Kevin Burns reviews ‘A Visibility Matrix’ (16 April – 8 June) at Void Gallery, Derry.
Solstice Art Centre, Navan 12 January – 1 March 2019 The exposé of Cambridge Analytica last year showed us how we are complicit in our own surveillance. It’s no longer just footage from omniscient CCTV that tracks us; self-authored social media data is also capable of being harvested, hacked or stolen. And thanks to unscrupulous but canny work of electioneers, the world now has Trump and Brexit to deal with. As the wordplay in the title suggests, the current exhibition at Solstice surveys surveillance-related art from multiple perspectives. The show originates from Centre Culturel Irlandais Paris – Ireland’s cultural outpost in Europe – and is curated by centre director and Belfast
MARY CONLON CATCHES UP WITH INTI GUERRERO, CURATOR OF THE 38TH EVA INTERNATIONAL, CURRENTLY SHOWING ACROSS MULTIPLE VENUES IN LIMERICK CITY. Mary Conlon: In developing the 38th edition of EVA International, you have replaced the standard ‘monolithic’ biennial model with a more complex ecology of exhibitions. Can you explain this curatorial strategy? Inti Guerrero: It is a proposal that corresponds to the simultaneous multiplicity of perception that audiences today have developed, alongside the advent of social media. In other words, in a biennial imagined as an ecology, people can navigate back and forth through entirely distinct bodies of work and different constellations of meaning, and yet not feel the need
REBECCA O’DWYER DISCUSSES HER ONE-YEAR PUBLISHING PROJECT, RESPONSE TO A REQUEST. Response to a Request 1 was an online publication I started in July 2016, and which came to an end, for the most part, in June 2017. Over the course of its brief run, I somehow managed to convince the following people to write for it: Kathy Tynan, Kevin Breathnach, Niamh McCooey, Nathan O’Donnell, Lizzie Lloyd, Adrian Duncan, Joanna Walsh, Ian Maleney, Susan Connolly, Jonathan Mayhew, Darragh McCausland, Emma Dwyer, Sam Keogh, Sue Rainsford, Michael Naghten Shanks, Suzanne Walsh, Ingrid Lyons, Sabina McMahon, Eimear Walshe, Dennis McNulty, Fergus Feehily and Niamh O’Malley. However, as I prepared for the belated closing
KIAN BENSON BAILES DISCUSSES HIS SCULPTURAL AND DIGITAL FABRICATION METHODS. I became interested in identity politics in second year of my Visual Arts Practice degree at IADT Dún Laoghaire. Terms like ‘appropriation’ had begun to penetrate the pop culture sphere, which caused me to evaluate the work I was making in terms of my own cultural perspective. My practice has become an extension of the types of socio-political commentary that have become increasingly prevalent throughout the internet via social media and the public sphere. The internet is a particularly pertinent platform because it offers itself as a vehicle for research, while also providing its own kind of spatial interventions. Historical