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Wine Soak no. 9: Cloud Confusions


Our wine correspondent Jakob Ligvine Kreek found himself falling between two stools after the opening of “Cloud Illusions I Recall” an exhibition in the Irish Museum of Modern Art.

I had the great pleasure to attend an opening in the Irish Museum of Modern Art (IMMA) at the Royal Hospital Kilmainham recently. IMMA openings in Kilmainham have become a rare event over the past two years due to the closure of the main building, the former old soldiers’ home, for a major upgrade. This has resulted in IMMA seeking alternative accommodation in the former University College Dublin buildings on Earlsfort Terrace. The advantage of this city centre location is its proximity to many of my favourite watering holes. However, it has never engendered anything quite like the experience of grandeur one gets from the campus of Ireland’s greatest baroque building in Kilmainham. A trip to IMMA in the Royal Hospital always felt like ascending to some alternate exalted Elysium with its formal gardens, colonnaded courtyard and extensive meadow. You automatically assume that such a grand façade must house something fittingly grand within.

Thus, I was delighted to find myself once more on the steps of the New Galleries, formerly the house of the army physician and deputy master of the Royal Hospital, sipping effervescent pop from Veneto and basking in the glory of the fine architectural heritage. The tipple of choice was a dry Prosecco called Ca’ del Roro which roughly translated from its venetian dialect means “road of the oak tree.” The associations of the oak tree and the royal founder of the Hospital in Kilmainham made a nice connection as every explosive mouthful of the crisp sparkling wine danced upon my tongue like a thousand tiny court jesters on microscopic pogo sticks. I couldn’t help thinking of Charles II, the British monarch who founded the hospital, as a young boy fleeing his father’s executioners and hiding from Cromwell’s soldiers in the arms of an oak tree in the forest of Boscobel. I myself felt a little bit lost in the woods after several refills of my inadequate, low-brow plastic glass and the cloud of confusion that was forming around my experience of the exhibition.

The opening began wonderfully with a performance by a beautiful troupe of singers called the Silver Kites, the Dublin based a cappella group of Eileen Carpio, Fionnuala Conway, Jessica Hartup, Sharon Phelan and Lenka Pinterova. The piece they sang was derived from a work by Samuel Beckett and composed by one of the three curators of the exhibition, the artist Cerith Wynn Evens. The other two curators are Rachel Thomas, head of Exhibitions in IMMA, and the artist Dominique Gonzalez-Foerster. Wandering through the conceptual installations and peculiar selections of odd art works, ephemera and archive documents by artists like Peter Doig, Ed Ruscha, James Coleman and Andrei Tarkovsky the spaces of Cloud Illusions seemed to be filled by exactly what was suggested by the exhibition title. I really couldn’t get a grasp on what was going on: the exhibition seemed to be shifting and evaporating in obscure mists and clouds of conceptual opacity.

I retreated in my own cloud confusions to the bar for more Prosecco to try and compose myself and figure out what this was all about. The wall text stated the exhibition was inspired by the artist/curators’ desire to make a homage to cinema and its influence on their visual art practices. There was also a reference to the “mise en abyme,” which literally translates as “to be placed in the abyss.” I was certainly starting to feel the instability of being placed between two mirrors as the excessive consumption of Prosecco became infused with the confusion of the flotsam and jetsam of the objects, projections and ephemera of the exhibition. Just as I was throwing back another glass of the bubbly we were all directed to the basement for a performance by Dominique Gonzalez-Foerster that left me more confused than ever. The performance was inspired by The Boy with Green Hair, a 1948 American comedy-drama film directed by Joseph Losey in which a young war orphan becomes the object of ridicule after he wakes up one morning to find his hair mysteriously turned green.

Totally vexed and unable to make head nor tail of the exhibition and what the flamboyant artist/curators were trying to do with it, I retreated to the Royal Oak, a quaint little pub just outside the wall of the Royal Hospital grounds, where, after all the Prosecco and several more pints, I found myself transformed into a poor lost boy, turning green as I fell embarrassingly upon the floor between two stools – an ailment that perhaps has crept into this exhibition which has fallen between too many curators.

Cloud Illusions I Recall runs from the 22nd of June to the 25th of August 2013 in the New Galleries, IMMA, Royal Hospital Kilmainham, Dublin 8

http://www.northberkeleyimports.com/Ca-del-Roro-V128.aspx
https://www.facebook.com/Ligvine
http://www.imma.ie/en/page_236702.htm

The Eagles And The Stone: A Review by Marie Soffe

Marie Soffe reviews a recent exhibition of work by Bláthnaid Ní Mhurchú that took place at the Avenue Road Gallery in Dublin during March 2013.

This morning, some Jehovah’s Witnesses dropped a leaflet through my letterbox inviting me to a talk entitled ‘What happens after death?’. By coincidence, Bláthnaid Ní Mhurchú claims that deep, profound questions on this very issue lie at the heart of the work in her recent solo exhibition, The Eagles and the Stone, curated by Jennette Donnelly. Whether these questions are immediately obvious in the work I’m not so sure, but then I have to confess at the outset that I have always found Ní Mhurchú’s work difficult to understand. However, this is not such a bad place from which to start writing, and attentive looking and listening on my part have opened little chinks into this artist’s fascinating and complex world. Continue reading…

The Kite Nite

Wednesday 26th June, 9pm @ the Exchange Dublin.

The Kite Nite is a Poetry Performance Spoken Word Evening. Organised by Ruth Kerr and Róisín Power Hackett, two poetry enthusiasts, it is a bi-monthly event held in the Exchange Dublin on the last Wednesday of the month.

Come along to the friendly atmospheric setting (with tea lights) of the Exchange to listen, perform and drink tea. Performance artists accepted.

If you want to perform please e mail Róisín at roisin_ph@hotmail.com.

Facebook Event.

NCAD Faculty of Visual Culture Postgraduate Scholarship

Visual Culture, NCAD is delighted to offer the first Postgraduate Scholarship for MA studies.

Following the successes of the two Masters programmes offered by the Faculty of Visual Culture at the National College of Art and Design, Dublin, a scholarship worth full tuition fees will be awarded to a student on either the MA Art in the Contemporary World (Theory only) or the MA Design History and Material Culture.

The scholarship will be awarded on merit and all applicants are eligible, including EU and non EU students. There is no separate application procedure. All fully completed applications to the courses received by 15th July will be considered for the bursary. The successful candidate will be notified no later than 14th August.


MA Design History and Material Culture (www.designhistory.ie)
A challenging Masters programme which provides a platform for analysing the material world in its historic and contemporary contexts. The MA is a taught programme about objects: things you might sit on, drink from or wear; things you might cherish, throw away or never notice; things for special occasions and things you use everyday; things made by machine, things made by hand and things never made; spaces you might visit, inhabit or travel through; ideas about things, things about ideas. This course will change how you think about objects, how they are conceived, designed (or not), produced, interacted with, collected or disposed of. Through seminars and guided research, students are equipped with skills enabling them to conduct research, analyse and write about the material world in its various contexts.

Alongside high profile visiting speakers, the course draws on the wide-ranging academic expertise of faculty members in fields including decorative arts, costume and textiles history, graphic design history, architectural history and material culture studies. As well as interacting with studio staff and students, the course benefits from close relationships and joint initiatives with a wide range of museums, cultural institutions and historic properties.

MA DHMC graduates are working in Ireland and abroad in educational roles within the university sector, galleries, museums, government bodies responsible for arts/craft promotion and historic houses.

For more information on this MA programme please email the course coordinator: Dr Anna Moran (morana@ncad.ie).


MA Art in the Contemporary World (www.acw.ie)
An intensive Masters programme focusing on contemporary art practices and their critical, theoretical, historical and social contexts.
Participants will interrogate the relationship between theory and practice in the context of our innovative network of peers and colleagues. We welcome graduates from a variety of backgrounds, including: fine art; art history; philosophy; literature; film studies; architecture; communications; or design.

Art in the Contemporary World regularly collaborates with key cultural institutions in Ireland such as: Irish Museum of Modern Art; Irish Film Institute; Dublin City Gallery; Kerlin Gallery and The Irish Pavilion at the Venice Biennale.

In recent years guests included: Massimiliano Gioni, curator at the New Museum in New York; Katrina Brown, director of the Glasgow International Festival of Contemporary Art; Kathrin Rhomberg, curator of the 2010 Berlin Biennale; Frieze magazine senior editor Dan Fox; film-maker Kenneth Anger; writer Rebecca Solnit; eminent American art critic Irving Sandler; art writer Maria Fusco and artists Lynda Benglis, Liam Gillick, Phil Collins, Susan Philipsz, Duncan Campbell and Walid Raad.

Graduates from the MA Art in the Contemporary World have gone on to receive international awards and residencies, to take up respected curatorial positions and to publish writings in prominent academic journals and art magazines.

For more information contact the course team: Dr Declan Long (longd@ncad.ie) or Dr Francis Halsall (halsallf@ncad.ie).


Deadline for applications: 15 July 2013
(Application form and information available at http://www.ncad.ie/study-at-ncad/postgraduate/masters-courses-research/) Application/admissions queries to mccartneyc@ncad.ie / reddind@ncad.ie )

Both MA programmes are offered on a full-time or part-time basis over one or two years respectively. For information on application guidelines, fees and funding, please see the postgraduate prospectus: http://www.ncad.ie/study-at-ncad/postgraduate/masters-courses-research/

Indicative fees for 2013/14 based on fees for 2012/13:
EU Students Full time: €5,100
EU Students Part time: €2,550 per year for 2 years.
Non EU Students Full time: €13,500
Non EU Part time: €8,300 per year for 2 years.

NCAD is the leading provider of postgraduate art and design education in Ireland. It provides advanced study, practice and research across art, design, education, history, theory and criticism. Its Faculty of Visual Culture is an interdisciplinary centre for teaching and research in humanities and social science disciplines with particular focus and expertise across the history, theory and criticism of art, design and visual culture.

Paper Visual Art Journal Dublin Edition Launch

Paper Visual Art launch their Dublin edition at 6pm on Wednesday 19th of June in the Joinery. This is the third part of a three-part, city-specific hard copy project, and it follows on from Cork and Limerick editions.

Contributors to this edition include Rebecca O’Dwyer, Seán O’Sullivan, Paul Ennis, Greg Baxter, Stephen Rennicks, Joan Fowler, Adrian Duncan, Sinéad Hogan, Tim Stott, Noel Fitzpatrick, Ruth Clinton & Niamh Moriarty, Alissa Kleist, Marysia Wieckiewicz-Carroll, and flat_pack gallery and studios.

Publications will cost €5 on the night. They will also be available in the following locations in Dublin (€8/ 5 concession) : The Douglas Hyde Gallery, The Winding Stair Bookshop, The Project Arts Centre, The Hugh Lane Gallery.

OOO – Screening and Discussion

Nottingham Contemporary presents OOO

What does it mean to imagine that everything exists equally in the world, and that human beings have no more status than atoms or alpacas? Object-oriented ontology (“OOO”) puts things (rather than human beings, science or social relations) at the heart of studying what it means to exist. It is a new philosophical movement that has had a decisive influence on the work of both artists and exhibition-makers. A discussion with philosopher Graham Harman, curator Michelle Kasprzak and lecturers Kevin Love and Francis Halsall will address implications for the artwork as object.

19th June 2013, 6pm – 8.30pm

6pm Screening:
Elizabeth Price User Group Disco

6.30pm Discussion:
With Graham Harman, Michelle Kasprzak, Kevin Love and Francis Halsall

Live Broadcast Online. To book go to Nottingham Contemporary / Eventbrite

Nottingham Contemporary

Atoosa Pour Hosseini, ‘Luminosity’

‘Luminosity’, the new exhibition by Dublin-based visual artist Atoosa Pour Hosseini, contains drawings, moving-image installations and sound.

This new body of work is made in response to the Cork Film Centre Gallery and its surroundings at the Gunpowder Mills, Ballincollig. The work has been in process since mid-2012, and was completed during her residency at the Guesthouse, Cork, in April 2013.

Drawing forms the starting point of Pour Hosseini’s work, with a sketchbook providing storage for the noting down of ideas and for experimentation with forms that are developed into autonomous drawings and audio/video works.

Ideas are triggered through observations made during everyday life, but also through memories. She tends to create a very personal space, which is both uncanny and obscure, favouring nostalgic and dreamlike atmospheres. Her works usually dissolve narration in order to eventually reach an enigmatic and mysterious state.

Atoosa Pour Hosseini (Born in Tehran, 1981) is an Iranian visual artist based in Dublin since 2006. She uses a variety of media in her practice including drawing, painting, printmaking, sculpture and video. Her work has been exhibited widely in Ireland and Internationally in USA, the Netherlands, Italy, Greece, Estonia and Iran.

Launch: 3 p.m., Sunday June 09th

Exhibition running: June 09th – July 06th

The Cork Film Centre Gallery is located at Cork Film Centre, in the Gunpowder Mills Centre, Long Range, Ballincollig, Co. Cork.

Opening at 3 p.m. Sunday 9th June. Will feature a projection performance by Pour Hosseini with live sound by Mick O’Shea.

More Info: corkfilmcentregallery.com

Beasts of England/ Beasts of Ireland

An exhibition curated by Stephen Brandes featuring work by

Djordje Ozbolt
Polly Morgan
Ben Long
Alex Rose
Francis Upritchard
Dan Hays
Yuriy Norshteyn
Stephen Mckenna
Garrett Phelan
Isabel Nolan
Martin Healy

The exhibition runs from 8 June 2013 – 8 September 2013

Opening Friday the 7th of June at 7pm

A round-table discussion with the artists in this show will take place at 5pm prior to the opening. Places will be limited please book with Box Office on 059 9172400

Beasts of England, Beasts of Ireland is a collaborative project between VISUAL Centre for Contemporary Art, Carlow Local Authorities Arts Office and Carlow Arts Festival 2013

Carl Giffney: ‘PEINT’ at Leitrim Sculpture Centre

Current Exhibition at the Leitrim Sculpture Centre – runs until 6th:

PEINT took place across a three month period spent on residency at the Leitrim Sculpture Centre. For this project Carl Giffney inhabited and performed roles that have to do with resources and their collection. The roles the artist chose to enact are common to the local area and ones that he claims ‘have been both idealised and stereotyped at the same time’. They included the Arigna Coal Miner, the Scrap Metal Dealer, the Wild Cat Oil Driller, the Lithium Chemist, the Barytes Miner and the Tinker.

The outcome of PEINT is a solo exhibition that features a 55 minute HD video that documents and explains the process of engaging with three local materials: Barytes, Lithium and Coal. These three materials are ultimately manufactured into a radioactivity stopping paint (or peint) that is presented in the exhibition. The exhibition also lays out the story of this process physically in the gallery with the materials and equipment that were collected and built during PEINT.

Gallery opening times – Wednesday to Saturday 11 – 5pm at Leitrim Sculpture Centre.



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