Archived entries for

Tonight, you can call me Trish

7th February – 22nd March 2014
Opening: 6th February at 6pm – 8pm
Mon – Fri 10am – 6pm | Sat 10am – 5pm

Oliver Laric (AT)
Rachel Maclean (UK)
Brenna Murphy (US)
Pilvi Takala (FI)
Alan Butler (IE)
Mark Durkan (IE)
Eilis McDonald (IE)
Mary-Jo Gilligan (IE)
James Ó hAodha (IE)

Curated by RGKSKSRG (IE)

Artist talk – Rachel Maclean at 5pm,Thursday 6th February, presented in partnership with the MA in Visual Arts Practices, IADT. The exhibition will be officially launched by Cliodhna Shaffrey, Visual Arts Advisor with the Arts Council.

Tonight, you can call me Trish, or Sam, or Janice…

This is a landscape for dreamers, built on instability and optimism. Here, amidst an oasis of changing states and shifting relations, is where new potentialities emerge. Playing with precarity and performance, and the virtual as real, Tonight, you can call me Trish is a show which seeks to mirror-ball the invisible realities in which we orient ourselves.

The video works of Oliver Laric and Pilvi Takala vividly explore the no-mans-land between appropriated fiction and commercial control, while the intense hyper-worlds of Rachel Maclean and Brenna Murphy deftly navigate passages through the realm of the digital, into new and shimmering materialities. The scenographic staging, devised and led by Eilis McDonald and Mark Durkan, performs the receipt and display of these artworks, within the glassy confines of the LAB gallery. This conceptual layering between space and user is further enacted through Alan Butler’s visceral sound interface. Meanwhile, skewing logic and perception, Mary-Jo Gilligan and James Ó hAodha lead us on ephemeral engagements with distinct audiences, played out along the temporal axis of the exhibition.

With all the bluster of a one-night stand, Trish rides on the energy of art’s own glossy promise, in a mashed-up, smashed-up, post-decorative dissolution of illusion.

Tonight, you can call me Trish has been produced with kind support from Irish Art Courier and Kunstverein Düsseldorf for The LAB Emerging Curator Award 2013/14. The LAB Gallery is supported by Dublin City Council and the Arts Council.

Ephemeral event:
Your Otoliths – An Audio Route Guide to the LAB Gallery for Minecrafters

Tour starts at ‘Spiderweb’, Unit 39, 6 Moore Street, Dublin 1 Saturday 1 March 2014, 11am – 3pm
Recommended for Minecrafters – multiplayer mode meet at 12pm For participation details, please contact:

Ephemeral event:
For the Birds

The LAB Gallery, Foley Street, Dublin 1
Saturday 15 March 2014, 11am – 3pm
Exclusive exhibition tour featuring a Macaw, a Cockatoo, and an African Grey Parrot; led by James Ó hAodha, and facilitated by handler Eddie Drew.

The Lab

The Devil’s Pool – Madness, Melancholia and The Artist

New film by Cecily Brennan The Devil’s Pool – Madness, Melancholia and The Artist is showing in the The Jameson Dublin International Film Festival at the IFI on Tuesday,18th February, 6.15 p.m.

book here


86 Newman House
St. Stephens Green
Dublin 2

28th – 31st January 2014 | 11.00 – 18.00

Inscape is a site specific response to Newman House by first year MFA Sculpture students at NCAD. This experience allows for the opportunity to engage with the allocated space of the front staircase and the steep back staircase as it transcends to the top floor. This exhibition brings together work that has emerged from time spent by the artists in observation of and in keeping with the rhythm of this historic house, offering a unique series of interventions.

MFA Sculpture students at NCAD would like to thank Ruth Ferguson for her assistance in providing this unique space for this exhibition, offering an opportunity to present a contemporary view of Newman House as it stands at this point of alliance and collaboration between the National College of Art and Design and UCD.

Participating artists:
Craig Blackwell
Ricí ní Chléirigh
Angela McDonagh
Donna Mc Loughlin
Margrét Sesseljudóttir
Rosemarie Walsh

50°02′09″N 19°10′42″E

Art in the Contemporary World graduate, Barry Kehoe has kindly agreed to publish his Literary Visions essay. Literary Visions is a strand of the ACW course that looks at the relationship between literature and contemporary art. Barry’s 50°02′09″N 19°10′42″E is a science fiction short story that takes on ideas of memory as an illness and history’s potential to hinder peace and progress.

50°02′09″N 19°10′42″E by Barry Kehoe

In accordance with subsection 7 of the redaction law of 3522 (concerning the eradication of all archeological and historic objects that could result in divisive memory creation and the forming of socially delinquent identities) this document, which is the only legal copy in existence, must be destroyed by the end of the last diurnal turn of the third cycle after the next annual recursion.

If any party attempts to make a copy of these document s or is found in possession of such a copy or fails to dispose of these documents before the stated date and time period above they will be subject to subsection 10 and 12 of the redaction law of 3522 and will be terminated immediately.

What follows is a short excerpt from a standard finding report by Dr. L2103090514 coordinator of the global research body for locating natural resources and energy deposits.

Special Agent #04003039 sat in her office watching the light blinking deep within the communication unit that was embedded in the centre of the obsidian desk. The free floating desk was sleek and streamlined in exact linear configuration with the dimly luminescent walls. She distractedly looked around the perfect cube that constituted her office. Nothing obstructed the perfectly smooth walls ceiling and floor. She had ordered lunar-glow for the colour-effect. The Operations Manager had only offered her the two colour options available for an agent at her grade, lunar-glow or mauve-bleed. The Operations Manager pushed the lunar-glow, saying it would give the office a calming glare and besides, no one ever contradicted the Operations Manager. Right now the colour was annoying Special Agent #04003039. Mauve-bleed would have suited her current mood a lot better. If it were allowed she’d much prefer the paler fungal-spore, but that was just for senior special agents, a whole two grades above. It most certainly gave the Over Administrators’ offices an instant air of authority, something that was missing from the insipid lunar-glow. She rolled her collar identity pin gently between her narrow long fingers and wondered how many more missions and how much more minor brain damage she would have to endure until her promotion. She wondered if the day would ever arrive when she would have the authority of a senior agent, when she could have fungal-spore for her work cube and get to keep her memories.

She leaned forward in her sleek ergonomic chair, rolled her neck as she stretched her back, stared intently at the pale glow of the wall in front of her and spoke with a soft low voice. “Answer,” she said, in almost a whisper. Immediately the wall in front of the desk was filled with the image of the Over Administrator,

- “Yes sir, what can I do for you,” Special Agent #04003039
- “Ahh, ‘39, you are looking a little pale. I hope the latest
memory engram redaction didn’t hit any of those scintillating
personality centres of yours.”
- “No sir I’m fine thank you” she replied, stone faced, trying
extremely hard not to show any emotion at all. “What can I do
for you sir?”
- “It’s a pity you couldn’t keep the memory of your last report, it
was extraordinary.”
(“Bastard,” Special Agent #04003039 thought to herself).
- “Alas it’s the law. I’d suppose it’s there for your protection
and the good of society, but still when you get your next
promotion you’ll have access to your case files and you’ll see
the great work that you’ve done. Did you hear about the collapse
of Sector Beta in City State 5? It was just as we suspected. We
found another of Dr. Henry Farber’s memory machines.It’s
ridiculous everyone knows how dangerous these machines are and
they still insist on…”
- “Sir, you have something for me?” Special Agent #04003039
- “Ah yes,” the Over Administrator continued, a little taken aback.
He wasn’t used to being interrupted. “Something has come up,
‘39. We have recovered another artifact from the grid in the
new oceanic region at 53°08′38″N, 6°04′19″W. We don’t want this
data getting into any civilian hands. The artefact was
recovered clean. The expedition team didn’t even get to see it
and outside of the two senior exploration officers no one else
is aware that anything was found. We are concerned however that
the artifact references other locations of potential memory
infraction. We have identified these co-ordinates and there may
be historic contaminants present. We need you to go to
50°02′09″N, 19°10′42″E, and investigate. We are entrusting you
with six image fragments of the artifact.I expect your report
before the end of the third diurnal cycle.”

The over administrator was gone and the pale sickly hue of lunar-glow filled Special Agent #04003039’s field of vision except for a small folder icon that was flashing in the dead centre of the translucent wall. “Open file,” she commanded.

The images of an ancient note book appeared before her eyes. It was covered in primitive, hand written text, some roughly sketched drawings and two photographic images that were collaged into the pages of the folio. She instantly felt the excitement of a door being opened on to the past. She took a deep breath to steady her excitement and examined the first image. She began to read the text:

Wed Oct 22nd 2008

9:30 Cracovia Hotel – got here early 9:05, got coffee in the
bar. Don’t know what to expect today. Horrific thing and
place. Hostel goodbye Lenin is a good youth culture spot,
with funky bar, clean and warm, so I can’t complain. Met
Maria on the plane and Grotta, a Polish girl living in Galway
for the past three years, very friendly, helped us out. There
was a young Brazilian guy, Evan I think, we found our way out
of the Gallerie shopping centre together. Cold and foggy last
night like something from a spy movie. The hostel is up a dead
end street in an inner courtyard; hard to spot when you are
tired and in the dark, but it is very welcoming once you get
in (with a welcome shot).

Special Agent #04003039 became involuntarily excited by the exotic and unfamiliar words like “Poland” and “Brazil” words from the world before the cataclysm. She could feel every fiber of her body coming to life through the text of this ancient manuscript. The arcane dating system, “Oct” what did it denote? words like “Cracovia” and “Lenin” sent tingles through her limbs to her trembling finger tips. But what was the horror to which the author referenced. Impatiently she scanned through the hand drawn images in the documents.

There was a beautiful girl’s face, just half of a face with the words “Mucha + Beardsley” at the top of the page, “was it her designation?” She read on, “A girl on the Metro that suddenly smiled as she walked, an involuntary response to a deep sensation or memory.” “How exotic,” she thought to herself, “these people and their approach to memory. How did something so wonderful become so dangerous?” More exotic words arose from the page “Prado, Picasso, Goya”- “they were painters, what did they paint?” Special Agent #04003039’s mind was filled with nostalgia for something she couldn’t even begin to imagine.

Another page had a drawing of a curious doorway with a strange name and a highly poetic description:

Nov 8th 2008
“Sitting now at Mala Buza to watch the sun set, looking across at the zoological gardens on the island of Lokrum. A few cats prowl lazily about the rocks while others bask in the dying sunlight. A beautiful blonde tourist shuffles through stored photos on her digital camera. Two Japanese girls are laughing down beside the water that laps gently against the yellow sun bleached stones and rocks of Mala Buza. Interrupted momentarily by the put-put-put of a passing fishing boat’s engine, clouds gather over the tops of the hills south east along the coast. Terribly romantic notions, Byron hanging out here, swimming, drinking, whoring, wonderful. A libertine, exiled for an affair with his half- sister. Coleridge’s biography never mentioned syphilis (only apoplexy). There is no bust to Byron in Poets Corner in Westminster Abbey. His heart is buried in Italy somewhere….”

Special Agent #04003039 closed the file on her vidi-wall, it was all becoming a little emotionally overwhelming. She needed to get a transport to the investigation site. If she spent too much time deliberating over the artifact images she might be accused of a memory infringement. She exited her office through the vidi-wall and walked directly to the transporter access hub. She avoided eye contact with her colleagues, as she walked through the corridors of the central ordering hub. She did not want to be distracted from the images of the sunset at Mala Buza that still lingered in her imagination. She called for a transporter. It came too quickly. She wanted to linger over this feeling of warmth that the text had given her. She felt an anger rise within her at the thought of losing the memories of the text and the half image of the beautiful woman “Mucha + Beardsley.” Her time with this information would be short and once the investigation was concluded it would be taken from her. She reminded herself that the anger and resentment that she was starting to feel was the very reason why memory like this had been outlawed. She set the co-ordinates for the location of her investigation 50°02′09″N, 19°10′42″E. The automated transporter informed her that the journey would take 25 standard temporal units exactly to reach the position of the given coordinates. This gave Special Agent #04003039 time to look over the artifact file once more.

She called up the file on the vidi-wall in the transporter and returned to the page with the words “Horrific thing” and read some more. There was a peculiar image of a sign with a skull and cross bones with the words “Halt” and “Stoj”:

“Passing through the beautiful golden brown woodland; towns with markets; a woman harvesting a plot of beats by hand. How bizarre a two humped camel? Who owned those spectacles? What did those eyes see through the broken glass? A melancholy landscape with violin music like in a movie. The Wista river is brown, forlorn. The railway bridge is basking on this low morning, of a low winter sun. For a quick lesson in genocide this is the correct place to come…..Not sure about preserving this shrine to death. Mixed feelings and emotions. Hard to take in, realization of how media corrupts our relationship to reality, the world is reduced to a film set. What is left to destroy our preconceptions of our egotistical impressions? The world is sanitized by its divorce from reality through the media. Lots of school children on tour. Is it such a healthy activity? This and the Normandy beaches, Monte Casino, St Sever war cemeteries. Sum up the madness and futility of what was unleashed upon the world, but here there are no graves only the voids left in the Libeskind museum in Berlin”

Special Agent #04003039 rubbed her eyes, she couldn’t quite grasp what she was reading, “madness, futility, death,” she began to realize that this was quite a serious assignment. This text was alluding to some unspeakable horror but what? She looked at one of the two photographic images that appeared in the pages of the notebook. There was an image of an ancient rail system, of the type used long ago for the transport of goods and people, a long time before the cataclysm. Under the photo she read these words: “Did they die to teach us something horrific about ourselves? The scale of the inhumanity cannot be counted. The destruction and execution of pregnant women appalls me the most. I don’t know why I feel it is in some way or in some degree worse than any other killing or murder of any other human being when so many where annihilated, disintegrated and disappeared. It is darkness that we have witnessed it is darkness at its vilest work. The scariest thing is that it dwells within each of us.

We must always remember we must always be vigilant and yet, I have a strange sense of detachment as I walk around the place. The mountain of human hair; the pile of shoes; the children’s toys, I should feel anger but there is no place to direct it. I can only confront it within myself with a sense of overwhelming bewilderment. I’m left confused by what I have seen. The baby booties are so shocking. It is a void without light, hope or life. This is not a world but a hell. Dead generations fought hard for this liberty that we enjoy and we must continue to struggle and to fight for that liberty. It is not quite freedom but to be an individual, strong or weak, rich or poor, able or disabled we all must struggle and suffer. But it need not be painful or unnecessary……….. As long as we don’t forget.”

Special Agent #04003039 looked at the last image and its accompanying text: “It’s strange that I brought this image with me. A still from Miroslaw Balka’s video “B” (2007). I’d suppose it’s why I came here in the first place, to bear witness; to see for myself with my own eyes; to know the unbelievable. This artwork haunted me. I was compelled to return several times to the art gallery to watch it again and again. The peculiar soundtrack of the children’s laughter as they walked beneath the sign: “Arbeit Macht Frei” I even bought the limited edition print, something I would never do in my right mind. I couldn’t afford it for a start at €500. I don’t know what compelled me to get it. I took it home and stood it on the mantel piece in the front room. I sat in an armchair and stared at it for days. After a while I put it in the wardrobe. It’s been there ever since.” Eventually it drove me to come here to this place where I never wanted to be and now as I leave I know it will come with me wherever I go. This is a place I will never be able to leave behind and now all I want to do is forget.”

Special Agent #04003039 turned off the vidi-wall and looked out the windows at the golden brown leaves of the vast forest that stretched for miles in every direction. She felt strangely nauseous as she approached her destination. A terrible sense of foreboding and fear grew within her. She had never felt anything like this before. She wondered had her previous assignments been like this one? Had she been here before or anywhere like this? No, she couldn’t have been. Though she couldn’t remember the detail of her previous assignments she could always recall her sensations. She knew if she felt good or bad about an assignment even after a memory engram redaction. But this sensation was unique. This was something new, a feeling that was unknown. She was breathing heavily. Beads of perspiration appeared on her brow. She felt the walls of the transporter start to close in around her. She had to stop. Something awful was waiting for her at 50°02′09″N, 19°10′42″E. “Stop! Stop the transport!” she shouted. Immediately the whine of the electro-magnetic pulse engine descended to a deep hum and then went silent as the transporter settled gently to the ground. But it was too late. The automated transporter announced “You have reached your destination.” Slightly panicked and before she could think to stop herself she opened a communication channel to the Over Administrator.

– “What do you want ‘39? I wasn’t expecting to hear from you so
– “I don’t want this case, sir I know it’s an unusual request and
from my records I know I’ve never refused a case before but not
this one. I don’t want to do this one.”
– “’39 this is highly irregular. Look, I can tell from your
locator beacon that you are already at the coordinates.
It’ll be a lot easier for you to just go and check the place
out. The faster you finish the sooner you can put it behind you
and get on to the next assignment. You know no one who has
made senior agent ever refused a case. This wouldn’t look good
on your file when promotions are in the pipeline. Why don’t
you just have a quick look around, I’m sure everything will be
just fine….well?….’39?”
– “Yes sir, sorry for disturbing you.”

Special Agent #04003039 couldn’t bring herself to look at the Over Administrator on the vidi-wall. She knew she had made a fatal error opening the com-link. She stepped out of the transporter. It was a warm pre equinox evening. The sun was casting long shadows through the golden poplar trees. A light bed of fallen leaves had already begun to scatter across the grassy forest floor. She walked up to the edge of a large field. She could smell the earth and the chlorophyll of the respiring grass. Cows were lowing in the distance as they were being driven into a fresh grazing strip. A dark column of black smoke billowed high into the still evening air. A farm hand was burning a pile of damp leaves on the far side of the clearing. The over administrator was still on the com link.
– “Well ‘39?”…”’39?”
– “Yes sir?” she replied distractedly.
– “Is there anything to report? Is there anything there?”
– “No sir. There’s nothing to report. There isn’t anything here,
just a dairy farm and the forest.”

The Enclave

The Enclave
Richard Mosse
30th January – 12th March
Galleries II & III, RHA, Ely Place, Dublin 2

The Arts Council, in association with the RHA, presents The Enclave. Richard Mosse represented Ireland with The Enclave, a major new multi-media installation at the 55th International Art Exhibition – La Biennale di Venezia. The Pavillion of Ireland from 1 June – 24 November 2013. The Commissioner and Curator is Anna O’Sullivan, Director of the Butler Gallery, Kilkenny.

Throughout 2012, Richard Mosse and his collaborators Trevor Tweeten and Ben Frost travelled in eastern Democratic Republic of Congo, infiltrating armed rebel groups in a war zone plagued by frequent ambushes, massacres and systematic sexual violence. The resulting installation, The Enclave, is the culmination of Mosses’ attempt to radically rethink war photography. It is a search for more adequate strategies to represent a forgotten African tragedy in which 5.4 million people have died of war-related causes in eastern Congo since 1998.

Richard Mosse
Ireland at Venice 2013
Venice Biennale

Opening tonight: ACTIONS

25 January – 1 February 2014
Previews: 25 & 27 January
Monday – Saturday 8pm, Saturday matinee 2.30pm
Tickets: €18 – €22 / Conc. €13 – €18

Irish Modern Dance Theatre will bring ACTIONS – an evening of Men in Motion to the Peacock Stage. Firm favourite Actions is a sweeping and vigorous performance by two incredible dancers, Ashley Chen and Philip Connaughton (Alice in Funderland).

Irish Modern Dance Theatre will also perform the Irish Premiere of the stunning solo Totem Ancestor, created by Merce Cunnigham, one of the most important choreographers of our time. The Bowing Dance, a Beckett-like solo performed by John Scott and The Big Message, a frantic and funny new piece designed for rising star Kevin Coquelard.

book here

Those who Go / Those who Stay

Opening reception Thursday 23 January at 6pm, accompanied by a 76-page catalogue with a commissioned text by Mel Gooding.

Michael Warren
Limerick City Gallery of Art
Pery Square
24 January – 21 March 2014

These recent sculptures of Warren’s constitute a remarkable creative leap: a shift into new possibilities of sculptural structure, the invention of unprecedented articulations of forms and configurations that borrow with extraordinary insouciance and elegant economy from other arts.This is a sculpture that reaches back beyond both the informal play and arbitrary ahistorical referencing of the postmodern and the formalist rigours of purist high modernism to forms and presentations of other, older cultures.It does this with scrupulous intellectual principle, and with a characteristically unorthodox aesthetic economy. Informed by a richly historical imagination, these sculptures of Warren’s enter the ‘highly complex relationships’ of Focillon’s ‘life of forms’; their ‘free and exalted dreaming’ partakes of the never-ending recurrence of artistic imagery and structure that Fritz Saxl called ‘a heritage of images.’ Mel Gooding
(extract from Michael Warren: A New Body of Work.)

This is an opportunity for the Limerick Public to host one of the most important artistic statements internationally. Michael Warren also acknowledges Limerick’s collection by selecting from the permanent collection in a deft tribute to Limerick and to materiality, including works by John Shinnors, Grace Henry, William Leech among others.

Limerick City Gallery

Object Oriented Aesthetics and the Re-Materialization of the Art Object

Francis Halsall, co-director of MA Art in the Contemporary World will give a lecture at the Cranbrook Art Museum, Michigan, USA.

Tuesday | January 21 | 6pm
Francis Halsall

Spring 2014 Critical Studies Fellow
Object Oriented Aesthetics and the Re-Materialization of the Art Object
Sponsored by the Critical Studies and Humanities Program.

Francis Halsall’s research practice is situated across three main areas, the history, theory and practice of modern and contemporary art, philosophical aesthetics, and Systems-Thinking. He has published widely in both academic and more informal styles and catalogue essays, as well as participated in numerous public talks and discussions in all three areas. Francis Halsall is currently completing a short book called “Systems Aesthetics” and a major research project and book on Niklas Luhmann’s aesthetics.

watch it here

Translating in/Justice

Declan Long, art critic and co-director of MA Art in the Contemporary World will be speaking at upcoming symposium Translating in/Justice.

Translating in/Justice

Curated by Omar Berrada

Friday 24 & Saturday 25 January 2014

Speakers: Haig Aivazian, Kamal Aljafari, Emily Apter, Rana Hamadeh, Mohamed Sghir Janjar, Abdelfattah Kilito, Declan Long, Abdelhay Moudden, Marie Muracciole, Aislinn O’Donnell

On Friday 24 January (4pm – 8.30pm) the symposium will take place at ESAV, Marrakech, Morocco

On Saturday 25 January (11am – 7pm) the symposium will take place at Dar al-Ma’mûn, Marrakech, Morocco

Free shuttle buses between Dar al-Ma’mûn and downtown Marrakech will be available on Saturday. To register or to send an inquiry, please contact

Translating in/Justice is the second part of Artistic Justice: Positions on the Place of Justice in Art, a series of three international symposia leading towards the 2014 edition of EVA International – Ireland’s Biennial. It will take place in Marrakech and is curated by Dar al-Ma’mûn co-director Omar Berrada, at the invitation of EVA 2014 curator, Bassam El Baroni.

Translating in/Justice seeks to elucidate the links between justice and translation, between transnational justice and translational justice.

Translation is, by nature, linked to ideas of justice, of being just or faithful to a text. The translator’s ethical burden is a constant negotiation between the spirit and the letter of a text, between respectful literalness and naturalizing ethnocentrism. And it is always met with a value judgment: Traduttore traditore as the Italian saying goes.

Conversely, in the French language, prosecution has to do with translation: to bring to justice is traduire en justice, i.e. to translate in(to) justice. To do justice, therefore, is to accomplish a successful act of translation.

The symposium open up this translation/justice nexus thanks to contributions from artists and writers with a diverse array of practices and disciplines: philosophy, architecture, video, performance. In so doing, it will focus on how artists and thinkers signal a crisis in this process of translational justice, i.e. on the instances where the translation goes wrong, or fails to happen.

Speakers include:

Haig Aivazian artist, writer, and curator (Lebanon)

Kamal Aljafari artist and filmmaker (Palestine)

Emily Apter professor of comparative literature at New York University (USA)

Rana Hamadeh performance and visual artist (Lebanon / The Netherlands)

Mohamed Sghir Janjar anthropologist, director of the Fondation du Roi Abdul Aziz in Casablanca (Morocco)

Abdelfattah Kilito writer and literary scholar, professor emeritus at Mohamed V University in Rabat (Morocco)

Declan Long art critic and co-director of MA Art in the Contemporary World at the National College of Art and Design in Dublin (Ireland)

Abdelhay Moudden political scientist, professor at Mohamed V University in Rabat (Morocco)

Marie Muracciole art critic, curator, and professor at Ecole des beaux-arts de Bordeaux (France)

Aislinn O’Donnell philosopher, professor of education at Mary Immaculate College, UL in Limerick (Ireland)

The presentations will be in Arabic, English, and French. Simultaneous translation will be available.

Curator’s biography:

Omar Berrada directs the library and translation centre at Dar al-Ma’mûn in Marrakech. A writer and translator, he grew up in Casablanca and lives between Morocco and France. He hosted shows on French national radio (2004-2007) and public programs at the Centre Pompidou (2006-2009). He curated the Tangier International Book Salon in 2008, as well as the literary program of the Marrakech Biennale in 2012. He co-translated, into French, Jalal Toufic’s “The Withdrawal of Tradition Past a Surpassing Disaster” (2011) and Stanley Cavell’s “Senses of Walden” (2008). He recently edited, with Erik Bullot, “Expanded Translation – A Treason Treatise” (2011), a book of verbal and visual betrayals; and, with Yto Barrada, “Album – Cinémathèque de Tanger” (2012), a multilingual volume about film in Tangier and Tangier on film.

We Belong to Other People When We’re Outside: A review by Alison Fornell

Alison Fornell reviews Pedro Barateiro’s We Belong to Other People When We’re Outside recently shown at Kettle’s Yard, Cambridge, Sept 2013 – Nov 2013.

What is ultimately most significant about Portuguese artist Pedro Barateiro’s newest work, the film We Belong to Other People When We’re Outside (2013) commissioned by Kettle’s Yard of Cambridge, is its meditation on the history of objects: in this case, a range of important modern and contemporary artworks representing a variety of media. This meditation—this attention—situates the film itself in a particular historical context and, most notably, a specific physical place. Barateiro explicitly investigates the possibilities—and limitations—of the moving image with his overt gestures to the precious legacy of objects, the mysterious life of artifacts. Film, an inherently elusive and transient medium, in this instance works to not only suture the spectator into the realm of Barateiro’s imagination but perhaps more strikingly works to assault the spectator’s intellect, her very capacity for criticism.

The film consists of still images of artworks shown one after the other, connected by moments of darkness—all the while, voices fill the film’s narrative space as a philosophical dialogue takes place. Barateiro’s short 16mm analog film hovers in darkness as much as it meditates on the artworks Barateiro has singled out, ranging from Francis Picabia’s Balance (1919) to Bruce Nauman’s Good Boy, Bad Boy (1985) to Ansel Krut’s Giants of Modernism #1 (Vortex Head with Pipe) (2009). Most importantly, however, the film begins with a letter written by artist Constantin Brancusi to Jim Ede, famed patron of the arts, progressive and controversial curator at the Tate who promoted the works of contemporaneous artists like Picasso, and eventual founder of Kettle’s Yard Gallery in the 1960s.

Barateiro’s work covers a broad range of art’s history, suffocates its viewers with overpowering references to theoretical and critical concepts ranging from the philosophical to the political, and constructs a quasi-psychoanalytic dialogue between a man and a woman. While these components are initially the most apparent and most striking elements of the film, it is ultimately the film’s relationship with its container, so to speak, which provides the most critical depth. Its container is Kettle’s Yard, and it is fueled by the narrative and the history attached to the place. The works Barateiro draws on all belong to Ede’s collection, housed both in his home—the original gallery—and the contemporary gallery itself, a separate building connected to the house.

The moments of darkness in the film act as bridges between images, references, and ideas. In much the same way, the film itself acts as a bridge between Barateiro as a contemporary artist and Kettle’s Yard, a small gallery with a long and important history, imbedded in progressive exchange, critical appreciation of the avant-garde, the untraditional. The film contains the history of Kettle’s Yard while being contained by it. Its greatest achievement is its ability to move within and without boundaries of comprehension, of organization—but this is also, perhaps, its greatest fault. In spinning a complex web of intertextuality, information, and interpretation, the film becomes bigger than its whole, larger than the sum of its parts. The spectator gets lost in Barateiro’s seemingly unassuming filmic labyrinth, his 30-minute homage to the history of modern art.

Alison Fornell
November 2013

Alison Fornell is currently studying MA Art in the Contemporary World, NCAD.

Image: We Belong to Other People When We’re Outside,film still,Pedro Barateiro,2013 from

What is Psychoanalysis…? | IMMA + NCAD

Saturday 18 January 2014 | 12noon | Lecture Room | IMMA

This talk is the fourth of What is _? series 1.The collaboration between IMMA and MA Art in the Contemporary World (NCAD) presents Declan Long and Francis Halsall (Lecturers, AWC-NCAD) who will give an introduction on the theory of Psychoanalysis and its relationship to contemporary arts practice. This is followed by a panel discussion with Tina Kinsella (Lecturer, NCAD), Theresa Nanigian (artist), and Medb Ruane (writer, psychoanalyst, and previously worked as a newspaper columnist and critic).

This talk is sold out. For information on more upcoming talks at IMMA see here

Exhibitions Opening this Week: Michael Farrell

The RHA will be exhibiting a collection of Michael Farrell’s works from Januray 17- February 23.

Exhibitions Opening this Week: Interior Sun

Green on Red Red Gallery is pleased to announce the opening of an exhibition of new work, Interior Sun, by Irish artist Damien Flood on Thursday, January 16, 2014 6-8pm

Mop : A review by Aisling Ní Chlaonadh

Aisling Ní Chlaonadh reviews Sam Keogh’s recent solo exhibition, Mop that took place at Kerlin Gallery, Dublin 2, Sept 2013 – Nov 2013.

By all accounts, it looks like a child’s messy bedroom from the early 1990’s; the Kerlin Gallery’s white, rectangular cube space interrupted by a visual cacophony of mucky colour and pop culture ephemera. The vague forms of Sesame Street characters and cartoons both popularly remembered and broadly forgotten become apparent in the swampy tide, their acetate and vinyl flatness sharp in juxtaposition with amorphous sculptural lumps of toilet paper and watery marker ink, crude approximations echoing the even cruder experiments of a child first exploring the plastic materiality of their world through Crayola, Play-Doh and household waste.

Even without the aid of the show’s press release, Sam Keogh’s work immediately makes apparent its preoccupation with a particular period of children’s popular culture. Waste is unmistakably central to the work, as is a kind of nostalgic hoarding. Cheap, trashy relics of commodities thought to be disposable are laid out, preserved and presented in seemingly random formations across the gallery. The space is as hard to negotiate physically as it is visually. Easily toppled pop culture detritus is strewn across a vinyl-covered floor, re-imaged marks of biro pens and felt tip pens arranged in seemingly psychedelic patterns which at first appear abstract but reconfiguring into a recognisable form as the gallery space is negotiated. Like a candy Nazca Line or plastic spiral jetty, Oscar the Grouch’s glitched and iconic appearance becomes recognisable.

Oscar, the presented subject of the show, is a character from the popular long running children’s programme Sesame Street. Particularly popular in the 80s and 90’s, the show was originally developed so that underprivileged American children could be introduced to the basics of English literacy and numeracy in their homes, but the programme quickly became an international sensation due to its colourful cast of characters, emphasis on diversity and general accessibility.

It is no surprise that Keogh’s work should be so immersed in the seemingly trashy and transient, both in terms of media and subject matter, when Oscar is considered as a role model. Occupying the figure of a pariah on Sesame Street, Oscar acts as a counter cultural agent in opposition to normative sensibilities, his attachment to things deemed useless used to place importance on the seemingly unimportant.
A lone video of noticeable VHS quality plays of the artist in performance, a highly strung negotiation of the quickness of thought and the garbage of living where Keogh’s channelling of Oscar takes verbal form; his negotiation of trash, treasure and the uncertain area between both which his work occupies made all the louder.

It all begs the question; how does one know if work like this has failed or succeeded when failure is used to deny value? The answer is deceptively simple: through the embrace of failure the work defies its own parameters, neither failing nor succeeding but instead engaging in a frustrating practice of constant evasion. Success is made to fail.

Aisling Ní Chlaonadh
November 2013

Image: mop (detail) 2013, non slip floor vinyl, dimensions variable, from

Aisling Ní Chlaonadh is currently studying MA Art in the Contemporary World, NCAD.


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 16th January, a public conversation will take place between Willie Doherty and co-director of MA Art in the Contemporary World, Declan Long.

The talk will be approximately 45 mins long and will be followed by the exhibition opening reception.

REMAINS | Willie Doherty
Kerlin Gallery
Opens: Thursday 16 January 6 – 8 pm
Exhibition runs from 17 January – 4 March 2014

Remains is situated in the landscape and streets of Derry, Northern Ireland where an uneasy peace is often disrupted by incidents of violence that seem like inexplicable remnants from the past.

Against this backdrop, the camera moves through the streets of the town and its surrounding landscape in a sequence of long tracking shots accompanied by a voiceover. Through the narration the tempo of the work shifts from a study of normality to a series of interruptions where the everyday is pierced by the intrusion of incidents of threat and violence. The work speculates on the origins of the specific incidents that we encounter and concludes with a dramatic sequence of a burning car abandoned within the landscape. An image remembered from the past that erupts in the present with the quality of a vivid hallucination.

Remains is developed out of a body of work that meditates upon the existence of traces of past events that will not disappear, that resurface and cannot be forgotten; including Secretion, 2012 that was produced for dOCUMENTA 13, Buried, 2009 and Ghost Story, 2007.

Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including Neue Galerie, Museumslandschaft Hessen Kassel (2013), The Annex, IMMA, Dublin (2013), Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012), Towner Gallery Eastbourne (2012) Dublin City Gallery, The Hugh Lane (2011) The Speed Art Museum, Kentucky (2011), Institute of Contemporary Art, Toronto (2009), Fruitmarket Gallery, Edinburgh (2009), Lenbachhaus, München (2007), Kunstverein, Hamburg (2007), Laboratorio Arte Alameda, Mexico City (2006), Irish Museum of Modern Art, Dublin (2002). Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Group shows include Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale 2007, 2005 and 1993, Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).

Image: Willie Doherty,REMAINS,2013,Single channel high-definition video installation with Dolby Digital 5.1 digital surround sound, Duration:15 mins.

The Black Rose, The Green Pool and The Blue Sky : A review by John Busher

John Busher reviews a recent exhibition of work by Cora Cummins that took place at VISUAL Centre for Contemporary Art, Carlow, Oct 2013 – Jan 2014.

Cora Cummins works to date revolve around ideas that relate to remoteness and withdrawing into spaces of refuge. Her main working medium is printmaking, she also works through an assortment of other mediums such as video, sculpture and publications. The Fold is an ongoing pamphlet, thoughtfully designed. It functions as a distinct fragment within the show, one that records various encounters which Cummins has unearthed while she gathered research. The text embellishes the prints and video work with various narratives and ultimately invites you to enter into an elusive world.

Her work for this show re-counts her own personal experience of place, rooted in her childhood and local community in Co. Carlow. More specifically, she has based the over all theme on a pavilion, designed by architect Sam Stephenson. Traces of the garden were uprooted to make way for this building that is fondly recounted by the artist, these were tales her grandfather told, who was once a gardener at Ballynoe House during the 1950’s and 60’s.

Working primarily in etching and aquatint, Cummins makes subtle, muted prints that offer up an image of what a garden could be. In Roof Garden, urban rooftop gardens are dislocated from their chaotic environment, unnecessary information blotted out. A dense infinite backdrop exists below a star speckled sky. Island Garden alludes to Arnold Böcklin’s Isle of the Dead, except Cummins’ island appears within the confines of a snow globe realm, where heavy clots of snow fall indiscriminately. Pale pink recalls a particular type of tissue used to wrap confectionary, a practice from a long forgotten era.

Cummins uses a light touch, where familiar sparse lines and tones are aligned with a pared down aesthetic that merely indicates the bare essentials. Likewise, she fictionalizes this further with Courtyard Garden and Walled Garden, loosely referencing the images that she gathered from the Irish Architectural Archive. To echo this, she prints them on what appears to be old frayed, discoloured printing paper, delicate references to their distant past. Other titles such as Ghost hint at something that still lives on, that somehow, her grandfather’s work may have left its mark despite Sam Stephenson’s decision to clear the garden. Other works, Black Pool and Pool Pavilion, are documented to confirm the current existence of this site. Yet, in Black Pool, there is unearthly feel to the white ink printed on black paper, the imposing trees stand menacing above the pool below.

Pool (12 mins, Digital Video) and Rose (6 mins, Digital Video) are evocative depictions of this duality, where past and present survive together. Their existence reconciled. Pool features cropped close ups of the pool set against the backdrop of the pavilion. Cummins recorded the 12-minute Pool on a bright summers day, perhaps an inclination that suggests warmth and affection. There is a sense of rediscovery in this piece, a place the artist never visited as a child, but existed in her imagination until this point. Her video is almost a conclusion to the show and her own past.

John Busher
November 2013

Top Image: Exhibition image from VISUAL web page.

Second Image: Installation shot,The Black Rose, The Green Pool and The Blue Sky, Cora Cummins.

John Busher is currently studying MA Art in the Contemporary World, NCAD.

The Joinery is seeking an intern for the spring-summer 2014 programme.

The Joinery are looking for a motivated, energetic, efficient and very hands-on individual to work on music and gallery events / exhibitions on a part-time basis. Predominantly we are looking for someone to help with the set-up and take-down of shows and events, invigilation of exhibitions and in the general day to day upkeep of a busy multi-use space. This position would suit a student or recent graduate looking to seek hands-on experience in a DIY art space with a fast turnover of events. The internship will provide work experience in aspects of programming, working as part of a team, production of live art events and audience development.

Please note, unfortunately this position is currently unpaid and is for a six to nine month period. There may be up to twelve hours work required a week but the hours are flexible.
Please send a CV along with a letter of application to Miranda or Will at: Include the subject line as ‘intern spring-summer 2014’.

Deadline for applications Friday 7th February at 5pm.

“Reflections on Time” part one

An exhibition of new work by Niamh O’Doherty curated by Grainne Finn.

Broadstone studios, 22 Harcourt Terrace, Dublin 2.
Opening: Thursday 9th January 2014 | 6pm – 8pm
Friday 10th – Sunday 12th January | 1pm – 5.30pm daily

“The Long Still” is a seven screen Super 8 installation which tracks the progression of time over a seascape. Shot on a calm, crisp, clear October day in the small seaside village of Portnoo, Co. Donegal, the film documents the shifts and changes in light and tide through the course of a day.

The first light of the sun which creeps out from behind the darkened mountains gives way to the dim yellowish tones of the early morning sun and moves onto the clear blues and greens of the afternoon progressing through to the deep blue of the mid evening and moves to the purple-red tones of the early night. The film oscillates between wide angle landscape shots and close ups which serve to draw the viewers’s attention to the more intimate shifts in the landscape;- a heron on the sea shore with the slow ebb and fall of the waves at it’s feet, the sole swimmer who braved the cold waters of the Atlantic on an autumn day, and the single whips of a cloud in the clear, blue sky over the peak of Errigal. In keeping with the focus of the film the length and subject of each shot is dictated by the landscape and the subtle changes which reflect the movements of time.

Niamh O’Doherty and Grainne Finn are past students of MA Art in the Contemporary World.

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