Archived entries for

Interim: MA Art In The Digital World Exhibition

The MA Art In The Digital World course are running an exhibition which opens tonight at IMOCA. There are a lot of things going on this evening but this looks well worth popping in to. The exhibition runs Friday and Saturday too. Full details here.

Artists from the Master in Art in the Digital World programme at the National College of Art and Design present ‘Interim’, a group show featuring new work at IMOCA (the.imoca.ie)

The exhibition opens on Thursday 29th March at 7.30pm and continues Friday 30th and Saturday 31st March from 12-5pm.

Artists in the show include Stephen O’ Rourke, Paul O’Neill, Tatiana Macklin, Veronica Nicholson, Daniel Spencer, Kevin Ryan, Vanessa Daws, Gearóid O’Dea, Róisín Loughrey, Aileen Drohan, Sinead McDonald, Mitch Conlon and Angie Duignan.

Wine Soak no.3: Faustian Bargains

In the third of our series, Jacob Ligvine Creek has a out-of-body experience at an opening in the Goethe Institute.
It had been a long while since I wandered through the doors of an exhibition in pursuit of an evenings distraction and last Tuesday I had no intention of engaging with the pursuit of art. I happened to be lying on the grass in Merrion Square soaking up the exquisite evening sunshine, enjoying an unexciting salami sandwich, when I heard the guttural and yet lyrical brogue of two German girls on the path behind me. Just as the Teutonic damsels distracted me, a black poodle ran off with my sorry excuse for a sandwich, so in my emotional and embattled state, the giggles and laughs of the fraulinen and their mention of “Rot-vine’ peaked my curiosity and rescued me from the contemplation of my lost morsel. I leapt to my feet and followed them to the red door of 37 Merrion Square, the Goethe institute, of all places. “What kind of Faustian bargain awaits behind this door,” I thought. Curiosity got the better of me and I crossed the threshold. I automatically felt the possibility of allure and corruption. A table of Parlanbacher, Rheinheissen Pinot Grigio 2010 and Vin de Bordeaux 2010, Lidl’s finest selection, greeted me. It was quiet inside, not many people were there, as the opening had yet to get into full swing. Continue reading…

THE DUBLIN SAUNTER

*Dublin City Public Art Programme*
*You are invited to attend *

*THE DUBLIN SAUNTER*
exploring the historic and everyday conditions of Grafton Street.
Newman House, St Stephens Green South*
Tuesday 27^th of March at 3.00 — 4.00*

Ellen Rowley has been invited to present a visual lecture relating to the Grafton Street. She is an architectural historian who focuses as much on the social impact of architecture and its history as she does on the physical aspects of buildings. This lecture is part of the interdisciplinary module for NCAD Art in the Contemporary World Masters students and UCD 4^th Year Architecture Students.The module is being undertaken in collaboration with Dublin City Council Public Art Programme and the Grafton Street Quarter Improvement Project.

Dr Ellen Rowley is assistant editor of volume V (Irish Architecture) of Art and Architecture of Ireland (RIA, Yale University Press, 2014) and lead consultant on the first documentary project and inventory of Dublin’s twentieth-century architecture for Dublin City Council. She is a research associate with the History of Art Dept. TCD, a founding co-committee member of DoCoMoMo Ireland and she enjoys collaborations with architects, artists and film makers in Dublin. All of this activity feeds in to her research and award-winning teaching on Irish and international architecture and its culture from 1940 – 1980.

What Do You Stand For Now: : Who’s Afraid of Solidarity?

Sat. 31st March, 2012
12.30 – 4.30 pm
National College of Art and Design, (Harry Clarke Lecture Theatre), Dublin

What Do You Stand For: Who’s Afraid of Solidarity? is a public seminar and discussion that looks at some artistic and curatorial practices from the last few decades in Ireland. In particular they all proposed methods and models of display and distribution to run alongside established, mainstream and institutional practices. These are projects that unfolded and developed both distinct practices and audiences. They thus represent examples of different attitudes and strategies that can be taken in relation to organizing art both inside and out of institutions.

This public seminar follows on from last year’s successful What Do You Stand For? event. This was a day of short presentations and public discussion that identified and articulated the wide variety of emergent spaces, collectives, affiliations and initiatives that are sustaining a vibrant and dynamic arts scene across Ireland today. This event is part of a developing research project that aims to capture certain processes and practices of display and distribution of contemporary art in Ireland. It also coincides with a rolling exhibition of alternative curatorial projects at NCAD Gallery.

Contributions will include those from: Valerie Connor; Mark Garry; Garrett Phelan; Sarah Pierce; and others including members of The Enquiry, Gradcam.

For more information visit the project website: http://cargocollective.com/whatdoyoustandfor/

Or contact the conveners: Vaari Claffey (curator/ Gracelands) [vaari@ireland.com ] or Francis Halsall (coordinator, MA ACW at NCAD) [halsallf@ncad.ie ]

NB – BOOKING IS ESSENTIAL. TO BOOK A PLACE CONTACT ANN KELLY: kellya@ncad.ie

CCA Programme Launch and Seminar

Mar 31, 2012 1:00 pm

CCA Derry-Londonderry are launching their new programme, hosting a seminar and throwing a party in their new premises on Saturday March 31st. It’s an all-day affair that kicks off at 1pm with a seminar featuring Annie Fletcher, Francis McKee, current ACW student Ciara Hickey, and many more. At 5pm there will be a reception followed by a party until late. Full details as follows:

CCA Derry~Londonderry having a programme launch, seminar and a ground-breaking party in our future home at 10-12 Artillery Street, Saturday, March 31st, between 1 and 9 pm. Come in and check out the space, find out about what we do and how you can get involved!

Between 1 and 4 pm, you are invited to a seminar with representatives from leading art venues, such as Annie Fletcher, Curator, Van Abbemuseum, Eindhoven; Francis McKee, Director, CCA Glasgow, Glasgow; Ciara Hickey, Gallery Manager, Belfast Exposed, Belfast; Séamus Kealy, Director/Curator, The Model, Sligo, Peter Richards, Golden Threads Gallery, Belfast, and Aileen Burns & Johan Lundh, Co-Directors of CCA Derry~Londonderry. Presenters will discuss their strategies for exhibition making, collaboration, fundraising, and most importantly, propose models for moving forward together.

Between 5 and 6 pm, the seminar speakers will be joined by local dignitaries and community representatives to toast the new space.

From 6 pm onwards, local DJ Stephen McCauley will entertain the crowd, while refreshments are being served.

More information about the event, and about CCA in general can be found on their website:

Shall we discuss this outside?

Ciara McMahon is an ACW alumni, and also a medical doctor and a practicing artist. She has just written an opinion piece for artsandhealth.ie, entitled Shall we discuss this outside? A look at artistic and medical responses to ethical quandaries, in which she discusses how the fields of art and medicine differ in their responses to ethical issues. In it she argues that contemporary art practice provides an opportunity to engage ethical issues that are of direct relevance to medicine, and furthermore provide an opportunity to do this in a way that may not be possible or acceptable within medical discourse itself. She cites examples of recent work by Artur Zmijewski and Sophie Calle that raise difficult ethical questions and suggests that the debates surrounding art such as this constitute useful ways of trying to answer questions raised within medical ethics.

The full article is available to read on the artsandhealth.ie site here. Please feel free to leave any responses to, or comments on, Ciara’s article below. It would be interesting to hear what people think about it.

BASIC SPACE SHOP

BASIC SPACE has been running since August 2010 and during this time has existed as a space for exhibitions and projects. Located on Vicar Street, across the road from the NCAD Gallery. For the duration of a week BASIC SPACE shop will open at the NCAD Gallery. Mementoes from artworks and performances, limited edition collectables and memorabilia from exhibitions, and the opportunity to be involved in “Sq Foot of BASIC SPACE” scheme, will all be up for grabs. Avoiding romantisization of BASIC SPACE while outlining the physical and ideological elements that structure the space, the visitor can ‘browse’ the shop, but will be immediately involved in accumulating a knowledge of BASIC SPACE that is recognisably estranged from the memorabilia.
* BASIC SPACE shop launch Monday 26th March 6-9 pm open to the public from 26th – 30th March 10am-9pm and remains in situ at NCAD Gallery from Thursday 22nd March – Friday 13th April 2012.
BASIC SPACE Artist talk Wednesday 28th March at 5pm Harry Clarke Lecture Theatre, NCAD.
* Refreshments & Discounts available on the launch night.

Catalyst Arts Belfast – The Joinery Dublin Exchange Programme


22nd – 31st March

Opens Thursday 22nd March 6-8pm

Runs Weds – Sats 12-6pm

New work by Stuart Calvin, Amy Brooks and Ruaidhri Lennon.

After the success of the first collaboration ‘Switched’ in September 2010,
Catalyst Arts Belfast will once again collaborate with the Joinery Dublin to
present a selection of work by recent graduates chosen from the University
of Ulster Degree Show 2011, highlighting the variety of output by local
emerging practitioners. This work will be re-exhibited in the Joinery, and
provides the chosen artists with an opportunity to show alongside their
peers in a new, curated context. In May the recent graduate works selected
by The Joinery will be exhibited in Catalyst Arts. This exchange provides an
opportunity for recent graduate artists to showcase their work to a new and
broader audience.

Catalyst Arts was founded to support and exhibit the work of students,
local, emerging and more established artists, often exhibiting them
alongside international names. The organization provides a training ground
for future artistic, curatorial and arts administrative talent, and is
committed to providing services and opportunities for its large members’
base. As a result, the gallery continues to present cutting edge and
challenging contemporary art on a modest budget, showcased in an accessible
and dynamic art space in the heart of Belfast. Over the years, Catalyst has
worked and collaborated with a diverse range of organisations, groups and
institutions in Northern Ireland, the Republic and abroad.

http://www.catalystarts.org.uk/

Digital Sound Night at ATRL

A new series of monthly events kicks off on Thursday 29th of March (7pm) at Arts Technology Research Lab (ATRL) at Trinity College Dublin. The idea is that practitioners and researchers will share their work in arts and technology for a public audience. This is what’s going to happen:

Dermot Furlong
‘The Future Does Not Compute !’ Silk Chroma and Objective Art

Presentation on a visual music installation called Silk Chroma, created with Music and Media Technologies staff at Trinity College Dublin, including video and electroacoustic music. Dr. Dermot Furlong is a senior lecturer in the Department of Electronic and Electrical Engineering, and course director of Music and Media Technologies programme at Trinity College Dublin.

Sharon Phelan
Experiments with Feedback
Presentation exploring the ideas and processes behind specific sound and video works that make use of electronic feedback. Sharon will share two of her own pieces that explore feedback processes, as well as other key works in sound and video by various artists.

Sharon Phelan is an artist, curator and singer, as well as doctoral researcher in digital arts at ATRL, Trinity College Dublin.

(Image from Silk Chroma)
More information here

Abstraction Symposium

10AM – 5PM Friday 23rd March 2012
Harry Clarke Lecture Theatre, NCAD
painttube are running symposium on abstraction this coming Friday in the Harry Clarke lecture theatre at NCAD. painttube are a network of painting practitioners who run regular events such as this. It’s is an all-day affair featuring talks, conversations and panel discussions. Participants include Robert Armstrong, Kristina Huxley, Merlin James and current ACW student Susan Connolly. Full details below.

Abstraction Symposium

Mystical Anarchism

MYSTICAL ANARCHISM – Clodagh Emoe / Simon Critchley
FILM by Clodagh Emoe and Thomas McGraw Lewis.
CONVERSATION with special guest Simon Critchley
A TASTE OF FAITH by Edia Connole and Scott Wilson
Sunday 25th March 6-9pm

If you can’t make Simon Critchley’s talk in the Unitarian Church on Thursday 29th of March, then you have another chance to catch him at this evening organised by Clodagh Emoe in Block T on this coming Sunday. There will be a film screening, a conversation with Simon Critchley, and supper served beforehand. It’s a BYOB event and places are limited, so it’s advisable to email Clodagh at emoe@ireland.com to secure your place.

CALL: DATA 53.0: GRADUATE SHOWCASE

Calling all students of Art, Media and Design!
DATA 53.0 will showcase outstanding graduate talent.

In Spring 2012, after ten years in operation, DATA would like to take the opportunity to showcase emerging talent and provide a public platform for innovative projects happening across Art, Digital Media, Technology and Interactive Design. We are therefore extending an invitation to graduates to showcase their work at a unique DATA event. This call is open to current students and recent graduates of courses across Fine Art, Digital Media, Interactive Media, Design, Music & Audio Technology, HCI, Ubiquitous Computing etc. from any Irish university.
A maximum of eight graduates will be given the opportunity to present their work at a showcase, to take place this May in Science Gallery, Trinity College Dublin. Each of the selected presenters will have a ten minute slot to speak about and demonstrate their project to the public. A prize will be awarded to the best project. The selection panel consists of Rachel O’Dwyer, Conor McGarrigle and Benjamin Gaulon.
How to apply: Go to this link.
Who can apply: Current students enrolled on any graduate or postgraduate course in an Irish IT, College or University. Recent Graduates (Past twelve months). Go to this link and fill out the application form. Deadline: April 30th 2012. However, we will be accepting applications on a rolling basis, so we advise you to get yours in early!
What is Data: The Dublin Art and Technology Association (DATA) was formed in March 2002 with the intention of promoting, exploring, and exhibiting art and technology, both within Ireland and internationally. Based in Dublin, and hosted by Science Gallery, Trinity College Dublin, DATA is dedicated to showcasing the work of technologists, musicians, and artists, and provides a meeting point for the intersection of these disciplines. The DATA mailing list has over 2000 subscribers and has become the main forum for new media discussion in Ireland.

AS ABOVE, SO BELOW

Lucy Andrews and Carl Giffney
Curated by Padraic E.Moore

March 17th – April 7th, 2012

Preview: Friday March 16th, 7pm

Dearest One,

I hope this finds you in good spirits. As you may be aware, I’m organising an exhibition of Lucy Andrews and Carl Giffney at 126 Gallery in Galway. You’ll undoubtedly already be familiar with the ubiquitous hermetic maxim I’ve taken for the title. I’ve always liked the idea that there is to everything a corresponding analogy. In the context of this exhibition, the title relates to the idea that for every occurrence on our material visible plane there is an invisible, unseen equivalent. For while this is ostensibly a site specific installation comprising of domestic detritus, household products and broken appliances manipulated and placed about the gallery in a ludic manner, it is on another level a field of unseen forces activating a determined space. In this way, AS ABOVE, SO BELOW explores the rhythms between things and emphasises the obvious fact that the positioning of a work of art is an important element of the work, and how, on final analysis, an exhibition possesses an unseen form in itself a ‘new spatiality’.

I’m excited by what Lucy’s been doing in the studio. She’s congregating flotsam and jetsam with an array of gels and unidentifiable liquids into sprawling landscapes upon the floor. She has this tendency toward subjecting low-tech appliances to instinctive and intriguing processes of experimentation. This is what I find most captivating, these actions of taking base materials and separating them from their original use in order to suggest the presence of some hidden potential or maybe the possibility that some force can be released from within them. This manipulation is alchemical. The exhibition at 126 includes a number of objects evocative of ritualistic vessels, in which viscous materials, are activated by energy sources or allowed to form reactions with each other. The resulting experience is olfactory as well as visual, and I suppose one might interpret these works as the manifestation of some primal demiurgic instinct to effect change in ones immediate material surroundings.

The reference to cultic gatherings and props of worship are equally present in Carl’s new installation, which is comprised of a scenography constructed around an object resembling the ark of the covenant. It’s almost like a diorama in that it appears like a reconstruction of an actual event at the centre of which is a sacred relic. Materially his work speaks of subtle energies and instinctive impulses while the narrative implied is one of mass exodus. The elements positioned in the gallery space are presented in a way that ensures they reveal their symbolic potential. It is my hope that this exhibition becomes something that can be ‘taken away’ by the spectator, in a sort of telepathic transmission. Through the intermediate passage from concrete form the works pass from being an idea in the artist’s mind to an idea in the mind of the viewer.

I really do hope that you have the opportunity to visit this show.

Yours fraternally in anticipation,

Pádraic E. Moore

Bracha L. Ettinger Lecture

The Irish Forum for Psychoanalytic Psychotherapy, co-sponsored by the UCD Humanities Institute, Presents
THE WOMB/INTRA-UTERINE COMPLEX, THE ANALYTIC ENCOUNTER & VISUAL ART PRACTICE
A Public Lecture with Artist and Psychoanalyst Bracha L. Ettinger

The Auditorium, UCD John Hume Institute for Global Irish Studies
University College Dublin, Belfield, Dublin 4
Friday 23 March 2012 @ 6.45-9.30 pm

The Irish Forum for Psychoanalytic Psychotherapy present a talk by Israeli artist, philosopher and psychoanalyst, Bracha L. Ettinger.

Bracha L. Ettinger is an internationally-renowned artist, working mainly in oil painting, drawing, photography and notebooks. She has exhibited her work in a large number of places around the world, including Barcelona, Amsterdam, Helsinki, Turku, London, Paris, Berlin and New York. She is also a philosopher, psychoanalyst and senior clinical psychologist. She works between Paris and Tel Aviv. This lecture provides an opportunity to see samples of her art and hear her speak about her art practice and how it both informs and is influenced by her psychoanalytic work.

‘Bracha Ettinger invites us to consider aspects of subjectivity as encounter occurring at shared borderspaces between several partial-subjects, never entirely fused nor totally lost, but sharing and processing, within difference, elements of each unknown other. This is to be stressed: the encounter is between unknown elements. Here we might find ways to think not only subjectivity in this abstracted theoretical form, but aesthetic encounters of viewers and art works, and also ethical and political relations between strange, foreign, irreducible elements of otherness in our encounters with human and even non-human events in the world’ (Griselda Pollock, ‘Thinking the Feminine: Aesthetic Practice as Introduction to Bracha Ettinger and the Concepts of Matrix and Metramorphosis’ in Theory, Culture & Society 21.5 (2004): 7.

Further details can be found at http://www.ifpp.org/events and registration can be done via Ann Daly at amdps@indigo.ie.

New Ecologies of Practice: The Good Hatchery


The Good Hatchery present a new installation, Good Hatchery, at NCAD Gallery.

Opening view 6-8pm Monday 12th March. Exhibition continues until 21st March 2012.

The Good Hatchery directors Carl Giffney and Ruth E. Lyons will host a seminar at 5pm on Thursday 29th March, Harry Clarke Lecture Theatre, NCAD.

The Good Hatchery is an artist led initiative based in the remote bog lands of North Offaly. As part of New Ecologies of Practice, directors Ruth E Lyons and Carl Giffney will present a new work in the NCAD gallery that embodies something of the workings and ethos that drive The Good Hatchery. The Good Hatchery is an artist led space. Through a series of collaborations, curated projects and free residencies it challenges methodologies of contemporary art making and often investigates relationships between site and resource. In its development, large portions of The Good Hatchery have been constructed from recycled artworks and salvaged materials from the exhibitions that its members have been involved in throughout the years. Its development is ongoing.

Carl Giffney and Ruth E Lyons, both graduated from NCAD Fine Art Sculpture in 2007.

Artists websites:

thegoodhatchery.wordpress.com/
www.carlgiffney.com/
www.ruth.ie/

Catalyst Arts Belfast – The Joinery Dublin Exchange Programme

Opening reception Thursday 22nd March 6pm
Runs daily 12-6pm, 22nd Mar – 31st Mar
Closed Sun – Tues.

Recent graduates from University of Ulster present their work in the Joinery, selected by Catalyst Arts Belfast. From the Joinery website:

New work by Stuart Calvin, Amy Brooks and Ruaidhri Lennon.
After the success of the first collaboration ‘Switched’ in September 2010, Catalyst Arts Belfast will once again collaborate with the Joinery Dublin to present a selection of work by recent graduates chosen from the University of Ulster Degree Show 2011, highlighting the variety of output by local emerging practitioners. This work will be re-exhibited in the Joinery, and provides the chosen artists with an opportunity to show alongside their peers in a new, curated context. In May the recent graduate works selected by The Joinery will be exhibited in Catalyst Arts. This exchange provides an opportunity for recent graduate artists to showcase their work to a new and broader audience.

Catalyst Arts was founded to support and exhibit the work of students, local, emerging and more established artists, often exhibiting them alongside international names. The organization provides a training ground for future artistic, curatorial and arts administrative talent, and is committed to providing services and opportunities for its large members’ base. As a result, the gallery continues to present cutting edge and challenging contemporary art on a modest budget, showcased in an accessible and dynamic art space in the heart of Belfast. Over the years, Catalyst has worked and collaborated with a diverse range of organisations, groups and institutions in Northern Ireland, the Republic and abroad.

http://www.catalystarts.org.uk/

Christian Marclay’s ‘The Clock’: A Response

This response by Ruth Clinton to Christian Marclay’s “The Clock” is in the form of a voice-over made from fragments of other voice-overs from various films. It seeks to inhabit the work by becoming a mimetic commentary on, and an imagined narration by, “The Clock” itself. This text was originally performed as a slide show for a class presentation.

(V.O.) 15 minutes to go and I’m wondering how I got here. The machinery had started to move and nothing could stop it. The time for thinking had all run out. From here on it was a question of following the time, move by move. I wanted all my time accounted for for the rest of the afternoon and up to the last possible moment in the night. It’s not that I’m afraid of it, but I don’t know what it is anymore. It’s hard even to take its measure. You lose an hour, you gain an hour. This is your life, and it’s ending one minute at a time. The first time I realised, I was dizzy, but after a while it all got to be normal. I didn’t feel fear, but just kind of blah, like when you’re sitting there and all the water’s run out of the bathtub. It was routine. Life consists of routine, and then more routine. You didn’t even think about it. Sometimes the clock might have moved slow, but it was only because it didn’t have to move for anybody. Some time is slow time. Sometimes it feels like stoptime. Time can draw out like a blade. An ice age here, a million years of mountain building there, plates of bedrock grinding against each other over a span of millennia. Time: that’s all it takes, really.

I remember my first night. Seems a long time ago now. It was the longest night of my life. I was lost in oblivion, dark and complete. It was so still I could hear the ticking of the clock, but yet I couldn’t hear my own footsteps. It was the walk of a dead man. I didn’t know what to make of that. The world was like a faraway planet and I was neither here nor there. Right then it came over me that I couldn’t walk at all. You see, the tragedy of my life is that I only exist in the hours in which we have our time together. But our time with each other is limited and each lives for the precious hours and seconds that were made for this world. We have our time together and then never see each other again. I guess we make each other real.

It’s funny how the rhythm of the clock remains ingrained in you for life. Every evening I died and every morning I was born. Resurrected. But the fates had been stalling me off and now they had thrown the switch. My life had taken another turn: suddenly there was a change. Old life blown away in the blink of an eye. This wasn’t the end, it was only the beginning again. I sensed that my destiny now lay with the end of the day, the edge of the horizon. The only hope for survival lies in time. I’ve got to summon the past and future to the aid of the present.

Then one day destiny just tapped me on the shoulder and asked for a few minutes alone with me. I don’t remember much of anything that happened in the next few days. My mind tends to jump around a little, and have some trouble between fantasy and reality. In the end, it’s impossible to separate the fact from the fiction. I should not dwell on such things, but set them behind me. Maybe real and unreal can never be separated. No time and real time, all mixed together. Endless hours of doing nothing, thinking nothing. Once, time was frozen so stiff that for a second I thought I was dead, but then I heard destiny:

We’re going to be spending a lot of time together… a lot of time… lots and lots and lots of time. And we’re never, ever, ever going to be apart.

And there were subjects we didn’t discuss and there were words we didn’t say, I couldn’t say, like death, like future, like real. And it was hard because I was curious and full of questions. But I somehow felt empty inside. It was time to move on. There was nothing left. Fate seemed kind of unreal and time stretched out in front of me as it always had. My whole life has pointed in one direction. I see that now. There never has been any choice for me. Then another wave of Time washes over me. I keep on going and do it all over again. The memory of a twice-lived fragment of time returns, like clockwork.

The clock is my business and will be for some time. I’m a money machine. Total organisation is necessary. The days move along with regularity, one day indistinguishable from the next, a long continuous chain. Stretch shifts, six to six, sometimes six to eight in the a.m., six days a week, sometimes twelve hours of work, eighteen hour days, some nine to five. The days dwindle on forever and do not end. Living like this, it’s a full time business. But the market works on turn-over. Built-in obsolescence is the name of the game and we’re gambling for time. It doesn’t matter, its’ all profit in the end. From time to time, inside the counting room, the place where they count up all the hours and minutes, they’d do short counts. In the count room nobody ever seems to see anything. Somehow, somebody’s always looking the other way. I mean they’re gonna steal a little bit extra for themselves. Makes sense doesn’t it? Right? I mean, he who controls it controls our destiny. Eleven o’clock, three o’clock, eight o’clock: stolen hours… nobody knows for sure just how much is taken. Sometimes I can’t believe how fast things move, like the world went and got itself in a big damn hurry. I just try to keep up. Time gets away from us in little separations; fragmenting, while moments flare from every fractured edge.

And, finally, when there’s nothing left, I wind up right back where I started. Time rolls back again, the moment returns.

Badlands; Shawshank Redemption; Blade Runner; Fight Club; Dune; Pitch Black; Casino; Goodfellas; Taxi Driver; True Grit; Election;

Ruth Clinton is a visual artist and a student on the MA Art In The Contemporary World.

Simon Critchley on Faith of the Faithless at Dublin Unitarian Church

March 29, 2012
GradCAM have organised philosopher Simon Critchley and psychoanalyst Jamieson Webster to speak at the Dublin Unitarian Church at the end of March. Critchley’s talk is entitled Faith Of The Faithless and Webster will be speaking about The Life And Death Of Psychoanalysis. It’s a free event but strongly advised that you book your place by emailing edia.connole@gradcam.ie. Full details as follows:

Somehow, the secular age seems to have been replaced by a new era, where political action flows directly from metaphysical conflict, and Simon Critchley asked how we might respond to this change. Should we defend a version of secularism, quietly accept the slide into a form of theism—or is there another way? From the paradox of politics and religion in Rousseau to the return to St. Paul in Taubes, Agamben and Badiou, via explorations of politics and original sin in the work of Schmitt and John Gray, Critchley examines whether there can a faith of the faithless, a belief for unbelievers.

Simon Critchley is Hans Jonas Professor of Philosophy at the New School for Social Research in New York, and a part-time professor of philosophy at Tilburg University in the Netherlands. His many books include Faith of the Faithless, Very Little…Almost Nothing, Infinitely Demanding; Ethics-Politics-Subjectivity; and The Book of Dead Philosophers.

Jamieson Webster argues that the life and death of psychoanalysis hinges on the question of desire itself, and attempts to bring this question back to the center of psychoanalytic thought and practice. Blurring the line between the personal and the theoretical, and in conversation with the works of Lacan, Adorno, and Badiou, Webster offers a novel interpretation of the philosophical and psychoanalytic meaning of desire and explores how, through the difficult work of transference and reading, one can live out the life of desire that tests the limits of what it means to be human.

Jamieson Webster, PhD, is a psychoanalyst in New York City. She teaches at Eugene Lang college and New York University. Her work focuses on clinical and theoretical psychoanalysis with an interdisciplinary focus on feminine sexuality, philosophy, and aesthetics.

This event is co-organized and chaired by Edia Connole and Tina Kinsella, and is from a series of events initiated by Connole, Kinsella and Clodagh Emoe to mark GradCAM’s fourth year of activity. Visit www.gradcam.ie for more information.

This is a free public event, however, spaces are limited, and booking is strongly recommended. Please send an email to edia.connole@gradcam.ie to reserve your place.

Brian Duggan at Rua Red

Opening: March 16th 6-7pm
Exhibition Runs: March 19th to April 28th

A new site specific installation called Three Lives by Brian Duggan will be at the Rua Red Gallery in Tallaght from March 16th.

From the Rua Red site:

Three lives is a new site specific installation in the cavernous Gallery 1 by Brian Duggan. The central structure will include a 40 foot maze which visitors must enter to see the exhibition.

Dissecting the volume of the unique gallery, this new work will continue the artist’s investigation into some central questions that underpin his practice in the past number of years. Unbalancing and unhinging the visitor from their comfortable frames of reference, the installation will introduce a wry unbalanced anxiety into the proceedings.

This totally new body of work is Duggan’s first solo exhibition since his ARP residency in the Irish Museum of Modern Art in 2011.

A publication and programme of public talks and discussions will be programmed for the length of the exhibition

EMERGING VISUAL ARTIST AWARD 2012

Cecilia Danell, Emerging Visual Artist Award Winner 2011, detail from Stairing Out the World, Ink on Canvas Board, 2010

An Arts Council, Wexford Arts Centre & Wexford County Council
Partnership Initiative

Call for Applications

Wexford Arts Centre and Wexford County Council are pleased to announce a call for submissions for the annual Emerging Visual Artist Award.

The Emerging Visual Artist Award is a partnership initiative between Wexford County Council, Wexford Arts Centre and the Arts Council. The initiative supports promising visual artists in Ireland with an award of €5,000 and a solo exhibition at Wexford Arts Centre.This award is aimed at recognising and supporting the development of committed emerging artists, in kick starting their career and achieving professional recognition.

The successful recipient of the award will be required to create a new body of work during the period January – November 2013, which will be exhibited at Wexford Arts Centre during December 2013.

The deadline for receipt of email submissions is 5.00p.m. Friday 6th April 2012. For gallery plans, further info, images and details on previous EVAA award winners please log on to http://www.wexfordartscentre.ie/eva_award.html



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