At the Fade

Birr Arts Centre, 16 October – 1 December 2017

I rarely turn down an offer to travel to Birr, a heritage town with multiple architectural attractions. One of these is the Oxmantown Hall (a former parish hall built in 1888), now Birr Theatre and Arts Centre. Open in its current form since 2000, the renovated building is a jewel of Irish architectural history and a modern hub of arts activity for the town and surrounding region. The building faces a row of impressive terraced Georgian houses on a street that is shouldered by the ornate St Brendan’s Church. I travelled to Birr to see Brígh Strawbridge-O’Hagan’s show ‘At the Fade,’ which was installed in the front foyer of the building. I spent a few minutes knocking on the front door, before finding myself chatting with staff and drinking coffee while looking over the show. In many ways, this was the perfect preamble to thinking about the exhibited work, not least because I got time to reflect on my wonderful memories of Birr (having spent time there as a teenager), but also because memory – in some form or another – seems to be elicited intentionally in the brave simplicity of Strawbridge-O’Hagan’s work. Continue reading “At the Fade”

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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Exile & Perception

CURATOR SANDRA KRIŽIĆ ROBAN TALKS TO DRAGANA JURIŠIĆ ABOUT HER BOOK YU: THE LOST COUNTRY, AND HOW THE ARTIST’S PERSONAL HISTORY AS AN EXILE DETERMINES HER WORK AND HER PERCEPTION OF THE WORLD.

Sandra Križić Roban: In the last couple of years we have witnessed a surge in the number of publications and research works that deal with the former Yugoslavia. While some focus on the legacy of post-war modernism, and others on the post-1990s period and the social divisions that transpired as a result, there are also a significant number that deal with the writer’s own family history and the pursuit of identity. I want to know about how you came to do it. Why is heritage important to you? What have you found out about yourself during this research, and how did you perceive your own family? Did anything change from the things you already knew?

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