PÁDRAIC E. MOORE DISCUSSES ‘ECTOPLASM’, AN EVENT HE INITIATED AT 1646 PROJECT SPACE LOCATED IN THE HAGUE, THE NETHERLANDS.
‘Ectoplasm’ was a one-off, nocturnal event hosted by 1646, a project space in the centre of The Hague. The event, which comprised performances, screenings, participatory actions, readings and physical objects, was the culmination of a curatorial residency I undertook at 1646 in 2015. In addition to a programme of exhibitions, 1646 hosts artists talks, screenings, lectures and events, providing a platform for experimental art practices as well as short-term residencies for foreign artists and curators. The residency provides participants with both a working studio and living space. I was delighted to spend time in The Hague, the administrative capital of the Netherlands. As well as the appeal of the city’s ever-expanding arts scene, the Gemeentemuseum also houses several key works by one of my favourite artists, Piet Mondrian. While one isn’t obliged to present a public project at 1646, I was eager to share some of my recent research with new audiences. ‘Ectoplasm’ brought to fruition the dialogues I had developed with practitioners from the Netherlands and further afield.
Continue reading “Beyond Matter: Phantasmagoric Fluid”
Benedict Drew/Miguel Martin, CCA Derry-Londonderry, 15 October – 11 December
I recently took a ‘How Millennial Are You?’ personality quiz while I should have been searching for a job, if you can digest the irony. “You are asleep. Where’s your phone?” was one memorable question. There could only be one answer: “On the pillow next to me”.
Continue reading “The Saw Tooth Wave/Put to the Sword”
Mary Patterson, Ballina Arts Centre, 10 November – 31 December 2016
Arriving at Ballina Arts Centre on a wild November morning and seeing the River Moy in flood, the logic of Mary Patterson’s exhibition seems very clear: to try to find responses to nature through art. The appropriately named ‘Paper Trails’ features a series of works on paper created through a formidable range of drawing and printmaking processes. Patterson’s use of diverse techniques forms part of her quest to identify a medium and a language that can convey the beauty and complexity of nature. The artworks that feature in the exhibition are displayed in the open-plan landing space that curves out towards the adjacent River Moy. This light, airy space provides an ideal setting for the works in close proximity to nature.
Continue reading “Paper Trails”
National Gallery of Ireland, Dublin, 26 November 2016 – 26 March 2017
There are 14 portraits in this exhibition of shortlisted works. Surrounding the viewer on all sides, in each one a lone figure is presented (why no couples or groups?) and this singular focus contributes to the sense we’re in the company of deities. There are also a lot of big heads, their presence dominating the small room at the top of the Millennium Wing’s forbidding stairs. Of course the figure of the artist is also present, directly in the self-portraits, or otherwise implicated. Open to artists in all disciplines, the shortlist consists mostly of paintings, nine in total, along with two photographs, a graphite drawing, a digital drawing and a video projection onto a terracotta bust.
Continue reading “Hennessy Portrait Prize 2016”
JOANNE LAWS INTERVIEWS ALISTAIR HUSDON, DIRECTOR OF MIMA AND CO-DIRECTOR OF ARTE ÚTIL.
In 2014, Alistair Hudson was appointed director of Middlesbrough Institute of Modern Art (mima), part of Teesside University. From 2004 to 2014, Alistair was deputy director of Grizedale Arts – a contemporary arts residency and commissioning agency in the central Lake District in rural Northern England. In keeping with the principles of Arte Útil, mima describes itself as a ‘useful’ museum, established through ‘usership’ rather than spectatorship.
Continue reading “1:1 Scale”
MICHAËLE CUTAYA INTERVIEWS DANIEL JEWESBURY, CURATOR OF TULCA FESTIVAL OF VISUAL ARTS 2016 (5 – 20 NOVEMBER 2016).
Michaële Cutaya: You are the curator of this year’s TULCA and your theme is ‘The Headless City’. The city is a central concern in your work as a writer, curator and filmmaker. Previous projects such as ‘Re-Public’ (Dublin, 2010) and ‘The Headless City’ (Berlin, 2014) explored our relationship with the city and its spaces. Can you describe how this inquiry will manifest in Galway this month?
Daniel Jewesbury: What is interesting for me about the city of the industrial era (Galway has never been an industrial city but it was part of the industrial era) and what is the starting point for this TULCA, is how we historically moved to the city to escape certain types of social and economic ties that were very much linked to place. We exchanged bonds of obligation, religion and family for other types of bonds. There was this idea that in the city you got a certain type of freedom as a worker in exchange for selling labour. This process underpins the birth of socialism and social democracy, movements based on class affiliation and class interest rather than rootedness, family, clans and so on.
Continue reading “The Headless City”
We work exceptionally hard in the arts. Whether working day in, day out in studios, travelling the length and breadth of the country, grant-chasing, freelancing or maintaining real jobs at the fringes of day jobs, we move mountains every day. While critical reflection is an inbuilt methodology of what we do, how often do we actually pause to reflect on our progress or marvel at our achievements? As the final Visual Artists’ News Sheet of the year, this issue is positioned to consider recent developments across our sector, while assessing some of the challenges that remain.
Continue reading “The Proximity of History”
JOANNE LAWS INTERVIEWS SARAH BROWNE AND JESSE JONES ABOUT THEIR ONGOING PROJECT ‘IN THE SHADOW OF THE STATE’.
Joanne Laws: Perhaps you might explain how your collaboration came about and introduce some of your initial ideas in developing this major new project?
Sarah Browne/Jesse Jones: We’d known each other’s practices for many years and felt that at some stage we would find the right opportunity to work together. In 2014, we started discussing a potential collaboration with Patrick Fox (then Director of Create), and later Rachel Anderson (then producer/curator at Artangel, London). We attempted to identify the greatest urgencies for us as artists at that time and felt there was a renewed need to examine and refigure the position of women in relation to a patriarchal nation state. From the beginning of our work together, law and its instruments have been a critical focus. The Irish Sea also loomed large in our imagination.
Continue reading “Towards a Post -Patriarchal State”
JOANNE LAWS INTERVIEWS ANDREW DUGGAN ABOUT ‘PROCLAMATION’, A MULTI-VENUE EXHBITION FUNDED BY CULTURE IRELAND.
Two neon signs in a field
A public act
‘It Only Remains’ (into the night)
(out of the dawn) ‘Until Such Time’
Explicit or evocative, for discourse or meditation
A spell to conjure a desired state of affairs
A declaration that a state of affairs pertains
Sounds: between crying and sighing
Continue reading “Do We Live in History?”
Sarah Browne and Jesse Jones, the Rotunda Hospital Pillar Room, Dublin, 23 – 25 September 2016
The day of the second public performance of Jesse Jones and Sarah Browne’s The Touching Contract fell on a date of heightened emotion for women in Ireland, taking place just hours after Dublin saw thousands take to the streets in the fifth annual March for Choice, part of the campaign demanding that the government repeal the Eighth Amendment. The atmosphere in the Rotunda Pillar Room’s ante-chamber was withdrawn and respectful; the audience appeared fragile.
The third chapter of four performative works in the pair’s first collaboration ‘In the Shadow of the State’ was devised in consultation with local women.  Feminist legal scholar Mairead Enright wrote the ‘legal score’ for the work, drawing on the archive of legal documents relating to the treatment of Irish women by the state and by the medical profession, both here and in the UK. This source material reveals a sorry history of medical misdemeanors and the enforced adoption of illegitimate children. The artists view this legacy as a history of violence against women and, given the horrors endured by survivors of symphysiotomy  and those who suffered incarceration at the hands of the church (in the Magdalene Laundries for example), it is difficult to argue otherwise.
Continue reading “The Touching Contract”