University of the World

PÁDRAIC E. MOORE INTERVIEWS VIVIENNE DICK ABOUT HER FRIENDSHIP WITH NAN GOLDIN AND THEIR CURRENT EXHIBITIONS AT IMMA.

Pádraic E. Moore: Your exhibition ‘93% STARDUST’ runs concurrently with Nan Goldin’s ‘Weekend Plans’ at the Irish Museum of Modern Art (IMMA). Perhaps we can discuss the milieu yourself and Nan once shared and the parallels between your work?

Vivienne Dick: I met Nan just after she arrived in New York. We hung out together throughout my time in the city and shared several interests, particularly music. There are parallels in our early work – we were always aware of that, even at the time. We were tuned into each other’s aesthetic from the beginning. There’s a documentary feel to our early work and several of the individuals that one might see in my films also frequently feature in Nan’s images. After the New York period, we met sporadically in different places and Nan travelled to Ireland, visiting Galway, Donegal and Tory Island. The IMMA show features images taken during those trips she made to the west of Ireland.

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Colourless Green Ideas Sleep Furiously

Project Arts Centre, Dublin, 21 April – 17 June 2017

‘Colourless Green Ideas Sleep Furiously’ sounds like nonsense, and it is – a phrase coined by Noam Chomsky to be grammatically correct but semantically all over the place. In this ambitious exhibition curated by David Upton, five geographically diverse art practices explore ideas of transient or un-locatable meaning via their own un-locatable objects, objects rendered by impressions and residues, and images deviating between fact and fiction, movement and stasis. A story in the exhibition booklet describes the fate of Byzantine icons bought at a Turkish Bazaar in the 1920’s. Eventually ending up in the National Gallery of Ireland, the icons, separated from their original place and function (and unable to return to a home that no longer exists), have been opened up to new kinds of meaning and attachment. The exhibition booklet usefully outlines some aspirations, among them, “To open discussion around ideas of dissolution and dispossession, loss, of cultures in crisis and futures altered, of cataclysm – and [ask] what happens after all of this?” That’s a lot to ask of a single exhibition, but the fate of the icons becomes a unifying concept, a paradoxically fugitive underpinning.

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Into the Gravelly Ground

Janine Davidson, Mermaid Arts Centre, Bray, 9 June – 8 July 2017

Janine Davidson’s ‘Into the gravelly ground’ centres on an unusual site at Turlough Hill, County Wicklow. Here, embedded amidst scenic walks, is Ireland’s only pumped hydro-electricity plant. The film work 53012762459 features this structure, its interior and exterior, its machinery and technology. Also depicted is another reservoir at this same location: Lough Nahanagan, which was formed during the Ice Age. Designed to impinge as little as possible upon the environment, the plant’s main station is buried out of sight behind the mountain. In Davidson’s 22-minute film, the structure is so sleek and streamlined that it appears almost tentative, partaking in the muted tones of the naturally-formed lough. The camera, replete with slight shudder, moves between various viewpoints: we are on a bridge, we catch glimpse of an open door, we are looking at a stunted, top-heavy tower emerging from the water. Importantly, the film makes no distinction between the two formations, and the lens portrays the machines and their inferred functionality with the same quiet, detached observation as it does the rock face and the water.

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A Séance of Objects & Images

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.

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You Are Seeing Things

RAYNE BOOTH INTERVIEWS BARBARA WAGNER AND BENJAMIN DE BURCA ABOUT THEIR PARTICIPATION IN THE 2016 SAO PAOLO BIENNIAL.

The 32nd São Paulo Biennial took place in Parque Ibirapuera, a rare green space in the centre of the vast and expansive city of São Paulo. The collaborative practice of Irish artist Benjamin De Búrca and Brazilian artist Bárbara Wagner featured among the biennial’s 81 participating artists. The title of the biennial, ‘Incerteza Viva’ or ‘Live Uncertainty’, echoed recent remarks by Brazil’s new president Michel Temer, who stated recently that the years of uncertainty experienced under a Socialist Party government had come to an end. The biennial strongly emphasised ecological and social issues, while a huge educational programme of school visits, tours and special events attempted to bridge the distance between the concerns of the art world and those who inhabit the city’s boundless favelas and low income suburbs.

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The Saw Tooth Wave/Put to the Sword

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”.

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