JOANNE LAWS SPEAKS TO JOHN HUTCHINSON ABOUT HIS 25-YEAR DIRECTORSHIP OF THE DOUGLAS HYDE GALLERY.
Joanne Laws: Your vast contribution to the Irish visual arts is fondly conveyed in a series of thoughts, reflections and tributes by artists, colleagues and friends. How do you feel about these comments?
John Hutchinson: I found it a very strange experience. It felt a bit like reading my own obituary. But by and large they were lovely and very generous. Michael [Hill] and Rachel[McIntyre] put them together with a lot of work and I’m very touched and grateful for all their efforts.
Continue reading “A Sense of Stillness”
MATT PACKER AND ALISSA KLEIST DISCUSS ‘SCISSORS CUT PAPER WRAP STONE’, A TOURING EXHIBITION BY CCA DERRY-LONDONDERRY.
LIKE many curators (and indeed, artists) we often develop ideas by thinking through references or historical incidences that have little to do with contemporary art from the outset. ‘Scissors Cut Paper Wrap Stone’ is a case in point: an exhibition that developed from our discovery of a science fiction novel written in 1994 by author Ian McDonald. The novel led us to understand a rich history of sci-fi produced in Northern Ireland, of which Ian McDonald is a part. He is one in a long line of authors dating back to the late nineteenth century that obviously coincided with considerable political, industrial and cultural change over the intervening years. Given the region’s difficult past (and equally uncertain future), it makes sense that a history of science fiction literature exists in Northern Ireland. With its characteristic conjuring of alternative worlds, new life-forms and imaginative re-workings of everyday life, science fiction might be described as an act of ‘cognitive estrangement’ that allows us to re-approach the conditions of our society.
Continue reading “Mind-Controlling Images”
Richard Forrest, Kevin Gaffney, Ann Maria Healy, Elaine Hoey, Ali Kirby, Jane Locke, Jane Rainey, RHA, Dublin, 17 March – 23 April
‘FUTURES’ is a series of exhibitions at the Royal Hibernian Academy (RHA) that shows the work of emerging artists. ‘Futures, Series 3, Episode 1’ is one of the most engaging exhibitions in recent years. The show takes us on a journey from the past to the present and far into the future.
Jane Rainey is a painter whose subjects are abstract, yet vaguely familiar. From afar, her paintings look like distorted digital landscapes. Up close, they are thick with paint. Colours are mixed together on the canvas, resembling a damaged digital image with streaks running through it. But unlike digital images, they are handmade. They show the physical process of painting. These are paintings that want to be touched.
Continue reading “Futures: Series 3, Episode 1”
Katherine Nolan, MART, Dublin, 2 – 31 March 2017
KATHERINE Nolan is a performance artist whose work focuses on her body and her image as sites of investigation into the representation and construction of femininity. Her recent series of performances, The Mistress of the Mantle, held at MART, Rathmines, were based on the artist’s experience of returning to Ireland after 10 years in London. She found that the reality of moving ‘home’ was not quite the return to the fold that she had anticipated. Unexpectedly, this transition marked her symbolic arrival at the precipice of adulthood. Time away and dislocation from Ireland imposed a disruption of the rites of passage between childhood and maturity that are normally cushioned by the stability of family, community and place. Nolan had to grapple with expectations – both her own and other people’s – about how she should fulfil this new responsibility, triggering a re-evaluation of her identity, memory, nostalgia and complex attachment to Ireland.
Continue reading “The Mistress of the Mantle”
Jonathan Mayhew, Wexford Arts Centre, 27 February – 25 March 2017
[Infinite Jest] can’t be read at a crowded cafe, or with a child on one’s lap.
WINNER of the 2015 Emerging Visual Artist Award, Jonathan Mayhew is one of those artists whose work requires a space where you can hear a pin drop. Wexford Art Centre (WAC) is not that space. Perhaps Mayhew’s exhibition of new work would have fared better in the attention stakes during the recession, when such regional art centres were empty saloons in ghostly Westworlds. During my visit, the endless stream of visitors to the cafe and the hoofing of piano peddles with woohooing children upstairs was a sign of the times. But, there is a big BUT to all of this, which I will get to later.
Continue reading “I Wanted to Write a Poem”
Dublin City Gallery, The Hugh Lane, 13 February – 11 June 2017
SARI: Subject. Aspect. Restrictions. Instructions. This useful acronym, which I recommend students to use when analysing an essay title or exam question, came to mind when reflecting on the exhibition currently on display in the Hugh Lane, the title of which is ‘Artistic Migration: Frank O’Meara and Irish Artists Abroad’. 
Applying the first part of this analysis (S and A) to the title of the exhibition, we find that the subject – what it is about – is ‘Artistic Migration’, and the aspect – the narrower theme, the particulars of what it is about – is ‘Frank O’Meara and Irish Artists Abroad’. If this were the title of an essay, I would expect initially to be provided with a definition and discussion of artistic migration in which the following questions might be explored. What is meant by migration? Does it imply living abroad, or merely travelling overseas for extended periods? Does artistic migration mean the movement of artists in one direction only, or is there also a suggestion of exchange?
Continue reading “Artistic Migration: Frank O’Meara & Irish Artists Abroad”
SUSAN MACWILLIAM DISCUSSES HER TOURING SURVEY EXHIBITION ‘MODERN EXPERIMENTS’, WHICH WILL HAVE SHOWN AT F.E. MCWILLIAM GALLERY, THE HIGHLANES GALLERY, UILLIN: WEST CORK ARTS CENTRE AND THE BUTLER GALLERY BY THE END OF 2017.
It’s a strange experience when works come back after an absence, materialising from their coffin-like crates or emerging into the light after a decade or more in darkness and obscurity.
A survey show feels like a form of mediumship. Past worlds collide in the present. These worlds are made by me, fabricated in the studio by different versions of myself at different stages of my life. Some works ‘know’ other works, while others meet for the first time – converging like a gathering of relatives, mapping their family tree with regurgitated connectedness. The ancestors are here, having paved the way for descendants and works born of others. Having multiplied, they gather: siblings, cousins, great grandparents, aunts and uncles. Some are more assertive and demanding, while others lurk quietly in corners. Some take longer to get to know yet persist and linger.
Continue reading “A Séance of Objects & Images”
Sometime back in the early 2000s, I began following a blog by a mysterious character called ‘K-Punk’. K-Punk wrote with rare brilliance – and at astonishing speed – about music and other idiosyncratic preoccupations: J.G. Ballard’s urban dystopias; films by Stanley Kubrick, David Lynch and David Cronenberg; 70s sci-fi TV series; the coastal landscapes of south east England; writers of otherworldly stories like Ursula Le Guin and H.P. Lovecraft; X-Men comics; Christopher Nolan’s Batman; Kate Moss; the England football team. His rapturously eloquent, bracingly erudite posts on pop music – in its various underground and overground forms – were, though, the first to snag my interest. Often, they were hilariously spot-on in their caustic hostility towards sacred cows.
Continue reading “Mark Fisher, 1968 – 2017”
This column was originally published in the January/February 2011 issue of the Visual Artists’ News Sheet.
In my column for this publication a few months ago, I called for a new negativity, in the spirit of Herbert Marcuse’s claim that the proper function of art was to be a “Great Refusal”. What better answer could I get than the massive ‘NO’ painted on the grass of Parliament Square in London during one of the recent series of protests against government cuts in the UK? Only four weeks ago, this kind of negativity still seemed to be only a distant possibility in a place like the UK. When, at a conference on public art and civility organised by SKOR in Amsterdam at the end of October, I suggested that there would soon be expressions of massive public anger in the UK, some of the UK-based delegates were sceptical, accusing me of “revolutionary nostalgia”. I was confident that they were being unduly dismissive – but I still didn’t anticipate the scale of the recent protests.
Continue reading “The Game Has Changed”
TINKA BECHERT REFLECTS ON HER EXPERIENCE OF ART AND SCIENCE RESIDENCIES, INCLUDING THE SPARK RESIDENCY IN LEITRIM.
My father dedicated his life to aerodynamics, turbulence research and the then emerging fields of bionics and biomimicry, so I have been around the sciences most of my life. When I was five, we visited the NASA facilities in Houston. Physics had a tangible aura of excitement and adventure for me, but it was only much later that I began to understand how challenging this highly creative discipline really is. My upbringing instilled a firm belief that human curiosity, wonder and a need for reason are shared driving forces across both the arts and the sciences.
Continue reading “Shadowgraph: Seeing the Invisible”