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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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Internationalism: Imagined Communities

MATT PACKER CONSIDERS THE DISTRIBUTIVE POWERS OF ART WORLD COMMUNICATION. In his landmark and often-cited book, Imagined Communities, Benedict Anderson describes the links between the development of the printing press and the birth of public national consciousness. He describes how the facility of printing text in vernacular languages became instrumental in identifying, conceptualising and shaping an audience of readers. The strategies of producing and distributing books and newspapers from the 16th century onward became a way of qualifying the reach and bounds of that language-community, in the logical evolution towards a self-conscious form of nationalism that would find its full expressions years later. Anderson describes the ceremony of the reader…
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Solstice Surveille.e.s High Res 57 Colour Correction
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‘Surveillé·e·s’

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…
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Sanja Ivekovic Lady Rosa Of Luxembourg 07
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Dismantling the Monolith

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…
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Stephen Sexton
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Leaving Little Trace, But Whispers…

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…
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Spatial Assemblage

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…
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