Headline »

ACW and RHA, Futures Series 3, Episode 2 with Dublin Youth Dance Company

December 17, 2018 – 5:28 pm |

Working closely with the RHA, Katy Fitzpatrick and Róisín Bohan for the Public Engagement and Learning program for the current Futures exhibition, ACW students, Brendan Fox, Natalie Pullen and Éimear Regan developed a workshop loosely …

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Exhibitions

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Events, Exhibitions »

Memento Aldi, Danny Kelly at deAppendix

November 9, 2018 – 8:34 am |

Memento Aldi, Danny Kelly at deAppendix, 30 Ardagh Grove, Blackrock.

Run: 23rd Oct – 7th Dec 2018

Memento Aldi is an installation of Danny Kelly’s recent painting at DeAppendix. Kelly’s work elaborates a subjective sphere of heterogeneous features comprising tropes of painting culture and items of biographical significance. A protean topography traverses the work’s pictorial content, objective environmental and material properties, and interpreted public and personal cultures – intimations of chart music and domestic miscellanea. Dynamics of disintegration and consolidation alternate, suggesting an accidental crucible breeding ephemeral hybrids. A visceral, crudely drawn practice emerges – playing with cohesiveness, personal identity and public visuality – and is embraced as a pidgin chart music.

Further info : contactdeappendix@gmail.com / 012785866

deAppendix is a cultural space co-located with a GP surgery and hosts a calendar of contemporary art exhibitions and artists talks. Through it’s programme deAppendix challenges how such spaces are activated and in so doing questions accepted norms for this genre of space. deAppendix is a project by Ciara McMahon whose art practice frequently examines the potential for hybridity between the disciplines of Art and Medicine. For further information see: www.deappendix.wordpress.com, or find us on Facebook, or we can be contacted at contactdeappendix@gmail.com

Collaboration, Events, Exhibitions, Headline, In Conversation, News »

Liam Gillick in conversation with the MA Art in the Contemporary World

November 12, 2018 – 1:53 pm |


ACW in conversation under Liam Gillick’s Discussion Island at the Return Gallery. Photo by: Louis Haugh

Goethe Institut Irland
37 Merrion Square
Dublin 2

Wednesday
21st November
6PM

On the occasion of Liam Gillick’s exhibition A Depicted Horse is not a Critique of a Horse at the Kerlin Gallery (23rd November – 19th January) and his Denominator Platform 2018, specially commissioned for the Return Gallery at 37 Merrion Square in connection with Common Denominator: Art in the Contemporary World at the Goethe-Institut, a two-year programme that takes as its starting point Walter Gropius’s term, from which collective knowledges progress. Through exhibitions, events, seminars and more we will interrogate and inhabit what it means in our time to speak of political solidarity, civic standards, or even aesthetic values, and to consider the relation between common commitments and necessary possibilities of individual belief, expression and action.

All welcome. Please note space is limited. Arrive early to avoid disappointment.

Supported by the Goethe-Institut Irland, in collaboration with the National College of Art & Design. Courtesy the Kerlin Gallery.

Contacts
Rosa Abbott
Kerlin Gallery
+353 1 670 9093
gallery@kerlin.ie

Éimear Regan
Art in the Contemporary World
ncadacw@gmail.com
www.acw.ie

Heidrun Rottke
Goethe-Institut Irland
+353 1 680 1100
heidrun.rottke@goethe.de

Collaboration, Events, Exhibitions, Headline, News »

Make Haste, Slowly at the Return Gallery

November 16, 2018 – 5:25 pm |


Photo Credit: Louis Haugh

Make Haste, Slowly
Return Gallery Goethe-Institut Irland, 37 Merrion Square, Dublin 2.

A collectively curated, scripted, performed, and presented exercise in radical pedagogies by the MA Art in the Contemporary World: Jack Cole, Dominique Crowley, Padraig Cunningham, Stephanie Deady, María del Buey, Tamara Derksen, Nicole Di Sandro, Brendan Fox,
Kate Friedeberg, Valerie Joyce, Seánan Kerr, Heidee Martin, Grainne Murphy, Orlaith Phelan, Natalie Pullen, Éimear Regan, and Laura Skublics.
With artworks and collaborations featuring Basil Al
Rawi, Jane’s Bees, Jasmin Marker, Repeater Collective, Noel Sheridan, John Smith, and David and Sally Shaw-Smith. Presented in the context of Liam Gillick’s Denominator Platform 2018, specially commissioned by Art in the Contemporary World for the Return Gallery.
Make Haste, Slowly is part of Common Denominator: Art in the Contemporary World at the Goethe-Institut, a two-year programme that takes as its starting point Walter Gropius’s term, from which collective knowledges progress. Through exhibitions, events, seminars and more we will interrogate and inhabit what it means in our time to speak of political solidarity, civic standards, or even aesthetic values, and to consider
the relation between common commitments and necessary possibilities of individual belief, expression and action.
Art in the Contemporary World is Ireland’s leading taught MA at the National College of Art & Design in Dublin.
Our students are avid researchers whose focus is to advance a project with the aim of understanding, interrogating,
and expanding the role of contemporary practices and their contexts. ACW is led by Francis Halsall, Declan Long and Sarah Pierce.
Supported by the Goethe-Institut Irland in collaboration with the National College of Art & Design. Special thanks to the Kerlin Gallery and IMMA | Irish Museum of Modern Art.


Opening
30th November 2018 6 – 9pm
Exhibition runs through 12th January 2019
.

Exhibitions, Headline, Reviews, Uncategorized, Writing »

Review: Furtive Tears by Niamh McCann at The Hugh Lane Gallery by Brendan Fox (ACW)

November 22, 2018 – 3:43 pm |

A New Occult and Encounters with the Invisible Man

A review of Furtive Tears, 4 October 2018 – 6 January 2019 by Niamh McCann at The Hugh Lane Gallery, Dublin, 2018.

Rodin's The Age of Bronze AKA The Awakening Man AKA The Vanquished One (masked) - Box Steel Frame, Walnut Burl Veneer Panel, Painted Panel, nuts and bolts, The Age of Bronze by Auguste Rodin from Dublin City Gallery The Hugh Lane’s collection - 2018.Photo Credit: Ruarí Conaty.

Occultation; n. (Astronomy); The passage of a celestial object across the line of sight between an observer and another celestial object; as when the moon moves between the Earth and the sun in a solar eclipse.

Beckoning us through ghostly operatic echoes as we ascend the stoic neoclassical staircase of the Hugh Lane Gallery, McCann’s video work Furtive Tears, Salomé’s Lament eventually drenches us in
an opulent fusion of Richard Strauss’s Salomé and Donizetti’s Una Furtiva Lagrima from here the hybridism of language and landscape becomes only more strange.

An imposing screen seduces us. Boris, a suited man, appears to await our arrival and scales the grandiose marble staircase of Belfast City Hall in a pair of red high heels. In a duo of impassioned tableau vivant’s he mimics the stance of Sir Edward Carson’s statue, situated at Stormont Castle, Belfast, followed by the Jim Larkin monument on O’Connell Street, just meters away. Both prominent twentieth century political figures immortalised in a state of dramatic public address. Outside the gallery they tower over contemporary cities fraught with new political uncertainties, their power redundant, their bodies now relics cast in silence. McCann breathes a last breath into their predominance and within it gives us space to reassess our own position in relation to both historic and contemporary power structures.
In the following scene we follow Boris’s continued ascension as he scales the Ridge View of Black Mountain leaving Belfast city behind having swapped his suit for a panda costume. Still wearing his red shoes, we witness him meandering through dewy grass, climbing fences and encountering mildly inconvenienced cows. He again mimics these political ghosts but this time the man is hidden, masked, he has become a cartoon. The dramatic inhabitance of these two iconic statues becomes a pathetic historical indistinct echo falling on deaf ears. We see his physical intentions without the details of expression, he is present but not apparent, something has passed between us and him obscuring our perspective, our reality.

This notion of occultation is pushed further in the adjoining gallery as we encounter our third immortalised male figure in a work wryly entitled The Age of Bronze AKA The Awakening Man AKA The Vanquished One (masked) pertaining to Rodin’s multi named bronze cast male figure (1876-77), a piece from the Hugh Lane Collection. McCann encases the gallery’s own Age of Bronze in a sharp green box frame, his head and upper body obscured with two panels, one blue the other a walnut burl veneer. This is a mongrel of the opposing sides of modernism but beyond its formal and art historical loft dwells a new space for interpretation. Through McCann’s geometric addition the figure of the naked bronze solider appears vulnerable, even caged. As the linear mechanism contrasts with the details and curvatures of his lower anatomy a palpable intimacy develops, yet he cannot “see” us, he is a pawn in a statement, to be looked at but not fully engaged with.

These historic male statues and monuments bare a contemporary vulnerability. McCann is redistributing notions of power and how we perceive it. She confidently harnesses these icons like a child might put batteries in an old toy and asks us to look again. Paradoxically there is a sense of the prophetic here, these historic regurgitations feel immediate and succeed through McCann’s ubiquitous intentions, her place amid the current socio-political zeitgeist and our own conception of the dawning of a new order.

In another gallery a taxidermied fawn towers above us, its head suffocated with a zipped black balloon, its fore limbs extended to its rear with black curved rods as it precariously sits, like a rocking horse, atop a box frame plinth, containing a dangling umbilical-esque blue neon tube light. From a height a pair of white voile drapes partially veil the rich blue walls before theatrically pouring to the floor surrounding an offering of fresh lilies, their fragrance inhabiting the space in a sharp organic sweetness as if Salomé herself was present, seducing us, dancing the Seven Veils amid this mise-en- scène tempered with sacrifice, vulnerability and power. These works lean on us as viewers to decipher what we do not see, or what McCann chooses to occult; they deftly summon forth the invisible. In the same room a large bronze nose cast from Seamus Murphy’s marble bust of Michael Collins (1949), another work from the Hugh Lane Collection, sits on a faux classical plinth, faceless, ironically pointing at a second green pedestal with a pair of destroyed aviator sunglasses. The monumental male is almost invisible now, surviving only by a nose, snorting contemporary air, like a man drowning in history or to quote Salomé in “black lakes troubled by fantastic moons.”

Art critic Rosalind Krauss writes of the logic of sculpture as being inseparable from the logic of the monument, “It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place”. McCann’s landscape of artefacts is profoundly routed in the space it inhabits; it is of the institution and rebels tangibly and intellectually within that frame. It is quite literally a Trojan horse, it is a series interventional contraptions concealing rebels and soldiers.

Here Salomé no longer dances alone under the gaze of men McCann’s ideas head bang alongside her, amid the Hugh Lane collection, like their parents have gone out of town. Furtive Tears is a spiky romantic affair it confronts us with fact and fiction, real and faux. Like Parrhasius’s curtain the perceived occultation is the work. As McCann’s objects pass between us and the past they momentarily eclipse history and in that darkness dwells a new constellation offering us portals into the alternative, interrogating socio-political shifts and arguing the legitimacy of the relics of politics and art, placing us at the centre of our own truths and preconceived ideas of our idiosyncratic place in story that is history.

Brendan Fox is an artist, curator, film maker and writer living in Dublin, he is currently studying MA Art in the Contemporary World, NCAD

www.brendanfoxart.com

Collaboration, Events, Headline, In Conversation, Writing »

Free event on artists’ writing at Dublin Art Book Fair – Tuesday 27th November

November 24, 2018 – 10:25 am |

Why do artists write? And do they approach the task of writing differently?

The Art in the Contemporary World MA/ MFA programme at NCAD and Paper Visual Art are hosting an evening of readings at which artists and critics will read their own words, or those of other artists. Speakers include Sue Rainsford, Suzanne Walsh, Fiona Gannon, Jessica Foley, Lily Cahill and others. It will take place on Tuesday 27th November at 6pm in Temple Bar Gallery + Studios, Dublin, as part of the Dublin Art Book Fair 2018.

Free. Open too all. Refreshments served. Please book a place via eventbrite here.

This will be the first of a series of events putting the spotlight on new forms of writing and publishing practices in contemporary art planned for 2018-19.

Collaboration, Events, Exhibitions, Headline, Performance »

ACW and RHA, Futures Series 3, Episode 2 with Dublin Youth Dance Company

December 17, 2018 – 5:28 pm |

Working closely with the RHA, Katy Fitzpatrick and Róisín Bohan for the Public Engagement and Learning program for the current Futures exhibition, ACW students, Brendan Fox, Natalie Pullen and Éimear Regan developed a workshop loosely based around Augusto Boal’s Theatre of the Oppressed, where participants were encouraged to manifest a performative narrative connecting the exhibition content. The artists featuring in Futures Series 3, Episode 2 exhibition are Bassam Al-Sabah, Cecilia Danell, Laura Fitzgerald, Jennifer Mehigan, Joanne Reid and Marcel Vidal. The work on display by each artist in Futures is unconnected and seemingly disparate as the exhibition is a display of their own personal practice rather than a group show that relates to a specific theme or greater narrative. The challenge set forth in the workshop was to develop a constellation between the artists’ work on display, with an outcome of producing and creating a wholly separate piece of performance art. The artists also contributed to the workshop, donating personal objects for a further insight into their world, among the objects donated were a paint pot cast from layers upon layers of paint, a silver mask and a metal rod. Members of the Dublin Youth Dance Company directed by Mariam Ribon, were invited to participate in the 3-hour-long workshop which took place on Saturday 15 December. The first half of the workshop began with the 11 participants viewing and taking in the work, followed by a meditation and then contained a series of exercises influenced by Boal’s practice where there was a discussion and consequently a generation of ideas for a narrative emerged. During the second half of the workshop the DYDC participants were divided into three groups and were instructed to develop their narrative of the exhibition through three “moments” that established a final performance. Materials were provided by the facilitators Fox, Pullen and Regan to aid the development and theatricality of the narrative, encouraging the participants to engage in producing a fully embodied piece of art. The dancers infused themselves into the workshop and the outcome was outstanding. Each group performed their finished piece within the space with the artworks as a backdrop. The dancers’ commitment to the workshop was phenomenal and the creative energy generated in the space was quite special.

Éimear Regan, MA Art in the Contemporary World

All photographs by Brendan Fox

Exhibitions »

six seville

November 26, 2018 – 10:35 am |

six seville
6 Seville Place, Dublin 1

six seville opens on Friday 30th November, 7 – 9pm

Exhibition continues Saturday 1st – Sunday 2nd December, 8am – 4.30pm

six seville features work by Conall Kelleher, Andreas Kindler von Knobloch, Áine McBride, Blaine O’Donnell, Liliane Puthod, Conal Ryan and Tanad Williams in a formerly vacant building now used as a studio space.

ACW Paul Roy Featured in Print Exhibition at Lessedra Gallery Bulgaria

November 9, 2018 – 8:21 am |

Contemporary Printmaking from Ireland
November 1 – November 25, 2018
In a cooperation with Leinster Printmaking Studio
38 artists with 63 large size works
“The exhibition will be opened by H.E. Michael Forbes, Ambassador of Ireland to Bulgaria, at …

IRISH FILM “Memory Room” TO PREMIERE IN PARADOCS SECTION OF IDFA 2018

October 10, 2018 – 12:04 pm |

A new short film by Adrian Duncan and Feargal Ward will have its world premiere
next month at the prestigious IDFA (International Documentary Festival Amsterdam).
Memory Room (2018, 17 mins, Arts Council) was shot in the Arctic …

In + Around | Deirdre Ni Argain and Natalie Pullen at In-spire Gallery, Dublin 1

September 25, 2018 – 10:04 am |

September 27, 2018
Inspire gallery
56 Gardiner Street Lower – Dublin 1

Siuan Ni Dhochartaigh curates the artwork made by her mother, Deirdre Ni Argain, during and after pregnancy. Their mother-daughter collaboration is shown in and around ‘The …

Launch of Paper Visual Art: Vol 9

September 11, 2018 – 12:28 pm |

Launch of Paper Visual Art: Vol 9 will open at Temple Bar Gallery and Studios in the atrium space on Thursday the 20th Sep from 7 pm. All welcome

Rachel Maclean and Doireann O’Malley at Dublin City Gallery The Hugh Lane

September 6, 2018 – 2:57 pm |

The Hugh Lane’s current exhibition Just be yourself! by Scottish artist Rachel Maclean will end on Sunday 16 September.
This exhibition presents the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who creates …

HEAVY WEATHER – opening 29th August 2018

August 22, 2018 – 11:33 am |

HEAVY WEATHER’s origin is a reading group convened in September 2017 by artist Emma McKeagney and including ACW Alumni Ciara McMahon and Danny Kelly, to consider New Materialism in its implications for art practices. Generous …

half-way to cyborg-city*

August 21, 2018 – 12:03 am |

*a liminal-point at which a hybrid entity consisting of organic human and technological mechanisms is in the process of becoming a cyborg, though does not yet have a body. The ‘city’ in this case suggests …

BAUHAUS EFFECTS: A conference in Dublin, organised by NCAD, UCC, UCD and the Goethe Institut Dublin

June 25, 2018 – 12:01 pm |

BAUHAUS EFFECTS: A conference in Dublin, organised by the National College of Art and Design, University College Cork, University College Dublin and the Goethe Institut Dublin
7-9 February 2019
More details: https://bauhauseffects.com
Keynote speakers include:
Prof. Heike Hanada, the …

Artist Talks | Steve McCullagh and Simon Mills

June 22, 2018 – 10:54 am |

June 29 – June 30
Jun 29 at 4:30 PM to Jun 30 at 7 PM
Platform Arts Belfast
1 Queen Street, BT1 6 Belfast
Platform invites you to join us for an afternoon of discussion with the artists’ …

Curating in the 21 st Century: Summer School with Morgan Quaintance

June 19, 2018 – 8:44 pm |

Applications are open / Deadline is June 25.
10-13 July, 2018
In addition to the curator’s traditional duties of administration, artist liaison, exhibition design, and fundraising, what other tools can be used to fulfill the essential curatorial …

‘The Inexquisite Corpse’, ACW Publication now available at The Library Project

June 11, 2018 – 1:42 pm |

A novella written collectively by Nathan Cahill, Jack Cole, Padraig Cunningham, Dorothy Hunter, Valerie Joyce, Ronny Koren, Stephen Lau, Roisin McVeigh, Sara Muthi, Sadbh O’Brien, and Hannah Tiernan is now available for purchase at The …

BASIC TALKS ~ The White Pube

June 3, 2018 – 10:45 am |

Friday, June 8 at 1 PM – 2 PM

The White Pube is the collaborative identity of Gabrielle de la Puente and Zarina Muhammad under which they write criticism and sometimes curate. It is based at …

‘The Inexquisite Corpse’, ACW Publication Launch

May 29, 2018 – 10:29 am |

The Inexquisite Corpse
Publication Launch
31st May // 6pm
Eblana House
Marrowbone Lane Dublin 8

The launch of the publication will be at Eblana House, Marrowbone Lane, Dublin 8, May 31st at 6.00pm.
The publication is collectively authored by …

‘The Landis Museum’ opening at CCA Derry

May 25, 2018 – 11:45 pm |

CCA is pleased to invite you to the opening of The Landis Museum.

Bianca Baldi, Irina Gheorghe, Helena Hamilton, Dorothy Hunter (ACW student), Alex Impey, Kapwani Kiwanga, Nina Liebenberg, Phillip McCrilly, Sarah Pierce (ACW coordinator), Katrina …

Julia Dubsky | Salon of Good Time, TBG+S Opening

May 16, 2018 – 3:09 pm |

Studio 16 | Temple Bar Gallery + Studios
Opening on Wednesday 23 May, 6-8pm
Continuing to Wednesday 30 May
Opening hours:
11 – 6pm | Thursday, Friday, Saturday, Tuesday, Wednesday
Sunday and Monday by arrangement
Salon Of Good Time is an …

The Political and the Public – Talk at the National Gallery of Ireland

May 8, 2018 – 10:26 pm |

Thursday 10th May, 6.00pm, National Gallery of Ireland.
This event discusses Colour is Life through the lens of the politics of art in the public sphere. Drawing from key theorists discussed during the MA seminar, …

Open Call for Curators for New Spaces Project, Derry

April 30, 2018 – 2:13 pm |

Application deadline extension: Friday 11 May
Visual Artists Ireland, Northern Ireland invite curators to take part in New Spaces. This year long project offers four emerging curators the unique opportunity to develop all aspects of their …

Postgraduate Scholarships (ACW)

April 27, 2018 – 2:45 pm |

Following the successes of the two Masters programs offered by the School of Visual Culture at the National College of Art and Design, Dublin, a scholarship worth full tuition fees will be awarded to a …

Austin Hearne – ‘Remains’ opening/ artist talk at Pallas Projects/Studios

April 18, 2018 – 6:55 pm |

Austin Hearne—Remains
Opening reception: 6–8pm Thursday 19th April 2018
Exhibition runs: 12–6pm Thursday 19th – Saturday 28th April
Gallery open: Thursday–Saturday
Artist’s talk: Saturday 28th April 2pm, in conversation with ACW alumni Michelle Hall

Pallas Projects/Studios are pleased to present …

HOUSE TAKEN OVER

April 15, 2018 – 7:03 pm |

A weekend of talks, performances and artist responses within a historical home in South Belfast curated by Hickey + Hickey, featuring ACW student Dorothy HUNTER.
Exhibiting Artists
Sighle BHREATHNACH-CASHELL, Joseph BEUYS, Declan CLARKE, John D’ARCY, Irina …