Archived entries for

Skibbereen Arts Festival 2013 at Working Artist Studios


Working Artists Gallery and Studios will be playing an active role as usual in the Skibbereen Arts Festival:

> 26th July – 4th August 2013
A series of exhibitions, installations, both visual and aural, and the first ever Poetry Marathon: twelve hours (or more!) of poetry…

Hope you can call in to us, especially on Aug 3rd for the all-day poetry marathon! And please spread the word!

> Rianta: Traces, Exhibition of Print work by Jennifer Baumeister, Agata Kluzniak & Paul Ó Colmáin; lithography, wood engraving, etching, lino print

> Dlúth: Intimate, mixed media works by Marie Cullen, exploring our intimate connection with the landscape

> Neacha: Beings, new sculpture by Dubhaltach Ó Colmáin.

> North of the Mind is an immersive sonic programme put together by Tadhg O’Sullivan in response to Judith Pearlman’s film The Idea of North.

> Inheritance, minimalistic art installation involving light and sound. Tomasz Madajczak. The realisation is questioning the way people are involved in changes of the surrounding perpetual universe.”

> and perhaps most exciting of all….the first ever Poetry Marathon: Saturday August 3rd 12.00 noon to midnight!

> Twelve hours of poetry, with well-known poets and you! reading their own, or their favourite, poems. Featuring, among others, Pat Cotter, Afric McGlinchey, Adam Wyeth, Kerrie O’Brien, Seamus Hogan, Yvonne Cullen, Joe Horgan and many, many more of our wonderful, gifted poets. Join us to listen and to read and to be enthralled.

> see http://www.workingartiststudios.com/ for more details

Oisín O’Brien – ‘The Lads’

Tactic, Sullivans Quay, Cork.
Preview 8/8 – 7pm

Exhibition 9/8 – 22/8

Gallery hours Tues-Sat 12-3.

The Lads are a combination of hand crafted, manipulated and procured objects. As participant sculptures, they fuse the ridiculous with the rigidly functional, allowing for the development of barely justifiably logical constructs. Conversing amongst themselves, they devise abstract leisure pursuits.

The Lads are re-evaluating ideas surrounding what it means to participate and engage in their play space. This is achieved through sorting leisure pursuits into a collection of elements such as pride, fair play, and reward. These individual components then collide until a new form of play ensues.

O’Brien is the facilitator, providing a springboard for new and potential variables. His working process is about oppositions, using sensical methods to develop nonsensibles. He projects the serious onto the absurd and then turns it on its head. In doing this, he embraces the teetering instant, the restrained smirk. It is of utmost importance to O’Brien to take not being serious as serious as possible. Players can try to ignore the game but they cannot. Within the parameters of the installation, The Lads state the rules of play.

Oisín O’Brien graduated from NCAD in 2010 from Fine Art: Painting. Recent group shows include; The Founding Phant, Ormston House, Limerick, Presentation, Pantocrator Gallery, Barcelona, Jockeyism, Block T, Dublin, A Vendre, Marseilles. O’Brien has undertaken residencies at Basic Space Press, IMMA, Dublin and La Pan Stage in Barcelona.

5th Wheel Element at Project Space at PP/S

Pallas Projects/Studios, Dublin present 5th Wheel Element Project by Kathy O’Leary

5th Wheel Element project involves creating dialogue through art, documentation and performance around the politics of participation. Installations that evoke and alternate the line between the real and the fictional are created. To date Kathy’s practice has been to use art as an experimental research tool to configure a language that speaks of inclusion. Her concern and focus for this project is to develop and examine issues that relate to accessing urban landscapes which involve creating new aesthetics and concepts for her visual theoritical practice through capturing moments of light, satire and motion.
“5th Wheel Element” has become an ethereal, collaborative, experimental and a subversive experience to challenge ‘outside the box’. To examine what is perceived as the norm and the allusion that this creates.
“Clogging cogs”, is the title of an audio and visual experience wall piece that is amongst other interpretations as a part of the show.
By analyzing situations of intervention, “5th Wheel Element Project” attempts to question notions of what an ‘Institution’ is, how does it become such and the benefits of participation as a learning cognitive methodology.

“5th Wheel Element Project” is elaborated through a series of events including a Fire Drill Intervention at NCAD that took place in April ’13, an exhibition and artist in-conversation with Marianne O’ Kane Boal, Art and Architecture Critic and Curator.

Artist in-Conversation with Marianne O’ Kane Boal at 12pm on Friday 2nd.
This will be a performative, artists dialogue and booking is essential as space is limited.
Please email 5thwheelelementproject@gmail.com to confirm by Thursday 1st.

The project runs from the Thursday, 1st of August to Saturday, 3rd of August

Exhibition preview: Thursday 6–8pm.
Open Friday & Saturday 12–6pm.

http://kathyoleary.blogspot.ie/
www.pallasprojects.org
http://www.aica.ie/members-3/marianne-okane-boal/
https://www.facebook.com/events/149351545255640/?fref=ts

Wine Soak no. 11: Transported by Galway Hooker

Our Wine Correspondent Jakob Ligvine Creek found himself transported by Galway Hooker at the opening of “From Galway to Leenane: Perceptions of Landscape” at the National Gallery of Ireland.

A seagull wailed in the distance, high above in the clear blue of the summer evening, filling the heart with a great yearning and hunger for the sea far, far to the west. You could taste the salty waters in every breath. You could hear the wind billowing in the sails of a Galway Hooker like the blood pumping its rhythms in the inner ear. There was a heightened awareness as if you could sense every droplet of the sea as it was broken before the keel of the boat, like those precious seconds of life that we recall as we look for the site of our grave in the ancestral hills of our spiritual home. This was where I stood on the evening of July 17th 2013 listening to the hauntingly beautiful Sean-nós singing of Ceára Conway in the atrium of the National Gallery. She was singing Amhrán Mhuighinse, a lament in which a woman on the edge of death sings of her wish to be taken west to the place of her burial among the sand dunes on the island of her people:
Bring me west to Muighinis, where I will be mourned loudly;
The lights will be on the dunes, and I won’t be lonely there
.”

In my desire to find a cool reprieve from the sun-baked street, just like the mournful soul of the lament, I had accidently wandered into the opening of the exhibition of watercolours of West of Ireland scenes painted by the English topographical artist William Evans of Eton (1798-1877) and the contemporary artist Wendy Judge. Judge’s work is a response to Evans’ masterful collection of watercolours that are a window onto the pre-famine world of the west; a juxtaposition which results in an exhibition of strangely familiar images of both the mid-19th century and the 21st century. I had not expected to be so transported, but strange things can happen to the savage heart when unexpectedly exposed to those raw emotions our heritage can evoke. Not to mention to the delicious Galway Hooker Pale Ale on tap, a real complement to this great homage to the west of Ireland and the artists that it has inspired, old and new. Galway Hooker Pale Ale is itself quite a new creation having been borne into the world only as recently as 2006; but it has a taste of something much, much older – noble and ancient.

It was a very different day from the last time I had attended an opening in the National Gallery: a rainy winter’s evening in January (see Wine Soak no.7: Ligvine Strikes Again). On this occasion the heat was unbearable; all previous records of summer temperatures and heat-wave duration were on the cusp of being broken. Not since the 26th of June in 1887 at Kilkenny Castle, just ten years after the death of William Evans, had temperatures been so high. Truly the sponsorship of this event by the brewers of the crisp, cool, refreshing Galway Hooker Pale Ale was inspired.

All the week the weather had been transporting me back in memory to the ancestral home of the Ligvine family; to those languishing summers of feckless youth and endless hot lethargic days spent in the west of Ireland lounging upon the lawn of the house in which I grew up. So it was fitting to find myself once again in the National Gallery at an exhibition that accelerated my descent into a reverie of the past. Slipping past a century and a half of history, the sight of the Galway Hooker and the Spanish Arch in Evans’ watercolour is a distant view over a long temporal gap that still feels utterly recognizable. Conversely, the contemporary works of Wendy Judge manage to perceptually place us at a distance by providing binoculars that work in reverse, creating the perspective of the far away that evokes how we view the landscape as a distant place of romanticised dreams and imagination. It was an exceptional stroke of genius to invite the cousins Aidan Murphy and Ronan Brennan, the owners and inventors of the Galway Hooker Pale Ale, to sponsor this evening of time travel and temporal slippage that, rather than destabilise, made this old hack feel more at home and more comfortable in his own skin than usual. (Ronan Brennan was there himself to release the magic brew from the taps at the temporary bar).

However, the evening was not without its intellectual rigour and challenging new ideas; there were vibrant conversations about our identity, the impact of the cultural tourism of the pre-famine topographic painter and the ideas surrounding armchair tourism as explored in the work of Wendy Judge. The opening was prefaced by fine speeches from the curator Anne Hodge and the Gallery Director Sean Rainbird, who spoke of the priceless cultural value of these exceptional watercolours. The evening was going so well that the Gallery Director couldn’t even dampen our spirits (excuse the pun) by bringing us back to the national obsession with the weather as he made reference to the evidence of raindrops in some of the works that would have been painted ‘en plein-air’. Historian and archaeologist Michael Gibbons was a brilliant addition as the guest speaker – his own grandfather having sailed a Galway Hooker into the quays of Galway as represented in the paintings. He spoke of the valuable information that we can glean from the images painted by Evans and, in the course of the evening, he was a fount of knowledge concerning the places and the traditions of the west. Some native tongue was even spoken during the course of a conversation that sprang up around Dinnseanchas, a form of oral song and storytelling that comes to us from pre-literary times and is a mnemonic device to aid the retention of the ancient lore of places.

The Galway Hooker Pale Ale was itself exuding properties of the Dinnseanchas, as the taste of the crisp, citric and caramel ale danced a sensual song of its own upon my palate. It was also having the effect of pushing my consciousness back into the past: I had my first taste of this exceptional beer in Neachtain’s pub, at the corner of Cross Street and Quay Street right in the middle of Galway city, a few years ago when I brought a Spanish lady-friend to the west in the hope that, if she fell in love with the west, she might look more fondly upon Ligvine. But, alas, the constant driving rain and tales of her fellow countrymen being massacred at Spanish Point quenched the flame of the romantic adventure. Nonetheless, I’ll never forget my first taste of the Galway Hooker. Nor will I easily forget that haunting song and the melancholy gull crying on the day I went to see the watercolours of William Evans of Eton and the inspired works of Wendy Judge in the Print Gallery of the National Gallery.

From Galway to Leenane: Perceptions of Landscape will run from the 15th of June to the 29th of September 2013 in the Print Gallery of the National gallery of Ireland.

http://wendyjudgeart.blogspot.ie/
http://www.nationalgallery.ie/en/Exhibitions/From_Galway_to_Leenane.aspx
https://www.facebook.com/Ligvine
http://www.galwayhooker.ie/
http://www.galwaycitypubguide.com/all-pubs/tigh-neachtain%C2%92s-naughtons.html
http://www.connemarawalks.com/index.php/component/content/article/83

Internship Opportunity at Project Arts Centre – Assistant Visual Arts Curator (JobBridge)

Deadline: 29th July at 12 noon

Applications are now open for the Project Arts Centre Assistant Visual Arts Curator (INTE-777020) / Curatorial Intern for 2013-14.

We are seeking an individual with energy and commitment, to support the growth and daily operations of the visual arts programme of Project Arts Centre. The individual will work closely with the Curator of Visual Arts, as well as learning from the whole team of the multi-disciplinary arts centre. The successful candidate will be in personal contact with the artists of the programme, and will be invited to propose talks, lectures and events at Project Arts Centre, as well as playing an integral role in the shaping and managing of the communications of an internationally followed visual arts programme. This is an opportunity for a young or emerging curator to gather significant experience and contacts inside one of Ireland’s busiest cultural institutions.

Skills & Education:
● Graduate degree in Fine Art, Art History or relevant fields. A Masters degree in curating, art practice or critical studies will be an advantage.
● High level of competency in written language, organization and clarity of presentation.
● The ability to work unsupervised, and to work within a busy office, utilising one’s own problem-solving skills.
● The best candidate will have a strong commitment to the internship period and personal ambition for their own career pathway.
● Knowledge of international contemporary art practice will be a distinct advantage.

Application Process:
● Applications should be sent to Visual Arts Curator, tessa@projectartscentre.ie by 12.00 noon Monday 29 July – please include the reference number INTE-777020 on your application.
● Applicants should supply a letter of interest in the job, including personal strengths, what specifically you might bring to Project Arts Centre’s Visual Arts and highlighting an event or exhibition in your past that highlights your strengths.
● Interviews will be held on Thursday August 1st – please indicate whether you will be available on this day in your application.
● The internship is offered for 9 months – please indicate in your application that you are committed to this period.
● The internship is approved under the JobBridge National Internship scheme and applicants must be eligible under the terms of the scheme. Find out more about the scheme and the eligibility criteria here.

Good luck!

Wine Soak no. 10: Until I Was Senseless


Our Wine Correspondent Jakob Ligvine Kreek found himself getting senseless at the Project Arts Centre’s exhibition, “Until It Makes Sense”, an extraordinary encounter with the first of four episodes showing the work of Mario García Torres.

Something extraordinary was happening in Dublin, temperatures had soared above the thirties in some quarters and it hadn’t rained for some time. I was hoping beyond hope that the ongoing drought would result in the large scale investment in camels to navigate the rolling sand dunes that I was sure would inevitably swallow up the city of Dublin.

As I was tripping along over the sizzling cobble stones of East Essex Street, I bumped into Sean Kissane, a curator from the Irish Museum of Modern Art, on his way to a talk followed by an opening in the Project Arts Centre. I followed him into the cool, high ceilinged art space that provided a dark and shady reward for the curious art spectator – a welcome escape from the blistering inferno that was consuming the city outside.

Tessa Giblin, the exhibition curator, was in conversation with the young Mexican artist, Mario García Torres, currently staging a show in several episodes in the gallery of the Project Arts Centre. Whilst slowly adjusting to the darkness and their conversation which revolved around references to destabilisation, narrative and fiction in the actions of this internationally renowned and very successful artist, I recalled a story that I had heard from another acquaintance about Mario’s tendency to appear by proxy. I don’t know if it was transition from the heat of the street to the sudden coolness of the art gallery but I had to fight off a sudden desire to rush to the front of the attentive audience and give his beard a good hard tug to see if it was truly the man himself or an imposter. Continue reading…

Tommorrow’s Almost Over – Opening Invitation

Opening Saturday 13 July 7.30pm – 10.00pm

All Welcome, Admission Free.

To join the event on FB click here

A free bus from Belfast to Derry and back departs at 5.30pm from Golden Thread Gallery, the bus returns from Void at 10.30pm. To reserve a seat on the bus, please email CCA info@cca-derry-londonderry.org

For further information please contact Emer; communications@derryvoid.com

Discursive Event : Sharing Space

DISCURSIVE EVENT : SHARING SPACE
THURSDAY 18TH JULY 2013 6.30 – 8pm AT deAPPENDIX
30 ARDAGH GROVE, BLACKROCK, CO. DUBLIN.

House Trees (detail), Full room height, graphite on white painted wall, drawing installation, Kathy Herbert, 2013
This informal conversation between Kathy Herbert and researcher / activist Cathy Fitzgerald will delve into the influences and tensions of House Trees and Other Tales. The sometimes fractious relationship between built and natural environments will be explored, with particular reference to Kathy’s work.
Kathy Herbert’s practice incorporates 2 to 3D work says of her drawing practice : Drawing is a straightforward means of capturing an idea and giving it substance. It can be immediate and responsive, it can be meditative, or logical and structured.
I work with the idea of “sharing space”, joining man-made and natural imagery to imply equal occupancy of the same space. This work draws on the idea of respect for other living beings – animal plant etc, and implies that we are not the only important beings on this planet. I draw from nature, giving every living thing equal value in the hope that it will be reflected in our way of living on Earth.
For more information or images please contact : Ciara McMcMahon at deAppendix, 30 Ardagh Grove, Blackrock; 0035312785866 / email:contactdeappendix@gmail.com or Kathy Herbert on +353 87 9481740 or at kathy@kathyherbert.ie

KATHY HERBERT has been an Artist for over twenty years, exhibiting in Ireland, America, and Europe: She has taken part in Symposia, projects and initiatives, lectured and lead workshops. Kathy completed her MFA in the National College of Art and Design in 2011. She has recently shown in “Sculpture in Context”, Botanic Gardens 2012, the Drawing Project, IADT 2013 and presented her artist initiated project “Drawing Conversations” with Phizzfest 2012 and 2013, Dublin. From July Kathy will be Artist in Residence at Draiocht, Blanchardstown. Her forthcoming show, “Studies from Tree Journeys”, made using graphite drawings on paper and some watercolours, will shortly be on show at Excel Theatre and Gallery, Tipperary. Further details regarding Kathy’s work is available at www.kathyherbert.ie or by contacting Kathy directly on +353 87 9481740 or at kathy@kathyherbert.ie

CATHY FITZGERALD: Originally from New Zealand, Cathy has a diverse work background in both art and science. Although always passionate about art, Cathy spent the first eight years of her working career working in biological science working at a agricultural research institute in New Zealand. On moving to Ireland, Cathy spent the next six years completing a First Class Joint Honours degree in Fine Art Painting and Irish Art History at the National College of Art & Design (NCAD 1996-2000), Dublin, then an MA in Fine Art (NCAD Virtual Realities) 2000- 2002. Her MA further developed her interdisciplinary approach with a novel residency in the leukaemia laboratory at St James Hospital in Dublin, while also allowing her to develop considerable knowledge of interactive online media, and experimental film practice.
Since arriving in Ireland in 1995 Cathy has been very involved in Irish and European forest NGO’s, and Green politics (particularly Green Party Forest policy in recent years). From 2007-10 she acted at the first Director of ArtLinks.ie, an innovative five county on and off-line programme of professional arts development catering to over 1500 creative practitioners through the Local Authority Arts Offices of the South East of Ireland (the website for this programme was short-listed for an e-government award in 2009 and 2010). Highlights in her art practice include an Art Council Residency and exhibition in the Zoology Genetic laboratories in the Zoology Department at Trinity College (2004-5), curation of ecological artist Cornelia Hesse-Honneger’s work for Visualise Carlow (2005) and her solo exhibition, ‘the local project’ at the Dock, Co. Leitrim (2006), comprising of a 30 minute film documentary and exhibition that celebrated Crann’s pioneering local native woodland planting scheme. In 2008 she created the first art & ecology resource website in Ireland www.ecoartnotebook.com and has since contributed to many international art & ecology networks. She began doctoral studies on her art-ecology-forest-politics practice in October 2010. For further information see: www.ecoartfilm.com

CIARA MCMAHON practices both art and medicine. Subjectivity, intersubjectivity and the body are explored in the work, which researches osmosis between the disciplines of art and medicine. In 2012 McMahon founded and curates deAppendix an ongoing residency and contemporary art programme. deAppendix is symbiotic or hybrid with a Dublin suburban GP surgery, Amaranta Family Practice. A forth coming article by McMahon commissioned for 2ha magazine on the project will be published later this summer. McMahon is currently collaborating with The open rehearsals group on an Arts Council funded film commission. She was awarded the Adurey E. Klinck scholarship at the Banff Arts Centre in 2011 and in 2010 was funded by Create, the national agency for collaborative arts, to research the Leaky Self Project . McMahon exhibits both nationally and internationally, exhibitions include Temporal Sequencing, Banff Arts Centre Canada, Liminality, NCAD Gallery; Détruis Space, The Joinery. For further information see: www.ciaramcmahon.

Phoebe Dick – ‘I am Here’


Image; Phoebe Dick, The Cracked Willow Chronicle (work in progress), LSC, 2013

Exhibition Launch – Leitrim Sculpture Centre
Phoebe Dick – ‘I am Here’
Opening reception: Friday 5th July at 4pm – 8pm
Artist’s Performance at 7pm on the opening night.

This exhibition marks the end of the artist’s residency at the Leitrim Sculpture Centre and shows Phoebe’s interdisciplinary practice and agile mind focused on and through the medium of Print. The resulting works showcase a variety of printmaking processes and also utilise the tradition of dissemination inherent in print to give the viewer a window into the world as Phoebe sees it – A world in which the parallels between printing processes and the complexities that structure reality are made clear through the artists vision.
Phoebe has a B.A. in Fine Art Media from the National College of Art and Design, Dublin, which incorporated a six month Printmaking Erasmus in Poznan, Poland, and is a self taught musician and writer. Her first collection of Poetry was shortlisted for the Patrick Kavanagh prize and she was also shortlisted for the Y-Tunes songwriting competition in 2011. She has taken part in a number of group shows and residencies, and has performed solo in various venues including The Creel, Westport and the Spoken Word stage at The Electric Picnic.
Gallery opening times – Wednesday to Saturday 11am-5pm
Exhibition runs until 20th July 2013.

Leitrim Sculpture Centre
New Line
Manorhamilton
Co Leitrim
Ionad Dealbhóireachta, Cluainín, Co. Liatroim

info@leitrimsculpturecentre.ie
www.leitrimsculpturecentre.ie
Telephone: 071 985 5098

Exhibition supported by the Leitrim Sculpture Centre; Leitrim County Council Residency Award and the Arts Council.
LSC acknowledge the financial support of the Arts Council and Leitrim County Council.



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