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The miniVAN
From gritty urban graffiti to abstract surrealism, The miniVAN deftly navigates the ever-evolving artistic landscape, reflecting the pulse of modern culture.

Inspired by the pioneering spirit of Visual Artists News Sheet, The miniVAN sets out to redefine the landscape of contemporary art, providing a comprehensive platform for both established artists and emerging talents. As we honour the roots of the past, we fervently embrace the spirit of change, envisioning a future where art continues to inspire and challenge the human experience.

Packed with captivating features, exclusive interviews, and thought-provoking editorials, each issue of The miniVAN is a collectible art piece in itself. Readers can expect insider insights, behind-the-scenes anecdotes, and a celebration of the unsung heroes shaping the artistic zeitgeist.

The visionary team behind The miniVAN comprises renowned art writers, respected artists and curators, and passionate creatives dedicated to curating an enriching experience for readers and artists alike.

The miniVAN invites you to embark on an extraordinary journey that transcends the boundaries of imagination. Whether you’re an art aficionado, a budding artist, or simply curious about the transformative power of visual expression, The miniVAN promises to ignite your passion and broaden your horizons, bringing you from the inside of an artist’s studio to the wide realm of creative practices that exist outside of how we think of visual art.

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place

6 posts

Disturbances

05.ak Mechanism 2019
AOIBHEANN GREENAN TALKS TO ANDREW KEARNEY ABOUT THE EVOLUTION OF HIS WORK.  Aoibheann Greenan: One of the first things that strikes me about your work is your use of kinetic technologies. When did your interest in kinetics begin? Andrew Kearney: As an MA Sculpture student at Chelsea College of Art and Design, London, in 1991, I had a large studio space which paired up with meeting other international students, lecturing artists and great technicians. Being able to use dedicated workshops expanded my approach to the work I was developing. Up until then, most of my work lived on walls. But from this point on, it could become more physically engaged…
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04 N25 Douglas From The Series By The Way Dara Mcgrath 2003
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Commonplaces: The Topographical Turn

JUSTIN CARVILLE CONSIDERS THE SHIFTING SIGNIFICANCE OF ‘PLACE’ WITHIN 21ST-CENTURY IRISH PHOTOGRAPHY. The presentation of ‘New Irish Works 2019’ at the Museum of Contemporary Photography – a pop-up space located in Dublin Castle, as part of this year’s PhotoIreland Festival – provides a brief snapshot of the variegated practices of contemporary Irish photography. The diverse projects exhibited in ‘New Irish Works’ range from the personal and the political, to the investigative, formal and conceptual. Phelim Hoey’s ‘La Machine’, for example, explores his diagnosis with Multiple Sclerosis through diaries, sculptural forms and motion studies that reference the anatomising and visual abstraction of technology, modernism and the body in the work of…
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J. Savage
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‘FIX’

Hang Tough Gallery, Dublin20 July – 3 August 2019 An exhibition is the considered placement and grouping of things that talk to each other about, around or alongside certain philosophical and/or conceptual concerns; it is a gathering and expression of ideas or thematic inquiries underlying visual conceits. The exhibition press release can provide a summary of, or guide to, such activity. The conceptual framework for ‘FIX’ was to exhibit photographic work by five artists, that has strayed or become ‘un-fixed’ from the self-defined constraints usually found within their individual practices. The exhibition press release acknowledges the artists’ diverging creative perspectives, while proposing “a common thread of identity and location”.1 Given…
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Klaudia Olszyńska ‘51.791384, -8.291099’

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…
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2.00 Pm October No.3
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Gerry Blake ‘Into the Sea’

Mermaid Arts Centre, Bray 19 May – 30 June 2018 When is a photograph just a photograph? How can we ask questions of the photographic image that interrogate the specificity of the medium, without having the subject matter consume our attention? The flippant answer is that we can’t; or at least it is not possible without turning a blind eye to the material world disclosed through the photographic image. Even the vernacular modernism of the 1950s and ‘60s, which sought to create a culture of ‘photography for photography’s sake’, drew on the flow of everyday life to gesture towards photography’s intrinsic characteristics as a medium of visual communication. These questions…
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Kate Nolan ‘untitled’, 2017, Photographic Print, Image Courtesy The Artist.
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Lacuna: New perspectives on the border in Ireland

Gallery of Photography, September 9 – October 22 The result of the 2016 British referendum on the future of European Union membership has brought about a new era of social and political anxiety regarding the border between the Republic and Northern Ireland. ‘Brexit’ is a neologism that has been mobilised by ultra-conservative politicians and sections of the British media alike, to portray what was in reality a marginal ‘yes vote’, as the inevitable political expression of the zeitgeist of British isolationism and nationalism. On the island of Ireland, Brexit has resurrected the spectre of the border which has haunted Irish politics for nearly a century. Kate Nolan’s exhibition ‘Lacuna’ at…
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