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Richard Forrest Persistence of Vision

Richard Forrest Persistence of Vision
The Joinery
Opening reception Thursday 8th March 6-8pm

8th – 12th March 2012

Runs daily 12-6pm

Persistence of vision is a phenomenon of the eye in which an afterimage is believed to last for approximately one twenty-fifth of a second on the retina. This exhibition by Richard Forrest is an examination of how one’s mind and senses respond to imagery – video, sound and sculpture. In turn the work attempts to subvert our perceptions of digital technologies.
In his current practice Forrest explores a relationship with technology by making, hacking, glitching and subverting assumed uses of digital media. Persistence of Vision aims to simultaneously challenge and excite the senses.
Richard Forrest was chosen by the Joinery as part of the 2011 graduate programme.
Richard Forrest (born 1988, Youghal, Co. Cork) at present, lives in Cork city where he is currently working as a practising artist. He graduated from the Crawford College of Art and Design in 2011 with first class honours in his studio practice. Forrest is a founding member of Sample Studios. He also works as a gallery facilitator in the Lewis Glucksman Gallery. In 2011, he was awarded the Tyndell Purchase prize, the CIT Registrars Prize: Research Bursary, the Ciaran Langford Memorial Bursary Award (6 month residency at Backwater studios), the Cork Printmakers Studio Bursary Award and the Joinery Graduate Selection Prize for his work at last year’s Crawford degree show exhibition, C:/forward. Forrest’s practice is multi-disciplinary. It frequently incorporates sculpture, video, image and sound art.

Event: Emmet Kierans in Conversation

Emmet Kierans In Conversation at the Talbot, Dublin
Thursday, 1st March 2012 | 6pm |

As part of Temple Bar Cultural Trust’s First Thursdays Dublin, Emmet Kierans will be in conversation with Adrian Duncan from Paper Visual Art Journal, to discuss his solo show ‘Inside Out, Outside In’. Kierans’ practice is concerned with exploiting the inherent malleability of material, the artist elicits notions of the plasticity of the reality we inhabit. The Gallery will remain open until 8pm, on March 1st 2012.

Booking is essential contact E: to reserve a place |

In|discussion – Niamh O’Sullivan

The Black Line Drawn Across History’: John Mulvany and Irish Political Imagery
6.30pm Wednesday, 7 March 2012
Lecture Room G6, School of Art Design and Printing
Dublin Institute of Technology, 41 Mountjoy Square, Dublin 1


Niamh O’Sullivan is Professor Emeritus of Visual Culture (National College of Art and Design). She writes on nineteenth century Irish, Irish-American and French art and popular culture. She won the Irish-American Cultural Institute ‘Award for Pioneering Irish-American Scholarship’, in 1998 and 2003. Her book, Aloysius O’Kelly: Art, Nation, Empire was published by Field Day in 2010 . She curated the millennium exhibition Re:Orientations. Aloysius O’Kelly: Painting, Politics and Popular Culture at the Hugh Lane Municipal Gallery of Modern Art, 1999-2000. She also has research interests in art and museum education. She is currently a Director of the Irish Museums Trust, and on the advisory committee of the Royal Irish Academy Irish Art and Architecture, vol. 5.

John Mulvany’s nineteenth-century Irish paintings place visual art at the centre an emergent cultural and political nationalism, traditionally perceived as the preserve of poets and playwrights, journalists and politicians. His historical paintings were no incidental exercise in nostalgia, but purposeful, positioning images, designed to press powerful memories into contemporary political use. If out of violence and trauma comes renewed resolve, Mulvany’s Battle of Aughrim may be seen as an exemplification of Ireland’s glorious past. His Irish political portraits were conceived to summon the injustices of history to mind, and act as rallying calls in the present. Mulvany thus saw himself as creating images of hope, and incitement to action. His commitment to the cause was unwavering, and brought him into the line of fire of one of the most celebrated murders of the nineteenth century.

This is a free event and all are welcome. To secure your place, please book by email:

Orgy Of Stupidity

Paul Thek (1933-1988) Untitled 1980 purple & yellow

Rob Murphy writes about Graham Harman, Speculative Realism and Absurdity

This response is an expansion on an earlier suggestion made by me on ACW Co-Ordinator Dr. Francis Halsall’s blog. This was in relation to a discussion on systems theory and conspiracy, but specifically, Graham Harman’s ‘False Theory’- a hybrid of practical application and speculative object orientated ontology set out in the book The Prince and The Wolf [Latour and Harman at the LSE], among other texts. In these works Harman describes False Theory as a philosophy that begins in naiveté instead of radical doubt[1]. It is further defined as taking a given hypothesis and forcing it to its sharpest point or logical/illogical conclusion to discover the possibility and potential for that idea, as well as its failings along the way. [2]

The ‘speculative realist movement’ exists only in the imaginations of a group of bloggers promoting an agenda for which I have no sympathy whatsoever: actor-network theory spiced with panpsychist metaphysics and morsels of process philosophy. I don’t believe the internet is an appropriate medium for serious philosophical debate; nor do I believe it is acceptable to try to concoct a philosophical movement online by using blogs to exploit the misguided enthusiasm of impressionable graduate students. I agree with Deleuze’s remark that ultimately the most basic task of philosophy is to impede stupidity, so I see little philosophical merit in a ‘movement’ whose most signal achievement thus far is to have generated an online orgy of stupidity [3].

As a misguided graduate student and an arguably idiotic agendist, allow me to indulge in a debauched speculation – Graham Harman is a contemporary absurdist.

The initial lead to this hunch is present within his weird False Theory method of taking a theory and thrusting it to its furthest possible conclusion through both practical experimentation and theorising [an absurdist tactic that has been used as far back as the 1950’s and 60’s in the plays of Ionesco and Beckett]. He takes the position that he has come to some sort of temporal structured conclusion about another realm that’s non-human centric and lies beyond our consciousness, a shadowy realm of the ‘ready-to-hand’- an extension on a principle of the phenomenological philosophy of Martin Heidegger.

Harman is doing a specific thing for me here. He implies that we can cogitate on this murky world, that we can even ruminate that this shadowy parliament of objects could inhabit their own terrifying metaphysical landscape, with their own transcendental problems and so forth. The object in this case, sits apart from us, it would, speculatively, have its own version of existentialism, its own Kants and Hussurls, and its own Heideggarian hammers with which to beat itself for not getting things. But these contemplations can only ever be based on a human understanding of what a table, a quark’s or a sculpture’s metaphysics may entail, what it could possibly establish as the facts of death, or what it might ponder about the usefulness of philosophy. The point being that pondering, debating, and speculating are all human structures, the only type of system we could plausibly use to talk about the phenomenological constitution of something we can never know but merely postulate. This return to the human ridiculousness that this basic deliberation is exemplifying is what we could consider here as a ‘metaphysics of the absurd’.

Harman does not explicitly state in his version of Speculative Realism that a ‘soul’ does not reside in an object, which is another predilection to the possibility of Speculative Realism being interpreted as a somewhat absurdist gesture. Harman rejects the notion of a panpsychist world view- the idea that any object that exists must also perceive. Instead he proposes a polypsychism- the concept of an object containing many souls, which leads him into an explanation of objects having ‘interiors’ that recede from human knowledge.

All of this might sound like a strange panpsychist alternative to the scientific world view… But what is most remarkable is how it seems to limit panpsychism. Only by becoming a piece of a larger object, only by entering the interior of a larger one, does an entity have anything like a psyche. This means that entities have psyches accidentally rather than in their own right. For our model allows for entities to exist apart from all relations. This makes it not just conceivable, but also necessary, that there be entities at any moment that are at the very top of their chains of parts while relating to nothing further. For various reasons it is good to think of an infinite regress downward in the world, with no tiniest layer of material microparticle bringing an end to the chain of beings[4].

This could be seen to say that if any given constituent or whole object is irreducible, or has an unknowable inner kernel, it is therefore meaningless in realist terms to human-centric ontology, and by default, any quantifiable metaphysical realism. This position does not quite undo the claim of a ‘realism’ on his philosophies banner, but enhance it when viewed as absurdist. In this reading he undermines relations, translation, concepts of conceivable realist occasionalism and the dasein of the human and object, all with a shadowy absurdist twinge- in the sense that we can’t find logic, meaning or metaphysical realism through our consciousness or empirical reasoning, so the idea that objects may find meaning for us in our absence, or themselves, has the makeup of an absurdist metaphysics.

If the Theatre of the Absurd [Drama that emphasises the absurdity in human life within a meaningless universe by deliberately unrealistic means and intellect subversion] presents the world as senseless and lacking any unifying principle, it does so merely in the terms of those philosophies that start from the idea that human thought can reduce the totality of the universe to a complete, unified, coherent system. It is only from the point of view of those who cannot bear a world where it is impossible to know why it was created, what part man has been assigned in it, and what constitutes right actions and wrong actions, that a picture of the universe lacking all these clear-cut definitions appears deprived of sense and sanity, and tragically absurd[5].

Under this interpretation, the focus returns to the human once again, and our stuckness at objects. By enacting Harman’s metaphysics, we momentarily transfer the horror of metaphysics to the object until it emerges anew, a beautiful mutant, stronger than ever.

Ray Brassier, as a Speculative Realist and a refusenik of it, may have some insight into the conspiracy of Harman as a contemporary absurdist:

Philosophy… would do well to desist from issuing any further injunctions about the need to re-establish the meaningfulness of existence, the purposefulness of life, or mend the shattered concord between man and nature. It should strive to be more than a sop to the pathetic twinge of human self-esteem. Nihilism is not an existential quandary but a speculative opportunity[6].

What Brassier very eloquently develops for us here is that there is a tangible and ontological emergence that takes place when a remarkably complex philosophy like Harman’s is read through speculations of nihilism, and by design, absurdity.

It’s therefore my suggestion that the real object under discussion here should be Speculative Realism itself. It could be ventured that Speculative Realism is an intentional object of the human and object world that has been more self descriptive, transparent, complex, emergent and penetratingly doubtful than any other object of contemporary theory, and with that as a starting point, we can interrogate the reality of everything else.

Rob Murphy, February 2012

Rob Murphy is a Dublin based visual artist. After graduating from IADT Dun Laoghaire with a first class honours degree in Visual Arts Practice in 2011, he became a candidate for the MA – Art in the Contemporary World at NCAD, Dublin.

Harman, Graham. [2011]. The Quadruple Object. Arlesfort, United Kingdom. Zero Books. Page 7.
Harman, Graham, Latour, Bruno & Erdélyl, Peter. [2011]. The Prince and The Wolf: Latour and Harman at the LSE. Arlesfort, United Kingdom. Zero Books.
Brassier, Ray. [2011]. Interviewed by Rychter, Marcin, I am a Nihilist Because I Still Believe in Truth, Kronos, [March 4, 2011].
Harman, Graham. [2010]. Towards Speculative Realism- Essays & Lectures. Hants, United Kingdom. Zero Books. Page 206.
Esslin, Martin. [1961], [2001]. The Theatre of the Absurd. New York.Vintage Books. Page 425.
Brassier, Ray. [2007]. Nihil Unbound. Hampshire, United Kingdom. Palgrave McMillan. Page xi [Enlightenment & Extinction].

William McKeown – a conversation

Kerlin Gallery in association with MA Art in the Contemporary World (NCAD,

Caroline Hancock in conversation with Isabel Nolan

Thursday 1 March, 5 – 6 pm, at the Kerlin Gallery, Dublin
Doors Close at 4.50 sharp

The talk will be followed by the opening of A Room by Willie McKeown

William McKeown, was born in Tyrone, 1962, and was living and working in Edinburgh at the time of his death on October 25, 2011. In the 16 years since he first exhibited at the Kerlin Gallery, William McKeown developed a body of work that has had a radical and fundamental effect on our understanding of the age-old relationship of art to nature. The foundation of McKeown’s work and life was his belief in the primacy of feeling. His paintings took on the guise of objective minimalism and the monochrome, but presented us with so much more; nature as something real, tangible, all around us, to be touched and felt.

Through very subtle gradation of tone, a highly refined use of colour, and his enchanting, ‘room’ installations, McKeown created moments of exquisite beauty and bliss. He steered our attention not to the distant sky but to the air around us, to the openness of nature, the feeling of our emergence into light and our proximity to the infinite.

Caroline Hancock is an independent curator, writer and editor based in Paris. Recent exhibitions include De l’émergence du Phénix, Centre Culturel Irlandais, Paris which as the last exhibition William McKeown worked on. In 2008, she was awarded the Joanna Drew Travel Bursary to travel to Algeria and is currently researching related exhibition projects and exchanges. In recent years Hancock has worked on various exhibitions in public institutions including the Centre Pompidou, Tate Modern, The Hayward Gallery and The Irish Museum of Modern Art where she worked as curator on William McKeown’s 2009 exhibition and edited the accompanying book.

Isabel Nolan is an artist living and working in Dublin. She has written a number of monographs on Irish artists the first of which was William McKeown ‘the sky begins at our feet’ which was published on the occasion of his solo show at Ormeau Baths Gallery, Belfast in 2002. This was the first exhibition to feature a room installation similar to that recreated in this exhibition. Nolan’s solo exhibition ‘a hole into the future’ is currently on show at Musee d’Art Moderne e St Etienne Metropole.

Exhibition: Lights, Camera, Action!

Curated by Mary Cremin, Lights, Camera, Action!, brings together a group of artists whose work involves an investigation of the cinematic process. The exhibition takes place at Temple Bar Gallery and Studios and includes Kirschner & Panos’s video installation Living Truthfully Under Imaginary Circumstances, Point Of Audition by Allan Hughes, and Laurence Kavanagh’s sculpture Jealousy. The preview is on at 6pm on Saturday 25th of February and this is preceded at 5pm by a public discussion with Mary Cremin, Allan Hughes and Laurence Kavanagh. Continue reading…

Languages Through Lenses

Languages through Lenses 2012: Call for Proposals
Deadline: 1 March 2012

Languages through Lenses affords students the ideal opportunity to present themselves as emerging artists to an international audience. Supported by a collaborative workshop process, a generous production grant of € 5000, an invitation to the PRIX EUROPA Festival in Berlin, and the DVD production of their work for wider distribution, participants will enjoy a dynamic production process from start to finish.

We invite students at ELIA and CILECT member institutions to submit proposals for the production of new videos (minimum 60 – maximum 90 seconds) promoting language learning, the value of speaking several languages and the richness of intercultural exchanges, using the language of the arts.

Who can apply?

Applications will be accepted from students at ELIA and CILECT member institutions in the 27 European Union Member States and in Norway, Iceland, Liechtenstein and Turkey.

An international jury will evaluate and select a maximum of 15 proposals. Complete guidelines and conditions are in the call for proposals.

To apply please visit the Languages through Lenses 2012 application page. All applications must be received by the 1 March deadline to be eligible.

Interference: A Journal of Audio Culture, Issue 4.0 Call for Papers

Interference: A Journal of Audio Culture has three issues currently in various stages of
completion since its establishment in 2010. This includes our inaugural issue, An Ear Alone is not a Being, currently online, A Sonic Geography, available in Spring 2012 and Noise Please, our third issue currently in progress and due for publication in Autumn 2012. At this moment in time we would like to take the opportunity to thank everybody who has helped us so far: contributors, editorial board, advisory panel, referees and academic institutions CTVR, Trinity College Dublin and The Graduate School of Creative Arts and Media (Gradcam) for their ongoing support. The inauguration of an academic journal through an open access model is a collective project built on free labour, and canʼt be sustained without the ongoing collaboration and generosity of a broad community. While still a relatively new discursive platform, Interference would like to take the opportunity in our fourth call for papers to invite submissions for a more open call, stepping momentarily outside the strong thematics that have shaped our previous three publications. At this crucial stage, we, as a community, wish to reflect on the breadth of disciplinary orientations and perspectives that populate audio cultures, a theoretical and practical richness that continues to strike us with each successive call we circulate.

We use this call to encourage contributions that are metacritical of audio cultures, in it’s
epistemic, theoretical and methodological orientations, and invite papers that approach sound studies from a multitude of perspectives. This might address the growing currency of sonic methodologies such as soundwalking, deep listening and field recording in qualitative research, or alternatively, explore the application and recombination of frameworks informing diffuse areas such as media theory, sociology, philosophy, anthropology, musicology and performance to the audible as a cultural trope. In every instance we aim to contribute to the development of a disciplinary field that is working to establish a set of common territories, vocabularies and frames of practice.

Interference balances its content between academic and practice based research and
therefore accepts proposals for both academic papers and accounts of practice based

Deadline for Abstracts: April 16th 2012 to
For more information, and submission guidelines please see:
or contact

New Ecologies of Practice

Thursday 9th February – Friday 13th April 2012

New Ecologies of Practice: A short season of projects by Catalyst Arts [Belfast] / Occupy Space [Limerick] / The Good Hatchery [Offaly] / Basic Space [Dublin]

NCAD Gallery is presenting a series of new projects which will represent the work of a number of artist led initiatives, working throughout Ireland, which embodies a new approach and a challenge to institutional visual arts programming. Continue reading…

Event: Bruno Latour at Science Gallery

February 20th 6pm
Science Gallery Dublin

World-renowned philosopher and anthropologist, Bruno Latour, is speaking at the Science Gallery Dublin on Monday February 20th at 6pm. Latour is the founder of actor-network theory and a hugely influential figure in contemporary philosophy and science studies.
Continue reading…

DATA 51.0 with Tatiana Bazzichelli, Paolo Cirio & Alessandro Ludovico, February16th 2012 – Science Gallery

When: February 16th 2012 18:30 – 20:30
Location: Studios One and Two, Science Gallery, Trinity College Dublin.
Cost: Free

Where corporate interests increasingly shape the ideology of free culture, what political possibilities are still available to artists?

How can we sustain an ethical cultural practice?

How might artists intervene in the market

Data 51.0 brings together an international selection of media artists and theorists, to explore the links between activism, art, and business. Where open source, hactivism and media art generally are still presented as ideologically opposed to the logics of information capitalism, the reality is that many hackerspaces receive corporate funding, open source platforms and user-generated content form the basis for many commercially orientated applications and much of the dominant media art of today is to varying degrees reliant on the financial trajectories of technological R&D. Rather than denying this relationship or refusing to engage with the corporation, we want to ask how artists and activists might use their position in the market and their creative tools to critique, disrupt, or even potentially reshape economic spaces from within. Speakers: Editor of Neural Alessandro Ludovico,and artist Paolo Cirio, creators of the Hacking Monopolism Trilogy: Google Will Eat Itself, and Face to Facebook, and artist/theorist Tatiana Bazzichelli, author of Networking: the Network as Art.

Event: ached grew print jot

Wednesday 8 Feb: 7 – 10:30pm
Admission: Free

The Drawing Project
3 Harbour Square
Dún Laoghaire
Co. Dublin

ached grew print jot is an event taking place at The Drawing Project in Dun Laoghiare that takes the form of a drawing class but also incorporates music, mediation, performance, sculpture, moving image and a short lecture. Continue reading…

Event: 4.3.12 by Performance Art Network

Performance Art Network (PAN) are running a FundIt campaign to put on a performance art event called 4.3.12 at BlockT in Smithfield. PAN is a non-profit organisation founded by a group of artists whose aim is to develop the practice of performance art in Ireland by providing platforms for artists to showcase their work in both small and large-scale events. Continue reading…

Exhibition: ReViewed by Sean Hillen

Opening: 6pm Wednesday 8th February
Exhibition runs until 2nd March

A new exhibition of Sean Hillen’s photo-collage works opens at The Copper House Gallery on Wednesday the 8th of February. It consists of museum scale reproductions of works from series such as IRELANTIS, Troubles, Searching For Evidence, and WHAT’S WRONG?. The exhibition runs until March 2nd.

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