ALAN PHELAN TALKS TO MARY CREMIN ABOUT HER NEW ROLE AS DIRECTOR OF VOID, DERRY.
Odd as it sounds, there is something slightly Scandinavian about Derry. Maybe it’s post-conflict Northern Ireland and the almost socialist democratic prosperity that peace has brought to the region. Industry may not have taken off just yet, but public services appear to be well-funded. The abundance of cultural centres is also mirrored by a bemusing abundance of hair salons – something that is comparable with Helsinki. Perhaps the harsh northerly climate brings with it serious approaches to both art and hair care. Derry’s various galleries inhabit historic spaces, yet have a very contemporary outlook that draws big names to this small city. I recently visited Mary Cremin, the newly appointed director of Void, to discuss her new role and her future ambitions for the gallery. Continue reading “Where History Begins Again”
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”