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Old Invitations A DHG Student Forum response to the DHG archive

A DHG Student Forum response to the DHG archive
Thursday 28 February 2019, 1pm–8pm

Since March 2018, we’ve been celebrating 40 years of The Douglas Hyde Gallery, looking back through the DHG archive on Instagram under the hashtag #dhgat40, and gathering reflections from artists and audiences.

On 28 February, we will conclude our year-long anniversary celebrations with a special exhibition and series of performances over one afternoon and evening, curated by the DHG Student Forum.

Join us in the gallery on the 28th to explore Student Forum members’ responses to 40 years of programming at the DHG.

PROGRAMME

GALLERY 1

1pm–2pm
Automatic Writing Workshop with Eimear Regan

Taking inspiration from methods of practice of Hilma af Klint, whose paintings were shown in Gallery 2 in 2004 as part of The Paradise exhibition series (2001–2013), Eimear Regan will conduct an Automatic Writing Workshop. Participants will be encouraged to let their hand guide the process while developing a piece of new writing. No experience is necessary to participate in the workshop.

Open to all, but places are limited. To reserve a place, email dhgallery@tcd.ie.

2pm–5pm
Exhibition open to the public, including:

Visionary Art at the DHG – Research paper by Eimear Regan
A research paper following a timeline of visionary art that has been displayed throughout the gallery’s 40-year programme. The Kilim carpets in 1979, the Kalachakra Sand Mandala made by Tibetan monks in the gallery in 1994, K.F. Schobinger’s exhibition of drawings in 2006 (part of The Paradise exhibition series) and Tamara Henderson’s 2018 exhibition Season’s End: More Than Suitcases are just a few of the exhibitions touched on. This paper discusses the thread of attempting to make sense of the mysterious world through artistic practice and aspires to cover artists who have shown in the gallery and whose work has visionary qualities and aims. The research project will be discussed during the public seminar.

Re-Aftermath – 3D projection by Theo Hynan-Ratcliffe
This work consists of four separate videos repeated to form a skin-like cladding for the foundation of the gallery site. An audio piece which acts as the pulse of the archive, an archive soundscape punctuated by definitions of words used to describe the archive and used to describe the intention of intervening in the DHG’s archival materials. The rhythmic action of interacting with the physical archive and the repetitive hypnotic act of turning pages of history, generate skin, body and physicality. The human marks that act as the skeleton of the archive bring the increments of history back into the gallery itself as a physical presence in the space.

5.30pm–6.45pm
Public Seminar: Led by Aisling Ní Aodha, Laurence Counihan and Eimear Regan.

Open to all, no booking required.

7.30pm–8pm
Fleeced! by Isadora Epstein

Fleeced! is a new performance by Isadora Epstein about the mythical Golden Fleece and the 1990 Anselm Kiefer exhibition Jason and the Argonauts. The theatrical lecture will be accompanied by musician/composer Sinéad Onóra Kennedy and choreographer/dancer Aoibhinn O’Dea.

Open to all, but places are limited. To reserve a place, email dhgallery@tcd.ie. Due to the nature of the performance, there can be no late admittance.

GALLERY 2

1pm–8pm
An epistolary exchange with Richard Skelton, by Siobhán Kane

Siobhán Kane invited the artist Richard Skelton into an epistolary dialogue, to revisit his 2011 work Landings for The Douglas Hyde Gallery, and further explore some of his thoughts on landscape, art and the vital role of archiving. What emerges both surprises and educates, putting forward the idea that no art is finite. Through a small installation, both audio and textual, Kane pays homage to the original exhibition of Landings, and its idea of immersion as touchstone.

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Image: Student Forum archival research meeting at The Douglas Hyde Gallery, 16 October 2018.

The Art in the Contemporary World Podcast

We are pleased to announce the launch of The Art in the Contemporary World Podcast, a show about art ideas and some other stuff too. In Episode one, we discuss artist Liam Gillick, the satisfaction of aesthetic disappointment, modesty in the age of capitalism and spectacle, and much more. Listen live at 3pm tomorrow (Sat) at dublindigitalradio.com

Artist Talk: Eszter Szakács

Dates: 20 Feb – 20 Feb
Show Time: 5.30pm – 7pm
Tickets: €0 (Free admission, no booking required)

What the Past Holds for the Future: Socialist Solidarity and the Perspective of a Research Exhibition

A curator’s talk within the framework of Active Archive – Slow Institution, organised in association with CCA Derry~Londonderry.

How can the socialist heritage be recalled today? What are the long-term and global ramifications of ‘regime changes,’ when one ideology is replaced by its opposite? How can the field of contemporary art and the spatiality of a research exhibition allow for a complex analysis of historical materials? The point of departure for the talk is located in the concept and practice of international socialist solidarity, a state-directed policy through which the ‘Second World’ (including Hungary and other Eastern Bloc countries) built official relations with ‘Third World’ countries during the Cold War. More specifically, the talk attempts to outline the context and manifold contradictions of socialist solidarity through the case study of socialist Hungary’s media and knowledge production in relation to the Arab World between 1957 and 1989.

Szakács introduces her research exhibition Propaganda, Mon Amour: Palestine As Seen Through Publications in Socialist Hungary and the most recent thematic issues of the online magazine Mezosfera by tranzit.hu – ‘Refractions of Socialist Solidarity and ‘Propositions for a Pan-Peripheral Network’. In doing so, the talk puts forth the importance of historical awareness and the need to critically engage with the state-directed Cold War policies of international solidarity, especially as these transnational connections are somewhat dismissed in both Hungary and across Eastern Europe today, and remain unknown to a generation that was born after the Cold War.

This presentation by Budapest-based curator, editor and researcher Eszter Szakács will be followed by a conversation with Sara Greavu, independent curator and Head of Public Programmes at CCA Derry~Londonderry.

Floating Structures

Feargal Ward and Adrian Duncan’s film Floating Structures follows a researcher travelling across Europe, exploring an array of buildings and structures that seem other-worldly. Drawing on the ideas and visions of the great Irish engineer Peter Rice, they explore the hinterlands that gave rise to these structures. Wandering from a quiet Bavarian town, to the streets of Paris, to the city of Seville, our past is sifted through and interlinked with precision and wonder.

Reel Art is Funded by the Arts Council.

FLOATING STRUCTURES WAS FUNDED UNDER THE ARTS COUNCIL REEL ART SCHEME WHICH IS DESIGNED TO PROVIDE FILM ARTISTS WITH A UNIQUE OPPORTUNITY TO MAKE HIGHLY CREATIVE, IMAGINATIVE AND EXPERIMENTAL DOCUMENTARIES ON AN ARTISTIC THEME
Gráinne Humphreys, Festival Director

Purchase tickets here: https://www.diff.ie/festival/film/floating-structures

Research Opportunity – L’Internationale in partnership with NCAD

NCAD is looking to appoint a researcher on a 60 day contract from February to September 2019 to conduct research to support L’Internationale’s current programme by the European museum confederation.

L’Internationale is a confederation of seven major European modern and contemporary art institutions and partners, including NCAD, that proposes a space for art within a non-hierarchical and decentralised internationalism, based on the values of difference and horizontal exchange among a constellation of cultural agents, locally rooted and globally connected.

‘Our Many Europes’ is the current programme by the European museum confederation “L’Internationale ” The members of L’Internationale, and its partners National College of Art and Design (NCAD), are presenting more than 40 public activities (conferences, exhibitions,workshops) from now and until May 2022.

In the first instance, NCAD’s contribution to the network will be to conduct research into performance art as a site of activism on the island of Ireland in the 1990s and to host a major international conference on performance art in the 1990s at NCAD in late 2019. Close partners in this project will be the Project Art Centre in Dublin and the Museum of Modern Art in Warsaw.

The person employed will undertake a number of tasks – to:

i. Establish the range and extent of archival material relating to performance practices in Ireland (primarily art but other related fields) in the 1990s. This will include material in public collections (like NIVAL) and private collections.

ii. Conduct interviews with performance artists and others supporting this field of practice in Ireland in the period. This material will need to be prepared for online publication (recordings or transcripts).

iii. Prepare material relating to the project for a dedicated website containing primary documents.

iv. Play an active role in planning and hosting a number of small scale public events such as roundtable discussions in the run-up to the major conference, as well as in the conference itself.

v. Present the findings of the research in public settings such as conferences.

Qualifications

We seek to make an appointment of someone who has a long term interest in research. The person appointed will have a demonstrable interest in the field and hold a postgraduate qualification. Prior experience of archival research and/or oral history, as well as good writing skills are required.

Location

He/she will be based in the School of Visual Culture at NCAD and be supported by the Art in the Contemporary World team. Teaching opportunities may be available for a suitably qualified person. The appointee would also have close working relationships and support from NIVAL at NCAD.

Remuneration

Salary – 21.94 per hour (Researcher Level 2) – payable monthly. Maximum no of hours over the 60 days will be 267.

Please send cover letter outlining your suitability for this role together with an up to date CV to staffappointments@staff.ncad.ie. Closing date for receipt of Applications is Friday 22nd February 2019

Ultra-red, Archiving the Debt

In February 2003, Los Angeles-based sound artists Ultra-red began a year-long project in the Ballymun area of Dublin, commissioned by Breaking Ground, the Per Cent for Art programme of Ballymun Regeneration Ltd. EntitledThe Debt, their project was a series of collective reflections that brought together residents from the public housing communities of Ballymun and Pico Aliso in East Los Angeles.The purpose of these encounters was to compare experiences of regeneration in social housing.

Fifteen years on from Ulta-red’s first encounters in Ballymun we might ask:
What is the legacy of social housing in Ireland?

Set up as a listening room in the Goethe-Institut’s Return Gallery, Archiving The Debt focuses on a specific exchange of experiences, ideas and questions that occurred at a time when large-scale public housing was in under intense discussion in Dublin. Visitors can access recordings made duringThe Debt: resident meetings, conversations with city officials, radio broadcasts, performances and electro acoustic soundscapes of Ballymun.

Presented by the Goethe-Institut Irland in collaboration with the National College of Art & Design. Supporting structures made by Andreas Kindler von Knobloch. Situated under Liam Gillick’s Denominator Platform, 2018.

ArchivingThe Debt is part of Common Denominator: Art and the Contemporary World at the Goethe-Institut, a two-year programme in the Return Gallery. Through exhibitions, seminars, discussions and more, it interrogates what it means now to speak of political solidarity, civic standards or even aesthetic values.

Art in the Contemporary World is a taught Masters programme at the National College of Art & Design in Dublin, focusing on contemporary practices and their cultural, political, social and historical contexts. ACW is led by Francis Halsall, Declan Long and Sarah Pierce.

Exhibition runs from 7 February through 15 April 2019.

Gallery hours:
Monday–Thursday 10am to 9pm
Friday 10am to 5.30pm
Saturday 10am to 1:30pm
Closed Bank Holiday weekends.

Contact
Heidrun Rottke Goethe-Institut Irland
+353 (01) 680 1100 heidrun.rottke@ goethe.de

Return Gallery Goethe-Institut Irland
37 Merrion Square East
Dublin 2

Bauhaus Effects

A conference organised by the National College of Art and Design, University College Cork, University College Dublin and the Goethe Institut Dublin – 7-9 February 2019

Bauhaus Effects will assemble an interdisciplinary collection of papers that analyse the repercussions of the legendary Bauhaus school in the hundred years since its inception, considering the ways in which the broad range of practices have transformed everyday experiences from the 1920s to the present day.

Bauhaus innovations and models of thought continue to resonate within the contemporary built environment, from chair construction to skyscraper design, from interior spaces to urban topographies, warranting a thorough, methodologically diverse studies of its effects a century after the school was founded.

Bauhaus Effects aims to investigate the continuing impact of the Bauhaus on an impressive range of contemporary practices across the globe. We propose that the Bauhaus was not just a radical art school but in fact initiated a fundamental paradigm shift in design culture whose import is ripe for assessment a century on.

Contributing Institutions:

Goethe Institut Dublin; National College of Ireland; National Gallery of Ireland ; University College Dublin; Dublin City Council; German Embassy; University College Cork

Organising Committee:

Francis Halsall, NCAD; Kathleen James-Chakraborty, UCD; Thomas Lier, Goethe Institut; Sabine Kriebel, UCC; Declan Long, NCAD; Sarah Pierce, NCAD; Heidrun Rottke, Goethe Institut.

Booking Link

https://www.eventbrite.com/e/bauhaus-effects-tickets-54536415888

NB: THE EVENT IS NOW FULLY BOOKED.

Location

National Gallery of Ireland

Merrion Square West

Dublin 2

View Map

Conference Programme

THURSDAY

6pm: Introductions and welcomes by the CONFERENCE TEAM/ AMBASSADOR etc.:

6:30 – 7.30pm. Opening Keynote: Heike Hanada, Bauhaus University, Weimar, Germany, CHAIR: PROF. KATHLEEN JAMES CHAKRABORTY

FRIDAY

10:00am – 12pm. Panel 1: Bauhaus Effects in everyday life CHAIR: LISA GODSON

Andrew McNamara (Queensland University of Technology, Australia): Bauhaus Effects and the contemporary legacy
Mariana Meneses Romero (Nottingham Trent University, UK): Vidal Sassoon and the Bauhaus
Kerry Meaken (Dublin Institute of Technology): The Bauhaus Effect on the Fundamentals of Window Display
Jonathan Foote (Aarhus School of Architecture, Denmark): Toys and the Innocent Eye: Bauhaus Toys of the 1920s

1:00 – 3:00pm. Panel 2: Paradigm Shift CHAIR: Dr SABINE KRIEBEL

Patrick Roessler (Erfurt, Germany) “New typography”, the Bauhaus, and its Impact on Graphic Design
Dietrich Neuman (Brown University, USA) Space-Time and the Bauhaus
Aleksi Lohtaja (University of Jyväskylä, Finland) Bauhaus effects in political economy of Space and Sign
Jan Frohburg (University of Limerick) Bauhaus and Aircrafts
3:30 – 5:15pm. Panel 3: Bauhaus Aftershocks CHAIR: DECLAN LONG

Vanessa Troiano (City University of New York, USA) The “Bauhaus Idea” in Robert Rauschenberg’s Blueprints
Jordan Troeller (Berlin, Germany) Lucia Moholy in Turkey
Ruth Baumeister (Aarhus School of Architecture, Denmark) Bauhaus Effects In and out of Scandinavia
Katarina Elvén (Stockholm, Sweden) Aspects of Doing – The Photographic and Photographed Activity at the Bauhaus

SATURDAY

9:30-11:00am. Panel 4: Bauhaus Effects through pedagogy. CHAIR: FRANCIS HALSALL

Suzanne Strum: Knud Lönberg-Holm and Michigan
Ingrid Mayrhofer Hufnagl: Klee’s pedagogy and computational processing
Philip Glahn: Radical pedagogy of Bauhaus, art as social labor

11:30am – 1:00pm Closing Keynote: Irit Rogoff, Goldsmiths, University of London, UK. CHAIR: DR SARAH PIERCE



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