Danny Kelly reviews the group exhibition ‘Social Commons’ (2 – 12 May) at Liberty Hall Theatre, Dublin.
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,
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
CHRISTOPHER STEENSON INTERVIEWS DANNY MCCARTHY AND MICK O’SHEA ABOUT THEIR SERIES OF NEW RELEASES, WHICH EMERGED OUT OF THEIR PARTICIPATION IN THE ROBERT RAUSCHENBERG RESIDENCY. Christopher Steenson: How did you both come to be invited to participate in the Robert Rauschenberg Residency on Captiva Island in Florida? Danny McCarthy: An American artist, who was sitting on the selection panel for the Rauschenberg Residency, recommended us. You cannot apply to go on the residency, as it’s by invitation only. I knew we were to be invited on an American residency, but when this arrived in my inbox it was like winning the Lotto – the terms were so generous. In fact,
Ormston House, Limerick 7 – 27 September 2018 Having spent almost an hour visiting the exhibition, ‘Museum of Mythological Water Beasts’ (curated by Mary Conlon and Niamh Brown) I was happily joined by my international colleague, Mat Rappaport, a Chicago-based artist and curator who was holidaying in Ireland. Mat had given a riveting talk on his practice in LSAD the previous day and was keen to explore the vibrant Limerick art scene he had heard about in the States. We walked around the exhibition together and later discussed the merits of the show, which had captured our joint imagination, if for somewhat different reasons. I particularly enjoyed the exhibition’s accumulative
Katherine Nolan, MART, Dublin, 2 – 31 March 2017 KATHERINE Nolan is a performance artist whose work focuses on her body and her image as sites of investigation into the representation and construction of femininity. Her recent series of performances, The Mistress of the Mantle, held at MART, Rathmines, were based on the artist’s experience of returning to Ireland after 10 years in London. She found that the reality of moving ‘home’ was not quite the return to the fold that she had anticipated. Unexpectedly, this transition marked her symbolic arrival at the precipice of adulthood. Time away and dislocation from Ireland imposed a disruption of the rites of passage between
Alice Burns, Charissa Martin, Elaine McGinn, George Robb, Paula Clarke, Stephanie Harrison, Arts and Disability Forum, Belfast, 2 – 22 January 2017 The work of six recipients of the Arts Council of Northern Ireland’s Individual Disabled/Deaf Artists (iDA) grant scheme comes together in ‘Guest 2’, a thought-provoking and challenging exhibition curated by artist Colin Darke at the Arts and Disability Forum Gallery. The exhibition space on Belfast’s Royal Avenue is modest but well-executed, benefitting from large windows and glass walls, which flood the space with natural daylight and create an attractive setting in which to consider the work of this diverse range of artists, whose practices encompass printmaking, photography, glasswork, video
Sarah Browne and Jesse Jones, the Rotunda Hospital Pillar Room, Dublin, 23 – 25 September 2016 The day of the second public performance of Jesse Jones and Sarah Browne’s The Touching Contract fell on a date of heightened emotion for women in Ireland, taking place just hours after Dublin saw thousands take to the streets in the fifth annual March for Choice, part of the campaign demanding that the government repeal the Eighth Amendment. The atmosphere in the Rotunda Pillar Room’s ante-chamber was withdrawn and respectful; the audience appeared fragile. The third chapter of four performative works in the pair’s first collaboration ‘In the Shadow of the State’ was devised in