Archived entries for In Conversation

Áine Mc Bride, Habitat HQ

Monday, March 13 – Friday, March 24, 2017

This off-site project will take place in the concourse surrounding the Edmund Burke Theatre on the lower floor of the Arts Building, Trinity College. Subtly responding to the materials, forms, motifs, and imagery in this active thoroughfare, Áine Mc Bride has produced a new body of sculptures that will temporarily inhabit this space.

While the brutalist architecture of this institutional environment can be stark and unstimulating, it is each day enlivened by the students and visitors who find space here to eat, relax, and study. The group of works that will furnish the concourse refer to the functionality of the surroundings but are formally reduced to a point where it is clear that they cannot serve a practical purpose. Partly a pragmatic decision, made in light of the objects being located in a busy public area, it also circumvents any potential for the pieces to be regarded as ornamentation, obscuring their role as either sculptures or utilitarian objects. This ambiguity emphasises how the nature, or an idea, of a place can be hard to define or rationalise when its intended function is displaced by how it is used.

Artist’s Talk

At 6pm on Friday, March 24, Áine Mc Bride will talk to Francis Halsall about the ideas and research interests that helped to form the work in this project. The talk will take place in the concourse area where the sculptures are located.

Please visit the Gallery for details of how to access the off-site exhibition. The Douglas Hyde Gallery and the Arts Building will be closed on Friday, March 17, and Sunday, March 19. This project has been supported by the Trinity College Visual and Performing Arts Fund.

Longtable discussion with Prof. Willem Boshoff and Dr. Francis Halsall (Dublin) on the Willem Boshoff Archive

Date: 13 July 2016
Time: 14:00 – 16:00
Place: Johannes Stegmann Art Gallery, University of the Free State
Enquiries: Prof Suzanne Human,

In a conversation led by Dr. Francis Halsall from the National College of Art & Design, Dublin, Ireland, Willem Boshoff’s digital archive will be discussed. The archive is a major source of Boshoff’s artistic output and the product of many years of intensely disciplined and wide-ranging research and documentation in three main areas – botany, language and music. The digital archive was recently donated to the University of the Free State and may be consulted at the Department of Art History and Image Studies. Large parts of it will also be made accessible on the University website at The playful, informative, artistic and sensory processes involved in the production and performance of the archive will be unravelled as part of a range of interconnected networks and systems.

Other participants:
– Ivan Vladislavic, author of Willem Boshoff (2004)
– Dr Katja Gentric whose doctoral dissertation at the University of Bourgogne (2013) is on Boshoff’s work
– Helene Smuts, arts education writer and publisher
– Masters’ student on Boshoff’s archive, Josef van Wyk
– Prof Johan Rossouw, philosopher and author

Questioning Aesthetics Symposium

Questioning Aesthetics Symposium, Dublin 12-13 May 2016, Newman House, St Stephen’s Green, Dublin 2

Professor Maeve Cooke
School of Philosophy
University College Dublin

Professor Michael Kelly
Transdisciplinary Aesthetics Foundation
Encyclopedia of Aesthetics (Oxford UP)
Philosophy, UNC Charlotte

Dr. Francis Halsall
National College of Art and Design, Dublin

Dr. Danielle Petherbridge
Irish Research Council (IRC)/Marie Curie Research Fellow
Barnard/Columbia University and
University College Dublin

Our two-day symposium explores questions relating to the potential for social critique and transformation in aesthetic (and related) practices and experiences, focusing on the interplay of minds and bodies. The symposium begins with presentations of an excerpt from This Situation by the celebrated artist Tino Sehgal and of Sufi whirling; it continues with reflections by invited philosophers and theorists, who will address the topic in panel discussions under several headings.

Generously sponsored by the Irish Research Council, The Transdisciplinary Aesthetics Foundation, UCD-NCAD Seed Funding, The Goethe Institute, Dublin, UCD School of Philosophy and The National College of Art and Design

Thursday, 12 May: Transformations in Situations: Moving Minds in Bodies

9.45am: Welcome by Maeve Cooke

10am-12.30pm: Tino Sehgal’s This Situation meets Sufi “Whirling” (Leaders: Descha Daemgen and Naïma Ferré)

12.30pm-2pm: Break

2pm-3.10pm: Panel Discussion, Transformations in Situations – Moving Minds in Bodies
Chair: Declan Long

Descha Daemgen, Decided Forms: Tino Sehgal and the Freedom of Prescribed Criticality
Katalin Makkai, How to do Things with Words: This Situation and Conversation
Naïma Ferré, Sufi Whirling

3.10pm-3.30pm: Break

3.30pm-4.40pm: Panel Discussion, Art – as Act, as Reparation, as Transformation
Chair: Maeve Cooke

Ciaran Benson, The Power of Acts
Katherine O’Donnell, Touching Trauma: A Weak Theory of the Power of a Reparative Response to Testimonies of Trauma
Anita Chari, Sensation, Subjectivity and the Arts of Embodied Attention

4.45pm-5.55pm: Panel Discussion, Moving Together – in Situations
Chair: Francis Halsall

Fred Cummins, Speaking in Unison and Collective Intentionality
Joe Dunne, Dancing Minds and Bodies
John McGuire, On the Poverty of Student Life: Revisiting Situationism in the wake of Black Lives Matter

Friday 13 May: Transforming Art: The Power of Aesthetic Constructions

9.45am-10am: Welcome by Michael Kelly

10am-11.10am: Panel Discussion, Aesthetic Spaces and Practices – of Normalization and Critique
Chair: Michael Kelly

Dorothea von Hantelmann, The Art of Liberal Government
Ruth Sonderegger, Normalizing as opposed to Social Critique in the Field of Art
Danielle Petherbridge & Luna Dolezal, Questioning Social Encounters in the Work of Marina Abramovic: Performance Art as Embodied Critical-Reflexive Space

11.10am-11.30am: Break

11.30am-12.40pm: Panel Discussion, The Power of Art Works – Perception, Judgment,
Chair: Maeve Cooke

Tim Mooney, Body and Movement in the Painting
Carmen Dege, The Communication of Taste, the Sublime, and Aesthetic Truth
Jonathan Owen Clark, Art and Historicity

12.40pm-2.10pm: Break

2.10pm-3.20pm: Panel Discussion, Experiencing Art – Attunement, Shock, Estrangement
Chair: Francis Halsall

Rita Felski, In Sync: Art and Attunement
Brian O’Connor, Aesthetic Shock
David Roden, Dark Posthumanism

3.20pm-3.40pm: Break

3.40pm-4.50pm: Panel Discussion, Aesthetic Representation – and Beyond
Chair: Tom Stott

Caitríona Leahy, Examining Kleist’s Marionettentheater
Annie Hanlon Performing Radical Feminist Aesthetics in Popular Music
Francis Halsall, Thinking the Unthinkable: Aesthetics and Hans Blumenberg’s Absolute Metaphors

4.50pm-5.10pm: Concluding discussion (Moderator: Maeve Cooke)

5.10pm-6.15pm: Reception hosted by the Goethe Institute, Dublin

Co-Sponsored by The Irish Research Council; UCD-NCAD Seed Funding; Goethe Institute, Dublin; The National College of Art and Design;UCD School of Philosophy; and the Transdisciplinary Aesthetics Foundation

What is Phenomenology? Francis Halsall & Declan Long

What is Phenomenology?
Francis Halsall & Declan Long
Sat 16 April, 12noon, Lecture Room, IMMA

Dear friends,

Continuing with the talk series What is…? This discussion introduces the theoretical framework of phenomenology as a concept to explore the structure of consciousness, aesthetics and our experiences of the contemporary art object. This talk is in collaboration with the MA programme, ACW at NCAD.

Tickets are free. Booking is required.

Image Credit: ‘Opera no. 34’, 1940 Watercolour on Paper, Carol Rama

James Armstrong Q&A with Danish actor Rolland Møller

Date: Monday, 22 February
Location: Lighthouse Cinema

As part of the ADIFF (Audi Irish International Film Festival), James Armstrong will host a Q&A with Danish actor Rolland Møller following the screening of Martin Zandvleit’s Land of Mine (2015) on Monday, 22 February at the Lighthouse Cinema.

Land of Mine recently received nine awards from The Danish Film Academy including, Best Picture and Best Director to Martin Zandvleit. Rolland Møller has starred in Kapringen (2012), Northwest (2013) and En Chance Til (2015), and Land of Mine (2015).

Visualising the Nation State – Art-Critical Perspectives

In association with the project
Uncomfortable Encounters, Disruptive Pedagogies
Critical Explorations at the Intersections of Collaborative Art/Research/Education Practices

A postgraduate seminar hosted by MA Art in the Contemporary World & the MA Socially Engaged Arts (face), National College of Art and Design.

2-4pm, Fri, 11th Dec. 2015.
Harry Clarke Lecture Theatre, National College of Art & Design, Dublin 8


Marina Gržinić: Some thoughts on the visualisation of the nation-State in former Eastern Europe
Declan Long: Art, borders and the post-troubles predicament (in Ireland/ Northern Ireland)
Siamak Delzendeh: (Mis) interpretation of Iranian visual arts

Marina Gržinić PhD, is a professor at the Academy of Fine Arts in Vienna and a researcher at the FI SRC SASA (Institute of Philosophy at the Scientific and Research Center of the Slovenian Academy of Science and Arts) Ljubljana.
Declan Long is director (with Francis Halsall) of MA Art in the Contemporary World, NCAD
Siamak Delzendeh is an art critic and writer based in Tehran and currently resident at Irish Museum
of Modern Art.


This project is seed funded by the NCAD+UCD alliance and with additional support from CREATE and UCD Parity Studios. It aims to cultivate collective understandings and vocabularies sur- rounding this sphere of work in Ireland, to support an evolving network and community of practice, and to locate Irish practice internationally. Team: Alice Feldman (UCD Sociology), Francis Halsall (NCAD Visual Culture), Nuala Hunt (NCADEducation), Emily Mark-FitzGerald (UCD Art History & Cultural Policy), Michael McLoughlin (Artist in Residence, UCD College of Social Sciences andLaw), Ailbhe Murphy (CREATE) Emer O’Boyle (UCD ParityStudios), Aideen Quilty (UCD Social Policy, Social Work and Social Justice)

Uncomfortable Encounters, Disruptive Pedagogies

Critical Explorations at the Intersections of Collaborative Art/Research/Education Practices

Thursday, 10 December, Methodist Church, Abbey Street, Dublin, 10-5pm

Increasing collaborations among artists, academics, activists and other socially engaged ac- tors reflect a heightened interest in the overlapping fields of critical inquiry, creative practice and education. These explorations have galvanised an array of innovations in scholarship, teaching, arts practice and community work including new forms of cultural production and social analysis; of knowledge, politics – and knowledge politics; of alternative methodologies and pedagogies. Yet, by its very nature, such work provokes both productive and limiting tensions, as well as critical questions about the broader projects of transformative and transgressive praxes of knowledge production and artistic creation.

Seed funded by the NCAD+UCD alliance and with additional support from CREATE and UCD Parity Studios, this project aims to cultivate collective understandings and vocabularies sur- rounding this sphere of work in Ireland, to support an evolving network and community of practice, and to locate Irish practice internationally.

As an academic, artist and activist, our guest speaker, Marina Gržinić, embodies the aesthetics-knowledge-pedagogy nexus at the heart of the socially engaged collaborations and praxes this event seeks to explore. She will engage us in an exploration of her transdisciplinary conceptual work. This work turns on critical genealogies of the entanglements of neoliberal global capitalism. Marina uses these to interrogate the ways contemporary forms of racism, coloniality, democracy, and contemporary art/culture are both shaped by and implicated in the shift from biopolitics to necropolitics. This is a shift from the power to control forms of life by differentiating them from one and other, to the power to impose various forms of death and diminishment according to and because of these differences.

Alongside an analysis of the post-socialist transformations of ‘(the former) Eastern Europe’, Gržinić will illuminate the ways in which the de- politicisation of politics and of art, and the aestheticisation of ideology effect new articulations between form and content.

The screening of her videofilm, seizure – rewriting counter-his- tories (Gržinić and Šmid 2015), will provide an opportunity not only to engage with the sensual, generative, dissident responses to these discursive and material conditions, but to work through the ways in which such individual acts of creative intervention are themselves embedded and entangled in wider global legacies, formations and moments. These expositions will then stimulate reflection and debate among and across three mixed panels of crit- ical respondents (organised according to the areas of aesthetics, knowledge and pedagogy) – then extending to all those present – around the thresholds, confluences, and faultlines that traverse and constitute our practices.

*This sphere of praxes is defined by socially engaged, trans-dis- ciplinary and cross-sector dynamics, involving multiple forms of collaboration and interaction. It in- cludes, for example, artists/researchers/ educationalists/activists working togeth- er on tangible projects; artists pursuing PhD and research degrees; researchers employing arts-based methods, and so on: those who are working toward trans- forming essential elements of their prac- tice through transgression of disciplinary, institutional, political/ideological con- ventions, paradigms, and evaluative cri- teria that underpin the contexts in which they work.

All such interested people welcome!

Marina Gržinić PhD, is a professor at the Academy of Fine Arts in Vienna and a researcher at the FI SRC SASA (Institute of Philosophy at the Scientific and Research Center of the Slovenian Academy of Science and Arts) Lju- bljana. She publishes extensively in academic journals and has authored and co-authored more than ten books (monographs and translations), both at home and abroad, such as Une fiction reconstruite: Europe de l’Est, post-so- cialisme et rétro-avant-garde, (Ouverture philosophique). Paris; Budapest; Torino: Harmattan, 2005, Re-politiciz- ing art, theory, representation and new media technology , (Schriften der Akademie der bildenden Künste Vienna, Vol. 6). Vienna: Schlebrügge.Editor, cop. 2008. Necropolitics, Racialization, and Global Capitalism: Historicization of Biopolitics and Forensics of Politics, Art, and Life. Marina Gržinić and Šefik Tatlić, Lexington books, 2014. She has been active in video art and media art from 1982. She works in collaboration with Aina Šmid, art historian and artist from Ljubljana.

Symposium Schedule

10:00 – 10:30 Introductions
10:30 – 11:15 Screening of seizure, brief Q&A

11:15 – 11:30 Coffee

11:30 – 12:20 Marina Grzinic, Conceptual Provocation
12:20 – 12:50 Q&A

13:00 – 14:00 Lunch

14:00 – 15:00 Response Panels (Aesthetics, Knowledge, Pedagogy) **
15:00 – 15:45 Audience Interventions

15:45 – 16:15 Rejoinders & Closing

** Three panels of people are organised along the lines of the project’s overall objectives of mapping the synergies and tensions across key coordinates underpinning socially engaged work: aesthetics, knowledge and pedagogy. The panels, one for each coordinate, include people from art, research and education, who will identify and respond to Grzinic’s videofilm and presentation from the perspectives of their own work and experience. The floor then will be opened to all participants.

The Panelists

Sarah Browne is an artist based in Ireland. Her research-driven practice investigates the labour and mate- riality of how we communicate and create meaning through exchange and transaction. This process often includes the production of objects that are used to instigate discussions about economy, ritual and value: these generate further material such as film, radio projects and printed publications. Collaboration is fun- damental to how the work is developed, whether with practitioners from other disciplines (anthropology, dance, amateur radio) or certain individuals whose experience become key to the narrative of a given project. Recent exhibitions: ‘The Invisible Limb’ at basis, Frankfurt, ‘Hand to Mouth’, CCA Derry- Londonderry and the Institute of Modern Art, Brisbane (2014); ‘The Peacock’, Grazer Kunstverein, Austria; ‘One Foot in the Real World’, Irish Museum of Modern Art, Dublin; ‘Still, We Work’, a touring commission for the National Women’s Council of Ireland (2013); ‘How to Use Fool’s Gold’, Ikon Gallery, Birmingham and Contemporary Art Gallery, Vancouver (2012); New commission, with Jesse Jones: ‘In the Shadow of the State’

Liz Burns is Arts Programme Manager with Fire Station Artists’ Studios in Dublin which supports socially engaged arts practice and critique through art commissions, talks and publications, and international oppor- tunities through exchanges, and a curator in residence programme. Past projects include ‘Troubling Ireland’ a think tank and public art project for socially engaged arts practitioners which was led by the curatorial collec- tive ‘Kuratorisk Aktion. (2009- 11) and Two Monuments’ (2009) with Polish artist Artur Żmijewski. Publica- tions include ‘Art & Activism’ (2014) and ‘The Applied Social Arts ‘(2010). Liz completed her MA in Visual Arts Practices with IADT in 2009 and since then has been developing her independent curatorial practice and writing. Curated exhibitions include Liliquoi Blue: God made me a boy’ (2011) Qasim Riza Shaheen and It has no name (2013) a live art performance, group exhibition and seminar for DIT Broadcast Gallery.

Catherine Conlon is Assistant Professor in Social Policy at the School of Social Work and Social Policy, Trin- ity College Dublin. Her principal areas of interest are: gender, sexuality and the fertile body; intergenerational relations and sexual socialisation. She is a member of the Creative Arts Practice research theme in Trinity College through which she forged a collaboration with Dr Evangelia Rigaki, School of Music TCD to translate her doctoral research on women concealing pregnancy into an Opera performance entitled ‘Pregnant Box’ staged in TCD in September 2014.

Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology where he supervises doc- toral practice-based projects. He was Senior Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies and Design in the University of Ulster Belfast, where he completed a PhD in 2009. His work has been widey exhibited, published and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery, MakingHistory and Colombo Art Biennale (2014). Since 2007 he has worked with the Global Migration Research Network—a group of diverse individ- uals who came to live in Ireland (north and south) during the economic boom. Exploring often contentious issues relating to citizenship and contested spaces, the group has worked together and individually with the artist over the last eight-years in Malta, North Africa, and Ireland. Together they have produced a number of dialogical art projects: installations, exhibitions, video works, television broadcasts and intercultural public discussions. Symposium respondents also include collaborators and founding members of the Global Migra- tion Research Network Lauretta Igbosonu (Communications specialist and performer) and Warsame Ali Garaare (a UCD law graduate).

Jesse Jones is a Dublin based artist. She studied Sculpture at NCAD. Her films and videos explore historical gestures of communal culture through processes of disruption and ambiguity which may hold resonance in our current, social and political landscape. Drawing from the archival research she has recently developed works with transcripts of encounter therapy groups from the late sixties and early seventies. Using these as scripts to be performed by actors as verbatim theatre, the script becomes a dramatisation of the moment of origin rather than re-enactment. Seeing group therapy as script reveal the interpersonal exchanges and tex tures of gender, sexuality, race and class as the fabric of social construction itself. Recent solo exhibitions include ‘The Other North’, Artsonje Centre, Seoul and The Centre for Contemporary Art, Derry~Londonderry (2013); ‘Sleepwalkers’, The Hugh Lane Gallery, Dublin, (2012); ‘The Struggle Against Ourselves’, Spike Island, Bristol (2012) and REDCAT, Los Angeles (2011); group exhibitions in 2014: ‘Otherwise’, Alternativa Festival WYSPA, Gdansk, Poland; ‘Invisible Violence’, Museum of Contemporary Art, Belgrade and ARTIUM Basque Country; ‘The Talking Cure’, Oakville Galleries, Toronto and IMA Brisbane, Australia. New commission, with Sarah Browne: ‘In the Shadow of the State’ www.create-

Glenn Loughran is an artist and educator living in Dublin, Ireland. Born in Belfast, N.Ireland Loughran has studied Art and Design at The Ulster University (1991) and Dun Laoghaire College of Art Design Technology (2002). He went on to complete a B.A in Fine Art Painting (2003) and an M.A in Sculpture at NCAD (2005), completing his doctorate at the National College of Art and Design and the Graduate School Of Creative Arts and Media (GradCAM) 2012. Working at the intersection between Participatory art and pedagogical processes he has exhibited Nationally and Internationally. He is a Lecturer in Fine Art at the Dublin School of Creative Arts (DIT), Coordinator of the B.A.V.A on Sherkin Island, and guest lecturer on the M.A in Socially Engaged Art and Further Adult and Community Education (NCAD).

Anne Mulhall is a lecturer in the School of English, Drama and Film at UCD. She teaches and researchers in gender, queer and sexuality studies and is involved in migrant justice activism. She has published widely on queer, feminist, psychoanalytic theory, biopolitics/necropolitics in contemporary Ireland, and gender, sexuality, and migration in Irish literature and culture. She is currently working on a booklength analysis of bio/necropolitics in Ireland from EEC accession to the present, ‘Intimate States: the biopolitics of ‘Ireland’.

Event is free but registration required you may register here

For further details:

Project team:

Alice Feldman (UCD Sociology)
Francis Halsall (NCAD Visual Culture)
Nuala Hunt (NCAD Education)
Emily Mark-FitzGerald (UCD Art History & Cultural Policy)
Michael McLoughlin (Artist in Residence, UCD College of Social Sciences and Law)
Ailbhe Murphy (CREATE)
Emer O’Boyle (UCD Parity Studios)
Aideen Quilty (UCD Social Policy, Social Work and Social Justice)

Paul McKinley 
In Conversation with Ingrid Lyons

Paul McKinley In Conversation with Ingrid Lyons, Saturday 5th of December at 12.30pm.

Kevin Kavanagh is pleased to announce the release of a new publication commissioned by the gallery on the occasion of Hanuman, an exhibition of recent work by Paul McKinley. 
The launch of the publication will take place on Saturday the 5th of December at 12.30pm. Paul McKinley will discuss the development of ideas that led to the current exhibition Hanuman.

In the months leading up to the exhibition Paul McKinley entered into a correspondence with literary journalist, UN spokesperson and author of The Cage, Gordon Weiss. McKinley’s work has often been influenced by journalistic practices as he researches and utilises second hand source material to inform his own practice. Owing to this dynamic The Cage was a source of inspiration given that Weiss experienced the civil war first hand and has written extensively on the matter. Weiss has produced a text for the publication in which he approaches McKinley’s work through his own thoroughly researched understanding of the final days of the Sri-Lankan civil war.

All are welcome and coffee will be available before and after the talk. Admission to this event is free.

Art Writing & the Diagram

A talk by Niamh McDonnell followed by a conversation with Francis Halsall on critical theory toolkits for art writing
Hosted by the MA Programme, Art in the Contemporary World, NCAD, Dublin

Harry Clarke Lecture Theatre
Friday 20th November 2 – 4pm

All welcome

Diagram comes from the Greek diagraphein, ‘to mark out in lines’: dia ‘through’ and graphein ‘write’. A diagram shows the appearance, structure or workings of something and can range from a 2D drawing to a 3D multimedia work.

This talk looks at how the diagram can be used in art writing to experiment with ways of showing the process of the material inscription of the text in a process of writing ‘through’ rather than ‘about’ the artwork. The diagram presents a framework for generating different possible structures for displaying the text on the basis on applying different logical principles to describe its elements. In the diagram the description of the abstract, visual typographic quality of the sign sits next to the description of the sign that functions as part of a semantic text. This play with the logic of description that proposes different forms of receptivity to the sign can be found in the approach to structural composition in the Constructivist graphic art of the early 20th century. The composition juxtaposes text with image on different scales and angles and addresses the viewer as a reader who participates in making connections between elements that are described in terms of different registers. It simulates how the moving image scripts the viewer’s process of reading that constructs narrative sequences.

This example of the diagram in Constructivist graphic art provides the starting point for the talk to explore how other applications of the diagram in design history can inform art writing experiments that respond to the artwork by speculating about its potential engagement of the viewer as a reader. The talk will focus on a particular project that used the diagram to think about ways of structuring the display of a series of blog posts that responded to diagram artworks while they were being produced for exhibition ( This art writing online addressed the reader in terms of how they would determine the structure of the text and the space of engagement with it by choosing the combination of texts to read and the order of reading them. The talk will also consider how this principle of address was applied in the curatorial approach to displaying the diagram artworks, demonstrating how the diagrammatic approach makes it possible for the activities of art writing and curating to compliment one another in terms of exploring ways of producing responses to the artwork that involve the viewer/reader as a participant.

Niamh McDonnell is an art writer/curator based in Belfast. She is Associate Researcher at Belfast Exposed where she is working on developing its photographic archive. She is also working on projects that use the diagram to structure the process of collaborating with artists to produce diagram artworks in response to archives. Niamh completed a PhD in philosophy based on the diagram in the work of Gilles Deleuze at Goldsmiths University, London.

On Curating Histories

On Curating Histories is a public lecture series hosted by MA Art in the Contemporary World at NCAD. The four-part series presents biographical research into eight selected curatorial forerunners, each of whom made significant contributions to the presentation and contextualisation of contemporary art. Each lecture combines this research with the staging of newly commissioned artworks by contemporary artists; Oisin Byrne, Ella de Búrca, Teresa Gillespie, Barbara Knezevic, Ruth E. Lyons, Clive Moloney, Joseph Noonan-Ganley, and James Ó hAodha. The lecture series runs in parallel to a taught module on the history of curating, led by Kate Strain. The research and development of the series was supported by an Arts Council of Ireland Project Award.

Art World Systems: Network, Medium, Platform

Francis Halsall, Kris Cohen, and Johanna Gosse in Conversation

Friday, November 6th, 5:30 PM
DXARTS Media Lab
Raitt Hall 207
The University of Washington, Seattle

This event is sponsored by the Simpson Center for the Humanities, and hosted by the Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington.

In this public exchange, art historians Francis Halsall (National College of Art and Design, Dublin), Kris Cohen (Reed College) and Johanna Gosse (Columbia University) will discuss the art world in terms of systems. They take as their starting point three recent books on the state of the contemporary art world: Pamela Lee’s Forgetting the Art World (2012), David Joselit’s After Art (2012), and Lane Relyea’s Your Everyday Art World (2013).

After brief introductions of each text, the speakers will embark on a conversation tackling issues such as the art world’s embeddedness in a networked, global system and shifting conceptions of the artistic medium, from specific materiality to technical support to platform.

Questions they consider will include: what specific forms of knowledge does art continue to offer as its historical definitions, categories, and criteria have transformed, and often, faded into obsolescence, much like the technologies it would critique? To what extent should art and art discourse, as resources for getting our bearings in the present, mesh with and respond to technological change? How are the interconnections between art and technology inevitable within networked life, part of the very structure of destablizing change; and if they are inevitable, and if art and technology are not opposed but forced together in the medium of history, where does critique begin and what shapes should it take?


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

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

Francis Halsall and Declan Long, Paul Ennis, Ayesha Hameed

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

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

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

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

New Out There, Thataway playlist:

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

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

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

The Beautifully Absurd

Francis Halsall on Newstalk 106-108FM: The ‘History of Art Night School’ looks at Surrealism in art

In the early 1920s a new and bizarre style of art began to appear around the world. Inspired by dreams artists and writers began to create works of art that reflected the visions found in these wondrous worlds. Building on the work of the Dadaists, psychoanalysis, and other avant-garde schools this movement swept around the world changing music, language, art, film and literature as it went. The work of artists like Dali, Leonora Carrington, and Andre Breton continue to amaze and inspire today.

Patrick is joined by Dr Francis Halsall this Sunday as ‘Talking History’ looks at the Surrealist movement in the third instalment of our ‘History of Art Night School’. What exactly is Surrealism? What did people hope to achieve with Surrealist art? Why was it so popular? And what has its lasting legacy been?

[Image: ‘Object’ by Meret Oppenheim, 1936. Fur-covered cup, saucer, and spoon, Museum of Modern Art, New York. © 2015 Artists Rights Society (ARS), New York / Pro Litteris, Zurich]


Ingrid Lyons: Orange Wrappers

The first in a series of collector’s talks at the Douglas Hyde Gallery.

May 7th / 2015 / 5pm

Intelligent collecting begins with the discovery or deepening awareness of core values through their reflection in objects that are found attractive; it expands from the confirmation of what we know and like into the enjoyment of otherness and different ways of understanding life. As William Davies King observes in Collections of Nothing, ‘Collecting, like art, is a way of coming to terms with the strangeness of the world. It is a form of wanderlust.’”

The quote above is taken from John Hutchinson’s Pairidaeza, published by the Gallery last year, which focuses on the theme of Paradise, as well as the psychology of collecting. The latter is rarely considered in contemporary art theory, despite its undeniable influence on the workings of the art world. The essay also considers how collecting can be seen as a sort of ‘curating’; a way of creating order and cohesion out of the chaos of everyday life.

He notes that, “Other than in the very best collections, individual pieces may not all be of remarkable beauty or significance; their interest lies in the care, wonder, and attention that have brought them together.” In keeping with this line of thought, the Gallery is pleased to announce an occasional series of talks focused on the process of collecting in relation to the exhibition programme.

ACW alumni Ingrid Lyons will begin the series with a presentation on her collection of paper orange wrappers, amassed over the past twenty years. Their bright colours and graphic designs, as well as their quotidian and ephemeral nature, complement the display of Indian matchbox labels currently on show in Gallery 2.

All are welcome and admission is free.

Art | History | Politics: contemporary artists in conversation

Mon 20th April, 14.00-17.00 (Harry Carke Lecture Theatre, NCAD)

This discursive event is led by three artists whose practices often relate the contemporary moment in art and culture to earlier moments and other histories. Each engages in distinctive ways with the task of shaping political, historical and art-historical genealogies of the present, in artworks, writing and other forms of discursive production.

Ross Birrell (artist; lives and works in Glasgow)
Neil Clements (artist; lives and works in Glasgow)
Sarah Pierce (artist; lives and works in Dublin)
Dominic Paterson (MA Coordinator, History of Art, Glasgow University)Francis Halsall & Declan Long (directors, MA Art in the Contemporary World, Dublin)

[*The event will be followed by drinks and food in Luncheonette (5:30-8:30) with a screening hosted by ACW. Booking is essential for this – as food and places are strictly limited.]

How should we look at a Cubist painting?

Dr Francis Halsall on Newstalk 106-108FM

In the second ‘History of Art Night School‘ Patrick and Dr Francis Halsall look at Cubism, its impact on art, and its role in the modern world.

How did this movement come about? Did Cubism offer a new way of representing time and space? How does Cubism reflect the modern world of mass production, the motor car, and photographs? Is Pablo Picasso the most influential artist of the 20th century? And can we take his claim that Cubism is an art of Realism seriously?

Join Patrick and Francis this Sunday at 8:45pm as they look at Cubism and its abstract representations of the real world.

Uri Aran in conversation with Declan Long

All This is Yours
mixed media
106.7 x 63.5 x 106.7 cm

Harry Clark Lecture Hall // 2pm Thursday 19th February

All works are rehearsals; new beginnings that look like reconsiderations. There’s no newness and nothing lasts. There is no time.

Uri Aran’s exhibition Ones opens in Mother’s Tankstation on the 18th February and runs until 28th March 2015.

Paul Seawright – The List

Declan Long will be in conversation with Paul Seawright this Thursday 29th January to mark the opening of his new work The List at the Kerlin Gallery

Exhibition runs from 30th january – 21st March 2015

Press release:
In his new work The List, Paul Seawright uncovers a contested landscape that continues his interest in city spaces and their relationship to invisible fractures in society. His photographs from across America’s rust belt reveal neglected neighborhoods where derelict vehicles are parked on patchy lawns, and rusted wire fences surround recently repossessed homes or concealed rear yards. Typically people are absent, yet marks of their presence are everywhere – scratched on walls, obscured by closed curtains or glimpsed through motel windows and dense trees. Claustrophobic vistas reveal frayed clapboard homes on the far side of blackened waste ground; this is the landscape of the convicted and dispossessed. Theirs is a liminal world, where legal restrictions define and prohibit them from establishing a permanent residence within a prescribed distance from a lengthy list of public buildings. These geographic limitations create unintended clusters of ex-offenders, often in small rural North American towns, where those on the list are hidden in plain sight.

The exhibited works move between the type of prosaic landscape familiar in Seawright’s work to black and white details of plants, fences and water damaged walls. These photographic gestures extend a narrative, where everything is dysfunctional. This is the third in a series of works Seawright has produced in the USA, where the landscape of the American city is deconstructed and the thin veneer of positivism and idealism is peeled back to expose an alternative vision of the North American city.

Cé leis é

NCAD Gallery presents the Cé leis é? exhibition talk
Cé leis é? and Systems Aesthetics hosted by Francis Halsall.

Friday 9th January 2015, 4pm, Harry Clarke Lecture Theatre, NCAD.

Francis Halsall will host a discussion of NCAD Gallery’s current exhibition, Cé leis é? in terms of systems aesthetics and his collaborative work with multidisciplinary artist Kelley O’Brien and forthcoming workshop in the Philippines. The talk hopes to create a dialectical response to questions of environmentalism, dematerialisation and contemporary practice within the specific environment of NCAD.

Cé leis é? exhibits the work of seven interdisciplinary artists currently studying at the National College of Art and Design. Artists include Alanna Blake, Lucy Bowen, Jenny Drea, Julia Dubsky, Octavian Fitzherbert, Grainne O’Carroll and Sean O’Riordan. Through a collaborative process, this exhibition of interventions, documentations, performances and experiments by the artists respond to the challenges facing the Irish coast as found by Coastwatch Europe’s 2014 survey. The exhibition marks the launch of Irish NGO Coastwatch Europe’s annual survey; which examines climate change, coastal erosion, endangered sea species and pollution.

Please see more exhibition information at
Cé leis é? is open 1-5pm, Thursday 18th December 2014 – Friday 9th January 2015. Admission is free.

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