Archived entries for

Beyond Noise and Silence: Listening for the City

A public symposium exploring the intersection of sound art, public space, and urban design.
Wednesday 2 April – Thursday 3 April 2014

Do you ever stop to listen to the sound of the city around you?

Beyond Noise and Silence: Listening for the City is an event series focused on exploring how the city’s sound environment might be used by artists, architects, and urban designers to activate experimental architectures, urban experiences, and new forms of public space.

Questioning the way that sound relates to our experience of place and to our memories of the cities that we live in, this series will investigate the potential of this often-neglected dimension of urban space, focusing on practices based in Dublin as well as a selection of innovative international perspectives.

The first session, Medium: Exploring Sound Installation in Urban Space [7pm, April 2, Harry Clarke Theatre, NCAD], focuses on a presentation by the German artist Christina Kubisch, exploring different elements of Kubisch’s practice and leading into a discussion of the artist’s recent work as city sound artist for the city of Bonn in 2013 within the fourth year of the Bonn Hoeren project.

The second session in the symposium, Medium: Exploring Sound Installation in Urban Space [2pm, April 3, The Lab, Foley Street], considers sound art practices in relation to the urban environment and public space from various curatorial, artistic, commissioning, and logistical perspectives, sharing both practical and more discursive insights from different levels of practice involving sound and the public.

This event is curated by Ireland/US based artist Sven Anderson to compliment his Dublin City Council public art commission MAP: Manual for Acoustic Planning and Urban Sound Design, and features presentations and talks from recognisable arts figures including German artist Christina Kubisch; Public Art Manager (Dublin City Council) Ruairí Ó Cuív; artist and curator María Andueza; artist Dennis McNulty; curator and Public Art Advisor to the Arts Council Aisling Prior; Course Director: MA Art in the Contemporary World, Faculty of Visual Culture, (NCAD) Dr. Declan Long and Director of the Goethe-Institut Mechtild Manus.

Tickets to this event are free, but advance registration is required. For further information and to register for tickets visit

Presented by Dublin City Council (DCC) in partnership with the Goethe-Institut and The National College of Art and Design (NCAD).

Art In The Contemporary World Podcast No.4: A Cranbrook Conversation

A discussion about Cranbrook School of Art and Design with Francis Halsall (Visiting Critical Fellow, 2014) and students Anthony Warnick and Kelley O’Brien. Topics covered include Cranbrook’s unique educational environment and its relationship to its local contexts including Detroit, Pontiac and the wealthy Oakland County.

Download audio for offline listening by right clicking here.

Object Orientated Ontology: Timely Thoughts

7.15 p.m. Harry Clarke 203
NCAD Thomas street
Dublin 8

This Wednesday Peter Gratton, author of the forthcoming “Speculative Realism: Problems and Prospects”, will be giving at talk at NCAD entitled “Object Orientated Ontology: Timely Thoughts.”

Please contact if you would like to attend.

For the Birds

A newly commissioned ephemeral event by James Ó hAodha (IE), featuring a Macaw, a Cockatoo, and an African Grey Parrot.

22nd March 11am – 3pm at the Lab

As part of the exhibition, Tonight, you can call me Trish, curated by RGKSKSRG, artist James Ó hAodha has been commissioned to devise an encounter with a specific community of interest. His work For the Birds is a one-off event; a series of idiosyncratic exhibition tours, which takes place in the gallery over a single day – the final day of Trish. Teasing out notions of what constitutes ‘audience’ and ‘exhibition’, the artist plays with the presence of three hand-picked exotic birds – a Macaw, a Cockatoo, and an African Grey Parrot.

The birds will simultaneously occupy the gallery both as viewer and live performer, activating, intervening and, in moments, becoming complicit with the language of display, aesthetics, and the mediation of contemporary visual art. Exhibition tours will run every 40 minutes, from 11am until 3pm, each lasting 15 minutes.

Admission free, no booking required. Please note, due to the nature of this event, these timings are prone to change, and also, in moments, there may be limited access in the gallery.

James Ó hAodha (b. 1985, Wexford, Ireland) is an interdisciplinary artist based in Dublin. Since graduating from NCAD in 2009, Ó hAodha has continued to develop a socially engaged practice, working for the most part beyond the bounds of the exhibition space. Interested in the creation of encounters, his work often takes the form of intervention, performance/action and exchange, with a shared focus on how temporal encounters and site-specific work can inhabit and intersect with the space of the gallery. Ó hAodha has been involved in projects with Mermaid Arts Centre, Bray; The Joinery, Dublin; The Drawing Project, Dun Laoghaire; Fringe Festival, Dublin; Resort, Donegal; Chapter Arts Centre, Cardiff; Irish Museum of Contemporary Art; and Tulca, Galway, amongst others. He is currently a member of Ormond Studios, Dublin.

For the Birds forms one of the artworks within the group exhibition Tonight, you can call me Trish, curated by RGKSKSRG at The LAB Gallery, and running until 22 March 2014. The exhibition also plays host to work by Alan Butler (IE), Mark Durkan (IE), Oliver Laric (AT), Rachel Maclean (UK), Eilis McDonald (IE), Brenna Murphy (US), Mary-Jo Gilligan (IE), Pilvi Takala (FI).

Art in the Contemporary World Podcast no.3

This podcast centres on two recent Dublin exhibitions; group show ‘Tonight you can call me Trish’ at the Lab, and ‘Wasteland’ by Eva Koťátková and Dominik Lang at the Project Arts Centre. Contributors to this discussion are Vaari Claffey, Barbara Knezevic, Declan Long and Rebecca O’ Dwyer.

Wine Soak No. 15: “Tonight you could only ever call me … Ligvine”

Our wine correspondent found himself at the LAB’s exhibition: Tonight you can call me Trish and TBG+S exhibition Against the Enamel. The resulting experience can only be described as “a floating oasis of energised drift” that left him in “a nauseatingly positive and cheerfully grotesque” state of mind.

Unbeknown to myself, suffering the ennui of a dark December, un-invigorated by the cornucopia of festive parties, I was set to embark upon my most fallow period of creativity in many years. Feeling particularly glum I visited my physician, whom I would usually avoid like the plague. His face was aghast at the sight of me. Several weeks of celebrating the country’s financial rebirth (free to incur new and ever greater levels of debt on the global bond markets) had taken its toll. Under the good doctors medical advice I refrained from imbibing for the entire month of January and as a result, descended into a despicable period of sobriety, good health and clarity of mind. To put it simply: YUCK!

As the fog of my several decades of incorrect living began to clear I turned away from temptation and the gallery circuit only to discover a plenitude of aches and pains to which I had become anesthetised by the grace of my indulgent lifestyle. On returning to the doctor’s surgery one month later my appearance actually scared him to death…literally. After a brief examination and the declaration of the benefits of not drinking the good doctor collapsed before me and died on the spot. I left the surgery immediately via the window lest anyone suspected foul play of any sort. I ran down Amiens Street terrified by the sound of distant sirens heard through the irregular din of the gloaming city. Without a thought I found myself in a sweaty mess leaning against the glass walls of the LAB in Foley Street. To my surprise it was full of people and I thought what better way to lament or celebrate the good doctor’s demise than to join the celebratory crowd at an exhibition opening.

The first person I met was the recently returned Sheena Barrett who was celebrating the opening of an exhibition called Tonight you can call me Trish. The exhibition was the result of the emerging curator award that was won by a curatorial collective that goes under the tongue twisting title of RGKSKSRG, this rather drunken jumble of letters is constructed from the initials of the two collaborating curators Kate Strain and Rachel Gilbourne. According to the blurb that accompanied the exhibition these two curators view the exhibition space as a “site for channelling aesthetic experience and systemic disjuncture.” After my experience earlier in the evening I was hell bent on getting a little disjunctured myself so I headed straight for the drinks table, where they were dishing out Le Montalus Rouge Pays d’Oc. This midi rouge retailing at €7.45 a bottle was just the ticket to begin the journey toward disjuncture.

I got a couple in fast just before Clionadh Shaffrey, Visual Arts Advisor to the Arts Council and recent appointee to the Directorship of the TBG+S, began her speech that was in high praise of this new curatorial award for the most painful sounding of positions in the Art world, the emerging curator. On this occasion the emerging curators, like new born babies emerging from the womb, had framed their exhibition around the conceptual notion of a one night stand. A peculiarity of course in the mind of yours truly was the immediate connection of the possibility of something new and emergent being born out of a flagrant and yet shallow encounter in the dark. The atmosphere in the gallery was effervescent and well reflected by the colourful display of disjunctious objects and sounds in the space that created a sort of cacophony of jarring colours. According to the accompanying text with the bluster of a one night stand, Trish rides on the energy [excuse the pun ... I presume] of Arts own glossy promise in a mashed up, smashed up post decorative dissolution of illusion.” “MORE WINE PLEASE!” I demanded at the drink table, white this time, a Domaine Bichot Ugni Blanc Colombard 2011, a nice, crisp, dry white wine often described as quaffable. After a few more gulps I began to wonder what was missing in this gleeful mash up, one night stand, of an exhibition. Perhaps it is a generational difference but for the youthful zeal I couldn’t see the bitter wisdom that underlies our experiences of failed and broken attempts at intimacy. There was no sense of the under pinning regret that lies at the heart of the sad and lonely night of the brief encounter. The unfulfilled desire to not be alone. But at least my glass of wine and I had each other for company as I mused over the vacuous notion of pleasure without pain, transgression without sin, and no matter how loud our aesthetic pleasure rings without the sublime angst of our misery it is still a hollow ring.

Mulling over a need for the savoury bucket of salt beneath the sweet sugar candy coating I left the LAB and made my way to the Temple Bar Gallery and studios, affectionately referred to as Teabags. Here I found another colourful display in LED lights. The work on show was that of Prescilla Fernandes, soon to be an artist in residence in IMMA. According to the text the work references the failures of the modernist theories of Paul Signac to transform the world by unveiling truths about human perception referred to in the blurb as his “anarchist utopian vision and decorative propaganda, a scientific/aesthetic gesture, attacking social structures, intended to inspire revolution.” Once again I had to seek some refreshment to help me to absorb this bold statement, a sober reminder of my own failed revolt against intoxication.

Approaching the overstimulation of a Stendhal moment I took my celebrations of art and my late doctor’s demise to the after party in Kennedy’s of Westland Row, where amongst the usual suspects of the glittering art world I accepted that there was a reality that denies contemplative space. A drunken reality full of voices, exotic sounds, mind altering substances, D.J. beats and bright LEDs. The cacophony of the LAB began to make sense.

On this night of nights,
Of skewed logic,
Failed sobriety and death,
Of cacophonous colours to shame the divine
Of unusual sounds and provoking sights,
Of finite potential one night stands
And morning after walks of shame,
Tonight you could only ever call me … Ligvine.

Tonight, you can call me Trish is a group exhibition curated by RGKSKSRG, recipients of the 2013/14 Emerging Curator Award. It Features artists Alan Butler (IE), Mark Durkan (IE), Mary-Jo Gilligan (IE), Oliver Laric (AT), Rachel Maclean (UK), Eilis McDonald (IE), Brenna Murphy (US), James Ó hAodh (IE), and Pilvi Takala (FI). The exhibition runs from the 7th of February to the 22nd of March 2014 at the LAB Gallery Foley Street Dublin 1.

Against the Enamel an exhibition of work by Priscila Fernandes runs at the Temple Bar Gallery and Studios from the 7th of February until the 29th of March 2014.

MA Art in the Contemporary World & MA Design History and Material Culture: research and scholarship opportunities

The National College of Art and Design is delighted to announce two opportunities for research and study in Dublin, Ireland.

“The Objects of Criticism”
NCAD visiting research residency in collaboration with The Irish Museum of Art (IMMA)

MA Art in the Contemporary World, in collaboration with the Irish Museum of Modern Art (IMMA), is now inviting applicants for its first research residency.

The research residency is open to writers, artists, curators and other practitioners who have published writings in the field of contemporary art. It will begin on May 12, and have a duration of up to five weeks.

The selected applicant will be provided with a residential studio space at the Irish Museum of Modern Art and will be paid a stipend. During this time they will be expected to deliver presentations on their own research interests in the context of the Art in the Contemporary World’s Master’s programme, as well as undertake studio visits and lead a number of seminars relating to the research residency’s theme “The Objects of Criticism.”

Please go to for more information about the IMMA studio programme. Further information about the research residency can be found here.

Deadline for applications: Monday, March 25

Postgraduate scholarship for MA studies:

Following the successes of the two Master’s programmes offered by the faculty of Visual Culture at the National College of Art and Design, Dublin, a scholarship worth full tuition fees will be awarded to a student in either the MA Art in the Contemporary World (Visual Culture pathway) or the MA Design History and Material Culture. The scholarship will be awarded on academic merit and all applicants are eligible, including EU and non-EU students.

For more information (including application procedures) on these opportunities and the research environment in the Faculty of Visual Culture at NCAD, visit

Deadline for scholarship applications: Wednesday, April 30

You may also contact the programme directors:
Declan Long, / Francis Halsall, (MA Art in the Contemporary World)
Anna Moran, (MA Design History & Material Culture)
Other enquiries:

In Conversation | Haroon Mirza and Rachael Thomas

Saturday 8 March | 2.30pm – 3.30pm
Lecture Room | IMMA

Haroon Mirza (artist) and curator of the exhibition Rachael Thomas (Senior Curator: Head of Exhibitions, IMMA) will discuss the development of the project at the Irish Museum of Modern Art, the influence of music and the idea of the ‘ready –made’ in relation to Mirza’s practice. This talk marks the a newly opened solo presentation of Haroon Mirza’s work in the the IMMA galleries.

Book here

Existing on the edge of anatomy

Existing on the edge of anatomy
Talbot Gallery & Studios
51 Talbot Street
March 7th – March 29th 2014
Opens: Thursday March 6th 2014 6pm – 8pm

Siobhan McGibbon will give a walk through of her work at 12pm on Saturday 22nd of March.

Siobhan McGibbon’s practice is predominantly sculpture based with a distinct medical slant. Her work derives from a fascination with extraordinary medical conditions and the human relationship between aesthetics and corporeality.

Informed by study of teratology; the analysis of perceived abnormalities in the natural world, both real and imagined, the artist creates visual images of actual occurring phenomenons. Such as Congenital Hypertrichosis Languoniosa, a genetic syndrome where by the entire body is covered with thin Langua hair.

Uncommon conditions such as teratoma’s dominate the artists practice, rapid growths that consume and transform lives. Mcgibbon is fascinated by the body’s ability to stretch and morph itself almost beyond human recognition. Her work often references biographic stories of individuals with abnormal conditions.

Through this research McGibbon aims to explore society’s interpretation of conventional anatomy through the study of social psychology, the scientific study of how people’s thoughts, feelings and behaviours are influenced by the actual, imagined or implied presence of others. The artist investigates the experience of encountering an abnormal body and our relationship with our own body, the surreal body and the notion of “normal” anatomy.

IMAGE: Whats between our legs aint know bodies business but ours, fibreglass resin, 2013

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