Chris Clarke interviews Richard Proffitt about his recent installation for Cork Midsummer Festival.
How is it Made?
Paul McAree talks about the evolution of Lismore Castle Arts and interviews Niamh O’Malley, whose exhibition is currently showing at St Carthage Hall.
CHRIS HAYES TALKS TO GRACE WEIR ABOUT HER CURRENT EXHIBITION AT THE INSTITUTE OF PHYSICS, LONDON. Fight with Cudgels (c.1820–23) is a painting by Francisco Goya that depicts two men duelling, and with each step, slowing sinking further into the mud below them. Their supposed opposition is a misreading; their struggle is not between two distinct forces, but a situation which they create together and for each other. “With every move they make,” wrote French philosopher Michel Serres, “they are gradually burying themselves together.” The image appealed to Serres as a metaphor for a relationship between two things, in this instance, that of people and the threat of climate
MELISSA O’FAHERTY AND KIERA O’TOOLE DISCUSS THE IRISH CONTEMPORARY DRAWING COLLECTIVE, DRAWING DE-CENTRED. Diverse-nomadic-open-provoke-interim-decenterd-trail-liminal-sift-provisional-testing-scratch. Drawing de-Centred is an artist collective and online platform for exploring contemporary drawing practice and research. In 2016, six professional Irish artists, whose practice is rooted in drawing, first met at a peer critique event, organised by Visual Artists Ireland and chaired by Arno Kramer. Kramer is a visual artist, curator and founder of Drawing Centre Diepenheim in The Netherlands, who champions contemporary drawing in all its diversity. One of the many outcomes of this serendipitous encounter was the establishment of a drawing-focused platform, titled ‘Drawing de-Centred’ (DdC). The title of the collective originated from the
CURATOR DANIEL BERMINGHAM INTERVIEWS ARTISTS EIMEAR WALSHE AND EMMA HAUGH ABOUT THEIR RECENT EXHIBITION, ‘MIRACULOUS THIRST’, AT GALWAY ARTS CENTRE (5 – 25 MAY). Daniel Bermingham: The exhibition title, ‘Miraculous Thirst’, is a totem for shameless desire, in the face of personal sexual trauma. During the development of your show, Ireland responded to a particularly violent period of national sexual trauma. Can you discuss the relationship between personal and collective trauma? Eimear Walshe: Coming from the online lexicon, ‘thirst’ is a playfully condemning word for shameless displays of queer desire. I use ‘miraculous thirst’ to describe persistent, undisguised desire that has been suppressed, under whatever personal or systemic regime. Such
AIDAN KELLY MURPHY INTERVIEWS ÁINE MCBRIDE ABOUT HER EMERGING PRACTICE. Aidan Kelly Murphy: Prior to studying art, you obtained a degree in structural engineering. Was this something you had planned or was it something that just evolved? Áine McBride: It wasn’t some grand master plan. I dabbled in painting, knowing that there was something interesting there, but not knowing how to articulate it; being an artist was never framed as something I could realistically pursue. I was interested in looking at art and had friends who were artists so I had an idea of what was going on, but more from the periphery. About halfway through studying engineering, I knew
KIAN BENSON BAILES DISCUSSES HIS SCULPTURAL AND DIGITAL FABRICATION METHODS. I became interested in identity politics in second year of my Visual Arts Practice degree at IADT Dún Laoghaire. Terms like ‘appropriation’ had begun to penetrate the pop culture sphere, which caused me to evaluate the work I was making in terms of my own cultural perspective. My practice has become an extension of the types of socio-political commentary that have become increasingly prevalent throughout the internet via social media and the public sphere. The internet is a particularly pertinent platform because it offers itself as a vehicle for research, while also providing its own kind of spatial interventions. Historical
MARTIN HERBERT INTERVIEWS RONNIE HUGHES ABOUT HIS TOURING EXHIBITION ‘STRANGE ATTRACTORS’. Martin Herbert: Perhaps we could start with a simple question: Why did you choose the title ‘Strange Attractors’ for this exhibition? Ronnie Hughes: As some people might know, it’s a term from Chaos Theory. I’ve had a layman’s interest in science and science fiction for years. Attractors are determinants within a given system that cause it to take a certain kind of form, while a strange attractor is one that has a fractal dimension. It’s a sequential or mathematical relationship, in part, that I like to use as an analogue for what happens in the paintings. For years, chaos
JOANNE LAWS INTERVIEWS ELIZABETH MAGILL ABOUT HER PAINTING PRACTICE. Joanne Laws: Can you describe your studio setting and your painting routine? Elizabeth Magill: My studio is in a complex with other artists run by the organisation ACME in East London. It’s a 700-square-foot white cube with light coming in from the south and looking onto Mill Row, a narrow one-way street shadowed by a four-storey brown brick and grey concrete block of council flats, built in the 1970s. I’ve been here for a long time, so I’m used to this view. I like its low-level visual interference. I also have a smaller workspace on the Antrim coast, but when I’m
MATT PACKER AND ALISSA KLEIST DISCUSS ‘SCISSORS CUT PAPER WRAP STONE’, A TOURING EXHIBITION BY CCA DERRY-LONDONDERRY. LIKE many curators (and indeed, artists) we often develop ideas by thinking through references or historical incidences that have little to do with contemporary art from the outset. ‘Scissors Cut Paper Wrap Stone’ is a case in point: an exhibition that developed from our discovery of a science fiction novel written in 1994 by author Ian McDonald. The novel led us to understand a rich history of sci-fi produced in Northern Ireland, of which Ian McDonald is a part. He is one in a long line of authors dating back to the late