Archived entries for

Where is Art History Today?

Friday 21 November, 09:30-17:30, at the Lecture Theatre, National Gallery of Ireland, Clare Street, Dublin.

Where is Art History Today? is a one-day symposium being held in conjunction with the publication for the Royal Irish Academy by Yale University Press of The Art and Architecture of Ireland. The result of a research project sponsored by Royal Irish Academy, this five-volume reference work is a landmark in the writing of the history of the art and architecture of the island since 400.

This event will position the latest scholarship on Irish art and architecture in the context of recent international developments in art history as a discipline. The intent is to communicate the vitality of contemporary art history to a general audience comprised of those interested in art as well as to students and staff from the academic community and to museum professionals.

Penelope Curtis, the director of Tate Britain, will deliver the keynote address, which will double as an Academy Discourse.
Participants include: Rachel Moss of Trinity College Dublin, Nicola Figgis and Paula Murphy of University College Dublin, Professor Barry Bergdoll of Columbia University and formerly Chief Curator of Architecture and Design at the Museum of Modern Art in New York; Professor Lawrence Nees from the University of Delaware, and Professor Gregor Stemmrich from the Free University in Berlin.

Register here.

Openhere 2014

​Openhere 14.11-16.11 2014

3D printed goods, cryptocurrencies, digital sharing – just some of the disruptive online practices and technologies that are transforming and reshaping our economy. These innovative technologies have impacted the market, enabling new business models, evolving market conditions and transforming economic and social landscapes. However, the commodification and commercial adoption of these disruptive technologies has also raised concerns and questions in terms of access, control and sustainability. How can we develop these practices to not only support a digital commons, but also to support more equitable and sustainable worlds?

Openhere is a 3-day international festival and conference where online practices such as sharing, peer-production and open source meet real world material economies. The program brings together researchers, artists, engineers and activists to critically engage alternative economic models and digital currencies, open source hardware and ecology, and new forms of peer production and sharing happening at the intersection of digital and real world spaces. Sessions include talks, panel discussions, workshops and screenings.

Participants include: Benjamin Tincq, Brett Scott, Cathal Garvey, Chelsea Rustrum, Denisa Kera, Duncan McCann, Eli Gothill, Gawin Dapper, Geraldine Juárez, Graham Barnes Kevin Flanagan, Lana Swartz, Linda Doyle, Lúí Smyth, Nigel Dodd, Nora O’ Murchú, Peter Hanappe, Rachel O’Dwyer, The Robin Hood Cooperative, Sean Cubitt, Vasilis Kostakis and more.

Topics include: Alternative Currencies | Open Sourcing Finance | Open Hardware | Distributed Manufacturing | Open Source Ecology | Peer Production | Sharing Economies

For more information, program details and to book a place www.openhere.data.ie

Openhere is a joint initiative of (CTVR) The Telecommunications Research Centre in collaboration with the Dublin Art and Technology Association (D.A.T.A) and is supported by the Science Gallery Dublin, Trinity College Dublin.

#AndHerPaleFireSheStoleFromTheSun

Nicola Whelan
The Joinery | Arbour Hill Dublin 7
24th Oct – 31st Oct
Opens October 23rd 2014 | 6-8pm
Runs October 24th – 31st 2014 | 12-6pm
Gallery talk October 30th 2014 | 6pm

…our own stories may be constructed by a prosthetic memory mediated through book and film. Nicola Whelan

The Joinery is pleased to present work by recipient of the 2014 Graduate Residency Award, Nicola Whelan (NCAD). Whelan’s new series, #AndHerPaleFireSheStoleFromTheSun draws on the narrative structure of both Vladimir Nabakov’s novel Pale Fire and Alain Resnais’ film Hiroshima Mon Amour, to create works that investigate the tension between truth and fiction; the objective and the subjective; and between seeing, knowing and experiencing.

The exhibition will include multiple daily screenings of Hiroshima Mon Amour at the Joinery, accompanied by a daily Twitter-based performance from the artist in response to the film and a display of archives of real and fictional events. The project will conclude with a gallery based talk with the artist and the exhibition curators on October 30th 2014.

The film Hiroshima Mon Amour tells the story of a French woman and Japanese ex-soldier who meet by chance in Hiroshima a decade after the bomb and subsequently become lovers. They converse about their individual traumas through a repetitive, structured dialogue and in doing so they increasingly confuse real, lived experience with prosthetic memory, a memory made of mediated images of the Hiroshima bomb. Their individual personal traumas and identities weave together to create a new unstable narrative of universal trauma.

Whelan shows documents of a security guard’s response to watching the film in an abandoned shop front when called out to silence an alarm. Increasingly drawn into the narrative, the security guard writes detailed notes of his experience on his call sheets, creating yet another chronicle of the film. Whelan juxtaposes this with her own experence of time spent in Hiroshima, gathering and collating a personal archive that blurs the lines between fact and fiction, truth and fantasy, the collected remnants of what was, may have been or never happened.

Whelan constructs an aggregate of reality, fiction, prosthetic and reliable memory for the show, featuring live performance, archive, a twitter event alongside the exhibition. You are invited to follow @Elle_a_Nevers and @Lui_a_Hiroshima to take part in the twitter event for the duration of the show.

www.facebook.com/events

www.thejoinery.org

nicolawhelan.com

Review of Peripheries 2014: Between the I and the Hand

Peripheries
1st of August – 8th August
Curated by Richard Carr
Reviewed by Susan Edwards

Peripheries –
plural, noun. the outer limits or edge of an area or object. Also a secondary position or aspect of a group, for example; a shift in power from the centre to the periphery.

An idea was created from a lecture of “Gatherings” in Cork City, Rep. of Ireland in 2005 when it was the European City of Culture. During this lecture the concept of a production of culture on the periphery was explored, occurring when fringe events resulted in centres of excellences formed outside the main cultural events. A small Irish art college attended and brought back to its academic setting an idea that has expanded and blossomed into an annual event that has now produced a fourth exhibition which begs to be examined for its fresh creative efforts of the purity of art for art’s sake.

In 2011, the first Peripheries event was staged by Gorey School of Art located in Co. Wexford, Ireland. Consisting of three days of discussions with artists, community and students, it ended with a small exhibition in a then rented building in an industrial estate. There was no formal curator or academic agenda, merely a small rural community with a history rich with the love of art and a smattering of local artists with weighty artistic success behind their belts such as Michael Warren, Paul Funge, and Eamonn Carter to contribute. This review will attempt to enlighten and encourage those on the fringe that indeed, great art can and does happen when artists do what they do best…creating something, from nothing other than an idea and a willingness to take risks and experiment with the art process.

Enter 2014, take a group of young emerging Irish artists, throw in one well established international artist, mix with some highly acclaimed art writers, embrace each artists specific concerns, motivation and practices, stir with one highly creative and skilled curator and the result is an exhibition that celebrated what artists enjoy most, making works of art. For Richard Carr, curating the event was interesting and challenging he states, to bring varying art practices into one exhibition, but also to use the event as an opportunity to celebrate the educational success of the fine art program with the college and its course expansion of a new creative media and film qualification. Working on the premise of each artist and their individual process of making and that which is produced “between the I and the Hand”, the exhibition explored the changing concepts of what is the Handmade in the contemporary art practice. The gallery space was filled with a diversity of mediums as eclectic as the artists. The ground floor had at centre stage a mixed media sculpture piece by Catriona Mcloughlin of tangled, bound textiles on a bed frame dripping memories of places and stories, paintings by Andrew Simpson of beige, grey and monotone brushstrokes of vague afterthoughts which invited closer inspection, a sound installation piece with headphones to hear the touches to a amplified wooden box, another painter’s contribution by Amanda Doran that showed fleshy, pulpy, portraiture images of a Francis Bacon type of grotesqueness. And when the viewer wished to sit and contemplate, a collection of essays of contemporary thought and philosophy were available.

This newly constructed building which housed the exhibition had ceiling to floor windows to accommodate the changing nuances of natural light and a second level with a walkway to studio and lecture rooms. The upper level had a sleek, installation piece by Conor McDonald that included aged, weathered wooden blocks reclaimed from a disused mushroom factory to dissect notions of place and time. Three rooms separated from the main space for media presentation, a film by Michael Gilbert entitled, “Unfold, a video by Patrick Redmond which looked at lighting techniques in various clips from his art practice and a room dedicated to a screening day of “The Passing”, a black and white video of sound and images from renowned artist Bill Viola. This combination of the digital world with the traditional fine art categories highlighted the link and relationships of the maker with their work. Even that which consists of technological materials still shows the maker’s hand, from the construction of the work, to the very physical installation of that work in the gallery space. This exhibition skilfully allowed the viewers to encounter a variety of art works as well as a glimpse of the similarities and differences of individual artist practices.

Gorey School of Art is located in Co.Wexford and is a progressive, dynamic and innovative organisation that is recognised throughout Ireland by key art institutions and organisations as a centre of excellence. The Peripheries event is an annual exhibition that occurs on the first weekend in August.

Richard Carr is a 2013 M.F.A graduate of The National College of Art and Design

Susan Edwards is a 2014 ACW graduate of The National College of Art and Design

Issue on sale here

Amid the Deepening Shades

Art in the Contemporary World alumni Lily Cahill, Rob Murphy, Ruth Clinton, Niamh Moriarty and Matthew Slack will be taking part in upcoming exhibition Amid the Deepening Shades


Deer Park Hotel, Howth

Sunday 19th of October – Sunday 16th of November 2014

LILY CAHILL & ROB MURPHY / RUTH CLINTON & NIAMH MORIARTY / ELLA DE BÚRCA / HANNAH FITZ / SALLY-ANNE KELLY / MATTHEW SLACK / DANIEL TUOMEY

It is between one o’clock in the morning and one o’clock in the morning and the road is bathed in a monochromatic yellow light. A steady beam pours out of a streetlamp into a puddle below. There are palm trees silhouetted against the night sky and it is hot and sticky outside. Down at the beach the waves of evening tide are spinning together a matted, hairy fog that tumbles ashore and begins to roll up the hill towards the hotel. Tangled wisps squeeze out drippings of brine as they slip through narrow holes in hedgerows and barbed wire fences. This mist, chalky with salt, brings with it a sensation of slow nausea until, wholly saturated, it swells up like a mushroom cloud and falls back swooning amid the deepening shades.

Like hotel residents separated by thin walls, the participants in this group exhibition are all alone together. Following divergent trajectories, works fill the recently emptied spaces of the Deer Park Hotel with visions of loss, physical residue, romance and indeterminacy, spilling into each other like television noise from the room next door.

Preview:

Saturday 18th of October at 18:00 with reception in the hotel bar

Opening hours:

Saturday & Sunday 12:00 – 18:00 and by appointment on weekdays excluding Monday
(please contact ruthandniamh@gmail.com for bookings)

Events:

Sunday the 26th of October 16:00 – 18:00
Falling Backwards: an afternoon of experimental music from Rachel Ní Chuinn and mvestle (TBC) from inside Deer Park’s drained swimming pool.

Sunday the 16th of November 18:30 – 20:00
Dementia 13: film screening of Francis Ford Coppola’s debut feature film which was shot around the grounds of Howth Castle.

This project is kindly funded and supported by Fingal Arts Office and thanks to Sarah O’Neill and Julian Gaisford-St Lawrence without whom this project could not have come to be.

www.facebook.com/events
cargocollective.com/ruthandniamh

News: ACW alumni Laura Smith is the winner of Kinsale Arts Festival Now Wakes the Sea 2014

Kinsale Arts Festival has announced the winner of Now Wakes the Sea 2014, the annual open submission exhibition, as visual artist Laura Smith. The emerging artist exhibition tookplace at Temperance Hall in the centre of Kinsale, and ran until 28 September.Laura Smith will receive a solo show at the CIT Wandesford Quay Gallery, to run concurrently with the 2015 festival. Her submission ‘The Alternative is..’. builds a historical reconstruction of Radio City through a combination of interviews, on-site footage, archive materials and photographs asking the viewer to consider the utopian possibilities embodied by this removed society.

The Alternative is… is a two-channel HD video which focuses on the formation of the pirate radio station Radio City at Shivering Sands WWII anti-airfield forts on the Thames estuary. This piece explores a moment in history when a section of society took control over its channels of information by radically refusing to operate within the legal boundaries.

Smith is a graduate from NCAD MA Art in the Contemporary World where she received a first class honours. Recent shows include Misery Hill K.o.c/Mabos building, Dublin, Radio Joinery, The Joinery, Dublin 7, EVA – After the Future, Limerick, Orchestral Osmosis, D.I.T School of Music, Chatham row, Dublin 2.Laura Smith was chosen from nine selected emerging visual artists by an international selection panel including artist Kathy Prendergast, Ingrid Swenson (PEER UK), Helen Carey (Firestation Artist Studios) and Trish Brennan (Head of Fine Art and Applied Art, CIT Crawford College of Art and Design). They were very impressed by the high quality of the selected nine visual artists and were unanimous in their final decision.The nine selected artists were chosen for their questioning approach, and enquiry into the medium and expression of visual art today. The selected artists for 2014 are Collette Egan, Elizabeth Lyne, Joan Sugre, Laura Smith, Luke Sisk, Mandy Williams, Miriam O’Connor, Rita O’Driscoll, Sean Guinan. kinsaleartsfestival.com



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