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Installation

Time Tries all Things

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

Drawing de-Centered

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

‘Lectus’

MART Gallery, Dublin10 January – 14 February 2019 This is the third year of MART’s Exhibition Award, in partnership with CIT Crawford College of Art & Design (CCAD) and Fire Station Artists’ Studios (FSAS). Curated by Deirdre Morrissey, ‘Lectus’ platforms the work of Èanna Heavey, Sarah Diviney (both CCAD graduates) and IADT graduate Emma McKeagney. On that day in January when winter finally decided to bite, the 12-foot red doors of the Fire Station Gallery gaped open. In its jaws, a yellow bathtub, half full of cloudy murk, sits almost fallow but for a motionless floral dress, stained with an indistinct darkness. This is the sculptural residue of Diviney’s performance,

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

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

Tomas Penc ‘ENDUSER’

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,

Maud Cotter ‘a consequence of – without stilling’

Limerick City Gallery of Art 30 September 2018 – 6 January 2019  The fundamental experience generated by Maud Cotter’s solo exhibition, ‘a consequence of – without stilling’, at Limerick City Gallery of Art (LCGA) is appropriately described in the exhibition text as “a mercurial landscape of the mind… a place where matter and consciousness mix”.  Cotter, who was one of the founders of the National Sculpture Factory, Cork, displays an uncanny understanding of, and meticulous control over, the materials she uses, as dramatically evident in two large-scale sculptures: without stilling (2017–18), a skilfully imagined construction, produced entirely of finely cut Finnish birch ply in the South Gallery; and matter of fact

Phil Collins ‘This Is The Day’

The MAC, Belfast 10 August – 21 October 2018 So often, when artists reach a certain level of recognition, when the money rolls in and they are showered with very large budgets to play with, their integrity melts into air. They find themselves driven by the market, their hard-fought methods and concepts diluted by the establishment that supports them. Happily, Phil Collins is a rare exception to this rule and this show at the MAC provides evidence of his continued growth over the years. The centrepiece of ‘This is the Day’ is the hour-long film, Ceremony (2017), commemorating the Russian Revolution. It tells the story of Collins’ relocation of a

Seamus Harahan & Thomas McCarthy ‘my comfort and my joy: Songs from the Irish Other’

Douglas Hyde Gallery, Dublin 19 September – 17 November 2018 Shot on a Hi8 video camera in Seamus Harahan’s familiar, bare-bones style, the film at the heart of this exhibition is presented as an episodic, fragmented documentary, displayed across an array of antique monitors and makeshift screens. With a miscellany of other objects scattered around the gallery space – an old paperback of Knut Hamsun’s Hunger, an enamelled teapot, a Sleaford Mods record – the ramshackle installation feels a little like a car-boot sale. Fancier notes are provided by a copy of a famous tapestry, which functions as a kind of backdrop and a single Eames aluminium chair.1 Less fancy

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