PÁDRAIC E. MOORE INTERVIEWS VIVIENNE DICK ABOUT HER FRIENDSHIP WITH NAN GOLDIN AND THEIR CURRENT EXHIBITIONS AT IMMA. Pádraic E. Moore: Your exhibition ‘93% STARDUST’ runs concurrently with Nan Goldin’s ‘Weekend Plans’ at the Irish Museum of Modern Art (IMMA). Perhaps we can discuss the milieu yourself and Nan once shared and the parallels between your work? Vivienne Dick: I met Nan just after she arrived in New York. We hung out together throughout my time in the city and shared several interests, particularly music. There are parallels in our early work – we were always aware of that, even at the time. We were tuned into each other’s aesthetic
Project Arts Centre, Dublin, 21 April – 17 June 2017 ‘Colourless Green Ideas Sleep Furiously’ sounds like nonsense, and it is – a phrase coined by Noam Chomsky to be grammatically correct but semantically all over the place. In this ambitious exhibition curated by David Upton, five geographically diverse art practices explore ideas of transient or un-locatable meaning via their own un-locatable objects, objects rendered by impressions and residues, and images deviating between fact and fiction, movement and stasis. A story in the exhibition booklet describes the fate of Byzantine icons bought at a Turkish Bazaar in the 1920’s. Eventually ending up in the National Gallery of Ireland, the icons,
Janine Davidson, Mermaid Arts Centre, Bray, 9 June – 8 July 2017 Janine Davidson’s ‘Into the gravelly ground’ centres on an unusual site at Turlough Hill, County Wicklow. Here, embedded amidst scenic walks, is Ireland’s only pumped hydro-electricity plant. The film work 53012762459 features this structure, its interior and exterior, its machinery and technology. Also depicted is another reservoir at this same location: Lough Nahanagan, which was formed during the Ice Age. Designed to impinge as little as possible upon the environment, the plant’s main station is buried out of sight behind the mountain. In Davidson’s 22-minute film, the structure is so sleek and streamlined that it appears almost tentative, partaking
SUSAN MACWILLIAM DISCUSSES HER TOURING SURVEY EXHIBITION ‘MODERN EXPERIMENTS’, WHICH WILL HAVE SHOWN AT F.E. MCWILLIAM GALLERY, THE HIGHLANES GALLERY, UILLIN: WEST CORK ARTS CENTRE AND THE BUTLER GALLERY BY THE END OF 2017. It’s a strange experience when works come back after an absence, materialising from their coffin-like crates or emerging into the light after a decade or more in darkness and obscurity. A survey show feels like a form of mediumship. Past worlds collide in the present. These worlds are made by me, fabricated in the studio by different versions of myself at different stages of my life. Some works ‘know’ other works, while others meet for the
RAYNE BOOTH INTERVIEWS BARBARA WAGNER AND BENJAMIN DE BURCA ABOUT THEIR PARTICIPATION IN THE 2016 SAO PAOLO BIENNIAL. The 32nd São Paulo Biennial took place in Parque Ibirapuera, a rare green space in the centre of the vast and expansive city of São Paulo. The collaborative practice of Irish artist Benjamin De Búrca and Brazilian artist Bárbara Wagner featured among the biennial’s 81 participating artists. The title of the biennial, ‘Incerteza Viva’ or ‘Live Uncertainty’, echoed recent remarks by Brazil’s new president Michel Temer, who stated recently that the years of uncertainty experienced under a Socialist Party government had come to an end. The biennial strongly emphasised ecological and social
Benedict Drew/Miguel Martin, CCA Derry-Londonderry, 15 October – 11 December I recently took a ‘How Millennial Are You?’ personality quiz while I should have been searching for a job, if you can digest the irony. “You are asleep. Where’s your phone?” was one memorable question. There could only be one answer: “On the pillow next to me”.