Opening: Thursday October 4th at 6pm
Location: Flat_Pack, 32 Nth Brunswick Street, D7
Exhibition: Runs until 12th October
The second show to take place in Flat_Pack Gallery and Studios will open on Thursday October 6th with a wine reception from 6-8pm. It is called Predeemed and features the work of Niamh Clarke, Hugh Harte and Niamh McCooey.
‘predeemed’ presents an arbitrary moment of being, an evaporation of limited meanings and the potential for a multitude of conclusions – a conversation in the teetering space shared by redemption and designation.
Issue 6 of Enclave Review will be launched at 6pm on Wednesday 3rd October in The Oval Pub, South Main Street, Cork. It is edited by Ed Krčma and Fergal Gaynor and features the following articles and reviews:
Prof. David Lloyd on Peter Manson’s new translations of Mallarmé
Fergal Gaynor on Crawford 100, Cork
Klara Kemp-Welch on 10 x 10: See You There, Wrocław
Rachel Warriner on Angela Fulcher, Cork
Jimmy Cummins on Joe Brainard, New York
Francis Halsall on A MacGuffin and Some Other Things, Dublin
Mia Lerm Hayes on Before the Law, Cologne
Sarah Hayden on David Zink Yi, Berlin
Gemma Carroll on Flotsam and Jetsam, Cork
Sarah Kelleher on The Suspension of History, Cork
Ed Krčma and David Brancaleone on eva International, Limerick
Rowan Sexton on Maria McKinney, Belfast
Adrian Duncan on Aleana Egan, Dublin
Enclave Review is available free, but a subscription service is also available for the magazine. If you would like to subscribe (it costs €5 for a year’s supply to an address in Ireland, £5 for Britain, €6 for the EU – please ask for other destinations), just email them at firstname.lastname@example.org and you will be sent a Paypal invoice.
Friday September 28th 5pm – 6pm
Douglas Hyde Gallery
To mark the opening of Nina Canell’s exhibition at the Douglas Hyder Gallery, a conversation will take place with the artist and Declan Long. All are welcome and admission is free.
The following is a response by Barry Kehoe to the NCAD Masters in Fine Art/Art in the Digital World (MFA/ADW) graduate show that took place in June 2012.
…Je me souviens, they’re memories that have been prompted, things that I had forgotten that I will make reappear, an anamnesis, i.e. the opposite of forgetting. Georges Perec
What remains of an exhibition after the doors close? In 2011, artist Ryan Gander in collaboration with Artangel, produced an event in a London warehouse in which visitors without forewarning happened upon the detritus of what remained from a closed exhibition. Postcards, old posters, catalogues, monographs on each of the participating artists were strewn around a room, some still in the printers cardboard boxes. Through disturbed blinds, keyholes and cracks in locked doors, one could glimpse the edge of a half dismantled exhibition. Of course this was a fiction and visitors were being activated to be spectators who came too late and had to do with the scraps of what remained of an event after the fact, or in this case an event after the fiction. Continue reading…
Plastic Art sees the commissioning of new work by artists Barbara Knezevic, Magnhild Opdøl and Séamus McCormack. Curated by Dr. Hilary Murray, the exhibition explores the notion of the biological network in art through the manipulation of form, seriality and the interplay of physical change with recognition.
The synapse forms the primary interface for the most complex of systems—the brain. Loaded with membrane proteins that form dynamic channels, this interface is in constant motion: the primary function being the transfer of information. The plastic neuronal network has opened up endless possibilities for perception, learning and memory: a system that has been mimicked in the mechanical age in the shape of the computer. Along with the advancement in biological systems, parallel functions are being mooted in a host of differing applications, most recently in the arts. The biological cell and its endless capabilities continue to be referenced in contemporary art today, particularly post-minimalist sculpture.
Plasticity proposes the changing of the singular into complexity; it also represents the consolidation of what we take from the world around us and how we temper the complex arrays of information into cogent thought. A work of art is no longer considered a static singularity; it holds within it a complexity akin to the personae of both artist and viewer alike. The artists featured in Plastic Art have used the way in which plasticity can change an object from a non-emotive idiom into a focus module for memory and emotion.
September 21st–October 13th
At a certain juncture during Plastic Art certain work will be re-addressed in light of the current display and how it is received. This delicate adaptation of the work will be referred to as an ‘arbor’ or branching. By adapting the work in this manner the artist is allowing the work to respond to the environment and those that come in contact with it.
Plastic Art is curated by Dr. Hilary Murray and features the work of Magnhild Opdøl, Séamus McCormack and Barbara Knezevic.
Born in Sydney Australia, Barbara Knezevic lives and works in Dublin. She attended the Sydney College of the Arts where she received a Bachelor of Visual Arts and completed her Masters in Fine Art at the National College of Art and Design, Dublin. Solo exhibitions include Wish Fulfillment, 55 Sydenham Road, Sydney (2011); Alderamin Rising, Queen Street Studios, Belfast (2011). Group exhibitions include eva International Biennale of Visual Art, Limerick City (2012); Forårsudstillingen 2012, Kunsthal Charlottenborg, Copenhagen (2012); None Went Mad None Ran Away, Rubicon Gallery, Dublin (2012) and Futures 11 at the Royal Hibernian Academy, Dublin (2011). Forthcoming group exhibitions include Whitewashing the Moon, Project Arts Centre, Dublin (August 2012) and solo exhibitions include Dialogues in Sculpture at The Dock, Carrick on Shannon, Co. Leitrim (September 2013). www.barbaraknezevic.com
Born in Norway, Magnhild Opdøl lives and works in Dublin where she is currently on a residency in Fire Station Artists’ Studios. Since graduating from the National College of Art and Design, with an MFA in 2007 she has been widely exhibited both in Ireland and internationally. Opdøls’ work is in many public and private collections. Most recent solo exhibitions include Dead Dog Farm, Galway Arts Centre, Ireland, Then Comes the Lies, Molde Kunstforening, Norway in 2011 and If you go down to the woods, Kunstmuseet KUBE, Ålesund, Norway (until 2 September 2012). Upcoming solo shows include Tegnerforbundet, Oslo later in 2012 and Butler Gallery, Kilkenny, Ireland, Haugesund Billedgalleri and Akershus Kunstsenter, Norway in 2013. www.magnhildopdol.com
Born in Mullingar, Co. Westmeath Séamus Mc Cormack was educated at the Dublin Institute of Technology in 2006 with a first class honours degree in Fine Art and was awarded the Gold Medal for Academic Excellence. He has just recently completed an MFA in Sculpture at the National College of Art & Design, Dublin. Solo exhibitions include Ballina Arts Centre, 2010. Group shows include Catalyst Arts, Belfast; Éigse, Carlow; Tulca, Galway; Broadstone Dublin; Galway Arts Centre; TACTIC, Cork and Basic Space, Dublin. In 2010 he was one of the award winners at the Claremorris Open Exhibition, curated by Lisa Le Feuvre. He has received a number of grants from the Westmeath County Council Arts Office and in 2006 received the Emerging Artist Bursary Award. www.seamusmccormack.com
Plastic Art is made possible with support from the Dublin Year of Science 2012 Euroscience
Open Forum (ESOF).
The following text was written by Francis Halsall to accompany the DIVIDUAL exhibition by Llobet & Pons that opens at the masART Galleria in Barcelona on Thursday September 6th at 7pm. It is curated by Patricia Carrasco and runs until the 6th of October.
Our own body is in the world as the heart is in the organism: it keeps the visible spectacle constantly alive, it breathes life into it and sustains it inwardly, and with it forms a system. Maurice Merleau-Ponty, The Phenomenology of Perception, pg. 235
(i) That is the Living!
Some time ago I found a young man’s passport on the street and thought that the most sensible thing to do was contact the embassy of his country directly, explain that it had been found, and send it to them. All of which I did and then thought nothing more if it.
A few days later the following email arrived (I’d left my card in the package) which I’ve copied directly here:
Hi Dr Francis,
How is the life?
I am really happy for your kindness. I really appreciate that! I’d like to thank personally and give a little gift to you. Would I might meet up you next week where you work (National College)? Let me kow when is possible, ok?
I wanna see you. I was going to see my girlfriend in London, on the way to the airport the passaport fell down from my jacket, fortunately you found it but my girlfriend didnt believe that and we just broke up. That is the living! In addition, I’m very glad because my mother will arrive next week and we are going to travel for 15 days. Probably, if you havent found it, the trip couldnt be possible!
I dont know you yet but I am sure you are a woderful person.
(If you like brazilian stuffs, my mother will arrive on friday, then we can meet that day) (sic)
Flatpack, a new gallery and studio space situated in Dublin 7, is hosting its first show this week. It’s called Your Cruelty and features the work of Lily Cahill, Rob Murphy and Matthew Slack. We asked Lily Cahill to answer a few questions about the show and the studio.
Tell us about Flatpack Gallery and Studios. What is it? When did you start? Who’s involved? What’s the grand plan?
Flatpack has thus far been operating as an open plan studio space with ten artists working in it. The ten of us were all in the same year in Visual Arts Practice in IADT Dun Laoghaire and we graduated in 2011. From June of that year we knew we wanted to keep working together. We liked each other (still do) and thought that we had a good thing going on as to how we discussed issues surrounding our practices, and we decided to carry this on into the real world. I didn’t want to be isolated from a group that I felt me and my work benefitted a lot from being a part of just because college was over. We moved into our space in Smithfield in March. Myself, Rob and Matthew are showing first in a series of shows in which all members will be exhibiting in groups in the front room of Flatpack, which will henceforth be operating as the gallery part of Flatpack Gallery and Studios.
The plan is to first have this series of shows, and that will take us up to December. In the meantime, everyone keeps on making stuff and talking, and then we’ll see what’s next. We have meetings every week with a rotation as to who is in charge, and then we democratically vote on what we want to do with regards to the studio, so we’ll be making further plans soon no doubt. I imagine after this first series of shows we will begin to think about the possibilities for Flatpack to engage with interested parties outside our own interesting party.
On your website you state that you have an “open studio” policy. Does this mean anyone can turn up and start faffing about with tins of paint?
Certainly not, unless invited. We carried on this way of working from IADT actually. In 4th year there were no cubicles or dividers, it was just everyone in a big room with no assigned desks or areas. This was pretty annoying at first because people like a consistent place to keep their stuff, but it proved to be effective because then people use the space better – someone making small stuff doesn’t need a whole box to themselves when someone else is painting massive canvases or whatever and doesn’t have enough room. So in Flatpack, anyone that wants a relatively stationary desk has one, but we’re facing each other and able to talk and there’s open space for anyone to use as needs be. Cubicles are stupid for an art making environment I think. The reason we felt we were a good group and encouraged each other in our work in college was because we could see and talk about the work all the time. If we were packaged separately this wouldn’t happen so much. Though this depends on your co-workers I suppose.
Your Cruelty is the first show taking place at Flatpack. Can you give us an idea of what to expect?
I think the three of us all look to some kind of alternative structure for viewing and processing the world. Myself and Matt do so through having created our own kind of worlds. These worlds have rules, or maybe rules is the wrong word, let’s say adherences, that inform and shape the resulting work. Rob’s way of thinking is not so much about a world, or the world, but about the possibility of the things that inhabit this world being distinct or alter to the big associated backpack of worldly-ness they are carried in. Good grief. Anyway there’ll be video, sculpture, drawing and installation work and I think the thing that brings us and the work’s interests together is that it’s all squabbling, or battling, with the big bully of the predominant or accepted ways of seeing and being in the world – or at least that’s what it’s really trying to do anyway.
What sort of curatorial process was involved in the show?
Me and Matt make work that a lot of the time needs to be fabricated in the spot it’s going to be shown in. I write all over walls so I need a good bit of preparation time and would be pissed if I suddenly had to be moved for example. So we first thought about the essential requirements for the pieces to function: light, space, and then what looks good beside what, or what can potentially be having some sort of interesting engagement with something else. All the normal stuff.
The three artists involved seem to have fairly diverse practices. How did these come together for Your Cruelty? Are there common themes and concerns?
I think I probably covered this adequately above. The gents may beg to differ mind you. But yes, again I think it’s the world stuff. There are other complimentary and contrasting facets of course. Matt’s work creates a feeling of possibility and endurance after some kind of alluded to event; there has been some kind of change but life went on, or at least forms of life anyway. Whereas I would see my work as hopeless (ha!), it became defined by an event and is incapable of ‘getting over it’, it is always struggling against itself but can’t escape its own parameters. And Rob’s stuff I think is suggestive of both possibility and hopelessness in that it is offering something so entirely alter and distinct that it makes you think “Jaysus, is the way things are so grim and uncompromising that we have to throw the baby out with the bathwater?”. It’s like the work offers an exit, but it’s an emergency exit, on a plane, over the Bermuda Triangle.
Some of you were at dOCUMENTA(13) in Kassel this summer. What were the highlights for you?
I thought Tino Sehgal was pretty great. Anna Boghiguian too. But especially Willie Doherty, who I’d been wrong in thinking was a complete snore prior to this.
Your promo video for the show features American poet Amiri Baraka reading a poem accompanied by improvised saxophone playing. Please explain.
YOU UGLIER THAN ZOMBIE VOMIT. Need I say more?
Your Cruelty opens on Thursday 6th of September at 6pm. Flatpack Gallery and Studios are situated at 32 Brunswick St North, Dublin 7. The show will run until the 15th of September.
The latest in a series of talks organised jointly by the Kerlin Gallery and MA Art In The Contemporary World takes place this Thursday (6th September) at 5pm and features Callum Innes and Caoimhín Mac Giolla Léith.
As part of the Phizzfest 2012 festival there is an opportunity to avail of a free “aesthetic screening” from MA ACW graduate Ciara McMahon. Full details as follows:
We are delighted offer you a golden opportunity for a limited period to partake in an Aesthetic Screening Clinic entirely free of charge. For three days only FREE consultations are being offered at the Aesthetic Screening Clinic, with Visual artist and Aesthetic Screening Consultant Ciara McMahon (ACW Graduate).
To make an appointment please contact reception at the former First Active Building, 357 NCR, Dublin. The FREE appointments (for a limited period only) in this ephemeral work are being offered as part of the Creative Check-Up exhibition, PhizzFest 2012.
Clinic Opening Times : 2 – 5pm Thurs 6th, Sat 8th, Sunday 9th Sept. Strictly by appointment only.
Please note appointments last 20min.
Further information contact : email@example.com
Lismore Castle Arts is hosting a one day seminar on 4th September. The seminar takes its lead from the Josephsohn exhibition at LCA, extending an invitation to Declan Long from MA ACW at NCAD and Amanda Ralph from MA in Visual Arts Practices, IADT – to speak in the morning session with their suggestions of artists to speak in the afternoon, including Angela Fulcher and Fiona Woods. The seminar looks at how artists and critics are now looking at making, creating and interpreting sculpture today.
The seminar forms part of LCA First Tuesday events programme, a series of events on the first Tuesday of every month. A light lunch will be provided.This is a free event however, booking is essential – please contact Paul McAree on 058 54061 or email firstname.lastname@example.org to secure a place.
A contemporary art resource featuring news and writing by participants and alumni of the MA (Art in the Contemporary World) at the National College of Art & Design, Dublin. DISCLAIMER: The views and statements expressed here do not necessarily reflect the views of NCAD or its staff