Uillinn: West Cork Arts Centre, Skibbereen9 March – 10 April 2019 The crisp depiction of County Cork’s Fastnet Lighthouse – tall and erect yet submerged in a sea of blue – opens Geraldine O’Sullivan’s exhibition, ‘Light Keepers’ at Uillinn: West Cork Arts Centre. As one of 14 artworks on display, this painting immediately anchors the viewer in what unfurls as a world of green gushes, titanium white surf and brilliant blue horizons. O’Sullivan’s paintings are accompanied by 11 mixed-media collages that act as visual documentation of the information, stories and anecdotes the artist has encountered since commencing research into the history of lighthouse keeping in Ireland, over three years ago.
Triskel Christchurch, Cork 11 October – 22 December 2018 In large black type, the word “ENDUSER” confronts visitors, while underneath, an inscrutable text begins: “you owe me, big smooth eggs of divine fertility laid out of the window into the endless landscape.” The phrase “you owe me” is repeated throughout this text: “you owe me…snow… strawberries…colour…”. Some, but not all, of the things ‘owed’ also appear in the presented artworks. Penc presented two distinct and consecutive phases of this exhibition, each running for approximately a month at Triskel Christchurch – an eighteenth-century neoclassical Georgian church, which functions as Triskel Art Centre’s main auditorium. The titular artwork, ENDUSER, featured in both iterations,
Studio 12, Backwater Artists Group, Cork 20 July – 17 August 2018 Klaudia Olszyńska’s exhibition at Studio 12 in Backwater Artists Group consists of four mixed-media works that could be best described as ‘expanded paintings’. The exhibition takes its title from the GPS map coordinates of an area revealed via Google maps to be along Fennell’s Bay Road in Myrtleville, County Cork. The resonance of the works is posited (in a paragraph-long contextualisation) as residing in the abandoned buildings present at the places with which they share coordinates. The colour scheme of the works revolves around blacks, greys, off-white plaster shades and diffused, near mould-coloured greens. All contain the downward
KIRSTIE NORTH INTERVIEWS MARY MCCARTHY ABOUT HER NEW ROLE AS DIRECTOR OF CRAWFORD ART GALLERY, CORK. Kirstie North: Congratulations on becoming the new director of the Crawford Art Gallery. I think all of us in Cork were delighted when we heard that you had been appointed. What first attracted you to the Crawford? Mary McCarthy: Well I’m now three months into the job, but a lot of things attracted me to Crawford. The first is its potential, because it really has a very important legacy in the city, and nationally in terms of presenting shows of contemporary art and shows of the collection which are culturally very significant. These are
Sirius Arts Centre, 3 September – 15 October 2017 Pádraig Spillane’s exhibition of new work, ‘What Passes Between Us’, is presented across two galleries at Sirius Arts Centre. Four upright, mild-steel, modular frames, approximately adult height, stand in the centre of the floor in each space. A single sheet of clear PVC is cast across the top of one of the frames, while several wall-mounted digital prints complete the presentation. Two specially-commissioned electronic and vocal sound pieces – composed by Simon O’Connor and sung by Michelle O’Rourke – are transmitted into the galleries from speakers situated on the floor. The minimalist presentation suits these light-filled spaces. In the centre gallery,
Marina Abramovic, Sonja Alhäuser, Domestic Godless, Elif Erkan, Fiona Hallinan, Siobhan McGibbon, Abigail O’Brien, Thomas Rentmeister, Neil Shawcross, Glucksman Gallery, Cork, 25 November 2016 – 19 March 2017 THIS exhibition, curated by Professor John Cryan, Chris Clarke and Fiona Kearney, draws on research by Cryan and colleagues at the Anatomy and Neuroscience department of UCC, in order to “explore how digestion relates to our mental and emotional states”.
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
EMMA DWAN O’REILLY REPORTS ON ‘THE VALUE OF CRITICISM’ SYMPOSIUM, WHICH TOOK PLACE AT THE LEWIS GLUCKMAN GALLERY, CORK, ON 26 FEBRUARY 2016[i] In Ireland, practices of art criticism have continued to develop in a changing landscape. Although things remain unsettled with regards to establishing publications and securing funding, there exists a vibrant energy around writing on art in Ireland in recent years. New publications, writers and editors have emerged with fresh initiatives and ideas, and there has been an increased interest in developing new spaces, publishing platforms and audiences, and in cultivating alternative approaches to writing about art. ‘The Value of Criticism’ symposium examined the role of art criticism
CHRIS HAYES, CO-DIRECTOR OF ORMSTON HOUSE, LIMERICK, DISCUSSES THE TRIALS AND TRIBULATIONS OF ARTIST-LED PRACTICE AS AN INSIDER. Sample-Studios is an artist-run space in Cork. To celebrate its fifth birthday Artistic Director, Aideen Quirke, organised a three-day festival of events. As part of the festivities a panel discussion titled ‘Artist-Led Island’ tackled the topic of artist-led spaces in Ireland. The panel included Moran Been-Noon from Platform Arts Belfast, Lisa Crowne from A4 Sounds in Dublin, David Dobz O’Brien from the National Sculpture Factory in Cork, Gavin Murphy from Pallas Projects in Dublin, Shelly McDonnell, Communications and Advocacy Assistant at VAI, and myself, representing Ormston House in Limerick.