Reitov, who had been one of the speakers at the ECA’s Dublin conference.
ECA, is currently pursuing a Mobility Project, focused on four main areas:
the European Arrest Warrant; musical instruments on aeroplanes; visa issues
and the development of an EU Cultural Passport (aka blue card); and carnet Ida Mitrani Eighth House – work from 'Sycamore Salon'
regulations as they apply to the temporary importation of works of art or
The Sycamore Gallery, Dublin was
These issues, while not the direct focus of the workshop, were raised on the
officially launched with the group
grounds that resolving them promptly would remove the need to inform
exhibition ‘Sycamore Salon’ in December.
anyone about the current, very complex, difficulties.
Featured artists included Ida Mitrani,
Given the current financial situation internationally, it was not considered Sharon Murphy – work from 'The divided Plane'
Vanessa Donoso Lopez, Alison Keehan,
prudent to seek the establishment of a new agency. Instead, it was considered
The Crow Gallery recently hosted ‘The and Anne Hendrick. The Sycamore Gallery
appropriate that the EU’s cultural contact points could be utilised for information
dissemination. Divided Plane’, a solo exhibition by Sharon is located in the Sycamore Club on
Whilst they could not be expected to offer faultless information on all Murphy (16 – 23 Oct). Murphy presented Sycamore Street, Temple Bar, Dublin.
aspects of artists’ mobility: taxation; visas; work permits; residency conditions; paper-based sculptural works, which Curator by Karen Regan stated that the
health & safety; funding; opportunities etc – it was considered appropriate that explored grid forms through layering, gallery “is proud and resolute in it’s
they act as facilitators between the cultural sector and regulatory or official cutting out and adding shapes. support and commitment to both
c. 1940 / Corbis. Publicist Jim Moran uses a specially
bodies at state or EU level. ECOTEC intend to discuss this option with designed sun costume to 'scientifically' determine which www.crowgallery.nethttp://www.sharonmurphy.net/ established and up and coming Irish and
of uS states, Florida and California got better sunshine.
representatives of the EU Cultural Contact Points at a subsequent stakeholder International artists. It’s a new and
Belfast Exposed Photography recently REVISITING REVOLUTION
workshop. progressive space, a unique and exciting
exhibited ‘A Century of Spin’ by the artist
As is often the case, while the formal sessions were valuable, the real platform that will showcase the diversity
benefits were derived from personal contacts. Following the workshop, I met group Factotum (17 Oct – 28 Nov). The
and growth of contemporary art practice.”
with Maria Badia i Cutchet, MEP (Spain), who is a member of the Cultural show explored the genre of publicity
Committee at the European Parliament. Mrs Badia, who had been due to attend photography –its functions and traditions. ABOUT 100 ExpERIMENTS
and speak at ECA’s conference in Dublin was up-dated on the event. Ole Reitov, The show included photographs and
who accompanied me, presented Mrs Badia with a copy of the recently launched printed ephemera from different periods
white paper, Visas / The Discordant Note and explained to her some of the of the twentieth century. The exhibition
difficulties faced by non EU artists travelling into Europe and in some cases, for was based on research into the growth of
EU artists travelling outside the union. the mass media and public relations Anne Angyal – work from 'If you could Change the World
Two issues which resulted from the 9/11 attacks on the US – the European industries and considered early
at Last 1968 – 2008'
Arrest Warrant and the situation faced by musicians travelling by air with their promotional uses of photography for ‘If You Could Change the World at Last
instruments were also discussed. Mrs Badia sought additional information on advocacy in support of social causes in 1968 – 2008’ at the Goethe-Institute,
the issues and in particular, how the US authorities in co-operation with the Dublin (15 Nov – 19 Dec) was held “to
Northern Ireland. Also included in the Anita delaney – work shown at Birr Vintage Week.
American Musicians’ Union had resolved the instruments issue. Mrs Badia will
show was material produced by Antarctic celebrate, remember and interrogate the
consider how best to approach the issue with her colleagues in the Parliament
explorer and self-publicist Ernest events of 1968 and the changes it effected
and the Commission. For her part, Mrs Badia informed ECA of the work she is
Shackleton along with stunts coordinated worldwide.” The show featured works
currently undertaking on behalf of the Parliament in the area of Arts Education
by Hollywood agents in the 1930s and Declan Clarke, Seamus Nolan, Si Schroeder,
and undertook to keep us up-dated on its progress.
1940s. Heidrun Holzfeind, Anne Angyal. The
I also called on the office of Erna Hennicot-Schoepges, MEP (Austria), who
www.belfastexposed.org exhibition was curated by Jonathan
is a member of the Cultural Committee at the European Parliament where he
Carroll, Mark Garry, and Georgina Jackson.
spoke with her assistant. Mrs Hennicot attended ECA’s 2007 conference Sibiu,
LAMMERMOOR A publication and film screenings
Romania and before that, she and her assistant Mr Azarmgin attended the 2006
conference in Berlin, Germany. Mr Azarmgin was full aware of our concern accompanied the exhibition.
regarding the European Arrest Warrant as Ludwig Laher (my predecessor as http://www.goethe.de/
Mark Cullen – work shown at Birr Vintage Week.
president of ECA) had previously briefed Mrs Hennicot on the matter.
Mr Azarmgin engaged in conversation on the issues pertaining to visas and MySTERIES AND WONDERS Birr Vintage Week and Arts Festival
instruments on aeroplanes and outlined some actions that might be taken by recently commissioned ‘About 100
Mrs Hennicot upon receipt of further information. Mr Azarmgin proffered Experiments’ for the 40th edition of the
invitations to attend further hearings etc, to be held in the following two days, event (15 – 22 Aug). Exhibitions were
but unfortunately this was not possible given flights and prior commitments. presented in various venues throughout
A considerable amount of activity in the area of culture policy was evident Birr including the Masonic Hall, Birr Union
in Brussels, both directly sponsored by the EU and organised by a variety of Workhouse, Birr Castle Demesne Pavilion
organisations, networks and platforms. Many organisations have chosen to base Austin McQuinn – work from 'Lammermoor' and Emma Café Deli. As the press release
themselves in Brussels; others have permanent representation there. Regular noted a key theme of the show was the
involvement in such, Brussels based events, is beyond the resources of most Irish The Butler Gallery recently hosted ways in which contemporary visual artists
organisations. VAI however, is represented through its membership of ECA. That
‘Lammermoor’ an exhibition by Austin “respond to, and draw upon scientific
said, for organisations such as ECA based away from Brussels it would be helpful
McQuinn (11 Oct – 23 Nov). The show discoveries, ideas and methods”. The artists
some of these events were clustered – both on the calendar and in terms of
comprised a multi-media installation exhibiting were Anna Barham, Aideen
location – to allow for greater networking opportunities and the establishment
specifically created for the Gallery and Vanessa donoso Lopez – work from 'Mysteries of Barry, Diana Caramaschi, Mark Cullen,
of alliances on common issues. For ECA to fly to Brussels for three or four days Contemporary Inspiration and Other Wonders'
Kilkenny Castle, inspired by the Donizetti Anita Delaney, Clodagh Emoe, Damien
and to attend a number of events would make much greater sense.
opera Lucia di Lammermoor (1835). The The Stone Gallery recently hosted Vanessa Flood, Jessica Foley, Michael Fortune, Fiona
Notes installation included optic graphic panels, Donoso López’s solo exhibition ‘Mysteries Hackett, Helen Hughes, Wendy Judge,
(1) A report on eCA’s dublin conference is carried elsewhere in this NewsSheet.
sculpture and a glass harmonica that was of Contemporary Inspiration and Other Aileen Lambert, Eilís Lavelle, Sarah
(2) Stakeholder Workshop 'Information Systems To Support The Mobility Of Artists And Professional In The
Culture Field' eCOTeC on behalf of dG education Audiovisual & Culture incorporated in a live musical performance Wonders’ (31 Oct – 22 Nov). The show Lincoln, Brian Lynch, Christine Makey,
(3) FReeMuSe is an independent organisation that campaigns against censorship of music and promotes
freedom of expression in music. www.freemuse.org during the exhibition opening. comprised an installation of drawings, Orla McHardy, Kate Minnock, Jack Phelan,
(4)) european Council of Artists - email@example.com www.butlergallery.com paintings, sculptures which transformed and Sharon Phelan.
of the gallery into “an extraordinary www.birrvintageweek.com
The Visual Artists’ News Sheet January – February 2009 5
MARK O’KELLy VIBES ETC shift occurs and the pencil mark slips. Technically superb flower images are THE DECISIONS WE DIDN’T MAKE
‘Observations, Meditations and This loss of control that occurs in the Solberg’s contribution to each piece in Susan Montgomery’s first solo exhibition
Vibrations’ at Axis, Ballumun (8 Dec 08 process is fundamental to the work. the show, whilst Makos brings his ‘The Decisions We Didn’t Make’, was
– 30 Jan 09) featured work by, visual Similar to the drawings, glitches occur in re-thinking of the equine portrait for the held at the Talbot Gallery, Dublin (6 – 28
artist John Duffy, photographer Bob the video works and sculptural objects – Hippofolium collaboration, and portraits Nov). As noted in the press release in
Dixon and musician Q (aka Colm this unedited aesthetic bestows the work of Andy Warhol for the Andydandy Montgomery’s paintings and works on
Quearney). As the press release notes the with its own authority. Allowing the portfolio. The images of Andy Warhol, paper “layers both deliberate and
exhibition is “a collaboration reflecting remnants of production to remain in the who was a close friend and mentor, are happenstance are formed using resisting
on the Irish spiritual landscape through finished work enables the perception of the result of the 1981 collaboration oil based materials with water. It is when
the media of music, photography, poetry, the intricacies, and more importantly, between Makos and Warhol”. the technique looses control that
painting and film installations”. the flaws that are fundamental to the www.sebastianguinnessgallery.com instinctive layers are born.” The previous
Mark O'Kelly – work from his solo show at The Kevin
theme of the exhibition. The Approach exhibition at the gallery was a solo show
Kavanagh Gallery, dublin
articulates how our desire for absolute FERGUS MARTIN by Dave Comiskey (9 – 24 Oct).
The Kevin Kavanagh Gallery recently knowledge is often disrupted and
exhibited a solo exhibition by Mark frustrated”.
STONEy ROAD pRESS
O’Kelly (23 Oct – 22 Nov). Comprising
The Vangard Gallery, in conjunction
works on paper and vitrine pieces, the with Stoney Road Press, recently hosted
show marked a departure from the artist, a group exhibition by artists John Cronin,
‘Memory’ an exhibition by Irish artist
the press release highlighting the William Crozier, Richard Gorman,
Katie Holten is currently on show at
exhibitions emphasis on “extensive Patrick Scott, Sean Shanahan, Barbara
Nevada Museum of Art, Donald W.
processes of assimilation and Fergus Martin – exhibition view, Hugh Lane Gallery,
Rae and Charles Tyrell (15 Oct – 1 Nov).
deconstruction of printed material; Reynolds Centre for the Visual Arts, Reno dublin.
Stoney Road Press is a fine art publishing
including source, written and drawn
Ciaran Walsh – exhibition view 'Samizdat' (27 Sept 08 – 17 May 09). Entitled ‘Atlas Fergus Martin’s recently showed
and editioning house situated in Dublin’s
archives”. The following show in the of Memory’ the exhibition comprised sculptures and paintings at The Hugh
Docklands, producers of hand made and
‘Samizdat’ was a group exhibition drawings and colourful sculptures of Lane Gallery (11 Oct ‘08 – 11 Jan ‘09. The
space ‘Group Therapy’ presented works limited edition fine artworks in
recently held at Unit H – The Market globes. press release noted the work was “united
by gallery artists – Michael Boran, Mark traditional and experimental media
Studios exhibition & project space (22 – by a sense of drama and raucous
O’Kelly, Oliver Comerford, Mark Swords, www.katieholten.com along with publications, three
30 Nov). The term ‘Samizdat’ refers to reflection, the placement of which leaves
Sinead Ni Mhaonaigh, Tadgh McSweeney, dimensional works and tapestries.
the practice in Soviet Russia of the viewer in an unsettled state of calm”. www.vangardgallery.com
Diana Copperwhite, Geraldine O’Neill, GILES ROUND
distributing banned novels and other The artist was also recently commissioned
Stephen Loughman, Ulrich Vogel, Mick
texts through hand copying in the early to produce the sculpture Steel which is SILEZIANy
O’Dea, Karin Brunnermeier and Gary
20th century. The exhibition was now permanently sited on IMMA’s East Sirius Arts Centre, Cobh recently
Coyle (27 Nov – 23 Dec).
www.kevinkavanaghgallery.ie described as having “evolved through Gate. exhibited ‘Sileziany – On the Wind’s
artist Ciaran Walsh’s ongoing and www.imma.ie Wings’ (16 Oct – Nov), a show by the
GETTING EVEN developing artistic research and resulted international group Fibre Art from
‘Getting Even: Oppositions + Dialogues in three new artworks and the production Poland. The exhibition took its name
in Contemporary Art’ and ‘An Eye for an & distribution of a printed text in from the international fibre art biennale
Eye: Representations of Conflict in 20th response to these same research ideas”. competition involving young people
Century Ireland’ are currently on show The exhibition featured work by Ciaran and professional artists that was set up
at the Lewis Glucksman Gallery, Cork Walsh, Aine Ivers, Markey, Chris Fite- in 1995 by Aleksandra Herisz.
(14 Nov 08 – 1 Mar 09). ‘Getting Even’ is Wassilak, and Kate Mc Larnon.
described as exploring “the exchange of
different social and political viewpoints
that exist in society”. The exhibition,
curated by Matt Packer and René Zechlin, Giles Round – work from his exhibition at Four, dublin.
includes works by Francis Alÿs, Mark
Four Gallery recently hosted an
Clare, Nathan Coley, Liam Gillick, and
exhibition of new work by British artist
Garrett Phelan. Curated by Professor
Giles Round at the gallery’s new space on
Dermot Keogh and Ruth Osborne ‘An
Capel Street, Dublin (31 Oct – 4 Dec). As
Eye for an Eye’ explores and reflect upon
the press release outlined “Giles Round
moments of conflict from throughout
employs the language of modernism, in
the 20th century in Ireland.” Works in
its multitude of forms and histories, to Margaret O'Brien 'I Live in the Cracks in the Walls' –
the show include pieces by Robert installation detail.
Bea McMahon A 21st Century Arrangement create works which assert themselves Hugh delap Untitled, Oil on Canvas, 42 x 45cm, 2008.
Ballagh, Paul Graham, Paul Henry, Seán
into our present. Combining formal ‘I Live in the Cracks in the Walls’, a
Keating, Dermot Seymour, Victor Sloan, A solo show of paintings by London-
The Green On Red Gallery, Dublin sculptures, lights, monochromatic recent solo project by artist Margaret
and Jack Yeats, alongside archive based Irish artist Hugh Delap was
recently held ‘Present’, a solo exhibition planes, three-dimensional text, posters O’Brien was specifically installed and
materials from Gael Linn, the Imperial recently held at Shaw Gallery, Cork (15
by Bea McMahon (Nov 21 – Dec 23). and video animations, installations created for Pallas Contemporary Projects
War Museum, the Linen Hall Library, the Oct – 2 Nov). The artists explained how
According to the press release McMahon become stage sets into which formal (18 Oct – 15 Nov). The press release
National Library of Ireland and UTV. he works “I do not set out knowing what
“explores philosophical and scientific relationships between constituent parts noted that the work created from an
www.glucksman.org. a painting will look like. For me, painting
texts on how we inhabit the present. Her alludes to the potentiality of narratives array of dress-making pins offered
is a compromise”.
practice, which involves drawings, video and unspecified histories.” viewers an “emotive experience of a www.shawgallery.ie
and sculpture, illustrates her space [that] is manipulated to create a
Oonagh Young Gallery recently
preoccupation with the division between disorientating psychological A FULL STOp
presented ‘Mark’, a group show of
fiction and reality.“ THE HILTON BROTHERS
drawings and multiples (21 Nov – 23 environment”. Limerick Printmakers Studio and Gallery
The previous exhibition at The The Sebastian Guinness Gallery recently www.pallasprojects.org
Dec). The show included work by hosted ‘A Full Stop’ (2 – 23 Oct), an
Green On Red Gallery was ‘Strange hosted the first Irish show of works by
Damien Flood (who was recently short- exhibition by Kieran Herlihy. The
Mountain’ by Fergus Feehily (10 Oct – 15 the Hilton Brothers – Christopher Makos exhibition comprised of works in print,
listed for the John Moore’s Contemporary SHORT STORy
Nov). and Paul Solberg (17 Oct – 1 Nov). The drawing, and paintings on found objects.
painting prize), Shane Bradford, Caroline The Peppercanister Gallery, Dublin
www.greenonredgallery.com New York artists’ works for this The artist described his work as “a
McCambridge, Mary Ruth Walsh, Kris recently hosted ‘Short Story’ (5 – 26
exhibition comprising 19 limited edition combination of reckless spontaneity and
Emmerson, Amanda Coogan, Ida THE AppROACH Nov), an exhibition of ceramic and
giclée prints. The show brought together well pondered calculations”.
Mitrani, and Clive Murphy. Ten percent ‘The Approach’, an exhibition of work by bronze sculpture by artist Deirdre
two bodies of work: the Andydandy and Other recent shows at Limerick
of all proceeds from this exhibition were Irish artist Clodagh Emoe, was recently McLoughlin. This body of work came
Hippofolium portfolios. According to the Printmakers were the ‘Winter Member’s
donated to Console – a registered charity shown at The Mart House Galley, about from the artist’s experience of
press release the works “are diptychs, to Show’ (27 Nov –23 Dec) and ‘Breach of
supporting people bereaved through Amsterdam (18 Oct – 29 Nov). The show working on Oahu and Big Island,
which each ‘brother’ brings his distinct Contract (30 Oct – 20 Nov), an exhibition
suicide. comprised detailed drawings, video and Hawaii.
www.oonaghyoung.com contribution, creating a beautiful and of new work by Des MacMahon and
sculpture. According to the press release intriguing dialogue between the two. Derek O’Sullivan.
“in creating these detailed drawings a www.limerickprintmakers.com
6 The Visual Artists’ News Sheet January – February 2009
Vanessa O'Reilly LONDON STREET taking the Platz der Vereinten Nationen
(United Nations Plaza) as their point of
The ADF Gallery (The Arts & Disability
Miami departure. The press released notes that forum), Belfast recently hosted an
“all of these works play with the exhibition ‘Icons’ comprising of a
ART Basel is a division of MCH Swiss Exhibition Ltd, an organisation which ordinariness and supposed neutrality of collection of poems with accompanying
runs the art fair in Basel, Switzerland (now in its thirty-ninth year) and its sister the plaza, which was formerly called images and prose, by Belfast based artist
event Miami, USA. This year saw the seventh annual instalment of Art Basel Leninplatz and was home to a nineteen Ronald McDowell (16 – 30 Oct). The works
Miami Beach, which has been described as “the most important art show in the meter high granite statue of Lenin which primary focus is on traditional religious
United States”. was famously helicoptered out the city iconic painters. According to the press
Over four days, in December 2008 approximately 266 galleries from 33 piece by piece after the fall of the Berlin
release “these pieces are in essence
countries exhibited works by over 2,000 artists. To take in this scale of wall”. The artists included in the exhibition
thresholds into the infinite and encourage
presentation – and the amount of works on show – in so short a time, is by turns were Enda O’Donoghue, Gregor Stephan,
exhilarating, numbing and totally mystifying. It is a ‘Frankenstein’ experience of the reader and the viewer to see such
Sven Kalden, Sean Lynch, Michele
art-as-merchandise in a global economy. portals in the face of every man by seeing
Horrigan, Sladjan Nedeljkovic, Karin
What Art Basel Miami Beach achieves best is presenting a combination of through from this chaotic world into the
Krautschick, Isidro Ramirez, Paul Halliday,
an international selection of top galleries and an exciting programme of serene realms of the spiritual”.
'London Street' – publicity image. Context, derry. Raphael Grisey, Michael Tan. www.adf.ie
intergrated exhibitions and events. Sections like Art Projects presented eight
works in the urban / public context. These included Olaf Breuning’s sand MAppING THE BORDER
The Context Gallery, Derry recently held SpACES
sculpture Untitled sited on the beach and Dora Garcia’s daily-performed tour PS2 recently hosted ‘The Map of
three collaborative projects curated by
titled Crowd. The Art Video Lounge was this year titled ‘Honey, I Rearranged the Connections 2.0 & The Map of Encounters
Sarah Edge under the title ‘London Street:
Image…!’ and was curated by Rike Frank from Berlin. It presented a library-list of 1.0’ (10 – 25 Oct) by artist Garrett Carr. The
A Visual Exploration’ (10 Oct – 21 Nov).
a wide array of artists; from which viewers could choose videos and then watch show comprised of maps, walks, and
The projects comprised of photographic
four private screening stations. Art Positions presented a 20-strong selection of photographs. The press release stated that
work by Anne Burke and Gail Baylis; video
‘young’ galleries, each showing in individual shipping containers in an empty “this project documents the artist /
by Anne Crilly and Vincent O’Callaghan;
lot alongside the beach. geographer’s undertaking to map the
and interactive media by artists Sarah
Particularly good presentations were those by Sorcha Dallas Gallery, border between the North and the South
Edge, Rowan Morrey and Shelly Garrett.
Glasgow – showing paintings and sculptures by Charlie Hammond; and of Ireland in a very different way; objective
London Street is a Georgian street,
Renwick Gallery, New York presenting José Dávila. Influenced by Donald Judd, in its methods but poetic and
shadowed by the historic city walls, Karl Burke Tracing a Place lambda print on diabond, 120 x
Dávila sliced the container into 19 equal parts removing every second one to individualistic in its observations”. During
located in the centre of Derry City – 90cm, 2008 Curracloe, Co. Wexford)
create the nine voids and 10 slices of Judd’s famous stack piece, which he
according to the press release “together his many walks, Garrett Carr drew a map
showed horizontality. ‘Spaces’ at the Wexford Arts Centre was a
these projects offer the viewer a of unofficial border crossings, not found
For the second year running Jens Hoffman was the curator for the Art solo exhibition featuring video, sculpture
stimulating and thought-provoking on any other map, took photographs and
Perform programme – also located at Art Positions. The programme included and photographic work by Karl Burke –
journey through a number of virtual noted down his encounters.
daily performances – among them Adriana Lara (Mexico) and Christian www.pssquared.org winner of the Wexford Arts Centre /
Jankowski (Germany). London Streets”.
http://contextgalleries.blogspot.com/ Wexford County Council Emerging Artist
Art Supernova was described as a “collaborative presentation” by 20 BLACKFLASH Award (8 – 30 Nov). The press release
galleries showing emerging artists. This section was refreshingly distinctive.
BIRDS, pLACES, OTHER THINGS noted “through three dimensional
Noteworthy was Nina Canell’s A Handful of Dust – a sculpture on show with
interventions and structures, Burke
Galerie Barbara Wien. Another highlight was the Art Kabinetts – a series of
endeavours to form a physical and emotive
curated exhibitions by the galleries. Presented among these was a showing of
relationship between the art object, space/
works by Yoko Ono in the Lelong Gallery’s space; early works by Robert
place and, in particular, the viewer”.
Smithson in the Cohan Gallery, and Duchamp works Naumann – the latter
claiming the most comprehensive collection of editioned works by Duchamp Prior to ‘Spaces’ the gallery held two
from books he designed to prints, objects and posters. concurrent exhibitions; ‘Back to the
Special programmes, installations and events are now common features of Lighthouse’, an exhibition of work by
art fairs – they are seen as important in attracting audiences, especially those Marlin James From Pecking Birds, 2008, John Shinnors comprised new paintings
acrylic on canvas, 27 x 34 cm using the motif of the lighthouse and
who are not there as serious buyers. Under the auspices of ‘Art Salon’ and ‘Art
Basel Conversations’ daily public talks and discussions were held. The emphasis Welsh artists Merlin James recently ‘Manhattan’, a show of new paintings by
Mark Cullen – publicity image for 'Blackflash'
was on current themes in contemporary art. showed new paintings in his ‘Birds, Places, Cody. (11 Oct – 2 Nov)
Other Things’ at the Kerlin Gallery, Dublin www.wexfordartscentre.ie/VisualArt.html
Invited speakers ranged from artists making individual presentations – to During the Tulca season of visual art in
architects, curators and authors. Speakers included Alanna Heiss, director of PS1 (24 Oct – 22 Nov). The press release quoted Galway G126 hosted ‘Blackflash’, an
New York; Ute Meta Bauer, MIT Visual Arts programme; Federico Diaz, Artist American critic Sanford Schwatrz writing FLUx CApACITOR
exhibition of new installation works by
Prague. The subjects covered included State of the Art Market, The Paul Thek Case in the New York Review of Books recently, Work by Irish artist Roisin Byrne was
Mark Cullen (1 – 22 Nov). The exhibition
– Rediscovery of a Legendary Artist and Will Art Transform the Political Face of the who has identified James as one of a group featured in the group exhibition ‘Flux
notes explained how Cullen “explores
Middle East? of painters that emerged in the late 1980s, Capacitator’ at the Extra Spazio gallery,
cosmologies, playfully engaging our
Miami also hosted a number of satellite fairs. Formally these had piggy after neo-expressionism and New Image Rome (10 Oct – 20 Nov). The exhibition
senses, he jolts our position in relation to
backed on the reputation of ABMB, but they are now established fairs that draw painting, with “more freedom to was curated by Ilaria Gianni and Isobel
our surroundings and our imagination”
their own audiences. Among them are NADA, (New Art Dealers Alliance) –now experiment, to make painting a more www.g126.eu Harbison and also featured work by
in its sixth year – which featured 88 emerging galleries from 18 countries. Tow personal realm...to connect their work Francesca Anfossi, Erik Blinderman,
Irish galleries, The Green on Red and Mother’s Tankstation showed at NADA. with painting from earlier eras”. WHEN THINGS AppEAR Patrizio Di Massimo, Michael Eddy, and
PULSE Miami, showed over 100 international galleries. Each presented its own www.kerlin.ie ‘When things appear’ at the Mermaid Arts Maria Karantzi.
series of special programmes, installations and performances. Centre presented temporary sculpture www.extraspazio.it
ABMA has brought much to the city of Miami. The Wynwood district, the EIN pLATZ and site-specific installation by Helen
location of where the satellite fairs are located, was once an industrial wasteland, Hughes (7 Nov – 6 Dec). As the press MICHEAL KANE
with just a handful of pioneering galleries and private collections like the Rubell release noted “Hughes utilises industrial Solstice Arts Centre, Navan recently
Family Collection and the Margulies Collection. But over the last few years it products, transforming or reassembling hosted an exhibition of the work of
has grown to host 70 plus enterprising new galleries – and this has added to the them to make something new. They often Michael Kane (16 Oct – 22 Nov). As the
cultural dynamic of a city making its place on the art map. readily lend themselves to manipulation press release noted “Kane’s work is
Ultimately what is at stake for art fairs is their monetary / transactional through simple techniques. Through this uncompromisingly figurative … while he
success. Reports held that sales in Miami were not excessive, but were still good. expansion upon the industrial process the does not particularly stress figure or
Is it a case of the art market following its own rules in these recessionary times? artist attempts to develop a personal ground, both seem larger and more
Groups of collectors were still to be seen being chaperoned through the fair, and language within the vast, prevailing mythical in his works than ordinary
museum and art professionals were still a heavy presence. MCH Swiss Exhibition enda O’donoghue, Minute of Angle, video still systems of production.” reality”.
Ltd has signed a new three-year contract with the Miami Convention Centre Previously shown at the Mermaid Kane’s works were also recently
and the dates for ABMA are already set for 2009. Perhaps the best consideration The exhibition ‘Ein Platz’ at Platz der was ‘In Diamond Valley’ (2 Oct – 1 Nov), presented at the Rubicon Gallery, Dublin
of ABMB is to believe the writing on the wall – or in this case the floor – in the Vereinten Nationen, Berlin was curated by an exhibition of drawings by artist Felicity launched (24 Nov – 20 Dec), where a
Mary Boone Gallery booth. Barbara Kruger showed two quotations presented in Irish artist Enda O’Donoghue and German Clear. The catalogue, produced by the
major publication covering the artist’s
a bold black font “We are the slaves of objects around us – Goethe”, and “He artist Gregor Stephan (10 Oct – 1 Nov). artist and the centre, includes essays by
work since the 1950s was launched.
entered shop after shop, priced nothing, spoke no word, and looked at all objects The show comprised of video, photography Sally Timmons, Cliodhna Shaffrey and www.solsticeartscentre.com/www.rubicongallery.ie
with a wild and distracted stare – Edgar Allan Poe”. and object-based works by nine artists Pádraic E Moore.
The Visual Artists’ News Sheet January – February 2009 7
has produced public art pieces for cities
MOVING DEATHS RECENT IMMA SHOWS BRIEF CLOSURE FOR IMMA
An exhibition of paintings, watercolours, across the UK and has exhibited The Irish Museum of Modern Art will be
and drawings by William McKeown was worldwide. closed for renovations from Monday 12
recently held at IMMA (5 Nov – 4 Jan). As Buttress intends to encourage January to Monday 2 February 2009
NEW SAOITHE IN AOSDÁNA
the press release noted “McKeown is best input from local people living near the inclusive. This is due to upgrading work
In mid November, President of Ireland
known for his luminous, near abstract, landmark sculpture. He will be holding being carried out on the building’s
Mary McAleese presided at a ceremony
paintings that explore states of mind, creative workshops with groups from electrical supply. The Museum’s café and
in the Arts Council to mark the election
such as happiness and freedom, and the Greater Village and St James’ areas of bookshop will also remain closed.
of visual artist Camille Souter and www.imma.ie
qualities of nature, like light, air and sky". Belfast.
composer Seóirse Bodley as Saoithe in www.belfastcity.gov.uk
Running concurrently at IMMA was ‘In Aosdána. The honour of Saoi is bestowed THE CURFEW TOWER
Gavin Murphy 'Moving deaths' – exhibition view.
Praise of shadows’ which featured “works for singular and sustained distinction in MEMORIAL FOR DEFENCE FORCES Throughout 2009 Void. Derry will have
Gavin Murphy’s ‘Moving Deaths’ at the in the form of shadows, shadow theatres the arts. full curatorial responsibility for The
Lab, Dublin (7 Nov – 6 Dec) featured and silhouettes”. 'In Praise of Shadows www.artscouncil.ie
Curfew Tower, Cushendall, Co Antrim.
sculptural assemblage, video, text, and 'was inspired by the history of shadow The Tower is owned by Bill Drummond
theatre in Turkey and Greece and DAVy pORTRAIT WINNERS
various forms of photography. who has set up the ‘In You We Trust’ that
featured works that were based on folk Davy, provider of stock broking, wealth
According to the press release the offers short-term residencies for artists
tales or simple contemporary narratives. management and financial advisory
works in the show celebrated “the in the Tower.
Featured artists included William services, has awarded Dublin based artist
inevitable uncertainty that is, in a post- The Curfew Tower was built in
Kentridge, Jockum Nordström, Kara Joe Dunne with first prize in the
enlightenment world, the reward of Brian King. Memorial to the Defence Forces. 2008. 1817, to confine riotous prisoners. The
Walker, Nathalie Djurberg, and Andrew inaugural Davy Portrait Awards for his
investigation. The result betrays a Tower is 20 feet square, tapered, and rises
work ‘Portrait of Cara’.
compulsive need to create structure and Vickery. A memorial to members of the Defence four storeys to a height of 40 feet, topped
The awards, in association with
order, while at the same time giving in to Forces who died in service was unveiled by modest battlements. The Tower hosts
Arts & Business, were open to artists
the notion that these very actions are on Saturday 6 November in Merrion small single bedrooms, so not more than
ON AT MOTHER’S working in traditional and non-
futile”. The LAB, Dublin also recently Square, Dublin by President Mary two artists can stay at any one time.
traditional media across Ireland. The
hosted ‘Krickle Krackle’ (14 Oct – 22 McAlees. Residencies are for periods of no less
judging panel comprised Royal
Nov) by Dorothy Ann Daly. The memorial, designed by artist than a week and generally no more than
Hibernian Academy President Stephen
Brian King, was the winning entry in an three weeks. Void is inviting artists to
McKenna, Royal Ulster Academy
international competition. It depicts submit applications for 2009.
DARKNESS AND LIGHT President Rita Duffy and international
members of the Army, Navy, Air Corps www.derryvoid.com
‘Darkness and Light’, an exhibition of art critic and writer Gemma Tipton.
and Reserve cast in bronze standing
work by members of the lecturing staff of Belfast-born Martin Wedge picked
guard over an eternal flame that RUA RED TO OpEN IN FEB
the Department of Creative and up second prize for his oil on canvas
emanates from the Defence Forces Badge The official launch of RUA RED, South
Performing Arts at Waterford Institute of portrait entitled Figure C3.10. Third prize
at the centre of the structure. The work County Dublin’s new centre for
Technology, was recently held at Kevin Cosgrave Office. Oil on Linen. 50 x 60 cm. 2008 was awarded to Gary Coyle for a charcoal
is installed near the corner of Merrion creativity, will take place from 5 to 8
Waterford Regional Hospital (16 Oct – 5 on paper portrait of his father.
Square South and Merrion Square West February 2009. Based in Tallaght, RUA
Nov). Mother’s Tankstation re-opened after The winning works can be viewed
in Archbishop Ryan Park, Dublin 2. RED represents an investment of almost
The artists exhibiting in this show their summer break with ‘The Untitled alongside 21 other shortlisted paintings
President Mary McAleese led the €10 million in cultural facilities by
included Michael Beirne, Gerard Casey, First Album’ Kevin Cosgrove’s first solo selected from over 300 entries at the
unveiling ceremony, which was attended South Dublin County Council. The
Susan Connolly, Pat Cunningham, Fiona exhibition (22 Oct – 15 Nov). The press inaugural Davy Portrait Awards
by Taoiseach Brian Cowen, Minister for centre host galleries, performance space,
Dowling, Ben Reilly, Joy Rooney, Tony exhibition at the Naughton Gallery in
release explained that Cosgrove’s Defence Willie O’Dea, and families and music rooms, incubators and artists’
Ryan, Lorenzo Tonti, Mary-Ruth Walsh, Belfast until 31 Jan 2009. The exhibition
“relatively traditional upbringing in a Defence Force comrades of deceased studios and aims to be a creative hub for
Mairin Grant, Joe Hunt, Reiltin Murphy, will move to the Farmleigh Gallery in
mining community in the central personnel. the arts community to make, present
Sheila Naughton, John O’Connor and Dublin in March 2009.
heartlands of Ireland has instilled a www.davyportraitawards.com Artist Brian King was born in and disseminate work.
Martin Quigley. strong sense of survival, craft and Dublin in 1942. He studied in the The 4-day celebratory launch
industry into his skilfully austere and ART & ARCHITECTURE OF IRELAND National college of Art and Design in programme includes exhibitions,
THIS RATHER THAN muted canvases of under-populated Art and Architecture of Ireland is a new Dublin where he lectured for a number performances, hands-on workshops and
Galway Arts Centre recently held ‘This workplaces: factories, workshops, major project which will be undertaken of years and, and then became the Head tours of the facilities and will be marked
Rather Than…’ a group exhibition industrial yards and offices.” by The Royal Irish Academy (RIA). The of the Department of Sculpture from by an exhibition ‘House Warming’
featuring five Graduates from GMIT, More recently the venue aim of the project is the creation of a 1984 –2004. More info on Brian King can co-curated by Ruairí Ó Cuív and Cliodhna
Institute of Technology, Sligo, Limerick presented‘Northland’ a solo exhibition comprehensive history of Irish Art and be found on his website. Shaffrey and presenting work by artists
School of Art and Design and Crawford by the Australian painter Noel McKenna Architecture to be published in five Jesse Jones, John Jones, Vera Klute, Clare
College of Art & Design (2 Oct – 1 Nov). (19 Nov – 20 Dec). As the gallery notes volumes covering the years 400 – 2000. Langan, Sean Lynch, Bea McMahon,
RHA ANNUAL AWARDS
The show was curated by Russell Hart – a explained “McKenna’s apparently naïve, The publications will deal with the Liam O’Callaghan and Beth O’Halloran.
Painter Comhghall Casey is the winner
Galway based independent curator. The small-scale paintings on plywood panels Island of Ireland as a whole and will In addition 6 artist studios will
of the Hennessy Craig Scholarship
exhibition featured work in a range of are pervasively occupied by silence, yet involve liaison with relevant institutions, become available for rent from February
Worth €12,000 for his painting Red
media including print, video, painting not peace. They delicately search out including the Ulster Museum, Queen’s 2009. If you would like more information
Bicycle. The award is given each year to a
and sculpture. societal cracks and schisms, prising them University, Belfast and the University of on the facilities or to apply for a space
painter under the age of 35 years who
The participating artists were a little further apart until they start to Ulster. please email firstname.lastname@example.org. Deadline
www.ria.ie exhibits in the open submission section
Rebecca Massey, Selma Makela, Damien leak whispers of the disquiet contained for applications is 30 January 2009.
of the RHA Annual Exhibition. In
O’Connell, Donal Moloney, and Eva therein.” addition painters Ann Quinn & Majec
www.motherstankstation.com RISE FOR BELFAST
Maher. This exhibition coincided with Bedkowski both received subsidiary
A design plan for the biggest public art JOy GALLERy AT REDSpACE
‘An Absence of Evidence is Not Evidence awards of €2,500 as part of this award.
SINKS AND RESERVOIRS sculpture in Belfast, to be situated at a RedSpace is a new not-for-profit, artist-
of Absence’ a solo exhibition by Maeve Other award winners included the
‘Sinks & Reservoirs’, an exhibition of new main gateway to the city, was unveiled led initiative located in Dublin City
Curtis in gallery 3. inaugural Bank of Scotland (Ireland) and
work from Alan Boardman was recently recently. Rise will be built at Broadway Centre comprising work spaces, artists'
Roundabout by the artist Wolfgang Irish Arts Review Photographic Portrait
presented at the Crow Gallery, Dublin studios, a gallery, recording studio and a
LUAN AN TSLEIBHE Buttress and will stand at 123ft high by Prize of €6,000 awarded to Patrick
(28 Nov – 6 Dec). The exhibition rehearsal space.It was established with
‘Luan an tSléibhe’, a new body of work by 98.4ft wide. Donald for his photograph Fairground
comprised a series of photographs, digital the aim of providing a supporting
Geraldine O’Neill was exhibited recently The globe shaped white and silver Scene, Cuba; The RHA Sculpture Award
images and paintings. Commenting on environment for creativity and cross-
at Draiocht (3 Oct – 22 Nov). O’Neill’s aluminum sculpture – a representation of €10,000 awarded to Janet Mullarney
his work the artist said “the core collaboration at the intersection of art,
practice was described a being “defined of a new sun rising to celebrate a new for her work Earthly Creatures and The
inspiration for this new series of works technology, music and media.
by a commitment to figurative and chapter in the history of Belfast – should De Veres Award of €3,000 for a first time
comes from an interest in the structural RedSpace is home to The Joy
representational painting, a genre to be visible from several miles away when exhibitor awarded to Kim Cunningham
similarities of social, economic, and Gallery, a not-for-profit art space
which she brings a fresh and innovative it is constructed in 2009. for her work Tea Dancers No. 1.
biological systems. These systems are focussing on experimental art, music/art
approach”. A publication with an Wolfgang Buttress was selected In all 20 artists’ awards were
drawn together through their foundation cross-collaborations and new media
introduction by Brian Maguire and an after competition from more than 40 awarded worth a total of €75,500 in an
in the laws of thermodynamics”. work. The current exhibition ‘Life at The
essay by Medb Ruane was produced to artists from Ireland, the United Kingdom award ceremony in the Royal Hibernian
www.canvas.ie Joy Gallery’ presents the work of the
accompany the show. and internationally. An experienced Academy on Sunday 9 November 2008.
artists Laura de Burca, Oisin Byrne, Fiona
artist and sculptor from Birmingham, he Full details on the website.
www.royalhibernianacademy.com Hallinan, Ruth Lyons, Rachel Ni Chuinn,
8 The Visual Artists’ News Sheet January – February 2009
Kate Strain, Alex Synge and Amy Walsh marketing and tourism professional; and contemporary projects including RESALE RIGHT DELAy the right for artists' heirs and beneficiaries
with an accompanying text by Claire Caroline Senior, Artistic Director, the United States Pavilion at the Venice Just prior to going to press VAI received in 2010, IVARO did everything possible
Feely. The exhibition will represent the Garter Lane Arts Centre, Waterford and Biennale. notification from the Department of to make the case for artists and their
work of these artists over the course of Orlaith McBride, Director, National The artists selected for Launch 08 Enterprise, Trade and Employment that families.
the next year and will continually evolve Association for Youth Drama (outgoing are: Peter Cábocky (IADT), Sabina they have once again sought to delay full The Irish Government delayed this
with the artists practice and the member reappointed). MacMahon (NCAD) & Ian Slattery implementation of the Artists Resale decision once already in 2006. Their
development of the gallery. Participating The new chairperson and (DIT). LAUNCH continues until 31 Right for artist’s heirs and beneficiaries. decision to once again delay
artists will invite writers and theorists to members will join the six current board January. Full implementation would have seen implementation is due in no small part
contribute to the exhibition as it members who are Maurice Foley, www.fourdublin.com artists’ heirs being entitled to receive to the unjustified claims of the art
continues and develops. Deputy Chairperson; John Crumlish, monies from the resale of their works market that business has been impacted
The gallery opens on Saturdays Manager of the Galway Arts Festival; NO GRANTS GALLERy through the art market. Now they will negatively by Right. There is no evidence
from 12 – 6 or by appointment where a Philip King, filmmaker and musician; NGG (No Grants Gallery) curated and be denied this measure until 1 January that the Right has affected the art market
concession store called Bread and Butter Aibhlín McCrann, musician and managed by artist Carol Eakins, takes 2012. adversely, in fact all research in the UK,
sells magazines, records, zines, artists' communications consultant; Alan the form of a non-profit gallery where We are especially disappointed that which has the largest art market in
prints and other merchandise and crafts Stanford, actor and writer Colm artists pay a nominal 50 Euro fee for a the announcement makes no positive Europe, has shown that the Right has
from the associated artists and musicians. Tóibín. two-week exhibition slot which includes comment about the success of the Resale not damaged business in any way. Both
The Joy Gallery / RedSpace is located at 2 promotional support from TBCT. Right and fails to signal any commitment Ireland and the UK held consultations in
Rutland Place, Parnell Square East, LAUNCH 08 September 2008 regarding the
Artists interested in showing their whatsoever to artists and their families.
Dublin 1. Launch, the annual event supporting
work at NGG should contact ngg@ The Artist’s Resale Right entitles introduction of the Right to benefit
recent graduates opened at the LAB in templebar.ie or Carol Eakins at 01 677 artists to a small royalty when their artists heirs. 90% of the respondents to
late December. Presented by FOUR and 2255. original works of art are resold by art the UK consultation wrote in favour of
NEW ARTS COUNCIL
the LAB, Launch provides exposure to dealers, galleries or auction houses. This implementing the Right for artists’ heirs
In late December Martin Cullen TD,
innovative artists and offers an EMERGING VISUAL ARTIST AWARD royalty system has been in place in without further delay. Despite this the
Minister for Arts, Sport and Tourism
important platform from which these Dublin based visual artist Vera Klute is Ireland since June 2006 and it has UK Government has also chosen to
announced the appointment of new
artists can develop their creative and the recipient of the third annual allowed many artists, including the ignore their views and disregard the
members to the Arts Council including
professional practice. In addition it is Emerging Visual Artist Award. The young and unestablished, to receive mountain of evidence that proves that
the appointment of independent
intended to promote opportunities and Award is run by Wexford Arts Centre in royalties for the first time. this Right does not damage business.
theatre and film producer, Pat Moylan
public discussion of new developments partnership with the Arts Department of In advance of the introduction of Artists are the life blood of the art
as the new Chairperson.
in emerging contemporary Irish art. Wexford County Council and the Arts the Resale Right VAI helped establish the trade and yet once again it is they that
The appointments are as follows:
Launch 08 is curated by Jasper Council. The initiative supports Irish Visual Artists Rights Organisation will be feeling the pinch in the coming
Pat Moylan, Chairperson, Independent
Theatre and Film Producer; Louise Sharp, a writer and curator based in promising visual artists with an award of (IVARO) a not-for-profit organisation years.
Donlon, Director, Dunamaise Arts Vienna. He worked from 1999-2005 as €8,000 and a solo exhibition at Wexford which has been collecting and
Centre, Portlaoise; Paul Johnson, Exhibitions Organiser and Collections Arts Centre. distributing resale royalties to its’
Dancer, Choreographer & Chief Coordinator at the Peggy Guggenheim www.wexfordartscentre.ie members since 2006. While it was
Executive of Dance Ireland; Fiona Collection, Venice, where he was always going to be a difficult challenge
Kearney, Director, Glucksman Gallery, responsible for all temporary to persuade the government to introduce
Cork; Sheelagh O’Neill, Former exhibitions, collection installations
The Visual Artists’ News Sheet January – February 2009 9
buildings as the creation of a temporary ‘synchronic monument’. This
minimal gesture by Moore redirects attention from these buildings
usual use-function into temporary ‘monuments’. This self- declaration
of certain buildings as monuments invites us to also engage with
structures in a more idiosyncratic and personal manner.
The continued evolution of our built environment is a central
concern in Jesse Jones’ project, Psychic Architecture. This project
comprised the installation of a hardback book with an accompanying
audio piece in the National Library on Kildare Street. The book is made
up of multiple images of a person building a model architectural city.
The figure is seated at a work desk and the images are presented in a
red hue. As one progresses through the book, the city becomes more
Jesse Jones Psychic Architecture book. and more elaborate, eventually verging on the surreal with buildings
crowding each other and balancing in precarious manners. The audio
piece accompanying the book takes the form of a lecture being
delivered by a practising psychic architect. The talk begins by
identifying a pattern of neurosis amongst architects. As the piece
continues the descriptions, which begin in a cool and academic style,
become more and more frantic, as the psychic architect breathlessly
describes buildings developing a life of their own. The audio piece
closes with the gradually audible whispering of Karl Marx’s The
Communist Manifesto becoming increasingly dominant.
Eilis Mc Donald’s Dublin City Colouring Book was a playful and
accessible work. This 20 page colouring book, which had 2,000
editions printed, was distributed for free through various public
institutions throughout the city over the weekend. Featuring in the
book were many familiar Dublin city landmarks portrayed in unusual
ways. Liberty Hall is depicted spouting water and floating amongst
Screening, Meeting House Square, Bea Mc Mahon’s Transport
Inside the City Hall on Tastes Like Lego tour. clouds while the Civic Office has multiple tentacles. Here again, is the
invitation to regard architecture as a malleable and unfixed medium.
Over two nights of the ‘Culturstruction’ weekend Butler and
Kennedy selected a series of video works, which were screened in
Meeting House Square, Temple Bar. The programme on both nights
adopted the same structure, showing three short video pieces on a loop
SARAH LINCOLN PROFILeS CuLTuRSTRuCTION, A WeeKeNd OF duBLIN BASed ARCHITeCTuRe- for an hour each. Michelle Browne, Christine Sullivan / Rob Flint and
ReLATed ART PROJeCTS (17 – 19 OCT ’08) ORGANISed IN CONJuNCTION WITH THe OPeN HOuSe Bea McMahon had pieces shown on the first night. Emma Houlihan,
INITIATIVe OF THe IRISH ARCHITeCTuRe FOuNdATION. Gareth Kennedy / Sarah Browne and Finola Jones had their work
screened on the second night. The mood in many of these pieces was
contemplative and sometimes light-hearted. However, more than in
My guide instructs me in a calm voice to place my hair against the time, in which her input as an artist was incorporated into aspects of any of the other commissioned works, specific re-developments were
whirring air vent. “Yep, I can feel the pressure alright … oh, my ear-not their projects. Both women acknowledge that their experiences since referenced. Christine Sullivan and Rob Flint’s Generator was funded
my hair”. Indeed there was a curious tick-tock noise coming through NCAD were formative in encouraging them to begin studying through Breaking Ground and references notions inherent to that
the vent, which would have been entirely imperceptible through my architecture. However, they are also both aware of how the Sculpture redevelopment. Gareth Kennedy and Sarah Browne’s Episode 306:Dallas,
hair. I am on Mary Jo Gilligan’s Tastes Like Lego alternative architectural Department in NCAD has informed the path which they subsequently Belfast is concerned with the compromises which inevitably occur
tour, which formed one strand of ‘Culturstruction’, a weekend of art chose. Butler states, “there was an emphasis in the Sculpture around the re-development of areas. Emma Houlihan’s Everywhere is a
projects from the 17 to the 19 of October, ‘08. In order to participate in Department of NCAD on interaction with the public space and with Playground took a bleak snapshot of parts of Limerick which are due to
this piece, the audience members (limited to four people at a time) had redevelopment, all of which directly intersects with architecture”. be redeveloped. These particular pieces highlight a deeper sense of
to agree to be blindfolded for the hour-long tour. As a participant, you What encouraged both women to develop ‘Culturstruction’ was the unrest surrounding the redevelopment of areas.
were allocated your own personal guide who led you through the City unexpected interest in art on their architecture course. When ‘Culturstruction’ was funded through the Open Spaces Project,
Hall and Palace Street Offices. Over the course of the hour I was invited, elaborating upon theoretical and practical concerns to architecture, which is a Dublin City Council Arts Office initiative. Open Spaces had
amongst other things, to rub my hands across what I believed to be a their fellow architecture students increasingly referenced its inaugural event in October ‘08 and lists other events in its
very large and shiny wooden table, to take note of the contrast in contemporary artist practices. Butler and Kennedy knew many artists programme through late ’08 and into early ’09 as ‘phase one’ in the
acoustics as we moved from exterior to interior spaces and to inhale who were influenced by architecture, what they didn’t realise was that project. In a tacit recognition of the sprawling and non-definable
and note that unmistakable newly furnished office smell. Mary Jo this interest was reciprocated. parameters of artworks in the public space, Open Spaces emphasises
seemed to have choreographed the hour perfectly: while she read Butler and Kennedy met with the organisers of Open House in their intention to foster ‘creative partnerships’ through their
personal and more theoretical passages, the chimes of lifts and opening June ’08. They were enthusiastic about ‘Culturstruction’ and supported programme. One of the first events in the Open Spaces programme
of doors seemed to punctuate her texts right on cue. the project by providing it with PR and press. It was later in the was the launch of a report, which Dublin City Council Arts Office
‘Culturstruction’ was organised by Jo Anne Butler and Tara summer that funding was secured through Dublin City Council Arts commissioned in order to examine innovative international models
Kennedy to run as a parallel event to the annual Open House weekend Office, at which point Jo Anne and Tara pushed ahead with the project. for art in urban and suburban open spaces. In the introduction to the
, which is organised by the Irish Architecture Foundation. While The artists commissioned by ‘Culturstruction’ were selected through report a distinction is made between the two terms public art and open
Open House’s popularity is founded upon a curiosity that the public various criteria, one being that each artist had to have lived in Dublin. space, “over the course of our research and during the fieldwork phase
have for accessing buildings normally closed to them, ‘Culturstruction’ Additionally, there was an attempt to select artists who were at in particular, the description ‘open space’ was well understood as
was pre-occupied with diversifying the means by which we experience different stages in their careers and whose practices intersected with allowing for a broader definition of arts practice in public space”. In
and occupy buildings. Butler and Kennedy commissioned four visual architecture in differing ways. Each artist was given an open brief, so conclusion the report re-visits this point stating that “this relatively
artists to respond through an artwork to either a building, or groups of that the emphasis from the beginning was based around the artist’s short research journey underlines the liberation of public art practice
buildings in Dublin. Evidenced in the work produced was a practice, as opposed to insisting on the artist seeing through a pre- from its monumental origins and its associated relation to permanence,
commitment by these artists to test the means by which architecture meditated proposal. revealing a great diversity of practice” (2).
can be more than just physical structures. Each of the artists was The placement of many ‘Culturstruction’ projects was, in many ‘Culturstruction’ made an important contribution to opening out
interested in architecture’s potential to articulate both critical and cases, key to the work. Padraic E Moore carefully chose three buildings the diversity of arts practices visible in ‘open spaces’. The works in
celebratory aspects of our built environment. – Liberty Hall, The Abbey Theatre and the Civic Offices at Wood Quay ‘Culturstruction’ were not monumental; being transient pieces that
Kennedy and Butler both graduated in 2005 from the Sculpture – in which to install a series of three screen printed posters (produced sought to co-exist with the buildings in which they were situated,
Department in NCAD. Having graduated from college, both women with Swollen Design Studio). The posters contained abstract geometric illuminating possibilities, or hidden narratives. This strategy was
worked as practising artists whilst also operating in the art world forms each reflecting in a loose manner the aesthetics of the buildings successful in activating both the work and the space in which they
under various guises. Butler worked as the assistant project manager in which they were installed. At the bottom of each print is a date were located in a fresh and captivating manner.
on the Breaking Ground regeneration project in Ballymun. While indicating when each building was completed. It was intended that Sarah Lincoln
Kennedy took part in the ‘Two Minds’ project organised by the Royal through the poster’s placement, the buildings would be activated to 1) www.architecturefoundation.ie/openhouse
Society of Ulster Architects. This project involved Kennedy being highlight the multiple layers of history that preside within them, both 2) ‘A Report on Innovative International Models of Support’, Vagabond Reviews, december ’07.
twinned with an architectural firm in Northern Ireland for a period of personal and communal. Moore described his choice of these three
10 The Visual Artists’ News Sheet January – February 2009
An epic Art Journey
for me, including Tamy Ben-Tor’s Gewald (2007), a video which
included the artists performing an unsettling sung rendition of If this is
a man. In Omer Fast’s video Looking Pretty for God (after G.W.) (2008)
child actors mouth the words of an unseen American funeral director
RAyNe BOOTH RePORTS ON MANIFeSTA 7, THe euROPeAN BIeNNALe OF CONTeMPORARy ART as he talks graphically about the mysteries of the embalming process.
(19 JuLy – 20 NOV 08), HeLd IN TReNTINO, SOuTH TyROL, ITALy. The show also contains five separately curated projects or ‘museums’.
‘The Museum of European Normality’ (Marian Theresa Alves, Jimmie
Durham and Michael Taussig), the ‘Museum of Learning Things’
(Brigid Doherty), ‘The Museum for Franco Basaglia’ (Stefano Graziani),
the’ Museum of projective Personality testing’ (Sina Najafi &
Christopher Turner) and ‘the Museum of the stealing of Souls’ (Florian
Schneider). Each of these intriguingly titled museums is loaded with
research and art works related to each subject.
The next town on the route was Bolzano, German speaking, just
45 minutes by train from Trento. A bus from the train station took me
through the pretty town and out to the industrial estate where
Ex-Alumnix, an ex aluminium processing plant, was located. Curated
by the Indian media collective RAQS, this show was called ‘The Rest of
Now’, and in their catalogue essay they ask us to “rest for now…and
consider what remains from a century devoted to the breathless
pursuit of tomorrows promised riches”. This sentiment would have a
Work by Claire Fontaine from Manifesta 7 Trentino – South Tyrol. (19 July – 20 Nov ‘08) Installation view ex Peterlini – Manifesta 7 Trentino – South Tyrol. (19 July – 20 Nov ‘08) particular resonance in India, a country where recent economic
SINCE 1996 the Amsterdam based Manifesta Foundation has initiated growth has caused major social changes, and in the empty factory
a series of ambitious bi-annual exhibitions, each located in a different RAQS have chosen art that speaks about capitalism, globalisation and
European city. Then, as now, the Manifesta exhibition encourages new industry. Sanjay Kak’s mixed media installation A Shrine to the Future:
and innovative artists, and promotes new models for the display of Memory of a Hill documents the mining of bauxite for aluminium
contemporary art, providing a forum for the exchange of ideas between manufacturing in eastern India. This installation of photographs,
visual art practitioners and professionals, curators, and audiences, in a newspaper cuttings and hand written text on post-it notes, illustrates
Europe that has changed greatly over the 12 years of Manifesta’s each stage of the Bauxite mining and its effect on local ecology and
existence. society. Rupali Gupte and Prasad Shetty’s multimedia map Multifarious
This year Manifesta 7 (19 July – 20 Nov ‘08) was for the first time Nows: Mumbai Mill land Stories similarly charts the history of Mumbai’s
hosted by an entire region, rather than by a single city. The affluent textile mills from the 19th century to the present day. Dayanita Singh’s
Trentino – South Tyrol region is located at the very northernmost large photographs of Indian aluminium factories and Graham
corner of Italy, bordered by Austria and Switzerland. This is breathtaking Harwood’s book Aluminium again directly reference the former
countryside where giant rock formations, spurs of the Dolomite function of the venue. Judi Werthein’s documentary video about the
Mountains, protrude suddenly from flat fields of vines, apple trees and Colonia Renacer settlement in Chile stayed with me. Its inhabitants are
corn. The region is bilingual, having been part of the Austrian empire ex Tabachi – Manifesta 7 Trentino – South Tyrol. (19 July – 20 Nov ‘08)
exclusively German and moved to Chile after the war, creating a kind
from 1815 until its annexation by Italy in 1919. After the Second World of utopian high-tech cult-like community. Again, in Bolzano,
or responded to the recent history of the venue. Christian Philipp
War a small faction of German speaking separatists emerged, whose documentary and research based artwork seemed to be in favour but
Müller based his installation Carro Largo on a packet of Russian
influence can still be seen in graffitied slogans on the walls of Trento there were several exceptions to this. Harold De Bree’s M1 SS Bailey
ApolloSojus cigarettes he found in the building during a site visit in
and Bolzano. While various violent factions, including a Nazi group Bridge (2008), a military pre fabricated bridge first used by the Allies in
2008. The cigarettes, now sitting under a glass vitrine in Müller's
calling themselves ‘The Werewolves’, operated in the region post war, 1943, spanned the ornamental pool outside the factory and brought
installation, were produced to commemorate the first joint flight of the
their activity died down in the 1960s. More recently, a Tyrolean modernist sculpture to mind.
American and Soviet space programmes. The tendency towards
advocacy group, the ‘Sudtiroler Schutzenbund’, organised a petition The final day of my art pilgrimage I travelled to Fortezza/
meticulously researched or documentary art is evident at Rovereto, but
calling for Austria to protect the rights to self-determination of the Franzenfeste, a small town near the Austrian border. ‘Scenarios’ is a
I did not feel that it specifically engaged with the history and
German speaking population of South Tyrol. This petition was signed collaborative project conceived and curated by all three of the curatorial
surroundings of the town. A possible exception is the work of Libia
by 113 mayors out of the 116 South Tyrolean communities before teams from the other venues. It comprises a series of sound installations,
Castro and Olafur Olafsson. Their video piece The Caregivers (2008)
being presented to the Austrian Parliament (1). to me somewhat overshadowed by the majesty of the incredibly
focuses on the recent phenomenon of Eastern European female
In Tyrol, old conflicts bubble below the surface. By contrast, imposing Hapsburg fortress in which they are situated. The fortress
economic migrants who have become the main caregivers to elderly
Nicosia, where Manifesta 6 was to be held in 2006, is a clearly divided was built in the 1830s to defend against impending Napoleonic attack,
Italians in their own homes. This same subject also crops up in Bolzano,
city, split politically, socially and physically into Greek and Turkish and its design is curiously modern in feel: rooms of red brick, built-in
in Alexander Vaindorf’s three channel video installation Detour, One
Cypriot sectors. The curators of Manifesta 6 had planned a new model vaulted arches, each containing nothing but a dirt floor, perhaps a high
Particular Sunday (2006-2008). Runa Islam’s film piece The House Belongs
of art college for the city, part to be located in the Turkish or ‘occupied’ window, a specially commissioned piece of furniture designed by
to Those who Inhabit it echoes Claire Fontaine’s work in Ex Peterlini,
sector of Nicosia. These plans offended the Greek Cypriot authorities, Martino Gamper, and a sound installation in one of three languages;
drawing on the recent history of the town. The title of this film was
who terminated the contracts of the Manifesta 6 organisers and English, Italian and German. Ten writers were commissioned to write
found scrawled on a wall at Ex Peterlini and is also the body of the film
curators who – I would speculate – learned a valuable lesson texts directly responding to this extraordinary space. Though signs
with Islam’s camera work examining the spelling out of the slogan’s
concerning the power of art as a bridge builder between seriously urged quiet, a gaggle of Italian visitors on a guided tour, coupled with
conflicted communities. The choice of South Tyrol, a wealthy region the intense cold inside the brick structure made really engaging with
The train station at Rovereto also plays host to the third exhibition
where the trains run on time, is a far safer location option for Manifesta these spoken texts hard going. The author Margaret Obexer’s piece
in the town. ‘Manifestation’ – curated by the Office for Cognitive
7 – and yet would seem to fit with Manifesta’s policy of situating itself Defending Europe was located in a series of interconnecting rooms in
Urbanism, claims to “search out the incongruities of claims to local and
in cities and regions of territorial conflict. which a switch could be pressed to activate the sound. Obexer took her
also regional identity”. As an exhibition, ‘Manifestation’ felt very
I began my visit in Rovereto, a small town surrounded by the starting point from the fortress, and the idea of ‘fortress Europe’ and her
uncared for, with some of the exhibits damaged and little information
looming Dolomite Mountains. The Adam Budak curated exhibition piece follows a young African immigrant woman from her arrival in
available. Two months after the opening of Manifesta, and one month
'Principle Hope' aims to "map transregional dimensions" (2), using the Europe through a series of letters home to her family. Other authors
before its end, it felt like the organisers had all but forgotten this part of
town as a point of departure. The venue Ex Peterlini, an old cocoa and writers taking part in the collaboration are Shahid Amin, Adriana
factory located in the heart of Rovereto, has been abandoned for the last Cavarero, Mladen Dolar, Renee Green, Thomas Meinecke, Glen Neath,
In Trento, the exhibition was curated by Anselm Franke and Hila
40 years, although occasionally illegally occupied by a local anarchist Arundhati Roy and Ant Hampton.
Peleg, and took place in the Palazzo delle Poste, the city’s main post
group. A video installation by Miklós Erhardt and Little Warsaw The walk back to Fortezza train station offered spectacular views
office. Here, a real sense of engagement between the exhibition and the
focuses on this group, who squatted in the building in 2002, of the river and mountains, where trees were beginning to change
city’s inhabitants could be felt. Perhaps the fact that the Palazzo delle
investigating the motives and relationships leading up to the short- colour. After a long wait at the seemingly abandoned train station I
Poste is located in a buzzing city centre, rather than an outlying
lived occupation. In a gesture intended to extend the anarchists made my way back to Venice before flying home the next day. I felt as
industrial estate accounts for this. Entitled ‘The Soul or, Much Trouble
agenda, Daniel Knorr's Ex-Privato (2008) removed the doors of Ex though I had taken part in an epic and solitary art journey, in which I
in The Transportation of Souls’, Franke and Peleg’s show took
Peterlini for the duration of the exhibition, effectively turning unused learned a little more about the current contemporary art zeitgeists, saw
inspiration from the city of Trento being the venue for the 16th century
private spaces over to the public domain. Claire Fontaine’s neon piece some wonderful art and some fantastic countryside. It is interesting to
Council of Trent. It was here the Catholic Church – clarifying its
We are with you in the night takes its title from an Italian activist slogan note that more often than not, I was the only visitor to the exhibitions.
position in relation to the reformation – decreed the believer should
from the 1970s. When approached in the middle of a dark night in Ex The crowds that descended for the opening week have not returned,
confess innermost thoughts, fantasies and desires, as well as actual
Peterlini, this neon axiom feels more like a threat to the local populace, but perhaps this is more to do with the commitment, time, money and
committed actions and deeds. The Palazzo delle Poste contains
rather than a message of support for the activists who once inhabited hassle involved in visiting four separate cities to see one exhibition,
numerous small former office rooms over three floors, all converted
this space. rather than the quality of the artwork.
into a maze of interconnecting galleries and almost every one of these
The second venue I visited in Rovereto was the Ex Manifattura Rayne Booth
galleries is dedicated to video or film installations. It would take about
Tabacchi, another industrial space just outside the city centre. In 90 hours to view it all from start to finish, yet several works stood out 1) Spiegel 1/27/2006. Available at www.spiegel.de/international/0,1518,397621,00.html
2) Manifesta Catalogue
keeping with Budak's theme, many of the artists engaged directly with
The Visual Artists’ News Sheet January – February 2009 11
FOCuS – INTeRNSHIPS
That's Showbiz, Baby.
SARA BAuMe CONSIdeRS THe PITFALLS ANd POSSIBILITIeS OF INTeRNSHIP PROGRAMMeS
CuRReNTLy BeING OFFeRed By VARIOuS VISuAL ART INSTITuTIONS
ON finishing art college, the vast majority of graduates will immediately days per week with extra hours around installations and openings. and to show their appreciation for the unpaid hours the interns had
fall into one of four distinct categories. There are those that, suddenly Interns split their time between being in the gallery space interacting dedicated to the general well-being of the gallery, they were given a
struck by the everyday reality of existing in the working world, will with artists and public, and being in the office observing and helping platform for their work, a forum for discussion and the invaluable
readily switch their priorities from art-making to money-making and out with the more practical administrative side of things. ‘Split’ formation of alliances – a far richer and more lasting recompense than
deviate entirely from the artistic route. They finally start to see the internships are good because it allows the intern to gauge whether it’s cold hard cash.
sense in what their old Dad was getting at four years ago when he the administrator or the curator, the artist or the technician, etc. that Most interns are not really involved, for the most part and for the
attempted to manipulate them in the direction of accountancy or they most aspire to be. majority of programmes, in a creative way. Their aesthetic opinion or
computing. A decent number, unwilling to crawl out from under the Some galleries / institutions / organisations have no standard personal knowledge is not sought in any capacity. Institutions should
safety blanket of the education system, will trudge on with MAs and internship programme as such, but will take on ‘interns’ for short, be open to the possibility that interns can bring fresh perspectives that
H-Dips. Of course there are the lucky few that hit the jackpot first time fixed periods in order to assist with temporary projects. This has the the frequently dusty and complacent old staff sometimes just can’t.
around – winning awards and residencies, being launched into a potential to be something exciting – assisting with the set-up and While they are in no way obliged to take the suggestions or
whirlwind of emerging talent showcase exhibitions, even getting running of a special event, conducting research or compiling contributions on board, art institutions of all descriptions should be
taken on by gallerists. Lastly, there are the die-hards - those determined information, aiding the installation of a particularly elaborate or constantly questioning themselves, open to the potential from all
to engage with the visual art scene by whatever means. In the ambitious exhibition. Short internships for specific projects might be directions for change, transformation and renewal.
aftermath of graduation, die-hards tend to drift, to flounder – tailored to the exact skills, interests and competencies of the individual When I first started to research this article I spoke with a few
volunteering at festivals or participating in artist’s projects, working intern. They could equally turn out to be as dull as dishwater – an gallery interns who were emphatically negative about their
part-time in bookshops or art house cinemas, fumbling awkwardly for overhaul of the office filing system, a clear-out of the overflowing experiences, bandying about terms such as ‘exploitation’ and ‘personal
the first rung on the ladder, a chance to establish themselves. They stock cupboard, a week spent shredding a year’s supply of old invoices slave.’ Exercised to expose the scam of hiring youngsters to do the dirty
make art sporadically, read lots of Frieze and Modern Painters, have – major but mundane chores that the regular staff have long been work for free, under the ethical security-blanket of providing education,
their pictures taken for Image magazine at exhibition openings. In the avoiding. I was quite disappointed to discover that there are no real scandals
best scenarios, die-hards become the true heroes – acting on their own Visual art institutions offering some form of internship inherent in the business of taking on interns. My only real criticism of
initiative to found co-operatives in dilapidated country houses and to programme claim to do so for two fairly standard reasons; to benefit internship programmes is that too many are relatively unstructured
curate innovative and socially-engaged community art projects. But and educate the individual intern, and to facilitate the smooth and unpredictable. Fine art graduates, in particular, are already
where either luck or opportunity is lacking, it can be a cold, cruel running of the organisation. Noel Kelly, Director of Visual Arts Ireland, sufficiently lacking in stability without being taken for granted by an
circle for even the keenest of graduates. indicated that the VAI’s interns were invaluable and that certain organisation for which they are volunteering. Those co-ordinating the
While internship programmes are by no means a new addition to projects would simply not be achievable without them. He was keen programmes should be explicit about time frames, job descriptions,
the working world of the Irish art scene, a significant number have to emphasise that the programme worked best when interns were the possibility of rewards, etc. in advance. Websites should outline and
materialised across the country in recent years, and particularly in assigned a dedicated role and trusted with the necessary responsibility detail the intern’s role. Clarity, in so far as is possible, is not such an
recent months. It is important to clarify that an internship is distinct to execute it. As a result, VAI favour individuals with specific areas of unreasonable prerequisite.
from a fellowship or scholarship. These are geared toward further interest or experience. My research has indicated that assigning exact My other concern is that a growing abundance of interns could
courses of study and will typically come with monetary grants and roles and trusting interns with particular responsibilities seems to be be in danger of spelling the end for paid invigilation work. Why would
funding attached. The Glucksman Gallery in Cork run a fellowship in the most comfortable and successful formula for all involved. a gallery / institution be so crazy as to pay staff, when there is a whole
Curatorial Practice, and The Limerick City Gallery of Art award the Another dual benefit is that internships regularly function like a parade of volunteers scrambling to do the same job for free? Internships
Shinnors Scholarship as an MA in Curatorial Studies. Plenty of training programme for prospective staff, with interns being taken on benefit the baby generation in their early twenties, but can end up
institutions provide work experience for transition year pupils, or in a paid position as soon as a vacancy arises. Temple Bar Gallery & penalising the mid-to-late twenty-somethings that are more established
participate in some form with exchange programmes for Studios have facilitated interns for years, with a number of their and only managing to pay for their studio and keep their developing
undergraduates from universities overseas. The Irish Museum of current regular staff having originally started work with the gallery in practice afloat by propping themselves up with the modest income
Modern Art has been involved with what is known as the Leonardo such a role. provided by casual invigilation.
programme, facilitating a large number of students from Italian On a purely practical level, with interns the premises get a In conclusion, nobody will deny that life is hard for the die-hard
universities. Perhaps the most successful variety of internship is that sweeper-upper, an enveloper, a coffee-maker, a photocopier, an unpaid graduate most likely to begin their working life as an intern. Most of
which the LCGA aims specifically at college students. Their interns are invigilator. Having said that, I was unexpectedly reassured that the interns I spoke to were forced to either work part-time, suffer the
harvested from the nearby Limerick School of Art and Design. Because galleries and institutions are genuine in their desire to groom and indignity of being supported by adoring parents, or claim social
galleries, art institutions and organisations are understandably enlighten the next generation. In general, the interns do get what is welfare in order to sustain themselves for the duration of their
reluctant to take on an employee with absolutely no experience, this promised in the advertisements or initial inductions – practical skills internship. However, I did note that a number of graduates who left
allows graduates to emerge from the education system already with and invaluable knowledge. Institutions get a runner, as well as the the system with a good grade entertained unreasonable allusions of
some level of expertise to adorn their CVs and recommend them to the cosy satisfaction of knowing that they are doing something good. grandeur. Everybody who is anybody - from artist to director – has
working world. With the exception of the Douglas Hyde Gallery studentship started at the very bottom of a vertiginous ladder – having to claw and
The internships upon which I am focusing are predominantly (which offers a stipend of €12,000 for 10 months), the Sebastian crawl their way up to achieve any kind of security or recognition.
aimed at recent graduates, though that is not to exclude the possibility Guinness Gallery in Dublin’s Temple Bar (which pays its one regular In the words of one astute ex-intern, who hated interning but was
of mature graduates or individuals aiming to establish a new career, or intern €12 per hour), and the VAI (which provides an allowance gratified by the insight it granted her “basically I think the art world is
those who have backgrounds in art history, event management, toward travel costs), every other internship of which I am aware offers like show business and you have to start at the bottom, and the bottom
marketing, journalism, etc. Most likely to be publicised through Visual no official financial remuneration. In many cases non -commercial, is unpaid internships and you just have to grin and bare it”. The intern
Artists Ireland, Creative Careers or on the specific organisation’s not-for-profit organisations are wholehearted and willing to pay who takes up an internship for all the right reasons in an institution
website, the advertisements will be rich in superlatives but scant on volunteers, but very understandably do not have much cash to spare. that provides an internship for all the right reasons, will realise that
details. Prospective interns are offered all manner of sparkling However, there are often bonuses depending upon circumstances, and with even with the dullest and dirtiest of work there is something to
opportunities; to interact and work closely with artists, to assist with other intermittent rewards arguably more valuable that the monetary be learned, some aspect to be taken from the experience that will
general administration, to handle significant artworks and gain direct ones. benefit them at a further point along the way in life. Art school is like
experience of curation techniques, installation, etc. Dazzled by the Perhaps one of the most important aspects of an intern’s overall this wonderful cocoon that wraps-up students in its silken casing and
promise of such creative environments, friendly atmospheres and experience is meeting, interacting and collaborating with like-minded shields them from the real world. Graduates will abruptly discover
spring-boarding opportunities, who could possibly resist? and identically ambitious individuals outside of a college environment. that there is less of the butterfly and more of the spider about life after
While broadly similar in practice, the programmes take on After they had been a year with the gallery, Pallas Contemporary hatching – less of the swooping and gliding and more of the getting
different forms according to the requirements of the gallery/institution/ Projects in Dublin’s Smithfield offered its seven interns the chance to stuck in bathtubs and trying to avoid being trodden on. Unfortunately,
organisation, not to mention the needs of the chosen intern. Very few come together to put on their own exhibition. The result was the that’s showbiz, baby!
offer a solid or minutely defined structure, with contracts and funding. formation of an emerging art collective (the Pallasades) and a Sara Baume
Interns will rarely have anything like a weekly timetable or an exact foundational show that ran in August 2008. Pallas had the insight to
task list. Most gallery programmes will consist of one or two fixed recognise that its interns were all art practitioners in some capacity,
The Visual Artists’ News Sheet January – February 2009 13
Always The Right Time
initially formed to lobby for its members against societal oppression
and discrimination. These are the kind of dynamics that OST actively
interrupts and dispels. OST directs people to focus on issues rather
ÁINe IVeRS RePORTS ON AN INNOVATIVe WeeK OF TRAINING IN MeTHOdS OF PuBLIC dIALOGue than engage with and navigate power structures. The facilitator’s role
ANd NeGOTIATION, ORGANISed By INTeRFACe IN BeLFAST (10 – 16 SePT ’08). is crucial; rather than mediate, he or she facilitates direct
communication between people. OST deems all participants equal in
a meeting and rejects top-down power structures.
Those who attended the training developed a sense of community
and inclusiveness through the process. It seemed that, to encourage
this, the facilitators incorporated into their presence a sense of
exclusion, through their impartiality and their lack of input into
discussions. They worked without offering comment or opinion, and
avoided investing in issues or answering questions. By embodying the
idea of exclusion in their presence, they tightened the sense of
inclusion between participants. As participants, we discussed such
strategies, and how they are found in religious and commercial
Similar community-forming concepts are evident in ideas of
nationalism, patriotism and consumerism. A striking correlation
between OST and organised religion is the reinvention of the Christian
perception of ‘free will’ in OST, in the way the facilitator creates and
Open Space Technology training in process. Organised by Interface at the university of ulster holds a ‘space’ in an ever-present but non-intrusive fashion, while
(10 – 16 Sept ’08). Venue: Connswater Community Centre in east Belfast.
participants have ‘free will’ within the ‘space’ through the ‘law of two
feet’. Although initially wary of these parallels, I found that the goal-
orientated process of OST resulted in practical, action-based outcomes
that mitigated religious overtones. These concepts function as
temporal structures in OS meetings that allow people to share ideas
Arts practitioners who attended the training week were primarily
interested in OST as a way of thinking and sharing useful in the
context of participatory art processes. I was struck by the contrast
between the ‘removed-ness’ of the facilitator and the ‘present-ness’ of
the participant in OST, and wondered how that would impact on
artist-facilitators using OST in their work.
Overall, Susanne Bosch saw OST as a way to foster collective
decision-making processes, and suggested that it might be an excellent
tool to address what happens when an artist finishes working with a
Open Space Technology training in process. Open Space Technology training in process.
group, as this is often a residual issue of collaborative projects.
LAST September Interface (1)
at the University of Ulster hosted an The workshop consisted of an intense week of group exploration Cherie Driver succinctly described the training experience –
Open Space Technology training week – OST being a process for through experiential learning. There were no lectures, and participants over the course of the week she found herself challenged to realign
facilitating complex meetings. I attended and found it to be an were actually encouraged not to take notes – so as to be fully present her intentions, motivations and goals in order to be able to receive the
interesting and rewarding experience. This report contains ideas from in the process. Instead, knowledge was generated through discussions methodology of OST. I suspect others at the training had similar
a conversation with Susanne Bosch and Cherie Driver of The between participants in Open Space meetings. Facilities included a experiences. OST can be seen as a constructive process of critical
University of Ulster, who initiated and organised the event, as well as ‘library’ of publications and audio material about OST, a ‘cinema’ of engagement with oneself through honesty and transparency about
participating in the training themselves. video recordings of OS meetings, a ‘cyber-room’, and a canteen where one’s motivations for one’s actions.
Developed by American facilitator Harrison Owen in the 1990s, an all-day buffet was laid out each day. The buffet especially Driver described the aims and outcomes of the training week in
OST has four tenets – “whoever comes to the meeting are the right contributed greatly to the success of the training. Food organisation is the following terms – “a key thing was that there would be people
people”; “when it’s over it’s over”; “whenever it starts is the right time”; considered a vital component of OST, based on the fact that food- trained in Open Space in Northern Ireland. People would be able to go
and “whatever happens is the only thing that could have”. There is sharing encourages formative conversations. Participants could eat out and facilitate other groups, we would be able to have these large
one law – “the law of two feet”; anyone can walk away from any whenever hungry; and take coffee breaks whenever it suited. collective meetings, to create Open Spaces, to talk about issues,
discussion at any time. Theses tenets are designed to foster a relaxed, Different aspects of the training process dominated conversations whatever they might be. That’s caught on quite quickly! There have
inclusive atmosphere, and to encourage engaged group-work and throughout the week. A sense of personal exploration, discovery and been a few suggestions of Open Spaces in the future, and people,
cross-fertilisation of ideas. The law affords the individual responsibility sharing was top of the list. The role, the motivations and personal particularly in Northern Ireland, have met and we’ve had an Open
for his or her presence, open-mindedness and actions. Open Space well-being of the facilitator were issues well explored. Passion was the Space sense. We’ve already facilitated an Open Space!”(3)
Technology is people-centred and result-orientated, it allows people most central issue of the week. Discussions explored and critiqued Since the training week an all-Ireland OS facilitators network
to broach difficult subjects together and address conflict. Participants ideas about the passions that drive individuals and communities. OST has been established. And an OS meeting on the subject of digital
in Open Space meetings are empowered by being made responsible itself and its potential applications became more prominent technologies and cultural practices has been hosted by Interface in
for their own interests, desires and actions. OS meetings have involved conversation topics as the week progressed. collaboration with The International Symposium of Electronic Arts
anything between five and over 2000 participants. Based on the I was intrigued by the concept of self-organising systems in OST in Belfast. Chrissie Cadman is using OST to reframe the way
philosophy of self-organising systems, OST invests in the concept that
. Susanne Bosch was particularly interested in OST as a process that information is disseminated amongst members of the University of
people do best when they represent themselves. eliminates the search for role-models or scapegoats by individuals Ulster Students’ Union. Theatre Forum Ireland scheduled an OS
A need for OST facilitator training in Northern Ireland was within groups, referring to the idea that a collective only works if meeting in December, and Create aims to sponsor a meeting of
identified by artists Cherie Driver and Susanne Bosch – who both individuals are conscious of their individuality within the collective. collaborative artists in 2009 in Dublin. An OS learning exchange is
work at the School of Art and Design at University of Ulster. Interface During the training week each participant represented their own being planned. I am organising an experimental OS meeting for
approved the training project and Bosch and Driver organised the interests only. People who shared similar interests gravitated towards members of The Market Studios, Dublin. Whenever it happens is the
event with The Berlin Open Space Co-op. Partial funding was received each other for discussions on those topics, and drifted towards other right time! (4)
from the Northern Ireland Community Relations Council. Twenty- groups once those discussions concluded. This is self-organisation in Áine Ivers
five people took part in the training, mostly individuals from Northern action; it occurs naturally within groups but is not often trusted as an
order-generating structure, as it is in OST. 1) Interface, established in 2004 is an interdisciplinary and practice based research centre
Ireland; but participants also came from Germany, Latvia and Scotland. situated in the School of Art and design, university of ulster, Belfast campus.
OST breaks down power dynamics that occur within groups. 2) The philosophy of self-organisation has applications in physics and sociology. I found this
Two came from the Republic of Ireland, one being myself. The
definition interesting: “The essence of self-organisation is that system structure often appears
Self-representation, the absence of agendas and chairpersons assist in
participants worked in areas such as arts, consultancy, youth-work, without explicit pressure or involvement from outside the system. In other words, the
this. But there are other forces at work here. During the week of constraints on form … are internal to the system, resulting from the interactions among the
community care, community relations and sustainability. components and usually independent of the physical nature of those components.” From the
training I explained OST to a friend. She then told me a story of an
Michael M. Pannwitz and Jo Töpfer led the training, supported by website Self-Organising Systems (SOS), Frequently Asked Questions’, Version 3 September
advocacy organisation that disbanded as it failed to resolve internal 2008. uRL http://www.comp.theory.self-org-sys
Yaari Pannwitz and assisted by Belfast-based MA students Chrissie 3) The conversation on OST between Cherie driver and Susanne Bosch and myself took place
conflicts and bullying issues – despite mediation efforts. The in The university of ulster on 16 Oct 2008.
Cadman and Eleanor Phillips. The training, which took place over 4) For more on Open Space Technology see – www.openspaceworld.org
breakdown was a result, she contended, of societal power structures
seven days, was based at the Connswater Community Centre in East
being reflected, replicated and unwittingly played out amongst the
group’s committee members. It was a minor tragedy, as the group had
14 The Visual Artists’ News Sheet January – February 2009
WORKSHOP / ReSIdeNCy
What do you Want to Say?
LISA FINGLeTON dISCuSSeS HeR exPeRIeNCe OF THe eSOdOC (THe euROPeAN SOCIAL dOCuMeNTARy FILM PROGRAMMe)
Happy Out (2008), Still from the film I made through the eSOdOC programme. Screened at the
Cork Film Festival. (photo: Lisa Fingleton)
(photo: Lisa Fingleton) At work on the beach in Latvia with Katerina Cizek, Filmmaker in
Residence with the National Film Board of Canada. (photo: Lisa Fingleton)
WHAT is the heart of your film? Why you? Why now? Why should The second week, which was based in Latvia, focused more on I was really inspired by her work as Filmmaker in Residence with
anyone care? These are some of the questions that taunted me during skills development within a number of elective workshops. We had the National Film Board of Canada (www.nfb.ca/filmmakerinresidence).
my recent ESoDoc experience. ESoDoc (the European Social the opportunity to do an intensive workshop on multi-skilling camera She talked about her experience developing an experimental media
Documentary film programme) is a part of the EU’s Media Plus (how to shoot an entire film on your own). One particularly good piece programme at a Toronto Inner City Hospital. In the Drawing from Life
training initiative. The tutors come from all over the world with an of advice from the tutor Phil Cox in relation to the visual story was film project she worked with a group of people who had attempted
incredible combined experience in, and passion for, social “You should always show, not tell!”. suicide more than once as they went through a 20 week support
documentaries. I had assumed that the main focus of EsoDoc would be on making programme. What I found particularly interesting were the ethical
Each year EsoDoc supports approximately 20 documentary film the traditional hour-long documentaries for TV. Surprisingly there was protocols she developed around her projects regarding issues of
makers to develop projects in the areas of human rights, social justice greater emphasis throughout the programme on the basic principles consent and the right to respond).
and environmental protection – particularly in the developing world. of documentary filmmaking, new media and participatory video. The third strand of EsoDoc was Participatory Video. Kavita Das
The group meet for three week-long sessions over a six month period Hugh Purcell and Sabine Bubeck-Panz constantly reminded us of Gupta works with community video project in India called Drishti
in different locations around Europe. In between sessions the group the basics. Hugh is the chair of ESoDoc and the former Head of (www.drishtimedia.org). She talked about the power and potential of
stays in touch through an online forum. The programme varies every Documentaries at the BBC. Sabine is a Commissioning Editor for the media “What if the poorest ten million people of the world had their
year as it tries to respond to the needs of participants. German Broadcaster ZDF / ARTE. Sabine kept asking “What is the story own media industry?”. Drishti facilitates local people, trained as
I heard about ESoDoc thanks to Kate Kennelly the Kerry Arts you want to tell? What do you want to say? What do you really want community video producers, to create films in their local area. They
Officer, who forwarded me an email from Mediadesk. I was intrigued to find out?”. Hugh encouraged us to of find a universal theme in a are supported to explore issues that affect their local community and
and wondered if it might be relevant to me as an artist / film maker. At particular story, create a trail for the audience to follow and identify a they aim to show one film per month in each village. They also try to
the time, I was just completing my last term as Filmmaker in Residence source of conflict or tension with which to hook the audience. identify solutions to the problems in a post-screening debate. According
with Kerry County Council. In my own practice, I had been making On the very first morning Hugh stressed the importance of to Kavita, thousands of people view these films each month. As part of
short creative films for a number of years. I also found that I was audience: “Who is your project for? How will it be transmitted? Why EsoDoc, Kavita worked with Amy Gabor from Living Lens (www.
gathering a lot of video footage over the years, without any strategy for should people watch it?”. According to Sabine, commissioners now livinglens.co.uk) to facilitate workshops in participatory video.
how I might transform this stack of tapes into a finished artwork or want film projects with online elements in order to engage an By the last session in Sicily in October, we had the option to pitch
film. In essence, I was documenting without knowing anything about audience who have already moved from TV to the internet. our projects to an international panel of experts including Lena
the art of documentary. One of the general themes of the entire programme, was that you Pasanen, the Chair of the European Documentary Network. The panel
I decided it was worth going through the fairly arduous application can’t expect the audience to come to you – you need to go to your were there to offer concrete advice and assistance on the future of the
process – even though I was intimidated by the 500 who had already audience. In today’s world this often means having an active online projects.
expressed interest on the website. My project was to make a film with presence. Florian Thalhofer gave an eclectic presentation called My We spent almost the entire week distilling what we had learned
Mná Mná, the lesbian choir in Cork. After a few weeks I was notified Beautiful Online World. He has developed a number of online film into a five minute presentation and two minute film trailer. Thanks to
that my application was accepted. I had to pay the fee – €1,200 – projects, which have had millions of hits. He developed a non-linear, the expert guidance of Sybille Kurz (www.pitching.de) I learned the
immediately (which did momentarily quench my excitement I have to rule-based system of storytelling called the Korsokow system. The importance of practice, practice, practice. Furthermore I was shocked
admit!). This fee covered all the tuition, food and accommodation – but software can be downloaded and used free of charge as long as the to learn that I had to add English subtitles to my trailer as people
excluded travel. Thankfully, I received a Travel Award from the Arts source is acknowledged (www.korsakow.com or www.thalhofer.com) couldn’t understand the Irish accents!
Council, which covered some of the costs. Filmmaker Katerina Cizek was also ready with lots of ideas on Through EsoDoc I made a short film called Happy Out which was
I remember arriving the first day to a breathtaking location in the how to use new media to develop projects and reach your audience. shown at the Corona Cork Film Festival 2008. I am now working with
North of Italy. I was glad I caught a glimpse of the Dolomite peaks on She was particularly keen that we use the tools already available Evelyn Quinlan the musical director of the Mná Mná choir, to further
that first day, because I soon found out that there really is no official through the internet such as blogging, social networking sites, wiki, develop this film project. At the time of writing we are looking for
free time in ESoDoc. The programme starts at 9am immediately after delicious (http://del.icio.us/katciz) and YouTube. She also talked about funding to expand the creative team and are exploring possibilities
breakfast. There are breaks for lunch and dinner, after which emerging trends and possibilities for social documentary filmmaking: with regard to broadcasting and distribution.
participants and tutors regroup to view and critique films until about ■ Gaming – simulating issues in the real world through interactive While the experience was overwhelming and very demanding at
11pm. It is fascinating, but also really intense from the beginning. games (http://worldwithoutoil.org) times, there was always great camaraderie in the group. If you are
The first week focused very much on developing our ideas; and ■ Mobile / locative – using mapping and locative media to tell a interested in social documentary and have something you want to say
exploring lots of different possibilities for documentary film making. story (http://www.traces-of-fire.org) I would thoroughly recommend the ESoDoc experience.
Throughout the entire programme there was a strong emphasis on ■ QR codes / 2D barcodes – using the mobile phone to scan a bar The closing date for this year’s ESoDoc 3 March 2009 – further
developing our own projects through individual and group tutorials. code that then brings you to the related internet site (www. information can be found at www.esodoc.eu.
We learned a lot from watching each other’s projects evolve over the semapedia.org) Lisa Fingleton
six months. ■ Immersive - developing an online experience that pulls you into Lisa Fingleton is an Artist/Film maker and a member of the Backwater Artist’s Group in Cork. Lisa
curated non-linear story. can be contacted on: email@example.com
The Visual Artists’ News Sheet January – February 2009 15
dLR Visual Arts Programme
Resources & Activity
dLR: dun Laoghaire /
An Artist in the Borough
Aoife desmond Wetland (Simultaneous presence of land and sea)
Alan Phelan Bald Finch Seamus Kennedy Lumens. Sandycove. dLR public Art programme.
DUN Laoghaire Rathdown County Council Arts photographer Noel Bowler who will undertake
Office was established in 1994 – and since that time ‘Islam in Ireland’, a contemporary look at one of the
has commissioned and developed an exciting range fastest growing religions in Ireland today. This new
of festivals, exhibitions and initiatives. Behind all of work is a fresh exploration and unprecedented look
the activities of DLR Arts is a belief in the value of at life inside the Islamic Cultural Centre of Ireland.
the Arts and their ability to improve quality of life. While in Dundrum, The Public
The aims of DLR Arts are twofold, to support artists Communications Group consisting of artists Brian
and to create opportunities for public participation Maguire, Brian O’Connor and Dominic Thorpe will
Gary Coyle. Lovely Water, Swim No 2449, 2/09/2008. C print edition of 5
in the Arts. Thus the Visual Arts Programme is undertake a project entitled Signatures. It will centre
I was born in Dun Laoghaire – and bar an eight year thinking “you’re an artist not a writer” and parked committed not just to exhibiting work but also to on engagement with individuals from various
long period spent in New York and London from the them in a drawer for a few years. Finally I showed commissioning new work from Visual Artists. cultural and ethnic backgrounds and would like to
The Concourse Installation Programme has challenge and question assumptions about people
late 1980s to 1990s, I have always lived here. When them to a friend, who encouraged me to bring them
been a highlight of DLR Visual Arts programme to who come here from other countries and the
I first returned, I rented various flats and studios in on further, which eventually resulted in me standing
date and invites artists to make work for a non- succeeding generations of those who have
Dublin, but never really used them as I was always in front of an audience of 100 people for a hour a
gallery local government context within the civic immigrated to Ireland. Portraiture and audio
out here. night for a week, projecting my photographs of Dun
space of Dun Laoghaire County Hall. Artists who recording will be used to make artwork, which will
It’s difficult for me at this stage to say what it is Laoghaire and telling stories about the town and my
have taken place in this programme include Sally be communicated through radio advertising and
exactly it is about the place that grips me. I do love relationship to it. And though I found (and still find)
Timmons, Fiona Mulholland, Linda Quinlan, Daniel bus shelter posters. These three projects have been
the feel of the town itself. It is not suburbia, it is a the whole business of performance immensely
De Chenu, Nicos Nicolaou and many others. A commissioned through Place and Identity, DLR’s
town in its own right with a bustle and an energy. I stressful, it is also exhilarating and liberating to face
catalogue and an education programme have Percent for Art Scheme.
like its shabby Victorian streets and squares – and down your worst fears. DLR Arts also supports Visual Arts through
accompanied each exhibition.
the fact it has been quite resistant to gentrification. I am also working on a percent for art their residency programme. In partnership with
In 2008 this programme saw a further
It’s an atmospheric place, something enhanced by commission for Dun Laoghaire Rathdown County Dun Laoghaire Harbour Company Julie Merriman
development with the Installation Programme
the fact that it is a seaside town. Council, for which I am doing a series of large being moved offsite to Blackrock Park where Visual is mid-way through a five-year residency mapping
Since the summer of 1999, I have swum more charcoal portraits of people from the town (I get to Artists Aoife Desmond, Mark Garry and Alan Phelan re-developments of Dun Laoghaire Harbour.
or less on a daily basis in the Forty Foot in Sandycove, choose the subjects) and also a series of large format were asked to respond to the environs of the park. Another visual art residency is offered on an annual
taking photos with a water proof camera while in photos of the area. I don’t see the point in doing a The Concourse Installation Programme (and basis in partnership with Airfield Trust and has
the sea and documenting anything of note that public commission, unless it pushes you in some Concourse Offsite) have provided an opportunity previously been awarded to Jennie Moran, Dominic
happens in diaries. The whole enterprise started off new direction, exploring something you wouldn’t for emerging and established artists to exhibit their Turner and Louise Meade.
as a spoof on performance art, but like with many normally do. To my surprise I’ve really enjoyed work while also offering opportunities for the The DLR Arts Education Programme offers
things it took on a life all of its own. And now I find making the portraits drawings, but have found the public to encounter contemporary art outside a opportunities for both school children and
myself tailoring my days to fit around swimming in photography rather difficult. I imagined it would gallery setting. Also in 2008 an Open Submission community groups led by a panel of artists to
the sea. This material – approximately 2,600 swims have been the reverse. Though I work in various Exhibition gave artists based in or originally from experience creating and viewing the visual arts.
– documented in 40 diaries, 7,500 photographs media, the thread that runs through my work is a Dun Laoghaire-Rathdown an opportunity to exhibit Meanwhile continued investment in the
(plus various sundry items) is the basis for my next fascination with the everyday and the commonplace. their work within the Concourse in Dun Laoghaire County Collection and Public Art Collection also
show At Sea, a spoken word performance which will I have always admired artists who have made work County Hall. offer opportunities for artists to create and exhibit
be in the Project from the 2 – 7 February 2009. out of their everyday lives and environment and I In 2009 the Concourse will host an exhibition work and for the public to experience the visual arts
It follows on from an earlier performance that am attempting to do the same. of new work by Dun Laoghaire based artist Gary in a variety of local non-gallery settings.
I did in The Project in 2006, called Death in Dun Coyle. The exhibition will feature a series of large- DLR Arts will continue to provide opportunities
scale portrait drawings in charcoal of people from for visual artists to work and exhibit in Dun
Laoghaire. For a long time I had been photographing
(1) At Sea, Commissioned by the Arts Council & The Project, Gary Dun Laoghaire and will also continue to examine Laoghaire Rathdown and to create opportunities for
my area, but making very little headway – which Coyles spoken-word performance, previews on Monday 2 Feburary,
his hometown through the medium of the citizens of and visitors to the County to
was very frustrating. But it was only when out of Opens on Tuesday 3 February and will run nightly until Saturday 7
February . At Sea will be accompanied by a 130 page full colour book, photography. experience high quality Visual Arts programming.
desperation I began to write stories to accompany published by the Kevin Kavanagh Gallery; designed by Atelier;
featuring essays by Maeve Connolly, Mia-lerm Hayes and Gary Coyle; The west of the County will also be well served Carolyn Brown,
the photographs, did they started to work. I then got
along with an introductory text introduction by Patrick T. Murphy. by two exhibitions; with the first by emerging Senior Arts Administrator / Visual Arts
kind of scared by the whole business of writing –
16 The Visual Artists’ News Sheet January – February 2009
A Creative College up for Artists
'Open door' installation view 2008. exhibition organised by VAP(Visual 'Open door' installation view 2008. exhibition organised by VAP(Visual
Arts Practices) year 2 students. Photo: Cora Cummins. Arts Practices) year 2 students. Photo: Cora Cummins.
Julie Merriman – working on the dLR residency programme
DUN Laoghaire-Rathdown has always been home programme would prove challenging and
to artists. Maybe it is the sea, maybe it is its closeness controversial. There was a sense at times that we
to the city, or the fact that it has a college of art were walking a tight-rope. Icebreakers, as Sarah
(IADT), and maybe it is because it was always Searson so well understood, take time and require
considered to be the most pluralist, most liberal, of mediation. And she moved things on with flair. Last
communities. year the concourse programme went off-site to
In more recent times, however, artists have Blackrock Park, curated by Carolyn Brown and
found it hard to settle here – with house prices Clare Power and with artists Mark Garry, Aoife
exorbitant and rents expensive. To an extent, Desmond and Alan Phelan. This is the way a
'Open door' installation view 2008. exhibition organised by VAP(Visual 'Open door' installation view 2008. exhibition organised by VAP(Visual
Arts Practices) year 2 students. Photo: Cora Cummins. Arts Practices) year 2 students. Photo: Cora Cummins.
therefore, the artists that live in Dun Laoghaire- programme like this might best evolve –
Rathdown include the more established artists uncontained and mobile.
THE School of Creative Arts can trace its origins Students can continue their art education on alongside a transient community of students – Last week, I was back in Dun Laoghaire-
back to 1970, when it was based in the centre of Dun the MA in Visual Arts Practice or MAvis (www. usually tucked away learning in Kill Avenue’s Rathdown Arts Office, to sit on its public art
Laoghaire town. In 1997 it was incorporated into mavis.ie) as it has become known. Headed by institution. advisory group. It is impressive to see how they
the Dun Laoghaire Institute of Art, Design and Amanda Ralph, the course encompasses pathways A second feature of the county is that it still have focused on public art with the highly capable
Technology (IADT) – a new autonomous higher in art-making, criticism and curating. IADT is also has no designated visual arts spaces. There is of Ciara King, as dedicated specialist. A thematic
education institution within the Institutes of part of GradCAM (Graduate School of Creative Arts course the Concourse space at the heart of the approach focusing on the complex and elusive
Technology sector. In the last ten years, the college’s and Media) a new fourth-level collaborative County hall – used for exhibition, but it is really subject of 'Place and Identity' sees new work
student body has grown from 450 to over 1,650 full- initiative of national and all-island institutions more of a civic space. In Airfield House – an commissioned from Gary Coyle; Patricia McKenna,
time students with 800 part-time students. The including the Dublin Institute of Technology (www. Educational Trust established in Dundrum – there Noel Bowler, Brian McGuire, Dominic Thorpe and
Visual Arts programme has had many successful dit.ie), the National College of Art & Design (www. are print studios and darkroom facilities. In a few of Brian O Connor. The programme is exciting because
graduates – such as Eithne Jordan, Graham Knuttel, ncad.ie), the University of Ulster (www.ulster.ac.uk), the libraries and public offices there are small it places artists’ practice at the centre, while still
Fergus Martin, Fergus Feehily, Mark Garry, Gavin and the Institute of Art, Design and Technology, community exhibition spaces. When I was there as supporting them to engage with place and people
Murphy and more recently Nina Cannell – to name Dun Laoghaire (www.iadt.ie). arts officer, in the mid to late 1990s, there was in a way that is interesting for them. And, critical
but a few. While the developing campus of IADT is not always the demand for studio space and the reflection, mediation and dissemination of thinking
The teaching team in the Visual Art Practices quite in the heart of Dun Laoghaire town, the proposal for some sort of municipal gallery which around public art are being built in.
BA (Hons) is made up of practising artists and students of VAP have worked on many projects in remained on the backburner. We found some At this meeting, I also heard of new plans for
research-active academics, which helps to keep the the town – for example curating works from the temporary studio spaces for artists, with the help of an Arts and Cultural centre as part of the new
programme vibrant and in touch with a changing collection at IMMA, which were displayed in the Parks Department – but something more solid library building at Moran Park, Dun Laoghaire. A
art world. The programme is interdisciplinary. This various shop fronts and locations around the town. was always an ambition. facility that would support workspaces for artists
flexibility places various practices beside one Last year a group of students teamed up with the To an extent then, the development and and a designated exhibition space as well as
another, reflecting the situation in the art world. writer in residence project and exhibited in the investment in visual artists arose out of these considering novel approaches to combining
The creative pathways provided embrace drawing, pavilion theatre as part of the Poetry Ireland Festival. conditions – a progressive county, up for artists, but community interests. With studio spaces clearly on
painting, video, sculpture, printmaking, IADT have been regular exhibitors at the Concourse without any specialist facilities. We had to be the agenda, Kenneth Redmond the current Arts
photography, sound, installation, performance and space in the town hall. inventive and create opportunities for artists and Officer, speaks of funding artists’ bursaries and
other related techniques.The programme links An increasing phenomena is that of IADT support their work utilising oddball places and in consolidating partnerships. And the students from
critical theory and studio practice, along with a graduates setting up artists groups such as Moxie front of sometimes confused though often Kill Avenue are at last breaking free, and seek –
strong history of visiting lecturers that cross over (moxiedublin.com), Sodium (sodium.ie), FAF ‘discerning’, audiences. There was the need also to with local authority support – occupation of empty
the disciplines of philosophy, science, criticality and (fafartists.com), Mongrel (mongrelfoundation.com) connect with others, form partnerships and shops in Dun Laoghaire for collective style can-do
practising artists. We encourage students to develop and The Market Studios (themarketstudios. consolidate possibilities – various artists’ residency curation programmes.
a comprehensive body of work, which can be tested wordpress.com). Many students have been successful programmes were initiated out of partnerships Perhaps, having good artists, but no real arts
against the ‘real world’ situations of contemporary in gaining gallery representation by galleries such with schools, industries, community groups and spaces, forced all of us who worked there over the
art practice. The programme is also offered on a as the Kerlin, Mothers Tank Station and The Green the IADT. One particularly excellent residency, years to think a bit outside of the box, sometimes
flexible basis by the same staff, in the evenings, over on Red. As the artist Michael Craig Martin has stated which is on-going and initiated by Sarah Searson misfiring, sometimes frustrated that artists’ facilities
4 years, through the ACCS (Accumulation of Credits (1) “the most important thing about art schools is while she was Arts Officer (2000 06), sees the were not forthcoming, and, sometimes perhaps,
and Certification of Subjects) system to facilitate the creation of a sympathetic ambience, in which County Council and Dun Laoghaire Harbour starting things that helped consolidate the ingrained
non-traditional learners, mature students and part- people feel comfortable and free to act according to Company supporting Julie Merriman with a five philosophy of ‘up for artists’. Dun Laoghaire the
time study option. their own instincts ... basically you are trying to set year residency focusing on the Carlisle Pier – the Victorian town with its great harbour, but strange
Recent developments include ‘The Electric up relationships between artists, to set things up disused ferry terminal awaiting demolition. main street that somehow finds it hard to ‘take off’
Fireside’ a weekly discursive gathering chaired by where something might happen”. These types of The Concourse Programme, initiated for the and Dundrum, the once small village to the West,
Maeve Connolly and Saoirse Higgins, along with a relationships formed in college are priceless - when County Hall in 1997, focused on installation, now consumed by shopping developments and
series of rolling fourth year exhibitions, in which students meet and work with their peers, form primarily because it was nearly impossible to hang commercial takeovers, experiences the opposite. As
students hang a professional show in two days, collectives, create work, put on events etc. IADT work on its walls. Starting with Abigail O Brien and a county, it remains ripe with potential and has
followed by a critique with their peers and tutor especially values creating this type of stimulating Mary Kelly’s visceral and powerful video installation much to offer artists. And now with deflation and
Jonathan Carroll from the Project Arts Centre. Third and fertile environment for its students. How to Butterfly a Leg of Lamb and followed by Nicos hopefully cheaper rents artists might look again to
year students have the opportunity to work on the Nicolau and Julie Merriman’s Self Feed – an expansive relocating here.
(1) Modern Painters, September 2007.
CREATE-Inter college placement programme with installation of Wavin sewage piping and cardboard Cliodhna Shaffrey
DIT, NCAD, Tisch School NYU. Cora Cummins, Lecturer IADT.
tubing that literally hijacked the space, this
The Visual Artists’ News Sheet January – February 2009 17
FOCuS – SPART
20 Revolution (a revolutionary workout), Le Lieu, Quebec City 2006. Nathan Crothers at the opening ceremony of the SPART Action Winter Game 2008, Belfast.
Play is Older than Culture
interested in making works that would not so much represent these
things, but rather embody them in everyday situations.
From my perspective, the great granddaddy of SPART was the pre-
Dadaist Arthur Craven who in 1916 challenged then heavyweight-
JuSTIN MCKeOWN dISCuSSeS THe CONCePT OF SPART ANd OTHeR SPORT / ART HyBRId PRACTICeS.
boxing champion of the world, Jack Johnston, to a fight. While this is
IN 2001 I had an epiphany, that just as the 20th century demanded those things singled out as art, and, thereby, the superiority of the form his most overt sport / art hybrid work, a quick glance at his biography
new forms of art, so too does the 21 century demand new forms of
of life which celebrates them, and the social group which is implicated. reveals a larger than life character who understood that one’s existence
leisure. To this end I proposed SPART: the ultimate hybridisation of This boils down to an assertion that bourgeois society, and the ruling and appearance in the world could be composed as a work of art in
sport and art, and therefore the most evolved form of leisure on the class within it, is somehow committed to a superior form of knowledge”. itself. The realisation of such a thing necessarily embodies all the
planet. In 2001, when I first articulated the concept of SPART, I was (2)
qualities of game play. Craven was last seen disappearing off the coast
virtually on my own in my enthusiasm for the development of such a Therefore the idea that art as a vehicle of superior knowledge is of Mexico in a rowing boat in November 1918. He was presumed dead,
practice. And though my concept of SPART has grown a support nothing more than a particular type of play enjoyed by a particular but a body was never found.
network of collaborators in Europe, Canada and America, and even section of society, is not something that sits easy in the minds of many Since Craven’s first sport / art experiment others have been thin
earned me a solo show in the Ludwig Museum in Budapest, these of those involved in the production and consumption of contemporary on the ground. However in recent years this has been changing. Since
SPART practices have remained marginal. Yet today, my articulation of art. Yet perhaps the mistake made by those who are perturbed by the the announcement of the 2012 London Olympics and the shifts to
the concept of SPART seems to have had some prescience since sport / idea of art as play is that they mistakenly believe that their concept of funding this has caused, various artists all over the UK have been
art hybrid practices are becoming evermore significant as an area of art is being undervalued, rather than realising that they themselves dabbling in the hybridisation of sport and art. Indeed the UK
cultural experimentation. I was therefore pleased when Visual Artists may be undervaluing or misunderstanding the significance of play. government’s need for a cultural Olympiad has been an economic
Ireland invited me to write this article on SPART and other related For as Johan Huizinga put it “play is older than culture, for culture, driving force in these developments. While Martin Creed has flown
practices for this edition as it offers me a vehicle through which to however inadequately defined, always presupposes human society, the SPART flag for Brit Art with his minimally titled Work No 850,
clarify some key aspects of my thinking on this subject. and animals have not waited for man to teach them their playing” (3) which saw runners gracing the floor of Tate Britain (4), perhaps the
What the reader must first understand is that my concept of Thus it was with a head full of these and related thoughts I found most notable events to spring forth as a direct result of the Olympics
SPART is very particular; indeed my understanding of art is quite myself in London in 2001 watching the performance art festival SPAN are the large artist’s sports days organised by the Grunts for the Arts
particular. Since I first began making art, I have been concerned with 2. One morning on my way to the festival I was having a coffee in a Campaign in protest at the affects of the Olympics on cultural funding
the simple question: given the world we live in what is the point of street flower market with a friend. While sitting with her I watched a . In a more banal way the term SPART seems to be coming into more
making art? This concern necessarily developed into an understanding kid on a skateboard weaving his way through the crowds of people. As common usage. A quick google search reveals a SPART club ran by
that art is an open system of knowledge whose basis is material. a one time skateboarder I remembered the sensation of riding across Lincolnshire council as an after schools club for kids. The term also
Thought of in this way, art provides us with a material based system different surfaces, of choosing which bits of the pavement and road seems to have had some currency in Australia, where rather a lot of
for exploring and reasoning the conditions of the world around us. By were best to ride on, essentially pitting the materiality of myself and money seems to be spent presenting annual SPART awards (6).
extension of this logic, artworks are not so much expressions of view the skateboard against the materiality of the city, not in opposition but Even in Belfast SPART seems to be catching on. The activities of
but rather crystallisations of moments of material thinking. This way in a kind of flowing harmony. myself and fellow SPART Action Group; Meabh McDonnell, Gerard
of thinking about art necessarily led me to work with time-based In recalling this I also recalled my love of martial arts and the McKeown, Nathan Crothers, Paul Stapleton, Caroline Pugh, James
mediums such as performance, video, installation and sound. sensation of the flow of fighting in which conscious thought disappears Black and others aside, other completely unrelated groups have been
Simultaneously I was also interested in art historic precedents for this and all is left is the materiality of the body meeting the materiality of producing their own SPART-style works. These include a wrestling
particular view of art, which could be found in the activities of another. The kid on the board was poetry in motion. Then, he fell off a match organised by the Lawrence St Workshops at the Giants Ring
movements such as Dada, Surrealism, Lettrism, Situationism, Fluxus, curb and landed on his ass. Our eyes met and he looked back at me titled The Fling in the Ring (7) and the Tit-tat Disco Olympics recently
Dutch Provo, Punk et al, who seemed to be primarily concerned with with embarrassment. There it was lying naked for me to see, the whole hosted by Catalyst Arts (8). Yet even though SPART seems to be gaining
redressing the divisions between art and life in one way or another. poverty and poetry of early 21 century life, the Hollywood ‘cool’ of
ground, we within the SPART Action Group are choosing this moment
Something important in my readings of the activities of these the Jackass generation was lying at the bottom of a curb in London. Yet to officially announce a SPART Strike within Northern Ireland,
movements was the significance of play as a creative endeavour. Many this kids hobby and his desire to pursue a particular type of glamour beginning in January 2009. This is in protest at the cuts to funding
of the aforementioned movements were of a utopian current, aiming through it was no different than the desire expressed by both artists caused by the 2012 London Olympics. However, don’t expect SPART to
for a society in which man would be free in which to endlessly create. and sportsmen from all walks of life. disappear, rather await the application of our corkscrew logic to the
This is as evident in the demands of Dadaist Richard Huelsenbeck for In this moment I realised the underlying commonalities between idea and context of the Strike. It seems we already have the support of
“the introduction of progressive unemployment through the both fields of endeavour: the conditions of the game, the drive for these people (http://uk.youtube.com/watch?v=paovxoOmDdY )
comprehensive mechanisation of every field of activity” (1)
to the success and the risk of failure. The ruthlessness of the pursuit of ones Why not go on strike yourself?
playground style city envisioned by the Situationist Constant’s New desires, the idea of fair play, the assumption of abstract rules as guiding Justin McKeown
Babylon architecture project. principles governing the interrelation of form and content. Not to
Yet the concept of art as a form of play does not sit well with mention the underlying way in which both sporting and artistic Notes
1) R. Huelsenbeck cited by S.Home in The Assault on Culture, AK Press, p5,
many who treat art as a serious business. The reasons for this are pursuits explore the materiality of being, albeit through quite different 2) S. Home, The Assault on Culture, p43,
3) J. Huizinga, Homo Ludens, Paladin Press, p19,
varied but perhaps at the root of all of them is a problem summed up strategies. Therefore, I first conceived of SPART as a category or
succinctly by Stewart Home when he commented: “Rather than creative endeavour that would embody these conditions. In doing this 5) http://gruntsforthearts.wordpress.com
having universal validity, art is a process that occurs within bourgeois I wasn’t seeking to combine sport and art, rather I was seeking to 7) http://uk.youtube.com/watch?v=OMi1ffxAMu4
society, one which leads to an irrational reverence for activities which embody, materialise and explore the emotional and material 8) http://www.catalystarts.org.uk/index.php?mact=Calendar,cntnt01,default,0&cntnt01even
suit bourgeois needs. This process posits the objective superiority of commonality that underpins both. As I begun doing this I was n_id=15&cntnt01returnid=73
The Visual Artists’ News Sheet January – February 2009 19
HOW IS IT MAde?
using photographs of organic substances to represent the tumours and
impose them onto the drawings – a technique that she had previously
used on other animation pieces. Using Photoshop, Flash, QuickTime
and Final Cut Pro we developed a 45 second seamlessly looped
animation. It was great to team up with and avail of Vera’s expertise.
She has great technical skills, which meant we were able to make an
animation in a short amount of time (4).
I worked on the book simultaneously. I initially tried to include
deboss text and a concertina fold in the one book using an old
typewriter without a ribbon. Following numerous unsuccessful
attempts I then contacted various commercial printers, but costs
became prohibitive. Aware of the limitations of modern digital
printing methods for debossing, I attended a second workshop at the
National Print Museum in letterpress printing. This involved the use of
metal type composed by hand using a compositing stick. The
completed text was tightly bound together, mounted in a press and
printed using the original machines in the museum. Hand compositing
was the original technique used predominantly in printing up until
the end of the 19th century.
A volunteer from the museum, retired typesetter, Con Devlin,
facilitated the workshop. I explained my idea to him using a digitally
printed draft of the book. He had never printed with blind deboss text
before and was intrigued by the challenge. He agreed to work with me
and so we spent the following two weeks setting the type, working on
the layout and printing the book. Con suggested using Rockwell
typeface, as it was closest to the old typewriter font. The book was
Kate Minnock, Karkinoma, Installation shot, front of thisisnotashop as LuAS passes
made using five frames printed onto separate sheets of paper. For the
KATe MINNOCK TALKS ABOuT THe CReATION OF HeR ReCeNT exHIBITION ‘KARKINOMA’ AT
purpose of producing a blind deboss, as required, we printed the final
frames without the use of ink and with slight additional pressure from
the press. Unexpectedly the deliberate, laborious yet meditative
process of letterpress printing became an intrinsic element within the
THISISNOTASHOP (2 – 12 OCTOBeR 2008). work.
My recent practice has been primarily research and collaborative Due to the sensitive nature of the deboss and as I was using a
based. My work spans site-specific installation, print and drawing. The concertina fold, I was unable to use any industrial machinery to
primary focus of my work has been radiation and its effect on specific assemble the pages of the book. Finished by hand, the need for such
human and environmental systems. accuracy reduced my initial ten editions to three. I had already
Earlier this year, I made a body of work for a two-person show contacted Library Bindings in Santry who offered to bind a limited
titled ‘Cellscape’, at Wicklow County Buildings. Comprising print- edition, with the title ‘Karkinoma’ debossed on a hardback cover. The
based studies of malignant cells this work was a response to preliminary cost of producing the book was escalating rapidly at this point so I was
research into the possible effects of low-level radiation on cell growth. delighted when they offered to hand-bind three copies in exchange for
Over the summer, I worked on a site-specific commission for ‘about a piece of my work. The bartering system is still alive to some small
100 experiments’, curated by Eilís Lavelle. Following a series of extent!
discussions about my practice, I decided to move away from the In tandem with realising my two concepts, I was considering the
aesthetics of printmaking, which had been dominating my work, and gallery space and how I would install the work. I was familiar with the
to allow my research and concept to arrive to the fore. This saw me use space and wanted to create contrasting viewing experiences while
Kate Minnock, Karkinoma, (detail), blind deboss artists book, 21cm x 130cm.
elements of print and drawing as a conceptual tool for the first time. utilising the glass shop front. With this in mind the animation was
illustration in my work, my aim was to juxtapose art and scientific
Through dialogue and self-directed research, I decided that my focus back projected onto one window of the gallery. This could be viewed
illustration by using animation.
for this project would be the pollution of farmland with Chromium 6, from the LUAS which passed by the gallery frequently, by pedestrians
Earlier in the year I had attended a bookmaking workshop at the
a carcinogenic toxin, by a local saw mill. I felt it was important to give outside and from within the gallery space, as mostly a communal
National Print Museum. I was hopeful that this new medium would
weight to the final aesthetic of this piece without compromising its experience. The viewer, on the other hand, was encouraged to view the
provide exciting possibilities for combining print and text based work.
context. book while seated at a table. My hope was to create a solitary and
I began to look at various options with bookbinding and layouts in the
At this time I was approached by Aideen Darcy to exhibit at intimate experience of engaging with this conceptual piece. I displayed
studio, making rough drafts from imagery relating to karkinoma. I
thisisnotashop. As this was my first solo exhibition in a contemporary the book on a purpose made table so as to accommodate the full
finally rested on the idea of making a solely text-based book. While I
gallery space in Dublin, I was eager to expand and develop my practice. unfolded length of the timeline. This gave the gallery an overall
had used text before, this approach felt like quite a brave and
I began to reflect and re-evaluate the previous works I had made. I minimal feel, which became an important element within the
challenging step forward for me. I decided the book would take on the
wanted to maintain a research-based practice that incorporated issues exhibition.
format of a timeline that would highlight significant events relating to
relating to the environment and cancer. I decided to rent a project On reflection I think ‘Karkinoma’ was a challenging and difficult
Roffo’s research. The final layout and content of the book was quite
studio for 10 weeks to focus on the exhibition. exhibition for me. As I had never made a book or an animation before
simple but required an effective yet minimal approach in its fabrication.
The starting point for ‘Karkinoma’ came from a collection of it required different layers of collaboration. It was necessary to
My intention was to print the book as a blind deboss. Without the use
scientific illustrations. These exquisitely detailed drawings of sprawling convince those whose help I sought that I was serious about my work
of ink the text would appear buried in the paper, an allusion to the
tumours in rats accompanied the work of Argentinean scientist, Angel and that my idea was valid. Asking people to work on a project you
suppressive nature of political and economic forces within science (3).
H Roffo. His pioneering research into links between environmental have devised requires you to have confidence and faith in yourself and
Finished with a concertina fold, the book could be unfolded to reveal
workplace hazards and cancer was predominantly ignored by your practice, something that doesn’t always come naturally to me. I
in full the details of the timeline.
mainstream science. This exhibition sought to acknowledge the was fortunate enough to have regular studio visits from another
As I had never made an animation or a book before the only way
suppression of this research and comment upon the sublime in the practising artist and a curator, both of whom I had previously worked
to enable my project to come to fruition was through collaboration. I
grotesque. The title refers to the term first used by the Greek physician with. They encouraged me to take risks and develop what I hope is a
approached Vera Klute to help with the technical aspects of producing
Hippocrates 2,500 years ago to depict a tumour as a “muddled irritable more dynamic practice. Working with technical assistance was a key
an animation. Familiar with her work, I explained my idea to develop
cavity with spindly legs flaring out of control in all directions”. factor in realising my aim for this project in quite a restricted time
a drawing based animation using the scientific illustrations from
Fascinated with its evil animal-like appearance, he called it karkinoma, frame. Animation and book making are two complementary ways of
Roffo’s research. From my initial sketches of the illustrations I had a
cancer, the Greek word for crab. working which I would like to return to in the future.
clear idea of how I wanted the drawings to appear. I worked on the
Presented at an international congress on cancer in Belgium in Kate Minnock
final sketches with another artist, Damien Flood. Vera and I then used
1936 (1), the drawings accompanying Roffo’s paper evoke a disquieting
the drawings together with photographs as the basis for a stop-gap Notes
sense of beauty. I wanted to translate these scientific illustrations into
animation. Titled No. 2 / Fig. 6 it shows a rat with tumours developing 1. The Second International Congress of Scientific and Social Campaign Against Cancer, 1936.
an animation. My aim was to call into question our accepted ideas of 2. Strange and Charmed, Science and the Contemporary Visual Arts, Sian ede, Calouste
and receding. In our first discussion about how we might be able to Gulbenkian Foundation, 2000.
beauty. I wanted to explore whether images like the pleasing 3. The Secret History of the War on Cancer, devra davis, 2007
realise my idea it became clear that it was important to bring an 4. To view the animation click on youtube.com/KateMinnock
symmetries or harmonious colours that appear in the molecular
organic and fluent feel to the piece. While the animated rat should
shapes of a malignant cancer cell or animated cancerous tumours
appear delicate, similar to the original illustrations, Vera recommended
could be considered a thing of beauty (2). Wary of using scientific
The Visual Artists’ News Sheet January – February 2009 23
emptying the Body
SÉAMuS duNBAR PROFILeS THe BOdy/LANdSCAPe WORKSHOP HeLd ON INIS OIRR, 14 – 20 SePT 2008.
Séamus dunbar negotiating the landscape, Inis Oirr. day report Friday Sept 19. Siobhán Clancy, Niamh Geoghegan and Christopher Mahon, working at manipulations
THE third Body/Landscape workshop to be held in Ireland took place without prejudice is becoming of increasing interest to the scientific
on Inis Oirr last September. An international cast of participants, many community and van de Ven was previously invited to participate in an
from a visual arts background, used the exhilarating rocky landscape expedition to determine how a Dutch crew survived being shipwrecked
as a medium to explore the relationship between body and environment on the remote island of Nova Zembla in the Arctic Ocean in the late
. In addition to the specific training and investigations conducted sixteenth century. Unfortunately this potentially fascinating project
under the direction of Dutch choreographer and dancer Frank van de never reached fruition – but is nonetheless evidence of the regard for
Ven, the workshop also involved the development of individual the value of artistic insight and experience in its capacity to re-examine
personal projects, which were presented in the final days of the event. the relationship between action and the material world. Other
Much of the work, by its nature, took place out of doors. Amazingly examples would include the play Mnemonic by the company Complicité
what had been unrelentingly wet weather obliged us with a temporary (www.complicite.org) which dealt with the impact of the discovery in
ceasefire – this greatly increased the enjoyment and benefit of the 1991 of the so called ‘Iceman’ in the Ötztaler Alps and closer to home,
activities, particularly on a memorable day trip to Inis Meáin. And we the ongoing investigations of the Umha Aois experimental bronze
remained blissfully unaware as the world slid into financial turmoil – casting project. (www.umha-aois.com)
being attuned instead to the journey of the sun from its rising over the It took several years for van de Ven and other European colleagues
cliffs of Moher, to its setting over Inis Meáin, governing the vicissitudes to integrate their Japanese experiences into a western movement
of island life as it has done for four millennia. vocabulary. A most welcome ally was found in the work of French
After the workshop, I spoke at length to Frank van de Ven about philosophers Deleuze and Guattari, in particular their book A Thousand
the practical and philosophical basis of the ‘Body Weather’ system and Plateaus (4). In particular in the chapter How to make yourself a body
its application to performance, visual arts, and life in general. He without organs, he found strong analogies with the notion of body
explained that the key to understanding the concept is the metaphorical weather, as the text defined the body as being multi-centred and non-
use of the term ‘weather’ – both in its meteorological sense of climate; hierarchical in terms of its functions or experiences.
but also as a milieu; or an environment; or ecosystem – and by This prompted an exploratory project, which occupied van de
extension any set of prevailing conditions including social and cultural Ven for several years, which comprised of a dialogue between a
contexts. Weather is simultaneously all-encompassing and specific; a number of people from the worlds of dance and theatre with
universal system and a local phenomenon. Likewise the body is a philosophers in order to translate these ideas into concrete strategies
complex system, but with specific possibilities being manifested in any A still moment for the group. that could be experienced in real and physical ways – in bodies,
given part at any given time. Van de Ven spoke of “bodies as weather” Moreover, this training is not about a style of movement or moving in the studio and beyond. The project resulted in numerous
or “bodies having weather and therefore, because the body is constantly technique in itself – but more of a tool that can be applied to many performances, actions and interventions – such as invading discos
changing, an awareness of the body should acknowledge this state of types of creative activity. There is a focus on an ‘emptying out’ of with a small group of people and trying to influence and ‘bend’ the
flux – leading directly into ontological questions about the nature of intention – in order to simply be; or to investigate without expectations atmosphere; to exploring notions of territorialisation and
being. and preconceptions. It is emptying out in order to prepare the ground de-territorialisation; or wandering aimlessly for hours through a city
Body/Landscape, then, may be simply defined as body weather so that some really new and different experience can come in. There is landscape reminiscent of the Derivé of Situationist fame.
research in a real and tangible environment. Much movement work is also an aesthetic to the empty body itself. “The empty body can be The Aran Islands had long fascinated van de Ven as a result of his
developed in the relatively neutral space of the dance studio – so to filled with anything. And the empty body itself is beautiful to perceive, having seen the film Man of Aran (1934. Dir. Robert J Flaherty) many
work in an outdoor space adds another rich layer of possibility to the witness and to be with – because there is a primordial quality to it. The years ago. The grainy images of rugged landscape and the direct
enquiry. It places the body very definitely in its wider surroundings, empty body is not shaped by life, age, gender, culture, history. Its confrontation with the sea lingered in his mind – so in many ways
with the skin perceived as a dividing membrane – and a thin one at emptiness invites us to project onto it – and that is one example of how conducting a Body/Landscape workshop here was the realisation of a
that – not a fixed border, but one which is permeable and open it can be applied to performance. If you can be really empty, you can be dream.
allowing some things to pass through. This understanding developed really filled with something new – or filled in a different way – and also On Inis Orr the participants in Body / Landscape 2009 experienced
during van de Ven’s decade of training with Min Tanaka in Japan was to go beyond the obvious, the well known or what you already know an extraordinary sense of both distance and proximity. The mainland
further refined on his return through his continuing collaboration in performance. The empty body can then be anybody; can become was very near, very visible, yet one really had the sense of being on an
with Czech artist Miloš Sejn on the Bohemiae Rosa project. (www. anybody; can become another body – and so it creates space for island. And despite it being such a small island, we only explored a
bohemiaerosa.org) transformation. And if it can indeed become another body then it limited part of it. The week yielded up great richness and diversity. The
Body Weather training is an enquiry on many levels. It probes the questions or opens up the relationship between spectator and personal projects conducted by the participants variously invoked the
relationship between body and world; between parts of bodies and performer – so that the audience could have another entrance into a elemental forces of rock and sea; reinterpreted old places of worship
between the body and other bodies. It observes the relationship performance. If that body can be anybody on stage – and even if it is a and recalled now vanished practice of burning seaweed for kelp –
between body and mind – or between body and self and one’s own 60 year old male on stage – then you can still have a direct or a gut when the islanders tended their kilns through the long night. Indeed,
notion of one’s self. The training is also by its essence a group activity. connection even if you’re a 20 year old woman.” (2) we witnessed the ‘Hag of Beara’ leading a midnight pilgrimage to
Van de Ven pointed out that the Japanese word for human being or The visual arts are also open to an application of this approach – rekindle the old kelp burning flames, and the illuminated moon rising
person, the pictogram ‘Ningen’, is made up of two parts – almost like particularly sculpture, which is of its nature a very physical and tactile and coming ashore from the dark waters of the harbour.
two bodies leaning towards one another. Typically in body weather activity. The practice of drawing on to a sheet of paper held against the Seamus Dunbar
training one works for a bit; and then tries to communicate what one body has previously been described by Fergus Byrne (3) in these pages, Body/Landscape would like to acknowledge the support of Áras Éanna on Inis Oirr. For
has experienced – while acknowledging that not everything can or in addition van de Ven posits the possibilities of focusing more on the information on Body / Landscape Ireland 2009 email firstname.lastname@example.org More
information about Body Weather at http://bodyweatheramsterdam.blogspot.com
should be captured in words. This effort deepens the understanding of body that sculpts rather than on the outcome of the activity. The
one’s own and others’ experience. It is only what you recognise in other mechanisms to achieve this might include working ‘blind’ or even
1) Séamus dunbar, Rosie O’Regan, Hilary Williams, Siobhán Clancy, Christopher Mahon, Kateřina
Bilejova, Niamh Geoghegan, Marco Regueiro, Jason O’Neill, Lucy Nooren, Anne Genevieve
people that you can then find in yourself – and vice versa. So while you while naked. And the purpose of this would be to achieve an emptying Hanway, Tian Rotteveel.
can work and make a certain amount of progress on your own, out with the ultimate aim of returning to ones more regular practice
2) Frank van de Ven, quoted from an interview conducted with the writer.
3) Fergus Byrne. Body Weathers / Body Apparatus. The Visual Artists News Sheet. March / April
working with colleagues and them being a mirror to your work is awake to new possibilities and with a new level of awareness. 2007.
really crucial. This capacity to experience conditions as one finds them and
4) deleuze, Giles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia.
university of Minnesota Press 1987.
The Visual Artists’ News Sheet January – February 2009 25
A different Frame
theory as a basis for institutional critique. Applying the theme of
anthropophagy, Frazer pronounced appropriation as a form of
cannibalism. The term was coined by critic Oswald de Andrade,
referring to the mixed cultural origins of Brazil and how culture and
ANNA COLFORd RePORTS ON ‘MuSeuM 21; INSTITuTION IdeAS PRACTICe’ – A CONFeReNCe ON hence artistic practice is built by a cannibalistic ingestion of the other
MuSeuMS ANd GALLeRIeS HeLd AT IMMA (12 – 13 NOVeMBeR 2008). (1)
. More recently she has been engaged with structures of ambivalence,
which from a psychoanalytical position means opposition in relation
to one and the same object, for instance love / hate. The conjunction of
those two opposing affects is for Frazer the locus of institutional
In a polished presentation, Carey Young outlined a series of her
projects comparing the institutions of art with the institutions of
business and law, which according to Young, seem to have fallen
outside the artistic interpretation of the word “institution”. The art
world, she claims, has a lack of insight into the business world.
Capitalism, on the other hand, has tended to fetishise creativity using
it as a driver of growth. Her work, well documented for those who wish
to investigate more closely, is performative, often elaborate in
conception involving audience participation, which can last beyond
the time frame of the exhibition, as in Donor Card. In this piece the
artist disseminated 500 free, signed donor cards in the gallery, which
only took on the legal status of an artwork when signed by the viewer
and which will retain their status only for as long as the artist or the
viewer remain alive. The qualities of absurdity and humour are
evident in the work and she cited Deleuze’s concept of pleasure as a
point of reference.
Closing discussion; Andrea Fraser, Susan Pearce, Kevin Atherton Carey young, Okwui enwezor and enrique Juncosa. Photography by Richard Gilligan, images courtesy of IMMA.
The keynote speaker of the afternoon session was curator and
MUSEUM 21 is the fourth in a series of biannual international a move away from the traditional format of museum as public domain
writer Okwui Enwezor. Though familiar with his writings and his
symposia hosted by IMMA, aimed at investigating new perspectives toward a concept of commons, that which is belonging to all of us,
curatorial enterprises, I had not heard Enwezor speak before. During
on the role and function of public galleries and museums in the 21st which even the museum cannot own.
the course of the day he made valuable contributions to the open
century by exploring their key challenges, frictions and possibilities. Susan Pearce, a sociologist and a specialist in the interpretation of
discussions, so I was slightly disappointed at the content of his
Previous symposia include ‘To Have and to Hold’, which addressed material culture, seemed at odds with current modes of thinking
prepared talk, which in fairness to him, did as its title, Politics of the
collecting policies (2002); ‘Curating Now’, which looked at international around collecting within the context of art museums. Her entertaining
Spectacle: The 7th Gwangju Biennale and the Asian Century, suggested it
curatorial practice (2004) and ‘Access All Areas’, which addressed paper, entitled Collecting the New, described ‘The Peoples’ Shows’ where would. Outlining the historic and political context for the emergence
issues of access to contemporary art in public museums and galleries members of the public were offered an opportunity to bring their of Gwangju as a location for a major exhibition, his presentation, to my
(2006). Details are available on the museum website – www.imma.ie/ collections to the Walsall Museum, everything from shoe trees, to mind, did not fully attend to the theme of the symposium. At the
museum21/archive. Speakers at Museum 21 included Bart de Baere, aeroplane sick bags to snow globes, which Pearce alleged demonstrated outset he suggested a shift from collecting to exhibiting as another
Okwui Enwezor, Andrea Frazer, Enrique Juncosa, Susan Pearce and an underworld of collecting that is the norm. The Department of possible way in which museums might reflect their changing position
Carey Young with Siun Hanrahan as chairperson and Kevin Atherton Museum Studies at the University of Leicester, where Pearce is based, is within the communities in which they operate but he did not proceed
acting as panel moderator. home to the Research Centre for Museums and Galleries (RCMG). to explore how this might manifest itself in practice in the context of
The first thing that caught my interest when I read the promotional Inextricably linked to the British Labour government’s social inclusion museums. Instead he traced various shifts in the development of
material for ‘Museum 21’ was the high profile of the various speakers agenda the focus, for the RCMG over the last decade has been the exhibitions from before 1990 when they were organised under the
invited to participate. Previously embedded within a local (and some visitor experience and the centre has conducted numerous visitor auspices of internationalism to the present day where, he claims,
critics would claim parochial) context, IMMA has in recent years studies providing the government with copious amounts of data on exhibitions rather than museums belong to the domain of a civil
dedicated itself to addressing a broader international framework of museum audiences. society or commons. The distinction, he explained in the open
institutional discourse. Not to undermine any determination on the Pearce presented one such study about the collections of discussion, goes to the idea of the museum as public sphere, whereas
part of the institution, this has no doubt been facilitated by increased approximately a thousand random people; the findings of which she the term civil society allows the participation of a broad array of non-
state funding having afforded the museum the resources to attract claimed were valueless in normal museum terms, as conventional governmental institutions, more prominent in societies undergoing
speakers of the calibre of Okwui Enezwor and Andrea Frazer – a epistemologies cannot speak to them. In traditional museums transitions, Gwangju being a case in point.
condition surely about to change in light of recent global economic knowledge was created in the fabric of the display. The placement of The final speaker was Enrique Juncosa, director of IMMA who
developments. Hopefully this will not mean an end to such gatherings objects was based on appearances, by annotating similarities and discussed the relevance of the museum in an Irish context. Closing the
because as an event this symposium was both ambitious in aspiration differences value was created. Modernist pattern making, as she circle of the day’s proceedings he maintained that the collection is the
and sophisticated in delivery, a view echoed by Frazer in her opening designated it, faltered in art when what became of interest were most important thing. How MoMA and the Centre Georges Pompidou
comments when she stated that it was an incredibly well organised personal histories. In corresponding this to de Baere’s concept of an display work makes sense to the development of art in those cities, but
conference. High praise indeed from one who has, by her own integrated museum – where articulating engagements becomes the much is left out. For instance, Tate he claimed only exhibited Latin
admission, been closely identified with institutional critique since the economy of the museum – the questions posed at the panel discussion American and Indian artists in the last few years. The undertaking at
1980s, and is no fledgling commentator when it comes to speaking to were of enormous relevance. Is the shift toward living practices in IMMA is to show art from other canons and narratives that have been
and in the museum. From my perspective Frazer’s contribution to the contemporary art merely an oppositional strategy to the market – and overlooked by the big power centres. Juncosa went on to make several
proceedings was the main feature of the day, both in her prepared talk what does this confirm about contemporary practices? What is the references to literary models from Latin American and Spanish writers
and in her engagement in the panel discussions. role of the public institution in a world so understood? Are museums whose ideas had resonance for him. It would have been useful for the
The issues addressed were wide ranging stemming from the sites of transience? Is collecting and recording redundant? audience had there been a power-point presentation to support his
opening question “what is the point?” of a museum in the 21st century. In a thoughtful account of her body of work over the last two reading from notes as I felt that much of what he proposed was lost on
The morning session was dominated by reflections on the nature of decades, Andrea Frazer traced the shifts in her practice from the 1980’s the audience. That said, overall the symposium was a really successful
collecting, coming as they did from two different and seemingly critique of institutions to a present day understanding of the institution event. I would have preferred if it had been staged over two days or a
opposing viewpoints. Bart de Baere, Director of MuHKA, the Museum of critique. Her work has often been perceived as a positioning of the day and a half as the emerging strands of thought were not given full
Of Contemporary Art in Antwerp, described collecting as immaterial, artist against the institution, which she claimed, is not the case. scope for discussion due to time constraints. Also the inclusion of a
a performative activity that is not about collecting objects, but more Drawing from the sociological theories of Pierre Bourdieu and Michel specialist in material culture may have seemed questionable and it is
about creating an ouvre or a network of relations. This would entail a Foucault, she proposed the institution as a social field of which artists true to say a certain tension was in evidence during the open
shift from the catalogue or assembly of artworks to a field in which the are a part. Constituted as sites for different kinds of stakes, she discussions. I concur with Andrea Frazer that contemporary art
possibilities of collecting are rethought. He offered various examples maintained that museums are complex not unitary, monolithic or museums operate within a different frame. But we must not forget that
of how MuKHA has constructed its collection along this vein through mono-vocal, but often made up of factions where conflict exists. contemporary art in all its forms contributes to the material culture of
the donation and purchase of documentation and preparatory works Depending on which ‘faction’ invites her to the institution, she has our times and it is the remit of publicly funded institutions to preserve
by artists. These cannot be ascribed an exchange value but contribute over the course of several projects appropriated particular positions that legacy for future generations, otherwise one may well ask what is
to the building of an archive of public assets or rights which may take and functions within the museum as a form of critique. Performing the the point?
the form of assets. Giving the example of the bequest by the artist roles of tour guide, curator, service provider, trustee, corporate sponsor, Anna Colford
Panamarenko of his house to the museum, (the house will not be she uses each occasion to challenge both internal and external
dismantled and reconstructed within the gallery space but will remain structures highlighting the intricate matrix of relationships inherent (1) Oswald de Andrade, Manifesto da Poesia Pau-Brazil in A Utopia Antrofagica, (Sao Paulo:
editora Globo S.A. 2001) Originally published in the Correio da Manha, 1924.
where it is only to be maintained by the museum), de Baere proposed in all institutions. Her current concerns are situated in psychoanalytical
26 The Visual Artists’ News Sheet January – February 2009
AdVOCACy ANd LOBByING
Attitudes to Movement
ALex dAVIS ON ARTISTS’ MOBILITy – ASPIRATION OR ReALITy? THe euROPeAN COuNCIL OF ARTISTS CONFeReNCe, HeLd AT IMMA (8 NOV 2008).
WHILE the question of whether Ireland is spiritually closer to Boston Office red tape when inviting artists to the UK from outside the EU.
or Berlin is a matter of opinion, it is a matter of fact that today an Irish Pauline has been active and vocal in challenging the new UK Border
citizen can travel to Berlin, or indeed any part of the European Union, Agency regulations published in February 2008. These restrictive
to visit, live or work with very little difficulty. The same cannot be said regulations mean that non-EU artists and cultural workers are granted
of Boston. 2006 was marked as the European Year of Workers’ Mobility entry to the UK only if they meet draconian entry criteria. The risk that
and it is fair to say that the EU is proud of the relative freedom with artists from “complicated” areas are been excluded from entering the
which its citizens can move within its borders. However the expansion UK is obvious.
of Europe to the east, immigration issues and recent terrorist threats A total of 230 people have been refused entry to the UK since 2005
have led to the situation where Europe is becoming more ‘fortress’ like based solely on ideas they expressed. Ideas, which were considered to
in its attitudes to movement both within and between its borders. be offensive by the Home Office. While most right thinking people
Barriers to the free movement of artists, culture professionals and would be offended by the views expressed by some of these people,
artworks formed the basis of the European Council of Artists’ (ECA)(1) including religious extremists and neo-nazis, the question of what
annual conference, which was held in the Irish Museum of Modern constitutes ‘unacceptable views’ must be posed. What criteria are used
Ireland recently. The issues under discussion included visa rules; the to judge this and how is it proved that the views are unacceptable? The
European Arrest Warrant; employment and copyright laws; migration eCA conference, IMMA. Photo: Annette Hollywood. current restrictions have a presumption of guilty until proven innocent.
and integration policies. All of these obstacles are been tackled under relationships with old neighbours that are non-EU members. Pauline gave the example of the artist Giuseppe Di Bella, who made
the ECA’s current Mobility Project which, considering the complexity This year Slovenia became the first of the new EU accession States postage stamps with some of the notorious images from Abu Ghraib
of the issues, is expected to continue over the next three years. to take over the Presidency of the EU. According to Helena a priority of prison in Iraq which he intended putting into general circulation.
The ECA is an umbrella body composed of interdisciplinary the Slovenian Presidency was to make cultural cooperation a However, they were impounded by the British authorities in London,
artists’ councils and artists’ organisations from 25 European fundamental part of the EU foreign policy agenda. A lesson, which who informed the artist that they would be ‘kept there indefinitely’.
countries. This year’s conference entitled Artists’ Mobility – Aspiration Slovenia has learned from the changes in the Western Balkans, is that The story of the Abu Ghraib series inevitably points to the events of
or Reality? was hosted by the ECA’s Irish member organisation, Visual involvement by civil society is essential for obtaining sustainable 9/11 and the Madrid and London bombings and their aftermath.
Artists Ireland (VAI). Approximately 60 participants from 20 European results in the creation of cultural cooperation. Key to this success were Although the introduction of new security measures is understandable,
countries attended including artists, MEP’s, representatives of the Arts policies that encouraged and promoted people-to-people contacts, we must wonder whether these new laws pose a threat to our freedom
Council and other national and European Institutions with particular which built mutual understanding and the development of a strong of speech and artistic expression and if they infringe our civil liberties.
interests in culture. The day’s sessions aimed to highlight the current civil society. In Helena’s opinion, small countries such as Slovenia (and Lithuanian curator and ambassador of the European Year of
issues facing the mobility of artists and cultural works and to discuss Ireland) are a little more open and flexible than their larger European Intercultural Dialogue (4) Lolita Jablonskiene presented the latest
solutions and ways of improving the situation. counterparts and more adept at creating a dialogue between civil edition of the VAI publication Printed Project. When invited to curate
Chaired by Noel Kelly, Chief Executive of VAI, the conference society and government institutions. As Helena stated “We believe that the tenth issue of the journal, Lolita described how she “re-imagined
featured presentations by an international line up of guest speakers civil society from any part of Europe and even outside of the European the space of the contemporary city as a magazine, and projected places
beginning with the Austrian MEP, Eva Lichtenberger. Eva drew Union should be a partner in putting together the European Culture where the city’s strangers (who might well be migrants) congregate
attention to the growing state of fear in Europe that has become the Agenda, [so] making the strategy part of EU foreign policy”. and where their voices are heard” — creating specific spaces that
basis for new mechanisms of control and regulation of its citizens. When asked what policies there were to enable civil society to produce a convergence of contemporary art and an exploration of the
Blasphemy, anti-racist laws and other restrictions on freedom of speech fund cultural projects, Helena explained that while the EU commission art of living together. Entitled The Art of Living with Strangers the journal
and artistic expression normally come under national jurisdiction. had funds available there were very complicated application forms and contains artistic and literary perspectives on intercultural dialogue,
However, with the new European Arrest Warrant (EAW) in combination that this often precluded smaller organisations from applying. Eva cross-cultural experiences and hybrid expressions.
with the increasing ease with which creative works can be published, Lichtenberger agreed that this was a problem as was the manner in The Spanish MEP Maria Badia i Cutchet had to withdraw from
copied and distributed, the risk for challenging and provocative artists which the Commission prefers to limit its dealings to a small number speaking at the conference due to ill health, however her paper was
to find themselves on the wrong side of the law is very real and present. of organisations, which are large and usually of an international presented in her absence. As a member of the Culture and Education
Eva cited the example of the Austrian cartoonist Gerhard Haderer who character. Committee of the European Parliament, Maria has drawn the attention
found himself subject to an EAW having been found guilty of Ole Reitov from Freemuse, an independent international of the European Commission, Embassies and the foreign affairs
blasphemy by a Greek court and then sentenced to six months. His organisation which advocates freedom of expression for musicians and departments of member states to the difficulties faced by artists,
book Das Leben des Jesus (The Life of Jesus), a satire in which Jesus is composers worldwide, presented a recently finalised white paper Visas performers and performing arts organisations in relation to travel to
portrayed as an incense-addicted hippy was banned in Greece in 2005. – the discordant note, which documents how visa regulations and the US. As Maria’s paper noted “in a time when global cultural
Haderer was not even aware that his book had been published in administrative practice hinder third country artists entering the exchange is of increasing importance both culturally and economically,
Greece when the prison sentence was declared. However the ban and European union (3). This is clearly against the provisions of the UNESCO performers and artists of all types – from household names to up-and-
sentence were reversed on appeal. The EAW was meant to aid the fight convention on the protection and promotion of the diversity of coming musicians, singers, dancers or actors; solo performers or artists
against global terrorism but such sweeping legislation can have cultural expressions and causes severe economic and cultural as part of an ensemble, orchestra, dance company, or theatre company,
unforeseen consequences and as such the EAW poses a serious threat consequences. are finding many difficulties in gaining access to the United States of
to the mobility of artists. Ole described the experience of a Malian duo, who have toured America”. As a solution to this problem, Maria does not seek preferential
The expansion of Europe has managed to close down cooperation internationally for the past three years with great success. Their French treatment for artists. Rather she would be hoping to see them treated in
between artists with the new borders and travel restrictions that have tour organisers report more than 350 concerts in this time period and the same as others working in similar fields, such as professional
been put in place. Ease of movement and dialogue between traditional record sales in the region of 500,000. Current UK regulations require footballers, golfers, jockeys, racing drivers and tennis players, to name
neighbours, particularly those countries that were formally behind the that work permit visas are submitted in the country of which the a few, who can all benefit from entering the US under the far simpler
‘iron curtain’, has been curtailed. Even within the EU, we have the applicant is a national or legally live. Since there is no UK embassy or and cheaper Business (B-1) Visa system or even visa free. Maria is keen
situation that countries such as the UK and Ireland, who have not visa application centre in Mali the artists are obliged to go to Dakar in to change fear-driven, control orientated policies into more constructive
signed up to the Schengen Agreement, have in place restrictions on Senegal in order to apply for UK visas. As both artists are blind they are ways of managing migration and encouraging cultural cooperation.
travel, even for EU passport holders and Schengen Visa recipients (2). unable to travel unaccompanied which naturally further adds to travel In the subsequent discussions it was pointed out that consciousness
These must be removed if true cultural co-operation in the broader and accommodation costs. among artists, cultural operators and others involved is necessary in
Europe is ever to take place. The main mobility issues which Ole described in his white paper order to resist the general development towards a more closed society.
With its remarkable diversity and in the context of its troubled are as follows: The wish to protect the freedom to cooperate and partake in global
past, the Western Balkans region is a stark example of where the Lack of harmonised visa and work permit handling procedures at exchanges was shared by the conference participants, although it was
coexistence and mobility of different cultures has been radically (EU/EC) embassies and consular services across the world. noted that some sectors might require reciprocal conditions in order to
altered in the last two decades. Helena Dvorosek Zorko, from the Schengen embassies / consular services, in spite of the provisions of maintain their activities on national level.
Slovenian Ministry of Foreign Affairs, discussed initiatives to the Schengen Agreement, often seem to avoid taking overall A full conference report will be issued later this year – and
implement the EU agenda for culture in a globalised world by responsibility for the entire Schengen area. concrete follow up activities will be discussed among ECA members
promoting cultural exchange and cooperation in the Western Balkans. The distance often travelled in accessing embassy or consular and other partners involved in the coming months.
Slovenia was, until 1992, a part of the Socialist Federal Republic of services in the artists / performers country of origin (or Alex Davis
Yugoslavia. This large communist state also included present day neighbouring country) entails vast amounts of time for travel and is (2) The Schengen Agreement allows the citizens of signatory states to travel within the
Croatia, Bosnia and Herzegovina, Macedonia, Montenegro and Serbia extremely costly for artists. Schengen area without being subject to police controls. The Agreement also provides for
tougher controls on the eu’s external borders, harmonisation of visa and asylum policy and
among others. The freedom of movement which inhabitants of this Artists are required to leave the Schengen area and return home to closer cooperation between legal and police services. The united Kingdom and Ireland are not
region were accustomed to was curtailed when Yugoslavia began re-apply or renew the visa at a Schengen representation in their part of the Schengen area.
breaking apart into separate states and new borders sprung up where home country. (4) www.interculturaldialogue2008.eu
previously there were none. Yet again the political borders of Slovenia Pauline Hadaway, director of Belfast Exposed, expanded on the
were redrawn on entering the European Union in 2004, affecting practical difficulties facing small institutions in handling British Home
The Visual Artists’ News Sheet January – February 2009 27
The keynote speaker for the conference was the high profile
international curator Hans Ulrich Obrist. His talk was focused on
tracing his various connections and relationships with books, noting
that along the way that as his kitchen had become so filled with books,
he longer has space to cook! He also recounted how his very first
exhibition had a literary impetus and was located in a kitchen – and
he expressed an interest in thinking about the spaces and rooms of
buildings as spaces akin to the pages of a book.
Obrist also conducted ‘in conversation’ sessions with Rirkrit
Tiravanija and Joseph Grigley, in which the artists perused a number
of books taken from their own collections –their live interactions with
the texts being digitally projected for the audience’s benefit.
Tiravanija showed an early book project by him, which was
derived from a plan for a student field trip, and was based on the form
of a passport and had many foldouts and stapled on sections, mimicking
the formats of visa and identity papers. He also mentioned a sound
work of his that was issued as free CD included in a magazine – which
featured the sounds of people cooking the recipes included in the
publication. Tiravanija cited Michael Snows Cover to Cover; Ronald
Barthes’s Migrateurs along with various publishing projects by General
Idea, Fluxus and Martha Rosler as key influences on his practice.
Tiravanija made the interesting point that for him some print
techniques and their physicality – such as hand printing – offered
potential forms of resistance, a way of “resisting certain speeds and
slowing things down”.
Printed Matter Stand at the Ny Art Book Fair. October 2008. Photo: Olive Barrett. Amongst other books, Grigley showed pages of his own book
Kitchen Conversations – which was composed of reproductions of
paintings featuring individuals engaged in conversation. As a deaf
artist, Grigley explained that he was fascinated in how we actually see
sound and the ways in which verbal conversations have been are
CORA CuMMINS RePORTS ON THe ARLIS / Ny CONTeMPORARy ARTISTS BOOK CONFeReNCe
visually encoded in paintings throughout the history of art through
(VARIOuS LOCATIONS, NeW yORK 23 – 26 OCT 2008). pose attitude and gesture. He has had experience of numerous speech
recognition and synthesis devices, yet he finds that the basic visual
THE ‘Art Libraries Society of New York / NY Contemporary Artists “retired”. She noted that art practice had always taken place
tools – a notebook and pencil – to be far more effective for immediate
Book Conference’, held October last year, coincided with the NY Art symbiotically with the production of art historical, critical and
and spontaneous communication.
Book Fair (1). The conference was hosted in key venues in New York, theoretical knowledge. As such the field of artists’ books could be seen
Issues of appropriation and reproduction were considered in the
which have a relationship to the field of collecting artists’ publications, as perhaps the best indicator to the future path of art history, theory
talk ‘Limited Edition: The Artists Book as Art Multiple’. In this context
chiefly – The Museum of Modern Art (2)
and The New York Public and criticism. By way of explanation she pointed out many of the most
Bettina Funcke discussed one of her curatorial projects that had
well know contemporary artists are superb historians of their own
featured an installation of Xerox reproductions of Avalanche magazine;
The first panel discussion I attended was ‘Multiple Ideas: Artists work – and that “the long arm of the artist” was behind many so-called
and Brian Kennon talked about his book works Cindy Sherman’s I’d Like
Periodicals as Site for Collaboration and Distribution of Ideas’ which critical monographs.
to Fuck (2003) and Black and White Reproductions of the Abstract
was moderated by David Senior, Bibliographer at the Museum of Lauf made, what was for me was one of the most important
Expressionists (2002). Kennon’s works – published under the self-styled
Modern Art Library. As part of this session David Reinfurt and Stuart points of the entire conference – she argued against the segregation of
Loose Cannon imprint, in particular seemed to be striking challenges
Bailey outlined how their publishing venture Dexter Sinister the field of artists’ books and publishing into a separate branch of
to the notions of the sanctity of intellectual property and copyright. As
originated in explorations of a ‘just-in-time’ model and economy of medium-specific study. Instead, Lauf asserted that books are a vehicle
he put, his works could be seen as “bootleg catalogues”; which he
print production that “ran counter to the assembly-line realities of equal to any other manifestation of an artist’s work – and thus it is the
noted were often mistaken for legitimate monographs on the artists
large-scale publishing”. Theirs is a thrifty print-on-demand model, duty of writers, artists, curators, critics and librarians to show these
whose work he plunders.
whereby publications are only printed when a reader / buyer orders works as part of and alongside any other productions in the artists
As an artist who has a strong interest in artist’s books and self-
them. Costs are also kept low by utilising local resources and alternate oeuvre. By way of example cited the genre-defying bookworks by
publication (5) I came to this conference with a sense of anticipation
distribution strategies, in order to “collapse distinctions of editing, artists such as Carl Andre, Sol LeWitt, Joseph Beuys, Mark Dion,
and excitement. In the event, it mostly lived up to my expectations.
design, production, and distribution into one efficient activity”. Maurizio Cattelan, Tobias Rehberger and Christian Philip Mueller.
But I was surprised that even in New York, a global centre of
Bailey and Reinfurt also spoke about the importance of ‘spin’ as And in these terms, she even suggested that Damien Hirst’s auction
contemporary art practice and discourse, there were occasional lapses
their work is quite lo-key and ephemeral – often taking the form of catalogue could be considered as an artwork / artists book.
– with occurrences of the classic bugbear of conferences; the delivery
pamphlets. Thus, art galleries were a crucial platform for them, rather Another engaging speaker was Buzz Spector – artist, critic, and
of presentations offering no more than overviews of the speakers
than bookshops where their modest works would be lost on the professor of art at Cornell University. In his presentation Are We Asking
biography and activities, with little correspondence to actual subject
shelves. In the gallery context, they talked how they curated and the Right Questions?, Spector pondered, “we have art criticism and
at hand. Nonetheless, overall I was impressed – if not slightly daunted
presented their publications, having designed various hybrid shipping literary criticism – but what do we call the critic who writes about
– by the sheer scale of activity within the field of artists publishing
container / display cabinets. artists’ books?” Spector argued along the same lines as Lauf that the
that was revealed over three days of conference and the plethora of
Emily Roysdon, an artist concerned with language, memory, field of artists books comprised a diverse “zone of activity” – the latter
high quality publications presented at the NY Art Book Fair. What
collectivity and the processes of history, talked about editing LTTR, a being a term from Johanna Drucker’s book The Century of Artists Books.
emerged as one of the most interesting issues was the question of the
queer / feminist journal. LTTR had operated on the basis of open- As he explained, Drucker’s book was a valuable resource as it is not shy
critical and theoretical appraisal of what is such a vast field – which
submission, the theme of each edition dictated by the material they about declaring how the ‘community’ of book artists, is rife with
paradoxically considering its printed form too often goes
received; and it existed only for a short run of five issues. Key issues for ideological and technical oppositions – offset versus letterpress,
un-documented and textually un-remarked upon. Hopefully this
Roysdon were notions of shared labour and notions of “organic unique versus edition – along with the perennial and overarching
critical vacuum will not persist indefinitely (6).
organisation”. Indeed Roysdon admitted that LTTR came to an end for dispute about what exactly is an artists book? (4)
the fundamental reasons of “running out of stream, energy and Spector was also interested in the huge variety of modes of
money”. To some extent, Roysdon felt that this state of affairs was a fair physical and mental engagement offered by books. By way of 1. The Ny Art Book Fair, is an annual event organised by Printed Matter, which showcases
trade off against autonomy and accessibility gained by working with demonstration he presented amusing slides of himself reading tomes artists books, fanzines, art journals and magazines, specialist publishers and dealers (www.
nyartbookfair.com). Printed Matter (founded in 1976) the world’s largest non-profit
no expectation or desire for financial reward. of different formats and dimensions in various positions in his library organization dedicated to the promotion of publications made by artists. www.
In light of the low profile of much artist led publishing, the next / office at Cornell. And from the conference lectern he showed a printedmatter.org The visual artists Ireland publication Printed Project was exhibited at the
Ny Art Book Fair, with the support of Culture Ireland.
talk was particularly interesting – ‘Outside Looking In: The State of couple of different editions of Gerhard Richter’s Atlas – a small-scale 2. details of the the Museum of Modern Art/Franklin Furnace Artist Book Collection can be
seen at www.moma.org
Artists Books Criticism’. Dr Cornelia Lauf of Universita Iuav di Venezia version with many images on each page, that could be flicked through 3. The New york Public library collects artists’ books as part of its holdings. www.nypl.org
– an independent curator and long-time editor of artists’ books – began quickly; and a large –almost sculptural – coffee table version with one 4. Johanna drucker’s book The Century of Artists Books; Granary Books 2004 is regarded as
one of the key texts in what is still an under theorised and historicised field.
the proceedings with her talk Truth and Lies in Art and Books. Lauf image per page and blank interleaves that encouraged a slower and 5. I am co-editor with Alison Pilkington of The Fold www.theworkroomelsewhere.blogspot.
observed, “Criticism of artists books does not exist, because it is not a more immersive form of progress through the book. Related to this, he com and I teach in the area of print at IAdT dun Laoghaire.
6. The subject of artists publishing is set to be discussed again later this year, and closer to
money making area”. Lauf also argued that the academic divisions was also interested in the notion of how artist’s books should be home – in September (25 – 27) the Whitechapel Art Book Fair, at the Whitechapel Gallery,
London will feature a programme of talks and events www.thewhitechapel.org
between art history, theory and practice were “flip sides to the same displayed – he was critical of vitrine style or “glass cage” modes of
coin” and that the division between history and practice should be gallery and library presentation of artist’s books.
28 The Visual Artists’ News Sheet January – February 2009
VAI WeST OF IReLANd RePReSeNTATIVe ARTISTS BOOKS
The Rest of Ireland Rep Artists Books
AIdeeN BARRy'S WeST OF IReLANd RePORT
DECONSTRUCTING THE MAZE Helena O’Connor, Maire Clinch, Michelle Hall,
Artists: Dara McGrath, Conor McFeely, John Reid, Michelle Connolly, Darragh O’Callaghan, Fiona
Marianne O’Kane Boal, Rachel Andrews. Title: Fullam, Linda Rafferty, Karen Azoulay, Alan Butler,
Deconstructing the maze. Published: Oct 2008. Hazel Lim, Cathy Henderson, Seamus Nolan, Niall
Publisher: Dara McGrath and John Reid. Format: de Buitlear, Rob Costello, Benjamin Gaulon, K Bear
expanding Remit ... 120 pages, full colour .23x28cm. Soft cover. silk Koss, Tim Lloyd, Jack Phelan, Sharon Phelan, Tim
paper. Edition: 750. Available: daramcgrath@ Redfern, Paul Murnaghan. Vox Pop contributors:
AS another year draws to a close, I have decided to hotmail.com and email@example.com. Rene Zechlin, Mary McCarthy, Oliver Dowling,
try to expand the remit of my role as the West of Contributors: Dara McGrath, Conor McFeely, John Jeanette Doyle, Peter Fitzgerald, Patrick T Murphy,
Ireland rep for the VAI. Reid, Marianne O’Kane Boal, Rachel Andrews. Aisling Prior, Jesse Jones, Mark Garry, Cliona
I am currently conducting VAI info clinics in Content: Marianne O’Kane: Isolate Zones: Harmey.
the West, but I have also started to move a little De-construction and Creation-Intro Essay
outside my borders, albeit tentatively. The general Dara McGrath. Deconstructing the maze- MARKS
Image: Lochlann Hoare with his former student international jeweller
Slim Barrett, at the Cluain Mhuire Show in 2006. remit of my role encompasses the counties of Mayo, Photographic portfolio, 21 full plate images Circa and The Stinging Fly recently launched their
Sligo, Galway, Leitrim and Roscommon. However, John Reid. Beautiful images in an awkward space-Essay joint publication Marks at Studio 6, Temple Bar
the role meant that covering interesting initiatives Conor Mc Feely; The Testing Room-film stills. 20 full Gallery and Studios, Dublin. Marks features the
A Great Loss to Galway and Beyond plate images. Rachel Andrews: The Topography of outcomes of collaborations between six writers
outside of these areas was not possible. So in the
new year I hope to branch out a bit. I am interested Demolition in the Maze-Essay. Description: Emerging who were paired with six visual artists. The brief for
ONE of Ireland’s greatest art lecturers passed away
to hear about organisations and artist-led practices, from a previous project, Two Minds, Artists+ each pairing was to fill four pages with whatever
last week – and his loss is felt by all in Galway and
Architects Collaboration (2006-2007). Deconstructing they wished, through a collaborative exploration of
beyond. Lochlann Hoare, formerly of Ballymurry, outside of the West (as well as in) – in order to get a
the maze is the publication that accompanies the the possibilities. The pairings were: Caitríona
Roscommon taught at the Galway / Mayo Institute bigger picture of activities; and also to look at
photographic and multi-media installation that was O’Reilly (writer), Isabel Nolan (artist); Kevin Barry
of Technology until his retirement in 2006. For over examples of best practice. Keep your eyes peeled for
held on site in Oct 2008, located in the kitchen (writer), Sean Lynch (artist); Nuala Ní Chonchúir
30 years, Lochlann was an inspirational teacher. He clinics, which will be held in Cork, Waterford,
building of the former prison facility. (writer), Cora Cummins (artist); Alan Jude Moore
made a major contribution to the development of Tipperary, and Limerick in the new year.
(writer), Bea McMahon (artist); Sinéad Morissey
the Art and Design Dept at the Galway/ Mayo More recently, I held an info clinic in
Institute of Technology; and was one of the main THE LAB: 40 ExHIBITIONS 06 – 08 (writer), Benji de Búrca (artist); Sean O’Reilly (writer),
Ennistymon Courthouse Gallery and Studios,
contributors to the development of the visual arts Description: An illustrated book of exhibitions Peter Maybury (artist) ; The launch (DATES?)
which was well attended and raised some important
in Galway and the West. He was a visiting lecturer held in the Centre from May 2006 to May 2008 featured readings by Nuala Ní Chonchúir, Kevin
concerns about the welfare of the arts in the county
at the National College of Art and Design, Dublin edited by Gemma Tipton with essays by Mick Barry and Alan Jude Moore, and a soundwork by
of Clare. I hope to focus on Clare in the next report,
and a frequent visiting lecturer on the art teachers’ Wilson and Joseph R WolinPublished: October 2008. Peter Maybury. Available from: www.stingingfly.
where I will look at the county arts plan and the
diploma course at Limerick School of Art and ISBN: 978-0-95542811-1-1. Content: Edited by org / www.recirca.com
ambitions for cultural activity over the next three
Design. He developed a special relationship with Gemma Tipton with essays by Mick Wilson and JR
years. I will also focus on artist-led initiatives like
the University of Ulster, where his Foundation Wolin. Artists: Sean Hillen, Esther Shalev Gerz, WICKLOW pHOTOGRApHS
Deirdre O’Mahony’s XPO project, the post-grad
Course in Galway was seen as a model. Marie Falksten, Susanne Mooney, Ian John Coghlan, Artist: Peter Evers. Title: Wicklow Photographs.
programmes of the Burren College of Art and
Lochlann took a genuine interest in each Linda O’Keefe, Barbara Vasic, Bea McMahon, Des Dimensions: 250mm x 250mm.
problems faced by artists living in the county.
individual student, of which many of us were Kenny, Michael McLoughlin, Gillian Kenny, Jeanette No.of Pages: 192. Format: Hardback.
I hope to continue to act as an advocate for
privileged to dominate his time in tutorials. Doyle, Vera Klute, Christine Mackey, Alan Phelan, Contributors: John Moriarty (courtesy of Lilliput
Visual Artists Ireland; and I am extremely interested
Geraldine Quinn (fellow Lecturer) wrote on his Rhona Byrne, Alan Burns, Maire O’Mahony, Priscila Press), and Selina Guinness (introduction).
retirement from the Art and Design Department in to hear from organisations that have thus far not
Fernandes, Sarah O’Neill, Keith McCann, Aoife Isbn: 978-0-9560637-0-0. Published: 2008.
2006: “He taught with passion and conviction and benefited from being in the represented areas of
Merrigan, Fiona O’Connor, Fiona Whitty, Marie Available: www.wicklowphotographs.com /
led stimulating seminars. Students greatly valued Northern Ireland and the West. I will also be
Louise Molly O’Dwyer, Niall de Buitlear, Stephen www.peterevers.ie
his tutorials; these were energising, challenging and continuing my duties in the West – and it is my
Gunning, Hannah Doyle, Michael Murphy, Michelle
motivating. He was respected by students through hope that in the new year the VAI will facilitate
Deignan, Doireann Wallace, Brian Fay, Mark Beatty,
the decades, and his insights were always relevant. more info clinics in the West. Professional practice yOUR BOOK LISTED HERE
Frederica Bastide Duarte, Ian Charleworth, Paul
He encouraged debate and questioning. Seeing workshops are in the pipeline, along with a If you are an artist and have recently
Flannery, Roisin Lewis, John O’Connell, Cora
their developing confidence heartened him. He symposium on contemporary curation practices – produced (in the last 12 months) a
Cummins, Alison Pilkington, The Fold, Mary Nunan,
frequently enlivened discussions by recalling his which will hopefully be held in Galway in February monographic publication, simply email the
The Third Person, Alan Mongey, Janine Davidson,
own days at art college in London in the heady / March. following details to firstname.lastname@example.org –
Tom Moore, Fiona McDonald, Nicholas Ward, Sarah
Sixties, and relayed many anecdotes.” date of publication; title; dimensions; number
Browne, Gayle Anderson, Kevin Gaffney, Frances
Lochlann was also a practising artist and of pages; format (eg: spiral, stitched perfect
Hayes, Alan Burns, CX Hayden, Felicity Clear,
exhibited throughout the west of Ireland including bound, hard-back / soft-back etc.); list of
Katrina Maguire, Thomas Brezing, Naomi Sex,
the Galway Arts Festival (1981 and 1983); UCG contributors; ISBN number (if relevant); short
Aisling Conroy, Seamus Donovan, Tracy Hanna,
Gallery (1984), Spanish Arch Gallery (1988) and
Kevin Cosgrove, Sophie Linehan, Myrna Epstein, description (two or three lines).
EV+A Limerick (1989). This inspirational man will
be missed. May he rest in peace.
Visual Artists Ireland Living Artists' Archive
The VAI Living Artists Archive is intended as a central point of research for curators, artists and researchers looking at current practice across visual art
disciplines in Ireland. The archive is stored electronically on a computer and based at the offices of Visual Artists Ireland. Artists can choose to be part of the
archive when joining Visual Artist Ireland or renewing their membership. At the time of taking up or renewing membership, artists may provide a CV and
four images of current work for the Archive on a Cd. These will be electronically stored and accessible in the Visual Artists Ireland office.
As a first outing, the archive will be made available to researchers as part of the 'Ireland at Venice' pavilion during the Venice Biennale 2009 and other events
in which Visual Artists Ireland take part.
Information on how to get your incuded in the archive can be found at www.visualartists.ie/ap_artistsarchive.html
The Visual Artists’ News Sheet January – February 2009 29
ART IN THe PuBLIC ReALM ART IN THe PuBLIC ReALM ROuNduP
Art the Public Realm
ReCeNT PuBLIC ART COMMISSIONS, SITe-SPeCIFIC WORKS, SOCIALLy
eNGAGed PRACTICe ANd OTHeR FORMS OF ART OuTSIde THe GALLeRy.
Work created during 'No Man's Land' Work created during 'No Man's Land'
UNIT ART IS GOOD FOR yOU
PIIA ROSSI OuTLINeS ‘NO MAN’S LANd’ A PRINT-BASed PROJeCT THAT
exPLORed NOTIONS OF LOCATION ANd SPACe.
THE project ‘No Man’s Land’ which ran at the
Original Print Gallery from October 8 – 19, was an
experiment in what can happen when a gallerist
allows an artist space and time to play with an idea.
During this the course of this alternative print diagramatic outline of the 'unit' project.
exhibition; the Original Print Gallery, Dublin was
transformed from a commercial space to a factory of
I am a Finnish artist living and working in Art is Good For you – website screengrab.
Dublin; and for the last couple of years my art
practice has been concerned with ideas of home, Art is Good For You was a digital art project by
'No Man's Land' participants at work.
space and territory. In recent times my work has Saoirse Higgins, which utilised Bluetooth
had. The work evolved continually over the week, technology and took place in area around Thomas
developed into participatory projects that allow me
as the collaborators designed, played with and
to combine my experience in running educational Street, Dublin 8 from (10 – 17 Nov). Submissions of
Work by Ruth Lyons
marked the ‘terra incognito.’ The participant were
workshops with my studio practice. Crona Connolly, artworks in the form of images, text, video, animated
given carte blanche – as well as printing and
the Director of the Original Print Gallery, was aware GIF files and sound were requested and 32 artists
displaying their works they were also given the
of my work and suggested working in collaboration were selected to participate by Mike Stubbs, director
opportunity to embellish their vision by drawing or
with her to run a participatory print exhibition in of FACT Liverpool. The selected artworks were
expanding from the work directly onto the blank
the Original Print Gallery. This was a rare alliance disseminated to the mobile phones of people in the
canvas of the gallery’s walls, marking a new way of
and opportunity for an artist – to work creatively area via Bluetooth hubs located along Thomas
experiencing the space.
and spontaneously in a gallery environment. The Street in Café Noto, NCAD, The Digital Hub, and
The collaborators artworks explored not only
communal nature of the project was quite daunting IMMA.
differing print techniques, but also the different
as I had to relinquish my personal vision and The project aimed “to express something of
ways we see and feel the world personally. Whilst
control of the project to the other participants. The Hope Apparent Hope Inherent – publicity image for 'unit'.
the creative dialogue in and around the ‘creative
one participant viewed the no man’s land as the
title chosen for the project, ‘No Man’s Land’, corridor’ of Thomas Street and offer this to the
confusing, suffocating, mosquito ridden area he had ‘Unit’ is a project initiated by Sarah Searson and
reinforced this principle, as it refers to a fictional public.” It was organised as part of a Dublin City
experienced between national border posts in Asia, commissioned by Laois Arts Office involving four
designate and describes an area not assigned to any
another papered an area in the gallery with mini Council artists’ residency programme and was one
owner. curators each working closely with an invited artist
maps of a city’s lost urban spaces. Conversations, of a series of events taking place during the ISEA
It soon became apparent that both of our roles (13 Nov – Feb). The curators and artists were asked
collaborations and even renegade interventions (International Symposium for Electronic Art) pre-
in the ‘No Man’s Land’ project were to be to commit to spend time working within Portlaoise
happened daily, as the white cube that is usually the symposium week.
multifaceted: facilitators, administrators, guides and and to respond to that experience. The curator / http://artisgoodforyou.wordpress.com
gallery space transformed into a symposium on
artists. This offered me and Crona an opportunity to artist pairs are Padraic E Moore and Theresa http://www.isea2009.org
interactions. Paradigms creaked if not shifted a little
present a project that explored the true nature of Nanigian; Cliodhna Shaffrey and Vera Klute; Sally
as this commercial space in Temple Bar turned into GRACELANDS
collaborative art projects, as well as experience Timmons and Ruth Lyons; and Sarah Searson and
a creative arena.
ideas-driven creative practice. For our heterogeneous Hope Inherent (Jennie Moran & Tara Kennedy). ‘Gracelands’ was a screening, sculpture, and
On some of the days there were up to eight
group of participants ‘No Man’s Land’ offered a Hope Inherent aim to undertake an performance event curated by Vaari Claffey in
people at a time busily inking up and printing their
chance to experience first hand the nature of “environmental study” of Portlaoise Prison, with partnership ship with the Model Arts and Niland
works. This hive of activity and energy attracted the
printmaking. the hope of changing perceptions. Vera Klute’s Gallery, which recently took place on Grace Weir
attention of many passers by and encouraged people
In advance of the intervention, this group of work draws its inspiration from the hospital with and Joe Walker’s land near Dromahair in Co. Leitrim
to come in and enquire about the project, it also
contributors were gathered from the fields of the objective of offering “some small insights into (1 Nov). The site surrounds Weir and Walkers home
brought to life the various print techniques and was
architecture, urban planning, design and illustration – The Mimetic House, designed by architect
a wonderfully thought provoking experience not the patterns of a modern society as viewed through
and invited to explore their differing perspectives of Dominic Stevens. The notion of the ‘mimetic’ was
only for the participants but also visitors to the a small town’s hospital and its cycles of life”.
a utopian or personal ‘no man’s land’. Each echoed in the selection of works for the programme.
gallery. This was one of the primary objectives of Nanigian’s research unfolds “the complex status
participant was given a preparatory pack containing According to the press release “The works and
this project for Crona and the Original Print that exists for populations at various stages of
a handbook outlining the concept of the project, situation also address the idea of making ‘gatherings’
Gallery. connection with Portlaoise”. Ruth Lyon’s intention
their brief, background and technical information – mimicking a festival in its format and in the
We feel that the success of this project was in is “to commence an investigation towards the
on the print technique they would be utilising, as collective experiential reception of the works”. The
its overall collaborative nature where the roles of possible construction of a physical means or
well as the materials they required to create their
the artist, the gallerist, the facilitator, the participants artists who participated in the screenings were
work. The different print techniques and their purpose by which movement might be facilitated
and the audience got completely merged and the Johanna Billing, Aleana Egan, Lars Laumann, Joan
qualities were outlined and thought was given to in a direction towards Portlaoise”.
final result, the exhibition, eroded the image of the Jonas, and Sarah Pierce. Karl Burke and Isabel Nolan
the most natural correlation between participant The project aims to “investigate the seen and
artist as a solitary worker creating instead a presented new work on site and shelter/warmth
and technique. Monoprinting was assigned to the unseen visual cultural aspects of Portlaoise and
community of co-creators. units designed by Rhona Byrne were supplied.
architects for its quality of line and adaptability, explore its social, economic and geographical
Crona and I would like to thank all the
screen-printing to the designers and illustrators for contexts”. Project planning began in June 2008, but
participants: Ashling Bracken, Karen Brett, Amelie AUDIO DETOUR
its strong planar characteristics and so on. the main focus of the artists’ time runs from early
Conway, Art Defective, Adrian Duncan, Bob Gray, It’s an Audio Detour: Forever and Ever by the Audio
On the first day of the gallery intervention I November to February ‘09. A follow-up publication
Andrew Hetherington, Samantha Martin-McAuliffe, Detourists a 30 minute long audio walking tour on
drew a single longitudinal line around the gallery of the findings will be produced in 2009.
Harry McLaughlin, Stuart McLaughlin, Eóin iPod, which is available on an ongoing basis from
walls, staking the territory of ‘No Man’s Land’ which
Murphy, Rowena Neville, Aíne Nic an Riogh, Amy http://www.laois.ie/LeisureandCulture/Arts/
the Project Arts Centre, Temple Bar was launched
the collaborators map / vista merged or connected
O’Sullivan, Luke O’Sullivan, Ellen Rowley, Rachel earlier in 2008. The walk / tour is experienced by
with. Each day, we were on hand in the gallery to
Russell, Annika Šimko and Henk VanderKamp. pairs of participants, who are each given a separate
show participants how to utilise the differing print
Piia Rossi iPod and headset at the Project Arts Centre box
techniques and to assist them with any queries they
30 The Visual Artists’ News Sheet January – February 2009
ART IN THe PuBLIC ReALM ROuNduP
office. The participants listen to two separate audio DECONSTRUCTING / TESTING THE GREEN ROOM
recordings, which consist of spoken directions, a
site-specific soundscape, and text. The directions
they hear lead them on separate but synchronised
and intersecting routes from the Project Arts Centre
out onto the city streets on a short walking tour that
finally leads them back to their starting point. The
tour’s sound and words were commissioned
specifically for the spaces encountered on the route.
The sound elements were composed by Alex Synge;
the text written by Fiona Hallinan; and routes were dara McGrath Deconstructing the Maze – installation view
choreographed by Maebh Cheasty. Fiona Hallinan Colonisation – website screengrab. Pauline Keena Are you Sure you Had a Baby
has also been commissioned to create an Audio
Detour in collaboration with Caoimhín O’Ragallaigh for a period of four months. The project is intended 'The Green Room' was a collaboration between
for the exhibition ‘Self as Selves’ at IMMA which as “a reaction to the modernisation of the visual artist Pauline Keena and a group of mothers
continues until 19 March 2009. environment that we inhabit” and aims to deal with who experienced the loss of an infant. An exhibition
Fiona Hallinan Audiotour, Launched April 2008 our relationship with nature and how we infringe presenting the outcomes of the project was shown
upon it by imposing nature back onto the urban in the Education Exhibition Room at Dublin City
FORUM environment. Gallery, The Hugh Lane (21 Oct – 11 Nov 2008). The
www.colonisation.ie exhibition was accompanied by a publication
featuring texts by the participants and an essay by
dara McGrath Deconstructing the Maze – installation view
FLOOD Professor Timothy Emlyn Jones entitled Creativity
and Loss: Are you sure you know what you know? The
Artists: Dara McGrath, Conor McFeely, John Reid publication can e downleaoded as a free PDF from
and writer Rachel Andrews Curated by Marianne the Kildate Arts Office website.
O’Kane Boal, Responding to an advertisement by the artist
Title of work: Deconstructing the maze / The Testing in the ISANDS Newsletter, bereaved mothers
Room embarked on the Green Room project in the clinical
Commissioner: Self-commissioned environment of the Rotunda Hospital in 2007 –
Date of Project: 14 – 20 October 2008. 2008. As the exhibition press release noted “by
Location: The former Maze / Long Kesh Prison implicating the process of grief and mourning in an
facility, Lisburn, Northern Ireland artmaking process, the project allowed the mothers
Project Partners: Arts Council of Ireland, Arts to explore a range of emotions around the loss of
&Business Northern Ireland, Robinson McIlwaine their infant – profound grief, unspeakable loss and
Andy Parsons Forum– installation view.
Architects, Mc Quillan Group. Office of the First sense of failure”.
Flood – website screengrab.
Minister and Deputy First Minister Keena, an artist from Clane, Co Kildare was
Project budget: €32,800 funded by Kildare County Council Supports for
Flood is a Dublin-based contemporary art project Project Description: Emerging from a previous Professional Artist programme to carry out the
curated by Paul McAree and Rachel O’Hara McAree project, ‘Two Minds, Artists and Architects work as part of her research into her own practice.
which “was initiated out of a desire to organise Collaboration’ (2006-2007), Deconstructing the Her previous career as a neo-natal mid wife was the
projects with a different modus operandi to maze was a site-specific photographic and multi- impetus for ‘The Green Room Project’ and allowed
traditional art spaces in Dublin - providing media installation, located in the former facilities her to work with the mothers in an informed and
opportunities for the presentation and dissemination kitchen that responded to the demolition of the sensitive way. Keena is currently researching the
of work in alternative ways”. The initial projects do former prison facility. work of linguist and psychoanalyst Julia Kristeva.
not use any exhibition space instead each takes the Multi-Media artist Conor Mc Feely utilized two Through ‘The Green Room Project’, the artist’s
form of a leaflet / poster available for free on black boxes / projection rooms designed by architect idea was to “investigate and explore, through an
request. John Reid to present his video works, The Testing engagement with ideas, processes, procedures,
Theresa Nanigian’s I will be a Phenomenon is the Rooms. materials and making how the physicality of grief
Andy Parsons – research image for Forum
first of these projects and has been available by Dara McGrath’s long-term photographic could be expressed in a vocabulary specific to
request since 1 December 2008. “Nanigian’s poster documentation of the demolition of the site was itself”.
Forum an installation by Andy Parsons, based on A
looks at the role of the artist in a humorous yet presented as two back projections of selected images, The exhibition comprised of a series of framed
View of the Forum in Rome by the 18th Century
disarmingly honest way, composing a private which were integrated into the kitchen’s physical prints, drawings, stained glass and a number of
engraver and architect Piranesi, was presented at the
manifesto of often competing and contradictory structure. Also presented by McGrath were 5 poignant miniature baby garments, as well as a
Lakeland Forum Leisure Centre, Enniskillen, Co.
fears, hopes and aspirations.” additional back projections that also exploited the neon signage artwork, by the artist entitled Are You
Fermanagh, (26 Sept – 5 Oct). As the press release
Flood will organise exhibitions from 2009, structure of the buildings interior rooms Sure You Had a Baby, inspired by a comment made to
noted “the work is in two parts – there is the large
initially on an ad-hoc basis, which changing venues one of the mothers after the loss of her child.
sculptural assemblage based on one element of the
allowing for a flexibility of approach with each CROSSING TIMES The research and development phases of this project
Piranesi, which is deliberately ramshackle in
project. Title: Crossing Times and the subsequent exhibition forms part of Kildare
appearance; and the adapted version of a Piranesi www.theresananigian.com
engraving, which has been laboriously transcribed www.flooddubin.com Artist: Maeve Collins County Council’s Arts in Health Programme, which
and with examples of civic buildings from 1960s. Medium: Time based temporary sound and film is supported by the Arts Council of Ireland.
The contrast between the precision and glamour of GARDEN SNAKE public instillation
the Piranesi piece and the sculpture it stands in The ‘Sculpture in the Walled Garden,’ project, now Location: Meeting house Square, Templebar, D2.
front of can be seen as a metaphor for the way that in its second year at has commissioned the sheet Date: 21 December – Winter Solstice 2008 (12.15 yOUR WORK HERE !
some grand architectural schemes may fall short of metal sculpture Composition with a Serpent by low tide – 19.04 high tide – sound. 16.40 dusk If you have recently been involved in a public
their lofty aims”. The work follows on from the Romanian artist, Virgil Scripcariu, which was –projection) commission, a percent for art project, socially
recent installation Romantic at Teach Ban Nua unveiled on 26 October. Scripcariu’s work was Description: Crossing Times used sound and film engaged practice or any other form of ‘art
Gallery, Drumcliffe Co Sligo. described as being “influenced by Oriental, projection to explore “where time and tide overlap” outside the gallery’ we would like you to send
Romanesque, and Byzantine art, and centred on the in a contemporary urban environment. Between the us images and a short text (no more than
COLONISATION human figure – the themes with which he engages low and the high tide times on the 21st December around 300 words) in the following format –
Colonisation is a project initiated by Sinéad Carey, examine the universal tension between good and the tide is re-presented in the form of an audio piece, Artists name.
which involves reclaiming urban space by placing evil and he offers a Orthodox Christian and solution played within the sound scape of the city. A looped Title of work.
four-minute film projection will be screened Commissioning body.
plants around the city. The project, which began in to this problem”. In Composition with a Serpent a
beginning at dusk, under a clock that keeps its own date that the commission advertised.
February ‘08, consists of eight phases – phase three pregnant woman is protected by the unborn child
time. The issue of our alignment in time and space
dates project was sited / carried out.
is currently underway and comprises a residency in her womb, representing ‘good’ who slays the The project budget (NB artwork / site work).
programme run by Dublin City Council Arts Office to the sea and the universe is explored temporary
serpent who represents ‘evil’. Type of commission
– through which the artist is working with the Project partners.
multi-denominational primary school in Ranelagh Brief description of the work
The Visual Artists’ News Sheet January – February 2009 31
NADINE, BELGIUM invent the remaining structure painting, drawing and print are provided with accommodation
Nadine, a transdisciplinary of the residency, working invited to apply for residencies of in log cabins. Facilities in the
laboratory for contemporary together or individually on up to three weeks per year, with main cabin include a library,
artists, invite applications to its projects. Proposed projects possible extension, at the Frans conservatory cabin equipped
residency programme for should have an open-ended Masereel Centre in Kasterlee, with an upright piano, stereo,
curators, researchers, painters structure and be based on recent Belgium. Artists in residence computer with internet access
and artists working with film, studio practice. They must be have access to assistants, teachers, and wi-fi. Application fee $25. To
multimedia or performance art achievable in eight weeks and 4 lithographic hand presses, 3 apply, complete an online
for a duration of 2 or 3 months. within a $1,000 budget engraving presses, 4 offset presses application and send samples of
Professional equipment for (excluding final exhibition and darkroom. Accommodation your work to:
filming, recording, montage, expenses) and must engage in 4-person apartments is Address
projection is provided. Artists are others in its articulation and provided free of charge. Artists Eastern Frontier Educational
invited to send a short description production. contribute a fee of €75 per week Foundation & Norton Island
of their project, accompanied by Website for studio/material costs. Residency, 446 Long Ridge Rd
pOLLOCK-KRASNER GRANT www.cowhousestudios.com
visual material (video/DVD/ www.blueskydayton.org Address Bedford, NY 10506, America
Established painters, sculptors www.wexfordartscentre.ie
photos). The period, duration, Deadline Frans Masereel Centre, Email
and artists who work on paper residency/index.html
presentation technical support, January 31, 2009 Zaardendijk 20, 2460 Kasterlee, webmaster@easternfrontier.
(including printmakers) are Deadline
etc., will vary according to each Belgium com
invited to apply for the Pollock- 30 January 2009
project and will be adapted to the 1646, THE NETHERLANDS Telephone Website
Krasner Foundation Grant.
artistic process as much as 1646 is an artists’ initiative/ 0032 14 852252 www.easternfrontier.com
Criteria for grants are: TyRONE GUTHRIE CENTRE
possible. project-space in The Hague Email Deadline
recognisable artistic merit and The Tyrone Guthrie Centre in
Address which promotes exchange fransmasereelcentrum@ 1 March 2009
demonstrable financial need Annaghmakerrig offers
Herderstraat 30 rue du Berger, between local, national and vlaanderen.be
(professional and/or personal). residencies to established
1050 Brussels, Belgium international artists and art Website THE GRIFFIS ART CENTER
Grants are intended for a one professional artists from Ireland
Telephone spaces, and works as platform for www.fransmasereelcentrum.be Twice a year a visual artist is
year period. The Foundation will and abroad in all disciplines, and
0032 2 513 41 04 discussion, research, production Deadline selected for a five month
consider applicant’s need on for also organises a Regional Bursary
Email and presentation of visual art. Ongoing residency at The Griffis Art
all legitimate expenditures Scheme for younger, emerging
email@example.com 1646 offers residencies to Center in Connecticut. Their AIR
relating to his/her professional artists in co-operation with 27
Website international artists/curators for ATELIER pRESSÉ pApIER programme offers an opportunity
work and personal living, local authorities throughout
www.nadine.be a maximum of two months. To The Atelier Pressé Papier in for professional artists to explore
including medical expenses. Size Ireland. Residencies are offered
Deadline find out more about applying Quebec invites applications from their full creative potential. The
of the grant is determined by for between 1 week and 3
Ongoing contact: media artists, photographers, apartments for the International
individual circumstances of the months. The Centre offers
Email printmakers and woodworkers Artists are located in Sapphire
artist. To apply, send a cover accommodation, dark room,
O’ ITALy firstname.lastname@example.org interested in taking part in its House and the Gemfire Studio in
letter, application form (available music room and performance
O AIR is an international artist Website residency programme. The a quiet residential neighborhood.
online) and slides of current room. Cost starts at €150 plus
and theorist residency program www.enter1646.com Atelier provides working and To apply, complete an application
work to: utilities per week. To apply,
based in Milan in the O’ Art Deadline living space, access to technical form (available online) and
Address established artists should send a
Association headquarters. It Ongoing assistants, computers, a large submit along with two letters of
The Pollock-Krasner Foundation, letter of application accompanied
offers space to experiment and press for engraving and recommendation, images of
Inc. 863 Park Avenue, New York, by documentation of previous
time for reflection, discussion ART FACTORy, pOLAND lithography, a small press for recent work, and $25 application
New York 10021, USA work and description of the work
and verification. Residencies are Visiting artists work in close wood engraving, two print tables fee, to:
Email that they intend on undertaking
offered to curators, researchers, contact with other artists and for screen printing and a dark Address
email@example.com while at the Centre, or if you are
and visual artists working in all cultural organisations in room. Residencies may last from The Griffis Art Center, 147 State
Website an emerging artist, contact your
media, who have at least three Bialystok, north-eastern Poland. one month to one year. Artists in Street, New London, Connecticut
www.pkf.org local authority for information
years experience as professionals, Residencies are non-prescriptive residency pay for their 06320, America
Deadline on the Regional Bursary Scheme.
for a period of 2 weeks to 2 and process-based, allowing accommodation, but rent is set Telephone
months. Accommodation, studio artists, designers and writers to according to individual artists’ 001 860 447 3431
Tyrone Guthrie Centre,
and basic equipment are develop projects in response to financial situations. Applicants Email
RESIDENCIES Annaghmakerrig Newbliss, Co.
provided. Further information their new environment. should have some experience of director@GriffisArtCenter.com
on application procedures is Collaborative projects are printmaking and/or Website
WAC & COW HOUSE STUDIOS Telephone
available from: encouraged. Accommodation in photographic techniques. www.griffisartcenter.com
Each year Cow House Studios, an 047 54003
Address university dormitories or with Enquiries and applications Deadline
artists’ space set on a 180 acre Email
O’, Via Pastrengo 12, 20159 host families and studio space is should be addressed to: 15 February 2009
farm near Rathnure, Co. Wexford, firstname.lastname@example.org
Milano, Italy provided for an eight week Address
provides two residencies open to Website
Telephone period. Participants have the Atelier Pressé Papier, 73, 75 rue INTERSpACE
Irish and international artists, www.tyroneguthrie.ie
0039 (0) 266 823357 opportunity to display their Saint-Antoine, Trois Rivières, Interspace New Media Arts
and one residency open to Deadline
Email work at the end of the residency. Québec G9A 2J2, Canada Centre (Sophia, Bulgaria) calls
international artists only which Ongoing
info-o.artoteca Applications in English or Polish Telephone for application from film and
is run in partnership with
uovodicolombo.com should include a letter of 001 819 3731980 media artists to apply for their
Wexford Arts Centre. All ATELIER AZUR
Website application, CV and Email AIR programme. I-Space provides
residencies run for 10 weeks. The Atelier Azur runs residencies
www.o-artoteca.org documentation of recent work p r e s s e . p a p i e r. a t e l i e r @ t r. access to assistants, computers,
Cow House Studios provide in Casaterra, Italy, and Hval
Deadline (min. 10 pieces), and be sent to: cgocable.ca and equipment (audio and
shared accommodation, 24-hour Station in Hønefoss, Norway.
Ongoing Address Deadline video). Expenses for provided
access to the 2,400 square-foot They aim to re-establish Hval
Art factory, ul. Wyszynskiego Ongoing accommodation must be covered
open plan studio space that Railway Station as a site that
BLUE SKy pROJECT, OHIO 9/77, 15-888 Bialystok, Poland by the artist. Please send your
contains a wood shop, darkroom functions as a place that supports
The Blue Sky Project in Dayton, Telephone NORTON ISLAND RESIDENCy portfolio, a motivation letter and
and computer lab and individual artistic transition and inspiration.
Ohio, seeks proposals from 0048 784 780 491 The Norton Island Residency a project proposal to:
spaces measuring 18sqm (natural Shared accommodation and
artists, filmmakers, writers, etc., Email Programme (Maine USA) is a Address
light). 2009 residencies will run studio space is provided, as well
for their summer residency art.factory.bialystok@gmail non-profit initiative that invites 27 Benkovski Str., Ent. 2, fl. 1, ap.
from 14 Sept – 1 Dec. The as facilities for painting, drawing
programme. The Project runs for com visual artists and writers to apply 18, Sofia 1000, Bulgaria
International Residency also and sculpture. To apply, send a
eight weeks from mid-June to Website for its summer 2009 residencies. Telephone
provides an opportunity to proposal of work to:
mid-August at the University of www.myspace.com Residencies take place on Norton 003592 94 33 470
exhibit at Wexford Arts Centre. Email
Dayton. Mondays to Thursdays artfactorybialystok Island, a remote, 150-acre island Email
The programme provides an email@example.com
from 10am to 3.30pm are devoted Deadline off the coast of Maine, for a firstname.lastname@example.org
opportunity for international Website
to collaborations between artists 28 February 2008 period of two weeks. 16 writers Website
artists to live, work and exhibit w w w. a t e l i e r a z u r. n e t
and a small group of local and 6 artists will be selected for www.i-space.org
in Ireland. Full details of the Deadline
teenagers, culminating in a final FRANS MASEREEL CENTRE residencies starting on 15 June Deadline:
application process are available Ongoing
exhibition. Artists-in-Residence Visual artists working with and 1 July 2009. Residents will be Ongoing
32 The Visual Artists’ News Sheet January – February 2009
THE MEET FACTORy KUNSTHAUS TACHELES, but should have an interest in exhibitions. Please send letters of shifts, cultural hybrids); statement (max. 150 words),
The Meet Factory International Kunsthaus Tacheles (Berlin) working with glass in new ways, interest, CVs and documentation Rathmines (urban planning, current CV, contact details,
Atelier Residential Programme invites application from artists exploring the diversity of glass or of work to: gentrification, periphery); Moore proposal (max. one A4 page) and
(Czech Republic) offers artists working with painting, sculpture, its relationship with new media, Address Street (maintaining of traditional project timetable and budget, if
working with drawing, painting, media art and drawing for its AIR film and video, science, John Mc Hugh, Unit 1, 15 culture, Potemkin village). relevant, to:
film, multimedia and sculpture programme. Tacheles aims to architecture and design. To Westport Industrial Park, Submissions should include your Address
the opportunity to work as an promote an international submit a proposal, send a Newport Road, Ireland. single channel work on DVD Creative Director, National Glass
AIR for between 2 to 12 months. dialogue between different artists statement (max. 150 words), Closing date (NTSC or PAL), completed Centre, Liberty Way, Sunderland
The Meet Factory provides 4 to 6 from different disciplines. Studio current CV, contact details, 30 January 2009. submission form from their SR6 0GL, England
ateliers for international space only is provided. For more proposal (max. one A4 page) and website and supplemental Email
residents, accommodation, and information contact: project timetable and budget, if ‘My SpACE’ pROJECT information about the work or email@example.com
sound and recording studios for Address relevant, to: ‘My Space’ is a project initiated artist. Send submissions to: Website
emerging artists. Applications Kunsthaus Tacheles, Address and curated by Cecilia Moore Address www.nationalglasscentre.com
should be sent to: Oranienburgerstraße 54/56-A, Creative Director, National Glass commissioned by Breaking International Guerrilla Video Deadline
Address 10117 Berlin, Germany Centre, Liberty Way, Sunderland Ground, the PerCent for Art Festival, 244 Fifth Ave, Suite J245, Ongoing
Meet Factory, Zborovská 46 Meet Telephone SR6 0GL, England programme for Ballymun New York, NY 10001, USA
Factory o.p.s., Praha 5, Czech 0049 30 2826185 Email Regeneration Ltd. Six mini- Website MANIFEST, OHIO
Republic Email firstname.lastname@example.org galleries will travel to non-gallery www.igvfest.com The Manifest Creative Research
Email email@example.com Website venues throughout Ireland until Deadline Gallery and Drawing Center in
firstname.lastname@example.org Website www.nationalglasscentre.com June 2009. ‘My Space’ exhibits 23 January 2009 Cincinnati, Ohio, announces a
Website http://super.tacheles.de/cms/ Deadline artworks, installations and call to artists for ‘Mythography:
www.meetfactory.cz Deadline Ongoing materials exploring ideas of ExHIBITIONS INTERNATIONAL
EXHIBITIONS INTERNATIONAL An Exploration of Narrative Art’,
Deadline Ongoing identity, personal interests and that will run from 6 March to 3
Ongoing ARTISTAy IN FRANCE opinion. Artists wishing to WET SOUNDS 2009 April 2009. Juried by a committee
TICA, ALBANIA Artistay is a new initiative that participate in the project should Wet Sounds, the Underwater of professional and academic
BURG BEESKOW, GERMANy The Tirana Institute of aims to secure residency places email Cecilia at: Sound Gallery by Newtoy, will advisors. Submission open to all.
Burg Beeskow provides studio Contemporary Art welcomes for international artists who Email return in summer 2009 and is $10 entry fee per work submitted.
space and accommodation for applications for its 2 month wish to complete a residency in email@example.com now open for proposals for sound For more information see website
artists, facilities for traditional residency programme from France. Artistay works with a Website work, performances, and of contact Jason Franz at:
art media, including pottery (clay artists working with drawing, network of professional www.ceciliamoore.ie installations for its second UK Telephone
and kiln) and engraving. Artists painting, sculpture, media art residencies in France and their Deadline tour. Wet Sounds takes place in 001 513 861 3638
may stay for between 2 and 6 and film. The ongoing TICA AIR goal is to match suitable artists Ongoing until June 2009 public swimming pools. Work Email
months and cost for rent of programme provides a return to residencies that will accepted for the event will play firstname.lastname@example.org
studio, accommodation and food flight ticket, shared complement their practice. They pROJECTO ELECTRO throughout Wet Sounds’ Website
is €15 per day. To apply send a accommodation and studio offer their services free of charge Projecto Electro is a new Electro installations 2009 -2010. Audio w w w. m a n i f e s t g a l l e r y. o r g /
proposal and documentation of space in Tirana, Albania, a and without obligation. Artists Art Club project from media art work should be between 4 and mythography/
your work to: monthly allowance of €400 and send an application to Artistay collective MART. It aims to offer 10 minutes duration. Performance Deadline
Address the opportunity to take part in who will then examine your a new platform for upcoming work should be durational or 30 January 2009
Frankfurter Straße 23, 15848 an exhibition/public application, consider what artists and musicians using take place throughout the event,
Beeskow, Germany presentation at the end of the residency may be right for you, digital media. MART are performed in the water or ApW GALLERy, NEW yORK
Telephone residency. To apply, send your and submit an application on encouraging artist to submit new elsewhere in the pool area. APW Gallery announces a call to
0049 3366 20579 CV, 300 words max. about your your behalf. If the application is work and ideas for inclusion in Installations should engage the artists for ‘World of Imagination
Deadline practice, 300 words max. on why successful then Artistay will pass Projecto Electro nights, video art audience and compliment the Vol. 2’, an exhibition featuring
Ongoing you would like to do the on all contact details to you and projections from MART artists/ swimming pool and Victorian 2,000 12 x 12 inch paintings.
residency at TICA and you will then be free to VJ’s, the Performance Zone Baths, e.g. decorative work, Exhibition will be held from 6 to
LOWER SAxONy documentation of your work communicate directly with the (merging contemporary dance lighting, sculpture, plants, 29 March 2009. Artists from all
Media AIR Programme 2009 (800 x 600pix .jpeg/QuickTime residency facilitator and decide and theatre), interactive digital interactive work. Performances over the world may submit up to
The Foundation of Lower Saxony format video for email whether or not the residency is games and vox pops. For more and installations/interventions 5 paintings on canvas. Entry Fee:
at the Edith-Russ-Site for Media submissions, or printed images right for you. Applications information please contact Ciara will command a fee of £150. For $50 (everyone will be accepted
Art, Oldenburg, will award three for postal submissions), to: should include a current CV, on: more information please contact and featured in this exhibition).
six-months work stipends Address documentation of work, short Telephone Joel at: One exhibitor will be given the
(€10,000 each) from July to Tirana Institute of Contemporary description of the work that you 087 9699945 Email chance to present a solo
December 2009. Submitted Art, c/o Delta Publicity, Rr. Luigj intend to complete on the Email email@example.com exhibition in the APW Gallery.
project proposals from artists Gurakuqi, Pall 89, Sh. A, Kati 12, residency, letter of firstname.lastname@example.org Website The jurors are Hans Yim, Kerry
working with new media will be Tirana, Albania recommendation/professional email@example.com www.newtoy.org/wetsounds Lee. For more information
reviewed by an international Email reference (if possible), preferred Website html contact Hans Yim or visit the
jury. A minimum residency of firstname.lastname@example.org dates and length of stay for www.mart.ie Deadline APW website.
one month is required. Artists in Deadline residency and any other www.myspace.com 9 March 2009 Email
Residence will be integrated into Ongoing information that you feel is projectoelectro email@example.com
the institution’s activities. Studio important. Deadline GLASS CENTRE, SUNDERLAND Website
and accommodation are GLASS CENTRE, SUNDERLAND Email Ongoing The National Glass Centre www.apwarts.com/
provided. Information on The National Glass Centre calls firstname.lastname@example.org welcomes proposals for worldofimagination
application procedures is for applications for its ongoing Website GUERRILLA VIDEO exhibitions and ideas for the Deadline
available online. Artist in Residence programme. www.artistay.com The International Guerrilla commissioning and production 30 January 2009
Address Applications are welcomed from Video Festival Dublin 2009 will of new work. The National Glass
Edith Russ House for Media Art, both individuals and collectives EXHIBITIONS IRELAND
ExHIBITIONS be held from 19 to 20 February Centre is looking to work with ART BELOW
Peterstrasse 23, 26121 Oldenburg, for short or long-term residencies. 2009 in Parnell Street, Rathmines artists across all art forms and no Art Below provides artists with
Germany The Centre’s facilities include a CUSTOM HOUSE STUDIOS and Moore Street. The IGVFest is previous experience of working advertising space on the London
Telephone visiting artist’s studio, wireless The Custom House Studios are a mobile festival integrating with glass necessary. Access to an Underground, turning ad space
0049 441 2353208 internet access, an experienced inviting submissions for video art with the urban and external panel of advisors and an into art space. For a fee, your
Email hot glass studio team on hand to exhibitions for 2009 and 2010. social environment. Works experienced hot glass studio work will be displayed for a
i n fo@e di th - rus s- haus.d e support the production of new Custom House Studios are relating to the social conditions team who support the production period of 2 weeks in a station of
Website work, excellent exhibition spaces currently constructing an of the site will be projected onto of new work is provided. Ideas your choice. There is also a web
www.edith-russ-haus.de and an experienced curatorial extension and renovations – set building facades, monuments may reflect the diversity of glass page for online viewing.
Deadline team and external panel of to reopen March 2009. The and temporary structures. or its relationship with new Telephone
28 February 2009 (postmark) advisers. Applicants do not need gallery is located on street level Themes to be addressed on the media, film and video, science, 0044 20 8948 4491
to have any experience of and enjoys high visitor numbers. sites include: Parnell Street architecture and design. To Email
working with glass first-hand, There is a full programme of (immigration, demographic submit a proposal, send a email@example.com
The Visual Artists’ News Sheet January – February 2009 33
Website Website THERE IS BEAUTy IN THE CITy Email CF11 7LA, Wales and St. Brendan’s College,
www.artbelow.com www.royalwatercoloursociety. There is Beauty in the City’ is a firstname.lastname@example.org United Kingdom Belmullet, Co. Mayo. The budget
www.myspace.com/artbelow co.uk participatory project by Anna Website Email for St. Patrick’s College is €34,800
Deadline www.banksidegallery.com Francis that is open to everyone. www.jerseycitymuseum.org email@example.com and the budget for St. Brendan’s
Ongoing Deadline Simply ask for a magnet or print Deadline Website College is €36,500. Budgets
14 January 2009 off a template from the project 6 March 2009 (postmark) www.outcasting.org should include artists’ fees,
LAND / DREAM-SCApES blog, below, then take the magnet Deadline design costs, material, fabrication
Call for entries for ‘Landscapes/ MOUNT pLEASANT GARDENS to your chosen beauty spot, RHIZOME WRITERS INITIATIVE ongoing and all other associated costs,
Dreamscapes’, a 2-D show that Artists are invited to submit photograph the magnet in situ The Rhizome Writers Initiative including VAT. The commission
will take place at the JayKay work for the Mount Pleasant and send in the photo as .jpeg gives writers, artists, critics and RHIZOME COMMISSIONS is a two-stage open competition.
Gallery (Switzerland), a renovated Gardens Annual Sculpture (less then 2MB) to the email curators the opportunity to The Rhizome Commissions Projects will be evaluated by the
farmhouse in Carrogue, near Exhibition. The show, scheduled address for display on the blog explore in-depth a diverse range Programme at the New Museum Per Cent for Art Selection
Lake Geneva in Switzerland. All for September 2009, will feature and Facebook sites. of topics related to contemporary awards grants to emerging artists Committee of Mayo VEC.
entrants will be considered for a all types of sculpture in ten acres Email art engaged with technology and working with new media. Successful entries will reflect the
Reflect-arts show in New York of landscaped gardens near thereisbeautyinthecity@yahoo. to develop their own language Commissioned works can take ethos and activities of the school
City. The jurors will be Juliette Chester in Cheshire. Entrance co.uk and understanding of this field. If the final form of online works, communities. Full brief is
Pelletier and Karen Hafsett Nye. fee of £50 covers submission of Www you have an idea on a topic performance, video, installation, available by request from:
Entry fee is $30 for 4 images and up to 8 pieces, and organisers www.thereisbeautyinthecity related to new media art send or sound art, and should Address
$5 for each additional entry. For will charge 20% commission on blogspot.com your proposal to: creatively engage new and Sharon Moore, Mayo VEC,
more information please contact sales. To apply contact: Deadline Email networked technologies or Newtown, Castlebar, Co Mayo
Juliette Pelletier or visit their Telephone Ongoing editor@ rhizome.org reflect on their impact. Projects Telephone
website. 0044 1829 751592 Website can be made for the context of a 094 9024188, extension 245
Telephone Email LENS-BASED NEW MEDIA
LENS BASED / / NEWMEDIA www.rhizome.org gallery, public space, the web or Email
001 646 3440864 louiseworthington@btinternet. Deadline networked devices. Rhizome firstname.lastname@example.org
Email com ROADSIDE ATTRACTION Ongoing Commissions awards should Deadline
email@example.com louisedarlington@btinternet. Another Roadside Attraction is contribute substantially towards 27 February 2009
Website com an organisation dedicated to the NANOART the total cost of the project and
www.reflect-arts.com/jaykay09 Website promotion of new contemporary The NanoArt International are usually in the region of SHAMROCK pLAZA
Deadline www.mountpleasantgardens. art. Approximately every eight Online Competition is open to $3,000 to $5,000. Proposed Competition Commission
31 January2009 co.uk weeks Another Roadside all artists. Participating artists projects should be carried out Monaco Properties wishes to
Deadline Attraction organises an evening will be provided with 3 high within one year. More commission a work or works of
FEED 2009 28 February 2009 of artists’ video and film resolution monochromatic information about submission art for a civic space in front of the
FEED is a national juried biennial screenings in The Griffin, electron scans to work from. procedures is available from the new Shamrock Plaza building in
exhibition organized by 1708 LITTLE WOMEN! Shoreditch, London. To submit They will then use the electron Rhizome website. Submissions Carlow. This commission is a
Gallery in Richmond, Virginia. Call for female artists to submit work for consideration, please scans as a starting point from will be accepted from 15 January result of the planning process
Entries for FEED 2009 are open work for the 13th annual Little send a copy of your work (with which to make work. Artists can 2009 until the deadline. engaged in with the County
to artists working in any media. 5 Women! exhibition, celebrating stamped SAE for return) on DVD submit up to 5 images (artworks). Website Council and should relate
winners will be chosen who will International Women’s Day. The to: All submitted works will be www.rhizome.org/ directly to the social, cultural or
each receive a $1,000 show will be an unthemed Address exhibited on the nanoart21.org commissions/2009/procedures. economic environment of the
honourarium and the exhibition of small work that Another Roadside Attraction, 55 site until 31 March 2009, together php area. The budget of €30,000
opportunity to exhibit multiple will take place from 7 to 28 Bayford Business Centre, Bayford with artist’s name, web site and Deadline should include artist’s fees,
works at FEED 2009. Images of March 2009 at the Willis Street, London E8 3SF, England e-mail. The competition will be 2 April 2009 design costs, material, fabrication
work should be submitted as Museum in Hampshire. To Telephone judged by Jeanne Brasile, artist, and all other associated costs,
72dpi .jpegs and DVD submit work contact: 0044 208 9814312 director and curator of the Walsh KELLICUTT INTERNATIONAL including VAT. The commission
submissions should be sent in Telephone Email Gallery at the Seton Hall The Coastal Arts League is now is a two-stage open competition.
their entirety (no clips or trailers). 0044 1256 478493 info University and Rocky Rawstern, accepting entries for the 2009 Projects will be evaluated by a
Entrance is $30 for 5 pieces of Email anotherroadsideattraction.org artist and former editor of Kellicutt International Juried Selection Committee comprising
work. The jurors are Ashley firstname.lastname@example.org Website Nanotechnology Now. Top 10 Photo Show which will be on members of Monaco Properties,
Kistler, Director of the Anderson Deadline www. artists will be exhibited on show in April and May 2009 at Carlow Town Council and the
Gallery at Virginia 14 February 2009 anotherroadsideattraction.org nanoart21.org site for one year the Coastal Arts League Museum Carlow Local Arts Office. A full
Commonwealth University, and Deadline and will be invited to exhibit at in Half Moon Bay, California. brief is available online or by
Mark Sloan, Director and Senior ‘OVERVIEW’ OF pAINTING ongoing the 3rd edition of The First Prize $2,000. The jurors for request from:
Curator of the Halsey Institute of Artists of all media are called to International Festival of NanoArt. the competition are Michael Address
Contemporary Art at the College submit work to ‘Overview’, an JERSEy CITy MUSEUM For more information, please Collopy, Charles Cramer and Monaco Properties, Waterford
of Charleston. exhibition that will aim to be The Jersey City Museum’s Media visit the competition site or Janet Jones. Open to all Telephone
Website representative of both painting 1x1 Series is calling for enquire by email. photographers internationally 051 857787
www.1708feed.org today and work in other media submissions of videos that Email and all forms of photography. Email
Deadline that reacts to the practice of investigate the idea of ‘place’. Up email@example.com Entry fee is $20 for first entry and LGough@monaco.ie or
30 January 2009 painting and/or the artist as a to nine videos will be chosen for Website $5 for each additional entry. For ATobin@monaco.ie
painter. The exhibition will take participation in the series which w w w. n a n o a r t 2 1 . o r g / h t m l / more information contact Jeff Website
‘21ST C WATERCOLOUR’ place from 20 Febr – 20 March will play on three screens on the nanoart_2008.html Klagenberg at: www.monaco.ie
Call for entries for the Royal 2009. Submission fee of £7 first floor of the museum from Deadline Telephone Deadline
Watercolour Society open applies for up to 5 pieces of work. May to September 2009. Please 15 January 2009 001 650 4303677 12 noon, 31 January 2009
competition ‘21st Century Submissions should be sent on a submit work on unformatted Email
Watercolour’. Artists are invited disk as .jpegs. Work can be for DVDs (NTSC format only and OUTCASTING firstname.lastname@example.org HARLOW ART TRUST
to submit up to three water-based sale and 30% will be charged on preferably as .movs), a short Outcasting is an internet based Deadline Harlow Art Trust in Harlow,
paintings on paper for sales. To submit work, post your synopsis of the work and contact screening channel for all forms 31 January 2009 Essex, owns a significant
consideration for the exhibition. submission to the gallery and details. Entries should be sent by of moving image work. All films collection of modern and
Entry is £10 per work and prizes email for an application form. post to the address below and will be archived online and there COMMISSIONS
COMMISSIONS contemporary public sculpture
include cash, purchase awards Address enquiries may be made by will be the possibility of DVD in Britain which is on permanent
and art materials. Successful Elysium Gallery, 41 High Street, emailing the curator, Natalie distribution for selected works. MAyO VEC display in public spaces around
entries will be exhibited at the Swansea, SA1 1LT, Wales McKeever. All work should be submitted as Mayo Vocational Education the town. The Trust is now
Bankside Gallery from 20 Feb – Email Address full quality data files on DVD / Committee (VEC) is offering a inviting submissions from
15 March 2009. Handing in dates email@example.com Investigations of Place Video MiniDV tape / or as Flash Movies commission under the PerCent practicing sculptors resident in
are 14 and 15 February 2009. For Website Program, Jersey City Museum, and sent to: for Art Scheme in respect of two the UK and Ireland for an open
more information please see the www.elysiumgallery.com P.O. Box 428, Jersey City, NJ Address new school extensions and competition for the Lady Gibberd
Royal Watercolour Society’s Deadline 07303-0428, USA. Outcasting, Michael Cousin, 116 renovated premises at St. Patrick’s Sculpture Commission. The new
website. 31 January 2009 Paget Street, Grangetown, Cardiff, College, Lacken Cross, Co. Mayo, work will commemorate the life
34 The Visual Artists’ News Sheet January – February 2009
and work of Lady Patricia documentation of work to: Telephone EDWARD MARSHALL TRUST own interests and specialities. 0044 870 7743 486 or 0044 207
Gibberd, former chairperson of Address 0044 161 2953841 Artists and designers with The position is unpaid but local 681 0983
the Trust. It is not intended that John Mc Hugh, Unit 1. 15 Email eligible design projects (up to travel expenses will be Email
this should be a portrait. The Westport Industrial Park, firstname.lastname@example.org £50,000) that are both accessible reimbursed. To apply send a email@example.com
Trust is looking for an emerging Newport Road, Ireland. Website by the public and inspired by an covering letter and CV to: Website
sculptor, able to deliver a creative Closing date www.pg.salford.ac.uk/gtas ideology relevant for today are Address www.charlottemillerartproject.
work of public sculpture that is 30 January 2009. Deadline invited to submit proposals for Education Manager, Dulwich co.uk
permanent, durable and low in 6 February 2009 the Edward Marshall Trust Award Picture Gallery, Gallery Road, Deadline
maintenance costs for a new COMPETITIONS //AWARDS
COMpETITIONS AWARDS that aims to promote projects London SE21 7AD, England 1 June 2009
public space being developed in pORCELAIN AWARD that examine what objects mean Website
Harlow. The proposed OxFORD pOSTGRAD Artists working with porcelain and how they interact with the www.dulwichpicturegallery.org. CONFERENCES
commission is worth up to The University of Oxford is are invited to submit work for world. Further information is uk
£35,000 depending on size, calling for applicants of high the 6th Zelli Porcelain Award. available on the Award’s Deadline CORK TExTILE CONFERENCE
material and current prices of the academic merit to submit The theme of the award for website. 4 May 2009 A one day conference for artists
successful applicant’s work. This proposals for their AHRC porcelain sculpture is ‘Proverbs’. Website and craftspeople with an interest
sum should include design, Postgraduate Studentships 2009. Artists are invited to choose from www.edtrust.org.uk CERAMICS FESTIVAL in contemporary textiles will be
fabrication and artist’s fee. Full Starting in October 2009 these eight proverbs, each one from a Deadline Students with an interest in held in Cork on 7 March 2008.
brief is available on the website. one and two-year awards for different country. Short-listed 31 January 2009 ceramics are invited to apply for The conference will feature
For full brief contact Michael Research Master’s and sculptures will be exhibited in an opportunity to work alongside lectures from some of Britain and
Paraskos at: Professional Masters’ degrees, Zelli’s West End gallery from 19 THE CITy OF CAROUGE some of the most well respected Ireland’s leading contemporary
Address and up to three years for doctoral to 31 October 2009. Short-listed The City of Carouge, Geneva, demonstrators in the world textile artists as well as a choice
Harlow Council (Arts degrees, are available in a range entries will be judged by a panel organises an open biennial during the International of afternoon workshops in Stitch,
Development), Civic Centre, of subject areas including Fine of three experts and the winner competition in ceramics. The Ceramics Festival, Aberystwyth, Miniature Books, Print, Paper
Harlow, CM20 1WG, England Art, Film Studies and History of will receive a prize of £3000. subject of the 2009 competition Wales, from 3 to 5 July 2009. Casting, Collage and Paint/Stitch/
Telephone Art, Architecture and Design. UK There will be an additional prize is a cup and its saucer, part of the Student helpers are required to Collage with tutors Jan Beany,
0044 20 8676 4610 students are eligible to apply for of £500 for the sculpture showing same set. Competitors may assist demonstrators, staff on the Anna King, Debbie Godsell,
Website full awards covering fees and the best use of colour. £10 entry submit one entry each, presenting front desk, help set-up exhibitions Dominic Fee, Mary Timmons,
www.harlowarttrust.org maintenance and EU students fee. For further details contact: no more than one set. The object and cup sale, assist with kiln Lynn Kenny and Helen Stringer.
Deadline may apply for fees-only awards. Address must be an original, recently building, firings and staged Attendance costs €80.
4pm, 30 January 2009 Payments of up to £9,040 for Zelli Porcelain Award, 55-57 created work. The work must be events, organise equipment and Registration forms available
Master’s awards and £12,940 for Chiltern Street, London W1U in ceramics. The work of selected materials and for front of house. online.
STUDIOS Doctoral awards are available per 6ND, England competitors will be exhibited in Helpers will have free access to Email
annum. £25 application fee. For Telephone the Musée de Caroug from 19 the festival, accommodation, and firstname.lastname@example.org
STUDIO/COLLECTIVE DUBLIN more details on eligible subject 0044 20 7224 2114 September to 1 November 2009. a small payment towards Website
A group of approximately 40 areas/courses, residency Email Prizes include The City of expenses. Application forms are www.corktextiles.com
artists and craftspeople working eligibility criteria and academic email@example.com Carouge 2009 Prize worth 10,000 available online, or for more Deadline
in any and all media are sought eligibility criteria, and on how to Website Swiss francs (approx. €6,300), information contact Sophie 7 March 2009
for a new city centre collective. apply for an AHRC studentship www.zelli.co.uk The Bruckner Foundation Prize Bennett at:
The space on Drury Street, at Oxford, see the notes of Deadline for the Advancement of Ceramics Address CALL FOR pApERS
Dublin 2, will be mixed use with guidance online. 26 September 2009 worth 2,000 Swiss francs (approx. International Ceramics Festival,
approx. 3,500sqft studio space Website €1,200) and a prize of 1,000 Swiss Abwerystwyth Arts Centre, THE KUMASI SyMpOSIUM
and 1,500sqft retail space. The www.humanities.ox.ac.uk/ pRINCE OF WALES BURSARy francs (approx. €600) awarded by UWA, Aberystwyth, Ceredigion, The Kumasi Symposium 2009,
project has been designed to graduate_study/ahrc/ahrc The British School at Athens the Swiss Ceramics Association. Wales SY25 6RF ‘Tapping Local Resources for
provide both retail and studio notes_of_guidance offers a bursary for a period of An application form is available Email Sustainable Education Through
space to visual arts practitioners Deadline artistic study/work in Greece for to download from the website firstname.lastname@example.org Art’, held in association with
and craftspeople for a fee of €400 23 January 2009 British artists. All disciplines and should be returned to the Website AfriCOAE, calls for the
per calendar month inclusive (a considered. Maximum bursary of address below. www submission of proposals for
deposit of the same will be UNIVERSITy OF SALFORD £2,500. The British School is Address internationalceramicsfestival. theory papers, presentations,
required). The space is in a The University of Salford calls committed to the lasting and Musée de Carouge, Case postale org exhibitions and workshops to be
commercial area with good for potential PhD students at the universal values of Greece and 1576 CH-1227-Carouge, Genève, Deadline presented at the symposium that
footfall. Interested parties can university to apply for the Hellenism, and to contributing Switzerland 1 February 2009 will be held in Kumasi, Ghana,
contact Claudia at: positions of Graduate Teaching significantly to present day Email from 31 July to 14 august 2009.
Email Assistants commencing in intellectual and cultural life. email@example.com VOLUNTEERING IN ECUADOR Proposed contributions should
firstname.lastname@example.org October 2009. The scheme offers Applications should reflect these Website The Charlotte Miller Arts Project address one or more of the
Deadline UK and EU Doctoral students the principles. Applications should www.carouge.ch and ICYE-UK are seeking symposium strands and topics:
Ongoing opportunity to study for a PhD at not be longer than two pages, Deadline individuals with experience in Art Education Practice, Studio
the Adelphi Research Institute and must include a statement of 30 March 2009 the arts and volunteering sector Practice, Curatorial/Museum/
CUSTOM HOUSE STUDIOS for Creative Arts & Sciences, the applicant’s intentions, the to help run arts-based workshops Community Arts Practice, Art
The Custom House Studios are University of Salford, while amount requested from the Fund INTERNSHIpS VOLUNTEER S
INTERNSHIPS / / VOLUNTEERS with street children in the History/Criticism, Arts
inviting submissions for use of undertaking teaching duties in and a provisional work timetable. Guayaquil region of Ecuador. Administration/Management/
studio space for 2009 and 2010. areas usually related to their PhD This should include some DULWICH pICTURE GALLERy Placements are particularly Marketing Practice, and Open
Custom House Studios are research. Successful candidates residence at the School. A CV, Graduates and post-graduate suited to those who have worked Session. Expression of interest
currently constructing an will work under the direction of names and addresses of two students wishing to pursue a in the educational sector, and proposals for plenary
extension and renovations – set an academic staff member for up referees and photographs/colour career in the museum and gallery especially with children, and sessions and exhibitions/
to reopen March 2009. The to 180 hours over the academic copies (not exceeding A4 size world are invited to apply for the have a good grasp or arts-based practical workshops will be
Studios complex houses seven year (average of six hours per with true dimensions written on ongoing placement scheme in community work. A reviewed until 17 January 2009
artists studios, gallery and a print week). Scholarships are worth back) of not more than ten pieces the Dulwich Picture Gallery, conversational level of Spanish is and applications for individual
studio. These facilities are housed £13,290 per annum. Suitable of work, including stamped SAE London. Placements are for at also required for these paper presentation and
in a historic restored Customs subject areas include for return of same should be sent least 3 days per week for a period placements. A limited number of participation will be reviewed
House building on the Quay in Contemporary Arts Practice, to: of 3 months and they involve a six or 12 month long placements until the space is filled. All
Westport, on a prominent New Media, Performance Studies, Address variety of tasks from basic office are available departing in June submissions should be sent to:
redeveloped waterfront street. Film Studies, Museum The Secretary, The British School duties to assisting with the 2009, December 2009 or June Email
The studios are located up stairs Management and Heritage at Athens, Senate House, Malet running of the schools 2010. Volunteers will need to email@example.com
overlooking the harbour. All Studies, and Sound Art. For more Street, London W1E 7RU, programme in the Gallery and fundraise in order to help finance Website
studios have daylight and 24hour information on application England Sackler Centre for Arts Education. direct costs. For details of how to www.afropoets.tripod.com/eta
access. One studio is available for procedures please contact Linda Deadline Those able to commit for longer apply contact Jebby Williams, www.knust.edu.gh
shorter stays. Please send letters M. Kelly at: 16 January 2009 may be given particular projects Sending Co-ordinator, at: Deadline
of interest, CVs and or research that tie in with their Telephone 19 June 2009
The Visual Artists’ News Sheet January – February 2009 35
LIMERICK pRINTMAKERS course fee is £450. For further theoretical framework of the PUBLICATIONS Council, this award, offered by
WORKSHOpS / COURSES pUBLICATIONS
WORKSHOPS / COURSES Bookings are currently being information contact Dr Noha course the student will then the Arts Council in partnership
accepted for places on the Nasser on: produce a written paper and a FOUR CORNERS FAMILIARS with the Office of Public Works,
TACTIC WORKSHOpS following two-day weekend Telephone completed project proposal. Four Corners Familiars is seeking aims to support the creative
TACTIC is a cross-national courses at Limerick Printmakers: 0044 121 3315894 Course will run for one evening proposals from artists, at any development of the architect and
laboratory for tactical art making: PhotoEtching with Suzannah Email per week for 13 weeks from 6 to stage in their careers, to have a to direct funding towards
investigation, intervention, O’Reilly, 24 & 25 January 2009, firstname.lastname@example.org 9pm each Monday, starting on 26 volume published in the Four architectural excellence and
discovery, testing and application; €210; DryPoint Etching with Website January 2009. The fee for the Corners Familiars series. The innovation. The biennial award
a space for activists, artists and David Lilburn 21 & 22 February www.bcu.ac.uk/cudos course is €150. 25 series presents artists’ responses is valued at €50,000 over a two-
other interested parties to meet 2009 (to be confirmed), €210; Deadline places. Application forms and to classic novels and short stories year period offers an emerging
in Dublin, inform each other’s Silkscreen for Beginners and 27 January 2009 further information are available and participants are encouraged architect the opportunity to
practice and develop creative Intermediate with Vincent Casey, from GMIT. Applications should to come up with innovative, develop and deliver a research
projects and interventions. 22 & 23 March 2009, €200; AppLIED ART ULSTER be sent, along with payment distinctive ways of project in the first instance.
TACTIC is asking for submissions Silkscreen for Intermediate and Applied Art Ulster, in association (cash, cheque payable to GMIT or complementing the text, Following completion of this, the
towards a series of workshops to Advanced with Derek O’Sullivan, with the University of Ulster, are credit card), to: preferably far removed from architect will be contracted to
be hosted in their residency space 24 & 25 January 2009, €200; running a series of Masterclasses Address traditional notions of illustration. design and run a building
at the LAB in February and March Monoprint with Fiona Quill, 7 & in Ceramics, Silver and Jewellery, The Lifelong Learning Centre, Payment for successful proposals contract for the Office of Public
2009. Submissions welcome 8 March 2009, €200; Mezzotint and Textiles which will be held GMIT, Dublin Road, Galway City will be £750 plus 30 copies of Works (OPW). For further
from artists, activists and with Pamela Dunne, 21 & 22 in the Ormeau Baths Gallery in Telephone their book. Application and information / application forms:
collectives for ideas, themes and March 2009, €250. Cost of all Belfast. The programme offers an 091 742257 / 742496 / 742412 submission details are available Contact
workshops that Tactic should courses includes tuition and international standard of Email from: Aisling McKone, Architecture
host while at the LAB. TACTIC materials. For more information practitioners across silver and email@example.com or Website Assistant.
will document all projects please see website. Places limited. jewellery, ceramics and textiles. firstname.lastname@example.org www.fourcornersbooks.co.uk/ Telephone
worked on in its space. Please For bookings please contact: The details of the Masterclasses Website OpenSub.html +353 1 6180253
send submissions to: Address are as follows: Ceramics www.gmit.ie Deadline Email
Email Limerick Printmakers Studio and Masterclass with Keith Harris, Deadline 10 April 2009 email@example.com
firstname.lastname@example.org Gallery, 4 Robert Street, Limerick Wednesday 14 January 2009 26 January 2008 www
Website Telephone from 1.30pm; Silver and Jewellery THE FIRST TIME pROJECT www.artscouncil.ie
www.tacticproject.blogspot.com 061 311806 Masterclass with Junko Mori, GLASS LECTURE The First Time Project will be an Closing date
Deadline20 January 2009 Email Wednesday 18 February 2009 Bullseye Glass presents a lecture annual hardback publication Thursday 29 January at 5.30pm
limerickprintmakers@gmail. from 1.30pm; Textiles Masterclass series by international glass showcasing creative artwork
MASTER OF ART IN pUBLIC com with Shelly Goldsmith, artists and kilncasters Richard from around the world. Each
The Master Art in Public at the Website Wednesday 11 March 2009 from Whiteley and Brachlow which publication will be a themed,
University of Ulster, Belfast, seeks www.limerickprintmakers.com/ 1.30pm. Tickets are free but will travel to colleges and limited edition artists’ book. The
to develop testing modes of education capacity is limited. To reserve a universities throughout the UK. project invites submissions for
working that are dialogic, place please contact Ormeau Each day-long programme will its inaugural publication from
participatory, interventionist or URBAN DESIGN COURSE Baths Gallery on: consist of two three-hour recent graduates, emerging and do remember to look at the
collaborative in intention and The ‘Art, Landscape, Place’ Urban Telephone sessions: one devoted to established artists. The first advertisments in this VAN, also
structure. Throughout the Design Course at Birmingham 0044 28 9032 1402 conceptual issues and the other publication is scheduled for June check our web site & subscribe
programme students will work City University is a continuing Email to technical issues. The lecture 2009. For application form please to our e-bulletin for further
with formal and informal professional development course email@example.com tour will be at the University of contact Mark Brereton at: opportunities.
external partners and be expected worth 15 credits towards an MA Ulster Lecture Theatre in Belfast Email
to develop self initiated, in Urban Design in the UK. The RURAL CONTExTS on 8 February 2009. Standard firstname.lastname@example.org While every effort has been
innovative practice based seven day course will run on ‘Shifting Ground: Public Art in tickets cost £50 and student Website made to ensure the accuracy
approaches. The course is Rural Contexts’ is a part-time tickets are £25. Places are limited www.markbrereton.co.uk of our information we strongly
Tuesdays from 10am to 6pm
advise readers to verify all
available full-time or part-time. from 27 January 2009 to 10 course taught by Deirdre and tickets should be purchased Deadline
details to their own satisfaction
To apply please contact Susanne March 2009. The course is O’Mahony that will be run by in advance either from the 1 June
before forwarding art work,
Bosch or Dan Shipsides at: designed to develop conceptual Galway Mayo Institute of Bullseye website or by contacting
slides or monies etc.
Telephone approaches towards place- Technology from 26 January Karen Davies at: OTHER
0044 28 90267321 making using critical design 2009. The aim of the course is to Telephone
VAI exchanges with and
Email thinking from arts and landscape develop an understanding of the 0044 1955 651742 ARCHITECTURE AWARD
sources information from:
email@example.com or dj. practice. Work will take place on critical issues, history and Email The Arts Council invites
A-N:The Artists’ Information
firstname.lastname@example.org a live site with guidance from context, research skills, and email@example.com applications for the Kevin Kieran
Company; The International
Website internationally renowned guest framework for developing Website Architecture
Sculpture Centre (New Jersey
www.interface.ulster.ac.uk/ma4 speakers tailored towards artists, sustainable visual arts and www.bullseyeglass.co.uk Award. Named after the late
/ uSA) and the National
Deadline researchers, design professional, heritage projects in rural Kevin Kieran, architect,
Sculpture Factory Cork.
31 March 2009 developers and planners. The contexts. Informed by the distinguished academic and
former consultant to the Arts
36 The Visual Artists’ News Sheet January – February 2009
AdVOCACy ANd LOBByING
'your Not Welcome' discussion panel. L–R. Noel Kelly, Pauline Hadaway, yvette Vaughan Jones and david Jacques
you're Not Welcome (Any More)
JOHN ByRNe dISCuSSeS THe Re-deFINITION OF THe ARTIST, IN LIGHT OF THe dISCuSSION ON THe IMPLICATIONS FOR ARTISTS ANd ART INSTITuTIONS
OF THe uK’S POINTS BASed VISA SySTeM – WHICH WAS PReSeNTed By VAI ANd BeLFAST exPOSed IN SePTeMBeR AS PART OF THe TALKS PROGRAMMe
OF THe 2008 LIVeRPOOL BIeNNALe.
OVER the last two decades, our understanding of art and, perhaps more shows. As it becomes harder to justify the need to invite artists from would go some way to explaining the general dismay which greeted
precisely, just what it means to be an artist, has been radically affected countries whose political, economic and social circumstances are in Vaughan Jones suggestions that curators may have to find ways of
by international mobility. Until the recent ‘credit crunch’, one of the some degree of turmoil (and who, therefore, might have the most inviting artists into the UK thought the channels of ‘visitor’ or
clearest manifestations of ‘globalisation’ has been the availability of pertinent things to say about particular subjects or have the most vital ‘businessman’. On the other, it acted as a direct reminder of the lessons
cheap travel coupled, of course, with a concomitant growth in domestic experiences to share), Hadaway argued that we may conceivably reach handed to us via Structuralist and Post-Structuralist theory – and I’m
airline flight paths. As a result of this, more people from more varied the stage were the curation of shows is overtly influenced by these thinking particularly here of the writings of Edward Said – that our
walks of life have been sampling the delights of ‘other’ cultures – or at policies. Her principal fear was that it may soon become just too notions of identity and difference are produced in and through the use
least dabbling in the mass-produced fantasies of (inter)nationalism difficult in terms of time, bureaucratic logistics and costs to put the of language.
and identity provided by the major centres of the tourist and leisure kinds of shows together that really matter. The result of this will, Let’s face fact. We live in a global economy of image exchange.
industry. So successful has this form of globalised image production perhaps, be a more sanitised and less edgy contemporary art experience. This is underpinned by a commodity culture, which has successfully
been, that most major cities are now recognised as ‘international On the other hand, Yvette Vaughan Jones, of Visiting Arts UK, poured encoded us all to our roots. The recent credit crunch has, if anything,
destinations’ - ‘hubs’ of creativity and business success, ‘brands’ of oil on these troubled waters. Though emphasising that she was not an proved how much and how far, we are structured by notions of
foresighted governmental planning and, of course, ‘homes’ of culture. agent of the state, Vaughan Jones pointed to the need to keep a ‘cool exchange and trade. Within this globalised condition, culture is no
We all recognise them and, if they’re worth their money, most will play head’ in the wake of these new forms of border control and to actively longer some kind of ideological window dressing, its is now a core part
host to International Biennials of Contemporary art. think of positive ways to re-use or subvert them. of the economic foundation of most nations whose gross national
And this is where our new notions of the artist come in. No longer However, as the debate unfolded and questions were asked. What product is affected by the ‘soft’ culture industries and their related
bound by the traditional duties of studio-based practice, or the ivory became the focal point of debate was not the direct impact of the new markets of tourism and leisure. Welcome to Biennial land and the
towers of self-imagined elitism, they cohabit the new spectacular border regulations themselves, but the ramifications of their circulation of big name professional artists whose job it is to supplement
spaces of urban internationalism alongside Gucci, Armani, MacDonalds re-definition of the category ‘artist’. According to the new UK border the intercultural flow of ideas, art, commerce and capital. And, if there
and Subway. Their practices may either be based on a direct critical regulations, artists (as we now know them) would have to find is a way to counterbalance this desperate state of affairs, it’s not to be
engagement with their new-found fluidity, or simply a supportive alternative ways of seeking entry into the UK. This is because – since a found in the cold (and false) comfort of being a self-proclaimed artist.
celebration of the new ‘isms’ of exchange. Either way, the rhetoric’s of statement of changes in UK parliament on June 30, 2008 – the category Being an artist has long since been any guarantee, in itself, of alternative
exchange, trade routes, interculturalism and post-colonial discourse of ‘artist’ has been dropped from a visa entry list of ‘Entertainers’ that radicality.
are now the food and drink of a new contemporary hierarchy of still includes Boxers, Jockeys, Fencers and Actors. Art no longer provides any automatic safe haven – or even
cultural production. This, of course, has encouraged a whole network According to Noel Kelly, this has resulted in the visa authorities counterpoint – to the world of commodity excess. In fact, as the new
of mainstream, (and not so mainstream) galleries, journals, curators, becoming obstructive, and often openly hostile, towards any attempts UK visa application process proves, it’s quite a handy tool to be used in
artists and critics to engage more directly with some of the key issues at bringing artists into the UK who they do not regard as professional the sanitisation of culture on a governmental level. The question is no
that may or may not face the future of our rapidly evolving planet – or – and here a professional artist is being defined by the UK border longer ‘how to be different’ from the morass of neo-liberal state control
at least until the recent shadow of more stringent immigration laws agencies as somebody whose sole income, of at least £10,000 per (and I’m afraid the feel good factor of Barack Obama provides no
have raised their ugly heads. annum, is generated from their practice. The implications of this are alternative here) – the question is now ‘how to make a difference’. If
Some of the implications of these newer, tighter, more ‘fit for immense. For example, as Kelly pointed out, this would mean that this means that artists – or those who once used to be called artists –
purpose’ barriers to human diversity and exchange were discussed in 81% of Irish artists would not be allowed into the UK if Ireland, as a need to be prepared to find alternative ways to produce even the most
Liverpool at the ‘You’re not Welcome’ discussion panel (1). Hosted by member of the EU, didn’t have exemption from the new rigours of UK modest alternatives to the dominant flow of corporatised culture, then
Printed Project, this discussion focused on the particularly instrumental border control. This observation, however, avoided the other direct so be it. After all, in the age of ‘Postproduction’, cultural producers
imposition of a new ‘points style’ immigration system for entry into inference of this assessment – in the eyes of the UK government, 81% (artists?) are supposed to be able to use any means or combination of
the UK. Chaired by Noel Kelly, CEO of Visual Artists Ireland, a panel of of Irish artists aren’t artists. One could safely assume that, in the UK available media in order to manufacture effective projects that have
three speakers gave their initial impressions of these new laws whilst, itself, the figure of ‘artists’ who derive their main source of income impact and relevance – so what does it matter if its called art or not? In
perhaps somewhat ironically, a debate for international curators was from other revenue streams (and therefore supplement their part time a sense Yvette Vaughn Jones was right – what does it matter if ‘artists’
being hosted by Liverpool Biennial elsewhere in the UK’s current artistic activity) is equally high. So does this mean that they are not have to become visitors or businessmen to meaningfully engage in the
European Capital of Culture. For David Jacques, himself an artist, the artists either? Perhaps not – the true consequence of this statistical job of ensuring the now tenuous process of inter-culturalism – aren’t
possibility of freedom of movement and increased availability of travel criterion is that well over 80% of practising artists are now regarded as we all already visitors and businessmen whether we like it or not?
has had a profound effect on individual practitioners who have been amateur. This will have big and perhaps hurtful implications to many John Byrne
willing to engage and interact with the work and ideas of others. people’s cherished notions – and shared self-perceptions – of themselves
(1) ‘your’re Not Welcome’ Saturday 20 September 2008. 2.00 pm – 4.00pm. Site, Hope Street
Drawing from his own experiences, Jacques warned of the impact that and each other as artists. Lecture Hall, School of Art and design, Liverpool John Moores university, 68 Hope
such new regulations would have on individuals whose identities and In point of fact, it was more the implications of this semantic Street, Liverpool. Hosted by Printed Project (a Visual Artists Ireland publication) and Belfast
exposed. Speakers: david Jacques (Artist), Pauline Hadaway (director, Belfast exposed, and
subject positions will come under the direct scrutiny of cultural bombshell – rather than the more pressing problem that this may be a yvette Vaughan Jones (Visiting Arts, uK). Chair: Noel Kelly (CeO Visual Artists Ireland).
‘means testing’ forms. As Director of Belfast Exposed, Pauline Hadaway far more effective way of black listing creative individuals than
drew attention to the impact that new and highly interventionist visa targeting the vagaries of ‘undesirable’ nationality – that seemed to
control bureaucracy was having on the organising and selection of cause most discussion at ‘Your Not Welcome’. On the one hand, this
The Visual Artists’ News Sheet January – February 2009 39
PROBLeMS PABLO HeLGueRA'S ART WORLd MANuAL
The Problem Page The Collector
Our consiege / curator of agony responds to a selection of queries and THE collector (or trustee)’s position within the art world is the most enviable of all, given that collectorship
conceptual quibbles – offering in return, nothing less than life-shattering, is not a profession but a hobby. Collectors don’t receive pressure or influence from any part of the AW(1).
dilemma-inducing, paradigm-shifting nonsense. Collectors thus perform their activities in an entirely free but not altogether disinterested manner – given
that some do regard this activity as a professional sport – competing with other collectors.
Busyness engaged person and moreover that I possessed Collectors rarely have any artistic background, and in general this background is not necessary for
no interest in community dealings. collecting, since they can be guided by specialists (curators, museum directors) who advise them in their
One hour and some 45 minutes later, I shopping efforts. Nevertheless, collectors today have evolved from a passive to an active involvement in the
returned to refill my coffee cup. The two self- AW. Before, toward the middle of the XXth Century, collectors would provide donations to institutions and
Dear Concierge of Agony, styled ‘socio-naughts’ (for goodness sake!) were would support artists by buying their work. Nowadays, collectors are stockholders in a high risk market
How busy do I have to be so that people believe I still sitting on their arses chatting about the where artists are their portfolio, and inasmuch the acquisition of the work represents a financial risk, they
am busy? I’ve been trying to explain to friends importance of engaging with society. They become directly involved in influencing the direction of the AW. An influential collector, for instance, who
and family – who work in conventional trades feigned to ignore me, until I poked one with the would get rid of all the works in his collection belonging to a certain artist, by flooding the market of these
and professions – just how busy I am at the pointy end of one of my brushes “See here works can very well cause a drop in the prices of such artist. On the other hand, given their economic and
moment preparing for the inclusion of a couple you...” I began, and I continued thus “… isn’t all physical mobility, collectors end up being better exposed to artworks and artists. Being the main clients of
of my works in group exhibition and the short art socially engaged? It’s made by people for galleries and museums, they are the ones with the best ability to pressure for certain kinds of art to be
biographical and explanatory text I have to people … and you know how long I’ve been a displayed. This is why it is understandable that immaterial art that cannot be bought is not greatly favored
submit for the publication. Artists are workers member of my local badminton club; and on by the AW.
too! How about some recognition? any given Friday night am I not across the road What makes a good collector/trustee? Like in any sport, The collectors have to fare well in the following
in the pub quaffing with you young messers. categories: a) Quality of works in their collection; b) Amount of those quality works; c) Giving record
Hmmm – it reminds me of the time I tried to tell a And what’s more getting the rounds in. Do you (amount of works they have given or promised to give in the past) d) Supportive family (to make sure that
friend that curation and project-management are know how many invitations to dinner parties, the family will not fight the will giving works to the institution or change the mind of the collector at the
real jobs – they harrumphed and said “Mate, a private views and weekends in the country I last minute) e) Extent of institutional affiliation (a collector affiliated with more institutions dilutes the
fireman or a nurse is a real job …”. Anyhow, I advise get? Or the number of committees, panels, giving possibilities) f) Interference with institutional agenda (it is preferable, in the best of all possible
you to take a completely different tack. Perhaps I am boards, and associations…”. worlds, to have a collector who simply gives and doesn’t try to run the institution’s agenda, although most
missing my pal’s point, but I took him to mean that believe this is now a thing of the past) e) Curatorial aspirations (some collectors even attempt to curate- a big
it is most vulgar for an artist to ever declare to the Only for the sake of brevity and in acknowledgement turnoff for institutions), and last but not least f) Interest in hosting (collectors need to supply the entertaining
public-at-large that they might be even more that of the ever-shrinking attention span of most readers for most social instances in the AW).
moderately occupied. And you are of course doomed have I abridged the lengthy but informative rant
to failure if you even attempt to explain your shock you faxed into my under-concierge’s secretarial The following are a few etiquette musts for the good collector:
and indignation that in recent times, in preparation bureau. But let me assure you, in the popular 1. The collector will have to embrace his role and status in the AW. Some duties will involve attending
for your project you have had to spend your time in parlance of the day – I so-oo get your point. boring board of trustee meetings, approving budgets, listening to the director’s promotional speeches,
an unexpectedly ‘busy’ state. So please, for all of our attending openings, and hosting gala and opening parties for institutional sponsors.
sakes, try to maintain the myth that art is not a 2. Collectors will have to excel in their patience. They must understand that the AW in its entirety is
matter of (shudder) multi-tasking, research, The Other RHA always in constant competition for their attention. In social occasions, even in instances where they are
negotiation, knowledge production, budgeting, not interested in the least to someone’s conversation, they will have to show courtesy to those who
administration and fabrication. Should the friendly show him merchandise or invite him to social events.
but provocative question “what’cha up to then, 3. The collector shall not abuse his/her power in the AW, forcing curators, dealers and artists to see his/her
dosser?” pop up again soon in conversation, I trust Dear Concierge of Agony, personal family album, or seating them to see each work in their collection, especially if the collection
you know what to say. "Busy? Who me?" Can you explain this? My studio compatriots exceeds 4,000 works.
and myself have recently had an outstanding 4. The collector should not be too cruel in the seduction process of a gallerist of artist, making them
proposal quashed. We are proposing setting up
believe that he/she is interested in them when he/she only wants to have fun.
A pressing Social Engagement an educational outreach programme entitled
5. Similarly, the collector should have certain regard toward dealers, curators and artists in social events
The Roving Hands Association – or R and H+ A
that he/she organizes. All these people will feel obligated to attend, listen the collector’s personal
for short. Our ambition is to establish an
stories, and nod approvingly to everything the collector says, including the most passing thoughts, for
exclusive atelier system offering tuition from
as long as the collector speaks. It is important for the collector to realize that the reason that this
Dear Concierge of Agony, masters and mistresses in the fields of drawing,
entourage has been assembled is purely for work reasons: the situation is similar to when the office
Having left some primed canvases to dry in my sculptural modelling and impasto painting –
boss subjects his employees to an interminable story of his family vacations. The collector must
studio the other morning, I popped down to the with a strong emphasis on the haptic. This is to
understand that his/her concerns, likely resulting from a comfortable position of money and privilege,
kitchen space of the shared studio warehouse say we want to stress the hand and eye lustily
are generally fairly incomprehensible, irrelevant, and superficial to others who are not able to partake
where I rent a space, and I happened on couple ranging over the surfaces, contours and folds
in that kind of life.
of the newer tenants chatting over their herbal and undulations of forms and persons. One of
6. Many collectors, when they start improving the quality of their collection, will start to look into ways
brews. our key tenets is for the artist, in order to truly
in which they can get rid of the works of certain artists who may not be “at the level” of the rest of the
“Yeah, like totally. This whole renting-a- apprehend and indeed contribute to the world
collection, especially those that perhaps were acquired at an early stage of their hobby. This activity,
studio lark is getting so-oo bogus and redundant. around them in a reciprocal – one might even
while essential, is delicate in extreme and can cause a complete downfall in the artist’s career. The
Especially when socially engaged and say relational and socially engaged way – is "go
collector will have to observe the maximum discretion.
collaborative practice is where it’s at”. “True, on, don’t be afraid, and give it a good clenching
7. In some occasions some collectors who serve as trustees will have the opportunity to pressure the
true. I feel really uptight sitting here, when I grasp".
museum director to exhibit the works of the artists that conform their personal collection, in order to
should be out there, sharing the authorship and It was intended that our classes would take
raise the value of this collection. It is unethical, nevertheless, to influence the museum to operate in
creativity. And just generally proselytizing for a place on mid-week afternoons, in locations
such a way without promising the donation of some works of this collection to the museum—or,
sense of community and agency amongst my scattered around the leafy enclaves of the city in
alternatively, if the museum is not interested in those works, to offer money toward the construction of
fellow citizens…”. our private home studios – well heated and
a new wing. Since the museum is risking its reputation by following the wishes of the collector, this
Their glances fell on me. I felt strangely luxuriously appointed with soft orientalist
one will also have to show his/her support.
conspicuous in my primer-spattered apron. The fabrics and velour upholstered day beds – with
8. It is recommended for collectors that, in order to acquire certain perspective of the situation of others,
shorter one addressed me “… hey granddad – the offer of fine clarets and burgundies. And the
to take “reality courses”. These courses will have the objective to imagine their life without any kind of
heh, heh – you got to get with the community first terms starter courses were to be labelled
financial resource or security, having to live exclusively out of their own talent. Given that this
man; you’ve got to socially engage. Get out more, ‘afternoon delight’. As our approach seems to
experience can be extremely traumatic for most collectors, it is recommended to participate in these
rather than being holed up here just making gel so well with both traditional notions of
courses for no more than three to four days at most.
work for your gallerist and buyers; and stop studio bound practice and the more rangy
being such a bread head…”. aspirations of dialogical practoce, we are totally
extracted from The Pablo Helguera Manual of Contemporary Art Style Guide, published by Jorge Pinto
I acknowledged to two young baffled by the powers-that-be’s indifference to
Books, New york. Copyright Pablo Helguera. Available at all good art booksellers in Ireland and
whippersnappers with no more than a nod of and rejection of our proposal.
worldwide. Further details from www.pintobooks.com
my head, but on returning to my studio I puzzled
over their remarks. In fact, the more I thought I do occassionaly wonder if all of the dilemmas sent
about it, I began to take serious exception to the my way are entirely genuine.
1) AW – acronym for the ‘Art World’
suggestion, that in some way, I was not a socially