Archived entries for

Review: Merlin James at the Kerlin Gallery

Laura Masi writes a review on Merlin james’s exhibition which recently ran in the Kerlin Gallery.

When I first saw the images advertised for the exhibition at the Kerlin Gallery in Dublin; I instantly thought the paintings were done by a female artist. I guess I associate warm earthly colours, organic forms and sheer fabrics with a sense of femininity; or perhaps the delicate yet vintage nostalgia feeling that exudes from Merlin James’ painting gave me that impression. It did make me question my own perception of how different works of art give an impression of gender and how maybe inheritably we associate certain techniques or materials as masculine or feminine. But that’s a whole separate can of worms I will put aside for the time being.

Merlin James is a male and his exhibition at the Kerlin Gallery consists of fifteen works that seem to alternate from bigger to smaller in size around the gallery space. The over all nature of the paintings are of an abstract discipline with a focus on mixed media. A distinct theme with in his works is a conversation between the collapse of painting, its history and reworking of what painting is along side contemporary art. Continue reading…

Frank Wasser “Exhibition Continues, This Way”

Frank Wasser, who was in last year’s NCAD MFA class, has something going on in London this week. Full details below.

You are invited to attend the launch of Enclave 7: Curatorial TIME SHARE (A new initiative by Paul O’Neil and Vaari Claffey) Launching November 30th 6:00pm, featuring a new work by Frank Wasser.

Enclave is located at
Resolution Way, SE8 4NT
London

Late opening in all Enclave spaces (on November 30th) with after party at The Old Police Station..

ENCLAVE 1&5: Enclave Gallery and Divus London / DIVUS London presents: Mike Diana A M E R I C A
ENCLAVE 3: The Centre of Attention / news of the world / Herman Makkink (artist reception)
ENCLAVE 4: Anarch / Halhead & Kerr / Harmattan Cluster (preview)
ENCLAVE 7: Time Share / LAUNCH
ENCLAVE 8: Lubimorov-Easton / Perienne Christian / Running with Wolves (preview)
ENCLAVE 9: Occupy My Time / MAAP47 / An Archive of Questionable Value

Plus DIRTY COP FRIDAY (official SLAM Last friday afterparty) by resident DJ outfit Shaded at The Old Police Station (5mins walk from Enclave) – FREE.

http://www.franciswasser.com/

Elaine Byrne – Feralis

Feralis.
A solo exhibition of artwork by Elaine Byrne.
Curated by Michele Horrigan
The Belltable, Limerick.

Opening: Friday Nov 30th 6pm
Exhibition Runs until Jan 25th 2013

Information from Askeaton Contemporary Arts:

Elaine Byrne’s work draws on the emotive complexities surrounding memory and ruin. Investigating both an architectural and a pyschological dimension within these subjects, she ruminates on the nature of environments that initially appear abandoned and forgotten. Yet, by subtle degrees, her practice places a nuanced spotlight on the allure of lived history and the passage of time.

For her solo exhibition at The Belltable, Byrne presents a series of photographs and videowork related to an abandoned cottage in County Limerick. Acting as a sustained meditation on this building, deserted since the early 1990s, she pieces together a narrative around its’ previous occupant Hanni, a settled Traveller. Working closely with remaining objects still in the cottage and with Hanni’s nephew Willie Harty, a highly personal history unfolds of the local town, familial relations and the Traveller way of life.

For sixteen minutes of Byrne’s video, Willie’s monologue wistfully describes scenes, often bittersweet reminiscences of a now lost way of living, as footage of the cottage’s ruination is seen. In this sequence the cottage somehow straddles two times and seemingly exists in the immediate here and now, and in the distant past. While W.B. Sebald or a passage from Virginia Woolf (as in the artist’s research note incorporated in this brochure) might be alluded to in terms of Byrne’s treatment, there is an openness in her authorship to be acknowledged: the relationship with her off-screen narrator. Given this platform, he re-activates an associated memory from both his own and the building’s past.

Our relationship to the past is characterised by knowledge of the insurmountable distance to it. Only memory is capable of bringing the past into the light of the present. It is a procedure, however, that does not take place without interpretation and selection and hence is constructed and fragmentary. Byrne’s work can consequently be seen as a technique of remembrance. This is not only in the sense of acting as a container of the past and how it is ordered and inscribed in spaces, but moreover as an active manifestation: an artistic process that can shape our relationship to it.

Dublin-based Elaine Byrne has exhibited in the city’s Douglas Hyde Gallery and Royal Hibernian Academy, where she was awarded the Curtin O’Donoghue Emerging Photography Prize in 2012. Internationally she has presented at Art Basel Miami and Centre of Fine Art Photography, Colarado. Feralis was produced during a residency at Askeaton Contemporary Arts in 2011-2. Concurrent to her exhibition at The Belltable, she will open a solo exhibition at the Kevin Kavanagh Gallery, Dublin in early January 2013.

Back Of The Real – Experimental Film Club at IFI

Back Of The Real is an evening of experimental film which takes place at the IFI on Monday 26th of November. Curated by film-maker Tadhg O’Sullivan, it will feature his new film What Remains (co-directed by Pat Collins), and also a selection of shorts chosen by O’Sullivan to contextualise his work. These short films include Poor House Revisited by Michael Higgins which features a specially commissioned score by Brian Conniffe and current MA ACW student Suzanne Walsh. Full details here.

Ruth Le Gear ‘Crystalline’

1st December – 26th January | Opening: 1st December at 5pm.
Millennium Court Arts Centre, William St, Portadown, Co. Armagh, BT623NX.

Artists exhibiting include: Dorothy Cross, Heather Fleming, Damien Flood, Ruth Le Gear, David Hamilton, Mark Joyce, Cainneach Lennon, Belinda Loftus, Claire Muckian, Kathryn Nelson, Joanne Proctor, Anne Marie Savage, Jana Winderen and Shelby Woods.

To coincide with the exploration of sub-glacial Lake Ellsworth in Antarctica this winter Millennium Court Arts Centre presents Crystalline, an exhibition of work by both international artists and local practising artists, graduates & postgraduates living or working throughout Northern Ireland. The exhibition incorporates pieces submitted through Open Submission and by invitation. The work explores the twin themes of scientific endeavour and the landscape of Antarctica. Working in various disciplines the artists represented in Crystalline cover many facets of Antarctic exploration, teasing out aspects of the barren terrain of the surface (seemingly devoid of colour, sound and life) and the inverted landscape of the sub-glacial underworld. Ruth Le Gear who has recently completed a residency in the Arctic Circle (another extreme environment) is strongly attracted by the scientific method behind investigation of non-physical phenomena and conversely the requirement of investigating fictional scenarios to understand more about the self.

Review: Bea McMahon, ‘Root’

Sara O’Brien reviews Bea McMahon’s exhibition at the Temple Bar Gallery + Studios

There is a certain nervousness about entering an exhibition with the ineluctable weight on my shoulders that I am going to write a review on it, a tentative nervousness that is somehow further amplified but then assuaged in an encounter with the intricate yet engrossing work of burgeoning Irish artist Bea McMahon.

Continue reading…

Beyond Gallery Walls: A Street Art Column

Laura Masi writes her new Beyond Gallery Walls column about street art found around dublin.

When I decided to come to Dublin, one of the first things on my mind was that I must tract down as much street art as possible. Coming from Vancouver, Canada and being aware of the massive movement of street art practices that has exploded with in Europe during the last 20 years made me eager to go out and find these masterpieces. Yes, Vancouver has street art, along with the rest of Canada, but compared to other parts of the world, it seems we have a lot of catching up to do. It might have something to do with the Canadian nature of not wanting to cause trouble…except when it comes to hockey, that’s different territory all together. Anyway, street art can and has caused a certain amount of trouble and debate; perhaps that is an aspect that keeps myself and many others interested in this form of visual culture. Continue reading…

‘As You are We’ by Louise Rice

'As You are We'

Kathy O’ Leary writes about Louise Rice’s recent solo exhibition ‘As You Are We’

What is the exhibition about?
Existence as encounter – with the self, and with others: this is the theme of Louise Rice’s exhibition ‘As You Are We’. Developed over the course of her artist-residency at the Leitrim Sculpture Centre, this new work extends Rice’s career-long exploration of the ‘human, all too human’ through the medium of glass. In this new body of work Rice seeks to capture the delicate balance of forces at play in human connectedness.

Tell us more about the work?
This connectedness is never more profound than in a mother-child relationship. A game repeated in every culture, where the child revels in the excitement of the mother’s momentary absence while being repeatedly reassured of her presence, is represented in the drawing, ‘Peekaboo’. The intensity and physicality of the mother-child relationship is continued in the umbilical-like tubes of ‘Motherline’ and the speaker/listening device of ‘Motherline II’. Continue reading…

Nina Canell and Fergus Feehily – Review

Maeve-Ann Austen reviews the recent exhibitions by Nina Canell and Fegus Feehily at the Douglas Hyde Gallery.

The Douglas Hyde is a great space. It really is. It acts as both facilitator and imposter, in both equal and opposite amounts. It not only allows the exhibits placed within it a grace of space and a let out of time, but also adds to the work, impressing its architecture on everything that sits within it. Once you have descended the concrete staircase, and left the hubbub of the Trinity students above, you are aware of entering the “other”, with the clear possibility that anything might happen. In other words, The Douglas Hyde as a space makes most things look good. This is of real benefit to Nina Canell’s exhibition, Tendrils, that was recently showing in Gallery 1 of The Douglas Hyde.

At first the artist’s use of space is somewhat panic inducing. The pieces when deciphered are sparsely placed within the gallery, causing the viewer to feel an exposure and pressure to glean something, from what seems like nothing. However, once you begin to acclimatise to the exiguous aesthetics, you see that Cannell uses space (as a musician might use silence) as an instrument.

Pieces On Thirst (Bells), and Of Air truly benefit from the spatial freedom they are allowed. Of Air holds the space afforded to it with almost a patriarchal stance. Its form, a large perspex jar on a high wood table, gives a point of orbit for the rest of the exhibition. This allows the more ethereal pieces a point of stable reference. The hair-like copper wire within Gallery 1 floats as if it could be part of the building, but on a second look the effect is of something much more fantastical and otherworldly. This juxtaposition of the everyday and the sublime provides the viewer with the vast possibilities of combinations within the material world. As a result it is a shame that Waiting For A Spark is shown in another part of the gallery. The piece, which consists of coagulated air and a weathered piece of wood, if positioned within the main area of the exhibition would create a real cohesion of idea. Impulse Slight, on the surrounding walls within the main gallery, frames the rest of the exhibit. The uniformity of the watermelon seeds, but also their notable differences, feed into the numerous combinations and possibilities that one medium can give.

The fly in the ointment is Affinity Units. With its inclusion of copper piping, halogen lights and breezeblock-like-rocks, it brings the exhibition from its flighty wonder, back down to quite an ugly reality. This is a shame. The charm and promise of the other pieces are jarred by the industrial qualities of the work, which skews the concentration of the exhibition as a whole. As it stands, the pieces in themselves are quite beautiful, and have a fragility that really awakens the viewer, but as an exhibition it does not read as a distilled and reassured concept.

In contrast in Gallery 2, Fergus Feehily exhibits work that is both poised and purposeful. The womb-like room is a much smaller and intimate setting for The Paradise [37], an installation consisting of five small card shaped works, a slide projector displaying images, and a larger framed work. The installation in general has a celebratory tone. The smaller pieces with their bright, sweet wrapper like collage have a child like wonder, which is mirrored in the abstract, yet utterly familiar projections on the adjacent wall. The images shown on the projector, though abstract, seem deeply personal, like vivid snapshots of old memories. The photographs, which range from block colour to reminiscences of a family home, coupled with the constant sound of the slide projector, add a warmth and life that would otherwise be lacking. The sum is something that feels almost haphazard, and yet you know that everything has been agonized over, down to the right shade of grey for the walls (which it is, by the way, not too light, not too dark and warm enough to be comfortable).

The only slight irritant is the larger work, River River, hung on the opposite wall to the five smaller works. Though a beautiful piece, all muted fuchsia streaks, like lipstick an aunt might leave on a coffee cup and framed as if it had been hanging in your grannies front room for the last 15 years, it is doing something very different to the other parts of the installation. In a space as small as Gallery 2, it is unneeded to introduce a third element to this exhibit, and it distracts the viewers’ gaze from the other two aspects. Yet the exhibition is still utterly successful, with the added extra of the sound created by the slide projector. Even reaching the top of the stairs to rejoin the throng of Trinity students, you can hear it rolling from picture to picture, like waves on a Wicklow beach visited in your youth.

Maeve-Ann Austen is an ACW participant.

Radio Joinery presents: Sound +/- Vision

Three nights of events are taking place at the Joinery next week under the banner of Sound +/- Vision. Each night focusses on a different theme (Theatre, Conversation/Collaboration and Storytelling) and will consist of talks, performance and music. All sorts of people are involved such as Isabel Nolan and Bea McMahaon, Beautiful Unit, Neil Watkins, Donal Dineen, Adrian Duncan and many more. The whole thing is also accompanied by an exhibition by recent MA ACW student Laura Smith entitled “The Alternative Is …“. It takes place from Thursday 22nd to Saturday 24th and kicks off at 7 each evening. Full details and schedule is available here. There will also be a live radio station transmitting everything as it happens. The event is a collaboration between the Joinery and Marysia Magda Wieckiewicz.

‘Ett Hem’ – Veronica Forsgren

The Lab, Foley Street, Dublin
Opening Reception Thursday 15 November 6 – 8pm
Exhibition runs until January 5th

The title “Ett Hem” which translates to “A Home” refers to the title of a book released by Carl Larsson in 1899 in which illustrations of their home and family life were published and distributed internationally. The bold decoration; the innovative use of colour, the modern furniture and textile design created by the couple became the model for Swedish domestic design. The Larsson ideal, unpretentious and family orientated, carried out in small light rooms economically furnished has come to epitomise Swedish style. These ideals fit in with modern conditions and life and had an impact on the creation of Folkhemmet, the People’s Home a social housing reform that took place in the 30s-70s, as well as IKEA, who reference the couple as a strong historical reference in their design.

Their home can be seen in the context of the Art and Crafts movement and how in a time of great social change, solutions for improving and enhancing everyday life was sought through design and architecture.

Parallels can be drawn with society today. It is interesting that in this volatile economic situation there has been an upsurge for sustainable living, do it yourself, crafts, going back to basics and TV programs promoting innovative architecture as well as relocating to the countryside. With many young families stuck in negative equity the home is again a contentious subject.

The work in this exhibition celebrates the handmade, the colour and graphic designs found in Karin Larsson’s furniture and textile work as well as in Swedish folk art. Members from Swedish Women’s Education Association (SWEA) are displaying examples of their handicrafts in the upstairs gallery, reflecting the rich Swedish tradition of handicraft or “hemslöjd”.

Rather than attempting to provide a unified prescription or theory to the complex relationship between art and craft, the show aims to bring people together, functioning as communicative gesture. This gestural invitation, through color, form, texture and shape; invites the viewer to enter a space and conversation, where this relationship may begin to further unfold.

Veronica Forsgren is a Swedish born artist and curator based in Dublin with a MA degree in Visual Arts Practices from the IADT, Dun Laoghaire (MAVIS).
She has exhibited nationally and internationally, notably art@work (residency organised by Roscommon County Council Arts Office), Preponderance of The Small (The Douglas Hyde Gallery) and Apocalypse When? (Dublin Fringe Festival). In 2011 she set up and organised a contemporary art gallery for children as well as curated the main gallery space at the Riverbank Arts Centre, Newbridge Co. Kildare.
Forsgren’s practice employs play as a method for exploring and learning, to better understand ideas of identity, location and social structures. Inspired by folk art, craft, religious iconography and popular culture the work is created using a variety of mediums such as performance, video, installation, sculpture, embroidery, costume making, painting and collaboration. Context and location is important in informing and shaping the work. Underlying the work is the wish to create socially engaging pieces that in a very subtle way can make an impact. For example the art works may encourage the audience to slow down and reflect, engage or smile momentarily, a tactic the artist refers to as “soft activism”.

Featuring work by invited members from SWEA (Swedish Women’s Educational Association) in the First Floor Gallery. This exhibition is accompanied by a text by Dr. Lisa Godson.

‘Final State’ Tom Climent

BlueLeaf Gallery, Whitaker Court, Whitaker Square,off 28 Sir John Rogerson’s Quay, Dublin 2
(Courtyard access beside no 28 Sir John Rogerson’s Quay or behind the Maldron Hotel on Cardiff Lane)

Opening Reception: November 15th, 6-8.30 pm

November 16th – December 13th 2012
Opening Hours: Tues – Fri 11am – 6pm / Sat by appointment

Tom Climent Final State

Tom Climent is an artist who generally works in series or groups of paintings. This new group follows on from The Tap Root which was mostly exhibited in Canada & USA.
This is his first solo show in Dublin in five years and is eagerly anticipated.
This new phase in his work tends to focus on the creation of space, investigating the boundaries between abstraction and representation as a means of conveying this, exploring the dematerialised qualities that one does not actually see in reality and using spatial structures as a vehicle to make this quality solid and physical.

The perception of space is a complex phenomenon; we have not simply a mental apprehension of space but an experience of living space. The creation of space through perspective indicates a fixed point of view; a lived space contains a remembrance of past space and a longing for future spaces. The postion of the viewer is always shifting.

Climent’s practice of art to date has been as a painter and one of his interests has been in how art addresses the body in space. For him a painting could become a window connecting an inside with an outside. In his work the devices of perspective and more abstract methods of reduction can create a pictorial surface which allows our bodily world in.

His initial enquiry was focused around spatial constructs and how they might provide a structured space for our existence. Taking a basic structure as an analogy for our place in the world, he started to create very rudimentary spatial structures; a fundamental shape or vessel that could contain a human presence. People organise space so that it meets their needs and supports their social interations. The space buildings create have an important part in how we live our lives. A body is a lived body and as such the spaces it inhabits are lived spaces.
From this original idea Climents paintings have become more intricate and complex in structure. As traces of memories and feelings accumulate and overlap on the canvas, construction and deconstruction become active tools in the creation of his paintings. His work reminds us of how our spatial ability becomes spatial knowledge as we navigate our world and with this knowledge we create a place for ourselves. Our expression of this place inheres in the kinds of structures we create for inhabitation. A building is a container – for ourselves. Is this space then, our most basic root in the world; a footprint of our mode of being here?

Previous solo shows include Between Chance and Rhyme at The Hunt Museum, New Paintings at The Fenton Gallery, Pure at The Temple Bar Gallery & Studios, Dust at Garter Lane Arts Centre, Hansels House at Kevin Kavanagh Gallery , A Light Enters The Land at BlueLeaf Gallery, Dancing Parade at Triskel Arts Centre and more recently his MA by Research exhibition at The Wandeford Quay Gallery.
His work has also been shown at Art Chicago, Art Toronto & Art Miami over the last few years.

He is a recipient of the Tony O’Malley award and Victor Treacey award.
His work is in the collections of The Central Bank, The National Treasury Management Agency, University College Cork, AIB Bank, The National Self-Portrait Collection, NCB Stockbrokers , The Cork Opera House, Cork City Council , The Office of Public Works, Cork Institute of Technology & Private Collections in Ireland, UK,USA, Spain & Canada

Basic Space: Call for Applications

Basic Space, the Dublin-based creative space, are looking for artist applications for the opportunity of using a space in IMMA for a short period. The following information is taken from their press release:

Basic Space have taken residency in a studio in IMMA’s site at the Royal Hospital Kilmainham from November 2012 until February 2013. We are now accepting submissions from artists who wish to use the space on a short term basis for the broadcast and dissemination of a series of works. For this project we are interested in works which define their own space, which do not rely on traditional art display spaces to be viewed.We hope to provide for the production of work which does not have
to engage with a specifically intimidating physical space, but which also cannot rely on the apparent neutrality of a traditional white cube gallery.

At present we envision producing works which could be distributed through the increasingly disused airspace of analogue television and radio, as well as through the internet and print media. Works produced in this space need not necessarily use one or other of these formats but they must be capable of being exhibited or experienced upon terms dictated by their own materiality and of arriving at audiences who need not converge on a specific lo- cation. The aim is to facilitate and create an exciting and challenging body of work which does not require even an impromptu, impermanent or ‘pop-up’ physical location in order to be exhibited.

Please send applications of no more than one A4 page in .doc format accompanied by three images of previous or proposed work to basicspacedublin@gmail.com. If possible applicants should state when they wish to take up residency. Basic Space will review applications and inform applicants of whether they have been accepted as soon as possible.

To find out more about Basic Space as on organisation check here and here

Household, Belfast

Current MA ACW student Ciara Hickey was one of the curators of the Household art festival which took place in Belfast between 22-24 August 2012. Here she writes about the festival and the motivations behind its establishment. This article was previously published in Paper Visual Art Journal and is reprinted here with their kind permission.

The domestic space has a significant, if niche, presence in the ever-expanding sphere of contemporary art discourse. It is most notably discussed in the much referenced exhibition Chambres D’Amis held in Ghent in 1986, in which residents of 58 privately owned houses hosted work by artists selected by the Museum van Hedendaagse Kunst, under the curatorial direction of Jan Hoet.

Continue reading…

‘As You Are We’ by Louise Rice

As You Are We
An exhibition of new work by Louise Rice
Exhibition opening Friday 16th November at 6pm

Leitrim Sculpture Centre, New Line, Manorhamilton

Existence as encounter – with the self, and with others: this is the theme of Louise Rice’s exhibition As You Are We. Developed over the course of her Leitrim County Council funded artist-residency at the Leitrim Sculpture Centre, this new work extends Rice’s career-long exploration of the ‘human, all too human’ through the medium of glass. Whether in the mould-blown boxing gloves of Sparring Partners, the free-blown fantasia of Conversation Piece, or the pencil-like drawings of Peekaboo and Cupidity, Rice captures the delicate balance of forces at play in human connectedness.
The drawings, a major feature of the show, are the result of an intense period of experimentation with mark‑making on glass. Resisting the more decorative possibilities the material has to offer, Rice opts to create simple line drawings using black enamel on thin sheets of clear glass. Their figurative content represents a new departure.
This is a chance to see Rice’s largest solo exhibition to date, before it is shown in the Netherlands in summer 2013.
Exhibition runs until the 30th November 2012. Opening hours – Monday to Friday 10 – 4pm.
Photo credit – ‘Sparing Partners’ – Photographed by Eunan Sweeney
Leitrim Sculpture Centre
New Line
Manorhamilton
Co Leitrim

www.leitrimsculpturecentre.ie
Telephone: 071 985 5098

LSC acknowledge the financial support of the Arts Councilfrom the exhibition 'As You Are We' by Louise Rice

Unmade – Isabel Nolan

Opening: Thurs 15th Nov at 6pm
Exhibition runs until 21 December 2012
Goethe-Institut Irland, 37 Merrion Square, Dublin 2

A new exhibition by artist and MA ACW tutor Isabel Nolan opens at the Goethe Institute this coming Thursday. Unmade consists of a new sculptural piece that was original commissioned by Vaari Claffey for Gracelands 2012. Further information below is from the Goethe Institute website. On December the 11th at 6pm Vaari Claffey, Isabel Nolan and others will present an illustrated conversation to accompany the work.

In her exhibition “Unmade” which will be opened in the Goethe-Institut’s Return Gallery on Thursday 15 November 2012 at 6pm, Isabel Nolan refers to documentary material from the Prinzhorn Collection in Heidelberg/Germany.

“In 1894, on at least two occasions, a resident of a psychiatric hospital in Heidelberg, Germany tore up her bed clothes. Just two extant photographs document the results of Marie Lieb’s strange actions. They show strips of fabric, cotton perhaps, of differing lengths which are carefully laid out in patterns upon the wooden floors… By placing the torn textiles onto the floor, she made a carpet of sorts. But it is only the bones of a carpet…” Isabel Nolan

It is the provisory, absurd nature, and endless capacity for re-configuration of Marie Lieb’s rugs which provides the starting point for a floor based sculpture by Isabel Nolan. The sculpture is comprised of 144 sections of fabric covered mild steel pipe. These units vary in length and in the colours and patterns of the different fabrics hand-stitched around the pipe. These elements can be laid out in multiple ways to carpet a floor but they still fail to function as a rug. The sculpture was originally commissioned by Vaari Claffey for Gracelands at EVA International, Limerick, 2012.

For this exhibition the gallery has been painted to match the colours of the stairwell and landing of the Goethe Institut. The sculpture is presented largely unassembled but is accompanied by a series of photographs which document the piece laid out in several of its possible rug-like arrangements and a new text by Nolan.

Isabel Nolan was one of seven artists who represented Ireland at the 2005 Venice Biennale. Recent exhibitions include “A hole into the future” which travelled to Musée d’Art Moderne de Saint-Etienne in 2012. She is represented by Kerlin Gallery Dublin.

New Show at Flat_Pack

The next show taking place at Flatpack Gallery and Studios will open next Thursday 15th November at 6pm. It features the work of Ailbhe O’Connor, Paul Doherty and Mark O’Toole. FlatPack is at 32 Nth Brunswick St in Dublin 7 and was established this year by a group of recent graduates including Lily Cahill and Rob Murphy from the MA ACW course. There’s also an afterparty in the Dice Bar to cater for the hardcore party animals among you. The show will then be open every day (12-8pm) until the 25th of November.

Improvised Music Theatre Review

Roisin Power Hackett reviews the Open Rehearsals show which took place at the Back Loft Gallery on Tuesday the 30th of October 2012.

The open rehearsals are a group who perform improvised music theatre. Before coming to their show I had not done any research into what they were exactly. Having agreed to review the show and having no background in or knowledge of music seemed immediately problematic…

Their show began just after half eight. I seated myself next to the group’s cello player. This meant that throughout the show I was very aware of the parts she played and could see her music sheets. The gig was very intimate with about a dozen people in the audience, who were all circled around the musicians and the black plastic dance floor. There was a very noticeable colour scheme, which eluded my understanding. Black and red fabric was draped over every surface – the music stands, the piano, and was also on the costumes of the actors and musicians. This reminded me a little of the Féis’s I used to go and see my sister sing in, but also of the artist Kelly Nipper’s Black Forest (2012) performance for the Glasgow International, as both of these had the performers all dressed in black and red. This black and red group aesthetic seems to be cemented as a traditional formula for performance in general. Later on in the evening I discovered after asking one of the performers that this was because the colours were strong and that there was no other underlying reason. Continue reading…

Tangible Seconds – Monster Truck Gallery & Studios

November 16th – December 8th 2012

Opening reception November 15th 6-8pm

Jake Bourke, Barbara H. Larkin, Rory Mullen, Helen O’Dea & Oisin Vink

Áine Belton Undone, Doing performance, November 15th 6pm – 8pm

The Monster Truck Gallery is pleased to present, Tangible Seconds, a group exhibition of work by 2012 visual art graduates, curated by ACW participant, Jenni Taylor. The following information is taken from their blog:

Artists, Jake Bourke (NCAD), Barbara H. Larkin (DIT), Rory Mullen (Crawford College), Oisin Vink (DIT) and Helen O’Dea (NCAD) were selected based on running commonalities and contradictions throughout their practices. The artists were invited to show their work a second time while considering time passed since the graduate shows this year, as a tangible tool to assist further investigation and development of each piece. In addition to incorporating the gap between showing and re-showing a work, the exhibition invites associations with imagined, remembered, found and created conceptions of past events and eras. Remnants of architecture and romanticism, repetition of time and fictional narratives are explored. The dense amalgamation of artists’ practices aims to abolish our perception of clock time. Instead, the manifested understandings of the past are arranged and disordered in the space remembering and anticipating whilst existing in the present. Works exhibited take the form of video, installation, performance and photography.

As a result of a playful experimental process Helen O’ Dea’s work exaggerates and understates depictions of detritus and ruins. O’Dea tests out combinations of materials including concrete, glitter, flock wallpaper, rubble and rubbish. Through manipulating materials and playing with scale, O’Dea presents an understanding of fetishized remnants.

Archival and modernised pornography sourced online and edited by Oisin Vink, examine developments in sex and sexuality, since the birth of new media technology. Within the exhibited videos, pornographic film is studied throughout the three distinct eras of Victorianism, the postwar American sexual revolution and the dawn of the digital age. Through following this timeline, traditional romanticised notions are brought into question, and juxtaposed with the ever-changing sexual lifestyle developments in each era. Using the birth of online media as a focal point, the effect this technology has had on previous depictions of sex and sexuality is brought into question; highlighting the consequence the Internet has had upon the genre.

For his work Decline and Fall Rory Mullen utilizes the functionality of universal materials to construct a fictional narrative. Mullen’s narrative is based on nostalgia for a time that may never have existed. The gallery space is converted into a bed-sit that pulsates, longing for what has been. Made of humble materials the piece is treated as a mnemonic place for the imagination.

In a series of printed and projected images More Richter than Bacon Barbara H. Larkin reworks found photographs ranging from 1910 to the 1990s. This addition to the series titled Resurrection (Doubles) continues to adopt a deadpan reproduction of found images devoid of context.

A final repetition of an initial act, Act Three concludes a series by Jake Bourke. Performed in October 2011 Performance with 52 Screws 23 Pieces of Wood 2 Sheets of MDF began an investigation into the act of failing and the frustrating inability to translate experience. The initial work concentrated on the body in relation of structure and systems of order. Imposing a system of order was an art object, completed by the inclusion of the performer’s body. Following this Hardest Job explored the impossibility of resurrecting an initial experience. It was constructed from the components of the initial performance, which included sound, video and the material used.

Documentation of Performance with 52 Screws 23 Pieces of Wood 2 Sheets of MDF and Hardest Job are embedded in Act Three. Designed to deny access to any original content, Act Three is separated from an original act by both time and space and is an act of facile repetition. The work exists between the success of an illusion and the failure of that illusion to be maintained.

The selection and run up to Tangible Seconds examined each individual practice in context of one another. The exhibition arrives at an overriding fixed point, materializing a time passing while exposing each piece’s intrinsic understandings of a past located in a constructed present.

Kent based artist Áine Belton will perform Undone, Doing to explore negotiations with time through a temporal performance piece. Never at any fixed point yet situated in a continuous present Undone, Doing converses with the manifested works in the space. Áine Belton recently completed an MA at UCA Canterbury. The piece will be performed during the opening reception on November 15th 2012.

Public Talk and Book Launch with Jessamyn Fiore: Gordon Matta-Clark & 112 Greene Street

Tuesday 13th November 6pm, Harry Clarke Lecture Theatre, National College of Art and Design, Thomas Street, Dublin

The talk, hosted by MA Art in the Contemporary World, will discuss the new book written by Fiore. The following is taken from her website:

112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute to New York’s established gallery circuit. In the spirit of the 1970s desire for experimentation, the space was open to artists from all disciplines and did not impose censorship over their shows. As such, the building provided the setting for a rare, singular moment of artistic ingenuity, invention, and freedom that was at its peak between 1970 and 1974.

112 Greene Street: The Early Years (1970–1974) is the culmination of an exhibition by the same name that opened at David Zwirner in January 2011 curated by (MA ACW Alumni) Jessamyn Fiore. This extensively researched and historically important book brings together a number of works exhibited at 112 Greene Street (including works by Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra), as well as extensive interviews with many of the artists involved in the space, a fascinating timeline of all the activity at 112 Greene Street in the early years, and installation views of the 2011 exhibition. The text, timeline, and interviews in the book have been prepared by Jessamyn Fiore.

Jessamyn Fiore was raised in the New York City art world and attended Sarah Lawrence College where she studied playwriting. After graduating she moved to Ireland and founded The Road Show Theatre for which she wrote several productions. Her plays have been produced in Galway, Dublin, London, Edinburgh, Prague, and New York City. In 2007 she became co-director of Thisisnotashop Gallery in Dublin Ireland, and in 2009 became the sole director. Working with Aideen Darcy to curate the overall gallery program, she has also curated four major exhibitions for the gallery- Gordon Matta-Clark FOOD (DEC 2007), Fluxus with Larry Miller (MAY 2009) and two Thisisnotashop group exhibitions for No Soul For Sale: A Festival of Independents held at X-Initiative in New York City (June 2009) and the TATE Modern in London (May 2010). She founded The Writing Workshop with Jessica Foley in Dublin in 2007, a collaborative forum for writers and artists who work with text. She assists her mother Jane Crawford, Gordon Matta-Clark’s widow, in the management of the Estate of Gordon Matta-Clark. Fiore completed an MA in Art in the Contemporary World at the National College of Art & Design, Dublin, Ireland in 2009. www.jessamynfiore.com



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