The Visual Artists’
ISSUE 3 2010
May – June
Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire
Sonia Shiel Non-Laundrette. Installation view – ‘Shop if can, Look if you want’ a Contemporary art trail organised for Dublin’s 2010 St. Patrick’s Festival. Photo: John Beattie
MARk FIShER VISUAl ARtS RESoURcES & ActIVIty IN lEItRIM BRowN
& BRI RDS tAyloR ARt AwARD cANADIAN PERFoRMANcE ARt IN
BElFASt DElAwAB GooD DIAloGIcAl PRActIcE NoRthERN IRISh
ARtIStS IN tAIwAN toNDo hoSPItAlIty IN thE ARtwoRlD thE
joURNAlIStIc tURN IN ARt St. PAtRIck’S FEStIVAl ARt tRAIl.
2 The Visual Artists’ News Sheet May – June 2010
2. Roundup. Recent exhibitions and projects of note.
wElcoME to the May / June edition of the Visual Artists News Sheet.
Visual Artists Ireland has just launched a brand new configuration and design of its web site and online 3. column. Mark Fisher. Just Say No.
services (www.visualartists.ie). The new site offers details about visual art exhibitions, events, festivals, talks 4. column. Eamon Maxwell. Supporting Emerging Artists.
and conferences across Ireland – alongside comprehensive opportunities, resources and FAQ sections. The 5. column. Tessa O Brien. An Impure Film-makers Perpective.
website also offers access to a new VAI initiative – The Common Room (www.thecommonroom.net) – a 6. column. Chris Fite-Wassilak. Underneath the Cuts, The Beach.
professional and social network for the visual arts. The Common Room is free resource for the public and
8. News. The latest developments in the arts sector.
artists, where they can publicise events; share common interests and affiliations; upload images; stream
10. Regional Profile. Visual Arts Resources & Activity in Leitrim
videos; and hold discussions in forums. The Common Room now boasts a membership of over 950 signed up
members. The site is also directly linked into Twitter (#VisArtsIreland), Facebook (Visual Artists Ireland) and 12. Artists Books. Recently published monographs and artists' books.
other Newsfeeds. Further details can be found in the news section (Pg. 8) 13. Profile. Space & Collaboration. Monica Flynn, VAI Education officer, talks to Rachel Brown and
In parallel with the VAI’s professional development workshops, VAI has been running a series of Brighdin Farren about their curatorial project Brown & Bri.
informal artists talks and networking events. These have included the ‘Airtime’ networking event at Belfast 14. Profile. Building the Foundations. Seán O Sullivan profiles the RDS Taylor Art Award and RDS Student
Exposed (24 Feb) and Alice Maher’s talk held at Ards Arts Centre Newtownards (21 April). Further details on
Art Awards Exhibition, held annually at the RDS, Dublin.
upcoming workshops and associated events will be posted on the VAI website, The Common Room and our
15. Profile. Invisible Process. Sinead Bhreathnach-Cashell reports on 'Chaos', a week of Canadian
twitter and facebook pages.
Issue 13 of Printed Project is currently in production and will be distributed in July. The curator / editor Performance Art in Belfast, Presented by BBeyond and curated by Sinead O'Donell in collaboration
for this edition is Kevin Atherton. This edition,entitled Virtual Fictional, presents and investigates the notion of with John G Boehme and Judith Price.
meta-fiction in contemporary art practice. 16. Profile. Phenomena House. Ciara Hickey and Keith Winter Profile Space Delawab in Belfast.
In this issue of the Visual Artists News Sheet (Pg. 30) we introduce the VAI’s new line of up regional 17. Art in the Public Realm: Focus. Are You A Spy? Jay Koh discusses his dialogical projects ', which
contacts. Joining Aideen Barry (West of Ireland) are Laura Graham (Antrim) and Damien Duffy (Fermanagh,
explore cross-cultural exchange with the Chinese communities in Dublin.
Tyrone, Derry). We welcome on board another regular columnist for the VAN, UK based writer / curator
Chris Fite-Wassilak who amongst other things is a contributor to Frieze, Circa, Flash Art and Artforum. Our 18. Profile. From Napoleon's Nose. Brian Kennedy profiles ‘A View from Napoleon’s Nose’ an exhibition by
two guest columnists are Mark Fisher – author of the acclaimed Capitalist Realism; and Irish writer / filmmaker Northern Irish artists held at the Kao Yuan Arts Centre, Kao Yuan University, Taiwan.
Tessa O’Brien who is currently studying on the film MA at Goldsmiths, London. 19. Profile. Artists of the Round Table. Patricia Doyle profiles the Tondo artists group.
This edition's regional profile considers visual arts resources and activity in Leitrim – some six years 22. Focus. Practice Makes Perfect. Jennie Guy considers the meanings of hospitality in the artworld
since the VAN’s first visit to the region. This editions features include profiles of the Brown & Bri curatorial
28. Problems. The Problem Page. Our consierge / curator of agony responds to artworld dilemas
partnership; the RDS Taylor Award; ‘Chaos’, a week of Canadian Performance Art in Belfast; Delawab studio /
28. laughism. Laughism. Cartoons by Borislav Byrne.
artspace in Belfast; ‘A View from Napoleon’s Nose’ an exhibition by Northern Irish artists held in Taiwan; and
the first groups showing of work by the artists collective Tondo. 29. Focus. So Long Roger Fenton. Claire Feeley considers the journalistic turn in contemporary art.
Thematic articles include Jennie Guy considering the meanings of hospitality in the artworld and Claire 30. VAI Regional contacts.Regional Perspectives. Visual Artists Ireland's regional contacts – Aideen
Feeley writing on the journalistic turn in contemporary art. Some important issues around making art in the Barry, Laura Graham and Damien Duffy report from the field.
public realm are discussed in two articles. Jay Koh discusses his projects Ni Hao –Dia Duit and Reading the Self, 31. Art in the Public Realm: Roundup. Recent public art commissions, site-specific works, socially
Reading the Other, which explore cross-cultural exchange between local and Chinese communities in Dublin.
engaged practice and other forms of art outside the gallery.
Jonathan Carroll is interviewed about ‘Shop if can, Look if you want’ a Contemporary art trail organised for
32. Art in the Public Realm. Recycling Spaces. Jonathan Carroll discusses ‘Shop if can, Look if you want’ a
Dublin’s 2010 St. Patrick’s Festival.
All this and the usual ‘more’ – listings of all the latest opportunities along with news and roundups of contemporary art trail organised for Dublin’s 2010 St. Patrick’s Festival.
recent projects, events and exhibitions.
Editor: Jason Oakley; Layout: Jason Oakley; News: Sabina McMahon; Roundup: Seán O Sullivan.
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telephone: Mobile Phone: Dominic Stevens, Clare McAree, Christine Mackey, Monica Flynn, Rachel Brown, Brighdin Farren, Seán O
Email: website: Sullivan, Sinead Bhreathnach–Cashell, Ciara Hickey, Keith Winter, Jay Koh, Brian Kennedy , Patricia Doyle,
Jennie Guy, The Consierge / Curator of Agony, Borislav Byrne, Claire Feeley, Aideen Barry, Laura Graham,
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The Visual Artists’ News Sheet May – June 2010 3
Ireland, The Arts Council of Ireland, The wIlDly DIFFERENt thINGS
Arts Council of Northern Ireland and
just Say No
British Council Northern Ireland. The
exhibitions will travel to Belfast following
thE artist Michael Wilkinson’s show ‘Lions After Slumber’, which was exhibited coMERFoRD & coylE
its run in Dublin and elements will then
last May at the Modern Institute in Glasgow, was a repository of artefacts from
tour to Paris.
past militant moments. The show was dominated by images and objects www.ncad.ie
referring to the May ‘68 events in Paris and the punk and post-punk cultural www.farmleigh.ie
sequences that happened in the UK in the late 70s and early 80s. The largest
item in ‘Lions After Slumber’ was a massive photograph of Piccadilly Circus – SyNtAx REVEAlED
the same image that had hung, upside down, in Malcolm McLaren’s shop
Seditionaries in the 70s. But, tellingly, Wilkinson exhibited the photograph the
right way up, a sign of the ways in which – in the thirty subsequent years –
Gary Coyle Lovely Water Swim # 1606, 05.07.2005, C- print,
power has been restored.
Wilkinson’s show was in many ways about the same malaise that I
described in my book Capitalist Realism (1). The book is about the retreat of the
militancy, which ‘Lions After Slumber’ invokes. The surrender of any utopian
impulse to a ‘capitalist realism’ which expects business to dominate all areas of Wildly Different Things – publicity image / invite card.
culture has elicited a range of responses – a mordant sense of resignation, a The Observatory, Sir John Rogersons Quay,
Dermot Browne 'Syntax Revealed' installation view.
cheerily compliant cynicism, an impotent protest, the quiet yet implacable Dublin presented ‘Wildly Different Things’,
plague of youth depression. All of which is manifested in a culture given over to The Guesthouse, Cork presented ‘Syntax
an exhibition “produced by artists
(a largely unacknowledged) retrospection and pastiche. But even as pessimism oliver Comerford True Romance II, 2009 Revealed’ a showing of new works by artist
thousands of miles apart – from North
totally pervades today’s culture at an unconscious level, negativity is officially Dermot Browne (22 – 23 Mar). The press
The Royal Hibernian Academy, Dublin America’s art capital, New York, and from
abjured. release described how Browne’s installation
recently presented solo shows by Oliver one of Europe’s most westerly capitals,
“dramatically changes the aspect of the
The punk and post-punk cultures whose relics are collected in ‘Lions After Comerford and Gary Coyle (19 Mar – 2 Dublin.” (25 Feb – 20 Mar). The press
space, blending design with elements of
Slumber’ were characterised by their extreme negativity – by the new ways that May). The press materials describe Coyle’s release also noted that “the exhibition
both geometric abstraction and
they invented to say “No”. They were examples of what Herbert Marcuse, in his exhibition ‘At Sea’, as a “collection of works presented work by more than forty artists
One-Dimensional Man, called “the Great Refusal, against that which is”. Marcuse’s documenting eleven years of daily www.theguesthouse.ie working in diverse strands to include
critique was developed in the 1950s, when, in the West, consumer capitalism swimming in Sandycove’s Forty Foot”. painting, sculpture, installation,
had learned to ward off proletarian discontent by satisfying many of the loUISE wARD
Comerford’s exhibition comprised of a photography, performance, video and
material needs of the working class, and generating a whole series of “false mid-career retrospective spanning the last film”. The show included work by Margaret
needs” which only commodities could seem to meet. two decades of the artists practice. O’Brien, Sean Hillen, Aideen Barry and
Marcuse’s vision of a totally administered society in which disaffection and Marty Kelly and New York artists Hank
revolt were absorbed by the system was criticised for its failure to predict the Willis Thomas, Dasha Shishkin, Claudia
At 126 ...
eruption of popular negativity in the 60s – a popular negativity that, ironically Alvarez and Karim Hamid.”
enough, Marcuse’s own writing played its part in propagating. In some ways,
however, Marcuse’s critique, far from being superseded, now has a renewed
For what we have seen in the last two decades has been the very
incorporation of the former counterculture, with the result that we find
ourselves in a New Fifties in which complacency poses as radicalism, and
retrospection masquerades as innovation. Jim McGuigan has described the
contours of this process in his book Cool Capitalism, which discusses “the
incorporation of the ‘great refusal’ of art in general into the capitalist ideology
and market practices”. The New Fifties seems even more seamless than that of
Louise Ward 'Nightlight' installation view. Market Studios.
the original Fifties, because they come dressed in all the faux-sophistication, all
the gloss and froth of sexuality and a hedonism, which may have once The Market Studios, Dublin recently
functioned as refusal, but which now operate as components of a New presented ‘Nightlight’, an exhibition of
Positivity. new work by Louise Ward (20 – 25 Feb).
One tactic that the New Positivity typically employs is to dismiss any The press release described ‘Nightlight’ as
Work from 'Package From China' 126 Gallery, Galway.
reference to ways in which things in the past might have been better as an installation that “transformed the
“nostalgic”. But comparisons with the past are only guilty of nostalgia if they 126 Gallery, Galway presented ‘It Means…’, gallery space into a giant plastic rubbish
distort the past in order to degrade the present. What we find with the New an exhibition of new works by James bag. The viewer encounters sculptures
Positivity, however, is a distortion of the present. It is the present, not the past, Merrigan (Feb 11 – Mar 6). The press release made from discarded material, streetlights,
which is seen through rose-tinted designer lenses, by a tepid boosterism which noted that Merrigan’s work “positions itself video projections of unexpected scenes,
Haroon Mirza 'Anthemoessa' installation view.
isn’t terribly convincing, but which nevertheless has the effect of maintaining at a distance from his source, America. He and the integration of the artist’s voice
the exile of negativity. The accusations of nostalgia preclude any kind of critical presents a certain skewed displacement in singing a transient melody while walking Mother’s Tankstation, Dublin presented
judgement – as if it is simply impossible that we could be in a moment of works that use fictitious elements, cinema, around the city.” Ward worked as artist-in- ‘Anthemoessa’, an exhibition by Haroon
sterility and retrenchment. We live in a massively over-rewarded era (has there movies (horror film), popular culture, residence at The Market Studios during Mirza (25 Feb – 27 Mar). The Gallery noted
ever been a time when there were so many cultural awards?), yet this American vernacular, science fiction, in a the production of the exhibition. of Mirza’s works, “Mirza’s low-fi, yet
conspicuous self-congratulation is transparently a thin mask for deep – and DIY, low-tech style aesthetic”. complex assemblages and installations
justified – sense of insecurity. The following show was ‘Package employ the arrangement of furniture,
From China’, an exhibition of installation household electronics and audiovisual
The New Positivity conflates negativity with pessimism, but they are very
works by Ben Sloat (19 Mar – 10 Apr). This material” Mirza holds an MA in Fine Art
far from being the same thing. Pessimism assumes that things can never
was the artist’s first solo exhibition in from Chelsea College of Art & Design and
improve, only worsen, whereas negativity can have a galvanising effect. Hatred,
Europe. an MA in Design Critical Practice and
anger, alienation and frustration were the libidinal motors of youth culture long
Theory, from Goldsmiths’ College. He lives
before punk: “I can’t get no satisfaction” and “no fun” preceded “no future”. Yet at www.126.ie
and works in Sheffield and London.
a time when there really does seem to be no future, when no-one expects culture Juliana Walters – work from 'Symbiote'
Upcoming and following shows at
to do much except recombine elements that are already familiar, where are the IRElAND, VENIcE, NcAD & FARMlEIGh
the gallery include exhibitions by Locky
new voices ready to say “no”? Perhaps they were muted, tranquillized and NCAD Gallery Dublin and Farmleigh Juliana Walters’ solo show ‘Symbiote’ was
Morris (7 Apr – 15 May) and Atsushi Kaga
subdued by the boom. But now that the boom is over and the neoliberal project Gallery, Dublin are currently showing presented at Wexford Arts Centre (12 – 13
(19 May – 26 Jun).
has been discredited, is it time for a new Great Refusal to emerge from the works from the Northern Ireland and the Mar). The exhibition marked the www.motherstankstation.com
wreckage? Republic of Ireland’s exhibitions at the culmination of Walters’ ‘PLACE’ project
Mark Fisher 2009 Venice Biennale (12 Mar – 15 May). that took place in Gorey, Co. Wexford – hyStEREctIc woMAN
http://k-punk.abstractdynamics.org The Venice shows by Susan MacWilliam “the artist took on a disused shop to create The Golden Thread Gallery, Belfast
and Sarah Browne & Gareth Kennedy are an intimate gallery/studio integrating a presented Sonia Whitefield’s exhibition
(1) Mark Fisher. Capitalist Realism: Is There No Alternative? Zero Books 2009.
presented in association with Culture functioning shop.” ‘Journey of the Hysterectic Woman’ (25 Feb
4 The Visual Artists’ News Sheet May – June 2010
eamon Maxwell – 18 Mar). Accompanying the exhibition
was Hysterectic, a limited edition artist’s
pursuing postgraduate studies at NCAD.
The press release described the show as
by artists based in Ireland and the US (8 –
19 Mar). The event included films by Paul
Supporting Emerging Artists
book. Poet and critic Cherry Smith featuring “pirates, superheroes, Dolly Rowley & Nicky Gogan, Anne-Maree Barry,
described the exhibition as “a skillful, Parton and creatures from the land of Darren Bolger & Caroline Campbell, Istvan
woRkING in Ireland is, in many ways, a strange occupation. On the one hand
resonant documentation of a woman’s Siksjö.” Laslo and Eoghan Kidney.
we are faced with a vast, rich history of literary giants, genius artists and other www.mtsl.ie www.cakecontemporaryarts.com
determination to humanise and feminise ella-bertilsson.blogspot.com
inspiring cultural icons. Whilst at the same time, we are acerbic, cynical and the experience of having a hysterectomy.” killiandunneart.blogspot.com
pessimistic about anything beyond our local boundaries – sometimes this www.sonyawhitefield.com turbomonthly.blogspot.com coRPoRAtE REPUBlIc
derision doesn’t even get that far. Day in, day out you’ll hear, see and watch
commentary about all that is wrong with Ireland, but seldom will praise be so
forthcoming. I’ve been wondering why this is.
I went to art school in London and worked there for about 10 years after
graduating, so I never really experienced the boom time – the “Celtic Tiger”
years, to give them that horrible colloquialism. For many years Irish citizens
were used to being the poor relations of Europe and, more particularly, the UK.
Ross Cochrane – work from 'Corporate Republic'
Then the boom arrived and impacted everyone. Not sure how to deal with this
new found confidence and wealth, we spent, spent, spent our way to happiness. Leitrim Sculpture Centre recently
People bought big houses and big cars, went on idyllic holidays to exotic foreign presented ‘Corporate Republic’ (16 Jan – 5
Katrina Sheena Smyth 'Drawing on the Right' at PS2
lands and got credit cards galore. And the visual arts seemed no different. Feb), an exhibition of drawing, video,
Funding from Arts Council and local authorities rose exponentially, there were PS2, Belfast presented ‘Unprivileged Highs photography and painting by Daniel
new, shiny galleries and a new breed of collectors with disposable income and Lows’, an exhibition by Joanna Chester and Ross Cochrane. The press
seemed to be knocking over each other to get the latest thing for their Dublin 4 Karolini (22 Feb – 20 Mar 2010). The release explained that the artists “explore
home. exhibition is the fourth in the venue’s various historical and recent aspects of the
‘Sounding Out Space’ series. Karolini noted Irish economic crisis and in particular its
It’s obvious now, that we are not naturally predisposed to such symbols of
of her work, “I will re-negotiate the gallery’s effect on local and global economies and
wealth and excess. The Celtic Tiger has been slain, and hopefully we won’t see
own architecture and function, focusing social order.”
the like of it again. But what has been the lasting legacy of the past 10 years? www.leitrimsculpturecentre.ie
Hard Drivin – invite card / publicity image. mainly on the architecture of traces left by
Undoubtedly, we are too near to the scene of the crime to be impartial observers,
the cultural activities.” Previously on show SANDER At QSS
but it strikes me that that the sardonic wit that runs through our psyche has Exchange Gallery, Dublin recently
at PS2 was, ‘Drawing on the Right’ by
now turned into something potentially much darker. But we need to retain our presented Oddio, a collaborative sound
Katrina Sheena Smyth (24 Jan – 6 Feb).
sense of self in order to inspire others and ourselves. project by Áine Belton and Sharon White www.pssquared.org
One thing that does now seem important is how we treat each other as (26 – 28 Mar). Previously on show was
‘Extempora’, an exhibition by Jason Dunne kAtARzyNA GAjEwSkA
individuals. As society becomes more focused on community and pulling
(12 – 14 March) and Hard Drivin’ a kinetic
together to try and achieve some kind of better future, it seems an apt moment
installation by Ivan Twohig, Benjamin
to think what can be done to help the careers of artists – emerging artists in
Gaulon and Brian Solon (25 – 28 Feb).
particular. Unlike institutions, artists need modest financial support to keep www.exchangedublin.ie
going. It is too radical an idea, but imagine the impact if an Arts Council gave
€10,000 to each registered artist per annum. Not enough money to live on for a
year, but enough to fund a sustained practice. Public funding of artists should be MIll thEAtRE GAllERy Ralf Sander – work from QSS exhibition.
based on the mantra that the economist John Maynard Keynes espoused when
Queen Street Studios, Belfast recently
he was devising the Arts Council of Great Britain (now Arts Council England).
presented ‘Equations – World Saving
During a BBC broadcast in 1946 he declared “the purpose of the Arts Council of Machine’ an exhibition by Ralf Sander (25
Great Britain is to create an environment, to breed a spirit, to cultivate an Feb – 27 Mar).
Katarzyna Gajewska Icare mixed media on canvas
opinion, to offer a stimulus to such purpose that the artist and the public can www.queenstreetstudios.net
each sustain and live on the other in that union which has occasionally existed Urban Retreat Gallery, Dublin presented
in the past at the great ages of a communal civilized life. …The artist walks where ‘Angels With Dirty Feet’, an exhibition of
the breath of spirit blows him. He cannot be told his direction; he does not know new paintings by Katarzyna Gajewska (19
it himself” (1). For a piece of public policy thinking devised over six decades ago, Mar – 15 Apr). The press release described
it still rings true. the exhibition using a quote from Agnes
But leaving such noble thoughts to one side, what other ways can we do de Mille, “To dance is to be out of yourself.
more to support the artists we believe in? I think we must engender a culture of Larger, more beautiful, more powerful.
collecting work, from degree shows onwards. Having been involved in the This is power, it is glory on earth and it is
process of bringing artists and collectors together over the years, I know the joy yours for the taking.”
each party get from these interactions. The artists get to see his or her work go
Hazel FitzPatrick Because only ashes remain ...
to a new home and they get some much-needed cash. Scrupulous collectors BlAck AND tAN
acquire something new and have helped make an impact on the life of a living The Mill Theatre Gallery, Dundrum
artist. Irish collectors should be more open about their activities, but not in crass presented ‘Those That Were Found…’,Hazel
Fitzpatrick’s first solo show (27 Mar – 29
ways. They should take note from collectors like Anita Zabludowicz and her
Apr). Fitzpatrick’s work was described in
wonderful 176 (www.projectspace176.com) or the more cerebral efforts of
the press release as using photography “to
David Roberts (www.davidrobertsartfoundation.com). Amazing collectors, who Allyson Keehan Purple Satin with Blue Light
scratch the surface of an image and unearth
are interested in creating dialogues around collections, will just as easily buy a
what exists beyond the tangible.” Alley Arts Centre, Tyrone presented
painting from an unknown artist at a degree show as well as buying a signature
Previously shown at the venue was ‘Comparatively Peculiar’, Allyson Keehan’s
piece through an auction house. Mick o'Dea The Cairo Gang (2010) 100x150cm
an exhibition of paintings (15 Feb – 10
‘Grasshopper’, an exhibition of mixed
For those of us without those resources, we should encourage more media works by Eve Parnell (20 Feb – 25 The Kevin Kavanagh Gallery, Dublin Mar). Keehan’s work was described as
opportunities for exhibitions and lobby local businesses/councils to let artists Mar). presented Mick O Dea’s exhibition of new “representing drapery realistically through
and arts organisations use those shiny, empty edifices. We should visit our local www.milltheatre.com
paintings ‘Black & Tan’ (11 Mar – 3 Apr). paint … the spatial impact is one of control.
exhibitions and galleries: without an audience they will not survive. If we can The gallery describes O Dea’s works as “a The works are painted uniformly, not
we should buy something from those exhibitions – a postcard, a catalogue or, if radical intervention into how exposing where the painting begins and
MAStER thIEF’S SEcREt lAIR
the means exist, a work of art. Any contribution that directly benefits an artist contemporary audiences and future ends.”
The Master Thief’s Secret Lair, Dublin www.alley-theatre.com
will benefit all of us. presented ‘Siksjö’, an exhibition of mixed generations encounter and remember www.allysonkeehan.com
The arts community can be very bad at coming together for the common media and print by Killian Dunne, Aisling war.”
good. But without the support and respect of and for each other, we face a very Ni Chonraoi and Ella Bertilsson (Mar 18 – BAckwAtER twENty-10
tough future. 25). Ella Bertilsson and Killian Dunne are cAkE coNtEMPoRARy ARtS Crawford Art Gallery, Cork presented
members of The Black Church Print Studio Cake Contemporary Arts, Dublin recently ‘Backwater Twenty-10’, a retrospective
1. Vile Jelly: Birth, Life and Lingering Death of the Arts Council of Great Britain, John Pick, Brynmill Press Ltd and Aisling Ni Chonraoi is currently presented its first programme of new film exhibition featuring 120 artists from Cork’s
The Visual Artists’ News Sheet May – June 2010 5
Backwater Artists Group (13 Mar – 10 Apr).
The exhibition covered three floors of the
clARkE At MARkEt StUDIoS
the idea of mortality in relation to
technologies, which become obsolescent
Treasa o Brien
An Impure FIlm-makers Perspective
Crawford Gallery and was curated by with increasing rapidity.”
Stephen Brandes and Vera Ryan. Founded
AS a filmmaker with a visual art background, I sometimes worry whether I need
in 1990 by graduates of the Crawford
NAtIoNAl AcQUISItIoNS to choose between a commercial or artistic film route in order to have an
College of Art and Design, Cork, Backwater
The National Gallery, Dublin presented audience beyond artists and academics. But in this post-medium era, the idea
Artists Group currently has 27 studios
‘Taking Stock: Acquisitions 2000-2010’ (13 always dictates my expressive form. Some ideas work better as documentary;
facilitating emerging and established
Mar – 25 Jul). The show focuses on others as fiction drama; a film essay or a multichannel installation – some
artists in providing spaces and support for
acquisitions by the National Gallery in the
professional practice. without filming at all. Taking poetic truth as my guide, rather than the truth of
last decade. The exhibition featured works
crawfordartgallery.ie Steven Clarke - work from 'With a Quiet Mind' accountancy allows more fluidity between genres and media. So my Goldsmith’s
www.backwaterartists.ie dating from the seventeenth to the early
MA film N25 – a film about ‘bystander society – had to be made as a narrative
The Market Studios, Dublin presented twentieth century, including pieces by
film, as it was important that it would address the audience it sought to
SIGNAl ARtS cENtRE ‘With a Quiet Mind’, an exhibition by Guercino, François Boucher, Vincent van
Steven Clarke (26 Mar – 11 Apr). The press Gogh, Pierre-Auguste Renoir, Pierre
My next project Train Story is non-linear and experimental in form, which
release described how the show had come Bonnard, Max Hermann Pechstein, Lyonel
about via “a sustained period of practice of Feininger, John Lavery, William Orpen, may place it in an avant garde context. The film will explore the idea of telling
the exploration and implications of Jack B. Yeats, Louis le Brocquy and William and retelling, through retakes, shot variations and discontinuous editing, in an
neuroplasticity in the aesthetic Scott. attempt to articulate the necessary death, immortality and nostalgia inherent in
appreciation of art, as well as for the the medium of photography and moving image. It is a film in its own right, but
creative process itself. The work cRoSS & MckEowN also a homage to all kinds of moving image work, from artist’s video, epic
investigates the role that art can play in features and home videos.
fostering new neural connections and My films are quite different from one another in form or genre (which
forging new neural pathways with a view usually extends to different kinds of audiences as well). Even if I make what
to enhancing learning, cognition and might be considered an avant garde film, that does not make me avant-garde.
equanimity.” Labelling oneself avant garde (besides sounding pretentious) can have the
inverse effect of limiting the films to one kind of audience. Let the audience /
programmers decide where to show it; ideally, many audiences will decide it is
a different type of film. I am not a film purist; I embrace hybridity, destruction,
Lian Callaghan Forcefield Drawing blurring of boundaries.
Cross & McKeown 'Pool' installation view.
Before deciding to do a Masters in Film, I had been more or less a DIY
Kerlin Gallery, Dublin presented ‘Pool’, a videomaker and had not directed actors in fiction drama, nor worked with a
showing of a series of news works by production crew using a 16mm film camera kit. When applying for the MA
Dorothy Cross and William McKeown (19 Filmmaking in Goldsmiths University, I had to compete to specialise as director;
Feb – 20 Mar). The press released noted and this is the role I stayed in for the year, making four short films in a group of
that the artists’ works both explored a
six filmmakers; the other five filmmakers specialising in producing,
Colm Desmond work from 'An open-ended enquiry' “human biological affinity to water … this
cinematography (camera), cinematography (lighting), editing, and sound
elemental relationship has historically
The Basement Project Space, Cork production. The four films we made can be summarised as follows: a dramatised
Tony Gunning Derelict House, Villierstown been at the heart of each artist’s practice
presented Colm Desmond’s exhibition ‘An imagined moment in the life of US artist Lee Lozano; a co-directed, in-studio
and has resulted in a poetic body of work
Signal Arts Centre Bray recently showed Open-Ended Enquiry – In/Elegant comedy; a non-dialogue fractured narrative filmed on the streets of Soho, and
employing a diverse range of mediums”
‘Force Fields’, an exhibition of installation, Formalism’ (20 Mar – 29 Mar). The press www.kerlin.ie our main project, a tense ensemble drama set on a nightbus.
drawing and painting by Lian Callaghan release described Desmond’s work as Although the MA was excellent for the practical experience I needed in
(27 Apr – 11 May). Currently on show is ‘A studying “the possibilities for directing with a production team, there was an anti-intellectual bent within the
Collage of People’ by Aoife FitzGerald (11 experimentation with found material … ShADow BoxER Film MA faculty, who preferred to teach how to make a film rather than why
– 23 May), this is followed by ‘Echoes’, an the work explores issues of materiality
(this was partly due to the limits of collaborating on multiple projects in a
exhibition of paintings by Tony Gunning and form with an ongoing concern for
12-month course). I sought out a more critical context for my practice by
(25 May – 6 June). what might constitute a relevant
gatecrashing other departments – such as visual cultures, sociology, politics and
www.signalartscentre.ie contemporary aesthetic.”
basementprojectspace.wordpress.com visual anthropology and the wonderful audiovisual library. These factors made
the experience of going to a production-orientated film course a lot more
AUto-MANo cURRAN IN chIcAGo
holistic, especially as Goldsmiths boasts a multicultural student body (compared
to the rich kid syndrome of many film schools) and the wider city of London
Damien McGinley 'Shadow Boxer' installation view.
was available with its many film and art delights. Meanwhile, I was curating a
Prima Centre, Berlin presented ‘Shadow retrospective of the Irish filmmaker Vivienne Dick for the Crawford Art Gallery
Boxer’, an exhibition of paintings by in Cork. My research around her work led me to many other experimental films
Damien McGinley (23 Mar – 9 Apr). The and ideas of the avant garde, which was the perfect complement (or antidote) to
artist described the exhibition as “the the MA’s narrative classicism.
culmination of works developed in the When it comes to collective creativity, the idea of authorship and autonomy
Mark Curran – installation view DePaul Art Museum. secluded setting of Donegal […] Faustian brings challenges. But ultimately filmmaking is a collaborative art and as a
characters jostle in the shadows like prize- group of six co-producers, we made something bigger than our individual
The DePaul Art Museum, Chicago,
fighters before a bout, in distressed, selves. However, clear ideas of authorship are still needed whether they are
presented photographic works by Mark
distorted scenes.” invested in one person or a team. The rigour of working on a low budget film
Fergus Byrne Glebe Curran (14 Jan – 19 Mar). The press release www.prima-center.net
described Curran’s show as “probing the with big production ideals, being responsible for twenty-five people (cast and
The Talbot Gallery, Dublin presented ‘Auto- extra crew) on a night shoot on the top of a rent-by-the-hour doubledecker bus,
cascading effects of globalisation and
Mano’, an exhibition by Fergus Byrne and IRVINE At FRIth StREEt
economic swings in a Hewlett-Packard whilst keeping one’s creative autonomy, was one of the worst and best
Joe Stanley (25 Mar – 17 Apr). The press Frith Street Gallery, London presented Jaki
plant in Leixlip, County Kildare.” experiences of my life. One of the main things I learned from this situation is
release described the exhibition as http://museums.depaul.edu/artwebsite/ Irvine’s multi-screen installation ‘Seven
that technique is there to free the unconscious. I felt confident and creative
exploring “the common threads and Folds In Time’ (12 Mar – 30 Apr). As the
directing on set, because of the immense time and thought I had put into
characteristics emerging between Byrne’s press release noted “Irvine’s work in film
crafting the story in script and plot development, working on the characters’
sound drawings and Stanley’s GPS DANIEl cANoGAR and video weaves together narratives in
drawings; an underlying interest in mark- ‘Scanner’, an exhibition of mixed-media by which image and musical score variously motivations, creating the cinematographic shotlist, and building trust with the
making and seemingly random Daniel Canogar, was recently on show at overlap, coalesce and diverge”. The crew and cast.
composition. In all cases the drawings are the Oonagh Young Gallery, Dublin (19 exhibition also included some screenings I prefer to think of the role of director more as the French word: realisateur
controlled by duration of the journey or Mar – 30 Apr). The installation’s of the artist’s earlier works. – the realiser. The verb ‘realising’ incorporates an ongoing set of realisations that
soundscape being followed”. components included television, www.frithstreetgallery.com renew themselves at each stage of production. Being present and giving my all
telephone and computer cables; the press to every moment of the process and then being able to let go of it completely, I
release noting that the work “underscores think is the secret to good directing, good realising.
6 The Visual Artists’ News Sheet May – June 2010
Oonagh O’Brien, Robin Parmar, Patricia
A wAlk IN thE wooDS cAtAlySt ARtS Underneath the cuts, the Beach
Reed, Fiona Reilly, Christopher Mahon,
The Courthouse Arts Centre, Wicklow Catalyst Arts, Belfast presented a five-
Tia Schmidt, Lytle Shaw and Jimbo
presented Greg Tierney’s exhibition of channel version of Michael Fortune’s We
Blachly, Myles Shelly, Sunghoon Son,
new paintings ‘A Walk in the Woods’ (21 Invented Halloween (4 Mar). As the press ARtS funding provides an interesting societal portrait in miniature. In a debate that’s
Spiritstore, Christine Tauber, David
Mar – 18 Apr). The press release explained release noted, Fortune’s work follows his becoming increasingly dichotomous, on the one side are conservative calls for cuts,
Theobald, Allard van Hoorn, Tara
how the show took inspiration from the mother disguising her identity year after privatization and the rule of the free market, on the other a social democratic model
Whelan and Xia Peng.
ways in which “trees have always had a www.eva.ie year, to fool his grandmother, who which views federal funding for the arts as a necessary social balm. McCarthy and An
keen connection with man as a source of RUBIcoN GAllERy imagines her daughter to instead be a
Bord Snip Nua’s calls for the dissolution of Culture Ireland and the Film Board were
shelter, firewood or building materials”. great-grandchild.
www.tinahely-courthouse.ie www.catalystarts.org.uk hardly surprising in their view of art as the baby fat of business, while the accusations
of ‘censorship’ following the threat of such closures is also no new thing. The ‘c’ word
cAthERINE DElANEy clearly isn’t accurate, as it’s not deliberate silencing: but what do you call the closed
Solstice Arts Centre presented ‘Pile’, an roads, extinguished possibilities, and things that ‘might have been’ if only the money
GMIT, Galway recently hosted a
exhibition by Catherine Delaney (24 was there?
symposium coinciding with the
Mar – 24 Apr). Delaney’s work was I wanted to write an article about similar examples over the years, parallel
circulation of Verge, a new visual art
described by the gallery notes as decisions and axed agencies, and its deleterious effects on that locality’s art scene. But
publication focused on contemporary
“converting the gallery into a makeshift it is hard to follow a non-existent trail. In 2005, the Canadian Tories shut down
art activity outside of urban centres (19
recycling centre for the collection of PromArt, the equivalent to Culture Ireland. It’s hard to say exactly the knock-on effect
Apr). The press release noted “Verge is an
unwanted clothes”. of this. But how many Canadian artists have you seen lately? Ok, so Paul Butler
alternative to urban-based visual arts
publications and contains articles from brought his ‘Reverse Pedagogy’ project to the Model Niland in September last year.
ByRNE At thE ARMoRy writers, artists and poets on issues Anyone else?
For the 2010 Armory Show, New York, Tom Molloy Dove (X-ray) No.2 25 x 20 cm. relating to rural arts and profiles of I do believe that the lack of funding is having and will have very real consequences,
The Green On Red Gallery presented pertinent projects.” The panellists for the in terms of the visibility, circulation and opportunities for engagement with
Subject, a three-channel work for The Rubicon Gallery, Dublin recently symposium were Jay Koh, Megs Morely, contemporary visual art. Take, for example Circa’s, current suspension of publication.
monitors by Gerard Byrne (3 – 7 Mar). presented ‘Aftermath’, an exhibition of Pat Cooke, Michaele Cutaya, Dr. Anne While the VAN, Source photography journal and the Irish Arts Review still provide
Byrne’s work was described as addressing new works by Tom Molloy (24 Mar – 24 Byrne, Dr. Aine Macken Walsh, Jenny
domestic coverage and comment, Circa the only dedicated platform for critical
“Brutalism in University architecture of Apr). The press release explained, Haughton, Catherine Marshall and
discussion of Irish contemporary visual artists’ work.
the 1960s as a ruin, an allegory of a lost “Molloy’s practice has revolved around Deirdre O Mahony.
politics, history, war, and justice, around www.gmit.ie In the UK in 2005, and the Netherlands last year, funding cuts accompanied
pedagogical civilisation, which had been
morality and mortality. His new works attempts to provide funding to new organisations and support younger projects. But
shaped in the form of a modular
delve deeper into these subjects, their when less is available to fewer people, public spending dumbs down, leaving the risks
machine.” ByRNE @ lISMoRE
www.greenonredgallery.com intersections, and our own complicity in to be taken by small projects and venues on their own. It’s telling to see that it is fringe,
them.” speciality organisations internationally that have actually had to close: Community
MIcky DoNNElly The following show was the self- Cultural Development New South Wales shut up shop in March, the funding from the
titled exhibition of painting by Patrick Australian government pulled after 25 years. Kaleido, the charity that provided
Michael FitzGerald (29 Apr – 29 May). training and development to assist deaf and disabled artists in southwest England,
The press release noted that FitzGerald closed its offices the same month.
employs “direct approaches to picture Gerard Byrne A Thing is a hole in a thing it is not still Maybe there are positives – the squeeze can squeeze back. Bureaucracy is the
making. Fragmentary, doubtful and baby fat that needs to be slashed, and a culture of experimentation and daring, away
always very close to their moment of Lismore Castle Arts, Waterford has
from the watchful eye of the State, should be a boon for the Irish arts scene. As an
conception or extinction they have an announced that their 2010 exhibition
interesting side note, one could trace the rise of conceptual art being taught in the
undeniable contemporary feel, there is will be a solo showing by Gerard Byrne
UK’s art schools alongside Thatcher’s cuts to education funding. Limitations can be
frequently something more akin to the (24 Apr – 30 Sep). The exhibition will
feature four separate films about productive.
Micky Donnelly Placement oil on Fabric 24 x 30 cm restless modernist impulses, and extreme
minimalism, shown parallel to one Thatcher shared a similar misty-eyed view of philanthropy and corporate
Taylor Galleries, Dublin presented contrasts, of Pierre Bonnard, Liubov
another, alongside work focused the sponsorship taking on the mantle of arts funding to the current Conservative Shadow
‘Prospects, Propositions, States of Affairs,’ Popova or Clyfford Still.”
www.rubicongallery.ie efforts of two actors and a director Minister of Culture, Jeremy Hunt. (By the time you read this, we’ll know whether the
an exhibition of paintings and drawings
attempting to understand a script ‘shadow’ has been dropped.) But he wants the government to step out of the scene and
by Micky Donnelly (19 Mar to 10 Apr).
through dramatisation. the suits to step in at a time when private investment in the arts in the UK is actually
Donnelly’s works were described as SIMoN BURch www.lismorecastlearts.ie
“exploration of visual ambiguity and the falling. Hunt cites the American tradition of philanthropy as an ideal model, but one
Riverbank Arts Centre, Newbridge
restless shifting of perception and presented Simon Burch’s exhibition of need only look to LA, where its Museum of Contemporary Art was nearly derailed
association intrinsic to our everyday photography ‘Under A Grey Sky’ (25 Feb after a drastic fall in its traditional private donations. More dismaying is the recent
experience”. – 30 Mar). The gallery notes explained news that New York mayor Michael Bloomberg has pulled his program of funding
that Burch’s work studies “the bogland through the Carnegie Corporation of New York, which helped support small, local
areas of Co. Offaly, the black landscapes non-profit projects throughout the city.
EV+A 201 of turf, and the community and Solutions? Well, firstly get used to the idea of text-based and found art being even
‘Open / Invited EV+A 2010 / Matters’ is individuals who live and work there.” more prominent the next few years. Financially, spaces like the Wysing Arts Centre
now on show in various venues across www.sburch.net near Cambridge are paving more quietly practical routes, using their studios and
Limerick (13 Mar – 23 May). The selected project space as a springboard to a group of individual and corporate investors who
artists are Peter Carroll, John Gerrard, SPoNtANEoUS GENERAtIoN collectively own a body of work. Setting up a website to get documentaries for social
Tom de Paor, Peter Maybury, Shin The Zach Feuer Gallery, New York change seen and sustained, Goodscreenings.org is giving an alternative route for
Egashira, Eva Hild, Rebecca Ivatts, Hans presented ‘Spontaneous Generation,’ a filmmakers to distribute their films and a digital-age version of the filmmakers co-op.
Josephsohn, Michael Kane, Peter Märkli, group exhibition featuring work by George Vaughan – work from 'Time Place Memory'
Providing a bespoke license fee, you pay for the right to screen the film, then you can
Staffan Nihlén, John Pickering, Stephen Lynda Benglis, Sarah Braman, Alistair
The Butler Gallery, Kilkenny presented keep any profits made from the event. Simple.
Rothschild , Sai Hua Kuan, Janna Frost, Fergus Feehily, Zak Prekop, Ken
‘Time Place Memory’, a series of new Meanwhile, Julieta Aranda and Anton Vidokle’s ‘Time/Bank’ project has only
Syvänoja, Wang Ruobing, Kaspar Aus, Price and Kevin Zucker (Feb 6 – Apr 3).
paintings by George Vaughan (6 Mar – gotten as far as getting a bankroll of their friends to design hypothetical notes for the
Matthew Beattie, Javier Burón & Eleanor The press release noted of the exhibition,
18 Apr). The works in the show were unit of time traded, but its implications might just prove further reaching. Taking a
Moloney , Loretto Cooney, Aoife “The works might re-imagine moments
described as “a refined body of work, community volunteer structure as the basis for a wider economic model, Time Banks
Desmond, Simon English, Tom Fitzgerald, from Modernism, as they happened in a
simple in style, employing a visual
Leo Fitzmaurice, Christina Gangos-Klien, parallel universe that is just slightly have developed mainly in the US as a means of creating mutual charity and
vocabulary reflective of the mature artist
Stephen Hall, Johanna Hällsten, different than this one … they signal a commitment independent of cash. Aranda and Vidokle have imported this into the
making work afresh … born from a
Fionnuala Hanahoe, Karen Hendy, Sandy rejection of the notion that every artwork art world: “if you happen to be in Beijing or Hamburg and need someone to help you
particular experience, or in reaction to
Kennedy, Kirsty Kilbane, Caoimhe dealing with abstraction must call go shopping for materials or translate your press release, you would be able to draw on
having spent time in a specific place”.
Kilfeather, Valérie Kolakis, Christopher attention to its condition as a palimpsest resources from your time/bank account without money changing hands.”
Leach, David Lilburn, Sarah Lincoln, Liu or collage of the works that came before So, now if you can just get that funding to put on that show in Berlin, and you
Wei China, Jacob Maendel, Francis it.” might just have an international art economy on your hands…
Matthews, Maria McKinney, Ben Mullen, www.fergusfeehily.com
The Visual Artists’ News Sheet May – June 2010 7
and an interview between Feldman and various media, [the group’s] practice is Goodall, Edward M. Kennedy, Billie Jean
lAMBERt AND FoRtUNE Ní MhAoNAIGh PAINtINGS
anthropologist Francesco Pellizzi. Born concerned with the production of a King, Henry Kissinger, Kris Kristofferson,
Taghmon Family Resource Centre, Dunamaise Arts Centre presented
in New York City in 1926, Morton situation, creating sites of convergence Nelson Mandela, Willie Nelson, Robert
Wexford, presented a screening of a new ‘Paintings’, an exhibition of new work by
Feldman was a child prodigy who began where original context can dissolve in Redford, Vanessa Redgrave, Chinua
work by Aileen Lambert and Michael Sinéad Ní Mhaonaigh (Feb 25 – Apr 18).
composing at the age of nine. In the the emergence of alternate readings.” Achebe, Andrew Wyeth, Nadine
Fortune (Feb 26). The press release notes The exhibition was presented in www.pallasprojects.org
1940s he fell under the influence of the mariahtheblack.blogspot.com
Gordimer Graham Nash, Ravi Shankar,
that Lambert and Fortune “worked collaboration with the Kevin Kavanagh
early avant-garde composers, going on to Kurt Masur, Buzz Aldrin, Chuck Close,
collaboratively with Girlzone, a group of Gallery.
www.dunamaise.ie become a pioneer of indeterminate Richard Rodger, Massimo & Lella
teenage Traveller girls from Taghmon, to BlASPhEMoUS
music, a development associated with Vignelli, Rosamunde Pilcher, Esther
produce a series of short films, including FINAl oPG Show
the experimental New York School of Mahlangu, Zbegniew Brzezinski and
a collection of contemporary folklore The Original Print Gallery, Dublin
composers, which also included John many others.
and superstition from within the presented its final exhibition, ‘Surface www.wisdombook.org
Cage and Christian Wolff. www.siamsagallery.ie
travelling community.” and Depth’, a series of new works by www.imma.ie
Ruth O Donnell and Swedish artist Eva
Grytt (Mar 11 – 28). The press release MINUtIAE o’kElly At tBG&S
cUllINAN RIchARDS At thE lAB notes that O Donnell was “inspired by
the Persian poem ‘The Conference of the
'Blasphmous' invite / publicity image.
Birds’, [and references] the many different
interpretations and symbols in the tale IMOCA, Dublin presented ‘Blasphemous’,
of enlightenment. Grytt’s work looks an exhibition studying the effects of the
closely at nature, […] illustrating the recent outlawing of blasphemy in Ireland
feelings and shape that it evokes in her.” Work by Suki Chan from 'Minutiae' (2 – 25 Apr). The show presented work
The gallery will operate in future by artists identifying with a diverse range
Roscommon Arts Centre, Roscommon Mark o'Kelly – work from 'Leaders and Followers'
organise temporary shows in various of religious backgrounds in celebration
presented ‘Minutiae’, an exhibition by
venues, whilst maintaining a web- of artistic freedom and intellectual Temple Bar Gallery & Studios, Dublin
Oisin Byrne and Suki Chan (26 Feb – 31
presence. discourse. The participants were Richard presented Mark O’ Kelly’s exhibition of
Mar). The show was described as
www.originalprint.ie Bartle, George Bolster, Hannah Breslin, painting ‘Leaders and Followers’ (25 Mar
exploring “the very human dilemma of
Alan Butler, Church of the Flying – 24 Apr). The press release noted that
establishing our position in the world”.
PAPERPlANE Spaghetti Monster, Steve Farley, Una “painting the un-paintable is one of the
The exhibition was curated by Linda
Limerick City Gallery of Art presented, Gildea, Sarah Hardacre, Jacinta Jardine, challenges O’ Kelly sets himself, as in
‘Paperplane’, an exhibition by Caline www.oisinbyrne.com Mark Lomax, Matthew MacKisack, Justin how to catch the flames swirling around
Cullinan Richards work from 'Maradone Two-For Four'
Aoun, Niall De Buitléar, Guestroom and www.sukichan.com McKeown, Noël O’Callaghan, RedMeat the tail-end of the abandoned plane.
The Lab, Dublin presented ‘Maradona Vera Klute (18 Feb – 21 Mar). The by Max Cannon, Emer Roberts, Will St. Sometimes he chooses a bird’s eye view
Two-For Four’, an exhibition of painting exhibition is described by the artists as Leger, Kate Walters and Paul Woods. The with embellishments included to
by Cullinan Richards, and curated by responding “to recent negotiations SUGAR coAtED previous show was ‘Talking Heads’, an heighten the energy or to emphasise the
Padraic E. Moore (19 Mar – 24 Apr). The between European editors and an ‘Sugar Coated’, an exhibition organised exhibition of work by Omer Fast, Peter notion of occasion or ritual”.
press release explained that the title of internet search engine regarding a by Business and Arts Management Weibel, David Hall, Iain Forsyth & Jane
the show referred to the “two month ban lucrative and legislated agreement on students from the Institute of Art, Design Pollard, Stephen Sutcliffe and Oraib
meted out to Diego Maradona after his the digitisation of the world’s books. and Technology, Dún Laoghaire was Toukan. (19 Feb – 28 Mar). UNFAMIlIAR
verbal attack on journalists in 2009”. Fears that the world’s ‘last library’ might presented at the Back Loft, Dublin (18 – Red House Arts Centre, New York
be controlled as a commercial enterprise 20 Mar). The following show in the space presented ‘Unfamiliar’, an exhibition
have sparked debate about the future of was ‘Stensuals’, an exhibition of urban SARA GREAVU featuring works by Michelle Browne,
StAtIoN / PlAtFoRM literature in light of the proliferation of and stencil art by ADW (15 – 18 Apr). Context Gallery, Derry presented ‘Numa Benjamin de Búrca, Cecilia Danell, Vera
virtual records as well as the simultaneous Amun – Nouvelle Allégeance’, an Klute, Sabina Mac Mahon and Julia
decline of readership.” At thE Gt GAllERy exhibition of painting by Montréal based Pallone. The press release noted, “the
The Golden Thread Gallery, Belfast artist Sara Greavu (19 Mar – 30 Apr). starting point for this exhibition was the
recently presented two simultaneous Greavu’s work is described by the gallery curator’s encounter with the research of
loUISE MANIFolD exhibitions, ‘Bad Faith’ and ‘Collected notes as studying “the prevalence of Professor Olaf Blanke, from the
Galway Arts Centre, Galway presented Readings’ (19 Mar – 8 May). ‘Collected ‘ethnic drag’ or race changing costumes” Laboratory of Cognitive Neuroscience in
‘Unnatural Esoteric’, an exhibition of Readings’ comprised of works selected Lausanne, Switzerland … responding to
new video, photography and sculptural from the British Council Collection, Blanke’s texts, the artists present work
works by Louise Manifold (5 Mar – 14 consisting of text as an integral element SPRING StoNE which explores the deconstruction of
Apr). The press release noted that of the image. It featured pieces by Fiona Stone Gallery, Dublin presented its meaning, separation of the self, uncanny
“Manifold’s work has the theme of Banner, Ian Breakwell, Victor Burgin, ‘Spring Show 2010’ (25 Mar – 10 Apr). spaces and people’s efforts to understand
disconnection and distance from the Jimmie Durham, Tracey Emin, Hamish The exhibition featured new works by and explain our world through imagery,
world which one is living in, while Fulton, Richard Hamilton, Matthew Hugh Delap, Caroline Donohue, Claire icons, dreams and nightmares. The
encouraging a creation of an individual Higgs, Richard Lon and, Donald Urquhart. Halpin, Joanna Kidney, Hugh McCarthy, exhibition was curated by Maeve
reality”. ‘Bad Faith’ featured the first showing of Susan Connolly, Mike Fitzharris, David Mulrennan.
Station Part II – invite / publicity image. www.galwayartscentre.ie www.theredhouse.org
Common Culture’s new work I Dreamt I Turner, Christine Bowen, Murielle Celis,
Platform Arts, Belfast presented ‘Station Was A Monkey – And They Made Me Wear Vera Klute, Vanessa Marsh, Karen Hendy,
Part II’, a presentation of site-specific Shoes, a multi–channel video installation Geraldine MacDonald, Gerda Teljeur, cENtRIFUGAl EURoPE
installations by Alissa Kleist, Mairead VERtIcAl thoUGhtS featuring “ex–TV ‘soap’ actors performing Helen Fay, Gemma Gallagher, Emer The Centrifugal Book Of Europe (ISBN 978-
Dunne and Ruaidhri Lennon (4 Mar). The Irish Museum of Modern Art, Dublin scenes of discrete social interaction” set Roberts, Brian Ferran, Stephen Forbes, 0-9556395-1-7) is a publication edited by
The press release explained that the is currently showing ‘Vertical Thoughts: against a backdrop of high street Deirdre Hayden, Michael Bartlett and Daniel Jewesbury, which was launched
participating artists were invited to Morton Feldman and the Visual Arts’, an consumption. David Cleary. on 18 March, at the Conor Lecture
“present their response to the building, exhibition featuring works by many of Theatre, Art College, University of Ulster,
its atmosphere, its history and its future.” America’s and Europe’s most celebrated Belfast. The publication features
The exhibition venue is a former police 20th century artists (31 Mar – 27 Jun). The Not ABEl & PcP wISDoM contributions from Joše Barši, Sezgin
station on Queen Street, Belfast, and is exhibition is described as focusing “on Pallas Contemporary Projects, Dublin in Siamse Tire, Dingle, as part of the Dingle Boynik, Taru Elfving, Kalle Hamm, Mina
the second in a series of residency-based the work of the influential American association with The Black Mariah, Cork Film Festival presented ‘Wisdom’, a Henriksson, Nicole Hewitt, Daniel
events, which will run until 2012. The composer Morton Feldman and the presented ‘Private Commissions’, a series combined film, book and series of Jewesbury, Tellervo Kalleinen, Susan
following show in the space is ‘The many leading visual artists with whom of works by artist group Not Abel (26 portraits by Andrew Zuckerman (12 Mar Kelly, Oliver Kochta-Kalleinen, Stephen
Troubles with Harry’, a video installation he was closely associated, including Mar – 27 May). The press release – 17 Apr). ‘Wisdom’ featured Morton, Aisling O Brien, Robert Porter,
and collaboration between filmmaker Philip Guston, Willem de Kooning, described the exhibition as being contributions from Archbishop Mitja Velikonja and Zagreb not-for-profit
Gareth Mayes and visual artist David Jackson Pollock and Mark Rothko.” The “focused on an interest in the Desmond Tutu, Clint Eastwood, Platforma 9,81.
Turner (4 – 20 Mar). show is accompanied by a major re-evaluation and re-presentation of Madeleine Albright, Billy Connolly, Judi The press release issued on the
www.stationproject.com publication, published by IMMA, particular common or contemporary Dench, Vaclav Havel, John Hume, Dr. occasion of the launch of the book noted
including a text by Juan Manual Bonet cultural references. Working with Garret Fitzgerald, Nick Nolte, Jane “the Centrifugal project from which this
8 The Visual Artists’ News Sheet May – June 2010
sculpture that confronts audiences with
book arises is a loose grouping of artists, Room boasts a membership of over 950
international issues; collaborations SlIGo ARt GAllERy cloSES
educators, architects and theorists who signed up members.
between Irish and Northern Irish artists; Sligo Art Gallery is to close its doors and
have come together to develop mobile, cease trading in the coming weeks. In a
www.thecommonroom.net and elaborate, playful constructions in
speculative methodologies for NEw AoSDáNA MEMBERS statement, the gallery said that the
the gallery that invite the viewer within.
investigating the spatial, political and Aosdána, the affiliation of creative artists closure is due to financial constraints
economic forces producing in Ireland recently elected 7 new IcS ScUlPtURE AwARD www.themodel.ie
and a withdrawal of funding by the Arts
contemporary ideas of Europe. The members at its General Assembly. This This year's Irish Concrete Society Council. In the absence of any other
project is particularly concerned with brings its total membership to 246. The Sculpture Award went to Kenneth source of major funding the gallery is
VItAl SIGNS wEBSItE
finding resonances and affinities across seven members have backgrounds in the Lambert for his work ‘Changes’ – a wall- obliged to cease trading as of May 2010.
Vital Signs: Arts & Health in Context
the diverse spaces, histories and political fields of architecture, music, theatre and mounted artwork, cast in concrete and The current exhibition, Yeats and the
took place in Dublin in October 2009.
poetry. resin made up of three interlocking Golden Age of Print will run until the
imaginaries that inhabit the edges of The programme of events included a
Unfortunately, however there were curved panels. The side panels are cast in end of April 2010. The gallery
Europe.” national conference in the Royal College
no visual artists elected in this round. concrete and depict, in low relief, the acknowledged and thanked the artists,
of Physicians, an exhibition in five
The seven new members are: Yvonne artist and his brothers in a car returning friends and organisations who have
venues across Dublin 8 and a series of
DRIFt supported the gallery over the years.
Farrell, Vona Groarke, Francis Harvey, from his mother’s funeral. The central commissioned opinion pieces about arts
Talbot Gallery and Studios, Dublin Conor McPherson, Grainne Mulvey, panel, in contrast, is cast in clear resin. and health practice.
presented ‘Drift’, an exhibition of Sheila O’Donnell and Kevin Volans. IRISh ARtIStS FoR jERwooD
The jury felt that this work challenged The Vital Signs website has been
paintings by Mars Wright (22 Apr – 15 Irish artists Natasha Conway and Kevin
www.aosdana.artscouncil.ie pre-conceptions about the use of updated with papers, podcasts, articles
May). The press release noted “the works Cosgrove have been selected for the
concrete. and images from events. The opinion
often depict ordinary scenes representing Jerwood Contemporary Painters prize
The overall winner in the building pieces are available as articles online and
the mundane features of contemporary McAlEESE UNVEIlS o’DohERty 2010. Selectors Paul Huxley RA, Callum
category was Visual Centre for can also be downloaded in booklet form.
living” On 13 April the President, Mary Innes and Vanessa Jackson have curated
Contemporary Art and George Bernard Vital Signs is an Arts Council initiative,
McAleese, unveiled a new sculpture by this review of emerging painting practice
Shaw Theatre, Carlow where the jury felt developed and delivered in association
Eamonn O’Doherty outside the main in the UK. Jerwood Contemporary
that the success of the building is the with Create, the national development
concourse at St James’s Hospital, marking Painters aims to promote, discover and
REGAINING coNScIoUSNESS apparently effortless use of large agency for collaborative arts. Your
the 300th anniversary of the hospital’s support imaginative and vibrant practice
Rua Red, Dublin presented ‘Regaining elements, mainly concrete, in comments on the opinion pieces or any
existence. The twenty foot high in contemporary painting. The 24
Consciousness’, an exhibition of drawing, sympathetic scale with the gallery other aspect of the Vital Signs programme
sculpture, in polished and patinated selected artists will exhibit in London 21
painting, photography, video and spaces. are very welcome and can be left on the
bronze, is in the form of a double helix, April until May accompanied by a series
installation by artist collective Sodium
www.concrete.ie website. http://vitalsigns.artscouncil.ie
and as well as the obvious reference to of talks and lectures on contemporary
(8 – 20 Mar). The exhibitors are Breda for more information. Vital Signs is also
the DNA structure, combines the painting practice. The exhibition will
Flynn, Judy Foley, Paul Hickey, Jane MoDEl MAy DAy tour nationally until October 2010.
enduring symbol of medicine, the Rod of http://twitter.com/artsandhealth.
Locke, Ri Meehan, Roger O’Neill, Linda The Model, SLigo reopened on Saturday www.jerwoodvisualarts.org/contemporarypainters
Aesculapius and its coiled serpents, with
Rafferty and Miriam Sweeney 1 May following an extensive
the laurel wreath of Hygieia, mythological
www.sodium.ie redevelopment. The re-opening ccP NEw wEBSItE chANGES At oPG
goddess of health.
exhibition, 'Dorm', involves a ‘fair’ of The EU Cultural Contact Point Ireland The Original PrintGallery, Dublin has
loSt NEw VAI wEBSItE international artist collectives. Twenty- website has undergone a complete left its permanent gallery space in
Visual Artists Ireland, has launched a two international artist collectives will re-design and has been re-launched. The Temple Bar, but is continuing to represent
West Cork Arts Centre, Cork presented
newly designed web presence. The new transform the building into an CCP website provides information about artists. The website www.originalprint.
‘Lost’, as part of ‘Choowawaa: Childrens
website features a modern look and unprecedented, all-encompassing art available funding, how to apply for ie will operate as a “24 hour gallery”. In
Arts Event and Exhibition’ (20 Mar – 7
streamlined site navigation that offers project. funding, examples of previously funded terms of exhibitions OPG will be
Apr). The exhibition showcased artwork
details on visual art exhibitions, events, As the press release puts it " with a projects and strives to answer some organising a range of events in venues in
from primary school children across
festivals, talks and conferences across nod to the political events of May 1968, commonly asked questions about EU Dublin and around the country.
West Cork, who have participated in the histories of art collectivism, and as a
Ireland. “We realised that we had a funding for Culture. It also provides Upcoming shows include exhibitions at
Arts Centre’s Primary Schools parody of an art fair, the building will be
wealth of information that will prove up-to-date news and information from Rathfarnham Castle and Temple Bar
Programme. As the press release noted filled with exhibitions, concerts,
useful to the art world and to the public Europe that will be of interest to the Summerfest. Further details are available
“34 groups of children from 16 schools, screenings and performances all aimed sector. on the website or the recently established
alike. For this reason we have created a
including 4 special needs groups, have at the social imagination". blog http://originalprint.wordpress.com
new look to our website that will allow http://ccp.ie
explored their own ideas in relation to people access the most up to date The opening night of 'Dorm'
the theme Lost, after visiting the information on what is happening in the included a Public Sleepover Project (PSP)
exhibition ‘Mesh’ by Anita Groener at visual arts across the country” said Noel where visitors could spend the night at chIlD PRotEctIoN NEw MINIStER FoR ARtS
West Cork Arts Centre late last year.” Kelly, CEO of Visual Artists Ireland. the venue. In an inventive partnership Two new resources relating to child In the cabinet reshuffle the Taoiseach
Gallery exhibitions, talks, with the Sligo Institute of Technology, protection and welfare in the arts have appointed current Minster for the
performances, and other activities from guests were bedded down on sleeping been published on the Arts Council’s Department of Social and Family Affairs,
across Ireland and Northern Ireland are a apparatuses designed by design students. website. Mary Hannafin, as the new Minister for
The PSP also featured a special project Child Protection Policy and Procedures the Department of Arts, Sport, and
Get into The Roundup key feature of the website. The new
website offers a wide Resource section from Thierry Geoffrey/Colonel along – Information for Children is designed as a Tourism. Mary Hannafin replaces Martin
providing FAQs, useful articles, top tips with a musical performance from Pallas leaflet that can be given to children and Cullen who recently resigned from
■ Simply e-mail text and images for
and advice that will be of use to those Contemporary Projects. young people. It is intended to provide public life.
the roundup to the editor
working in the visual arts sector, as well Just beforethe PSP, artist and radio them with a brief guide to the measures In addition the Department of Arts,
(email@example.com). DJ Donal Dineen (Today FM) presented
as those with an interest in understanding that are in place in their arts organisation Sport and Tourism will be renamed as
■ Your text details / press release “Fresh Air”, a multi-sensory event
more about how the visual arts work. to ensure their safety and welfare. the Department of Tourism, Culture &
should include: venue name, featuring projections and live Information covered includes code of Sport.
“It is very important for us to
location, dates and a brief performances from musicians of the Box behavior, making a complaint and how
provide a wide range of methods for
description of the work / event. Social collective in Dublin – Catscars, they can expect to be treated.
people to access our information”
Inclusion is not guaranteed, but continued Noel Kelly, “for this reason we School Tour, Children Under Hoof, Child Protection Policy and Procedures EURoPEAN PUBlIc ARt NEtwoRk
we aim to give everyone a fair now provide our information through Hunter Gatherer and Patrick Kelleher. – Information for Parents/Guardians The European Public Art Network,
chance. the website, which is directly linked into The Sunday following the opening provides an outline for parents/guardians research web site – http://
■ Our criteria is primarily to Twitter (#VisArtsIreland), Facebook featured screenings and talks by artist on the policies and procedures that are europeanpublicartnetwork.com – has
ensure that the roundup (Visual Artists Ireland) and Newsfeeds so collectives as part of a free public forum in place in an arts organisation attended been created to facilitate dialogue and
section has a good regional that people can more easily find out on art and collectivity. by their child. It includes guidance on debate around the opportunity for a
what is going on around the country.” The exhibition element of 'Dorm' recruitment procedures, how the European Public Art Network. The site
spread and represents a
Also included in the new site is runs untl 4 July – in which the organisation will communicate with the will act as a conduit for expressing
diversity of forms of practice,
access to a new Visual Artists Ireland participating artist collectives will parents in the event of a concern interest in the potential of a fully serviced
from a range of artists at all
initiative, The Common Room – social present projects in the gallery including regarding their child and lists points on European Public Art Network & as a
stages in their careers.
network for the Visual Arts. The installations referencing pagan how parents can cooperate with them to focus for the dissemination of
■ Priority is given to events taking
Common Room offers the public and traditions; projects involving political ensure the safety and welfare of their information.
place within Ireland, but do let activism; a collaborative photo and The European Public Art Network
artists a free resource where they can child.
us know if you are taking part performance project with the local Forum has been set up to allow you to
publicise events, share common interests www.artscouncil.ie
in a significant international military; complex video projections; share thinking and enlarge the debate on
and affiliations, upload images, stream
event. participatory projects that involve the the opportunity to create a European
videos, and hold discussions in forums.
Only 3 weeks in existence, The Common public, local government and cats; Public Art Network
The Visual Artists’ News Sheet May – June 2010 9
Collections at the National Portrait These online services was developed every aspect of moving and storing art.
MARt SItE ÉIGSE PoStPoNE SElEctIoN
Gallery in London and Brenda McParland, to more efficiently manage funding From collection to clearing customs to
Mart announces the launch of a Due to financial restrictions in 2010
a renowned International Curator and applications and payments. This new shipping by ocean, road or air to storage,
revamped MART website – www.mart.ie Éigse Carlow Arts Festival will postpone
Arts Management Professional in website means that you can: Download every care is taken to ensure your art
The website includes: An improved full the Éigse Open Selection exhibition
Contemporary Visual Arts. application forms and guidelines; Create remains safe and secure by people
Artist Directory – with embedded Video until 2011. In a statement festival
Cumberland’s self portrait, was a profile for banking, tax and contact sensitive to the needs of artists,
and Artists Galleries. Showcasing Director Tara Connaghan said:“It is with
shown alongside 28 other shortlisted details (which you can reuse for other conservators, curators and collectors.
great difficulty that we made the decision
Performance, Installation, Video & New paintings at the 2010 Davy Portrait applications); upload the completed A new Scheduled departure departs
to postpone the 2010 Open Selection as
Media Artists from Ireland, UK & Beyond; Awards exhibition which takes place at application form(s) and up to 20MB of every 22 days from Dublin – London –
it has been the back bone of the festival
A Detailed List of MART’s previous the Naughton Gallery in Belfast. During electronic supporting materials; avail of Dublin. Maurice Ward + Co.’s established
for so long but due to substantial cuts
Exhibitions; An improved and detailed April the exhibition was presented at the a one-week deadline extension to network of partners also means we can
this year we just weren’t able to afford it”
Mart Directory – outlining Galleries, Farmleigh Gallery, Dublin. complete online applications; (where deliver to destinations across Europe and
commented Tara Connaghan, Festival
Initiatives, Resources for Visual Artists in www.davyportraitawards.com successful), submit a payment request or beyond by road freight for full or part
Director. “We are really grateful to artists
Ireland & The UK. You can now also sign payment schedule with supporting loads.
who have supported the Open Selection
documentation. Maurice Ward’s custom-built trucks
up to our Monthly Newsletter in the through the years and hopefully the year thREE IRISh GUGGENhEIMS
Artists should register immediately are special ‘Art Spec’ vehicles with air
Contact us Section. The Newsletter will break will give us a chance to turn this The John Simon Guggenheim Memorial
for online services as, for security reasons, ride suspension in which temperature
outline: new Artists, updates, events, into a positive project for 2011 with a Foundation has awarded 180 fellowships
it may take up to five working days to and humidity are controlled and the
reviews and more.If you would like to new improved Open Selection.” to artists, scientists, and scholars. Three
complete the entire process. We also cargo area is padded and barred. Cameras
showcase your work on the website or The Éigse Carlow Arts Festival takes Irish artists were successful this year;
advise you to submit your final trained on the cargo provide a full digital
wish to exhibit in one of our upcoming place from 11 – 20 June 2010. Helen O'Leary in the creative arts and
application as early as possible to avoid record of every minute of the journey for
Joseph O'Neill and Colum McCann for
exhibitions please email firstname.lastname@example.org www.eigsecarlow.ie
the heavy traffic on the site in the final customers who can track the exact
fiction. The fellowships are often
or see Join Section of Website. days before a deadline. position of their art via satellite tracking
characterised as 'midcareer' awards, and
www.mart.ie cUMBERlAND wINS DAVy If you have already used online in real time. Additionally, the crew cab
are intended for those who have already
Northern Ireland-based artist Ian services to manage payments you do not of each truck is fitted out to enable up to
demonstrated exceptional capacity for
READMAN wINS ‘PRIx MoURlot’ Cumberland is the winner of the 2010 need to register again. You can log in to 4 gallery staff to accompany the art in
productive scholarship or exceptional
Irish artist Ben Readman has been Davy Portrait Award. Cumberland was the system using your existing details complete comfort.
creative ability in the arts. The successful
awarded the 10th annual ‘Prix Mourlot’ awarded £10,000 at a ceremony in Belfast and create applications from your The group are approved to ‘hand
candidates were chosen from 3000
(Mourlot prize) for contemporary for his oil on board self portrait. account. To register go to online search’ air freight and enjoy privileged
painting in Marseille, France. Work Davy is one of Ireland’s leading services: airside access so they can witness
from the five finalists will be exhibited providers of stockbroking, wealth http://onlineservices.artscouncil.ie. artworks being loaded onto and off the
in Galerie de l’Esbam rue Montgrand, management and financial advisory aircraft. They also offer a VIP Hand
oNlINE Ac APPlIcAtIoNS
Marseille, from the 2nd until 25th services. The awards, in association with ARt hANDlING wEBSItE Carry service for art that you do not want
Artist can now apply online for Arts
March. Arts & Business, are open to artists Maurice Ward Group, the specialist art to let out of your sight. All packaging
Council Projects and Travel & Training
www.benreadman.com working in traditional and non- handler have launched a comprehensive uses acid-free conservation grade
awards using the Arts Council online
www.esbam.fr traditional media across Ireland. The new website www.mauriceward- materials and is carried out by
services website – http://onlineservices.
judging panel comprised Rosie Broadley, arthandlin.com Maurice Ward and Co. experienced, trained professional staff.
Associate Curator of Contemporary Art Handling & Transportation handle www.mauriceward-arthandling.com
Sculptor: David Annand Unveiling 2 June 2010,
The Diamond, Ballyshannon
Commissioned by Donegal
County Council Public Art
Office, in association with
the Rory Gallagher Festival
10 The Visual Artists’ News Sheet May – June 2010
Visual Arts Resources & Activity in Leitrim
Productive Place Subject Stevens The Dock
Christine Mackey It’s not what I have started… but where we begin…
(2009) from ‘Diagrammatic Interventions’.
I don’t subscribe to the view that an artist cannot
have a career based in the rural environment; or that
their practice is somewhat ‘weaker’ or disadvantaged The old courthouse which now houses The Dock on the banks of the river Shannon
to those produced in an urban context. With
commitment and hard work there is no need to be
isolated. The Polish art historian Piotr Piotrowsky
suggests that the ‘margin’ can be a site with which to
create a critical debate with urban centers of culture
. As Bruno Latour asserts, what we need is to shift
our attention from “matters of fact” to “matters of
concern” (2) that could challenge political and social
rhetoric and the inherent mastery of the ‘object’ and
I may add, the misplaced criteria of some curators
and public art in general. ' Sacred Soup' event – opening of the 'Sacred' exhibition in Nov 09 Poet and Curator Alice Lyons with Staircase Poetry which – installed in
The Dock throughout 2006
I’ve been based in Leitrim since 2006. To date,
my practice has been supported by Leitrim Arts yoU’ll find The Dock, housed in an award-winning audiences enjoy art, food and banter together. Our
Office, Leitrim Sculpture Center, Arts Council of re-vamp of Carrick-on-Shannon’s town courthouse, winter 2009 exhibition 'Sacred' included artist
Ireland, Cultural Ireland and UU Belfast. I am in the looking down onto the bank of the river Shannon. Djerbi making soup for all that attended. We sat in
final year of a practice-based PhD, which has enabled Our doors opened in the autumn of 2005, and since the transformed green room of The Dock, then
me to develop a range of distinct projects. I’ve been then we have had the pleasure of exhibiting works shrouded in white, at a table of 12 sharing in the
based in Leitrim since 2006. from both internationally and nationally acclaimed communal warmth of breaking bread with
I have managed to work on public commissions; Dominic Stevens Hurl Comic – first publishe in Verge magazine artists. International exhibitors have included Atta strangers.
and a residency through TRADE organized by Kim, John Walker, Adrian Paci and David Michelak Our healthy working relationship with Leitrim
Leitrim and Roscommon arts offices. For the latter, I Subject: Dominic Stevens, architect. and from our own country, we have been graced by Arts officer, Caoimhín, who as well as being the
worked with artists such as Gareth Kennedy, Anna Where are you based? the work of John Gerard, Denis Mc Nulty, Aideen director of The Dock is Co. Leitrim’s arts officer, has
Macleod, Alice Lyons and Carol Ann Connolly. With A village called Cloone in South Leitrim. Barry, Grace Weir and Gillian Lawler amongst many led us to host exciting events such as ‘Trade’, ‘Create’
the support of LCC and the Arts Council, Dublin we How long have you lived in Leitrim? others. Guest curators have included Mark Garry, seminar and the John McGahern Summer School.
were able to manifest the production of our projects Oliver Dowling, and now Maurice O’Connell who is During the John Walker exhibition we had a large
About 10 years.
launched in 2008 at the Dock Art Center. I presented about to curate our fourth architectural exhibition audience attend a talk given by Belinda McKeown
What your reasons for moving to Leitrim?
new work for a large group exhibition, ‘New Sites in early summer. Part of our 2006 / 2007 programme and Declan Long on The heroic within the writing
Very affordable – I bought a cheap site and built my
New Fields’ developed at LSC (where I have a included a poet-in-residence Alice Lyons, now our of John McGahern and within the paintings of John
own house – no mortgage, lovely place and only 100
studio); and for Kids Own on a residency project, associate curator. Alice created 12 poems which Walker. This tethering of events definitely adds to
miles from Dublin. were installed on the main stairs in the foyer. The The Docks programme while also extending our
‘The Nature of Sligo’, that focused on re-drawing the
cultural and social aspects of the ‘landscape’. Do you have a studio? same space was used in 2008 by artist Robin audience remit.
My international projects have included: It is in a truck container beside my house. It cost Whitmore for his installation Dream Diary. For an The Dock is a hub of learning within the local
Argentina (RIAA) which brought a group of artists €1000 and is very comfortable and warm. entire year, the first thing that Robin would do on community. There are regular courses in life
from around the world to work at Ostende / Pinamar What professional links do have to visual arts waking was draw his dream from the night before. drawing, family fun days, children’s festivals, crafts,
in an historical hotel; e-MobilArts – a project tailored institutions in the county and nearby? These drawings were projected at the top of the painting and a series of master classes that take
around the process of creating interactive installation I’m a member of HURL – The Home University of stairway and visitors were invited to sit and place throughout the year. Recent artists to give the
artworks using mobile technologies. Workshops Roscommon and Leitrim. I have exhibited at the contemplate his visual dream diary, while listening master class include Nick Miller, Sinead Aldridge
were held in Greece, Finland and Vienna with Dock Arts Centre. to Robin’s voice interpret their meaning. and Geraldine O’Reilly. The Leitrim design house
exhibitions launched in Poland and Greece. This How much of your activities in terms of your With our three galleries we are able to run a shares the building with us so we have no dearth of
project was collaboration with Cliona Harmey (IR), practice takes place in Leitrim and how much varied and diverse programme from group shows to crafts people and artists to draw from when we are
Nita Tandon (AU), and Lorraine Walsh (US) and separate solo shows running simultaneously. We putting together our programme.
involved new work – ‘Sound-lines’ an interactive are flexible in the use of the building with our In the coming autumn, we will celebrate our
My base is Leitrim, though I design buildings, make
sound sculpture and installation. technical team regularly creating dividing walls or fifth birthday. We have a fine line-up of events and
projects and teach throughout Ireland and aboard.
In June 2009, I spent six weeks in Portugal at entrances as needed by the artist. We endeavour to celebrations to mark the occasion. This has also
Do you find Leitrim a good base to work from
Drawing Spaces, based in a former military arms ensure that an artist showing with us feels that the prompted us to reflect on what we’ve done so far, to
in terms working locally, nationally and
factory in Lisbon. Drawing Spaces is an artist run space is very much their own. think about the changes we want to make and also
internationally? We have four studios in the building, currently to consider our aims and hopes for the next five
exhibition and research center whose primary
motivation is to investigative practices related to It is brilliant. I am surrounded by an inspiring group let out to visual artists Laura Gallagher, Anna years and longer.
the subject of drawing. From Portugal, I spent a few of artists, musicians and writers in my everyday life, Spearman and Louise Meehan, along with musician We are in the process of putting together our
weeks at Studio Golo Brdo, Croatia, run by artist Dublin, Galway and Belfast are all only 2 hours Cathal Roach. In 2007, our then studio artists Linda visual art programme for 2011 and 2012 this will
Tomaslav Brajnovic, where I made a number of away and (if broadband was a bit more accessible) Shevlin, Padraig Cunningham, Laura Gallagher and include a gigantic drawing show, which is sure to
diagrammatic interventions. the world would feel pretty close too. John Duignean along with our director Caoimhín evoke a lot of interest. We would also like to
Leitrim is a very productive and innovative In your opinion are there any key issues that Corrigan came up with the idea of an exhibition incorporate more performance art into our
place to be based, but if the support for ‘local’ need to be addressed in terms of visual arts called Convergence. The studio artists were asked to programme.
creativity is absent then the local and the work of activity and support in Leitrim? choose an artist from whom they had drawn As part of our vision we want to get the
the local cannot fulfill itself in the space of the I think that the Arts Office does a good job (within inspiration, they then exhibited a work from their balance right, that balance being between
‘margin’ and this may prove a challenge too great for their means), supporting people who want to do chosen artist along with an inspired work of their nourishing those within the art world living in Co
any individual to overcome. own. Leitrim and also inspiring and planting the seed of
things and inviting interesting people to show here.
Christine Mackey As well as our strong exhibition programme curiosity for those within the community who
In the cash-strapped future, I believe that it is critical
www.christinemackey.com we prioritise gallery and artist talks. Exhibiting may feel less familiar with the environment. It is
that low-level support is given to small scale, grass-
artists are invited to give a short talk on the evening with this balance at the forefront of our minds that
Notes roots initiatives while not ignoring the value of
1. http://www.artmargins.com/content/interview/roundtable.html of their opening, which marks the occasion and adds we create and run The Dock.
2. ‘Nature Space Society’ Tate Modern in 2004 in conjunction with the bring good Irish and international work to Leitrim.
an element of focus to the gathering. Our exhibition Clare McAree
artist olafur eliassous installation ‘The Weather Project’. http://channel.
tate.org.uk/media/27686262001 openings are social events where locals and invited
The Visual Artists’ News Sheet May – June 2010 11
Subject Weir Curating Space Gracelands
Gareth Kennedy, The Future of Ice, performance,
'New Sites-New Field's 2008.
DURING 2007/08 the Leitrim Sculpture Centre
(LSC) went through a radical transformation that
saw its two buildings in Manorhamilton, North
Leitrim completely renovated. Underlying the
overall design was a commitment to access and
Mimetic House, architect Dominic Stevens, built 2005
artistic manouvarability between specialist areas of
Subject: Grace Weir, visual artist working mostly in practice and studio production. Alongside these
video. developments, reflections on the changing Gracelands 2008
Where are you based? Dromahair. Since 2005. geographies of ‘landscape’ and its re-visioning
Why did you mov to Leitrim? I bought a piece of through artistic engagement with place, site, ecology
land here cheaply (instead of a computer and a new and time have become an important critical
camera). My 93 year old cousin advised me to look at framework from which the centre operates. Projects
it. When we stood at the gate and looked in, it was such as New Sites-New Fields investigated the
beautiful and Joe (my partner) suddenly said “You changing landscapes of North Leitrim and the more
know, I have always wanted to build a contemporary recent Fields of Vision Peace III explored the human
house” and that was that. We built a house with geographies of the border region through a
Dominic Stevens. The initial idea was to spend part participatory and cross-community interaction
between selected artists and local schools.
of the year here, to not be in city centre all the time,
The premise of the new exhibition spaces is
but after we moved in, we increasingly based Isobel Nolan – work for Gracelands 2008
not only to show finished artworks, but to function
ourselves here. GRAcElANDS is an event – now annual –
as a ‘medium’ for artists to test out new projects and
What local professional links do you have? I comprising sculpture, screenings and performance.
ideas. In such contexts, sculptural or artistic
Currently I have a show on in the Dock, Carrick-on- It takes place in a field on the site surrounding Grace
interventions work not so much as representational
Shannon and I am on the board of The Model in Weir and Joe Walker’s Mimetic House, designed by
or symbolic form but engage in a dialogical way
Sligo. architect Dominic Stevens.
with communities and landscapes that emerge
Do you find Leitrim a good base to work from? Stevens’ practice is concerned with affordability
When it comes down to it, I work largely with a and resourceful usage, as much in terms of lifestyle
In the introduction to Brian O’Doherty’s Inside Rhona Byrne Heat Exchange Units. Gracelands 2008
and aesthetics as materials. Weir and Walker, both
laptop. My only necessity is broadband. My practice the White Cube: The Ideology of the Gallery Space, Pierce presented Gordon Matta Clarke’s Tree Dance
very established artists, are active and generous.
is research-based, so I spend a lot of time online or Thomas McEvilley describes the traditional gallery – with a live element and a one-time screening of
Their house, celebrated worldwide, is both beautiful
reading books. I am Amazon’s best customer. I space that “must be sheltered from the appearance her film, Skater. Sculptural works included pieces
and modest. Primarily though, it’s home. The nearby
communicate a lot through e-mail and travel to of change and time. This specially segregated space Walker and Walker and Karl Burke. Isabel Nolan
village of Dromahair is the rural equivalent of
meet the people I am working with or they come is a kind of non-space, ultra space, or ideal space produced a series of T-shirts. The night ended with
Berlin. Low property prices (and the conditions
here. where the surrounding matrix of space-time is a screening of a film by Bernard Smyth, which
leading to them) result in a particular population of
I have a two-tier approach to producing work, symbolically annulled (1)”. depicted the artist carving the names and birthdates
architects, film-makers, food producers and others
Mindful of the history of these ideas the centre of the participating artists and curators into trees in
some pieces, I shoot and edit myself; others involve working and living in ways characterised by
supports a programme of artistic and social Epping Forest. Music specially composed by Jaki
working with a film crew and production house. flexibility, co-operation and resourcefulness. All of
interaction within an open and fluid location for Irvine concluded the evening.
Some works are shot in my home and others abroad. this provides a context for Gracelands.
experimentation and research across visual arts The 2009 event was entitled ‘Folly’. Aurelien
Leitrim is 2 – 3 hours from Dublin and its airport, we Gracelands 2009 presented a programme of
practices. Froment staged a reading of his Interview with
have gone up and back for an opening. You do a lot artists’ films alongside specially commissioned
In a recent show ‘Scales of Energy’, for example, Werner Herzog on board the The Rose of Inisfree, as
of driving but learning to drive, which I only did sculpture / interventions and performances. It
Cathal Curtin’s visionary models for the future use it motored out onto Lough Gill. Froment acted as
when I moved out of Dublin, has made me realise includes performative lectures and readings. The
of wave energy off Irelands shores explored the narrator, Isabel Nolan played Froment and Charlie
how accessible the country is. Knock airport, tiny, site is introduced by a path, which winds around the
exhibition medium as research tool and a means for Claffey, my father, played Herzog. On land, Georgina
outskirts of the land. Alongside this ran a sculpture
prone to fog and wonderfully international is 50 generating local feedback regarding energy issues. Jackson described an outdoor exhibition, ‘Utopias
by Declan Clarke; an intermittent series of blue and
minutes away. It is a one hour flight to London. The gallery was able to function very much at the and Visionaries’, curated by Pontus Hulten in 1971.
red lights on wooden posts. Made from household
And I like having a big field. It is an extension interface of public response and the processes of Acting as a ‘reluctant choirmaster’, Jaki Irvine
basins and tyres, the work mimics a lighting system
to my studio. Having space around me and building experimention integral to creative practice. This conducted a series of participatory soundworks by
common in petrol stations in Bolivia. The pathway
a house cheaply gave me a sense of possibility that format suggests an artistic testing ground for John Cage, Cornelius Cardew and others, including
opens to a clearing presenting a series of circular
came after Dublin had become overdeveloped and experimentation within a space protected from the the artist herself. Sculptural works included Isabel
wooden viewing platforms, a large screen and two
expensive. You can think about building a studio, a uniformity of behavioural and artistic patterns or Nolan’s WOOF; Sam Keogh’s A hole in a thing it is not;
‘galleries’; a copse and a marquee.
gallery, an observatory, a hedge school, hello Dia commercial concerns. Dennis McNulty’s Golden Gamble and Bea McMahon’s
The programme was delivered over one day
Information about the above activities as well inflatable folly. Grace Weir made a ‘black hole’ to one
Dromahair. The ‘Gracelands’ project came about and a night, in the concentrated manner of a music
as the workshops, residencies, projects and side of the path – to the other Nina Canell created a
from that. Works like In my own time and From here festival. The day begins with a performance on a
community engagements that form our larger ‘stone’ using a melon and a bag of cement (the
also came from living here. boat as it tours around Lough Gill, after which the
programme will be archived in the centre’s Library weight of the water required to harden the cement
Are there any key issues that need to be addressed audience were bussed to the site. They then followed
and ‘Landscape study resource’ presently under was equivalent to the weight of the watermelon).
in terms of visual arts activity and support in the path, around which are sculptural works and
development. This collection will reflect not only Stephen Brandes served sea-urchin-pot-noodle,
Leitrim? The Model, The Dock and Leitrim installations. Rhona Byrne’s Heat Exchange Units
LSC’s own activity but will make links to national Alice Rekab performed stories and Walker and
Sculpture Centre are all important local institutions. provided shelter. The programme continued with
and international arts initiatives concerned with Walker’s performance, entitled In No Immediate
People are resourceful culturally. Gracelands, The slide shows and lectures. An unfolding series of
exploring the open systems that link subjective, Danger saw them shoot off a flare. Among the films
participative performances punctuated the film and
Adaptation film festival and numerous other social and environmental space. presented were works by Oleg Kulik, Carlos
Cinema Northwest events, HURL – Home University Sean O’Reilly Director Amorales, James Lee Byers, Factotum, Pil and Galia
For the first Gracelands, which took place on a
Roscommon Leitrim, The Dromahair in Transition Leitrim Sculpture Centre Kollectiv, Aleksandra Mir, Les Blank, Grace Weir,
www.leitrimsculpturecentre.ie freezing night in November 2008, we screened
Project arose from a can-do community of like- Karl Burke and Seamus Harrahan.
works by Robert Smithson and Nancy Holt, Joan
minded types. It’s these kinds of grass roots initiatives Vaari Claffy
(1) Thomas Mcevilley, Introduction to Inside the White Cube: The Jonas, Lars Lauman, Elisa Pone, Johanna Billing, Bea
that need to be recognised, valued and supported. Ideology of the Gallery Space, o’Doherty, B., university of California www.vaari.eu
Press. 1976. 1981, 1996. McMahon, Grace Weir, and Jan Swankmajer. Sarah
12 The Visual Artists’ News Sheet May – June 2010 12
NoRthERN GRAcE Contemporary commentators have suggested that
Published: Feb 2010. Title: Northern Grace. due to the development of sophisticated technology
Dimensions: 25 x 21cm. Pages: 134. Contributors: and the digitization of the photographic image, the
Michael Shulman, Magnum Photos, New York. ease with which it can now be manipulated gives
Description: A social documentary of Scotland’s rise to a certain amount of distrust in the truthfulness
people taken over an eight-year period. It deals with of the images we see.
and contrasts urban and rural aspects of Scottish life.
Available: www.syro.net/northerngrace tEMPERAMENtAl
Artist: Maureen O’Connor. Title: Temperamental
VENIcE: why/BEcAUSE 2009. Published: Oct 2009. Dimensions: 210mm x
Title: Venice: Why/Because. Artist: Peter Morgan. 240mm portrait. Pages: 48. Format: Thread Sewn,
Format: A concertina book, 16pp 120 x160mm, Soft Cover. Contributors: Gavin Delahunty Curator,
folding out to 960 x 160mm, pbk, 10pp colour Middlesbrough Institute of Modern Art. ISBN: 978-0-
photographs, 4pp text. Edition: 350. Published: Nov 9555120-2-5. Description: The publication was
2009. Price: €3. Description: A collage of photographs initiated by the exhibition: ‘Temperamental Paintings
documenting the 53rd Venice Biennale. Four pages and Projection’, at Solstice Arts Centre, Navan 2008.
of text appropriated from the two exhibition
catalogues: a highly ambiguous statement. Available: loNElINESS IN wESt GERMANy
www.roadbooks.ie Published: February 2009. Artist: Declan Clarke.
Title: Loneliness in West Germany. Dimensions: 21 x
thE PAtAPhySIcS oF MAkING BREAD 15 cm. Pages: 32. Format: Stitched perfect bound,
Title: The pataphysics of making bread. Artist: Judy soft-back. Contributors: Rolf Stehle, Georgina Jackson.
Kravis. Pages: 48. Format: perfect bound, 102 x Description: This publication documents the site-
148mm, pbk (will fit in shirt pocket). Edition: o201. specific solo exhibition by artist Declan Clarke at the
Published: Oct 2009. Price: €5. Description: What Goethe-Institut Ireland in January – March 2009.
the baker sees as she kneads, what she hears on the Included is an introduction by Rolf Stehle, director
radio, her lurking stories and idle thoughts. At the Goethe-Institut, an essay by curator Georgina
centre, the morphing loaf. Different yet the same, Jackson, full colour installation images and list of
week by week. With sourdough recipe. works in the exhibition. Available: Goethe-Institut,
Available: www.roadbooks.ie Dublin.
A ShoRt wAlk AloNG thE kEFIR RoAD wAlkING DRAwING MAkING MEMoRy
Title: A short walk along the kefir road. Artists: Judy Artist: David Lilburn. Title: Walking Drawing Making
Kravis & Peter Morgan. Pages: 18pp. Format: 185 x Memory: A Ballynahinch Sketchbook. Published: July
130mm, 8 b+w pictures, assembled by hand. Edition: 2009. Edition: 300 (Books 1 – 150 include a
57. Published: Oct 2009. Price: €7. Description: frontispiece of an original intaglio print and are
Kefir is a fractal, a yoghurt plant, a zoo in a bowl on a signed and numbered by the artist). Publisher:
shelf – and growing – given a few simple conditions. Ballynahinch Castle and Occasional Press. Price:
A rambling yet practical poem for cooks, walkers Books 1-150 are priced at €85.00; books 151- 300 at
and physicists. Available: www.roadbooks.ie €30.00. ISBN: 978-09548976-8-0. Available: www.
occasionalpress.net Description: This publication
SAMIzDAt is the first in a series focusing on Connemara based
Published: Nov 2008. Title: Samizdat. Dimensions: artists. Lilburn’s book presents panoramic drypoint
14.8cm x 21cm. Pages: 30. Format: soft-back. printworks alongside preparatory sketches.
Contributors: Deirdre Morrissey, Aine Ivers, Chris
Fite Wassilak & Kate Mc Larnon. Description: The hIERoGlyPhS IN UNExPEctED PlAcES
publication is a response to the shared ideas of an Artist: Emma Barone (with poet Eileen Casey).
exhibition of the same name based around notions Published: November 2009. Title: Reading
of replication, shared knowledge, the distribution Hieroglyphs in Unexpected Places. Dimensions: 17 x
and circulation of forms, philosophy and spirituality, 17cm. Pages: 80 pages. Format: soft cover perfect
fear and paranoia. The exhibition evolved through bound. Contributors: Emma Barone and Eileen
artist Ciaran Walsh’s ongoing and developing artistic Casey. Publisher Fiery Arrow Press, D24. Description:
research and resulted in three new artworks and the A collaboration between the artist Emma Barone
production and distribution of the printed text. and poet Eileen Casey – a book of magical shoes /a
Samizdat was printed with the assistance of printer book of magical poems about shoes. Available:
Vinny Capriani and museum curator Mairead White www.emmabarone.com
at The National Print Museum, Dublin 4. Available:
http://themarketstudios.wordpress.com DhG PUBlIcAtIoNS 2009
Artist / Title: Mamma Andersson. Cry. Artist / Title:
lE chÉIlE PRINt PRojEct Joseph Grigely. Imbrie. Artist / Title: Matthew Day
Published: March 2009. Title: Le Chéile Print Project: Jackson. High, Low & In Between. Artist / Title: Paki
Irish Artists. Dimensions 10 x 12 inches. Pages: 8.
Smith. Artist / Title: Fergus Feehily. Pavilion. Artist /
Format: Hand made, hard cover, melodeon type.
Title: Jim White. Superwhite!/Wild-Eyed Tree. Title:
Contributors: Margaret Becker, Monica de Bath,
Japanese Country Textiles. Title: Questions of Travel.
Pamela de Brí, Bethan Hodgson, Rebecca
Homfray, Eileen Keane, Eilis McCann, Deirdre
Shanley. Description: Handmade book of 8 prints,
some variable, 2 editions of 10. Made to order. The
yoUR Book lIStED hERE
book is part of an ongoing Welsh-Irish Collaboration
If you are an artist and have recently produced
inPrintmaking. Available: http//lecheileprintproject.
(in the last 12 months) a monographic
publication, simply email the following details
EyE VIEw to email@example.com – date of publication;
Published: Dec 2009. Title: Eye View. Author: Gloria title; dimensions; number of pages; format (eg:
Casey. Publisher: Cambridge Scholars Publishing. spiral, stitched perfect bound, hard-back / soft-
Pages: 75. Format: Soft-back. Contributors: Dr back etc.); list of contributors; ISBN number (if
Micheal O’hAodha & Peter Morgan. ISBN: 1-4438- relevant); short description (two or three lines).
1389-3. Description: What has changed with regard
to photography – everything or nothing?
The Visual Artists’ News Sheet May – June 2010 13
here don’t allow for applications to bring curators, critics, collectors,
which is frustrating. We’ve never been funded as an organisation,
which is fine as we’re relatively new. However, you find ways. For
example, we, along with the Contemporary Arts Society in London are
organizing a group of 18 curators and collectors from major galleries
and museums throughout the UK to visit Belfast in September 2010.
RB: Being on the periphery isn’t necessarily a bad thing – I wouldn’t
want to dismantle that. The periphery of Europe is where we are. But
where’s the centre? London, Berlin or Venice every two years? Our aim
with bringing people over is just to open up new paths a little, whether
to the ‘centres’ or to other peripheries. The arts community here has a
huge amount to offer to other communities.
Image selected by Brown & Bri from the photographic archive at Belfast exposed Photography'. Image selected by Brown & Bri from the photographic archive at Belfast exposed Photography'.
MF: So you don’t really think, as such that the Irish art scene is too
turned in on itself?
Space & Collaboration RB: I don’t think we’re too turned in on ourselves. But I don’t think we
reach out enough either though. Basically, the two should go together
and find a balance – generating local energy and pushing for
MoNICA FLyNN, VAI eDuCATIoN oFFICeR, TALKS To RACHeL BRoWN AND BRIGHDIN FARReN international profile.
BF: In an ideal efficient world, everyone has a fixed purpose and
ABouT THeIR CuRAToRIAL PRoJeCT BRoWN & BRI.
defined role that they can focus on and get really good at. Obviously
Monica Flynn: How did your collaboration begin? that doesn’t happen, especially in a smaller city or region. Everyone
Brighdin Farren: Rachel and I joined Catalyst Arts in Belfast in 2007 here is stretched and we all on some level have to work as ambassadors.
as directors. During the summer of 2008 we worked on The Garden The contemporary art community is already working in these ways,
Project and thought we should work together more. Neither Rachel nor looking out, looking in, bringing out and bringing in. We need more
I knew Belfast or each other before 2007, so Catalyst gave us a very initiatives, agencies or official bodies whose role it is to shine a
direct route into the heart of the contemporary art scene and a spotlight on this.
comprehensive understanding of how it functions and maintains
itself, we could therefore see how we could build on this. MF: Gatherings, be they collections of archive material or people
Rachel Brown: I moved to Belfast solely for Catalyst and arrived here seem to be important to what you do.
not knowing the city or anyone in it. Naïve as it sounds, I found the BF: It’s fair to say we are really excited by collections of photographs
experience completely inspiring. Being at Catalyst placed me in the and of people. One of our current projects is working with Belfast
middle of an existing community, where Bri and I developed similar Exposed Photography on commissioning and developing new work in
ideas for how to contribute locally. response to their photographic archive of over 500,000 negatives. This
Image selected by Brown & Bri from the photographic archive at Belfast exposed Photography'.
is a huge project for us, which has several strands. It’s an amazing
MF: What in particular about Belfast interests you both? We are concerned with creating space for artists and for audiences. resource, both for research and focus for photographers, artists and
RB: Belfast has a great base and tradition of artist-led, grassroots Each requires different considerations, in order to provide a sense of academics as well as for us.
initiatives. I have a lot of respect for the work that is being produced support without necessarily determining or demanding outcomes. Less output driven projects would be The Sunday Society, Blind Date,
and how the scene here supports that production – including how it Our key concerns are to create an environment that allows for rest; Free Time and Sundays in Spring. These are about encounters and
has supported us. along with constructing experiences of working with us that leave our possibility. For example The Sunday Society relies on and is shaped
BF: Belfast is a gem. It doesn’t give much away to the uninitiated, you collaborators / audiences with understandings that have arisen quite entirely by the people who buy into it. Anyone can join the society, as
have to spend time, to look and listen, but as you do, it becomes very intuitively. long as they eat lunch with us and pay a fiver for it. Their fiver also
apparent that it’s a special place. Not unique. There are a lot of post- I like Mary Jacobs’s thoughts about listening (2), to listen helps to allows them to submit an idea for a small-scale project. All the money
conflict cities, a lot of places with quality product and poor build an awareness of why you’re doing something, whatever it is, and goes into a kitty, which builds up until the society decides to cap it – at
infrastructure, but for Rachel and I, the attraction lies in the potential. for whom you’re doing it. around a few hundred pounds. Over one of the lunches, society
members vote on all the ideas proposed so far. Whichever idea gets the
MF: Can you briefly outline your curatorial approach? MF: Your approach brings to mind Agamben’s idea of the ‘coming most votes gets all the money. So far we’ve collected a dozen or so
BF: Brown & Bri is a curatorial project. Our work is very much a community’ (3) – in that you utilise social occasions that encourage proposals.
creative practice and in some ways difficult to define. We are interested connections. RB: This is just beginning really – our role in it is to host, coordinate
in the machinery of the art world, interpreting its formats and BF: Your parallel makes sense, at least in the beginnings of what we try and lead discussion when necessary. We try to keep a really light hand
functions and discovering how we as curators or artists or two people to do. However it is important for us though that the majority of times with it though, as it isn’t supposed to be Brown & Bri thing. We will
working together can contribute. there is a realisable outcome, whether that’s a photograph, an shape the society and its decisions, but only as much as anyone who
RB: Design by committee can be problematic but the feeling of being exhibition, an event or initiating an ongoing collaborative attends every one.
a necessary part of something good – a genuine collaboration – is what relationship. Our aims for the Sunday Society are similar to our aims for the
we’re trying to instigate with Brown & Bri for both ourselves and the Creating and orchestrating circumstances for certain selected Beggar’s Banquet, which we hosted as part of 'Exchange Mechanism' at
people we work with. Overall we are concerned with space and people to meet is a large part of what we do. Food is an important tool Belfast Exposed recently. We invited artists, architects, arts council and
collaboration. we use to help with this. Meeting and inviting interesting artists to city council representatives, policy makers from home and further
come to Belfast and in turn having them meet with local practitioners afield along with the public to attend a banquet. We had thirty guests
MF: Would ideas like Mary Jane Jacob’s interest in creating a non- generates a certain discussion. Meeting and inviting curators, critics around a banqueting table in the gallery for a three-course meal. The
authoritarian ‘spaces of permission’ (1) have influenced your and collectors into Belfast generates another, different, discussion; that subject of the dinner table conversation was set out in the invitation –
approach? of a greater awareness and interest in the good contemporary art being “A country that doesn’t invest in culture, is a country without a soul …
RB: I wouldn’t use the word ‘permission’, but we are interested in produced here. how do we argue for the value of our work in the wake of economic
providing the frameworks that allow work to happen. The restrictions RB: We’re concerned with Ireland’s position on the peripheries and crisis and cuts?” Everyone was invited to prepare a short toast to an
and opportunities that we encounter here in Belfast are shaping what how that affects its artistic output and international profile. The event, individual, exhibition, policy or idea of their choice. We decided
we do more than anything else. Northern Irish arts scene is of exceptional quality, wonderfully self- who would sit next to whom, people had to pass and pour for their
We’re learning a very broad trade through the very specific case sufficient and largely free of bullshit. We want to support that. Often neighbours. Certain dishes were for sharing ... it was orchestrated, but
study of Belfast. Some individuals and organisations here have been that’s through establishing and strengthening existing links locally hopefully in a subtle way.
supportive and influential – including Hugh Mulholland, Pauline and generating a more active, supportive (though not necessarily Since Bri and I were cooking, we had to just set the scene and leave
Hadaway, John Duncan and Factotum. larger) arts audience. The next stage of this is to establish and it. All we could hear were intermittent clink-clink-clinking of knives
Artists who work collaboratively are of interest to us, for example strengthen links further afield, pricking the ‘bubble’ of the scene here on glasses as people began toasts. It was better that way, I think. We had
Broomberg & Chanarin, who we’re working with currently on a with new work and new connections. to exercise a bit of restraint – asking people to talk about their ideas is
commission for the new gallery at Belfast Exposed. Or Elmgreen and one of those things that shouldn’t be over-worked.
Dragset. The Centrifugal Project is also interesting to us (of which Daniel MF: Are you specifically aiming to engender a greater confidence
Jewesbury and Aisling O’Beirn are the Belfast wing). More generally, and dismantle the sense of being on the periphery? www.brownandbri.com
Paul O’Neill’s writings have been very useful in trying to define what it BF: Most people I know that devote their time to making art or would www.belfastexposed.org
is we’re doing. call themselves professional artists or photographers – they have Notes
BF: I think ‘permission’ for us is as much of a complex term for us as it plenty of confidence. They don’t necessarily need outside appraisal or 1. Mary Jane Jacob, Making Space for Art in What Makes A Great Exhibition?, Paula Marincola, ed.
was for Mary Jane Jacob. While we manoeuvre ourselves into positions approval.
(Philadelphia: Philadelphia exhibitions Initiative/Pew Charitable Trusts, 2006)
of being able to allocate practical and necessary things, like funds and Through working with other organisation’s budgets, we’ve brought 3. Giorgio Agamben, The Coming Community Trans. Michael Hardt, from Theory Out of Bounds
Series Volume 1, university of Minnesota Press, 1993.
venues, we do try to approach making work, curating exhibitions and interesting arts practitioners over to visit, but the main funding bodies
in turn steering experiences with subtlety and sensitivity.
14 The Visual Artists’ News Sheet May – June 2010
Building the Foundations
SeáN o SuLLIVAN PRoFILeS THe RDS TAyLoR ART AWARD AND RDS STuDeNT ART AWARDS exHIBITIoN, HeLD ANNuALLy AT THe RDS, DuBLIN.
Murphy’s selection will involve a difficult balancing act in
choosing between acquiring expensive significant works, and smaller
less celebrated pieces, a choice complicated by the cost of insuring the
exhibition; some of the included works are valued in excess of €500,000.
On behalf of the Taylor Art Trust, Murphy has selected fifty works by
twenty-five Taylor Art Award winners, and plans that the exhibition
will receive a three-week run. The artists represented in the show will
include Walter Osborne, Roderic O’ Connor, Sir William Orpen, Beatrice
Elvery, W. J. Leech, Mary Swanzy, Patrick Tuohy, Harry Clarke, Seán
Keating, Mainie Jellett, Nora McGuinness, Maurice McGonigal, Colin
Middleton, Melanie le Brocquy, Louis le Brocquy, Hilary Heron, Anne
Griffin Bernstorff, Dorothy Cross, Ronnie Hughes, James Hanley, Eamon
O’ Kane, Isobel Egan, Maria McKinney, Robert Manson and the winner
of the 2010 competition. (3) As Patrick Murphy explained, his motivation
in becoming involved in the exhibition was that he could secure works
that remain unseen by the public at large – “it is rare that artists of this
quality are put together, but I did not become involved in the exhibition
to just borrow works from the National Gallery of Ireland and IMMA,
because people can see those. I want to get masterpieces out of private
collections, particularly those ones around the country that the public
have never gotten to see.”
Seán O Sullivan
The deadline for application to the RDS Student Art Awards is the 18th June.
The exhibition ‘The RDS Taylor Art Award – Celebrating 150 Years’ will open
Peter Murray This Land Again (2009 Taylor Award Winner) at the RDS in early 2011. For further information, visit www.rds.ie/arts
thE Royal Dublin Society’s Student Art Awards and exhibition, held slightly different emphases coming through.” Lewis-Crosby’s father, NotES
1. Quotations concerning the RDS Student Awards and the Taylor Art Award were taken from a
annually during July and August, have been a part of the RDS programme worried about the standard of traditional methods when compared to conversation between the author and the Chairman of the Taylor Art Trust, Antony Lewis-
Crosby, 22 March 2010.
since 1860. They are one of many vehicles for the society’s mission of new tendencies in art, created the most recent addition to the annual 2. Quotations concerning the RDS Taylor Award Retrospective exhibition are taken from a
promoting the arts, science, industry and agriculture within Ireland, a endowments. The R.C. Lewis Crosby Award recognises distinction in conversation between the author and the Curator of ‘The RDS Taylor Art Award – Celebrating
150 years’, Patrick J. Murphy, 22 March 2010.
task to which the RDS has applied itself since 1731. The Student Art painting, which in the late 1980s as seemingly falling out of vogue 3. The artists represented in the RDS Taylor Art Award Retrospective exhibition are correct at the
Awards’ main prize, The Taylor Art Award began with an endowment with younger students – a trend that Lewis-Crosby notes as having time of print.
Sarah Ross, Arts Development executive for the RDS provided extensive information for this
in the will of Captain George Archibald Taylor in 1856. Taylor died a reversed recently. article, in conversation with the author 24 March 2010.
young man, and left his estate to a series of Trustees with the instruction Antony Lewis-Crosby had previously served in a career operating
that they endow his extensive art collection to a national art gallery, orchestras in London, most recently as the Managing Director of the taylor Art Award Winners 1980 – 2009
though none existed at the time. Upon his death, the government London Mozart Players. His responsibility to the Taylor Art Trust is
formed the National Gallery of Ireland to house his collection. His will primarily that of managing its financial health. The Trustees have had 1980 Stephen Rinn, Eamonn 1989 Helen Richmond, Ronnie
also required that his Trustees give a sum of money to an outstanding to reduce the endowment from a high point of €20,000 in 2007, to a Vincent Sinnott, Robert Russell, Hughes, Padraig Hughes,
art student every year. Although the RDS granted the first Taylor Art still substantial €5,000 in 2010; Lewis-Crosby mentioned that the Regina H. Hughes. (Commened), Margaret Morrison.
Award in 1860, research is still required on the identities of its recipients restructuring of the Award’s finances was necessary in order to allow it Donnacha Mac Gabhann. Peter 1990 Maureen O’Connor, Gary
during its first fifteen years. The records date back to 1876, when to continue indefinitely. The prize should ideally give its recipient the Jones, John O’Leary. Clarke, Helen Richmond,Mark
Edward J. Brennan was the sixteenth winner, and likely the recipient of freedom to practice as an artist, using the fund as support; for instance, 1981 Mary Burke, Stephen Orange.
£100. the winner of the 2008 prize, Robert Manson, used his money to obtain Rinn. (Commended), Donnacha 1991 James Hanley, Katherine
Previous Taylor Art Award winners have included Walter Osborne, a 35mm print of his award-winning film. Lewis-Crosby points to Sir MacGabhann,. Maureen Cahill, Park, Siobhan O’Leary.
Sir William Orpen, Melanie le Brocquy, Dorothy Cross and James William Orpen, who won the Taylor Art Award on three occasions in Mary P. O’Connor, Eamon 1992 Helen Finney. Davis
Hanley. Speaking with Antony Lewis-Crosby, the Chairman of the his early career, and reputedly found it to be an extraordinary boost – Vincent Sinnott, Heather Quinn.
Taylor Art Trust, I discovered that the Taylor Award is quite likely the he was soon to be in high demand as a portrait artist. Winfred White, Adrianne M. 1993 Conor Walton, Cora
oldest privately funded national art award in the world. As a whole, the That the awards are privately funded presents an unusual Diamond. Burke, Nicola Bunbury.
RDS Student Art Awards are open to any full-time student from the challenge to their organisers, that of how to keep money flowing from 1982 Angela P.E. Shanahan, 1994 Louise Norton.
Republic or Northern Ireland. However, the RDS cannot grant the private donors, and to exceptional young artists. Over the last two Josephine A. Fogarty, Gretta 1995 Marie Foley.
Award to anyone over the age of twenty-five. The RDS has given years, these challenges have been compounded by the economic O’Rourke, Kenneth J. Donfield. 1996 Eamonn O’Kane. Thomas
permission to rescind this rule in 2011; as Antony Lewis-Crosby has difficulties facing all patrons of the arts. However, this has not Anne Siggins, Geraldine Mulcahy.
explained, he regretted occasions where he had seen deserving work by prevented the RDS from ensuring that every award that it has endowed O’Malley, Marie W. O’Connell, 1997 Breda Marron, Julianne
mature students accepted for exhibition, but that was inadmissible for in the past still exists in 2010. Aside from the Taylor Art Award, these Attracta Madden, Stephen Rinn. Neville, Susan Connolly, Eoin
the main prize. (1) include the RDS James White Award for Drawing, the Patrick Freyer 1983 Anne Crowley, Mary Llewellyn.
Each of the student art awards are administered by the RDS, under Award, the RDS Printmaking Award, the Henry Higgins Travelling Philomena O’Connor, Gerard P. 1998 Eoin Llewellyn.
its arts development team led by Sarah Ross. In selecting the prize Scholarship and the Peter O’Kane Solo Exhibition at Cavanacor Sweeney. 1999 Neva Elliot, Isobel Egan.
winners, the RDS convenes a judging panel composed of three invited Gallery. 1984 Dorothy Mae Smith, 2000 Aideen Cahill, Rosemary
experts in the visual arts. It also appoints the chairperson of the judging In early 2011, the 150th anniversary of the Taylor Art Award will Joanna Robertson, Thomas A. O’Gorman.
panel; in 2010 this will be Eddie O’Reilly. The Royal Hibernian Academy be celebrated, the RDS is organising a retrospective exhibition Mc Guirk,Denis Lonergan. 2001 Richard Gavin. Jessica
and the National Gallery of Ireland then appoint one panellist each. provisionally entitled ‘RDS Taylor Art Award – Celebrating 150 Years,’ 1985 Ellen Moore, Annraoi Brouder.
The RDS tasks these three with deliberating over the nearly five that will gather some of the most noted works by past winners of the Wyer, Yvonne P. Blackmore, 2002 Jennifer Cunningham,
hundred submissions received for the awards every year from colleges award. Patrick J. Murphy will curate the exhibition; he was previously Catherine J. Goodhue, Noel Yvonne Lee.
around the country, and to provide their feedback on entries in an the Art Advisor to the Office of Public Works and the Chairman of the Guilfoyle. 2003 Sarah Fitzpatrick.
overall written report. Arts Council. Patrick Murphy is a lifelong patron of Irish art; he has 1986 Helen McAllister, Mary 2004 Ray Tsang.
The quality of work both submitted and displayed in the annual donated more than 350 items from his personal collection to the Madigan, Annraoi Wyer, 2005 Maria McKinney.
exhibition gives the public strong insight into changing currents in University of Limerick, and mentions with some pride an episode Margaret McLoughlin. 2006 Liam Ryan.
Irish culture. Lewis-Crosby notes, “talking to the judges we get a feeling where he prevented Dublin Airport Authority from auctioning 96 1987 Alice Mary Power, 2007 Ceri Garfield, Clive
as to the quality of the work that’s coming in from the colleges, and state-owned works by Nora McGuinness to foreign private collectors. Dorothy Ann Daly, Jane Bowe. Moloney, Sam Keogh, Harriet
what is outstanding in any particular year. Painting has come back, last The government subsequently gave the works to the Crawford Gallery, 1988 Jason Roche. Mary Kirby. Tahany.
year it was very strong. The winner in 2008 was a video artist, but then Cork. (2) 2008 Robert Manson.
in 2009 the quality of the video work had weakened. Each year there are 2009 Peter Murray.
The Visual Artists’ News Sheet May – June 2010 15
vodka with the audience, between doing press-ups while practicing
Russian. This contrasted with Ed's own poignant transformation and
solemn intimacy when he slowly touched our necks. Shannon Cochrane’s
love letter to the 2008 ‘7a11d Festival’ had its deadpan moments in a
collage of encounters with pungent perfumed handshakes and leg-
raising Viagra (8).
John used the strategies of superficial interactions that we use as
social protocols when acknowledging other people. He said “it’s not
intended to be funny but often there is humor in those captivating
moments when you know someone is lying to you with their facial
expressions”(9). John had the audience laughing during his costume
changes, DIY and fake smiles, then provoked a swift change of atmosphere
Tanya Mars performing What did the 0 say to the 8? in Catalyst. JudithPrice durational performance in the Art College Glass Box. as he suddenly took the chair he was sitting on and smashed the dais he’d
just built. The night in Catalyst ended with the projected image of the
unbroken empty chair and dais where the smashed remains lay.
On the final day Sylvette Babin’s performance in PS2 used a
sophisticated cocktail of self-deprecating black humour, slapstick and
repetition. She drew on her experiences that week, re-contextualising
what she’d absorbed in a series of memorable actions. Her wall text was
like a set list, words like “Tanya’s shoes” echoed Shannon’s performance/
festival/performance. She laughed for Rachel with such force that the jar
steamed up. Hidden behind a table with her mouth full of pomegranate
seeds she sprayed the audience like a machine gun then called a truce
from behind her ‘peace line’ waving a white glove on a stick. The Suicide
of the Queen encapsulated Sylvette’s hope that “the way we (Chaos artists)
Paul Couillard negotiating passage for goldfish onto the Belfast Wheel on the last day of CHAoS. Johanna Householder in Badiou-Cobain's The Subject of Art at the Black Box, Belfast.
play, humour isn’t just something funny” (10). Through repetition, she
Invisible Process (1)
SINÉAD BHReATHNACH-CASHeLL RePoRTS oN ‘CHAoS’, A WeeK oF CANADIAN PeRFoRMANCe ART
transcended hilarity in the action of shooting herself in the head with a
squeezy bottle and collapsing. Finally Sylvette stood outside PS2 on the
window ledge bowing to the passers-by, trousers down revealing to the
crowded room inside with text taped to her knickers that this was the
IN BeLFAST, PReSeNTeD By BBeyoND AND CuRATeD By SINÉAD oDoNNeLL IN CoLLABoRATIoN end.
WITH JoHN G BoeHMe AND JuDITH PRICe Saturday was a day for passers-by – Judith’s falling into focus was
visible in the Glass Box. Blindfolded she created a blizzard of soap peels
FRoM Monday 8 – Saturday 13 February, ten Canadian-based immigrated during the famine, visited 4 Palmer Street, the birthplace of over a picture of a forest then made snow angels. Unsuspecting shoppers
multidisciplinary performance artists commissioned by Bbeyond made his great-great-grand mother. Assisted by local artist Christof Gillen, encountered Paul, soap in hand and tiny teapot on his head, as he
new work in Belfast (2) in an event entitled ‘Chaos’. The project profiled Rachel Echenberg collected laughter from people in the city centre, negotiated the Northern Mall’s wary security. He lead the ‘Chaos’
the vibrant performance art and non-profit networks of both the including the Lord Mayor. entourage round Belfast on a journey of actions with the donated
Canadian visitors and Northern Irish hosts. It created space to explore Live art events are as much about the coming together as the “challenging” objects and back for the discussion in Belfast Exposed
cultural commonalities and diversities across these two territories visceral shared moments of the performances themselves. For some it’s chaired by Peter Spiers.
affected by British colonialism. like a family reunion, others move like awkward bumper cars between Here the artists and audience had time to verbally tease out their
The creative impulse for 'Chaos' emerged out of Sinéad O'Donnell's events. Throughout the week people exchanged ideas, hatched future experiences and close the show together. It highlighted how “every
contact with Canadian performance artists during other international plots, relived past exploits through a haze of disorientating jet lag, pre and country has a very different way of being an audience”. This elicits
events. She was fascinated by the close links between the Canadian post-action nerves. The first public event in PS2 was a poignant reminder responses that blur the distinction between what we perceived as
feminist movement, performance art and non-profit networks. Sinéad that this coming together in physical space is a privilege. Guest artist Canadian ways of working and the ways of working that Belfast itself
was particularly intrigued with how performance art was and continues Poshya Kakl, who can only travel in a shadow form across political provokes.
to be a powerful communicative tool for Canadians addressing the borders, was introduced in a screening. Supported by PAVES she uses Sore heads and groggy brains after some late-night karaoke, we
multiple identities within their culture. These initial impulses began to poetic responses, simultaneous actions and Skype to participate in the embarked on another diasporic episode as the Scottish bus driver
take seed in 2007 when John G Boehme invited Sinéad to make new international art community (6). In an action made on Monday for ‘Chaos’ overflowing with proud banter drove us along the Antrim coast.
work in Victoria, British Columbia in 2010, as part of an another event – The Game with political identity – Poshya and Wrya Budaxy played Fortuitously, smoke breaks and recommended photo points seemed to
also called ‘Chaos’ (3). hopscotch for visas outside the parliament building in Kurdistan. coincide. This merry bandwagon happily slept on the journey home
The Belfast ‘Chaos’ event took shape around the aim of inspiring The event utilized Belfast’s range of non-profit venues. By moving after a few nips of whiskey, to send off our visitors, saturated by
curation among emerging and established performance artists / around, ‘Chaos’ enabled the artists to make different kinds of work for performance and with a few pickled livers ready for Monday’s post-
organisers. The invited artists had careers spanning 10 to 40 years. With different audiences, giving some people their first direct experience of festival detox. Sinéad, Shiro and some Bbeyond elves prepared to do all
diverse methodologies, they mobilise the gestural languages of diaspora, this ephemeral practice. the invisible glamorous drudgery of postproduction that keeps the live
gender, presence and sexuality through a range of durational, fixed, Tanya Mars gave an insightful lecture Hippies and Feminists in the Art art train chugging along to its next destinations.
spontaneous, site-specific, political, satirical, intimate and College about her personal journey with performance. In PS2, Johanna ‘Chaos’ was well received. Anticipation of professional and personal
autobiographical performances. Householder experimented. Placing a speaker outside, she invited people needs of artists evident in even small, nurturing decisions like
With the curatorial idea in place, Sinéad pooled resources with to read aloud texts about where ideas come from. Preparations continued. accommodating all the artists in the one location was greatly appreciated
sympathetic partners to realise this project. Bbeyond seemed an obvious Chief of materials Hugh O’Donnell was in the corridor on the phone by the visitors. Empowerment through responsibility involved long days
choice: supporting emerging artists alongside more established politely: “…I’m not from a company, I’m an artist… looking for a bag of setting up venues, nervous tension through performances; it also
practitioners. Their goal is to enrich lived experience and promote inter- milk…it’s to put in an object…a black Labrador…NO! Not a real one”. Later stimulated value-based decision-making, self-effacing cathartic
cultural dialogue through performance art. in the BlackBox dressed in layers of Catholic school kilts, Irene Loughlin conversations with fellow practitioners about shared anxieties and how
Bbeyond is a non-profit itinerant organisation funded on project- drank milk from the suspended teddy Labrador before dismembering it, other peoples’ practices sometimes seem more appealing than our own.
to-project basis. They’re committed to nurturing and promoting taping it to her body in a series of surreal actions about Irish diaspora. The visiting artists brought powerful performances to a sophisticated
performance art and artists through exchanges, workshops and monthly Afterwards, I met with Paul Couillard to add to his collection of audience. They took risks and challenged their own ways of working. We
action meetings. ‘Chaos’ was an experiment for Bbeyond, as it was their challenging objects for Saturday’s action. The conversation fluttered are still digesting the event that Sinéad described as "probably the best
first time presenting a curated project. Local artists were invited to around the barren object as we discussed habits, inhibitions / inspirations, experience I've had curating art to date"(11). The longevity of such a project
partake in organising as a way of “empowering them into roles of objects as fetishes/burdens and the process itself. will be its impact on all involved and on these two growing and
responsibility and strengthening the potential for others to learn about Laughter was a common sound during ‘Chaos’. It was provoked in supportive performance art communities.
organising and curating performance art practices.” (4) different ways. Rachel felt she used laughter without humour. It was Sinéad Bhreathnach-Cashell
‘Chaos’, like all projects, happened through invisible processes – about release sharing “a physical bodily moment of connection with
meetings, endless conversations, inboxes flooded with emails titled "Re: another person”(7). She also asked people in the BlackBox to laugh with 1. “Normally people only look at the flower, the final artistic production, without ever seeing the
root or the stem, the ‘invisible’ production process that goes on in the background, by which
Chaos"; tentative plans hung for months on end more often on the ifs her into jars and released her collection of Belfast Laughs. Nervous creative ideas come to fruition.” Bbeyond administrator Brian Patterson, In Place of Passing, 2007.
rather than whens of funding and timing; anticipating the starter’s pistol embarrassment and spontaneous laughter rippled around the audience 2. It was supported by The National Lottery Fund through the Arts Council of Northern Ireland,
Belfast City Council, university of ulster, university of Toronto Scarborough, ontario Arts Council,
whilst ready to be reshuffled at a moments notice. A constant ‘hamster with tangible energy. Later that night Johanna used humour as a Quebec Council, Canadian Council for the Arts, Camosun College, PS2, Catalyst Arts, the BlackBox
in the brain’ for all involved – whether folding posters or planning other provocative feminist strategy with her satirical lip-syncing of Alan and Belfast exposed. For more see www.bbeyondperformance.org 3. John G Boehme in
collaboration with Judith Price invited a strong group of international female artists to make new
projects. Imagine a quick Changing Rooms style montage including some Badiou texts and her Fuck Off song. work in open Space, Vancouver. This September Pauline Cummins, Sandra Johnston will
dodgy red carpet fitting; and hey presto PS2 was ready to be the week’s Dressed like a Lady-Gaga leprechaun, Tanya used herself as a foil accompany Sinéad o’Donnell to Victoria BC www.openspace.ca 4 Sinéad o'Donnell 5.. www.
pssquared.org 6. Sinéad also showed sykpe images & read text by Poshya during ‘Transmission
hub for pit stops, storage, watching documentation, or thawing out in tracing the emotional steps of her forefathers’ transit from Ireland to Identity’ in the BlackBox. Poshya is 20 years old, makes performances and studies graphic design.
front of the TV monitor fire (5). North America. She played with the double meaning of "go home /come PAVeS a yearlong collaboration reflecting on how intense, wider political context inevitably
sculpts work. See www.annebean.net and www.manifestoclub.com 7. Rachel quoted during
‘Chaos’ began. Expectations, preparations and realities collided. home" written on plates for the garlic laden potato ghosts she cooked for discussion in Belfast exposed, Saturday 13th, www.belfastexposed.org 8. 7a*11d Biennale
The artists explored their surroundings. Ed Johnson, whose family had Friday's audience in Catalyst Arts. She also evoked her Irish / Russian www.7a-11d.ca and FADo www.performanceart.ca 9. John G Boehme quoted during discussion,
Belfast exposed. 10. Rachel quoted during Belfast exposed discussion. 11. Sinéad o’Donnell
parentage through exaggerating clichés, sharing shots of whisky and quoted when opening the discussion in Belfast exposed
16 The Visual Artists’ News Sheet May – June 2010
process and childhood attachment to and mythologizing of particular
spaces. What resulted over the course of three weeks was an installation
where Craig created four different toy car race tracks that spanned the
entire height of the house.
CIARA HICKey AND KeITH WINTeR PRoFILe SPACe DeLAWAB IN BeLFAST. Delawab is a non-funded organisation. In fact, the term organisation
can only loosely be applied. Delawab exists as a labour of love, working
around the timetables and work commitments of three housemates,
two of which are in full time employment and one is a full time artist
and musician researching a PhD at the University of Ulster.
The communication between all three underpins the successful
and smooth running of Delawab. The entire project can only exist
through the commitment to and enthusiasm for its development. At
regular meetings ideas are pitched, talked over, rejected or agreed to and
tasks are delegated working to everyone’s strengths. Because Delawab
is also a home, everyone must unanimously agree to a project in order
for it to go ahead. Happily, there have been very few ideas that have
been refused. The incentive for setting up Delawab was to use the house
as a testing ground for artistic expression and an open minded and
flexible attitude by all housemates has enabled the project to fulfill this
Occasional fundraisers and donations contribute to artist travel or
postage costs, wine, paint or whatever is needed. This is the only money
that passes hands between the curators and artists. Removing money
from the equation has generated one of the most satisfying aspects of
the whole enterprise; the amazing goodwill and generosity of spirit that
has been shown by everyone involved, from participating artists to all
of the loyal friends and supporters whose enthusiasm is always the
strongest form of motivation. Removing payment has created a system
where contributors are free to enjoy the experience of working in a
unique venue without the pressures of the pre-existing power structures
of cultural production; gallery representation and commercial success.
'ormeau Baths 160 years' event at Delawab. Jan 2010. Anthony Kelly & David Stalling Compound at Delawab. May 2009. Instead, Delawab embraces alternative methods of public validation,
appealing to values based on esteem, building relationships, community
The size of the house enables us to be able to offer artists a place to
live and work, should they want to stay on a residency basis. At the
house, the small domestic details such as eating together enables a real
opportunity for conversation, critical exchange and encounters with a
new network of contacts. This currency of goodwill and the open
sharing of ideas have inspired a democratic sense of community, a fluid
collective of charged people who take these ideas and carry them to
In recent years, an active and infectious DIY attitude to setting up
alternative spaces in which to encounter art has characterised the
C 13 Collective – work from 'Ted and Daisy' at Delawab. April 2009. Aideen Barry Installation at Delawab. March 2010.
emerging art scene in Belfast. The domestic setting of Delawab adds
DElAwAB is an alternative art space in Belfast that was set up in room that, at the end of September 2008 we held our first exhibition; another model to this new wave of spaces opening up. One of the key
September 2008, the result of a fortuitous move into a Victorian terrace a series of drawings and graphic posters by Keith Winter and Steve aims of Delawab was to create an environment where visitors feel as
house by three people. Since then Delawab has been lived in and Mykietyn. Since then, Delawab has hosted a range of residencies, welcome and familiar coming into the space to view art as they would
curated by Claire Hall, Keith Winter and myself, Ciara Hickey. events, exhibitions and experiments stretching across a wide range of if they had been invited around for a cup of tea. The fact that it is, after
To explain the premise, organisation and motivation behind the art forms including performance, film, painting, photography, all, a home is integral to the whole experience. It is hoped that this will
setting up of Delawab, it is essential to first mention the physical space sculpture, sound installation, artist talks, a vibrant music programme, promote the access to and engagement with artwork by viewing work
and structure of the house itself. Built in 1865, the four-storey building a silent film screening, evening banquets and recently, the afternoon outside the art institution or typical gallery confines. Building a public
is the first on a row of terraced houses overlooking the Belfast hills. The tea party to end all afternoon tea parties with artist Aideen Barry. environment in one’s home challenges boundaries between public and
original features of the house remain intact; the rooms are high- The sense of drama and history that resonates within the house private spheres and also encourages intimacy between the artist, the art
ceilinged with dramatic cornicing, marble fireplaces and bay windows. is something that has seemed to consistently capture the imagination object and its viewer.
The furnishing is a mismatch of styles and objects from different eras of the artist and viewer alike. After the first couple of shows, it became Delawab aims to provide an alternative platform in Belfast, which
where bona fide antiques stand beside the paraphernalia left over from clear that the rest of the house could potentially be as interesting as an provides artists with the support and safety to experiment with artistic
the tenancies of former residents. Sentimental Victorian prints of art space as the appointed gallery and the two spaces now mostly run expression in a free and welcoming environment. Witnessing such a
domestic scenes and old fashioned clocks adorn walls from which simultaneously, with artists showing work in the gallery and also unique house and its potential inspire artists and audiences alike has
ancient wallpaper slowly recoils. Every pocket of vacant space is making interventions in the rest of the house. One of the early been incredibly educative and satisfying in the results. However, the
occupied, resulting in a unique atmosphere that lies somewhere examples of this was an installation and performance piece by artist sense of identity through collaboration that has overflowed into and
between the decaying grandeur of a once majestic house and an Cian Donnelly. Donnelly used the innate drama of the house to out of the house since Delawab’s first exhibition has perhaps been the
elaborate stage set. enhance the fictitious narratives in his own work. He completely most exciting and encouraging aspect of the whole venture.
The charm of the house and the sheer amount of available space reinvented the house as the home of a particular character from a Looking to the future we are excited about producing a publication
inspired and enabled us to entertain the idea of utilising the house as story on which his work is based. documenting all the work which has taken place as a part of this
an arts venue. We had seen successful art spaces running along similar The fact that the traces of the people who lived in the house project. In addition, we have invited essays placing Delawab within a
lines in Belfast and beyond which encouraged us to realise this idea. In before us were not eradicated but actively contribute to the personality wider art context, promoting Belfast and providing some sense of a
particular, the Residence programme at Shac Housing on Donegall of the house is something that has been celebrated and explored by blueprint for others who may wish to try turning their house into a
Street run by Sighle and Sinead Bhreathnach Cashell, the ethos of Peter many artists working at Delawab. In homage to the history of the phenomenon.
Mucthler at PS2 and the stories about the College Green House on house, C-13, a Belfast-based cross-disciplinary collective, created a Artists shown at Delawab: Irene Barberis, Aideen Barry, ts Beall,
Botanic Avenue were local precedents. Elsewhere, inspiration came series of installations all over the property and garden entitled Ted and Sighle Bhreathnach-Cashell, C-13 Collective, Ben Craig, Angela Darby,
from domestic spaces such as Kettles Yard in Cambridge, the Home Daisy, which speculated on the lives of a brother and sister who were Aoife Desmond, Cian Donnelly, Phil Hession, Anthony Kelly, Tim
Project in London set up by Laura Godfrey Isaacs and smaller domestic former occupants of the house. Part of the process involved C-13 Laverty, Miguel Martin, Tokumasa Matsubuchi, Mark McKeague, Steve
spaces we had visited in London and Berlin. It was this type of model interviewing neighbours, from whom they gleaned fragments of Mykietyn, Robert Peters, David Stalling, Michael John Whelan, Keith
for exhibiting art that seemed more akin to the venture that was information on the history of the house. Winter, Adebisi Shank, Not Squares, Kicks Blue, Girls Names, JL Seagull,
beginning to take shape in our home. The interest in the space itself has remained the most prevalent Albrecht’s Pencil, Desolation Wilderness.
We originally allocated one room as the dedicated gallery space, theme running through the exhibition programme. Most of the work Ciara Hickey & Keith Winter
chosen for its clean white walls, stripped wooden floors, and surprisingly that has been shown explores or makes reference to the space or to the www.delawab.wordpress.com
minimal amount of decoration compared with the rest of the house. It nostalgia and drama which it can evoke. The most recent exhibition,
seemed the perfect white cube antidote to the clutter and history- 'Sunday Races' by Ben Craig, was pitched as an idea to create an
heavy spaces which dominated the rest of the house. It was in this interactive and playful installation borne out of an interest in memory
The Visual Artists’ News Sheet May – June 2010 17
ART IN THe PuBLIC ReALM
themes. In one of the talks on dating practices, a young Chinese
participant responded to a question by an Irish teenager on how one
would ask a Chinese girl out, by going into a long lecture on the
responsibility associated with dating a Chinese girl, including a list of
duties to be observed / performed (such as protecting the girl,
anticipating her anxieties, fears etc), and expectations to be met before
courting should begin. These sentiments were, however, not totally
shared by the other Chinese present. To someone brought up in a
‘western’ cultural background, these sentiments would appear as
conservative, patriarchal (a view affirmed by at least one Irish member
of the audience), perhaps even overbearing and oppressive. However,
for the Chinese, a foremost consideration in life – a message drummed
Informal workshop / talk on dating. Part of Jay Koh's 'Ni Hao –Dia Duit' project
in from a young age – is a sense of responsibility, to one’s parents and
Jay Koh – article in the Sun emerald, relating to 'Ni Hao –Dia Duit'.
family; one’s self or one’s country. Thus someone from a similar cultural
Are you A Spy? background would likely interpret the sentiments expressed by the
young Chinese man as showing responsibility; consideration and care
for others – something akin to chivalry.
JAy KoH DISCuSSeS HIS DIALoGICAL PRoJeCTS NI HAo –DIA DuIT AND ReADING THe SeLF,
Intersubjective meanings – building blocks of relationships. From
ReADING THe oTHeR, WHICH exPLoRe CRoSS-CuLTuRAL exCHANGe BeTWeeN THe LoCAL AND
this encounter we see that meanings are made based on ‘subjectivities’
CHINeSe CoMMuNITIeS IN DuBLIN. in play – along with judgments based on a person’s received values,
experiences and background.
thIS article discusses some aspects of the dialogical components of my Encounter 2. It was at one of such arranged interactions that a case of
In my practice, I place a great importance on giving enough time
practice that are focused on the creation of trust between potential cultural misunderstanding occurred – leading to the withdrawal of
and space for positive inter-subjective meanings to form between
collaborators via dialogue and exchange (1). My specific focus is Ni Hao one young Chinese person for the project. He felt that he was being put
participants. Rash judgment would foreclose the development of
– Dia Duit (hello in Chinese and Irish) and Reading the Self, Reading the under scrutiny, like a specimen on display, by the barrage of questions
further engagement. For example, individuals viewpoints are not only
Other, cross-cultural projects concerned with identifying and building put to him by an Irish artist participating in the project. The artist had
closely linked to one’s cultural context, but also to the economic and
sustainable interactive channels between the local and Chinese a background in youth work, and seemed to see the dialogical process
social conditions that creates certain expediencies – such as when a
communities around Dublin’s Parnell Street). as a question and answer game – as the answers keep coming, it
Chinese female participant expressed that she is less likely to date for
seemed to them that the interaction was moving along positively.
fun, due to the fact that she feels she has the responsibility to care and
Background. Ni Hao –Dia Duit was initiated in 2007 via CityArts,
provide for her parents and siblings.
Dublin with support from the Irish Youth Foundation and Dublin City Listening & Non-verbal dialogue. Gemma Corradi Fiumara, in The
Inner Partnership. The project aimed to research, identify and nurture Other Side of Language, criticises western philosophy for prioritising
Conclusion. To some extent my approach can be related to the type of
some key sustainable ways of establishing interactive channels between the articulation of ideas (in writing and speech) and suppressing the
‘dialogical aesthetics’ Grant Kester has set out in texts such as
the migrant and local communities around Parnell Street (2). role of listening. If listening isn’t regarded as integral component of a
Conversation Pieces: Community and Communication in Modern Art (9),
From my research, I found that the general behaviour of Chinese dialogical exchange, the conversation is literally one-sided and
which stress a sensitivity to the role of inter-subjective meanings in
migrants is that they prefer to remain invisible and not to attract authoritarian. (5)
creating collaborative relationships.
attention – basically so that they can go about doing their studies or By ‘listening’ I would also include attentiveness to non-verbal
However when working across cultural differences – both in terms
business without hindrance. This trait can be seen as being inherited body language – the posture of the body and micro-expressions that
within and between cultures – there are some difficulties in relation to
from a conditioned strategic response to living in a densely populated can denote discomfort, irritation and suppression of certain feelings.
the application of this theory. This is due to the extent of the differences
and competitive society and under an authoritative, scrutinizing Pioneering researchers, Haggard and Isaacs discovered
of knowledge and viewpoints internalized by an individual’s
system such as China. At the same time, as a group they desire to ‘micromommentary’ expressions when researching into films recorded
subjectivity. These differences –such as in ascribing meaning to a
congregate within the comfort of the familiar (food, aesthetic, language during psychotherapy sessions (6). I don’t mean to suggest that artists
particular term or type of behaviour – can be revealed during the
and proximity) – resulting in the creation of ‘Chinatowns’ in whichever need training in psychotherapy, but they should have an awareness of
process of communicating across social and cultural groups.
part of the world they migrate to. the role of the non-verbal communicative within dialogical /
In my case, I found that in order to communicate with the Chinese
Such inclinations and actions can create certain ‘fronts’ (3) that communication based art projects.
community in Dublin – a group who I found had no previous
communicate non-verbally a message of isolation and ghettorisation. Other forms of non-verbal dialogue that I investigate as part of my
knowledge or experience of participation in cross-cultural art activities,
In Ireland, such behaviour may be seen by some Irish people as signs of practice include the generation of meanings through interpretations
that it was not sufficient for me to merely initiate conversations with
unfriendliness, especially when augmented by the fact that many and public and communal perceptions, as created by sources such as
them. I also had to supplement these with supportive visual and textual
Chinese people lack the knowledge to communicate in local slang; rumours and third party accounts, that would bear consequence on
materials and contextual experiences. To be effective, these activities
refer to local events (sports, politics etc) or participate in Irish drinking evolving relationships in, and the continuation of, a participative
needed to build upon continuity – therefore acting as a capacity
building process, producing inter-subjective meanings that would in
themselves allow further inter-subjective understandings and
Encounter 1. “Oh! Are you a spy?” I was confronted with this question Reading the Self, Reading the Others (7) Ni Hao – Dia Duit has
relationships to evolve.
when trying to initiate a conversation with a young Chinese man living continued to take shape, one outcome being the formation of the Irish
Overall, my art-led creative process aims to encourage participants
in Dublin. The incident took place in the initial stage of the dialogical Chinese Cultural and Sport Association. I continued working with
to question their own viewpoints and subjectivities; and encourage the
framework of practice – using everyday situations and encounters to collaborators from the Chinese community while also carrying out
envisioning of alternatives and new possibilities. This experience-based
identify potential participants for Ni Hao – Dia Duit. Their questions activities such as mentoring, evaluation and the mediation of art and
process is informed by interdisciplinary (communicative and
probably emanated from reasoning, based on their cultural knowledge, development projects in Ireland. Ni Hao – Dia Duit, which is still
anthropological) methods and a cross-sectoral approach and not by a
that artists usually paint or write calligraphy; and that commercial ongoing, has become my longest-running project in Ireland to date.
‘modernist’ approach that often employs avant-garde acts of intervention
goals are probably an important criteria of art activities. They may well Reading the Self, Reading the Others (RSRO) was the most recent
and top-down communication. The interventions in my process are
also have thought that in China any artist, who acts and operates freely event associated with Ni Hao – Dia Duit. I collaborated with Thomas
negotiated after an introduction to and explanation of my intentions
in public spaces, is probably assigned to do so by the state authorities. O’Connor, whose participation in the project dates back to 2007. For
during the initial phase of encounters.
As an artist working without a commercial goal and funded by NGOs, I this project, we encouraged the Chinese community in Ireland to
came to understand that what I was doing would likely appear to be a submit images of themselves to be viewed and interpreted by others.
strange phenomenon, from the pragmatic cultural perspective and A series of articles published (November – December 2009) in the Notes
knowledge of this particular Chinese migrant. Sun Emerald, the largest Irish Chinese weekly newspaper (8) functioned 1. A longer version of this text can be read under this link http://ifima.net/IFIMA/personal/
as informal workshops ‘on the page’ and covered various topics such as 2.Parnell Street, Dublin used to be a neglected area connected to drug trade in the 90s.
Migrants begin to move in attracted to the low cost infra structure and since the mid 2005
Reducing uncertainty between strangers. The encounter above the construction and reading of meanings through and in photographs
evolved into a vibrant and unofficial Chinatown of Dublin.
highlighted for me the need to establish some basic forms of acceptance and interactions in karaoke rooms in Chinese restaurant. These 3.’Fronts’, is a sociological term coined by Goffman, erving reprint 1990. The Presentation of Self
in Everyday Life. Penguin Books (Chapter 1: Performances) to denote the everyday performance
between strangers, before further engagements could take place. In the newspaper pieces served to motivate members of the Chinese put forth by individual and group to create meanings for the others
methodology of my dialogical practice I utilise listening, conversing community to participate in the project. Submitted images were 4.uncertainty Reduction Theory is put forth by Berger, C.R. And Calabrese, R.J. to deconstruct
the communication stage of the initial socialization process between strangers.
and investing time in order to reduce the uncertainty (4) between exhibited in a photographic exhibition that became part of Dublin 5.Gemma Corradi Fiumara, The Other Side of Language: A Philosophy of Language, translated by
strangers during initial encounters – so that they can move forward to City Council’s 2010 Chinese New Year Festival (12 – 21 Feb. 2010, in Charles Lambert (London: Routledge, 1990), p.9, 23, 26.
6. Haggard, e. A., & Isaacs, K. S. (1966). Micro-momentary facial expressions as indicators of ego
form relationships. In order to create social situations to facilitate this, different locations of the city). The photographs in the show portrayed mechanisms in psychotherapy. In L. A. Gottschalk & A. H. Auerbach (eds.), Methods of Research in
for example in Ni Hao – Dia Duit I organized get-togethers with potential the various ways in which the Chinese viewed themselves and the Psychotherapy (pp. 154-165). New york: Appleton-Century-Crofts
7. This project is a collaboration with ICCSA with support from the Artist in Community scheme
Chinese participants and Irish artists who had an interest in participating Irish. from the Arts Council managed by CReATe - Ireland
8. Sun emerald, the largest Irish Chinese weekly newspaper, articles can be viewed under this
– usually in a private room of a Chinese restaurant fitted with a state-of-
the-art karaoke machine, a common retreat space for the Chinese to Encounter 3. During its one-week exhibition run, (14 – 20 Feb. 2010, http://ifima.net/IFIMA/personal/Reading%20Self,%20Reading%20others.htm
9. Kester, Grant 2004. Conversation Pieces: Community and Communication in Modern Art.
socialise and relax among friends. 15 West Essex St.) RSRO featured daily talks organized around various university of California Press.
18 The Visual Artists’ News Sheet May – June 2010
My engagement with the art world, either as a curator, artist, or
writer has always been about opening up opportunities for artists and
audiences in as wide and varied a way as possible: giving new artists the
chance to show their work; bringing international art to Ireland that
would otherwise not get shown; showing Irish art on an international
stage. Throughout Northern Ireland’s troubled history, it was important
to have cultural exchanges where people could learn to respect and
understand different cultures, religions and ways of life. It was
imperative to see beyond the political and geographical borders, to be
aware of how large and diverse the world was outside our tiny shores.
My own practice was informed by moving away to create a space
for reflection on concerns about the politics of place and to explore
Phil Hession …a stranger I came… Taiwan, video, 10min 30sec, 2010 Clodagh Lavelle Other Logic Installation view, 2009 questions of identity, society and cultural convention. The more I
travelled, the more I realised just how changeable borders are. The
borders between countries, between high art and popular culture,
between painting, television, dance and comedy are all being
The type of artists I wanted for the show were ones who were
willing to break down borders, artists who had demonstrated an
interest in having their work seen in different ways and from different
cultural perspectives. I did not want to bring out some kind of survey
show to Taiwan; I wanted a show that would come from here and
engage with people there. I ended up with a wide range of artists, some
well-established having exhibited nationally and internationally for
over twenty five years, others making names for themselves and several
who had already represented Ireland and Northern Ireland at the
Venice Biennale and Sao Paulo Biennale. Others are young artists
emerging at the cutting edge of contemporary practice.
Susan MacWilliam Dermo Optics Video, colour, stereo, 4min 9sec, 2006 Allen Hughes Nagraphobia Photographic print on PVC, 2010 In the end, the artists I chose to work with were Lisa Byrne, Ian
Charlesworth, Phil Hession, Allan Hughes, Clodagh Lavelle, Susan
MacWilliam, Justin McKeown, Philip Napier, Peter Richards and Victor
Sloan. The next step in putting the exhibition together was to look for
funding. 2009 was not the best time to do this with a recession starting
to bite. Luckily, Culture Ireland had the vision and generosity to back
the project and provided funding for travel and transportation of the
work. The venue had agreed to offer accommodation, technical
assistance and promotion but then also got funding from the Council
for Cultural Affairs, Taiwan that funded a catalogue and full-page
advertisements in the two main Taiwanese art magazines as well as
some beautiful old-fashioned posters.
It was now time to organise the transportation of work. The artists
The artists and curator at the opening of the exhibition. Victor Sloan Stop 16 Lambdachrome prints on dibond, each 37.3 x 55.88cm, 1979-2010 were aware of the limitations regarding size and weight and they all
From Napoleon's Nose
responded well, being realistic about exactly what we could transport.
Three of us, Phil Hession, Victor Sloan and myself arranged to travel to
Taiwan to install the show. Victor took most of his images in his check-
in luggage; Phil was scheduled to do a performance out there so he was
BRIAN KeNNeDy PRoFILeS ‘A VIeW FRoM NAPoLeoN’S NoSe’ AN exHIBITIoN By NoRTHeRN asked to bring out the video projectors. I brought out the remainder of
IRISH ARTISTS HeLD AT THe KAo yuAN ARTS CeNTRe, KAo yuAN uNIVeRSITy, TAIWAN. Victor’s images and Philip Napier’s work in my checked luggage. My
carry-on luggage included the videos and a disc with Allan Hughes’
I am on a tropical island smaller than Ireland and on the other side of image that would be printed out there. The rest of the work was posted
the world but with a population of 23 million. Artist Phil Hession is out. There was a contingency plan that if some work was lost in transit
teaching a group of aboriginal people how to sing the chorus of an Irish then we would email large file images out and print them there;
song. Between the singing, one man is wailing that his wife will beat thankfully, we didn’t need to do this.
him when he returns home. It turns out that this particular tribe are the On arrival, we had one week to install the show and it took all of
one matriarchal aboriginal tribe in Taiwan; they live on the remote and it. The greatest difficulty was the installation of the video work. We
wild East coast of the island. thought that by bringing our own video projectors we would simplify
How does an artist or curator end up in such a remote place? Well, the installation but we found ourselves in a country that does not know
it started over ten years ago when one Chin-ming came to Ireland to what a SCART lead is. It was only through Phil’s determination that we
take part in an exhibition called ‘HorseHead’ that in turn had originated managed to get all the videos working.
in Seattle. I was in both shows but never actually met Chin-ming. An The exhibition opened in the afternoon and was followed by a
artist friend, however, had met him and when I met this artist again formal lecture. That night Phil did his performance. He had been
when doing a residency in Melbourne, we made contact with Chin- teaching three Taiwanese people to sing an Irish song and that gave rise
ming who, by this time, was teaching and running an arts centre in to good contacts with various people. After his performance, Phil sang
Penghu, a group of small islands between the main island of Taiwan another song and was joined by some aboriginal artists who were doing
and China. Caption residencies at the university. By the end of the night there was a rich
I kept up my contact with Chin-ming and when he moved to a promote Northern Irish artists internationally, Peter was very interested cultural mix of singing and dancing.
large university in Kaohsiung he asked me to do a solo show there in in the gallery becoming involved in touring a show to Taiwan that Over the course of the evening I made contact with a curator who
2009. As well as doing the show, I did a series of lectures, one of these would offer an international exhibition opportunity to local artists. specialised in curating aboriginal art; she also ran a gallery on the east
lectures was at Kao Yuan Arts Centre that is part of Kao Yuan University. As an artist and independent curator, I find it is important to get coast. She asked Phil and I to travel out to the east coast with her to see
I really liked the gallery spaces at the venue. Professor Lee, who I met the backing of an institution, whether a gallery, studio organisation, the gallery and visit an old sugar factory that was now been used as
there, had previously been the director of the Kaohsiung museum and university or whatever, as this helps with applying for funding as well studio spaces by aboriginal artists.
I proposed the idea of doing an exhibition from Ireland or Northern as administration, transport of work, design and production of I was also asked to give a talk about the exhibition in Kao Yuan
Ireland in his arts centre. The exhibition ‘A View from Napoleon’s invitations and catalogues. It’s also good to have colleagues to discuss Arts Centre and Phil was asked to sing. That is how I ended up outdoors,
Nose’ has its origins in that conversation. the project with as it evolves. I started to talk over the names of possible giving a Power Point presentation in the rain under large umbrellas,
On my return to Belfast I met with Peter Richards, Director of the artists with Peter. One of the good things about curating an exhibition chewing beetle nut and drinking 58 (named because of its alcoholic
Golden Thread Gallery. I have worked with the gallery for many years is thinking about the artists one wants to be involved. For me, this also strength) listening to aboriginal voices singing the chorus of an Irish
and before I left for Taiwan had talked to Peter about the possibility of shapes the exhibition as I prefer the art to lead the show rather than it song.
developing contacts with Taiwan. In keeping with the gallery’s aim to being driven by some obscure curatorial idea. Brian Kennedy
The Visual Artists’ News Sheet May – June 2010 19
Artists of the Round Table
light reflected from the trees outside. This was something which Eve
Parnell had also noticed and made use of in her installation in St. Enda’s
in the summer of 2009 – in a work which framed the green light of
upper-storey windows and at the same time physically (or psychically)
PATRICIA DoyLe PRoFILeS THe ToNDo ARTISTS GRouP prevented access to it by the viewer, utilising the space to explore ideas
of freedom and restraint.
Cox described making a woodblock print in response to his
experience of St. Enda’s; and in his other drawing / print works in the
exhibition, he also pondered what Pearse would have made of “our
history, culture and tradition... eaten up and spit out by a raging Celtic
tiger with a thorn in his paw” (4). Cox concluded that Pearse, who was a
visionary, a poet and at the same time a practical man of action would
have gone to his library to seek out Sun-Tzu’s The Art of War, a classic
text on military strategy. In the talk which Cox gave some days after the
opening, the artist drew an analogy between the contemplative and
creative nature of repetitive mark-making in his drawings; and the
repetition of movements used by Asian warriors in preparing mentally
and physically for battle.
Eve Parnell made pencil and charcoal drawings on rice paper,
which were loosely representational landscapes, but were hung portrait-
Tondo exhibition installation view. eve Parnell – work from the Tondo exhibition. style, curling off the support onto the floor. Thus, viewing the drawings
required a physical engagement on the part of the viewer (turning this
way and that to make ‘sense’ of the landscape) and drew attention to
the space itself, the fragile rice paper flowing out, beyond normal, safe
confines and the edge where two dimensional becomes three. Parnell,
in her statement, said that the energy and joy of drawing was her
ultimate concern as has always been the case “from the charcoal
drawings of Cro-Magnon man through to the political and artistic
upheavals of our own centuries” (5). There was a joyous, organic quality
to the drawings shown, expressing the thrust of life on and with the
paper breaking free of boundaries.
Liubov Kadyrova explained that her work explores the
relationship between “drawing and word; word and image; image and
drawing” (6). She was interested in Pearse’s fascination with mythology
and his belief that language is an important part of identity. In her
Lioubov Kadyrova Petals Gerard Cox Centre of the Universe strong images, which she says emerged over an extended period of
VISUAl Artist Ireland’s peer critique workshops are an research and drawing, she focused on simple narrative images (fusing
acknowledgement of a situation well-known to many artists. Even Ulster mythology and Russian folk tales), concentrating on images of a
those working in communal studio spaces may experience isolation in girl and a dog, which she noted “both represent waiting. Waiting is not
the necessary solitude of their practice; and thus from time to time be just a passive state of mind and body... Waiting represents a gradual
in need of practical communication and feedback (of the constructive accumulation of power and anger”. There were links here between the
sort, of course) from other artists about their work. It was from just calm of the military strategist and his ultimate aim, and the artist’s long,
such a VAI peer-critique workshop that the group Tondo sprung – thus considered gestation of fiercely personal work.
realising an oft-expressed hope of the hosts that the sessions would Eoin Mac Lochlainn’s work for this exhibition comprised vibrant
foster continued peer support among participants. The founding drawings and paintings of a scarecrow rising from a scarified landscape
members of this group decided to continue to meet in order to both and a striking installation-piece, towering over the other works (and
support each other in their individual practices and, in addition, to indeed, visible to commuters on buses passing by the large library
make collaborative work. windows). Mac Lochlainn noted in his statement on the work that in
The Tondo artists, Gerard Cox, Liubov Kadyrova, Eoin Mac his poem, The Fool, Pearse was aware that his vision of the 1916 Rising
Lochlainn and Eve Parnell, work in a variety of media and have was possibly foolhardy – but he and his comrades were determined to
exhibited work both in solo and group shows in the past. However, Tondo artist and Noel Kelly at the opening of the Tondo exhibition.
take a stand to bring hope to a downtrodden people. In literature, the
their inaugural group exhibition, entitled ‘Tondo @ Pearse Street idea of the fool is often that of a wild and unpredictable character
The group has stated (3) that as individuals, they were hoping that
Library’ (3 – 27 Feb 2010) was particularly notable in that it evolved unencumbered by normal conventions, frequently ridiculed and yet
the process would inspire new directions for each person’s own work,
from a sustained collaborative exploration of ideas over a period of playing the crucial role of speaking the truth when others are in denial
while at the same time being beneficial to the group. As they
time. or in fear. Mac Lochlainn’s fools / scarecrows thus embodied the foolish
progressed, they found that it became an increasingly integrated
As the group explained in their press release (1), the name Tondo or comical characteristics of their type yet are also heroic, human, the
process as each person’s strengths were appreciated and a true spirit of
was chosen because of their round table discussions, the proving of guardians of green spaces.
collaboration was developed. The group found that they had to
ideas through discussion being a central element of their impetus. The I hope I have given some idea here of the force and commitment
change plans when they discovered that, as the venue was a listed
word tondo is derived from the Italian ‘rotondo’ meaning round. As a of the Tondo group, both in terms of their first exhibition and the artists
building, they would not be allowed to attach anything to the walls or
group, they are interested in exhibiting work in alternative spaces. The themselves. There is always a need for new approaches and nowadays
ceiling. Instead, they used the floor space and display boards. Tondo
reason being, that one of Tondo’s key aims is to reach out to audiences artists often have to make their own opportunities. There is no doubt
acknowledge that as they continue to make work for various
outside of the art world. To this end, they seek out unusual and that collaboration with other artists obliges one to clarify ones thoughts
alternative art spaces, they expect that they will often encounter
interesting places for their collaborative exhibitions. Tondo’s inaugural about work and to home in on what is important. The individuals who
challenges like this. While the staff in Pearse Street Library were justly
group exhibition was held in the Dublin Room at the Pearse Street make up the Tondo group are of varying ages and experience and at
proud and protective of their space, they were also very helpful to the
Library in February 2010. For those who do not know it, the Pearse different stages in the development of their careers. They believe that
group at every stage of the process.
Street Library is a rather beautiful building of classical proportions this has added greatly to the group dynamics and ensures there is
The work shown at Tondo’s inaugural exhibition included
with high ceilings and large windows, making for a wonderfully light- always a refreshing element of surprise at their meetings. They have
drawing, painting, sculpture and installation – all investigating
filled space. taken a difficult and brave step in coming out of their solitariness to
various aspects of the legacy of Pádraig Pearse and its relevance in the
Tondo described how, when they discovered this room, they engage in a discourse that is clearly both energetic and energising in
present day. Noel Kelly, CEO / Director of VAI, opened the exhibition
knew immediately that they wanted to make work to respond to it (2). terms of creativity and might well influence others to take a step in a
and noted a sense of togetherness prevailing throughout, a sense, he
Initially, they formulated plans to hang work from the ceiling, to use similar direction.
said, that the works “breathed in unison”. This was not only due to a
the height of the space to its best advantage. The group discussed the Patricia Doyle
unity of materials used in the drawings / paintings (most of which
use of muslin and thread and so on, before finally settling on rice paper,
were on rice paper) and a fine use of the space – but also, it was clear,
feeling that its delicate texture and slightly translucent appearance During the month of July, Tondo is holding an exhibition on the
to the energy of purpose which brought them together.
would work well in harmonising the various works. Also via discussion platform and in the waiting room of the McBride Railway Station in
In his statement for the exhibition, Gerard Cox mentioned a visit
at meetings, the group tossed around different ideas and themes while Drogheda, Co Louth.
to St Enda’s House, Rathfarnham. This is the house to which Pearse
continuing to experiment with rice paper. Gradually a body of work
moved his bi-lingual school for boys in 1910. Cox says he was struck
emerged which was to be the core of their first collaborative exhibition. Notes
by the quality of the light in the building, particularly Pearse’s office. 1. Press release ‘Tondo @ Pearse Street Library’ 3 – 27 February, 2010. The Dublin Room, Pearse
They had also settled on a Pearse-related theme, with each artist St. Library, 138 – 144 Pearse Street, Dublin 2. Ibid. 3. Ibid 4. Ibid 5. Ibid
What first appeared to be a dark room seemed to radiate with a green
approaching it from a unique standpoint.
Gallen Community SChool
Public Art commission
the Board of management of Gallen Community School Ferbane,
Co.offaly, wishes to commission a Permanent outdoor Sculpture which
is to be funded by the Department of education and Science under the
percent for art scheme.
the budget for the design, supply, ground works, installation, and fix of this
project is €58.000 inclusive of all costs, expenses, Vat, insurance and
Selection is a two stage open submission process.
Closing date for Stage one is 11 June 2010.
Full details and application forms available from our school website
Any queries can be emailed to
mrs .ursula Finnegan, Deputy Principal e: firstname.lastname@example.org
22 The Visual Artists’ News Sheet May – June 2010
Jennie Moran, Hospitality under Duress performance & installation at 'Lean-To' Anthony Haughey How to be a Model Citizen2008.
Practice Makes Perfect
JeNNIe Guy CoNSIDeRS SoMe oF THe VARIouS MeANINGS oF HoSPITALITy IN THe ARTWoRLD
thIS text draws attention to a selected range of artistic and curatorial hospitality can lead to an unconscious opening of the audience’s
situations in the art world that involve hospitality – both in terms of attention span. This overt demonstration of hospitality is also a
its presence or absence. For the purposes of this article I’ve deliberately framework for establishing a mutual respect between artists, curators,
chosen to focus on local projects, while briefly referencing a few and their audience. The act of establishing this respect alludes to a
international examples to provide context. form of exhibition-making that invites the audience in through
An obvious and somewhat ‘artless’ version comes first. There is a simple, familiar gestures, instead of excluding them by highlighting
seemingly superficial dimension of hospitality that sets the stage for their lack of familiarity with current art vocabularies and thematics.
every exhibition one might attend. Imagine the conditions that In these situations, creating an informal atmosphere does not indicate
generate physical or social discomfort that could make it difficult to a lack of serious intent; it merely posits a different strategy for
engage with an artwork or exhibition. Maybe it’s a cold and damp communicating a potentially complex set of ideas (3).
space; or the wine has run out? Maybe it’s a video work and the seating Hospitality can also be established through an artist’s mere
Studio orta (Lucy + Jorge orta) 70 x 7 The Meal, act L City of London, 2006-2050.
in the gallery space is uncomfortable? Or perhaps you never received presence. Consider Louise Ward’s recent exhibition ‘Nightlight’ in
enabling her to focus on the actual content of Gracelands. From a
an invitation to the event, so you’re not sure whether you are really Market Studios, (March 2010) in which Ward transformed the interior
logistical perspective, when an audience makes an effort to journey or
welcome? space of the gallery into a giant refuse sack within which she sought to
stay overnight, this form of hospitality is absolutely essential. Train
The hospitality in question here and the provision of hospitality “archive accidental, coincidental, and temporal experiences in everyday
and bus times; hotel vacancies; along with factoring in dark and wintry
required might be seen as a rather low-level or mundane matter. Yet it life” (4). To this end, Ward organised Livestock, an informal temporal
locations become crucial curatorial considerations.
is exactly these types of factors and situations that are of interest to event within this physical and conceptual exhibition framework,
Such a curatorial stance also focuses on the importance of
many art world professionals who work with concepts of hospitality as comprised of cross-disciplinary performances, readings, and sound-
showing hospitality to the artists involved in the exhibition. Bringing
a key factor in their methodologies. based works. During this event, Ward’s constant presence established
an artist to a given site is one thing; making them comfortable is
Consider the recent exhibition ‘Lean-to’, curated by Rosie Lynch, her intent by creating a framework to sustain human encounters with
different again – proving that hospitality often occurs as an invisible
which took place over seven evenings last February at Commonplace audience members and participating artists. The frequent encounters
force, a behind-the-scenes strategy. Think of all the junctures within
Studios in Dublin. ‘Lean-to’ focused on themes of nomadism and between artist and viewer (host and guest) were tangible amongst the
the setup of any exhibition or event in which some form of hospitality
places of temporary shelter, directly employing references to hospitality audience, rendering her methodology visible as a hospitable form of
takes place. These are all the sites of invisible power dynamics that
as a conceptual tool implicit in both the artworks on show and the participatory research.
determine how we as artists (and curators) operate in a functional
curatorial event in which the works found their context. Moreover, the Anthony Haughey’s participatory project How to be a Model Citizen
community. For example, if an artist meets a curator for coffee, who
exhibition sought to address each viewer as a hybrid form of nomad / (2008) at the Dublin City Council’s Civic offices on Wood Quay
pays for the coffee? Or if X invites Y over to their house to discuss a
guest who were sent personalised invitations to come and visit and illustrates another take on hospitality. Haughey’s approach in this
project, do they offer dinner? If an international curator comes to
participate in the exhibition. work was strategic – tearing apart and laying bare assumptions about
Dublin and wants to do studio-visits, who brings them from door to
Entering ‘Lean-to’, I was able to activate artworks on exhibit such hospitality in both philosophical and political terms. In the course of
door? There are so many behind the scenes gestures of hospitality to be
as Superfolk and Jo Anne Butler’s site-specific seating arrangement – How to be a Model Citizen, the artist temporarily placed members of the
which doubled as a plinth for more static works. Jennie Moran, an non-Irish national community in positions of authority within the
These concerns extend to the larger institution’s responsibilities
artist who specifically uses her practice to provide moments of council’s organisation structure. Haughey’s project participants
within the contemporary art world. It is easy to grumble about such
hospitality was continually present in the exhibition space. Through handed out questionnaires on Irish Citizenship to members of the
institutions putting on lavish dinners, but what are the repercussions
her installation, Hospitality Under Duress, Moran offered cups of Irish public visiting Civic offices for a myriad of different purposes –
on the art world if grand social gatherings do not take place? Shouldn’t
garlicky-herby soup. This gesture was less about offering a moment of these subjects found themselves waiting in seats, merely a number on
an institution such as IMMA(5) make the people they work with and for
culinary delight – where ingredients are harnessed together to create a a chair partaking in a test about ‘Irishness’. Most of them failed. In this
(audiences and artists) comfortable? And if they don’t, who will? A
memorable taste sensation – but more significantly, it was a successful work, Haughey was concerned with exposing a lack of state hospitality
potential lack of hospitality would threaten the perceived authority
and conscious construct that allowed a poor wanderer (me) to sit, eat, and used the notion as a portal from which to observe political and
that is fundamental to such an institution’s very existence.
stay warm and to activate an intermittently peopled space. Moreover, social relationships – in this case, the Irish state as a ‘host’ and its
These are just some of the reasons why the subject of hospitality
the act of accepting sustenance provided a ‘temporal-experiential relationship to non-Irish citizens. In a work such as this we are invited
is so fascinating to me. Issues of hospitality are always at play within
platform’ that encouraged me to take time to absorb other works on to interrogate instances of inequality that may exist between host and
the spheres of contemporary art – even though we may not see it.
exhibit, such as Sarah Lincoln’s drawing of explorers wandering guest, that there is much at stake when assumed ‘equalities’ are
When hospitality becomes visible, it is all the more relevant, particularly
poetically off-page. absent.
when it is more formally realised and acknowledged, either in the
Another venture-venue that actively invested in such explicit Having discussed hospitality as an artistic tool and as a political
ideology of an artwork or when incorporated within curatorial or
gestures of hospitality and their importance in nurturing an art and social device, what about hospitality as an organisational
community was thisisnotashop in Dublin. At this small, not-for-profit responsibility, a necessary cog in the wheel of any functioning
gallery (which has sadly departed for New York), acts of hospitality curatorial vision? No matter how avant-garde their origins or outlook,
seemed to be inscribed in their programming. I recall the pancakes curatorial ambitions will fail unless certain routine practicalities of
with maple syrup on offer on a Sunday morning amongst the activities hospitality are taken into consideration. Take, for example, the first Notes
of their Writing Workshop (March 2008). It’s an approach that echoes year of the Gracelands festival in November, 2008. This one-day, (1) Food was founded by Matta-Clark in 1971 and was host to many art / food performances.
(2) 70 x 7 The Meal, initiated in London is a complex set of dinner parties that aims to examine
Gordon Matta-Clark and his seminal restaurant Food – which was not outdoor contemporary art event curated by Vaari Claffey took place in society on economic, social and political levels via placing large sets of deliberately invited
only a place to eat, but a place for a small community of artists to meet, the remote fields just outside of Dromahair, Co. Leitrim. Despite this individuals from a range of socio-economic, multi-disciplinary backgrounds. (2006 onwards).
work (to earn money) and produce new artworks in a corner of New unfamiliar location, this event was consciously planned to attract a (3) For example, for my project A Salon (Studio 6, Temple Bar Galleries & Studios, 22 – 24 June
York City (1). This dematerialized, yet hospitable, approach to art specific contemporary art audience distributed throughout Ireland 2008) comprised of the installation of a domestic salon-type environment within a studio space,
within which an invited selection of Irish and international visual, performance and sound artists
making makes me think also of Studio Orta, who since 2006 have (and abroad). I was commissioned to act as the ‘Curator of Hospitalities’, and writers presented works. The space altered daily with an emphasis on the site of art as being
hosted a series ‘viral dinner parties’ through their project 70 x 7 The a role which entailed my facilitating the logistics and communications a place where the spoken word, communality and the production of knowledge took
precedence. The audience could lie or sit comfortably, touch and engage with most artworks as
Meal, which they use as a platform and discussion forum for a range of related to travel and accommodation that would ensure that this one might in a home environment. Participants: Anonymous, Mark Clare, Padraic e. Moore,
social, economic and political issues (2). specific audience could experience this unique programme of J.P.Donleavy, Jessamyn Fiore, Jessica Foley, Ben Geoghegan, Jennie Guy, Russell Hart, Sarah Hurl,
Mit Jai-Inn, Susan MacWilliam, Adam Mcewen, Vanessa Marsh, Kitty Rogers, Laurie Schneider,
In my own practice – that utilizes both curatorial and art-making screenings, performance, sculpture and installations. By staying in Susan Thomson. www.jennieguy.com
methodologies – I often make use of hospitality in a similar way, constant contact with both the participating artists and the audience (4) Louise Ward; Artist statement for Nightlife; http://themarketstudios.wordpress.com
(5) There is a half-serious pun / point to be made here about IMMA being housed with the Royal
inviting people into comfortable temporal installations and spaces regarding these practical details, I provided a personalized point of Hospital Kilmainham.
that open them up to more durational works. This formal act of contact for the festival, supporting Claffey behind the scenes and
The Visual Artists’ News Sheet May – June 2010 23
a 2-bedroom top floor flat to share +44 (0) 28 91460595 The residency is set up with open
with another artist. (€510 per BUDAPESt Email travel periods based over a six-
month excl. bills). Spacious studio Short term affordable live /work email@example.com month period with a budget for
in adjacent Georgian building space for artist interested in web travel, accommodations and a
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bills). in a new, vibrant artistic residencies/residencies.htm will be agreed between the
telephone environment. The large, bright 2 individual and the gallery but it is
0857034201 roomed self contained space is in cIll RIAlAIG RESIDENcy envisaged that there would be
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a unique classic building shared
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Applications invited from
practising artists for residency
between two and three trips made
to Northern Ireland to allow for
Formerly Crow Gallery, 6 Crow located in the city centre. Budapest award (2-4 weeks) at the Cill the necessary research to be
Street, Temple Bar. Dublin 2. is internationally recognised for Rialaig Retreat on Bolus Head, carried out. In addition the
Job Vacancies telephone Attractive 1st floor, glass fronted its cultural & artistic life, of near Ballinskelligs, Co Kerry. selected individual would be
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The Royal Hibernian Academy is com Studio/ Gallery/Retail. Short lease further details: Email your expression of interest (max
currently seeking volunteers to
if required. telephone Mary O’ Connor 1000 words). Curriculum Vitae, a
work as front of house assistants Nth GREAt GEoRGES St, D1 telephone 086 6047599 cillrialaigartsgmail.com. curatorial statement/bio and
in the gallery. Volunteers would Artists studio -renovated Pat: (01) 677 4234 examples of previous work to:
be required to familiarise basement of a Georgian house. RESIDENtIAl StUDIoS BANFF thEMAtIc Address
themselves with exhibitions, be Approx 15 x 13ft – separate SPAcE54, DUBlIN Applications are welcome for two The Banff Centre in Alberta, Context Gallery, 5-7 Artillery
able to offer assistance or answer shower room, skylight, windows Studio and Hot Desks at Space54 residential studios, which will Canada is currently accepting Street, Derry, N. Ireland.
any questions from visitors, and door to private patio. Tiled in Smithfield. Artist Studio 5–4 sq become available in February and applications to a number of its telephone
answer the phones, deal with any floors, gfch, hot water, elec, metres. Spacious and bright March 2011. Fire Station Artists’ 2010 and 2011 visual arts 01144 (0)28 713 73538
sales from the bookshop and sales broadband connection. All studio with a beautiful drawing Studios, Dublin offer city centre Thematic Residencies as follows: website
of artworks, invigilate on larger included in the rent. Telecom desk is available now for only €60 subsidised residential studios for ‘The distance between our minds www.contextgallery.co.uk
exhibitions when required, phone watch security and smoke a week. Four hot desks going for professional visual artists. The and thoughts equals the distance Email
ensure the exhibitions are all in alarms. Extra belfast sink with 180 a month each. The hot desk is studios are let from a period of between our words and mouths’ firstname.lastname@example.org
good order; the spaces kept tidy taps. Min lease 6 months. €350 a communal artist space in our between one year and two years with Jan Verwoert. (13 Sept – 29 Deadline
and the required equipment and per month – negotiable. new building. nine months. International artists Oct 2010). Application deadline: 22 May 2010
lighting turned on, and other telephone Email may apply for shorter periods. 14 May 2010. This residency is
administrative duties. Denise 01 8722285 email@example.com Resident artists have free access to about acts, ideas, and emotions Exhibitions Ireland
Qualified candidates should
telephone high end computers, software, that constitute community in a
possess a love and appreciation of cottAGEco. lEItRIM Shane: 086 3825302 / Francesca: WiFi, technical expertise & different manner, through Sol ARt DUBlIN
art, a flexible attitude for dealing Traditional stone cottage in 087 7662718 support and also subsidised access enacted difference and standing New gallery on Dawson Street,
effectively with the public, basic tranquil location with 2 separate to digital equipment. Selection apart together.‘Revolution 2012’ Sol Art Dublin is looking for
computer skills, and an studios available for long term let. DUBlIN 1 panel includes Fire Station with Adrian Stimson (5 Jan – to submissions from professional
understanding that reliability is 3 acres of land (including its own Studio space to rent in Dublin 1. representatives, 2 external 22 Feb 2011). Application sculptors. Please send your
critical. Fluency in spoken and river, meadow and forest) open Ground floor, 25sq m, hight curators and an independent deadline: 31 August 2010. First submissions with images, bio
written English is essential. rural views, quiet and private. ceilings in victorian building, artist. Nations, Métis, and Inuit artists and your prices to:
Volunteers are asked to commit a Perfect for self sufficiency, the very central location, close to web will conduct critical and reflective Email
minimum of one day per week land has many chicken huts, a LUAS, DART and bus routes. www.firestation.ie research. ‘What’s Love Got To Do firstname.lastname@example.org.
for no less than two months. The polytunnel and vegetable beds. Studio has been recently Email With It?’ with Ashley Neese (Jan
front of house daily shift is from Would suit a couple or single refurbished and could suits 1-3 email@example.com – Feb 2011). Application deadline: hAllowEEN ARtS
11am-7pm Tuesday-Friday and 2 person looking for the perfect artists. Rent €400 a month. telephone 31 August 2010. A residency Thurles Halloween Arts Festival
– 5pm on Sunday. Interested live/work space. Contact Angela: Internet, heating and alarm 01 8069010 dedicated to the investigation, seeking visual artists to exhibit at
candidates should submit their Email monitoring included. Deadline critique, and cultivation of love in its festival. Our festival runs from
CVs with a covering letter to: firstname.lastname@example.org web 9 June 2010, 4pm contemporary art. For details of 25 – 31 October 2010 in various
Email telephone www.madartstudio.com the above please contact The locations around Thurles. We
email@example.com 087 6477 544 telephone SEEkING oFFIcE / StUDIo Banff Centre at: will provide space and advertising
Hubert at 0872968653 Independent exhibition curator/ telephone for all exhibitions and will pay
StUDIoS SlIGo towN artist agent looking for office/ 001 403 7626100 travel expenses and a budget
Work space available for rent to FlAt & StUDIo studio space in Dublin city, Email restricted artists fee. Our festival
PAllAS GRANGEGoRMAN artist/ craft worker or business. Double bedroom in spacious, preferably in the Temple bar area. firstname.lastname@example.org is growing every year and we
Pallas Studios have spaces The space has plenty of natural quiet and well lit Georgian flat Artist-lead environment would web expect huge crowds to attend our
available in their Grangegorman light with a high ceiling and is with floor to ceiling windows, be ideal but would consider all www.banffcentre.ca/va event this year. We are very open
Road premises, just minutes from adjacent to a private outdoor yard. fireplace and great views. To let in offers. Contact Olivier Cornet at: Deadlines to any type of artwork and exhibit
Smithfield Square / Luas and All services are available. This a 2-bedroom top floor flat to share Email Various, see above and would be thrilled to hear
Manor street, Stoneybatter. Spaces centrally located space is 36 sq. with another artist (510 per email@example.com from anybody wishing to get
are 24 hr secure access, have meter/405sq. ft., with a secure month excl. bills). Spacious studio telephone cURAtoRIAl RESIDENcy involved in our week long arts
on-street parking and plenty of private entrance. in adjacent Georgian building 0872887261. Context Gallery offers an festival.
room for bicycle parking outside! telephone: available (€160 per month incl. opportunity for an individual Email
Rent €185 euros per month – 086 8099022. bills.) Residencies
RESIDENcIES curator to visit Northern Ireland firstname.lastname@example.org
including wireless broadband
telephone to research contemporary visual telephone
internet. StUDIo 9, DUBlIN 0857034201 SEAcoURt art produced in Northern Ireland Jim Ryan 086 2397376
email A studio space is available to rent Seacourt Print Workshop, Down and the North West of Ireland
email@example.com at Studio 9 on North Great StUDIo ShARE, SlIGo seeks an artist demonstrating and to build contacts with local BRIGIt’S GARDEN
Address Georges Street, Dublin 1. Large Third artist required to share knowledge and understanding of artists/curators and galleries. The ‘Outside:Insight’, site-specific
Pallas Studios Grangegorman size, high ceilings with communal artist’s studio on Main Street, non toxic approaches to selected individual will develop outdoor Exhibition – call for
Road Lower, Stoneybatter, Dublin outdoor area. Rent: €150 includes Enniscrone, Co Sligo. Available printmaking and at least 2 years an international curatorial project proposals 11 July to 11 September
7 electricity bills & broadband. For from 1 May 2010. Rent €120 per professional printmaking with the Context Gallery being 2010. Brigit’s Garden, Roscahill,
web more information please contact: month. For details contact: experience, for a 12-week Artist one of the host venues for the Co. Galway in cooperation with
www.pallasstudios.org telephone Telephone Residency beginning 6 September show in 2011. It is envisaged that Galway Arts Centre. The 3rd
Alan on: +353 868260989 087-6535638 2010. Artist fee of £3000.00 paid the resulting project would annual exhibition begins in
BRUNSwIck MIll StUDIoS Email Email in installments. Application involve a minimum of 50 parallel with the Festival season
Studio available immediately in firstname.lastname@example.org email@example.com forms and information available participants working in the north in Galway and continues into
Brunswick Mill Studios in
from our website. Completed of Ireland. This pilot programme September. ‘Outside: Insight 2010’
Smithfield. Space measures 10 x FlAt & StUDIo DUBlIN StUDIoS, DUBlIN applications must arrive by is open to all individual curators is an annual arts event presented
16ft, 183euro a month with Double bedroom in spacious, Studios (Rooms) to Rent, City 4.00pm, 28 May 2010. This worldwide with professional by Brigit’s Garden and Galway
internet included. 24 hour access quiet and well lit Georgian flat Centre. residency is funded by North experience in organizing and Arts centre, designed to attract a
with secure parking. with floor to ceiling windows, telephone Down Borough Council curating projects based in high calibre of artists and present
fireplace and great views. To let in 087 2506144 telephone contemporary visual arts. sculpture to a wide audience from
24 The Visual Artists’ News Sheet May – June 2010
Ireland and abroad. Brigit’s exhibition will run in the Siamsa with anyone who wishes to share Deadline INcUBAtIoN/ woRkSPAcE opportunity to exhibit the work
Garden is a not-for-profit project Tíre gallery for the duration of a message. An Lár TV requires 15 June, 2010. Dublin City Council invites produced during in the year in
on an 11-acre site near Moycullen, the festival, and there is an award that content be suitable for a MADRID PRocESS applications for the award of free White Room Gallery, Liosban Ind
Co. Galway. The gardens are a of €500 for the best artwork, as general audience and not contain AVAM (Associated Visual Artists incubation / work-space. The Est, Galway. For further details
unique combination of old well as an opportunity for artists any offensive material. If you of Madrid) with the sponsorship award is intended to enable and an application form please
wisdom and contemporary to sell their work. Please email have programming content that of the Madrid Regional innovative arts companies/ contact
design. They are themed on the submissions, proposals and you would like to broadcast, or Government, invites proposals collectives to research and Email
Celtic calendar and are queries to: have interesting proposals for for a competition to select four develop new work, over a period firstname.lastname@example.org
surrounded by woodlands and Email new content, contact: artistic projects for inclusion in of up to six months, through the Deadline
meadows. The result is a beautiful, email@example.com Email Madrid Procesos 10. This open provision of dedicated work- 5pm on Friday 28 May 2010.
tranquil place with a very special web firstname.lastname@example.org call is an initiative promoted by space in The LAB A small
atmosphere. We are now seeking www.kerrybicyclefestival.org telephone AVAM and backed by the Madrid development stipend may also be ARt & ScIENcE
submissions, and invite artists to Deadline 01 486 5566 Regional Government and aimed awarded , dependent on project The UdK Award for
create/submit site specific works 7May at improving the conditions proposal. The award is intended Interdisciplinary Art and Science
that respond to the natural and PUBlIcAtIoNS
Publications experienced by plastic and visual to enable innovative arts aims to give the impetus and
architectural landscape of the PhIzzFESt artists when they are producing companies/collectives to research opportunity to artists (fine art,
garden and its inherent themes. Phizzfest : Phibsborough ABRIDGED and creating work. and develop new work in a media, architecture, design,
Site-specific works will be Community Arts Festival, 9 – 12 Abridged magazine seems The objectives of Madrid Procesos supportive environment. Based music, theatre, visual
accepted in a range of materials September 2010. We welcome submissions relting to theme of 10 are:To offer the artists collective in The LAB, the Award provides a communication etc.) and
and forms, including ideas and proposals for inclusion the colour Magnolia – “In the a platform for the support of free good sized bright work/ scientists to work between the
environmental sculpture, light in the festival which encompasses world of colour charts and iconic coordination and the financing of rehearsal studio , approx. 64.5m2 priorities of the arts or between
installation, video, performance the creative arts including music, English sheepdogs, Magnolia artist’s productions; To further . The LAB also provides a shared the arts and science. The prize is
and sound literature, visual art, and theatre. represents the fence-sitting hue experimentation and the ‘green room’ facility(basic tea/ awarded on a biennial basis and is
web We also welcome ideas for our that neither offends or accosts the production process To analyse coffee making facilities / fridge / endowed with €7,500. As art and
www.brigitsgarden.ie Community Day (street senses. Adorning the walls of and draw attention to different microwave). Wireless broadband science are moving towards one
telephone performance, buskers, music etc). TurnKey packaged homes of first- models of contemporary artistic is available throughout. another, discovering common
+353(0)91 550905;/087 2206219 Phizzfest is in its first year and is time buyers or haunting the production, highlighting the Applicants may apply for a issues and working methods, the
Email developing into an exciting and corners of final destination rest factors which determine its minimum of one month up to a creative, imaginative processes in
email@example.com innovative event. We can provide homes of howls and despair, development; To respect the maximum of six-months time the arts and sciences are similar,
Deadline venues, facilitation and support. Magnolia stalks us from the rights of the profession and those slot, to fall within the year July whereas the concrete realisation
5pm, Friday 14th May 2010 However, as always, funding is an cradle to the grave. It is the bastard of the author; To help Madrid’s 2010 – 11 of their results tends to differ.
issue. Phizzfest cannot guarantee offspring of white: it is the artists create and disseminate Deadline Repeatedly, this difference is the
BIcyclE FEStIVAl funding for any project. Artists, disgraced sibling of beige. It is their work, thereby promoting 5PM, Friday 21 May 2010 source of productive tension and
Kerry Bicycle Festival which is companies and performers are nothingness yet it is everywhere”. active international cooperation; Address areas of friction. In all disciplines
currently in its 3rd year seeks invited to submit proposals for A maximum of 3 poems may be The aim of this competition is to Applications to Incubation Space of the arts and sciences, further
submissions of both bike related inclusion in the 2010 Phizzfest submitted of any length. Artworks select four artistic projects to be Award, The Lab, Foley St. Dublin developments over recent decades
short films and bike themed art For further info and an can be up to A4 size and can be in undertaken during Madrid 1. have been characterised by
works for this year’s festival, application any media – to be submitted as Procesos 10 in the following Email mutual influences and efforts at
which takes place from the 13 – form: 300 dpi scans. Submissions to: manner: Maura.firstname.lastname@example.org differentiation. Today, traditional
22 May. Kerry Bicycle Festival is a Email Email a) Two artistic projects will be telephone dividing lines between the
free festival which brings together email@example.com firstname.lastname@example.org produced principally with 01 – 222 5455 spheres can no longer be
a selection of diverse events website Address existing resources in the Madrid maintained; they are being newly
which aim to celebrate the www.phizzfest.ie Abridged c/o The Verbal Arts Region during a period of Dcc BURSARIES defined and presented in their
bicycle. This festival encompasses Deadline Centre, Stable Lane and Mall approximately five months (June- Dublin City Council invites permeability.
musical, artistic and outdoor 5pm, 7 May 2010. Wall, Bishop Street Within, Derry October 2010). applications from artists who Individuals and groups are
events all of which are free and BT48 6PU. b) Two artistic projects will be wish to be considered for a eligible to participate in the
will take place within the Moving Image
MoVING IMAGE Deadline produced in Berlin during an Bursary of €4,000 towards studies competition. Further information
environs of Tralee town. 21 May exact period of two months at an advanced level or the can be found at:
'Cycling Shorts' – Not the AGENt RIA (August 15 – October 15 2010). development of work/ web
questionable fashion trend of the Introducing The Agent Ria, a Exhibitions International
INtERNAtIoNAl ExhIBS Artists of any nationality may professional skills. Artists, www.udk-berlin.de/udk-award.
early 90s, but a night of short registered in art online film & participate, regardless of age. resident in Dublin City Council’s Address
films about and featuring bikes, video channel hosting current PlEIN-AIR, lIthUANIA Grants available. Details from: administrative area, can apply for Universität der Künste Berlin,
which will be screened in digital media work by artists from The 17th International Painting web a Bursary in Visual Arts, Music, Communications and Marketing,
Blennerville on the 14 May during the UK and Ireland. Showcasing Plein-Air, Lithuania, 1 – 10 August www.avam.net Dance, Drama and Literature. Inge Scheffler / Joachim Schwalbe,
this year’s Kerry Bicycle Festival. film, video, documented 2010, Kaunas, Lithuania. The madridprocesos10/ One Bursary will be awarded in Postfach 120544, D-10595 Berlin,
The selected films will also be performance, audio and recital, plein-air event is dedicated to madridprocesos10_english.htm each discipline. Application Germany;
screened at a viewing post in The Agent Ria provides a platform Antanas Samuolis – one of the forms, guidelines and criteria Fax
Siamsa Tire for the duration of for invited and selected works, as most famous Lithuanian interwar Funding & Awards may be obtained by contacting: +49 (0) 30 3185 2821;
the festival. Films should be less a viewing station and database. painters and a member of Address: Email
than 15 minutes long, and there Recently launched on youtube, modernists’ group ‘Ars’. We invite clARE SUPPoRtS 1 The Arts Office, Dublin City email@example.com
is an award of €500 for the best each month new work by various professional artists from various The annual Arts Act Grant Forms Council, The LAB, Foley St, Dublin Deadline
entry.Entries on DVD can be sent artists will be added. countries to represent different are now available from the Clare 1. 31 May 2010.
to: website painting schools so that they Arts Office. Forms for the Tyrone telephone
Address w w w. y o u t u b e . c o m / u s e r / together reveal a common theme Guthrie Bursary also available. In 01 222 7850 or cUltURAl PolIcy RESEARch
Kerry Bicycle Festival, c/o registeredinart of the plein-air. This year’s plein- addition Clare Arts Office has Email The European Cultural
Samhlaiocht, The Old Presbytery, For submissions, in the first air will be closely related to a introduced a new arts forum on firstname.lastname@example.org Foundation, the Riksbankens
20 Castle Street, Tralee, Co. Kerry instance, please contact: Lithuanian UNESCO heritage site its website in which it posts local, web Jubileumsfond and the European
Email Email – Kaunas Pažaislis Abbey. Plein- national and international www.dublincity.ie/ Network of Cultural
filmkerrybicyclefestival.org RIAsubs@googlemail.com air will take place right in the opportunities and items of RecreationandCulture Administration Training Centres
Deadline (with a low-res quicktime movie, complex of Pažaislis. The event interest in all disciplines. ArtsOffice/Artsfunding have officially launched the call
7 May 2010 or 5(max) still images and a short exhibition, catalogue and trips Individuals can also register with Deadline for applications for the 2010
statement about the work) around Pažaislis are being planned the forum and post their own 5pm Friday 14 May 2010 Cultural Policy Research Award.
FRAME x too. The organizers are providing information or comment on Designed to foster academic and
'Frame X' – Due to the success of AN láR tV free rooms in the guesthouse of posts. Application forms and loRG BURSARy applied cultural policy research
last year’s exhibition Frame the An Lár TV is a new Irish internet Pažaislis Abbey, full board, canvas details from: Lorg Printmakers is offering a 1 and to explore issues at stake in
bicycle themed art exhibition TV channel – www.anlar.tv. As and paints. Participants cover website Year bursary to one Honours contemporary Europe, the
will be returning this year. We are the name suggests, An Lár TV is their travel expenses. If you wish w w w. c l a r e l i b r a r y. i e / e o l a s / Degree student graduating in Cultural Policy Research Award
currently seeking submission of TV with an Irish Flavour. Their to participate in the plein-air, cominfo/arts/artsnews.htm 2010. The successful applicant aims to contribute to new
all type of art; photography, aim is to provide a platform for please send your CV and photos www.clarelibrary.ie/arts.htm will receive 12 months free competence building among
sculpture, paintings, illustration, local Irish communities to share of your works (or a link to your Email membership of Lorg Printmakers young scholars in comparative
audio and installation, which information and entertainment. site) to: email@example.com which includes 24hour access to cultural policy research.
either feature or is inspired by An Lár TV’s ethos is one of Email telephone workshop facilities. In June 2011 Applications must be made
bicycle and cycling. The inclusiveness, and is open to work firstname.lastname@example.org 065 6899091 the artist will have the through the online application
The Visual Artists’ News Sheet May – June 2010 25
form on the CPR Award website. interpretation of the brief will be around editioning and way. By drawing the attention to RElIEF PRINtMAkING the South-West Donegal
The winner of the CPR Award left to the artist the committee reproducing multiples from the ‘Catch up on Culture Week 2010’ Five day workshop in Relief Highlands. Local professional
2010, worth 10,000 euros, will be have in mind a life size piece, perspective of the artist, editioning we have the potential to gain new Printmaking with tutor Debra artists Kenneth King and Conal
publicly announced on 6 October which must be constructed in a studio and collector. Some key audiences, provide free and Bowden att Grennan Mill Craft McIntyre will provide tuition for
during the 18th ENCATC Annual material that will be permanent questions addressed at the enjoyable experiences, and School, Thomastown, County the weeklong sessions on 3 – 10
Conference taking place in and easily maintained. It is conference include: What are the encourage our visitors to return Kilkenny. Monday 28 June – July and 21 – 28 August. For more
Brussels, Belgium. Detailed envisaged that Killarney Town inherent qualities of the processes and use our venues more Friday 2 July, 2010. 10am – 4pm information contact:
information is available at Council will take responsibility used in traditional printmaking frequently over the summer. The daily. Explore line, colour and Email
web for the civil work related to the that make it a meaningful Irish Museums Association is texture with a variety of relief email@example.com
www.encatc.org/pages/index installation of the piece and its activity? Why engage in providing a logo and promoting printmaking techniques telephone
php?id=19 ongoing maintenance. The traditional printmaking, it can’t events, in partnership with including; Japanese Woodblock, 074 97 30248
Deadline Committee are seeking be about reproduction – so what Temple Bar Cultural Trust and Linocut and Collagraph. website
24 May 2010 submissions for work that will is it about? Are the inherent other organisations. A list of Experiment with www.oideas-gael.com
fall with its envisaged budget of limitations of materials used and events and participating venues environmentally friendly
kIlkENNy ARtS oFFIcE €50,000 to €60,000 and will not their influence in creating the will be available on the website in materials on a variety of papers. SEAcoURt PRINt coURSES
Kilkenny County Council Arts exceed €70,000 including vat. For image important? Should there the weeks building up to, and Suitable for Beginners and Papermaking / Book Arts. 5 places
Office has announced the a full brief and further information be an international quality throughout ‘Catch up on Culture Refreshers. Cost of workshop with Jenna Kirkwood, tutor. Price
availability of the following contact: standard and agreed definition of Week’. We are asking museums, €150 plus €15 for materials. Non- £80. Dates: 12 –13 June 2010 10 –
awards for Kilkenny born or Address what constitutes an editioned historic houses, galleries, arts refundable deposit of €50 is 4pm. Salt-Etch 5 places with
based arts practictioners: -Drama The Chairperson, Hugh original? Helping to answer these centers, folk parks etc., to be pro- required to secure booking. For Penny Brewill, tutor. Price £80.
League of Ireland Summer School O’Flaherty Memorial Committee, questions are Keynote Speaker – active with events and displays, further information please Dates: 26 – 27 June 2010 10am –
Bursary 2010 and Tyrone Guthrie c/o Killarney Chamber of Tourism Marjorie Devon, Director of the and do everything in your power contact Debra on: 4pm. Waterless Lithography 5
Bursary 2010. For further & Commerce, Tourist Information Tamarind Institute, New Mexico, (email, poster, website, radio, telephone places with Penny Brewill, tutor.
information and application Office, Beech Road, Killarney, Co. Invited Speaker – Kelly Troester, newspaper) to communicate this 086 0678314 Price £80. Dates: 24 – 25 July 2010
forms on these bursaries please Kerry, Ireland. Worldwide Co-Director of to your local community. A list of Deadline 10am-4pm. For more about all
contact Niamh Finn, Arts telephone Modern and Contemporary helpful hints for things to do at 31 May 2010 courses see:
Administrator: +353 (0)64 6637928 Editions, Phillips de Pury NYC. your cultural organisation is web
Address E-Mail Joining these two speakers for a available on the website. For PAStEl PoRtRAIt www.seacourt-ni.org.uk
Kilkenny County Council Arts firstname.lastname@example.org (Jerry round-table discussion will be: details contact the IMA ‘Portraits in Pastels’ A 4 day Pastel telephone
Office, No. 76, John Street, O’Grady) Stephen Hoskins, Professor of Administrator Carla Marrinan. Portrait Work Shop by the 02891 460595
Kilkenny. web Fine Print & Director of the telephone internationally recognised award Address
telephone www.killarney.ie Centre for Fine Print Research at +353 (0)14120939 painter Alicia Sotherland will be Seacourt Print Workshop, Unit
056 779 4138 Deadline the University of the West of Email held at the Lake Hotel in Killarney 33, Dunlop Industrial Units, 8
Email Friday 11 June 2010. England, John McKechnie, email@example.com on the 24 – 27 August 2010. The Balloo Drive, BANGOR, BT19
firstname.lastname@example.org Director of Glasgow Print Studio web work shop will run from 11am – 7QY T
website GAllEN School and Jenny Roland, Managing www.irishmuseums.org 5pm and the cost for the 4 day
www.artlinks.ie The Board of Management of Director of the Curwen Studio. work shop is 300 Euro. For more BRoNzE cAStING
Deadline Gallen Community School The discussion will be chaired by StUDIo NEtwoRk MEEtING info contact: Trainer: Helle Helsner. Dates: 9
4pm on Friday 7 May 2010. Ferbane, Co.Offaly, wishes to Robert Peters, Director of Seacourt Artists Studio Network Ireland website –10 June 2010. at the NSF Cork.
commission a Permanent Print Workshop organised in (ASNI) would like to send an www.aliciasotherland.com No. of participants: 6 (max). Cost:
Commissions Outdoor Sculpture which is to be partnership with the Ulster open invitation to all studio telephone €140 (NSF members) & €170
funded by the Department Festival of Art and Design. This providers and those with affiliated 0873212948 (non-members) Aims &
joRDANStowN of Education and Science under event is free to the public though interests to the next ASNI General objectives: This 2 day introductory
Applications are invited from the “percent for art scheme”. booking is advised by contacting: Meeting taking place on Tuesday lIFE DRAwING wEEkEND bronze casting workshop will
suitably qualified and experienced There is no specific theme for this Email 18 May 2010 from 3 – 5pm, at the The weekend workshop will cover wax working, mould
artists for inclusion on a shortlist project however we would expect email@example.com Irish Museum of Modern Art. cover gesture drawing, portrait making (modern and pre historic),
to design, manufacture and install the artist’s submissions may be telephone Further details about the network and reclining poses. Location: casting and finishing techniques.
public realm sculptures at influenced by the location of the +44 (0) 28 91460595 and the meeting can be found at: Crawford College Art Therapy It is the aim of the workshop to
Jordanstown Loughshore Park, school and the history and web dept, Modelfarm Rd, Cork. From give the participant a deeper
Co Antrim. The Council is not location of Ferbane town. The woRD & IMAGE www.asni.info 11am – 4pm, 22 – 23 May 2010. understanding of the bronze
obliged to accept the lowest or budget for the design, supply, University of Ulster, Golden Price €110. Basic materials casting process as well as an
any tender. The Expression of ground works, installation, and Thread Gallery, Belfast presents Courses
coURSES provided and tea and coffee. For introduction on how to set up a
interest application information fix of this project is €58.000 an IAWIS Focus Conference from details contact: foundry on a small-scale basis
can be obtained by contacting: inclusive of all costs, expenses, 4 – 6 June. Conference Convenors GlASS MAStERclASS Email using self-made equipment. To
VAT, insurance and other charges. include Dr Christa-Maria Lerm Glass Masterclass with Angela firstname.lastname@example.org book/ pay for a place contact:
Email Selection is a two stage open Hayes, Dr Karen E. Brown with Jarman (UK) at Fire Station telephone Elma O’Donovan, Administrator/
email@example.com submission process. Full details Keynote Speaker: Professor W. J. T. Artists’ Studios, Dublin. ‘Hybrid 0861571452 Artists’ Liaison.
Deadline and application forms available Mitchell. This conference will Forms Using Glass, 6 – 10 Email
4 June from: bring together word and image, September 2010. Price €250 wEAVING AND PAINtING info@nationalsculpturefactory.
Address as well as literary scholarship, art (includes lunch) This class will Tapestry Weaving with Taipéis com
o’FlAhERty MEMoRIAl Mrs .Ursula Finnegan, Per Cent history and theory, art practice, specialise in creating form and Gael. In this week-long course (3
The Hugh O’Flaherty Memorial for Art Commission, Gallen curatorial practice, museology, texture with cast glass. It will be – 10 July), two local artists, teach ARt wEEkENDS
Committee was established to Community School, Ferbane, Co. and visual culture, in order to an intensive and focused look at the skills acquired from the area’s Art Weekend at Bunbury Art
increase public awareness of the Offaly address the interrelationship what is possible to achieve in a older weaving practitioners. Studio Ballyconnell Tullow Co
humanitarian work of the Email between word & image and week. The class will be fully Participants will have the Carlow Ireland. Watercolours
Monsignor in saving so many firstname.lastname@example.org display. comprehensive demonstrating opportunity of working with the with Trudi Doyle: Prices: 2 days
lives during the WW2 Nazi website website every stage of working; however skilled weavers of Taipéis Gael €140 or 1 day for €75. For
occupation of Rome and to www.gallencs.com www.gtgallery.fsnet.co.uk/ for those with experience, a more and meet with those people who information on 2010 courses see:
commemorate his life. The Hugh Deadline detailed approach can be taken generously passed on their skills web
O’Flaherty Memorial Committee 11 June 2010 cUltURE wEEk with lots of useful hints and tips. from the previous generation. www.trudidoyle.blogspot.com
invites submissions for a ‘Catch up on Culture Week 2010, Places are limited and are Tapestry frames and yarns will be
permanent memorial sculpture Talks / Lectures 15 – 22 May (includes allocated on a ‘first come first provided. The week-long PRINtING, lIFE DRAwING
for Monsignor Hugh O’Flaherty, International Museums Day and served’ basis. Application form programme includes: Natural New schedule of courses in
which will be located in a street UNIQUE REPRoDUctIoN European Night of Museums) is available from Jessica at: Dyeing demonstrations, Carding, Screenprinting and Life Drawing
side central location in Killarney The University of Ulster, Belfast being promoted by the Irish Email Spinning on Donegal Wheels, at the Old Rectory Studio, Co.
town, as selected and facilitated Campus – 17 June 2010, 10.00am Museums Association in email@example.com Designing for tapestry, Tapestry Wicklow.LifedrawingWorkshops
by Killarney Town Council. The – 4.00pm, Seacourt Print association with Temple Bar Tel: Weaving. It is expected that each (2 day workshop) 15 – 16 May
purpose of the memorial is to Workshop in conjunction with Cultural Trust to encourage the 01 8069010 participant will have produced a 2010 from 10.00am – 4.30pm.
capture and communicate the Ulster Festival of Art and Design public to visit our museums and website tapestry by the end of the course. Price: 180 Euro inc. vegetarian
caring and selfless spirit of The is pleased to present ‘Unique cultural organisations this spring. www.firestation.ie Summer School in Marine & lunch and all materials. Tutor:
Monsignor in a manner that will Reproduction – Definitions of Visitors are looking for things to www.angelajarman.com Landscape Painting: this Summer Sahoko Blake. Level: Beginner/
inspire residents and visitors to Original Printmaking in a Digital do to help them pass their time in School is conducted in the heart I n t e r m e d i a t e /A d v a n c e d .
Killarney town. While the Age’ a conference exploring issues an enjoyable and worthwhile of the Sliabh Liag peninsula in Introduction to Botanical
26 The Visual Artists’ News Sheet May – June 2010
Screenprinting (2 day workshop) and artistic breadth. DERRyAUN cRAFtS Mixed Media Drawing & Painting the 13 October – 17 November.
/ 19 – 20 June 2010 / 3 – 4 July During summer at the School of Derryaun Crafts in Co. Mayo is Workshops 3days (residential). All of these sessions will run on a
2010/ 24 – 25 July 2010. Time: the Arts, students choose from a currently enrolling for classes 5 – 7 July 2010: Mixed Media Wednesday, 7pm – 10 pm, The
9.30am – 4.00pm. Price: €190 inc. diverse range of master classes, advertised as part of their Drawing & Painting Workshops 3 individual session cost 11euro, to DoN’t FoRGEt
vegetarian lunch and all materials. workshops, and courses, and Workshop Calendar 2010. days (residential). To book a place be paid up front a week before the Do look at the
Tutors: Stephanie Sloan, Joanna attend numerous public arts Timetable is as follows: Bead of for more information: session starts. Enquiries about
Sloan. Level: Beginner/ events created specifically for the Weaving 6 June; Jewellery Making Email bookings to:
advertisments in this
Intermediate. School of the Arts summer with Semi-Precious Stones 15 –16 firstname.lastname@example.org. Address VAN, also check our
Advanced Screenprinting (2 day community. Programs are July; Basket Weaving with Joe web The Signal Arts Centre, 1 Albert web site & subscribe
workshops) 22 – 23 May 2010 / 14 designed by School of the Arts Hogan 18 July; Found Object www.nealgreig.com Ave, Bray, Co. Wicklow.
– 15 Aug 2010. Time: 9.30am – faculty and guest artists to engage Sculpture with Tom Meskell 13 Email
to our e-bulletin for
4.00pm. Price: 190 Euro inc. and appeal to all levels of –14 November; Environmental BRoADStoNE email@example.com further
vegetarian lunch and all materials. experience, from emerging artists Sculpture with Tom Meskell date Three day life painting workshop opportunities.
Tutors: Stephanie Sloan, Joanna to professional practitioners. For TBC; Precious Metal Clay with at Broadstone Studios, Upper Other
Sloan. Level: Intermediate/ full list of 40+ Summer Program Maura Dickerson date TBC; Dominic St, Dublin 7, designed
Advanced.For booking for all offerings in Film, Writing, Theatre Copper, Beads and Wire- date for those who want to take full tIME BANk wAtch oUt
courses and information contact: Arts and Visual Arts, and to enrol TBC; Wire Framed Art Dolls. advantage of 3 days to do a Chris Fite-Wassilak, a writer and We strongly advise
Email see: Information and bookings: painting, but shorter periods are curator based in London, is
firstname.lastname@example.org website telephone available. No tuition, artists will currently looking for assistance
readers to verify all
website www.arts.columbia.edu/summer Suzie Sullivan 098 21888 have to provide their own easel. towards the installation of a details to their own
www.theoldrectory.ie Email Tea & coffee provided. Dates: 11– forthcoming exhibition in satisfaction before
telephone PRINtMAkING kIlkENNy email@example.com 13 June 2010, 10am – 5pm daily. Dublin. In the place of a monetary
086 2887251 Traditional Printmaking web €150 for 3 days, €100 for 2 days, payment, we are seeking to
forwarding art work,
Workshop from 5 – 9 July 2010, w w w. d e r r y a u n c r a f t s . c o m €50 for 1 day, €25 for half a day. replace this with an equal slides or monies etc.
colUMBIA 10am – 4pm. 150 euros, materials For info contact exchange of time and skills.
Columbia University School of extra. Three Techniques covered: lANDScAPE PAINtING Email Assistance is sought in the days
the Arts: 2010 Summer Program, Dry point, carborundum and Master classes in Drawing and firstname.lastname@example.org leading up to the 2nd June for a
New York City. Master Classes, etching with ferric acid. Limited Painting in Sligo – using a variety telephone range of activities; payment A-N: The Artists’
Workshops, Courses, Public to 12 places. To book contact: of mediums. Oil and acrylic. 087 2709097 would be ‘in kind’, as a return Information
Events in Film, Theatre Arts, Address Location in the scenic corresponding donation of
Visual Arts, and Writing. Grennan Mill Craft School, surroundings of Coney Island in lIFE DRAwING At SIGNAl services as required. Information /
Every summer, Columbia Thomastown, Co. Kilkenny Sligo Bay. Learn new drawing and Signal Arts Centre, Bray – Four contact: International
University School of the Arts telephone painting techniques from the week sessions: from the 26 May – web Sculpture Centre
welcomes world-renowned artists 0863094520 professional artist Neal Greig. 16 June. www.growgnome.com
and hundreds of students from website (Max. per workshop 6) 7 – 9 May Five week session: from the 14– Email
(New Jersey / uSA)
around the globe to its campus in www.ameliapeart.com 2010: Mixed Media Drawing & July 11 August. email@example.com and the NSF Cork.
New York City for a Summer Painting Workshops (no- Six week sessions: from the 1
Program of vibrancy, creativity, residential). 4 – 6 June 2010: September – 6 October and from
Artists Studio Network Ireland (ASNI) wish to send an
open invitation to all studio providers and those with affiliated
interests to the next aSnI General Meeting taking place
Tuesday 18 May 2010 3 – 5pm.
The Irish Museum of Modern Art.
Further details about the network & the meeting from:
Dame Street Gallery From May till September, artists
36 Dame Street, D2 are invited to rent the Gallery
(opposite the Central Bank) and run their own shows!
€850 per week,
Monday - Sunday.
contact Gallery director:
€1500 for two weeks.
SMS: 087 244 5527 No sales commission charged.
The Visual Artists’ News Sheet May – June 2010 27
Cavan County Council and Sliabh Beagh Cross Border Partnership present
Seeing Across Boundaries
April – OctOber 2010 A viSuAl ArTS CroSS-BorDer ProjeCT
Drawing from the local landscape, experience and knowledge of the Border,
project participants will work with the concepts of observation and surveillance.
After a period of research and development, participants will be invited to
Michael Mc Swiney Slag Heap 100x130cm oil mixed media on linen 2009
develop and promote artwork inspired by the central themes of observation
and surveillance. This process will inform the development of a landmark project
European Baskets Michael McSwiney
proposal for the Border.
In association with The Crafts Council of Ireland Recent Paintings
9 April – 29 May 2010 4 June – 28 August 2010
Queries & further information:
Holly Dungan republic Of irelAnd nOrthern irelAnd
Woodstock The Arts office, Cavan County Sliabh Beagh Cross-Border
16 April – 29 May 2010 Council, Farnham Street, Cavan. Partnership, roslea enterprise Centre,
4 June – 28 August 2010
e: firstname.lastname@example.org liskilly, roslea, Co. Fermanagh.
T: +353 (0)49 4378547 e: email@example.com
Artist in Residence
www.cavanarts.ie T: 0044 (0)7519334818
Blanchardstown, Dublin 15
T: 01 885 2610
F: 01 824 3434 Project supported by PeACe iii Programme. Managed for the Special eu Programmes Body by the
www.draíocht.ie County Cavan PeACe iii Peace & reconciliation Partnership
28 The Visual Artists’ News Sheet May – June 2010
The Problem Page Laughism
our concierge / curator of agony responds to artworld dilemas By Borislav Byrne
MID-cAREER ANxIEtIES loNEly ARtS
Dearest Concierge, Dearest Concierge,
A pal’s show was recently described as a mid-career So many lonely and struggling artists I know are in
retrospective. At first it made me snigger. Just two or need of attractive, intelligent and supportive life
partners. But more to the point, they are looking for
three short years ago they were featured in a host of
someone to love, adore and manage their practices.
exhibitions platforming promising, young and
Where might I (er… I mean other artists) find that
special someone who is good at editing artists
But guess what? My self-satisfied bitterness
statements, drafting funding applications, book-
only gave me passing joy. While this was disturbing keeping and generally being interested in keeping
enough, I also started to worry about how I might my studio tidy and providing me with nourishing
know if my own mid-career fulcrum point was close and tasty suppers for those times when I am working
or far away? In other words, the instant after which late in the studio?
things will get better or worse for my art career. Is it And oh, they need a vast technical, legal and
something that creeps up on artists unbeknowest? financial know-how. Everything from video editing,
And what would be the recommended healthy web-design, carpentry and welding; to filling out my
lingering times for the various stages of ones art tax returns to dealing with licensing and copyright
career? issues. PS they’d also need to be working in a really
secure and well-paid ‘real’ job, in order to subsidise
The ‘mid-career’ is the vulnerable and tender my existence. Oh and another thing, they should be
very well connected with well-heeled art buyers and
waist or belly section of an artists life. And we all
curators. And they’d have either an interest in
know that it is common wisdom not to have to
international travel or be very understanding about
much padding around this region. For this
my long absences away on residencies.
reason and others, being ‘mid-career’ is not on
Let me hasten to add, I (er … again I mean, other
the whole a good thing. It hints at a slight artists) would be open to the idea of perhaps just not
souring and going-off of both one’s abilities and one person meeting these requirements. Perhaps a
the public and artworld’s interest in your work. stable of main and sub-squeezes would be more
If possible it should be postponed for as long as appropriate? However a monogamous set up would
possible. be so much more appealing, simply on the basis of
The good news is that in the artworld the time-management issues and the overall
laws of physics can be defied and the march of convenience of a one-stop shop art-life partner
time be arrested. Is it not the dominant pattern arrangement.
for sucessful artists today to attempt to
perpetually hover in a state of (to cadge a couple Not asking for much are you? All I can say is that
of ever-trendy but obscure phrases from I will see what I can do. But already the data
fields are looking very complex to incorporate
philosphy and cultural theory) ‘becoming’ or
into a properly cross-referenced card index
system. Also, if qualified candidates do exist, I
A particularly popular strategy, that works
would predict a great reluctance on the part of
for a few years at least, is to extend one’s time
their current artist keepers / concubines to lend
spent in further education – to bounce from one them out even on the most lucrative of short-
MFA or Mphil programme to another. Or term lease arrangements.
(shudder!) float in the limbo-like state of living- OK then. In response to you request, for
death that is PhD research. Another classic move this edition of the problem page, I have JORDANSTOWN LOUGHSHORE PARK
for the aspiring ‘Peter Pan’ artist would be to reconfigured part of my alloted space, as a lonely-
move abroad and starting as a ‘newbie’ elsewhere. hearts column. Here is what I sadly have to
This might, at some point, be followed by a
return home and then ingraciating yourself
report is the cream of the crop:
TENDER FOR PUBLIC ART COMMISSION
with a new generation of artists and artworld SEEkING a quiet introverted and nerdy type, with
scenesters to whom you seem to be an exotic an ambition to work in video / moving image work,
messenger from another time and place. This who is eager to spend long evenings in reviewing Applications are invited from suitably qualified and experienced artists for
and editing my footage – as well as solving minor
latter tactic incidently can work just as well inclusion on a shortlist to design, manufacture and install public realm
and major software and hardware problems.
with artists who ‘go dormant’ for various reasons sculptures at Jordanstown Loughshore Park, Co Antrim.
in their native lands (those who hibernate
hAIRy woodcarver seeks a special skivvy / someone
within the fields of academia, organic farming,
to fetch wood and light the studio stove in the
cultural policy or other affiliated careers). The expression of interest application information can be obtained by
mornings (before I rise) and prepare hearty
This kind of approach, while it may not brunches. NB it is essential that they do not attempt contacting the Council at: firstname.lastname@example.org
eradicate the mid-career point entirely, can to utter a word to me until after my 3.00pm gin and
reduce it to a mere pimple on the horizon. tonic.
Applications must be received no later than:
Afterall, the public at large and artworld alike
are not entirely composed of fools with limited olDER academic seeks the companionship of 12 Noon on Friday 4 June 2010
attention spans. Eventually, people will cotton young impressionable students in order to validate
on to the extraordinary and unfeasible longevity their existence. In other words, someone to come
Newtownabbey Borough Council
of your ‘emerging’ status. to a few tutorials and trust me enough that I can
close the door behind them; and occasionally rest Mossley Mill, Carnmoney Road North, Newtownabbey, Antrim, BT36 5QA.
For the lucky few, this will be very fortuitous
moment. In a process not unlike the ‘made-guy’ my hand on their knee, in order to provide
‘encouraging and re-assuring’ squeezes.
principle that we are all familiar with from www.newtownabbey.gov.uk
mafia-based TV and cinema dramas, the more
ABStRAct painter, seeks partner for light muse
fortunate and well-connected artists will
duties – mainly comprising of lolling on a day bed
instantly progress to a state of permanent and
in the corner of my studio, slightly overcome by
fully-fledged artistic maturity; thus commanding paint fumes and the aura of my vigorous genius.
a smidgen of grudging respect (but mostly fear)
from their less fortunate ‘still-emerging’ peers.
The Visual Artists’ News Sheet May – June 2010 29
the mouths of TV’s most recognizable anchormen and women. Unlike
the spit and polish of classic TV reportage, Fast’s tirade of words quickly
slips into open confessionalism; alternatively seducing the viewer (“…
get near to me…”) or exploiting their fears and anxieties (“Look, I know
you are scared…”). The conventional apparatus of news broadcasting is
revealed as a vast game of cat and mouse in which both broadcaster and
audience are complicit in a complex web of needs and desires. By
addressing the on-screen reporter as a figure of influence, Omer Fast’s
CNN Concatenated lends insight into the constituents of the mass-
media machine. Here the viewer is accustomed to identifying with the
speaking figure as a conveyor of public information yet it also makes
plain the compromises of the present mediascape in which this
relation of trust is taken as given.
The ceremonies and prescriptions of documentary as a form of
truth telling are also on parade in Oraib Toukan’s twelve minute video
Talking Heads. The work parodies the desirability of a ‘hot story’ as well
oraib Toukan, Talking Heads, 2009, DVD. Photo: IMoCA. Installation view. as the ways in which representations of Toukan’s homeland have
become the basis of an insatiable opinion industry. As a geopolitical
hotspot, the Middle East is never far from the being front-page news,
and certainly from where I sit in the West, there is a desire to ‘be in the
know’; whether as a businessman, a student activist or simply a
concerned armchair pundit. This ‘need to know’, like every popular
need, is exploitable, and with the rise in Ross Kemp style exposés, one
struggles to keep track of the docu-adventures, info-slashers and edu-
omer Fast, CNN Concatenated, 2002, DVD stills. Image courtesy of Postmasters Gallery, Ny. Steve McQueen, Queen and Country (Lance Corporal Benjamin Hyde, Royal Military Police, Died 24
June 2003 aged 23), ongoing. Image courtesy of The Art Fund horrors as they emerge. Part of Toukan’s working method, however, is
to coach her interviewees into voicing opinions that best suit her
So Long Roger Fenton directorial agenda, a complication that is further abetted during the
editing process when the artist adds emphasis to choice phrases so as to
exaggerate the absurdity of the set-up. Considering the choices the
CLAIRe FeeLey CoNSIDeRS THe JouRNALISTIC TuRN IN CoNTeMPoRARy ART. artist has made in presenting these issues in this precise format, it is
clear that what’s at stake is something more specific than a simple
thE career of Roger Fenton, arguably the first war photographer, is adept if they wish to make work that rubs against the grain of pre- satire of private ownership. The work reveals something far more
exemplary of an all-too-contemporary phenomenon: that of the established points of view. Indeed, if it were not for the intervention of powerful about how all issues of global importance are assimilated,
embedded journalist. Having been sent to the Crimea in early 1855 by Alex Poots from Manchester International Festival (who agreed to formatted and distributed through the conventions and vocabularies of
the opinion-making branch of the British state, Fenton was blocked support the work) and MP Paul Flynn (who lobbied its merit in the the media machine. In this way, Toukan’s Talking Heads recalls and
from taking pictures of the dead, the maimed or indeed any other House of Commons), Queen and Country might have been assigned to updates Richard Serra’s prophetic ‘New Media State’ in which “control
subjects that would reflect poorly on the war effort abroad (1). Due to the the scrapheap of censored art. over broadcasting is an exercise in control over society”. (5)
constraints of camera technology at the time, the photographs he Similarly, the work of French photographer Bruno Serralongue So what to make of the marriage between art and journalism in
returned to the popular press showed staged tableaux of a dignified tacitly acknowledges the complex network of social and commercial exhibition making? Is it answering the pressures on art centres to
military life. The images of well healed soldiers decked out in pressures that inform the selection of newsworthy images deemed fit appear socially and politically relevant? Or is there genuine running
immaculate military dress presented a reality clearly at odds with the for public consumption. During his sojourn at Brazilian daily newspaper room allowed to artists that makes their reportage above and beyond
depraved and unsanitary conditions reported elsewhere in the printed Jornal do Brasil in 1999, Serralongue took hundreds of photographs of that of trained media professionals? In a forward to Alfredo Cramerotti’s
press. From its very inception, so called ‘aesthetic journalism’ proved subjects ranging from a tourist’s murder to a football training session. 2009 book Aesthetic Journalism, Andrei Siclodi makes the claim that the
itself to be subject to directorial manipulations and interpretive Only nine were ever published, and it is these that make up the final necessary structures for formulating and articulating social criticism
control. The idea of the objective witness, the foundation of the artwork. By ceding the selection of his photographs to picture editors have become impossible within the mass media (6). As a result, he
journalistic attitude, was complicated by Fenton who revealed a way of who decide what’s newsworthy and what’s not, Serralongue confirms champions art as a privileged domain for conducting discourses on
working thoroughly embedded in its social matrix and complicit with a point well made by Vilem Flusser back in 1983 when he contended reality. Siclodi might be laying it on a bit thick and it’s arguable
the people his photographs represented. that it is not the photographer that produces the photograph, but the whether there is much mileage to be gained from aggrandizing the
Leaving aside the good faith typically invested in the figure of the photographic ‘institution’ (2). The fact that media leaders will report on importance of art in the face of a media machine which, for better or
artist, what can an artist create that differs substantially from the work some stories whilst maintaining silence on others is an unhappy worse, has proven itself capable of effecting foreign policy or
of either a Victorian artist-reporter, or a contemporary photojournalist consequence of the economic realities of the media machine and one ‘manufacturing consent’ (7).
or editorial cartoonist? How is the artistic method of fact gathering with which photojournalists have been continually struggling. Considered from the perspective of a skeptic, the journalistic turn
qualitatively better than that of a media professional? Today, with the Major broadcasters have been quick to pick up on this generation’s in contemporary art could pan out to be little more than a specialized
diffusion of socially committed art forms (dealing with the political, near bottomless appetite for information, and artists too are learning to news service for the art circuit. Do we really need to see more tourist-art
the humanitarian and the inter-subjective), artists are reinventing embrace the ‘journalistic turn’ in contemporary art. In this context, the snapshots of bankrupt social housing projects, environmental disasters
modes of ‘embeddedness’, adopting it as a method of infiltrating ‘journalistic turn’ encompasses artistic practices that either follow a or reminders of spent ideologies? Rather than offer a complimentary
socially sensitive situations. Robert Capa’s oft-quoted maxim “if your journalistic imperative to report on issues of public concern (albeit viewpoint than that on offer in the daily newspaper, a constructed
pictures aren’t good enough, you’re not close enough” finds unexpected within the signifying system of contemporary art) or who employ a critique of the media might provide a much-needed audit of the
confirmation in an epoch where artists are increasingly adept at journalistic methodology (fact gathering, field research, interviews, industry’s routines and conventions. Conversely, it is interesting to
swinging between a position of being ‘too close’ or ‘not close enough’ in documentaries). Although the documentary mode is by no means a think whether the checks and balances in place in the professionalized
order to access a context, engage with a constituency and influence an new departure for art (John Grierson’s theorization of documentary sphere of journalism will have knock-on effects for art practices that
outcome. This can involve an open critique of media conventions for practice as a “creative approach to reality” (1926) and Dziga Vertov’s mimic its function.
packaging and distributing information or it can necessitate a more commitment to “reflexive documentary” (1924) are notable starting Claire Feeley
collaborative subversiveness with artists ‘entering the battlefield’, so to points in this debate), the past decade has certainly witnessed a rise in
speak, as active players. major exhibitions focusing specifically on how artists are engaging Notes
1. William Agnew, of the publishing firm Thomas Agnew & Sons proposed Fenton as the
One such artist is Turner prizewinner Steve McQueen who in with the genre (3). Documenta II (Kassel, 2002), 'Experiments with photographer for a commercial venture to the Crimea although his actual trip was sponsored by
2002 was the recipient of the Imperial War Museum’s Official War Truth' (Fabric Workshop, 2004), 'Making History: Art and Documentary the British Government at the instigation of Prince Albert. To get to the Crimea, Fenton needed
the cooperation of both the war ministry and the actual commanders in the field. He got letters
Artist commission. Traveling to Basra, Iraq, for a 6-day lightning visit, '(Tate Liverpool, 2006), 'Come and Go: Fiction and Reality' (Gulbenkian of introduction to these commanders from Prince Albert as well as transport on a government
McQueen found himself shepherded by Ministry of Defense officials. Foundation, 2007) and more recently 'Talking Heads' (IMOCA, Dublin vessel.
2. Flusser, Vilem (2000) Towards a Philosophy of Photography, London: Reaktion Books (first
Unable or unwilling to report what he saw, he returned home with 2010) (4) all brought together artists whose work borrows, in one way or published in Germany, 1983)
nothing in his camera. As he later told the Financial Times, “It was like another, from the conventions of journalism. 3. Grierson coined the term ‘documentary’ in a review of Robert Flaherty’s film Moana (1926).
Grierson went on to develop a liberal model for documentary informed by the idea of furthering
a magical mystery tour. They led me by the hand. I couldn’t investigate Moreover, these exhibitions have, by and large, been dedicated to education. At the same time, Dziga Vertov’s Kino Eye project saw in documentary the potential of
anything”. The production of Queen and Country (postage stamps of moving-image and video works. In the early 70’s, when video artists radical social transformation.
4. Taking its title from the filmic convention common to docu-journalism and webcam
each of the British soldiers to lose their life in the war) saw McQueen such as David Hall began making works addressing the widespread exhibitionism, 'Talking Heads' was an exhibition featuring the work of omer Fast, Iain Forsyth and
led on an equally labyrinthine tour, but this time he was sidetracked by accessibility of images through television, it was at a time when there Jane Pollard, Stephen Sutcliffe, oraib Toukan and Andy Warhol. It took place in the Irish Museum
of Contemporary Art (IMoCA), Dublin, from February to March, 2010.
the combined bureaucracy of the Royal Mail, the Ministry and the was only two or three national stations and when the Internet was a 5. The quoted text is taken from Richard Serra’s video Television Delivers People (1973), which pairs
commissioning museum. McQueen hit the first of many roadblocks niche application in military defense systems. Now, over forty years a Muzak soundtrack with a scrolling list of statements describing the manipulative strategies and
motivations of corporate advertisers imbedded in television.
when the Ministry of Defense refused him access to the addresses of the later, the artist’s toolbox has expanded to embrace the possibilities 6. Cramerotti, Alfredo (2009) Aesthetic Journalism: How to inform without informing, Bristol:
115 soldiers who had died thus far in the conflict. “The second in suggested by the digital image to explore ideas about culture and Intellect.
7. Also known as the ‘CNN factor’, the CNN effect refers to the influence of worldwide print and
command there is also on the board of the IWM” recalls McQueen, community, aesthetics and technology. For CNN Concatenated, Omer broadcast media on policy makers. The decision of American to become involved in Somalia in
“and he suggested I do a landscape instead.” The hoops McQueen had Fast recorded hundreds of hours of TV reporters speaking directly to 1992 has been attributed to the pressure exerted by media coverage of the conflict on uS
foreign policy. Conversely, in their 1988 book, Manufacturing Consent, edward Herman and Noam
to jump through in order to push through this artwork makes clear camera. From this cache of words, he pieced together an eighteen- Chomsky outline several case studies whereby power elites have influenced the selection of
that diplomacy and mediation are skills in which today’s artist must be minute monologue, allowing his own script to be channeled through news and emphases placed upon their importance.
30 The Visual Artists’ News Sheet May – June 2010
VAI ReGIoNAL CoNTACTS
VISuAL ARTISTS IReLAND'S ReGIoNAL CoNTACTS – AIDeeN BARRy, LAuRA GRAHAM AND DAMIeN DuFFy RePoRT FRoM THe FIeLD.
West of Ireland Midlands Western Regional Assembly, and in exposing the organisation Gordon Gallery. Bradley who has worked semi- professionally as a
as a fluid and adaptable entity, with exciting off site programming, The visual artist in the Northwest for the last thirty years gave Willie
Model is set to become a “model” of best practice in the arts nationally Doherty his first show in Derry in the early eighties in artist run
and internationally. premises just doors away from the Gordon Gallery. Bradley’s paintings
oNE of the most significant losses earlier this year was the Galway City
in lyrical abstraction demonstrate a shift in gear, in terms of scale and
Public Arts Officer Megs Morley – following the decision by Galway
VAI Graduate Pack. ambition that indicate a marked shift in maturity.
City Council not to renew her temporary contract. It seems completely
Over the next few months I will be traveling around the country Void Gallery’s exhibition of Hiraki Sawa’s film animations marks
illogical due to the size of Galway City that there is only one full-time
visiting various art colleges. I will be delivering the first VAI Graduate the second show of their fifth anniversary programme. Sawa’s films are
Arts Officer (James Harold) with no support staff. In a previous report,
Pack to visual artists. This pack is intended to give students and recent meditative excursions into imagination and childhood (www.
I highlighted how a number of arts office and arts officer positions in
Galway County and Clare County Council were not being replaced, or graduates an idea of the practical areas they will need to consider and
were finding their contracts not renewed due to the civil service the options open to them following graduation. This pack has been put
together for the benefit of visual and applied arts students and recent Antrim
employment embargo. This atavistic (1) decision not to renew these key
contract positions by some councils has led to stagnancy in arts graduates making the transition into professional practice in Ireland. Laura Graham
development, commissioning and expansion in areas in the West and With more visual and applied arts courses available then ever before,
the number of aspiring artists continues to grow. The pack covers areas thE coming months in Belfast will showcase a wonderful range of art.
around the country. The chief worry being the further implications of
such as “ The Business of Art”, to “ Artists Tax Exemption” to “Career It is a vibrant city, and ready to glow much brighter, thanks to the
these losses – without representation to the Council and local
Paths”, to applying for grants and bursaries. For more information on commitment of so many – and social networking sites! But in the ethos
governments in these areas, there will be an inability to make a case for
of this place a huge amount of time and energy is and has been given
further visual art development, sustainability and investment. the pack and a list of institutions I will be visiting, please email me
for free. This is laudable and I applaud the integrity of anyone doing so,
Coincidentally, the decision by Galway City Council not to renew email@example.com
but at a certain point a society has to start respecting the commitment
Morley’s contract comes at the same time as the release of the Draft City Notes of its members to create colour and texture in a grey world. As has oft
Arts Strategy for Galway 2010-2013 (2). The draft strategy allows for a 1. Atavism (derived from the Latin atavus, a great-grandfather’s grandfather; more generally, an
been said, the workman is worth his wages. In a time of great economic
ancestor) denotes the tendency to revert to ancestral type. An atavism is an evolutionary
more ‘glasnost’ approach to the arts and arts decision making policies throwback, such as traits reappearing which had disappeared generations ago. constraint, it is hard to argue for artists to get more money when faced
in the council and the arts office, highlighting a clearer and more 2. you can find a copy of the draft City Arts Plan on www.galwaycity.ie
with competition from other essential sectors such as schools and
3. The draft city development plan 2011-2017
transparent selection process in relation to City Council-supported http://www.galwaycity.ie/AllServices/Planning/Publications/DraftDevelopmentPlan2011- hospitals; however, there is a saying in Japan, the meaning of which is
bursaries, grants and residencies. However, the ambition of the draft 2017Publications/
when you are down to your last yen, you should spend half on bread to
4. www.kunsthalle-berlin.com The Temporare Kunsthalle, in Berlin in Mitte.
report is somewhat stunted by the inability to implement best practice feed your body and half on a flower to feed your soul.
without the support of a fully functioning Arts Office. It is time to look for another way in which visual artists may be
Derry, Fermanagh, Tyrone appreciated. If money isn’t available, then benefits-in-kind should be.
The visual art community are enormously disappointed that the
Draft City Arts Strategy gives no concrete commitment or timeline for
Damien Duffy The City Council and Arts Council could be instrumental in
the building of a Municipal Gallery Space, purpose-built for the visual re-imagining and building such a model.
DERRy / loNDoNDERRy has been short-listed in its bid for UK City Last year saw the first Culture Night in Belfast – one of the most
arts. The Draft Galway City Council Development Plan 2011 – 2017 (3)
of Culture 2013. It is now in the last four (the other cities being enjoyable and exciting nights I have seen in the city since moving here
states that it “recognises that there remains a deficit of culture and arts
Birmingham, Sheffield and Norwich). The bid is led by Derry City from Glasgow 17 years ago. The feeling of being part of something
infrastructure in the city” and goes on to commit to supporting “the
Council, along with the urban regeneration body ILEX who are special was embodied in the events, but also in the engagement of the
development of a municipal arts gallery in the city”. Well intentioned
managing the redevelopment of the ex-military sites at Ebrington and people of Belfast. It took vision to create that night.
– but without a serious commitment of time, planning and concrete
Fort George, along with the Strategic Investment Board of Northern Recently Belfast Exposed ran a wonderful series of events offering
resolutions, it is unlikely to see the notion turned into a serious Ireland. varied and engaged work, debate and opportunity to consider art
infrastructural reality. Many visual artists in the city and in the west Integral to the bid is a programme of cultural events that practice and intention, highlighting how essential it is to provide
are quite aggrieved by yet another missed opportunity by the Council. celebrates and investigates the issue of Anglo Irish contended identity opportunities to artists and the general public for debating and
Students of GMIT’s art and design department have led a campaign to and territory. The process of putting the bid in place has resulted in the understanding art practice. In a similar vein, the Golden Thread
highlight the need for this facility in Galway, petitioning the Council formation of a cultural partnership forum that has brought many of Gallery is offering monthly lectures.
to address this gap in provision. the arts organisations around the table, addressing programming. May brings the Cathedral Quarter Arts Festival and although it
A delegation from the visual art community will make a More recently, it has been announced that the office of US Economic has a good visual art dynamic, the difficulty for artists arises in visual
presentation to the Council later this month with a proposal for a Envoy to the North, Declan Kelly, is to get directly involved in support arts alone being unable to benefit from footfall payment in the manner
‘Temporare Kunsthalle’ model (4) for Galway City. This is a bold and of the bid, embedding senior members of his economic development of theatre and music and yet the CQ contains many of Belfast’s most
unique proposal for Galway. The proposal for this temporary structure staff with the local bid team for the duration of the process. interesting and challenging galleries. The location and variability of
is based on the extremely exciting Temporary Kunst-Hall for The bid has energized the arts community; if successful it will work on show has been supported over the past few years, but a great
Contemporary Art in Berlin (Mitte). The proposal, which will be have positive repercussions not just for Derry / Londonderry and the initiative has been First Thursday, where all the galleries taking part
submitted to Galway City, proposes a 25,000 sq. meter temporary space Northwest cross-border region, but Northern Ireland as a whole. In the open on the first Thursday in the month and the art bus drives visitors
that can accommodate all the needs of a museum of modern art. The event of the bid being unsuccessful, the vision put in place by the and locals around the galleries.
proposal also suggests a steering group, so that investment in the process will be harnessed for a cultural program for 2013, which is also As a method for engaging and showing the general public gallery
development of the structure is not the be-all and end-all. Investment the 400th anniversary of its Walled City. locations, it has proved invaluable to a sector that faces great difficulty
in the programming of such a space will be essential to insure its Against the background of the bid, Derry City Council has operating within ever decreasing funding parameters whilst trying to
promised further support to the arts sector, demonstrating its showcase emerging or difficult art.
success. The key with this submission to the Council, is to change the
commitments to the cultural sector as an integral element in Such initiatives are indispensable and invaluable, however
perceived view within the Council that the arts are merely an aesthetic
regeneration. An increase in service level agreements has been put in funding available to the arts sector is being radically reduced and most
pastime – but rather the key means for injecting the local economy
place. galleries and festivals will suffer further funding cuts.
with attractive business opportunities.
One area where that support is most needed on the ground is the At the end of May we have the wonderful Children’s Art Festival
The need for such a space is evident each year, when organisations
provision of suitable and substantial studio space. – exciting and creative, a way of engaging with a new generation of
such as Tulca and the Galway Arts Festival constantly have to hire
Some movement in that direction has been made by an artists. Another stalwart of the CQ at the other end of the educational
privately owned spaces for their exhibitions. There is a serious deficit
independent group, Studio Six, an independent non-profit company spectrum is the York St campus of the University of Ulster. This houses
of venues in Galway city, in terms of providing the facilities needed for with charitable status whose aim is to provide artist studios in the the school of art and design and throughout the year offers lectures and
high quality shows and exciting curatorial projects. For Galway to live Northwest. To date, attempts to secure premises have been set back by opportunities to engage with art practice.
up to its long flogged-to-death title of ‘City of the Arts’, it must move up the current slump in the property market, a situation which normally In light of funding cuts and the costs involved, the question raised
a gear – or it will regress back to being a town of mediocrity. provokes landlords to seek other means of leasing otherwise empty recently about Northern Ireland’s participation in the 2011 Venice
spaces. Further details maybe had from firstname.lastname@example.org Biennale was prescient. The Arts Council, to their credit, have initiated
A Model of Best Practice. Elaine Forde, Director of Artlink, Buncrana is leaving to take up a canvassing of the visual arts community. Unfortunately, very little
The visual arts community waits with bated breath for the impending post within the Play House, Derry. There she will be responsible for the notice was given of the meeting so the numbers attending were small
opening of the renovated Model Niland. The podcasts, updated photos new International Culture Arts Network (ICAN). Along with North 55, and all attendees were either art or curatorial practitioners or from the
and reports have us foaming at the mouth with anticipation. One of ICAN will bring international artists to Ireland to work with local British Council.
the most exciting projects, and visual art institutions, the Model is one artists, community groups and organisations in the border counties of In view of the international nature and prestige of the Biennale,
of those flagship entities that we are lucky to have in the West. Seamus Derry and Donegal. The artists will share, exchange and trade the equivalent of an artistic Olympics, I couldn’t help but wonder – if
Kealy has become the benchmark for “get up and go”, and has shown knowledge and skills with the aim of strengthening relationships and this had been the sports council with Olympic trainers and hopefuls
how to make a good project a great one. Succeeding in bringing on creating long-lasting networks and partnerships. – would anyone have dared ask if the Olympics were worth going to?
board huge investment in the form of €2.4 million from the Border Derry artist Patrick Bradley has his first solo exhibition at the
The Visual Artists’ News Sheet May – June 2010 31
ART IN PuBLIC: RouNDuP
Art In Public: Roundup Description: Festive Shop Window Display,
Connaught St, Birr, Co. Offaly. The work comprises
of shallow cardboard boxes, stacked in rear of
Back to Reality is the second instalment of the series.
For this work, the artists delivered a body of work
that is a result of her 6-month residency in the retail
ScAlES oF jUStIcE currency for those who use it today and asked the window painted with text and illustrations from space. The residency afforded the artist time and
question – what happens to a private gesture of the book Struwwelpeter by Dr. Heinrich Hoffman space to explore the wealth of diverse activity in the
wealth when it becomes a collective one? In an (1845). At the base stood nine Christmas trees in surrounding area – from the various cultural
effort to negotiate these questions based around pots, amongst which lurked a large assortment of institutions, such as the LAB and DanceHouse, to
post-colonial Ireland, Gifney proposed to construct antique and created objects directly related to the the Buddhist Centre, €2 shops, financial institutions,
a Victorian lawn tennis court. The resulting tennis cautionary tales. This window installation was beauty salons and 24-hour internet cafés.
court was scaled up to accommodate the many designed to be purely decorative. Commenting on http://www.raptureheap.com
people who today use the park. It measured 44 x 96 the work, the artist has noted “my practice generally http://www.dublincity.ie
meters, with its net standing at 4.3 meters high. As involves collected or ‘found’ objects combined with
Gifney described the work “being oppresive yet created images using paint, stitch etc. These lead to thE kItchEN SESSIoNS
ludicrous, this unique tennis court was created for tableaux with an undercurrent of environmental
the public living in post-Celtic Tiger Ireland”. concern flowing around the foibles of human
FAVoUR BANk NEw ARtwoRk FoR kIlDARE lIBRARy
Leo Higgins Scales of Justice
Title: Scales Of Justice
Location: New Criminal courts, Dublin.
Commissioner: Office of Public Works
Commission Type: Open competition
Materials: Sheet bronze and cast bronze Micheal Fortune The Kitchen Sessions
Artist: Michael Fortune
thE cAttlE DRoVER
Title: The Kitchen Sessions
Location: Fána Burca, Galway and website www.
Niamh White Favour Bank thekitchensessions.ie
elke Westen Books of Colour Commissioner: Galway City Council.
Artist: Niamh White.
Commission Type: Open Competition.
Title: Favour Bank. Elle Westen’s new glass artwork Books of Colour was
Timeframe: Project began in September 2008 –
Commissioner: Roscommon Arts Office / Percent recently installed at Kildare Library, Kildare Town.
for Art. The work was direct commissioned through Kildare
Advertised: Oct 2009. County Council Arts Office. The work comprises 5
Description: The project began in 2008 and centred
Sited / carried out: Jan – March 2010. painted glass panels, each 0.5 cm wide by 3.6 m
on the housing estate of Fána Burca in Knocknacarra,
Budget: €2000. high, standing from the inside in front of the
Galway City. The project featured a participatory
Barry Wrafter The Cattle Drover Commission type: open competition. existing glass wall of the library. The painted glass
process whereby the residents of Fána Burca were
Project partners: Roscommon Arts Office, Castlerea integrates dichroitc glass sections as well as
Artist: Barry Wrafter. invited to join the artist in learning digital video,
Mart, Rural Men’s Network, Castlerea Library. sandblasted areas and optical lighting film.
Title of Work: The Cattle Drover. photography, animation and web-based media, and
Description: Favour Bank was a non-monetary www.elkewesten.com
Commissioning Body: Limerick County Council. in turn to share and articulate their personal
system of offering and receiving help based on the
Date Sited: 4 Jan 2010. experiences of their home on the estate. Following
rural Irish system of Meitheal. The Meitheal men RAPtURE hEAP V2.0
Commission Type: Open Competition. this open call, a group of five families and friends
were groups of young men who would go from Title: Rapture Heap v2.0 : Back to Reality
Project Partners: Limerick County Council. came together to work alongside the artist.
farm to farm helping their neighbours for nothing Artist: Eilis McDonald
Description: This sculpture takes its inspiration This creative exchange resulted in the
more than lunch and the promise of a favour in Location: Unit 3, James Joyce St. (Corporation
from Patrick Kavanagh’s poem Shancoduff – which production of a limited number publication which
return. Street), Liberty Corner, Dublin 1
includes the line “while the cattle drover’s sheltering documents the unfolding stories of each family’s
www.fbankcastlerea.wordpress.com Sited / Took Place: 20 – 27 March
in the fetherna bush”. life mapped through conversations and observations
Commission: Dublin City Council Percent for Art.
Dimensions: 6 x 12 x 4 feet. ENGAGED SPAcE At BlooM of the objects and temporary traces of everyday life
Project Partners: Commission / Curator Aisling
Materials: Stone and stainless steel. Co. Antrim based artist Dawn Aston and architect in their homes.
Crawford Leitch designed Engaged Space / Urban Description: A multi-phased project that centres The participating families also developed a
SUPREME coURt / IMPERIAl MEASUREMENtS Oasis for last years' Bloom Horticultural Show at new website www.thekitchensessions.ie and,
around the occupation of one of Dublin’s many
the Phoenix Park, Dublin (3 – 7 June 2009). Their empty retail spaces. The first instalment of the working alongside Michael, hosted a YouTube film
show garden project comprised of an accessible project saw McDonald curate an exhibition that festival in the Fána Burca estate during December
walled garden and structure, that facilitated elevated highlighted the artists that influence her and 2009. The publication was launched in Galway Arts
views of the garden and the surrounding park. Key brought to Ireland some of today’s most prominent Centre on the 17 Dec 2009.
zones within the garden represented the four Internet-based artists (http://www.raptureheap. www. thekitchensessions.ie
elements, using plants, natural materials and com/v1).
Aston’s artworks. This work highlights relationships
between art, the natural world and the built
Carl Gifney Supreme Court / Imperial Measurements
environment. Pat Fitzgerald’s MyPlant, Kilkenny
supplied the main planting.
Artist: Carl Gifney
Title: Supreme Court / Imperial Measurements
Commissioner: Dublin City Council PEtER’S GRoVE
Sited: July 2009 KilmAinhAm art Foundry ltd t/a irish bronze
Commission type: Invitation & proposal for sculptors seeking the perfect cast
Project Partners: Claire Power (curator), St. Anne’s
Park Staff, Dublin City Council.
Description: Supreme Court / Imperial telephone: Willie malone 01 4542032.
Measurements was commissioned along with five e-mail: email@example.com
other works for Park Life, an outdoor exhibition website: www.irishbronze.ie
curated by Claire Power in St. Anne’s Park, Dublin.
Participating artists were asked to create a new
work in response to the various ways that people DeAth of cuchulAinn. oliver sheppard rhA (1865 – 1941).
Work by Lynee Hoare
use the park today. The now public Park was once oliver Sheppard sculpted this exquisite world-renowned piece in 1911/12. the original
the grounds of an estate owned by the Guinness work in plaster was exhibited at the Rha in 1914. Purchased by the State in 1935, the
Artist: Lynne Hoare.
work was cast in bronze (commissioned by eamon de Valera to commemorate the
family and much of its Victorian heritage still Sited / Took Place: Dec 2009 – Jan 2010. twentieth anniversary of the 1916 Rising) and placed in the GPo Dublin.
remains in its appearance. Budget / Project Partners: Minimal expenditure Commissioned by the office of Public Works in June 2002, the second Cuchulainn
When responding to the project’s brief, the was cast in bronze at Griffith College Dublin by Willie malone. this picture shows the
and the shop window space was provided by kind
new work on permanent exhibition at the Custom house, Dublin.
artist wondered if the park still has a similar permission of the owners.
32 The Visual Artists’ News Sheet May – June 2010
ART IN THe PuBLIC ReALM
JO: Are there particular steps you took to address the audience, in
terms of this event being part of the St. Patrick’s Festival?
JC: The main challenge is to maintain some integrity for the artists.
That is you must include some work that you have considered in
advance as useful for the press and marketing. I would have to several
times discuss what a TV crew would experience if they came to see the
show “what is the picture? What is the headline? Where is the action?”.
This entails a certain amount of ‘show-ponying’ of your artists, the
performance/live element is crucial for exposure and attracting media,
without this the rest of the exhibition is ignored.
JO: Could you briefly describe some of the key works in the
JC: Nevan Lahart’s 2:20 Horsepower Apocalypse was the largest work in
the exhibition and was key to a lot of other work that was displayed
with it. It was a full-sized hearse made out of black bin liners along with
other various inventively-used throwaway materials. It was an eye-
catcher, prominently displayed in the centre of the Non-Car-Showroom.
It worked perfectly – both metaphorically and physically – as a symbol
of the recession. But also offered a humorous and inventive possible
future. Joe Stanley also responded brilliantly to the invitation to
include his Auto-Geo Machine in the Non-Car-Showroom, by creating a
revolving fluffy display case that would fit perfectly in one of the
prominent windows in the exhibition space.
Joost Conijn’s Hout Auto / Wood Car video was a lot of people’s
favourite work in the show. It was projected in a cupboard through a
jungle hut like reed mesh that existed in the Cultivate space when we
arrived. The video shows the artist travelling through twelve countries
Nevan Lahart, 2:20 Horsepower Apocalypse. installed at the 'Non-Car-Showroom. Photo: John Beattie.
(from Amsterdam across Eastern Europe) in his hand-made, wooden,
Recycling Spaces steam powered, wood-burning car. The idea that you can drive for free
from donated wood through so many countries again offers an
alternative route for our survival when oil runs out or we have to rely
on barter again.
JoNATHAN CARRoLL TALKS To JASoN oAKLey ABouT ‘SHoP IF CAN, LooK IF you WANT’ A Amanda Coogan’s Adoration Live 2010 was also a key work, which
CoNTeMPoRARy ART TRAIL oRGANISeD FoR DuBLIN’S 2010 ST. PATRICK’S FeSTIVAL. encapsulated many elements of the exhibition and the effect of the
recession on the arts. Amanda proposed a live performance of her video
JO: How did ‘Shop if can, Look if you want’ come about? JO: How did you source the artists for the show?
piece called Adoration. For a live performance, Amanda required six
JC: I had been involved the visual arts element of the St. Patrick Day JC: I chose all the artists starting with the notion of the theme for each
Festival since 2007. Each year, I would begin putting together a variety choristers and four soloists. As we did not have the budget to make this
individual space. I eventually had five different Non-Shops in mind:
of proposals from September for the following March. The sponsorship happen, Amanda came up with a new work that would change from a
Non-Taxidermy, a Non-Gymnasium, a Non-Car-Showroom, a Non-
team and the festival’s CEO would basically act like door-to-door window display with mannequins to a work with Amanda taking the
Laundrette and a Non-Electricians. When I contacted one artist they
salesmen looking for partners to help fund one of my proposals. The place of the mannequins and performing live. We then had three
would suggest another and when I described the idea to anyone else in
difficulty of getting funding became the creative force behind the ‘Shop the arts they also gave me some names. It grew organically from there. different ways of showing Adoration throughout the short run of the
If Can, Look If You Want’ idea. I don’t consider any exhibition to be definitive, but rather a starting exhibition. The window display, with an inside and outside view of the
Temple Bar Cultural Trust liked the idea of using empty retail point for many more projects. work; as a video performance; a live performance by Amanda and the
spaces for art; and my initial idea was to highlight the fact that there are large projection of the work in Meeting House Square after dark. I had
always things to see and do in Temple Bar that do not involve alcohol JO: How did you secure the venues and staffing? four nights of projections running during the exhibition; these
or a deep wallet. TBCT additionally provided me with a small budget, JC: TBCT gave me two spaces to use for free and they introduced me to complemented the main exhibitions and hopefully gained the interest
which was matched by the festival itself (the festival does not ring- the Gaiety School of Acting and Smock Alley Theatre. I negotiated a of a different crowd, who only come into Temple Bar after dark.
fence a budget for the visual arts but relies on outside partners and lease for the larger Cultivate space. I researched what a gallery of Roisin Beirne’s work The Fall in the Non-Gymnasium was the most
funders). equivalent size would charge and thought of an offer that would suit challenging piece we tried to include. This large performance /
what is only an empty retail space with no staff or gallery lighting. I sculpture work had only before been tested indoors as part of her final
JO: What were the key curatorial ideas and themes? had to provide copies of insurance cover, including public liability – year exhibition in NCAD. It had to be rethought and built from scratch
JC: I stated the following in the press release: “the sites of commerce fortunately the festival has this cover. The staff were sourced from the in a very short time. The idea of commissioning new work in public
and culture find themselves in a moment of confused transition where large number of volunteers that the festival attracts each year.
spaces would be desirable for the Festival in the future.
the abiding sense is that of uncertainty of the next step. The exhibitions
reflect this ambiance by occupying vacant retail spaces”. So I was Sonia Shiel had a solo space, which she transformed into her Non-
JO: The show was successful in getting media coverage in the
primarily thinking of the experience of the expected audience. I had a Laundrette. What was important and different about Sonia’s approach
Times and on RTE. Did you have a strategy to address wider
desire to elicit the feeling that they were in an undefined space, a was the underlying political reaction she had to the invitation. She
audiences that the usual contemporary art constituency?
temporary mirage or oasis coming out of these recessional times. made a large sculptural piece that showed the position of the arts in the
JC: The key to curating any exhibition is to know your audience and
Rather than exhibition invigilators, we had ‘non-shopkeepers’ the strengths of the organization behind the initiative. Within the St greater scheme of things that is at the bottom of the pile, well below
who were general festival volunteers. I wanted to use their inexperience Patrick’s Festival, the visual arts must compete to be noticed. The bars and cafe society and now on a par with the banks, which have just
to my advantage, so I told them that the role they were to play was that Festival is all about loud noise and the big picture, ‘Skyfest’ and Big Day joined the estranged arts. I liked that Sonia was sceptical about
of a shop assistant that works for a temp agency, they could have been Out types of things – parades and funfairs. You have to play the game celebrating the sudden availability of now devalued space. Like her, I
sent to the Brown Thomas department store, but today they were sent that you are in. I liked having this challenge as a curator and think it agree that all is not all rosy in the arts garden.
to the Non-Car-Showroom, this confusion would equalize them with makes for a more interesting career if you can balance this with the One of the spaces that worked best in the exhibition was the Non-
the visiting public rather than putting them in conflict with them or more concentrated conversation within the artworld. Electricians, where four artists installed themselves in a very
putting them under pressure to ‘sell’ the curatorial idea. The Festival does publicity very well – they are like a very complimentary way. Sharon White had been using the space (2 Saul’s
The Non-Car-Showroom, located in the former Cultivate retail colourful butterfly, they have only a week to express themselves and Court; the former 2 Cool Design unit) as a studio to make new work for
space on Essex Street was the first space I wanted to curate. It’s a large then they disappear for another year. the exhibition, so she had a good sense of where she wanted to place
interior space and I thought it would be a perfect venue to exhibit an Firstly I had the chance to include the exhibition in a printed her wacky and playful inventions (made from old wood and found
artist’s work that dealt with the automobile. I had in mind an anti-Top programme of 200,000 that is distributed with the Irish Independent objects). Gillian Fitzpatrick also produced all new work for the
Gear stage set, relating to a notion of ‘bottom gear, driving through the and a website that receives one million hits from January to March. My exhibition. She creates work that takes on the appearance of futuristic
recession’. Therefore, underlying themes such as recycling and DIY publicity was also supported by the festival’s dedicated private PR
along with the era when the automobile offered a bright vision of the space age technology by making moulds from waste packaging and
consultancy whose sole job for a few weeks is to get you into the papers
future underpinned the recycling of space throughout the exhibition. found objects and making casts in plastic and resin from these. The
and onto television. To take advantage of this, I programmed the visual
resulting objects appear to be mass-produced and machine-made. In
arts to begin before all other events and continue until the end of the
fact they are unique and hand-made artworks. When she exhibits her
festival. Nonetheless we had only a window of two hours to publicize
work, she utilizes the infrastructure of the exhibition space. She often
our event before the Skyfest knocked us off our perch. In the end, we
appeared on the RTE Six-one news but we replaced by Skyfest for the places her work in close proximity to existing signage, electrical points,
later bulletin. fixtures and fittings.
West Cork Arts Centre t: +353 28 22090
North St, Skibbereen, Co.Cork
John Philip Murray, Ar Thóir Athnuachana, oil on canvas, triptych, 90 x 180cm, 2005
16 April – 8 May
My Mind is a Map – Youth Exhibition and Event
Work by WCAC’s Friday Night Youth Arts Group with artist Julia Pallone and Deep Woods, an
exhibition of animated drawings by West Cork second level schools working with artist Tess
15 May – 19 June
Patrick Graham & John Phillip Murray
A joint exhibition of painting and drawing from the eighties to the present.
26 June – 17 July
West Cork Artists 2010
A group exhibition of paintings, drawings, photographs, prints and sculpture by artists living
and working in West Cork.
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