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Synontic State

ÁINE PHILLIPS REFLECTS ON TULCA FESTIVAL OF VISUAL ARTS 2018, CURATED BY LINDA SHEVLIN. A person in complete accord with their environment is described as being in a ‘syntonic state’. Curated by Linda Shevlin, this year’s edition of TULCA Festival of Visual Arts in Galway examined this concept. The artists, thinkers and writers assembled by Shevlin offered different perspectives on this theme, generating various possibilities for viewers to attain syntonic experiences through art. A vibrant example of human and environmental accord was created on the opening night by Aoibheann Greenan with The Life of Riley. Taking the form of a street procession, led by a lone piper, the work involved

Dream Analysis

PÁDRAIC E. MOORE INTERVIEWS IRISH ARTIST DOIREANN O’MALLEY ABOUT HER RECENT SOLO EXHIBITION AT DUBLIN CITY GALLERY THE HUGH LANE. Pádraic E. Moore: Before we discuss your recent work, perhaps you can offer some insights into your background? Doireann O’Malley: I was born in Limerick and lived there until the age of nine, returning in 1999 to study Sculpture and Combined Media at Limerick School of Art & Design. Gerard Byrne, who has been a formative influence on my practice, was teaching there at the time. After this, I completed an MA at the Belfast School of Art, studying under Willie Doherty. At the time, I was working mainly in

Productive Friction

KEVIN BURNS REVIEWS THE FOURTH AND FINAL INSTALMENT OF VAI’S NEW SPACES EXHIBITION PROGRAMME IN DERRY. It’s about four in the afternoon: I’ve just bothered someone in an office to buzz me up to the first floor; I ascend a grand Georgian staircase, lined with Rothko posters; I wait while they switch everything on; and now I’m watching a stage eat itself. There are four metal scaffolds with stage lighting, mirrored in quadrants, cyclically contracting then expanding, like industrial foliate. Out of the corner of my eye, I notice that a progress bar has appeared at the top of the screen, with a timer counting 3, 4, 5 – then

‘Infrastructures of Now’

NCAD Gallery, Dublin21 September – 30 November 2018 The glass modernist façade of the NCAD Gallery may be considered a portal into the machine itself. To function, this machine depends on an engaged, creative, intellectual exchange between students, researchers, lecturers and artists, who are in turn inherently dependent on the infrastructures and resources the machine affords them. ‘Infrastructures of Now’, curated by Anne Kelly, interrogates this interdependency, critically addressing questions of autonomy, institutional expectations and the technical methodologies and languages engaged by the contemporary practitioners it frames. The works featured in this exhibition have at some point – either notionally or physically – passed through the engine rooms of this

Ronnie Hughes & Evgeniya Martirosyan ‘Outflow’

126 Artist-Run Gallery, Galway 16 – 29 July 2018 ‘Outflow’, a two-person show at 126 Artist-Run Gallery, was one of the highlights of this year’s contemporary art offerings at the Galway International Arts Festival. It was a thoughtful and considered pairing of two very different artists, curated with sensitivity by Stephan Roche. The intricate, puzzle-like, abstract paintings of Ronnie Hughes were teamed with Evgeniya Martirosyan’s sculptural mechanisms and enigmatic film. The two bodies of work both contrasted and complemented each other, each presenting different interpretations on themes of accumulation, pattern and system theories. Numerous abstract figures and forms populate Hughes’s intimately-sized paintings, which draw the viewer in close. I was

University of the World

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

Colourless Green Ideas Sleep Furiously

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,

Into the Gravelly Ground

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

A Séance of Objects & Images

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

You Are Seeing Things

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

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