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as a Chinese Jar // Roisin Power Hackett

‘as a Chinese jar’, is the first solo exhibition of the visual artist and poet Róísín Power Hackett. Róisín received an MA in Art in the Contemporary World (2013) and a BA in History of Art and Fine Art (Paint) (2012) from the National College of Art and Design in Dublin. She is currently a member of Brunswick Mills Studios, Dublin.

‘…as a Chinese jar still moves perpetually in its stillness’*

‘as a Chinese jar’, is an exhibition of paintings and a live art performance that takes its name from a line in the T.S Eliot poem, ‘Burnt Norton’. These lines speak of the patterns on a Chinese jar and how they repeatedly seem to move, despite being fixed motifs. This can be taken as an example of the rhythms and energy in life and the world. In her paintings and performance Róisín questions peoples’ relationships with their surroundings, depicting an abundance of intricately patterned wallpapers or rugs and blurring the edges between the person, their clothes and their environment. Through her use of visual patterns, she aims to express the similar energies between people and their environments or societies. She portrays historical characters, both real and fictitious, as well as her peers. Her characters blend into their backgrounds, absorbed and influenced by their respective societal norms, they either almost disappear or fight to be seen and heard. In ‘as a Chinese jar’, Róisín focuses on the power relations between the genders as well as between the rich and the poor. Her work highlights how women are regularly oppressed, pressured into submission and made to fade into the wallpaper. Many of her works are inspired by films and literature such as Tess of the d’Urbervilles by Thomas Hardy, Jane Eyre by Charlotte Brontë and Anna Karenina by Leo Tolstoy.
The exhibition will take place in the red room on the ground floor of 12 Henrietta Street. During the opening night Róisín will wear her own dress design and perform. All are welcome.

* p.19, Eliot, Thomas Sterns, (1944), Four Quartets, Faber & Faber



Curated by Paul McAree and featuring Lorraine Neeson, Martin Healy and Niamh O’Malley

Deadeye presents a diverse range of work including sculptural, photographic and film work from 3 of Ireland’s most important artists – Martin Healy, Lorraine Neeson and Niamh O’Malley – which touches on issues from the personal to the universal, and in the interplay of various works in the gallery suggests and teases out how the individual exists within the global.

Deadeye acts a metaphor for television and the moving image on screen – the un-emotive presence in our rooms and homes, compelling us to react and connect with the outside world. The exhibition plays with the Romanticism of the dark image, the unseen presence of the tv or computer screen, and its invisible umbilical cord to the greater world and universe. What are we doing here? Are we really doing anything at all, only looking, making, spinning, touching, waving, drowning? What’s out there? Do we imagine our connection with the greater whole? How can we channel these questions? What metaphors can we use to simplify these questions? Is any of this remotely possible? Deadeye seeks to look at 3 artists whose work teases out these questions in various and unique ways.

Image: The End | Lorraine Neeson


Out There, Thataway – Public Seminar and new playlist
Public Seminar

Saturday 19th September, 12pm – 2pm *NOTE CHANGE TO EARLIER TIME*

Francis Halsall and Declan Long, Paul Ennis, Ayesha Hameed

Join us on Saturday 19th September at NOON for a public seminar further exploring ideas around ‘territories beyond knowledge’ that run through our current exhibition, Out There, Thataway. The seminar will begin with a curators’ talk/tour with with Francis Halsall and Declan Long, who will introduce the themes and starting points of the exhibition.

Philosopher Paul Ennis will discuss the nature of speculation beyond the limits of human knowledge as found in contemporary philosophy where the questions of territory, the elsewhere, and solitude come to the fore through rare moments of aesthetic flair.

Artist and academic Ayesha Hameed will present a series of sounds and images she has been collecting in an assembly called Black Atlantis – a project that looks at the Black Atlantic and its afterlives in contemporary illegalised migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space. Using Walter Benjamin’s concept of the dialectical image she will examine how to think through sound, image, water, violence and history as elements of an active archive; and time travel as an historical method. A majority of these elements will be presented in unlikely pairs, juxtaposed with one another and Hameed will trace what residues these pairings leave.

More information about the seminar speakers can be found here. This is a free event and everyone is welcome. Seats are limited so please contact us at to book your place.

New Out There, Thataway playlist:

Out There, Thataway is accompanied by a series of specially commissioned playlists which are released weekly and are available online and in CCA’s library space. The latest playlist is compiled by art historian and critic Nuit Banai, who received her PhD in Art History from Columbia University before joining the Department of Visual and Critical Studies at Tufts University/School of the Museum of Fine Arts, Boston, in 2007. Since 2014, she is Professor of Contemporary Art in the Department of Art History at the University of Vienna. Her research interests focus on the post-war and contemporary construction of new publics through the visual arts, especially in Europe and the Middle East. Her book on Yves Klein recently appeared as part of the ‘Critical Lives’ published by Reaktion in London (2014).

You can listen Nuit’s selection here on CCA’s SoundCloud account, where you can also find other Out There, Thataway playlists compiled by Lane Relyea, Associate Professor and Chair of Art Theory and Practice at Northwestern University and the Editor-in-Chief of Art Journal; Francis Halsall, Out There, Thataway co-curator, academic and writer; and artist Jonathan Mayhew.

New playlists will be released every week during the run of the exhibition, which ends on Saturday 26th September 2015. Out There, Thataway is curated through dialogue between Francis Halsall, Declan Long, and CCA, and includes work by Stephen Brandes, Nathan Coley, Aleana Egan, Fergus Feehily, Kevin Gaffney, Rana Hamadeh, and Merlin James.


NCAD Gallery is delighted to present, ∞ (Broken Mirrors), a two-person exhibition, featuring the work of Jonathan Mayhew and Lee Welch that explores the concept and representation of the future in a contemporary context. Through the medium of print, sculpture and photography this show will speculate about both the potential of the future and its legacy.
∞ (Broken Mirrors) is guest curated by ACW alumni Marysia Wieckiewicz-Carroll, co-editor of PVA (Paper Visual Art Journal), hosted by NCAD Gallery with exhibition partners the Black Church Print Studio and PVA.

The future is not an empty category. It is a reservoir, filled on the one hand with morality tales and the knowledge of the past, and on the other the hyper-technologicised visions and sci-fi scenarios of the world.

‘We have been living through boom times for the future. Even before the escalating storms of the early 21st century, our cultures and industries collaborated in a remarkable proliferation of words and images about this impossible object. In recent years, the very thought “future” has been spectacularized in extraordinary ways. Whether in modes of progress or apocalypse, our media have overflowed with anticipations of things to come, with utopias, dystopias, stories of time travel and artificial intelligence, with accounts of acceleration and progress, of doom and imminent destruction, with scenarios, predictions, prophecies, and manifestos.’
(Daniel Rosenberg and Susan Harding, Thinking Futures, Cabinet Magazine, Issue 13, Spring, 2004)

So what does the future mean to us today? Are we looking for systemic patterns to predict the future, an extrapolation of the possible and probable? Or is the future merely a set of repetitions of futures we have already lost? Mayhew and Welch take a close look at these two polarised stances. Jonathan Mayhew uses negation, abstraction and appropriation as strategies in making work. By destabilising the intended functions of images, objects, words and ideas, he establishes new ways of investigating them. For ∞ (Broken Mirrors) he examines the potential of creating our own futures by fictionalising our present. Mayhew looks at American writer Thomas Pynchon’s careful control and manipulation of his public image, at a time when the majority of us forego privacy, handing over personal data freely. Lee Welch explores the future as an exciting and unknown prospect, but one that is deeply tainted by the limitations of our present knowledge. Employing bold symbolism and evocative patterns, he offers a vision of an odd familiarity that makes the future feel dated.

In 2014, both artists were commissioned to produce visual essays for Paper Visual Art Journal (PVA), the journal of contemporary art criticism, for the upcoming hard copy edition published autumn 2015. Their contributions are visual responses to the theme of the publication, ‘Blueprint,’ interacting with concepts of city planning, utopianism, science fiction, and the future of art criticism. ∞ (Broken Mirrors) is a result of the on-going dialogue between the artists and the curator and an extension of their original ideas beyond the pages of the magazine.

More info here

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