Archived entries for

Wine Soak no. 14: The greatest challenge yet

Our Wine Correspondent Jakob Ligvine Creek after being run over by a bicycle on the Grand Canal towpath found himself being consoled with several glasses of Domaine de Condamine de l’eveque Syrah at the opening of Curator Paul Hallahan’s group exhibition ‘a lamb lies down’ in Broadstone studios. Then suddenly, out of the blue, he received his greatest challenge yet. Six openings in one night… and they said it couldn’t be done!

On Wednesday evening last I took a postprandial stroll along the bank of the Grand Canal. I was looking into the dark waters on what was a cloudy and moonless night. The calm black surface of the canal produced no reflections. I cast my eye along the bank following the canal west to where it disappeared beyond the next bridge and lock gate. I was filled with a yearning to go west by water, to take a barge all the way to the Shannon and then to Limerick. I mused that I could go all the way there, next April, to arrive at the opening ceremony of the eva international biennial. I imagined an entire flotilla filled with joyous revellers disseminating their joyous creativity throughout the journey, each one filled with anticipation for what lay ahead in the mecca of visual arts: the eva international biennial. I was lost in my reverie until, suddenly without warning, I was knocked off my feet and sent crashing to the ground. If it weren’t for my well insulated posterior upon which I had landed I’m sure I’d have been hospitalised for a considerable duration. I had been run over by a bicycle! A reckless young artist whom I shall not name (you know who you are!) claimed he hadn’t seen me in the darkness under the trees. After hurling many expletives at him I asked where he had been cycling to in search a hurry. He told me he was going to an opening in the Broadstone studios barely a stone’s throw from where we were standing. “Lead on” I demanded, needing a drink to calm my nerves and cool my temper.

The ex-nanny’s home on Harcourt Terrace is now home to Broadstone artists’ studios and there was an opening taking place for an exhibition of artists curated by Paul Hallahan. There were works by several artists distributed throughout a large ground floor room with the most delightfully overwhelming carpet. In particular Vanessa Donoso Lopez’s tower of rickety tables surmounted by a strange animal doll in multiple bell jars was terrifying in its precariousness. It didn’t help that I had plied myself with several glasses of Domaine de Condamine de l’eveque Syrah and I was getting a bit precarious myself. Guilhem Bascou’s Domaine de Condamine de l’eveque is a product of Languedoc and comes from an area of vineyards stretching to the west of Pézenas a terroir that is marked by irises and olive trees. I could almost feel them swaying as I sucked down the musky, heavy, red liquid.

I was looking at a series of photographs by Jonathan Mayhew and I couldn’t tell if it was me or the photos but they seemed a little out of focus. I had just been in an accident and it is possible that there was a mild concussion adding to the sense of instability. I struck up a conversation with Lee Welch and Mark McGreevy two other artists in the show and they told me of the great night of openings that could be in store for an art and wine maniac like myself on Thursday, the following night. Apparently there were six openings on in one night. SIX! I couldn’t believe it. Ella de Burca who also joined the conversation, and discerned the twinkle in my eye, declared, “You’ll never make all six and get a drink in each one, not in one night. If you do I’ll buy you a pint.” To which I replied, “You owe me a pint.” After draining the dregs from the Domaine de Condamine de l’eveque, literally chewing them like chewing tobacco, we went on to engage in all sorts of revels in the bars of the area until the wee hours. But I never forgot the challenge that was echoing through my mind. “You’ll never make all six.”

A little after six pm, the following evening, I walked through the doors of The Flood Gallery to be greeted by a cool refreshing bottle of beer and an exhibition humorously called The year of the flood named after a novel my Margaret Atwood about a group of disaster survivors. The space was filled with an extra-ordinary collection of unusual objects and peculiar video pieces. Each artwork had the random sense of a survivor washed up like the flotsam and jetsam thrown up by a terrible sea storm. Every piece as fascinating as the next, carrying their individual stories of survival and hope. I ran into David Eager-Maher who had been present at the declaration of the challenge the night before and when I told him of my plan to see all six shows and have a drink in each venue he just shook his head and said “you’ll never make it, it’s impossible.” Without being deterred I decided to march on to the next venue the Dublin City Council art space The Lab.

In the Lab I was confounded by Mark Durkan’s glamorous extravagance of mirrors, lights, bowls of dry ice and the intimidating figure of a performer dressed in riot gear, carrying a bow and arrow. The balaclava and riot helmet made the living sculpture very sinister but the mirrored pedestal added a sense of the kind of kitsch that one might associate with a Russian oligarch’s taste in interior design. Water bubbled from a fountain-like shower head surrounded by mirrors and was echoed by urns that were oozing with dry ice, diffused blue light and tiny bubbling fountains. The title of the show: I’m astonished, wall, that you haven’t collapsed into ruins, takes its name from graffiti in Pompeii, the ancient Roman town preserved by the eruption and subsequent ash from Vesuvius. The work presented an artificial world full of tension. Its overwhelming reflective unreality felt like it could implode upon itself at any given moment. I needed a drink! I ran upstairs to get a glass of the red wine. I threw it back without even caring what it was. I took another one. It was red and wet and alcoholic…it was good. Upstairs by the bar Seamus McCormack’s solo show Spike, an Overlay that reflects on theatrical illusions of performance and the parameters that guide those movements. Like Pirandello’s six characters in search of an author McCormack’s work tries to peer through the mirror presented by our world of self-reflexive performance to reveal the meta-theatre of being. Considering my own performance I glanced at the time and I had already wasted 40 minutes. I grabbed another glass and ran, ran, ran!

Running up the stairs and making an awful clatter I burst into the Talbot Gallery in the middle of the speeches. All Man: the Show curated by Linda Phelan was exploring themes of masculinity in a world where the traditional roles of men in society have become uncertain. Emasculation or liberation? What does the contemporary world offer men today? All I wanted was someone to offer me a drink!!! Thankfully the speeches ended and I got to the bar and had a chat with Elaine Grainger, she was offering an Italian red wine, 2012 Monepulciano D’Abruzzo and two whites, an Italian, Ca’Del Lago 2012 Inzolia and El Chugaro a Spanish wine. Such choice! I settled for the red but alas I had no time to appreciate the art. I had a quick look at the work of Mathew Nevin, an image of a head of stubble that incorporated a sound work. Unfortunately I had no time to listen. Elaine asked me was I going to the RHA, my next point of call by bicycle, “Alas no” I replied and I dashed out the door. My natural phobia of bicycles had not been helped by the previous night’s calamity on the canal bank.

In a complete tizzy I finally made it to the Douglas Hyde as Michael Hill was instructing the man with the tray of wine to stop serving I had to reach over his shoulder quite ignominiously, apologising as I did so, shouting, “its ok, it’s a challenge, it’s for a bet, a sort of gentleman’s agreement!” I saw Declan Long there engrossed in conversation so I just gave his arm a tug to say “Hi and bye I have to run, run, run!” A quick glance around revealed large exquisite paintings of denuded trees in urban settings and empty landscapes with extraordinary coloured skyscapes. They were the work of George Shaw and the exhibition is capriciously titled Neither My Arse Nor My Elbow.

It was gone seven thirty. All would be over soon and I had to get to two more venues before the wine ran out. The openings closed at 8pm. Time was literally running out, as was the wine!
I sprinted to the Kerlin, at this stage I had no idea what the wine was but I was lucky there was one solitary glass left on a serving tray. It was a white wine of some description. At his stage it no longer mattered. I threw it back. I had a quick word with Francis Halsall and Lily Cahill. Very much to my shame I started to do impressions of the flash as I tried to channel the comic book superhero’s velocity to get me to the end of my goal. I had less than ten minutes to get from Anne’s Lane to my final destination, the RHA.

Lickity split and I was out the door moving faster than a blur, the streets of Dublin rushed by in a fizz and a pop. I made it. I just got in the door of the RHA with seconds to spare. But oh despair! There was no wine left. Having come so far. After all that effort was I going to fail at the final hurdle, collapse at the last fence. No I couldn’t let it happen like this. I desperately tried to spy a familiar face of someone that still had some wine left in their glass. I approached Maeve Connolly, Elenor Duffin, Neil Carroll, no one had any wine left….

And then… Eureka! The day was saved by none other than Pádraic E. Moore. When I explained my desperate situation he gladly surrendered what was left of his white wine. It turned out to be a Santa Cruz Alba, Sauvignon Blanc 2013. Such joy! I had won the bet. It could be done after all. As I was dancing around in celebration, I saw Maggie Madden looking on with a worried expression. I hadn’t even noticed her beautiful and fragile sculpture right beside me. My desperate search for that last mouthful of wine had blinded me from my surroundings completely. Astonished I looked around at the spectacular artworks in the exhibition Futures 13. I was astounded and amazed, so amazed in fact that when I bumped into Marysia Wieckiewicz-Carroll I demanded her last mouthful of wine to steady myself and declare a total victory. It turned out to be Santa Cruz Alba, Cabernet Sauvignon 2012. The after party was in Doheney and Nesbitts pub on Baggot Street, where we enjoyed platters of food and many, many, pints. As I was gladly becoming fused to the bar, from across the crowd, at the other end of the room, I heard Peter Prendergast of Monster Truck shouting at me, “I’m coming on your boat! The boat to eva.” Strangely my dreams were starting to become reality as a nice creamy pint of Guinness was placed before me upon the bar.

Invited Artists “a lamb lies down” curated by Paul Hallahan runs from November 14 – 30 2013 at Broadstone Artists’ Studios.
The Year of the Flood: Michelle Browne / Mike Cooter / Benjamin De Burca / Tom Fitzgerald / Zoe Fothergill / Clea van der Grijn / Mark McGreevy. Curated by Michele Horrigan runs from the 14th November – 7th December 2013 at the Flood Gallery.
Mark Durkan / I’m astonished, wall, that you haven’t collapsed into ruins and Séamus McCormack / Spike, an overlay runs from 15th November 2013 – 25th January 2014 at the LAB
ALL MAN: THE SHOW Curated by Lynda Phelan runs from Nov 14th – Nov 30th 2013 at the Talbot Gallery
George Shaw “Neither My Arse Nor My Elbow” runs from 15 November – 15 January 2014 at the Douglas Hyde Gallery
Paul Winstanley Art School runs from 15th November 2013 – 7th January 2014 at The Kerlin Gallery
Futures 2013 runs from November 15, 2013 – December 20, 2013 at the RHA Gallery

Martin Creed Live

Sat Nov 30 | 8pm

Broadstone Studios

22 Harcourt terrace Dublin 2

Ticket €10

Tickets for the Martin Creed Solo Performance are available from Broadstone Studios:

Please email titling email “Martin Creed Gig”

This is the closing event for current exhibition at Broadstone Studios:

Broadstone Invited Artists

Paul Hallahan

a lamb lies down

November 14 – 30 | 2013

A lamb lies down looks to, takes from, lines itself alongside and hopefully adds to the narratives and concepts looked at in a seminal 1970’s progressive rock album. Guided by the themes and narratives within the album and the story written alongside the album, as well as the albums position in music history, the exhibition brings together a number of artist’ works to be shown in brodastone studios. A lamb lies down brings together these works with the hope to add too ideas brought up within the exhibitions starting point.

Paul Hallahan

Broadstone invited artists


David Eager-Maher

Mark McGreevy

Lee Welch

Rachael Corcoran

Adrian Duncan

Beagles and Ramsay

Martin Healy

Ricky Adam

Vanessa Donoso López

Jonathan Mayhew

PODCAST EVENT at Workman’s Club | Antiroom + IMMA

Tuesday 19 November | 7.00pm
The Workman’s Club, 10 Wellington Quay, Dublin 2.

Is Feminism Relevant for Artists Today?

Journalists and broadcasters Anna Carey and Sinead Gleeson of the feminist podcast The Antiroom are joined by Alice Maher (artist), Jessie Jones artist), Kathleen James Chakraborty (Lecturer, UCD) and Cristin Leach (art critic) to talk about the relationships between art, feminism, class and gender expectations. Retrospective exhibitions Eileen Gray and Lenora Carrington provide the impetus for this enquiry into feminist critique and its potential, to assess both exhibitions.

Book here

Please take note of venue details.

Image: Mahogany Jesse Jones 2009 production still

Fiona Marron and Francis Halsall: In Conversation

Saturday November 16th | 3.30pm
Rua Red, South Dublin Arts Centre, Tallaght, Dublin 24

To mark the closing of Fiona Marron’s exhibition Co-location at Rua Red a public conversation will take place between the artist and Francis Halsall.

All are welcome, no booking required. Admission free.
Refreshments will be served before the talk from 3pm.


Fiona Marron
RUA RED – Gallery 2
Dates: 21 Sep – 16 Nov
Time: Mon to Sat | 10am – 6pm

‘Co-location’ is a solo exhibition of new work by Fiona Marron completed while on residency at RUA RED. The exhibition encompasses elements of video and sculptural installation, which together, through a number of researched histories, examine value systems and probe the dynamic infrastructure behind current international channels of trade.

Through engaging in a process of enquiry surrounding a transformational period in Chicago’s trading history, the crossovers between the worlds of science fiction and global finance are considered within the exhibition Co-location. In focus is a key figure of that history, former chairman of the Chicago Mercantile Exchange, Leo Melamed, who accredits the major changes he implemented in computerising financial trading to ideas first imagined in his sci-fi writing of the eighties. Alongside his several published titles in the line of finance, his only published sci-fi title can be seen as the catalyst for the worlds first futures electronic trading platform, and a consequential step towards the proliferation of trades made globally today.

In the course of following up one such history, other tangential histories have emerged and are explored within Co-location. The advancement of fibre optic technology has been paramount to the developments in global trading, facilitating the current widespread practice of high frequency trading (HFT), a volatile and contentious activity. As a system, its operations are internet dependent and thus rooted in a physical network of sub-sea and earth optical fibre cables, an infrastructure which also becomes relevant in the exhibitions manifestation. With questions around the importance of geographical specificity another fundamental concern, the work engages consideration around the nature of time-space compression.

Fiona Marron was born in Co. Monaghan in 1987. She graduated from Fine Art at Dublin Institute of Technology in 2009 and is currently completing an MA in Visual Arts Practice, IADT Dun Laoghaire. Solo exhibitions include ‘Last and First Men’ at The Joinery, Dublin (2011), ‘As Topic and Tool’ at The Joinery (2010) and ‘For Who Knows What’ at FOUR, Dublin (2009). Group exhibitions include ‘At the level of entity’, The LAB, Dublin (2013) ‘Construct #1′ at Monster Truck Gallery, ‘Portrait of Space’ at Clonlea Studios, Dublin (2011), ‘Hidden Memories, Lost Traces’ at Sinopale: Third Sinop Biennial, Turkey, ‘Switch: As Process’ at Catalyst Arts, Belfast (2010) and Reverse Pedagogy III, Model Arts & Niland Gallery, Sligo (2009).

The Future is tonight!

Dublin is full of art tonight…

Futures RHA Gallery, gender specification at All Man : The Show Talbot Gallery, the poetics of housing estates at Neither My Arse Nor My Elbow at Douglas Hyde Gallery and Paul Winstanely conversation in collaboration with ACW for the opening of Art School at Kerlin Gallery

More at: FLOOD and The LAB

Thursday November 14th from 6pm

Image: Rombico Mark Durcan

Art School | Paul Winstanley

Kerlin Gallery
15th November 2013 – 7th January 2014

As part of an ongoing series of talks arranged in collaboration between Kerlin Gallery and MA Art in the Contemporary World at NCAD, at 5pm on the 14th November the artist will talk about the concepts and making of his Art School Series. The talk will be approximately 45 mins long and will be followed by the exhibition opening reception.

During the Summer months of 2011 and 2012 Paul Winstanley photographed the empty fine art studio spaces of art schools throughout England, Scotland and Wales. The artist abided by certain governing rules; the camera was held at the same height for each shot, the studio was photographed as found and the lighting was natural. The result is a comprehensive photographic archive of previously overlooked and un-documented sites of creative potential. This archive has given rise to a truly remarkable body of paintings and a new photographic publication.

The paintings in this exhibition, drawn from his photographs, closely subscribe to this minimal experience of place that is both documentary and sublime. They describe place and yet become, themselves, objects of space defined as much by the transience of light on surfaces as place articulated. Painted on panel, they physically reflect the hard surfaces of walls and screens within the imagery and re live the memory of place as both illusion and object. The visual language approaches abstraction and yet these paintings never lose sight of their social and political content.

Paul Winstanley, born in Manchester in 1954, now lives and works in London. He has been exhibiting since the late 1970s and over the past two decades he has had regular solo exhibitions in London, Paris, Munich, New York, L.A., and Hamburg. His first retrospective was held at the Auckland Art Space in New Zealand in 2008 and was accompanied by a fully illustrated catalogue. Other solo shows include ‘Driven Landscapes’ 1993 at Camden Arts Centre, London and ‘Annexe’, Tate Britain, 1998.

Recent group shows include ‘Window to the World’, Fondation de l’Hermitage, Lausanne (2013) and Museo Cantonale d’arte and Museo d’arte, Lugano (2012); ‘Lifelike’, Walker Art Center, Minneapolis and ‘The Deer’, Le Consortium, Dijon (2012); ‘Out of focus. After Gerhard Richter’, Kunsthalle Hamburg (2011); ‘Sea Fever: From Turner to today’, Southampton City Art Gallery (2010); ‘Terror and the Sublime: Art in an Age of Anxiety’, Crawford Art Gallery, Cork (2009); ‘Conflict Tales: Subjectivity’, Burger Collection Berlin (2009); ‘Self as Selves’ Irish Museum of Modern Art Dublin (2009); ‘Inside Architecture’, Museum of Contemporary Art, Los Angeles (2008); and ‘8 Visions, One Dream’, Today Art Museum, Bejing (2008).

Winstanley’s work is represented in numerous public and private collections, including the collections of the Irish Museum of Modern Art, Tate Gallery, British Council, European Parliament, New York City Public Library and the Museum of Contemporary Art, Los Angeles.

A fully illustrated book with a text by Jon Thompson and an interview with Maria Fusco (Published by Ridinghouse, London) will accompany the exhibition and will be launched in the gallery on Thursday 14 November.

Create Networking Day

Create Networking Day For Collaborative Arts
Thursday 5th December | Filmbase
10.00 – 18.00 | €12 (lunch included)

For Create members the event is free of charge.

Guest speakers include Claire Feely, London based curator and past student of Art in the Contemporary World.

Are you an artist who makes art outside of traditional spaces; a theatre-maker who works with non-professional or community casts; a dancer who choreographs with older people? An artist who works collaboratively to create great art?

If so, join Create in Filmbase on 5th December for a National Networking event to meet other artists in the collaborative arts sector; to hear about the inspiring work of guest artists including Claire Feeley (Situations) and Dr. Susanne Bosch (Artist /Curator) discussing curator-artist relationships. There will be a session on risk and experimentation featuring Rachel Anderson from Artangel and there will be a discussion on archiving collaborative practice with Eve Olney.

Over the course of the day attendees will have the opportunity to connect with their peers, interact with commissioners, receive practical information and be inspired by dynamic and vibrant collaborative arts projects created here and elsewhere.

The day has been curated by the artist Michelle Browne in collaboration with the team at Create and focuses on both practical and conceptual supports for artists working collaboratively. There will be information stalls hosted by JLT Insurance, HSF Health Plan and other providers, as well as inputs on Garda Vetting, Press and Communications, European Cultural Contact Point and Financial Management.More speakers and ancillary events to be announced soon.

Hilary O’ Shaughnessy and actor/ facilitator Niamh McCann will both take part in Create’s Networking Day. Hilary will conduct a prosocial rulebreaking session. Attendees will be invited to become members of the prosocialrulebreakingclub, an experiment in social art. The prosocialrulebreakingclub proposes to explore ways of innovating in society through rule breaking.

Niamh McCann will give a Presentation Skills workshop. Niamh will host a workshop focusing on skills around ‘Presenting yourself and your work’. The hour long workshop will look at the language we use and how we can focus our awareness around a key set of skills to help us communicate better as artists and collaborate better in a cross disciplinary environment.

In addition two new sessions have been added to the full programme for the day, as well as a new speaker, theatremaker Dylan Tighe who will discuss archiving collaborative practice with Eve Olney.

Minister for the Arts, Heritage and the Gaeltacht, Jimmy Deenihan will launch Create’s Networking Day on the 5 December. Minister Deenihan previously launched a Create and Waterford Healing Arts Trust initiative, the web resource; in October 2010.


Artists across artform working in the context of participatory or socially engaged practice; arts organisations and festivals who programme socially engaged work; curators; outreach officers, cultural institutions; arts educators; community organisations. Bookings via an Eventbrite page

More details here or contact Jane O’Rourke 01-4736600.

This event is supported by the European Cultural Contact Point.

Image: Mobile Homestead, Mike Kelley, 2012. Commissioned by Artangel in association with the Mike Kelley Foundation for the Arts, MOCAD and the LUMA Foundation. Artangel are taking part in the Create Networking Day.

Wine Soak no. 13: Bullied and battled at The Crusades

Our Wine Correspondent Jakob Ligvine Creek escaping the stench of the drought ridden city found himself bullied, battled and a little melancholic at the opening of ‘The Crusades’ a show in The Drawing Project, Dun laoghaire by Lily Cahill & Rob Murphy.

Despairing the lack of water in the city I was urged to escape the rising odour of the great unwashed. As the soiled feeling of an under abluted population was starting to creep under my own flesh. I thought: “what better place to go in search of clean air than Dun Laoghaire.” With my lungs full of the fresh sea air after a walk on the pier all my anxiety had evaporated and I was feeling quite at peace. On my return to the Dart station I spied a couple of young arty types hanging around outside an arts space administrated by the Institute of Art Design and Technology called The Drawing Project and I sidled over toward them in the hope of grabbing a refreshing glass of opening night vino. The space that I found myself in suffers slightly from a lack of passing foot traffic and even though it is located just across the road from the train station I would never have noticed it but for the crowd of young art students gathered around the entrance. I was in luck I had stumbled upon the opening of a show called The Crusades. So I thought to myself that it wouldn’t be any harm to go have a quick peek at what was on show and whet the whistle at the same time.

On entering I was greeted by two excitable young students that were constantly bouncing around me like a pair of Jedwards. They were very eager to offer me a drink for the kindly donation of one euro. Not a bad price to pay for guzzling grape juice in abundance. I was confronted by Riesling and Chianti from Lidl. I opted for the Riesling which is described as “Fruity, zesty and youthful,” a description that suited the artists that were on show.

The Jedwards told me that the artists, Lily Cahill and Rob Murphy, have only recently turned to a collaborative way of making art, putting aside their strong individual modes of working to create artworks together. They went on to tell me that at a talk given by the two artists earlier in the afternoon, the fourth year IADT art students in attendance became obsessed with the idea of abandoning the egotistical position of a self-contained and autonomous maker to collaborate. I reassured the young fellows that they’d get over it eventually because, as we learn from experience, making our way in the world today requires almost constant collaboration of some form or another. (At this point it may have been the wine that was doing the talking.)

The wine in short was not very satisfactory but the artworks were certainly intriguing. After reading Gemma Tipton’s tirade In the Irish times recently against those of us who see the necessity for verbosity in the vacuum presented by many contemporary artworks, the experience of The Crusades was quite refreshing. In the publication handed out to help the visitor navigate the four art works there was simply a map. It gave only titles and was without tiresome explanations of the work. Nor did it attempt to categorise what was being experienced in relation to anything that was not within the immediate vicinity of the space. The lack of text gave the exhibition a refreshing simplicity and clarity comparable to the crisp, golden white wine, free of impurities, extraneous notes and linguistic interference. By the fourth glass the exhibition was starting to flow, blur and spin like the carnival ride that was the focus of one of the video works.

Two of the video works presented a camera eye view from the seats of carnival rides of the type that could only be described as extremely provincial. The lack of sophistication, the state of repair and the level of decay indicated that these carnival rides had probably seen better days. However, as jaded as the carnival may have seemed the ecstatic screaming laughter and enjoyment audible on the soundtrack created an extraordinary contrast. At times the shaking image of the video shot from a vigorous carnival ride was enough to start churning the Riesling rather uncomfortably in the stomach. Feeling a bit battered and bruised, as one would if involved in a crusade, screams of, “drop zone, drop zone” brought a smile to the lips and a cramp to the stomach that was like getting a bunch of fives in the gut. (This may also have been the wine talking)

The readymade sculptural work in the window, The Crusades, comprised of two dirty old plastic garden chairs connected by a torn banner and was like the overture to a fine symphony that picked up to a steady adagio with the video of a ghost train, The Inferno. Then the recitative, like in a fine opera, the middle video, The Indulgence, provided a quiet moment. It was shot while moving through the decrepitude of the Natural History Museum. Headphones were required to hear the dulcet tones of Lily Cahill singing the Carpenters song “Superstar” to a stuffed Panda Bear. Then the finale. The crescendo was the overwhelming, whirling and nauseating carnival ride, The Pairing. Though I found it amusing at first, for some reason, the peculiarity of these heterotopia’s filled me with a dark and melancholic dyspepsia. I couldn’t help but feel that the world presented by the exhibition was a ruined and dying dystopia where we persist like a kidnap victim suffering from Stockholm syndrome, falling with sympathy to worship at the feet of our own self-destruction. How can we continue to seek our fun and to crusade for love in a world battered, bruised and surrounded on all sides by the tyranny of entropy? I took another gulp of the Riesling and thought: “I can’t go on… I will go on.”

The Crusades ran from Wed 30 October 2013 – Mon 04 November 2013 in The Drawing Project, Harbour View, Crofton Road, Dun Laoghaire.″

All Man : The Show

All Man: The Show
Nov 14th 18:00 – Nov 14th 20:00 2013

Curated by Lynda Phelan
Winner of the Talbot Gallery International Curatorial Open Call 2013

Matthew Nevin | Darren Caffrey | Terence Erraught | Sean O’Reilly | Conall McCabe | Tony Hayes | Eoin M. Lyons | PawełKleszczewski

The Talbot Gallery is delighted to announce that Lynda Phelan, winner of the Talbot Gallery International Curatorial Open Call that was launched in September 2012, will open her exhibition All Man: The Show at 6pm on Thursday 14th November 2013.

Taking the writings of Mina Loy (1882), Valentine de Saint Point (1875) and George Bataille (1897) as her conceptual points of departure, an open-call was held to unearth five more artists to show alongside the three invited artists, Matthew Nevin, Darren Caffrey and Terence Erraught.

All Man: The Show is an encounter with the male sex and the question: how does man come to know his own maleness, express his maleness, seek and conquer not Woman but the whole of Man?

And, by excluding the female artist from the open-call process and the resultant exhibition, Lynda hopes, through her absence, to draw attention to the true depth of that which underpins her professed problem.

“When yang has reached its greatest strength, the dark power of yin is born within its depths, for night begins at midday when yang breaks up and begins to change to yin.” (I Ching)

The truth of woman begets that of man. How then can the ‘fairer sex’ be a part of the overall system, a real component on the world-stage, if she steps outside of what is to maintain the illusion of equality, in the guise of some form of feminist retort? How can Woman feed the world-order, if it is seen that she requires the safety of same-sex collation and/or competition?

Is it all that Woman wants: to be equal? She can never be by definition of being. Why is it that all she wants is what man has made for himself? Why does she not want for herself what drives her, instead of what drives the male? What does the goddess desire? What does the goddess do with that desire and do as a result of that desire?

Lynda Phelan is currently studying for her MA Art in the Contemporary World, at NCAD. Lynda graduated from IADT with a BA Honours in Visual Art Practice in 2007 and obtained a Higher Certificate in Psychology & Jungian Psychology in 2009 & 2011 respectively.

“All Man is an idea for which the time has come! A smart and provokative concept, with a great woman curator with a lot to say.”Annie Sprinkle, Ph.D., Post Porn Artist and Ecosexual Activist.

Dr. Aine Phillips has written a piece of text to accompany All Man: The Show


click below


Sarah Jane Finnegan

Opens this Thursday 7-9pm
The Joinery

Common Ground

Common Ground marks the Tenth Anniversary of the Ground Up Artists’ Collective (GUAC).

Aine Phillips, Amanda Dunsmore, Deirdre O’Mahony, Fiona Woods and Sean Taylor have been selected by curators Barry Charles Foley and Orlaith Treacy from over 30 past members of GUAC for Common Ground.

Based in Co. Clare GUAC was formed in 2003 to create a dialogue between > contemporary visual artists on the implications of making work in rural > surroundings and to offer a platform for research and collaboration. From this came an experimental program of contemporary art that attempted to respond to its rural context and create further dialogue amongst rural communities and the broader cultural audience.

GUAC was understood as both an avenue for research and a platform from which sprung temporary and collaborative art projects introducing elements of performance rather than fixed identities for artists and the rural audience / environment. While these artists have moved on and their practice evolved they all still possess elements and approaches that remain true to the ethos of GUAC.

Common Ground attempts to highlight the importance of this collective in setting precedence for visual artists and cultural producers to consider and respond to context while challenging our view of visual art created in a rural setting. The juxtaposition of the rural content in the urban setting of Limerick City Centre serves to again spark a dialogue between rural and urban communities. Common Ground focuses on the dynamic relationships that exist between the artist and audience, practice and productions, ecology and activism and the ever evolving rural and urban.

This event has been supported by the Arts Council of Ireland Visual Arts Project Award and Clare County Council Arts Office.
Fiona Woods

Three Degrees of Painting

Susan Connolly

Jennifer Trouton

Judy Carroll Deeley

Solstice Arts Centre
Opens Thursday November 7th 7.30pm
Exhibition continues until Dec 8th

Turner Prize 2013:In Association with The Irish Museum of Modern Art

IMMA’s What Is_? Programme provides an introduction to some of the key concepts and themes in modern and contemporary art focusing on works from IMMA’s Collection through talks, booklets and web-based resources. To find out more about this series, please go to: and to download the booklets in this series, please go to:

What Is_Modern and Contemporary Art?

With Francis Halsall and Declan Long

When: Friday 8 November at 5.30pm
Where: Building 57-59, Ebrington, Derry~Londonderry

Copyright © 2004–2009. All rights reserved.

RSS Feed. This blog is proudly powered by Wordpress and uses Modern Clix, a theme by Rodrigo Galindez.