Ards Arts Centre, 5 – 14 August ‘Creative Peninsula’ doesn’t operate like a curated exhibition because it isn’t one. It bears mentioning yet seems obtuse to point out, given that exhibition making isn’t really what this collection of work is about. ‘Creative Peninsula’ is a yearly presentation by Ards and North Down local authority, the premise of which is simply to showcase artists and makers within the area. As a result, the work within it is hugely diverse in focus, media and rigour. However, as is often seen in similar wide reaching events – studio collective exhibitions, for example, or final-year student presentations – grouping practices solely on shared geography is
Selected from an open call for applications and commissioned by Queen’s University Belfast, Capillarium (2016) by Kevin Killen is a work located outside the recently-built Wellcome-Wolfson Institute for Experimental Medicine, an interdisciplinary research centre building on the Health Sciences campus.
RHONA BYRNE AND YVONNE McGUINNESS SPEAK ABOUT THEIR COLLABORATIVE PUBLIC ART COMMISSION ‘MOBILE MONUMENTS’. Commissioned by Fingal County Council Arts office for their 1916 Commemorative Public Art Commission, ‘Mobile Monuments’ was produced as part of the 1916 Centenary Programme over a six-month period. The project involved three trikes with mobile sculptures, which turned into performance platforms becoming ‘forms in action’. The budget for the project was €35,000 and our proposal was selected through an open call submission with two rounds.
The closing event for ‘Eva 2016: Still (the) Barbarians’ was the culmination of one the most well received Eva exhibitions in recent years. Reflecting the scope and complexity of the biennial itself, the presentations and discussions were diverse and ambitious, representing a range of both Irish and international offerings on postcolonial discourse. Curator Koyo Kouoh began by introducing Alan Phelan’s “counterfactual” film Our Kind (2016), which imagines a future for Roger Casement had he not been executed in 1916.
David Fagan, Tactic, Cork, 23 June – 20 July 2016 Sometimes I find it interesting, on my first encounter with an exhibition, to pretend I am illiterate. A brightly lit, concrete-floored rectangle. A white sentence on a red floating partition. Three separate clusters of green glass beer bottles. On one wall, a black and white photograph of four suited and bespectacled persons unknown; on the opposite, a colour photograph of two men in a pub, one to the rear, one to the fore. A pedestal upon which a ticket and ticket receipt are propped, another sentence in the crook of the wall, this time in red. A video, one moment showing
Farmleigh Gallery, Dublin, 10 June – 7 August ‘Two Birds/One Stone’ is an absorbing exploration of materiality. Janet Mullarney has chosen works by a wide range of artists from the last two decades which explore the complexity, tactility and associative power of materials. The exhibition features work by Cecily Brennan, Dorothy Cross, Maud Cotter, Aleana Egan, John Gibbons, Tony Hill, Mary Kelly, Alice Maher, Eileen McDonagh, Locky Morris, Paul Mosse, Helen O’Leary, Niamh O’Malley, Adrian Paci, Rachel Parry, Alan Phelan, Kathy Prendegast, Linda Quinlan, David Quinn, Eddie Rafferty, Charles Tyrrell, Michael Warren and Daphne Wright.
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
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
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
DOMINIC STEVENS (DUBLIN SCHOOL OF ARCHITECTURE, DIT) AND SOPHIA MEERE (LANDSCAPE ARCHITECTURE, UCD) DISCUSS THE ‘FIELDWORK LETTERFRACK 2016: ALTER-RURALITY’ CONFERENCE, WHICH THEY RAN 6 – 9 JUNE IN RURAL CONNEMARA. What starts to happen when artists, architects, landscape architects, farmers, practitioners and researchers from all around Europe meet to discuss rural life? This June, in Letterfrack, Connemara, an event was held to find out. Three Irish universities (University College Dublin, Dublin Institute of Technology and Galway Mayo Institute of Technology) gathered together 65 researchers, practitioners, teachers and advisors, all engaged with rural life and interested in its future, from 30 different organisations and 10 different countries, for exchange of ideas