Archived entries for Headline

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

POST-DANCE


August 15, Project Arts Centre
Performance 5pm//Lecture 6pm

curated by ACW alumni Sara Muthi (ROU)// performed by Oran Leong (IRL)// composition by Aoife Kavanagh (IRL)// lecture by Amanda Øiestad Nilsen (NOR)

Post-dance is a new and rather empty terminology. Initially a 2015 conference of the same name it took place at MDT in Stockholm. Created by Danjel Andersson, André Lepecki and Gabriel Smeets, it gathered artists, scholars, thinkers, producers, activists and those who care deeply for dance. Together they considered this new vocabulary as a container for contemporary dance practice/thought which may otherwise suffer from an attempt at capturing it in historically loaded language. Post-dance has no agenda to advance or project the future of movement. Rather, it gives licence to connect things that seem farfetched, make what was once evident, foreign again; consider and cross-pollinate work that does not easily slot into commercial or institutional contexts.

Post-dance is an “open-source concept.” “It is not a leader. It is a container. It needs to be filled.” While performance art practice is overrun with multi-/inter-/post- disciplinary artists, dance may have become a term so vague and unstable that it can envelop any-body. The Dublin context, however, does not often consider the cross section of these paralleling practices. Both approach similar concerns of embodiment, meaning and touch through varying methods, methods that are appropriately and productively transferable. This contribution to Post-dance aims to connect often disparate creative performing communities. It proposes a space to borrow and test each other’s methodologies in order to labour for new answers to worn out questions like; what is dance? What is performance? It also has the potential to prompt answers to questions we have not yet asked.

This performance/lecture hopes to introduce the container of Post-dance to the Irish context through subverting expectations of what we consider to be dance, live-art, musical composition and, perhaps, audience. Post-dance is a container that serves the needs of every national community differently. This is Dublin’s contribution, hopefully one of many.

Find more information here: https://projectartscentre.ie/event/post-dance/

#postdancedublin #artisforeveryone

Constellations by Orlaith Phelan

C o n s t e l l a t i o n s
Wolfgang Tillmans, Rebuilding the Future Exhibition | IMMA

I’m photographs, sometimes photocopies, sometimes even photographs of photocopies. I’m taut, stretched and bare. Thin skin on clips balanced on an edge, human in and of paper. I’m framed, bound, sealed and dispersed in my own ordered disorder. I’m not hierarchy. I’m raised, pressed in corners, by door frames, over eyes, scattered flecks along each wall. Patterns colliding with vulnerable intent. I hide and I consume, between hard glass, white edge, and a devouring red that lingers as mirrored traces against the flat planes towards the hand that holds your dripping head.

I’m moments and the interstitial. The infra thin of borders and after borders, leaving both a position and a question. I’m that yellow line down the middle. The stain, the muck; the scratches that are not meant to be. I break, spatter and gather; a box of empties all used up. Systems, fragments and scraps of something dirty and divine. The excesses of the time; the love on the dance floor, the cock in your mouth, and the hands you hold in prayer. I’m the white wave catching colour, the fold that denies and caresses dark and light.

I’m showing you what makes the “me” of this, the pieces of now, and the things not of us. The measures of power, growth and decay at every scale. The cracks in the sand, spilling veins of disruption and collapse. I’m the apparatus and the ties, the plastic tubes that coil and hang. Colours that melt of horizons that must remember not to fade. I’m the light that hits your back, in the glow to the gutter of what came before the morning with the remains smeared at our feet. I’m your hand that rests in the crisp blue.

I’m of an old future looking back. Always changing; a process of medium becoming object becoming body. My body that’s been recorded, crumpled, erased, and exposed, but always rebuilding forward. I’m the black on brown, the tight brace on your flexed muscle reminding. I’m an approach without fear to push or pause. Cravings and thoughts of joy and distress; the singular pluralities of all parts human. I’m the intimacy of the explicit unprotected, and the desire that punctures the mundane desperate to seek and see. I’m all parts human and the need to be expressed.

I’m not a theme and I’m no one thing. I’m the opposite of your reductive thoughts and the will to be the obvious. An abstraction that keeps abstracting, but somehow I manage to hold and hover in the sounds of “just enough to think” and “let’s stop before we go too far”. A life of work from a work in life. I’m a thread of all things, like a constellation that burns in and out of sight; an offering of all points with nothing denied.


Orlaith Phelan is an architect and a current student of Art in the Contemporary World

Irish Association of Creative Therapists at IMMA

Within the Irish Association of Creative Therapists symposium at IMMA on the 27th April, ACW student and practicing artist Natalie Pullen is collaborating with art therapist Deirdre Ni Argain and contemporary artist Siuan Ni Dhochartaigh on a workshop exploring therapeutic experiences that happen outside the conventions of a formal relationship with an art therapist, specifically looking at the context of the contemporary art space. Tickets for the symposium are available on eventbrite.

ACW Events April 2019

1) ACW is delighted to welcome Dan Adler as this year’s ACW/ IMMA fellow.

During his time in Dublin Dan will lead a seminar on the Assemblage and what it means for thinking about both making and writing about art.

Dan will deliver a public lecture on the artist Isa Genzken and the Berlin Aesthetic on:
Thursday, 18th April, 6pm at the Goethe Institut, Merrion Square, Dublin. ALL WELCOME

2) Adrian Duncan discusses the influence of art, architecture and Berlin on the writing of his debut novel Love Notes from a German Building Site (The Lilliput Press 2019)

Tuesday 16th April, 6pm at the Goethe Institut, Merrion Square, Dublin. ALL WELCOME

In the book, Paul, a young Irish engineer, follows Evelyn to Berlin and begins work on the renovation of a commercial building in Alexanderplatz. Wrestling with a new language, on a site running behind schedule, and with a relationship in flux, he becomes increasingly untethered. Set against the structural evolution of a sprawling city, this meditation on language, memory and yearning is underpinned by the site’s physical reality. As the narrator explores the mind’s fragile architecture, he begins to map his own strange geography through a series of notebooks, or ‘Love Notes’. Paul’s story will speak to anyone who has known what it is to be in love, or exiled, or simply alone.

Both of these events are part of “Common Denominator: Art in the Contemporary World” at the Goethe-Institut Irland, a two-year programme of exhibitions, events, seminars and workshops in collaboration with Masters Program, Art in the Contemporary World at the National College of Art & Design, Dublin.

3) ACW Scholarship Deadline approaches

Every year ACW offers 1 MA scholarship to incoming students worth full tuition fees. It is are awarded on academic merit and all applicants are eligible, including EU and non EU students.

To be eligible for consideration for one of the Scholarship awards applicants should apply for admission to the programme in the normal way. Please refer to Postgraduate Admissions for application procedures.

Priority deadline on applications to all postgraduate programmes for 2019 – 20: 30th April. All applicants are encouraged to submit their application by 30th April. Only applications received by 30th April will be considered for an MA scholarship award. (The 30th April deadline does not apply to PhD Studentship awards.)

After 30th April, NCAD will operate a rolling closing date for postgraduate applications. Applications will be reviewed on receipt, and offers will be sent also on a rolling basis. Applications will continue to be accepted until a programme is full. Applications will remain open only if a programme has open places remaining, so please plan to submit your application as soon as possible.

Please contact the Admissions Office for further information admissions@ncad.ie

4) Dublin Digital Radio, Podcast – new episodes coming soon.
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 again here: https://soundcloud.com/dublindigitalradio/current-on-liam-gillick-and-the-art-of-disappointment
Podcasts: https://listen.dublindigitalradio.com/podcasts
Blogpost: https://listen.dublindigitalradio.com/editorial?id=5c67ebf96426a80014290a19

Further Information

MA / MFA Art in the Contemporary World
Visual Culture is concerned with the spectrum of human creativity: art, design, architecture, advertising, film, media and aesthetics. We interrogate social theories and practices of visual culture and seek meaningful connections between history, theory and practice.
The MA / MFA Art in the Contemporary World is a taught programme that examines contemporary art practices and their critical, theoretical, historical and social contexts.
The course offers an opportunity for focused engagement with the varied challenges of today’s most ambitious art, bridging the relationship between theory and practice by creating exciting study options for artists, curators and writers.

MA Duration: 1 year full-time or 2 years part-time 90 ECTS credits/Taught Masters/Visual Culture Pathway

MFA Duration: 2 years 120 ECTS credits/Theory-Practice Pathway

Find out more or apply for a place on the MA / MFA Art in the Contemporary world:
https://www.ncad.ie/postgraduate/school-of-visual-culture/ma-art-in-the-contemporary-world/

Programme Contact:
Dr. Declan Long, longd@staff.ncad.ie
Dr. Francis Halsall, halsallf@staff.ncad.ie
Dr. Sarah Pierce, pierces@staff.ncad.ie

Contributors

Dan Adler is Associate Professor in the Department of Visual Arts & Art History at York University in Toronto. Adler’s areas of research include the history of art writing, modern and contemporary sculpture, German modernism, and the development and reception of the conceptual art movement. His other books include the monograph Hanne Darboven: Cutural History 1880-1983 (Afterall Books/MIT Press, 2009). He co-edited (with Mitchell Frank) German Art History and Scientific Thought: Beyond Formalism (Ashgate Press, 2012) and co-edited (with Janine Marchessault and Sanja Obradovic) Parallax: Stereoscopic 3D in Moving Images and Visual Art (Intellect Books/University of Chicago Press, 2013).

A former senior editor of the Bibliography of the History of Art at the Getty Research Institute in Los Angeles, he regularly contributes reviews to Artforum. An alumnus of the Whitney Museum’s Independent Study Program, he co-curated (with Lesley Johnstone) a Liz Magor retrospective exhibition at the Musée d’art contemporain de Montréal, which traveled in 2017 to the Migros Museum für Gegenwartskunst, Zürich; the Kunstverein in Hamburg; and the Musée d’Art Moderne et contemporain in Nice, France (the accompanying catalogue, Liz Magor: Habitude, was published by JRP Ringier).

His other curatorial credits include the exhibitions “Francis Bacon and Henry Moore: Terror and Beauty”(2014) held at the Art Gallery of Ontario and “When Hangover Becomes Form: Rachel Harrison and Scott Lyall” (2006), held at the Contemporary Art Gallery in Vancouver and Los Angeles Contemporary Exhibitions (LACE).

Adrian Duncan is a Berlin-based Irish visual artist who originally trained as a structural engineer. He is an alumnus of the NCAD MA Programme Art in the Contemporary World.
His short-form fiction has appeared in The Stinging Fly, gorse, The Moth, The Dublin Review and Meridian (US), among others. His feature film Flying Structures on Irish engineer Peter Rice, co-directed with Feargal Ward, premiered at the Dublin International Film Festival 2019.

ACW24 -TBG+S

NCAD ACW masters students are currently developing a publication containing a 16 part dossier under the theme of Co-Habitation and will spend 24 hours co-habitating, experimenting, workshopping, writing about, and mapping co-existence. Over the last 7 months, the ACW students involved have studied, written about and discussed philosophy, theory, and surrounding literature concerning contemporary art and writing. The 16 students taking part in this experiment come from a broad spectrum of disciplines and are concerned with the following questions.

What does it mean for a group of visual artists, journalists, curators, historians, and writers to workshop, debate, critique, perform, write, eat and sleep in a single studio space over a 24 hour period?
How will this experience of co-habitation manifest through the process of collective writing?
What are the broader socio-political repercussions of co-habitation and how do these issues affect our considerations of this process?
Where does contemporary art and writing situate itself in relation to this theme?
What does it mean to inhabit a space in these terms?
What individual and collective concerns will arise during this experiment?
And how will this experiment direct the final publication?

Launch of Paper Visual Art Journal, vol. 10

Launch of PVA 10 at Temple Bar Gallery + Studios

Thursday 28 March 2019, 7–9 pm
Atrium Space, Temple Bar Gallery + Studios

“Paper Visual Art Journal will be launching their latest hard-copy issue on Thursday 28 March in the Atrium, Temple Bar Gallery + Studios, from 7–9 p.m. Alongside reviews and responses to exhibitions and public artworks in Ireland and elsewhere, PVA 9 comprises a series of texts and contributions focused on borders, political and otherwise.

With contributions by Kevin Brazil, Garrett Carr, Laurence Counihan, Wendy Erskine, Peter Geohegan, Declan Long, Rebecca O’Dwyer, Rachel O’Reilly, Kathy Prendergast, Andrey Shental, and Guy Woodward.

This publication was made possible with funding by the Arts Council.

All welcome. Do come!”

PVA

ACW Alumni Adrian Duncan’s New Novel, Love Notes from a German Building Site.

In April The Lilliput Press will be launching ACW alumni Adrian Duncan’s debut novel entitled ‘Love Notes from a German Building Site.’

‘Love Notes from a German Building Site’ follows the story of Paul, an Irish engineer in Berlin, involved in the renovation of a commercial building in Alexanderplatz. Constantly aware of the cracks in its foundations, the text moves calmly towards a manifest cohesion and stability
as Paul’s daily experiences fragment, collapse and are formed anew.

Duncan recently premiered his documentary on the work of structural engineer, Peter Rice, ‘Floating Structures’ at the Dublin International Film Festival. His process of making and the aesthetic of his works derives from an interest in language, and the processes of construction, both amateur and professional, he has carried this through beautifully to his writing.

The launch will be held at the Goethe Institut on Tuesday 16 April at 6pm.

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.

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

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

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

The Ontology of the Artefact

The Ontology of the Artefact is a digital publication compiled by students, Aoife Banks, Nathan Cahill and Kate Friedeberg of NCAD’s Art in the Contemporary World Masters programme, exploring the conditions of the artefact within colonial museology through to contemporary visual culture. It is a platform for discourse surrounding the artefact and its displacement, creation, destruction, and reimagining.

Read the publication here: http://www.ontologyoftheartefact.xyz

Please join us for the launch of The Ontology of the Artefact at Temple Bar Gallery and Studios on Wednesday 30th Jan at 7pm. Speaking at the launch will be Rachel Dwyer, lecturer of digital cultures in the School of Visual Cultures in the NCAD and Melanie Otto, lecturer of postcolonial literature in The School of English in Trinity College. Talk followed by wine reception.

Wednesday 30 January 2019
7pm
Studio 6

Free admission, no booking required.

Artist In Conversation: Karl Burke and Dr. Francis Halsall

Artist In Conversation: Karl Burke and Dr. Francis Halsall
Thursday 31 January 2019, 6.30pm
Free in.

Artist Karl Burke will be in conversation with Dr. Francis Halsall; art historian and co-director of the MA Art in the Contemporary World at NCAD Dublin. In association with Space Gathers Itself, an exhibition of work by Karl Burke, running until 09 February.
Karl Burke is an Irish artist and musician based in Dublin. He has exhibited widely in Europe and North America including The Royal Hibernian Academy, Irish Museum of Modern Art, Hugh Lane Gallery, Project Arts Centre, The Mac, Maria Stenfors Gallery, The Serpentine and The Mattress factory. A site specific practice of primary concern in Burke’s work is the symbiotic relationship between the art object, the space it inhabits and the experiential concerns related to viewership. The work is often minimal or reductive in appearance and takes the form of sculptural installations often utilising the mediums of steel and wood. Video, sound and the photographic image are utilised in other instances.
Francis Halsall is co-director of Master Programs, Art in the Contemporary World, at National College of Art and Design, Dublin and Research Fellow at the Department of Art History and Image Studies, University of the Free State, Bloemfontein, South Africa. His research involves three main areas: (1) Modern and Contemporary art; (2) Philosophical aesthetics (3) Systems Thinking. He has published and lectured widely in all areas.

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.

Review: Furtive Tears by Niamh McCann at The Hugh Lane Gallery by Brendan Fox (ACW)

A New Occult and Encounters with the Invisible Man

A review of Furtive Tears, 4 October 2018 – 6 January 2019 by Niamh McCann at The Hugh Lane Gallery, Dublin, 2018.

Rodin's The Age of Bronze AKA The Awakening Man AKA The Vanquished One (masked) - Box Steel Frame, Walnut Burl Veneer Panel, Painted Panel, nuts and bolts, The Age of Bronze by Auguste Rodin from Dublin City Gallery The Hugh Lane’s collection - 2018.Photo Credit: Ruarí Conaty.

Occultation; n. (Astronomy); The passage of a celestial object across the line of sight between an observer and another celestial object; as when the moon moves between the Earth and the sun in a solar eclipse.

Beckoning us through ghostly operatic echoes as we ascend the stoic neoclassical staircase of the Hugh Lane Gallery, McCann’s video work Furtive Tears, Salomé’s Lament eventually drenches us in
an opulent fusion of Richard Strauss’s Salomé and Donizetti’s Una Furtiva Lagrima from here the hybridism of language and landscape becomes only more strange.

An imposing screen seduces us. Boris, a suited man, appears to await our arrival and scales the grandiose marble staircase of Belfast City Hall in a pair of red high heels. In a duo of impassioned tableau vivant’s he mimics the stance of Sir Edward Carson’s statue, situated at Stormont Castle, Belfast, followed by the Jim Larkin monument on O’Connell Street, just meters away. Both prominent twentieth century political figures immortalised in a state of dramatic public address. Outside the gallery they tower over contemporary cities fraught with new political uncertainties, their power redundant, their bodies now relics cast in silence. McCann breathes a last breath into their predominance and within it gives us space to reassess our own position in relation to both historic and contemporary power structures.
In the following scene we follow Boris’s continued ascension as he scales the Ridge View of Black Mountain leaving Belfast city behind having swapped his suit for a panda costume. Still wearing his red shoes, we witness him meandering through dewy grass, climbing fences and encountering mildly inconvenienced cows. He again mimics these political ghosts but this time the man is hidden, masked, he has become a cartoon. The dramatic inhabitance of these two iconic statues becomes a pathetic historical indistinct echo falling on deaf ears. We see his physical intentions without the details of expression, he is present but not apparent, something has passed between us and him obscuring our perspective, our reality.

This notion of occultation is pushed further in the adjoining gallery as we encounter our third immortalised male figure in a work wryly entitled The Age of Bronze AKA The Awakening Man AKA The Vanquished One (masked) pertaining to Rodin’s multi named bronze cast male figure (1876-77), a piece from the Hugh Lane Collection. McCann encases the gallery’s own Age of Bronze in a sharp green box frame, his head and upper body obscured with two panels, one blue the other a walnut burl veneer. This is a mongrel of the opposing sides of modernism but beyond its formal and art historical loft dwells a new space for interpretation. Through McCann’s geometric addition the figure of the naked bronze solider appears vulnerable, even caged. As the linear mechanism contrasts with the details and curvatures of his lower anatomy a palpable intimacy develops, yet he cannot “see” us, he is a pawn in a statement, to be looked at but not fully engaged with.

These historic male statues and monuments bare a contemporary vulnerability. McCann is redistributing notions of power and how we perceive it. She confidently harnesses these icons like a child might put batteries in an old toy and asks us to look again. Paradoxically there is a sense of the prophetic here, these historic regurgitations feel immediate and succeed through McCann’s ubiquitous intentions, her place amid the current socio-political zeitgeist and our own conception of the dawning of a new order.

In another gallery a taxidermied fawn towers above us, its head suffocated with a zipped black balloon, its fore limbs extended to its rear with black curved rods as it precariously sits, like a rocking horse, atop a box frame plinth, containing a dangling umbilical-esque blue neon tube light. From a height a pair of white voile drapes partially veil the rich blue walls before theatrically pouring to the floor surrounding an offering of fresh lilies, their fragrance inhabiting the space in a sharp organic sweetness as if Salomé herself was present, seducing us, dancing the Seven Veils amid this mise-en- scène tempered with sacrifice, vulnerability and power. These works lean on us as viewers to decipher what we do not see, or what McCann chooses to occult; they deftly summon forth the invisible. In the same room a large bronze nose cast from Seamus Murphy’s marble bust of Michael Collins (1949), another work from the Hugh Lane Collection, sits on a faux classical plinth, faceless, ironically pointing at a second green pedestal with a pair of destroyed aviator sunglasses. The monumental male is almost invisible now, surviving only by a nose, snorting contemporary air, like a man drowning in history or to quote Salomé in “black lakes troubled by fantastic moons.”

Art critic Rosalind Krauss writes of the logic of sculpture as being inseparable from the logic of the monument, “It sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place”. McCann’s landscape of artefacts is profoundly routed in the space it inhabits; it is of the institution and rebels tangibly and intellectually within that frame. It is quite literally a Trojan horse, it is a series interventional contraptions concealing rebels and soldiers.

Here Salomé no longer dances alone under the gaze of men McCann’s ideas head bang alongside her, amid the Hugh Lane collection, like their parents have gone out of town. Furtive Tears is a spiky romantic affair it confronts us with fact and fiction, real and faux. Like Parrhasius’s curtain the perceived occultation is the work. As McCann’s objects pass between us and the past they momentarily eclipse history and in that darkness dwells a new constellation offering us portals into the alternative, interrogating socio-political shifts and arguing the legitimacy of the relics of politics and art, placing us at the centre of our own truths and preconceived ideas of our idiosyncratic place in story that is history.

Brendan Fox is an artist, curator, film maker and writer living in Dublin, he is currently studying MA Art in the Contemporary World, NCAD

www.brendanfoxart.com

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
.



Copyright © 2004–2009. All rights reserved.

RSS Feed. This blog is proudly powered by Wordpress and uses Modern Clix, a theme by Rodrigo Galindez.