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Kathy O’Leary: Open book | Leabhar Oscailte

Opening Reception: Saturday Sep 15th 3pm
Exhibition runs until October 13th

An exhibition by Kathy O’Leary at the Working Artists Studio Gallery in Skibbereen will open at 3pm on Saturday 15th of September. The work is centered on an artist’s journal/notebook which is exhibited in the gallery, along with elements of it that have been manipulated and reprinted for display within the space. The following details are from Dnote:

Kathy O’Leary has been hugely influenced by books throughout her life and she continues to use this influence. After launching her book Onward Journeys, A Visual Process in early 2012, she began an artist’s notebook / journal. Here began another journey of sorts with her concern for creating art that surrounds rituals of the everyday and the importance of this is evident in this body of work. Recording a ‘time and place’ has been a documentary process for her in the last few years.

The notebook will form part of the exhibition but has also been manipulated and reprinted to form a part of the gallery, playing with the book format and bringing the imagery out into the space.

The body and the landscape is a continual cohesive language in her practice and she develops this juxtaposition by utilisng different disciplines.

This exhibition endeavors to elaborate on some of the research Kathy has gained throughout the development and use of these processes. By examining trajectories of the chaos theory and cosmology through the body, nature, the environment and technology creating transformations with ephemeral and ethereal forms.

Kathy has created playful curiosities by speculating concepts and accumulating fragments of history and representation as a way of exploring correlations between ‘play’ and artistic practice to interpret this through a visual language. The majority of her practice has been strongly based in the Aesthetics of the body and the environment. She’s intrigued by the term ‘ecofeminism’ but purely as a critique that draws parallels between the subjugation of humanity and nature. But to also have the need to give humanity credit to being carers of the environment as a necessary role, so that everyone is playing their part as protectors. She supports the concept of ‘deep ecology’ as a contemporary ecological philosophy that recognizes an inherent worth of all living beings, regardless of their abilities/disabilities, strengths or weaknesses.

Niamh McCann ‘Insertions’

Lenticular Moon Men, with frame (2012)
Mounted archival print, ultramarine pigment paint with medium, 104 x 85cm

Niamh McCann
Green on Red Gallery
30 Aug – 06 Oct 2012

Green On Red Gallery is delighted to present the work of Niamh McCann for her second solo show in the gallery. Insertions consists of a rich panoply of sculpted, painted and collaged elements appearing to belong to the 1960’s, a decade of extraordinary optimism and change, best captured perhaps in that American “ great step for mankind “ landing on the moon. It was the stuff of immediate legend. With grace and humour, McCann sets about rewriting, re-examining this legend. Whereas previously McCann worked the gap between nature and culture, in Insertions she fuses and intermixes iconic political and historic moments, exposing through their faded material condition and hackneyed overuse a frailty and a melancholy and a feeling of over-investment.

Nothing is in its original state here. Reproductions are carefully reproduced. The degraded, worn holographic image or jigsaw is injected with new possibility through the artist’s trademark collage of elements and in the overall narrative scenery achieved. While a feeling of deflation may result from a hard look at history – captured wittily in the Yves Klein blue, spent balloons in bronze– Occupy is a grand, geodesic sculptural interpretation of a tiny foreground detail of the famous photograph of Armstrong and Aldrin stating their American claim on the moon. Occupy is a fresh, exuberant and open-ended departure from the original.

The artist says: It is an idiosyncratic look at the constructed world around us. The viewer is forced to consider one’s own set of cultural co-ordinates, while also questioning the cultural conditions that have contributed to the defining of those co-ordinates.

On the 21 Sep for Culture Night Insertions will remain open for viewing in the gallery until 11pm and there will be a reading of Jonathan Swift’s Gullliver’s Travels at 7pm.

Following Insertions will be an exhibition of new work by John Graham, opening on Thursday 11 Oct, from 6 – 8pm.

For further information please contact Jerome, Mary or Jonathan at T: +353 16713414 or E:

Your Cruelty

Lily Cahill | Rob Murphy | Matthew Slack
Opening 6pm September 6th 2012
Show runs until 15th September 2012
Flat_Pack Gallery & Studios
32 Brunswick St. North, Dublin 7

Bare it.
Bear it.


More info to follow …..


24th – 26th August 2012
Belfast: Various venues

Household is an art event taking place in Belfast this weekend where artists will open up their homes and turn them into temporary exhibition spaces. A variety of activities will be taking placing including fine art, installation, performance, live music and discussions. The event is curated by Sighle Bhreathnach-Cashell, Eoin Dara, Ciara Hickey (current MA ACW student), Alissa Kleist and Kim McAleese. According to the organisers:

Household is an event that encourages audiences to re-negotiate the way in which they view and interact with art in the city. It offers an opportunity to experience new work in unrestricted non-commercial and non-institutionalised contexts by inviting members of the public into selected artists’ homes.

There is a large concentration of creative professionals living in South Belfast who have agreed to open up their households to showcase a variety of work – from fine art, performance and installation to live music, talks and discussions.

Household provides a supportive framework in which these practitioners curate their own homes, while simultaneously encouraging visitors to explore intimate domestic spaces in an accessible and exciting way.

Full information can be found on the Household website.

Critical Bastards Issue 7

Issue 7 of online art writing publication, Critical Bastards, is now available for free download.

Michaele Cutaya: For a Discursive Criticism
Francis Wasser: A Review of The Trouble with Art Criticism a panelled discussion at the ICA
Tina Kinsella: Towards Thinking of a Desideratum of Art
Suzanne Walsh: Echoes at the Return (Reviewing The Return by Anne Kelly at the Goethe Institute)
Adrian Duncan: Invisible Background Instrument (Reviewing The Return by Anne Kelly at the Goethe Institute)
Editorial Team:
Iain Griffin:
Suzanne Walsh:
Niall Dooley:
Sinead Farry: info

Download Issue 7 here.

THE MART: Help Turn The Lights On!

MART are currently running a fund:it campaign to help them open up a new art space in the old fire station in Rathmines. We spoke to MART co-founder and current MA ACW student, Mathew Nevin, about their plans.

Tell us a little about MART. When did you start? What was the initial objective?

I set up MART in 2006 with Ciara Scanlan as an arts organisation whose primary aim is to create a platform for New Media, Installation, Sculpture, Experimental Film, and Performance art. We both had just came out of college and wanted to create our own opportunities. We started out with about 8 artists and now we have over 150 on the website, and have worked with about 300 in total over the years, touring Ireland, UK, Europe and the USA… all on a shoe string!

What kind of art are you interested in? How do you decide which artists to get involved with? Do you choose them or do they choose you?

I personally studied Installation in college, so I am always drawn to this. I am working on a MART Catalogue where I actually speak about this more with Margaret O’Brien – the role of installation in Irish arts and also the academic effect on an emerging artists work. I think the interpretation of Installation here in Ireland compared to what I studied in Wales is slightly different. I studied Scenography, which is the study of design in space. So Christo’s interpretation of Installation would be more along my lines, as opposed to installing a sculpture into a space – this is what I think some artists here believe it to be. This is not wrong, it’s just a different way of thinking.

In MART we have an open ethos, we are open to everyone. The only rules are that they fall into the above mentioned categories and show what Ciara and I decide to be of artistic merit. They don’t need to have a big name, or have a BA, an MA, a PHD or the likes. They just need to express their love of art through their work. Do they choose us? I suppose many of them do as the majority do approach us, but we have approached them too, and of course when we curate a show we do the choosing!

MART has a very strong international dimension and you seem to be constantly running events or shows outside Ireland. How do you manage to do this?

Really there is one answer to this: Culture Ireland. They have been our core support since the very beginning. When we were doing The Launch in Galway and we sat around speaking with Spanish artists we were involved with, we thought “why not go abroad?”. That specific show didn’t materialise but that didn’t stop us. We are looking forward to running more shows in Ireland as taking artists and their work abroad has got to be one of the most stressful (but enjoyable) things I do! However, we are planning two shows in Greece and Portugal next year. Also I should mention here that Ciara and I have a great working relationship. I think because we were friends first that has helped us drown out any negativity that arises and keeps us together as a strong working partnership. I remember a meeting we had with the Arts Council once and telling them “Do you know we will be around forever?”. We aren’t going anywhere and have established MART as an entity on its own. I suppose we have always kept to a light hearted professional integrity which means we have always maintained high expectations of ourselves and this paid off with being chosen to represent Ireland in Imagine Ireland in the states last year. We have seen many organisations/initiatives/groups/studios/galleries come and go in the last 6/7 years but we are here to stay!

You are taking over the old fire station in Rathmines with the intention of running it as an art space. How did this come about? What are your plans for it?

I live in Rathmines and walked past the building every day for months. Then with my cunning detective skills and about 100 phone calls and 10 meetings with DCC we got it! We were on the hunt for a space ever since I came back from London (I lived there for the past 3 years). For various reasons having a gallery or any form of space as an arts organisation helps you. Even though we have lived an ephemeral existence up to know, which we have loved, having a base means we can organise more shows nationally and internationally and provide resources to artists. For example MIAEN – Mart’s International Arts Exchange Network – will offer professional development for artists and curators from around the world to come and curate an exhibition in Dublin with local artists. We will also provide studio space and offer comprehensive curatorial and art programs.

Tell us about the Fundit campaign you are running. What do you need the dosh for? Give me a few good reasons why I should give you some of mine.

  • We are poor and relatively unfunded!
  • It is to pay for the extortionate fees that workers are still asking for even though the celtic tiger is gone. Also we have to pay a lump sum for a fire officer to make it safe… this is due to Irelands obsession with safety.. if we were in the UK or Germany we would be open already!
  • You get some amazing rewards: prints, sculptures, etchings, drawings, photographs ….
  • You can rent our fantastic galleries at discounted prices!
  • You can become a MART VIP!
  • You love us?

Do you see crowd-sourcing sites such as fund:it as being viable and sustainable means of providing ongoing funding to arts organisations such as yourselves?

Yes, we actually did a Kickstarter back in early 2011. Kickstarter is one of the original crowd funding websites and helped us pay towards our American tour. We actually gave advice to Business to Arts when they were setting up fund:it so they could gain from our experience. If you glance over fund:it they have done some AMAZING work for the Irish arts, music, and Irish culture in general. The only problem really is this recession! If it was celtic tiger times people would be throwing their money about and nobody would need to crowd fund as much, but unfortunately we do, and its a great way to do things. A simple way of thinking about it is, we are aiming for at least €3000, that can be broken down like this. If 100 people donate €30 each, they receive amazing rewards for doing so, and we would be at our target. It’s not much when you break it down, but it is a lot when people don’t have money at their disposal. So we need to do lots of press to generate interest for the fund:it!

Your fund:it video is hilarious. Have you considered pitching some sort of comedy/reality TV show to RTE?

Weirdly enough the answer is YES! I applied to the Film board for a documentary on the USA tour but time was not on our side, so it didn’t happen. Separately with MART Productions we are going to hit RTE (but I think we might have a better chance with CH4 or an american network ) with a four script comedy sketch series I have written called “Spoonfeeders” based on the Art World…. watch this space :-)

Finally, the most important question. When you finish refurbishing the new space, will there be a fire-mans pole we can slide down at openings?

Hopefully yes. If we can get a welder to come in and install one, then definitely yes! Oh, or a retractable one would be cool that we could control to go up and down! There is a hole for it where the old one was.

Ciara and Matthew need to raise 3000 euros in order to get THE MART started. If you would like to help out, have a look at their fund:it campaign page which provides all the details.

Whitewashing the Moon at the Project

Opening: Thursday 23rd August at 6pm
Exhibition Runs until 27th October

New group exhibition curated by Tessa Giblin and Kate Strain opens at the Project this Thursday. The following details are from the Project website where you will also find further such details:

Whitewashing the Moon is based on a short story by Edward Everett Hale, originally published in 1869. It tells the tale of the men and woman who conceived of the first recorded imagining of a satellite in orbit, and the events that unfolded as they eventually went about creating a ‘Brick Moon’. As well as being a scientifically advanced concept for its time, the science-fiction fantasy that evolved through the story also creates an extraordinary transformative effect.

This transformative concept is at the centre of Whitewashing the Moon, in which a garden of sculptures, photographs and other material installations communicate a similar potential for objects. The works of Caroline Achaintre, Jorge De la Garza, Eleanor Duffin, Barbara Knezevic and Raphaël Zarka all explore in different ways the transformative potential of objects and ideas.

A Yellow Rose at the Freemasons’ Hall

a yellow rose

Owen Boss // Colin Martin // Tom O’Dea

Freemasons’ Hall 17 Molesworth Street Dublin 2

August 9th – August 24th

(opening 9th August at 6pm)

a yellow rose takes its name from a Jorge Luis Borges short story that describes the complex relationship between Art and Reality and ventures that while we may speak or allude to something we can never truly express it. The three artists have disparate practices but share an interest in the complexity of representation. A shared affinity with Borges’ allusion through this short story to the futility of art as a means of conveying reality – as the titular yellow rose will always be ‘outside of art’ – has provided a natural nexus. a yellow rose is installed in the Freemasons Hall, a space charged with tradition, ritual and esotericism.

Owen Boss’s practice involves found documentary and live performance. Boss interweaves fictionalised accounts with documentary footage of contested events. Boss will show ‘Testimonial’ a work that splices the actual and fictionalized accounts of a Yorkshire television interview between Brian Clough and Don Revie. It calls into question the original occurrence, its live debate and its eventual fictionalisation. Truth and testimony give way to a forked outcome that blurs boundaries between fact and fiction. Boss will also show ‘Anything for a quiet life’ 2012, a reconstruction by appropriation of the character actor Jack Hawkins autobiography, who despite losing his voice to throat cancer continued to be given speaking parts that were dubbed by other actors.

Colin Martin’s recent practice is concerned with Cinema and Space as worlds we move through physically and virtually. His Film installations depict locations which are bounded, idealised spaces that serve to accommodate things that may not ordinarily exist together naturally (Museums, Gardens, Film Studios). Martin will show two film works ‘Vitrine’ 2012 and ‘Basic Spaces’ 2012, the latter an ongoing investigation into the ‘decorated shed’ as a conduit for social, cultural and political value.

Tom O’Dea’s practice stems from the legacies of Minimalism. He works with a critical knowingness of the doctrines of High Modernism and his modest works engage with both the cache and absurdity of the minimalist gesture. His is a strong position of tentative doubt- the ambition of the work being to exist along the line between the poetic and the borderline pathetic. O’Dea avoids seriality, each work subtly shifts its methodology and quietly occupies a space that argues for the potential of a minor minimalism. The highly ornate and charged site of the Freemasons’ Hall as the antithesis of the sterility of the White Cube could be seen as hostile to such a practice, affording him the opportunity to directly challenge the validity of that as a limitation.

a yellow rose will be accompanied by a text Little Trapdoors by Francis Halsall.

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