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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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Critique: ‘In Transit’

Venividi.ie Cag In Transit 09 High Res
Curated by Peggy Sue Amison, ‘In Transit’ delicately weaves together photography and moving image works which hold and honour profound stories of human migration, collectively representing lived realities across various regions. The people featuring in Daniel Garcia’s series, Foreigner, are African and mostly men. The work comprises photography, video and audio, which in some cases involves collaborative processes. Each piece is accompanied by a text, which deepens the context and causes the viewer to pause and reflect. In the audio work, Only Way, we listen to Ousman Kanteh’s partial story of his difficult journey across the Mediterranean Sea. This first-hand account emphasises the emotional trauma that so many have experienced…
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05.ak Mechanism 2019
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Disturbances

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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Zombie Line Greendot
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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…
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Image 8 Cliona Harmey 'rain', (2002) , Standard Dv Video Installation, Duration 5.53
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BEAUFORT (“about the weather”) / Simulations / White Line Series

Solstice Arts Centre, 25 August – 13 October 2017 On show at Solstice Arts Centre are three solo exhibitions by different artists, each with their own title and separate room. Free from a fixed or unifying theme, the exhibitions are loosely bound by a general sense of abstraction within the artists’ creative processes, along with some allusion to local history, heritage or landscape. Upon entering the first space, David Quinn’s works appear minimalistic, with a series of nine intimately-sized pieces in muted colours. The strength in Quinn’s works emerges when we draw closer and discover the detail present. The works are built up of layers that variously comprise gesso, oil…
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