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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The Mistress of the Mantle

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.

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Brexit & the Arts

VAI is an all Ireland body, which means that Brexit will have a clear impact on us and on all arts organisations across the island who operate either across the border or ROI collaborations with UK organisations, festivals and events.

The unfortunate truth is that the fallout from the vote has already happened. The fall in Sterling has had a direct impact on organisations such as ours that receive funding from Northern Ireland. Around 19% of our funding comes from the Arts Council of Northern Ireland and through our membership in Northern Ireland. With the collapse of the Sterling against the Euro this has now been reduced to around 13%. Continue reading “Brexit & the Arts”

Hennessy Portrait Prize 2016

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.

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The Proximity of History

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.

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Towards a Post -Patriarchal State

­­­­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.

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Do We Live in History?

JOANNE LAWS INTERVIEWS ANDREW DUGGAN ABOUT ‘PROCLAMATION’, A MULTI-VENUE EXHBITION FUNDED BY CULTURE IRELAND.

Two neon signs in a field

A public act

What’s said?

‘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

What’s projected?

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Would You Die for Ireland?

John Byrne, The LAB, Dublin, 24 June – 10 August 2016

The official 1916 commemoration on Easter Sunday was a conservative if dignified solution that marked the de facto centenary of the foundation of our state. Designed to avoid controversy or soul searching, the event sidelined years of colossal social and economic upheaval in favour of a traditional military parade by the Irish Defence Forces. And they did it very well.  In contrast, but arguably hidden safely in the margins, John Byrne’s exhibition ‘Would You Die for Ireland?’ is part of the LAB Gallery’s series of exhibitions supported by Dublin City Council’s Commemoration Fund, which asked artists “to consider what contribution we might make to future readings of the Easter Rising”.

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Advocacy Leads to Results

DIRECTOR/CEO NOEL KELLY DISCUSSES VAI’S RECENT ADVOCACY WORK IN SEVERAL AREAS AND DETAILS HOW THE ORGANISATION WILL BE MOVING FORWARD IN RESPONSE TO RECENT CONCERNS ABOUT POLICY AND FUNDING FOR THE ARTS IN IRELAND.

The arts are back in the news. Every change in government and lead up to a new budget brings with it a renewed expression of the sector’s importance and need for support. It would appear that memories are short, as it seems necessary to repeat the same arguments each time and often to find new ways to express them, as the media become more and more hungry for what is new. In reality, our statements are reiterating the same thing.

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