Archived entries for Collaboration

With-Hold, Exhibition by Padraig Cunningham at the Return Gallery

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

Opening
20th September, 2019 6.30 – 9pm
Exhibition runs through 31st October, 2019.

With-Hold forms part of artist Padraig Cunningham’s 2019 thesis submission for the MA/MFA Art in the Contemporary World in the School of Visual Culture at the National College of Art & Design in Dublin.

The exhibition at the Goethe-Institut, With-Hold proposes a series of intervals, each one based on a particular site: firstly the Goethe-Institut itself and its role as instigator as a place to think and explore, and how it along with the MA/MFA Art in the Contemporary World have etched
a series of intersecting possibilities for education, theory and making; secondly, Kesh Caves in Sligo and the folklore narrative the cave as a portal, a primordial site of consciousness, a place to enter and a time to be-in; and thirdly, the tiny Claggan Island in Co. Mayo that is just about held onto the mainland by a small sandbank. The film explores the cliche of the cave while an accompanying publication speculates on the island’s precarious position and the opposing forces that keep it in place.

The work is presented as a series of intervals, embedded in the philosophy of Deleuze and his reconsideration of temporality through cinema and image-making.
An embodiment of thought in-time or sub-time where Art as a quasi object, a portal, is unfixed and in transit.
An event.
Something to be apprehended than held counter too.

Common Denominator is curated by Art in the Contemporary World,
a theory-practice postgraduate MA/MFA programme at the School of Visual Culture, National College of Art and Design, Dublin, led by Francis Halsall, Declan Long and Sarah Pierce.
www.acw.ie

Supported by the Goethe-Institut Irland in collaboration with the National College of Art & Design.

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

Contact:
Heidrun Rottke
Cultural Programme Co-Ordinator Goethe-Institut Irland
+353 1 6801100 heidrun.rottke@goethe.de

Interview with Alan Butler by Seanán Kerr, ACW student

Alan Butler has been examining the implications of new media, the internet and the politics of appropriation for over a decade, he works with various media, from sculpting virtual landscapes for astronaut cats, to large scale multi-coloured paintings, and sending glitter bombs to Julian Assange, though even when venturing away from computer-based work, there is usually some call back involved to the looming spectre of this ethereal, and not so ethereal technology we find ourselves increasingly enmeshed with over the past two decades.

A recent strain has been an examination of the world of Grand Theft Auto V, a widely popular open world computer game released in 2013. The core mechanics revolve around the theft of cars (approach the side of a car on foot, press a button and in one movement (if the door is unlocked) you open the door, haul out the driver and take their place ready to drive), and running rampage with various weapons around an environment that has become increasingly intricate with the advancement of hardware and the developers’ drive to give their world as much life as possible. Butler sees this drive as attributable to nothing other than love, as GTA co-author Dan Houser said in a 2013 interview with the Guardian, “They have to bring a huge section of the world to life, get things working in the right way, make areas that look believable but work well for gameplay and give good roads for car chases and areas for shootouts. It has to be planned out but must still look organic; you have to capture the essence of what’s really there in a city, but in a far smaller area. It’s a great, great skill.” (Stuart, 2013).

The two series that deal with GTA V are the one-off ‘On Exactitude In Science’ two screen installation where a shot-for-shot remake of Koyaanisqatsi made within the GTAV world is screen next to and in sync with the original, and the ongoing ‘Down and Out in Los-Santos’, a photography series where he utilises the in-game camera function to document homeless characters in the game environment. I visited him in his studio to talk about his work in general, but with a focus on these piece in particular in light of consideration of the theme ‘mess’.

His studio was a bit cluttered and with a lot of exhibition and projects in the pipeline, I wondered if captured in time-lapse would the space seem to pulsate with chaos as deadline approached, did one kind of form necessitate a sympathetic deform…

Seanán Kerr: “…like the way a tidy house is a sign of a wasted life, is this some kind of manifestation of your inner mind?”

Alan Butler: “No, because it’s totally temporal, it’s like this now because there was an intersection of ten different deadlines in the last few months which resulted in disarray, after the deadlines it gets tidies up. I don’t really get back to work until it is tidied up. There’s other factors where knowing that I’m going to have to move out of here, I’m not dedicating a huge amount of time to manicuring the whole place, I’d sooner dedicate time to throwing stuff out. But I don’t think there’s any over-arching pattern to it, like this particular mess is because of a number of things, sometimes when I’m making work I’m tidying as I’m going along, when installing if everything is going well I do a tidy up every day, but that’s just me then, everyone is different I’ve friends who’d never have a clean studio, it’s a mess, because they’re pigs.” And he laughs. He shows me his computer desktop.

AB: “You’ll notice, there’s no fucking files on it.”

Which is true the desktop is entirely bare, though it takes me a moment to realise it, a desktop without any files on being indistinguishable from an image, we move on to discuss his works made within the GTA world…

AB: “What those series were really about were structural issues to do with language. Some people get that out of it, there’s a segment of the audience who enjoys deconstructing it to look at the episteme and the paradigms within the language of simulation, there’s still a few echoes of Foucault and Baudrillard lingering around in how people are reading them, but what’s interesting for me if we talking about mess in virtual terms: the mess is simulated to add realism, because reality isn’t clean and neat and laid out the way architects and city planners want it. Once people start living in things, the shine comes off, the corners get smoothed over, but what’s interesting about the inclusion of poverty in a simulation of our reality is in the video game they don’t take part in the narrative either. It highlights the actual tragedy of reality, in order for the simulation to be realistic, we have to include this shit. So therefore we should look at simulations to look at what reality is like, and how things exist in reality, it’s only when things are simulated we begin to see what things are important, with things like the mess, or class issues, or any of that, like the mess simulated, we should look and see what kind of agency do these people have.”

SK: “So this is like the head in the fridge trope, which comes from a green lantern comic, where the hero finds his girlfriend’s head in the fridge and that her character and her character’s death exists purely to give the main male character a motivation?” (Wikipedia, 2019)

AB: “Yeah, but it’s structural stuff as well, when I make work inside a simulation, it’s not to say, “oh look this equals that”, didactic, it’s more if I operate and produce my work as if that is reality, that we are in a simulation, then it affords and audience a bit of critical distance form the world and we have to rethink paradigm and episteme of how we live, where power is, what is it we value? Because I think there’s a real material consequence to that, I’m doing a research residency in Glasgow in December, which is a month for me to sit down and calculate the real world environmental impact of street litter in video games, because it needs to be downloaded, processed, put out a HDMI cable into a TV screen. Litter is there to create realism, but if you think that every street in GTA has a hundred pieces of litter in it, so how many microprocessors does it take to render them in each instance. And a hundred million people bought this video game, so to think about how this stuff is having real world devastating effects on the environment via power consumption. It’s a nice thing to do for a month, a way to ask “what is happening with the virtual?”. Even just isolating a single piece of trash, narrowing it down to the file, how much energy is being burned between the Playstation, the server, the network nodes, the home router? I don’t know what I’m going to do with that, but I’m thinking about how the mess in the simulated world is also the mess in our world.”

I mention the recent fire in Notre-Dame and how the scanning of the inside for video game series Assassins Creed is now the most accurate image of it (Rea, 2019)

AB: “It’s great isn’t it? It shows they’re doing their jobs properly.”

It’s the broader implications for how we define reality when copies become originals.

SK: “Would you think you’re holding a mirror, trying to ground the viewer in what is going on, raising consciousness?”

AB: “I don’t feel like “raising consciousness” is the right direction to describe that, I’m more re-examining things that seem familiar to us, trying to use existing worlds, like they could be video game worlds or some cultural artefact, but representing them in a different context to allow people to consider their relationship to these things that exist anyway. I am presenting something in a different context that people are able to stand back from. Existing in the world and having a routine is a kind of psychosis, trying to be normal all the time, and how the psychosis of normality clouds and conceals our relationship with what’s happening – with reality. So by accessing things that are familiar and shared with each other, that we both subjectively experience and doing something with the context of that and how it’s experienced, permits people to reexamine these shared things we have. “Oh it’s just a video game”. Well, ”oh, it’s just a song” or “oh, it’s just a painting” we’re so normalised in own consumption, most people don’t have time to critically think about these things, so I’m into art about creating space for people to meditate on their relationship with other things.”

SK: “So like that moment in a recent interview (Vincenteli, 2019) where you discussed the uncanniness of being in Los Angeles and knowing the place from Grand Theft Auto without having been there before…”

AB: “It’s so weird, to know where a carpark is before you turn the corner onto the street for the first time, it feels like a psychic ability. I know if I walk up a couple of blocks there, the scale might be off, so I won’t know if it’s two or three blocks, but I know I’m going to come to a big piece of public sculpture that is red.”

SK: “It sounds like Yuri Gellar or Derren Browne.”

AB: “It is, it totally is, but it’s because people in video games do their job very well, like the Notre Dame cathedral thing, like that guy, he could have just taken short cuts, it didn’t need to be that well done, but the people who work in these industries, it’s something to do with real love and putting love into things, people who put love into their work will do a really good job.”

I ask then if he feels phenomena like that are an indication that we’re passed through the rabbit hole?

AB: “If you read someone like Graham Harman, what’s he’s saying is if we have a philosophical theory that helps us understand what reality is nowadays, it can’t be a procedural scientific one, because mythologies and fantasies can’t be explained through maths, we could explain what’s going on in someone’s brain when a thought happens but he has a nice one where he talks about where Sherlock Holmes lives on 225 Baker Street, when the book was written there wasn’t one, but the street was extended in reality, and so the new 225 becomes a tourist trap and now American tourists who go there think that he was a real person, so it becomes a reality in someones head. Things we misinterpret as being real or true, need to be explained somehow as well, you can’t have a theory of everything with quantum physicists that doesn’t allow for fictions to exist because we know they exist in some minds. If we just rationalise or describe or quantify everything through algorithmic procedure we’re presented with a problem where the spectre of existence can’t be accounted for. There’s things we know that we will never be able to account for in the world, because science is also a lens to look at a particular things. So in video games we begin to think about processes, in terms of the material function of a character in a video game, if you spend too much time underwater you’ll drown, if you run for too long you get tired, so there are all these restrictions interlaced to simulate real life.We can quantify it all down to these reflexive components and algorithms and that’s going to align very nicely to object orientated ontology. Where if you’re looking to deanthropocentrise Seanán into these other components, these different systems at play, but what the video game algorithms can’t describe is that Seanán also has fictions and mythologies and structural relationships to culture. So the video game character looks a different way, or has a certain kind of swagger, there’s a cultural reason behind that that wouldn’t be quantifiable by some doctor with a high tech body scanner. So video games provide us with a way of expanding the thought process of ontology, and allow us to look at the reality that we’re not just blood and guts, but we also somehow ended in Alan’s studio because of what was going on in the heads of Francis, Declan and Sarah.It’s like a virus in the minds of these MA students, you end up here, and that can’t be explained algorithmically, that’s why scientists will never explain everything.”

I mention a recent Adam Curtis interview in the Economist (Future, 2019) where he concludes with saying religion is set for a come back, but that’s the wrong way of putting it, I mention how speaking of Notre-Dame the cathedral was an instrument of technology in that it told the story of God, but what was what was thought then of as reality that the illiterate would understand and that arguably the computer game could be said to have a similar function.

AB: “Well there’s a definite morality to it, it’s a form of political story-telling, like the great stories in scriptures yes totally, Curtis has the right idea in thinking beyond the scale of the individual, he talks about socialist realism and the modern equivalent isn’t the likes of a Banksky painting of monkeys in parliament., Social realism now is all of Twitter happening at once, all the energy, human thought and anxieties, the Big Other stuff that’s happening within that. It is the true expression of our time all happening at once, when everybody thinks what they have to say is important, and it’s a testament to the level of individualism and how people want to be complicit in their own packaging and marketing, like good neoliberals, Conor McGarrigle has a really interesting piece in the Green on Red where he follows the hashtag ‘riseandgrind’, and there’s people who are good little capitalists on social media all over the world, they’ll say, “I’m getting up, gonna be in the money #riseandgrind” and he has machine learning algorithms scraping them up and trying to learn the heuristics by generating new tweets with riseandgrind and hashtag hustle (1). And it’s great it’s getting better, the tweets start to feel more accurate with time, but ultimately it’s producing a kind of beat poetry for neoliberalism. But what Adam Curtis is right about is we need to think about scales larger than Tony Blair, we need to this about scales larger than Donald Trump because the only problems we have really right now, are the ones that aren’t just ideological, have to do with the survival of all life on the planet, so to think about scales ever larger than that so the process of deanthropocentrisation, is a political endeavour and a spiritual one as well, not just a cultural one.”

(1) Visible in action here on McGarrigle’s Twitter feed: https://twitter.com/_stunned/status/1124326555860127745

a heap of language #002: radical publishing

Please join us for the second instalment of a heap of language, an ongoing event series organised between Paper Visual Art Journal and the School of Visual Culture at NCAD.

For this event we have invited a number of contributors to speak about radical (artists’, small press, activist, and samizdat) publishing.

A publication, compiled by current students of the MA/MFA Art in the Contemporary World, will also be launched. This publication has been collaboratively produced in response to the idea of cohabitation.

Contributors: Christodoulos Makris, Sam Riviere, David Crowley, Simon Cutts and Erica Van Horn, as well as students of the MA/MFA Art in the Contemporary World.

4 pm: transcription writing workshop with Christodoulos Makris [numbers limited, separate sign up]
6 pm: talks at the Goethe-Institut, Merrion Square
8 pm: publication launch at the Goethe-Institut, Merrion Square

This event is kindly funded by the Arts Council of Ireland. All aspects of this event are free but booking is required. Separate registration for the workshop, beginning 4 pm, departing from the Goethe-Institut.

Tickets here.

Opening: Pauline Oliveros, Software for People @ The Goethe Institut

Exhibition at 126 Artist-Run Gallery

Anticipated Fictions: Monumental Configurations at 126 Artist-Run Gallery from Saturday 27 April to 12 May.

126 Artist-Run Galley,
15 Saint Bridget’s Place,
The Hidden Valley,
Galway,
Ireland

Emma Brennan’s Heed To The Mound, reviewed by Aoife Banks

Six contorted, heaving bodies, six mounds of dough, arms and legs entwined with lengths of proved flour, yeast and water. Twisting, manipulating limbs and torsos. Cold, thick slaps of bread dough against concrete. Brushing of feet and fingers, the clatter of elbows, palms and kneecaps against the flour sifted floor. Dusty sweeping of limbs. Panting fury. Laboured breaths. Exhausted sighs. Groans of resistance; of perseverance. Our bodies; our battleground.

Emma Brennan’s authored durational performance “Heed, to the Mound”, presents a group of women negotiating space through the movement of mounds of bread dough within the space of The Complex for Dublin’s 2018 Fringe Festival. Taking place over the course of 3 hours, physical exertion takes it’s toll on the performers as they use their bodies to manoeuvre and manipulate mounds of bread dough, equivalent to the weight of their own bodies, across the performance space. Heed brings to the fore the question of space, how it is occupied, who occupies it and how we negotiate our bodies accordingly. Moving mounds through the tumultuous terrain of gender politics proves no easy feat, as the excruciating and exhaustive work quite fittingly erodes these women mentally and physically throughout the duration of the performance. With puffed red faces and sweat glistened necks, the performers roll, twist, knead, push and pull their dough with ferocious determination evoking an emotional response from spectators. As tightly clenched fists punch into dough and miniature mountains inch across concrete we see the slow progression of women’s rights throughout history, we see the everyday instances of aggression and violence toward female bodies, we hear the hurt and fury in the exasperated groans of women on the battleground of Ireland’s sociopolitical landscape.

The undervaluing of women’s labour throughout history and the unseen emotional labour expected of women within contemporary society are brought to the fore in Heed. Taking inspiration from her grandmother’s tradition of baking brown bread for the family, Brennan questions the devaluation of homemaking skills, deemed as “women’s work”, in Irish society. In rural Irish homesteads, the process of baking seemed to go almost unacknowledged and undervalued compared to the work of men’s labour on the farm or outside of the home. Heed, to the Mound points a finger at society’s valuation of the workload associated with the traditional role of the homemaker. Through the poignant actions of a group of women labouring intensively, exhausting every part of their bodies, over masses of dough, attention is drawn to the intensity of this work and respect that must be commanded of the act of making. Heed emphasises the importance of valuing these acts of unseen and undervalued labour in opposition to the emphasis placed on working for monetary gain within a capitalist system.

Brennan refers to her process of preparing the dough as a metaphor for the creation of life. “With flour and water, we can create a living, breathing body, something which can grow through proofing.” The genderless, sexless, mounds of dough present each performer with an opportunity to experience a sense of self without the weight of gender bias, stigma, discrimination, fear or insecurity. With pressed backs, stomping feet and curled fingers these women manipulate their very being across a public platform. Each women tending to their own projected doughy selves; some rip chunks out and squeeze together again, some stretch and roll out for lengths becoming thinner and thinner with each inch, some repeat the pulling and folding of flaps; the slapping of flesh and dough reverberating through the room. When kneading dough you cannot be heavy-handed – it changes the entire consistency and texture, you can taste a bread baked with love or anger. A handful of dough receiving the blunt force, or gentle caress, of emotion; do our bodies receive the same attention from the space we inhabit? Politics are a tactile experience, and the daily micro-aggressive touch of our oppressive sociopolitical sphere lingers in our physicality and psyche alike.

The socio-political landscape of contemporary Ireland has been aflood with dissent regarding the relationship between the state and women’s bodies. In 2018, Irish society saw the culmination of decades of protest in the passing of the movement to repeal the 8th Amendment from the Irish constitution. The year also marks the centenary of women’s partial suffrage in Ireland; 1918 was the first time Irish women (aged 30 or older who were university graduates or owned a certain amount of property) were permitted by law to vote and run in parliamentary elections. Both movements saw women collectively struggling against structures of power that sought to oppress and define them physically, mentally, socially and politically. From the violent beatings of protesting suffragettes at the hands of police forces to the vice grip of the 8th Amendment and the mobilisation of women in the campaign to repeal it, the female body indefinitely exists as a site of conflict in a constant struggle against its aggressive politicisation. Taking place just three months after the referendum on the 8th amendment was held, Heed, to the Mound allows for a form of post-repeal conflict resolution to play out on the concrete floor of The Complex. The struggle of dissent against patriarchal structures of power echoes through the space as violent slaps of an elongated limb of dough reverberate through the concrete floor. Forcefully, in spite of her evident fatigue, a woman thrusts it behind her shoulder to gain momentum before hurtling it down upon the flour scattered ground. Some of the dough breaks away to hit a nearby wall. She repeats her action; the dough catches her behind the neck with a smack to her upper back; there can be no disruption without trauma. She perseveres.

Exhausted, and seemingly close to defeat, one woman halts her movements. The mass she had been inching across the space has begun to stick to the undredged floor and each push is met with increased resistance. As she heaves her body upon the mound to catch her breath and rest for a moment, she is spotted by the human dredger. This woman stands watching over the others, smiling gently, a mountain of flour in hand. Upon seeing distress, she tends to the struggling womens needs by sifting flour with great care around the stubborn masses of dough. A moment later, the performer is moving again. In times of mass dissent against oppressive forces of power, it is collectivity and care for ourselves and one another that carry us through. We must remember to pay heed to the mound.

IMMA Presents: A Vague Anxiety

IMMA Presents: A Vague Anxiety
12 Apr 2019–18 Aug 2019

Opening Thursday 11 April 18:00 – 20:00

A new group exhibition of emerging artists addressing new issues of the Generation Y.

Featuring ACW Alumni Marie Farrington and including work by Cristina Bunello, Saidhbhín Gibson, Helio León, plattenbaustudio, Brian Teeling and Susanne Wawra, with performances by Alexis Blake and Stasis.

You, Me and Everything In Between workshop conducted by ACW students in the RHA

Art in the Contemporary World work with the RHA for Learning and Public Engagement, Futures Series 3, Episode 2 with Dublin Youth Dance Company

Working closely with the RHA, Katy Fitzpatrick and Róisín Bohan for the Public Engagement and Learning program for the current Futures exhibition, ACW students, Brendan Fox, Natalie Pullen and Éimear Regan developed You, Me and Everything In Between. A theatrical workshop loosely based around Augusto Boal’s Theatre of the Oppressed, where participants were encouraged to manifest a performative narrative connecting the exhibition content. The artists featuring in Futures Series 3, Episode 2 exhibition are Bassam Al-Sabah, Cecilia Danell, Laura Fitzgerald, Jennifer Mehigan, Joanne Reid and Marcel Vidal. The work on display by each artist in Futures is unconnected and seemingly disparate as the exhibition is a display of their own personal practice rather than a group show that relates to a specific theme or greater narrative. The challenge set forth in the workshop was to develop a constellation between the artists’ work on display, with an outcome of producing and creating a wholly separate piece of performance art. The artists in the Futures exhibition also contributed to the workshop by donating personal objects for a further insight into their world. Among the objects donated were a paint pot cast from layers upon layers of paint, a silver mask and a metal rod. Members of the Dublin Youth Dance Company directed by Mariam Ribon, were invited to participate in the 3-hour-long workshop which took place on Saturday 15 December. The first half of the workshop began with the 11 participants viewing and taking in the work, followed by a meditation and then contained a series of exercises influenced by Boal’s practice where there was a discussion and consequently where the generation of ideas for a narrative emerged. During the second half of the workshop the DYDC participants were divided into three groups and were instructed to develop their narrative of the exhibition through three “moments” that established a final performance. Materials were provided by the facilitators Fox, Pullen and Regan to aid the development and theatricality of the narrative, encouraging the participants to engage in producing a fully embodied piece of art. The dancers infused themselves into the workshop and the outcome was outstanding. Each group performed their finished piece within the space with the artworks as a backdrop. The dancers’ commitment to the workshop was phenomenal and the creative energy generated in the space was quite special.

Éimear Regan, MA Art in the Contemporary World

All photographs by Brendan Fox

Young Hearts Run Free Collective turns 10!

Young Hearts – www.youngheartsrunfree.ie turns 10 in December, and to celebrate the milestone there’s a mini-festival from 7th – 9th December at venues around Dublin city.

As ever, all the proceeds go to the Simon Community -The project/collective was started in 2008 by Siobhán Kane, wanting to promote the creative community, as well as raise money for this homeless organisation.

There are so many great people contributing, from Emmet Kirwan to David O’Doherty, Katie Kim, Lisa O’Neill, Dreamgun – to grab tickets to any of the events click the link below:

https://www.eventbrite.ie/o/young-hearts-run-free-6319407353

Don’t miss out!

Free event on artists’ writing at Dublin Art Book Fair – Tuesday 27th November

Why do artists write? And do they approach the task of writing differently?

The Art in the Contemporary World MA/ MFA programme at NCAD and Paper Visual Art are hosting an evening of readings at which artists and critics will read their own words, or those of other artists. Speakers include Sue Rainsford, Suzanne Walsh, Fiona Gannon, Jessica Foley, Lily Cahill and others. It will take place on Tuesday 27th November at 6pm in Temple Bar Gallery + Studios, Dublin, as part of the Dublin Art Book Fair 2018.

Free. Open too all. Refreshments served. Please book a place via eventbrite here.

This will be the first of a series of events putting the spotlight on new forms of writing and publishing practices in contemporary art planned for 2018-19.

Make Haste, Slowly at the Return Gallery


Photo Credit: Louis Haugh

Make Haste, Slowly
Return Gallery Goethe-Institut Irland, 37 Merrion Square, Dublin 2.

A collectively curated, scripted, performed, and presented exercise in radical pedagogies by the MA Art in the Contemporary World: Jack Cole, Dominique Crowley, Padraig Cunningham, Stephanie Deady, María del Buey, Tamara Derksen, Nicole Di Sandro, Brendan Fox,
Kate Friedeberg, Valerie Joyce, Seánan Kerr, Heidee Martin, Grainne Murphy, Orlaith Phelan, Natalie Pullen, Éimear Regan, and Laura Skublics.
With artworks and collaborations featuring Basil Al
Rawi, Jane’s Bees, Jasmin Marker, Repeater Collective, Noel Sheridan, John Smith, and David and Sally Shaw-Smith. Presented in the context of Liam Gillick’s Denominator Platform 2018, specially commissioned by Art in the Contemporary World for the Return Gallery.
Make Haste, Slowly is part of Common Denominator: Art in the Contemporary World at the Goethe-Institut, a two-year programme that takes as its starting point Walter Gropius’s term, from which collective knowledges progress. Through exhibitions, events, seminars and more we will interrogate and inhabit what it means in our time to speak of political solidarity, civic standards, or even aesthetic values, and to consider
the relation between common commitments and necessary possibilities of individual belief, expression and action.
Art in the Contemporary World is Ireland’s leading taught MA at the National College of Art & Design in Dublin.
Our students are avid researchers whose focus is to advance a project with the aim of understanding, interrogating,
and expanding the role of contemporary practices and their contexts. ACW is led by Francis Halsall, Declan Long and Sarah Pierce.
Supported by the Goethe-Institut Irland in collaboration with the National College of Art & Design. Special thanks to the Kerlin Gallery and IMMA | Irish Museum of Modern Art.


Opening
30th November 2018 6 – 9pm
Exhibition runs through 12th January 2019
.

Liam Gillick in conversation with the MA Art in the Contemporary World


ACW in conversation under Liam Gillick’s Discussion Island at the Return Gallery. Photo by: Louis Haugh

Goethe Institut Irland
37 Merrion Square
Dublin 2

Wednesday
21st November
6PM

On the occasion of Liam Gillick’s exhibition A Depicted Horse is not a Critique of a Horse at the Kerlin Gallery (23rd November – 19th January) and his Denominator Platform 2018, specially commissioned for the Return Gallery at 37 Merrion Square in connection with Common Denominator: Art in the Contemporary World at the Goethe-Institut, a two-year programme that takes as its starting point Walter Gropius’s term, from which collective knowledges progress. Through exhibitions, events, seminars and more we will interrogate and inhabit what it means in our time to speak of political solidarity, civic standards, or even aesthetic values, and to consider the relation between common commitments and necessary possibilities of individual belief, expression and action.

All welcome. Please note space is limited. Arrive early to avoid disappointment.

Supported by the Goethe-Institut Irland, in collaboration with the National College of Art & Design. Courtesy the Kerlin Gallery.

Contacts
Rosa Abbott
Kerlin Gallery
+353 1 670 9093
gallery@kerlin.ie

Éimear Regan
Art in the Contemporary World
ncadacw@gmail.com
www.acw.ie

Heidrun Rottke
Goethe-Institut Irland
+353 1 680 1100
heidrun.rottke@goethe.de



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