Latest Entries

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.

Active Archive – Slow Institution

Active Archive – Slow Institution is a major research project that delves into Project Art Centre’s rich 50+ year history, uncovering the history (or rather histories) of one of Ireland’s oldest public art institutions.

Over the past six months, recent ACW graduate, Dorothy Hunter and current ACW MFA student, Hannah Tiernan have been undertaking independent lines of enquiry within the centre’s archive. The Long Goodbye exhibition, which opens on Thursday 31st January, is the culmination of this project and will feature highlights from their research.

Dorothy has been researching the disparate threads connected to the “eventualisation” of the Project fires, such as the tension between symbol-making and destruction, how protection and aftermath are dealt with, art that was destroyed and made, and the layered proxy existences within the archive.

Hannah’s research into the LGBTQ+ theatre of Project speaks to the Art Centre’s importance as an artist-led organisation. Having been at the forefront of presenting cutting edge, contemporary and often controversial work, this research looks at the legacy of such an institution and how this reflects in today’s practices.

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!

six seville

six seville
6 Seville Place, Dublin 1

six seville opens on Friday 30th November, 7 – 9pm

Exhibition continues Saturday 1st – Sunday 2nd December, 8am – 4.30pm

six seville features work by Conall Kelleher, Andreas Kindler von Knobloch, Áine McBride, Blaine O’Donnell, Liliane Puthod, Conal Ryan and Tanad Williams in a formerly vacant building now used as a studio space.

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
.

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

Review by Seanán Kerr, ACW: Sean Scully, The Land/The Line at The Kerlin Gallery

Landline Burgandy, Sean Scully. Photo by Seanán Kerr

The Land/The Line, Sean Scully

The Kerlin Gallery

3rd October-17th November

“People come in here wanting to hate them…” To turn a trite cliché if Sean Scully didn’t exist you’d have to invent him, but such is the particular idiosyncrasies of that aspect (or perception) of Ireland he captures, there is perhaps only space in the collective art consciousness for one. What the gallerist informed me cannot be said for certain to be a wholly accurate gauge of the mind state of those before encountering one of the large square Scullies from 2015 and 2017 (curiously not 2016) of the landline series. As ever the space of the Kerlin excels in displaying work of this kind of scale, big, but not excessively so, a generously portioned meal for an obese Goldilocks, the size and lighting of the space suits these creatures. Yet what the gallerist said certainly indicates there is an expectation, that they are too easy, a little too technical bereft, or perhaps rather a little too close to the bone as regards precisely what it is they speak of.

The seven works are the same size, approximately the same form, though two are canvas and five are aluminium, the ‘lines’ of the show title are there and they are not. This use of line as a denominator is surely at least partially ironic, at very few points are the delineations between the horizontalised colour forms these paintings consist of so clean as to honestly be called “line” with a straight face, there is a minimum of three dimensions at play here. They smack and trample, into and over, akin to the colours in a four year old’s ball of play dough, once pristine, now mangled and bet into each other. Which isn’t to say they aren’t clearly defined, but sometimes the so-called lines aren’t defined by themselves inasmuch as they are by the last vestiges of older lines peeping out, like disturbed graves on a building site.

But what of the uncomfortable truth in Scully’s work? TJ Clark once defended the abstract expressionists citing “vulgarity”, is there a similar defense to be mounted in Scully’s case? Perhaps, perhaps not, in selecting the term “vulgar” Clark chose a word perfectly suited to a political, economic and cultural superpower on the rise, different to Ireland. Were I to propose such a term for Scully in the context of Éire it would have to be one that holds to an equivalent essential truth about both; that word would have to be “adequate”.

Like “vulgar” it conjures a sense of the pejorative, but not necessary so. The etymological root is in the latin for “equal”, the modern sense means “just good enough”. Both meanings speak of a certain truth of Irishness, where the light under overcast skies is spread wide, thin, nothing pops in such light, photographers complain of it, the lines are not quite lines.

The paintings follow a clockwise pattern, you climb the stairs and start with the one on its own on the left. This one is clearly the first in the sequence, there is a sense of signature about it, if you had to chose one to speak for the remaining half dozen, this would be it. The mix of blues is emblematic of the selection of works here, the inside of an old pot left outdoors rust orange, the burgundy that gives the work it’s title (Landline Burgundy), the sticking plaster fleshy-beige that streaks across the middle…

The presence of aluminium and canvas-based paintings begs a question, encourages examination of the brush strokes for stories and meaning. The aluminium resists, the canvas gives; so I’m told. (Though one risks making a fool of oneself if you can’t pass the pepsi challenge without peeking round the sides to note the material). The two blues speak of dark sea, yet the blue at the bottom is almost comically so, a mutant stowaway, a child’s idea of what blue is, unnatural and yet a shade often found on school uniforms. No single “line” is uniform. As with how the margins bleed and bump, fight and jostle, so too within the strokes themselves there is disagreement, different colours cling to different bristles, nothing is clearly defined and yet it is. There are seven “lines” (Newton who gave us two purple-blues (because the number seven appealed to his occultist sensibilities) would be pleased), the burgundy is second from bottom, it is complimented by the sticking plaster beige by looking like something you’d find under a bandage.

It is difficult sometimes to separate those aspects of Irishness that are in and of themselves, “pure” so to speak and those which emerged as a technology to be used against the English. An example can be found in a scene from Paddy Breathnacht’s I Went Down, where three men in a car approach a Garda checkpoint, the two in the front are kidnapping the one in the back, the kidnappers frantically curse the presence of the Gardaí on the road ahead as they pull up towards them, but as soon as they do pull up and the Garda looms through the wound down window, Brendan Gleeson’s Bunny draws the biggest laugh of the film by making this face…

There is something sinister about “Céad Míle Fáilte”, the term “aggressive gift giving” springs to mind, to be welcomed a hundred thousand times would be beyond tolerable.

The paint is slapped and lathered, the root of the strokes, as much in elbow, shoulder, torso, as wrist. A lick of not quite painted-over brown between beige and navy blue, another of the aforementioned disturbed graves.

The second Landline Asure, promises something more tranquil, this paint is borne by canvas, the surface less brutalised, shorter strokes, more delicate, curvier. A thick, almost slime-like spearmint green dominates the middle, an unfamiliar brand of toothpaste, one blue is so navy-dark it is as though the paint itself is hiding the strokes out of shame. There is no flatness here either, not really.

The third is brother to the first, perhaps twin. A broader spectrum. The longer, raking, straighter strokes the aluminium provokes, return. Again sea and rust, but a darker rust-red, situated on top, like a burning sky. A green is murdered and buried under granny-tights beige, can something that doesn’t aim for perfection have imperfections? A stab of white along the side, elderly pubic hair to go with the tights. Along the bottom is a dirty mustard, you’d think it had been dipped in it, if it wasn’t for the strokes.

The state of mind these images most readily reveal their nature to is sleep deprived. Jordowsky stayed awake for a week in the company of a zen master before shooting Holy Mountain. Camera pull back. Extreme heat and extreme cold are indistinguishable to touch. Place your arm along a series of bars which alternate cold and warm it will trick your system into registering extreme heat; apparently. The fourth is shaded like a child hiding in a ditch, or maybe she’s just thinking or longingly for the recent past to escape the near future as she rides in the back of the car being driven officiously back to the home she’d fled. This is what comes to mind when I look at Landline Crimson.

The lines have personality. The one painting called untitled has an expanse of grey, halfway between a view and being intensely accosted by John Major’s Spitting Image puppet. What does Scully have against canvases? Michelangelo struck David with his hammer demanding it speak, after it was finished, Scully attacks his canvases from the get go screaming, “shut up”.

The sixth is almost behaving itself, “yes Garda, as you can see…” the lines are almost evenly spaced. Here at last we have some green, but a green no Board Fáilte brochure would dare make use of. This is the green of Holbein’s dead Christ that so disturbed Dostoyevsky’s Prince Myshkin, not dying, not resurrected, but dead. This was the painting that on my first visit attracted flies, the gallerist approached me when he saw me taking photographs of them up close, we’d been in college about the same time, he a year below me (I think), but older, American, “please don’t post those online”, of course. Like a fascinating wound, the seat of all your attention, itchy, sore, pustulant, begging to be popped, prodded, picked, more engrossing than a smartphone in a hospital waiting room.

It is a treat to spend so much time with them, or at least to have a reason to, they require time. Footsteps and mouse clicks, short overheard conversations. The owner asking about the affordability of water taxis in some city he has to meet an artist, the gallerist answering a phone, saying matter of factly “about 11”. It seems everyone in here has a cold, sporadic coughing abounds, including from myself. I take it back, this one is the most obedient yet. Strokes shorter, more numerous, smoother, more bet in.

All is lit superbly. I am done, but never done with you Ireland, emigrant writers who can’t stop writing about here, you know the type, suppose you get it in painters too. Dignity in smeared makeup, like the drunk who feels sobered up in the company of the far drunker companion she’s waiting patiently with in the station at four in the morning. A strange blue-pink, the colour of a newborn chick tossed from a nest, an umbilical cord or varicose veins.

They are not lines,
They are not land,
They are people.

Seanán Kerr

Seanán Kerr was born in 1980, some stuff happened, then he wrote this. He is currently studying for an MA with Art in the Contemporary World, NCAD

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Memento Aldi, Danny Kelly at deAppendix

Memento Aldi, Danny Kelly at deAppendix, 30 Ardagh Grove, Blackrock.

Run: 23rd Oct – 7th Dec 2018

Memento Aldi is an installation of Danny Kelly’s recent painting at DeAppendix. Kelly’s work elaborates a subjective sphere of heterogeneous features comprising tropes of painting culture and items of biographical significance. A protean topography traverses the work’s pictorial content, objective environmental and material properties, and interpreted public and personal cultures – intimations of chart music and domestic miscellanea. Dynamics of disintegration and consolidation alternate, suggesting an accidental crucible breeding ephemeral hybrids. A visceral, crudely drawn practice emerges – playing with cohesiveness, personal identity and public visuality – and is embraced as a pidgin chart music.

Further info : contactdeappendix@gmail.com / 012785866

deAppendix is a cultural space co-located with a GP surgery and hosts a calendar of contemporary art exhibitions and artists talks. Through it’s programme deAppendix challenges how such spaces are activated and in so doing questions accepted norms for this genre of space. deAppendix is a project by Ciara McMahon whose art practice frequently examines the potential for hybridity between the disciplines of Art and Medicine. For further information see: www.deappendix.wordpress.com, or find us on Facebook, or we can be contacted at contactdeappendix@gmail.com

ACW Paul Roy Featured in Print Exhibition at Lessedra Gallery Bulgaria

Contemporary Printmaking from Ireland

November 1 – November 25, 2018

In a cooperation with Leinster Printmaking Studio
38 artists with 63 large size works

“The exhibition will be opened by H.E. Michael Forbes, Ambassador of Ireland to Bulgaria, at a reception on Thursday, 1 November, at 6 PM.
The Irish artists Margaret Becker, Pamela de Bri, Katherine Smits and Melissa Cherry will also be present.”

For more information:

href=”http://http://www.lessedra.com/gallery.php?d=current”>

Island Life, group show featuring Stephanie Deady, ACW

Island Life – Westport

25TH October – 25th November 2018

Custom House Studios & Gallery

Westport Quay

Co.Mayo

A conversation with some of the artists will be held on Thursday the 25th October at 5.30pm.

Sonia Shiel, Nevan Lahart, Sinéad Ní Mhaonaigh, Kathy Tynan, Aileen Murphy, Marcel Vidal, Stephanie Deady, Stephen Loughman, Lesley-Ann O’Connell, Cecilia Danell, William O’Neill, Pat Byrne, Salvatore of Lucan, Robert Armstrong, Mark Swords, Dermot Seymour, Julia Dubsky and Joe Scullion.

Island Life will have it’s second outing later this month in Custom House Studios Gallery, Westport. The exhibition will include some new works by previously exhibited artists as well as the addition of Nevan Lahart, Aileen Murphy, Dermot Seymour, and Sinéad Ní Mhaonaigh.

Painting exists in an increasingly sophisticated visual world that sometimes seems to have a diminishing interest in the possibilities of paint. Island Life is concerned with the idea that, within the medium of paint there are opportunities for the individual to question the situation we live in and the resources we share. The paintings in this exhibition address the human condition and each of the artists suggests the capacity of the medium of paint to encompass both personal and universal concerns.

there is still much to do – a response to the work of Julia Dubsky by Sara Muthi

Baby Sharing. 96 x 80 x 2.5 cm. Oil on Canvas. 2018

What has already been said about painting is still not enough, the number of canvases marked has not scratched the surface of possibility. There is still much to do.

In a postmodern era which has given way to expanded painting (at times reaching intimate levels with forms of sculpture, installation and performance) there has also been a return to painting per se. This is the painting which concerns itself with hue, tone, composition, temperature (the list goes on). There are no frills, no gimmicks, just a primed stretched rectangular canvas with existing marks ready to be marked again. While painting may look inward questioning its ontology and possibilities, an exercise which has allowed for important movements such as expanded painting, painters of today can also simultaneously look at preserving the now. To quote David Joselit: “painting marks time, rather than intervening in the events that populate it”. Each mark made traces the fleeting action with which it was made. It stores gesture as evidence. The marking of time and engagement with painting per se are among the many concerns of Julia Dubsky.

Julia Dubsky is a Dublin born painter, and former studio mate of mine in the graduating class of 2016 from Fine Art Paint and Visual Culture at NCAD. She has since been granted many honourable opportunities, namely the coveted Temple Bar Gallery Recent Graduate Award. Dubsky has since relocated to Germany where she is currently doing a mentorship in the class of Jutta Koether in Hamburg University of Art. Personally, I chalk up her success to this; a delicate confidence. This is to be attributed to not just her painterly practice, but also to her character from which her work is inevitably rooted.

Dubsky’s Jealousy in the Garden (2018) concerns itself with her memory of painting, a sort of testing her unconsciousness. With that said, I feel this delicate confidence comes not from her unconscious ability but from where her conscious intention lies. I’ve been familiar with Dubsky’s practice for a number of years now and have seen it in many provisional stages. My mental portfolio of her work spans from peeking into her neighbouring studio at the Granary building of NCAD, to viewing her work Peacock (Jealousy) (2018) at the Kevin Kavanagh only earlier this year. My response to her painting has however still not been recast. I pick up on a palpable tension between her and her material (specifically oil paint). A point between artist allowing paint to be and the point of taking control, volition. I can almost hear the “oh no you don’t” as artist travels the canvas with material. Going back and forth, alternating her relationship between painter and consumer as she steps back to observe the canvas, it is clear nothing is incidental. If an aesthetic of frenzy emerges, consider it organised chaos. This is conspicuous due to the lack of drips or spots, no evidence of a mania or rashness. Given the painting’s thin application, as if razored flat, telling stains would be expected but none are present. Perhaps we could call it a power-play. This is what I imagine to happen behind her studio door.

It is this sew-saw of control that Dubsky utilises that elevates her delicate confidence. The image of the painting is immediate, it can be considered casual or brushed on. Dare I say rushed. But it is the security Dubsky has in her discernment and her carefully chosen materials that I believe grant works such as Baby Sharing (2018) it’s success.

I believe there is a point in each of Dubsky’s paintings in which she trusts her paint to slip into the unintentional. TJ Clark famously dismissed artist’s intentions stating he preferred to focus on what art can do. What Baby Sharing is doing is marking time, each layer reacting to the dry or wet paint beneath and laid upon it. However, none of that would be possible if not for the delicate confidence oozing from Dubsky and her work.

Sara Muthi

Julia Dubsky (b. 1990) is a Berlin based artist. She graduated from the NCAD Fine Art and Visual Culture BA in 2016; and she received the annual Temple Bar Gallery and Studios Recent Graduate Residency Award in 2017. Julia is currently doing a mentorship in the class of Jutta Koether, in Germany. Upcoming: nascent dirty lemon yellow, with Kyle McDonald at Pallas Projects 21-24 November,a solo exhibition in Amanada Wilkinson gallery, London (2019). Recent exhibitions and public speaking include: Island Life group show in Kevin Kavanagh Gallery (2018), Salon of Good Time solo residency exhibition in Temple Bar Gallery + Studios (2018); Basic Space Artist Talk, Dublin City Gallery The Hugh Lane (2018).

Sara Muthi (b. 1996) is a Dublin based writer and curator. Muthi graduated with a BA from NCAD Fine Art and Visual Culture in 2016. She progressed and is soon to graduate from an MA in Art in the Contemporary World at NCAD. Since 2017 she has been managing editor of in:Action, the Irish Live Art review. Recent work includes: Anticipation: Actualisation curated event and panel discussion at the NCAD Gallery (2018); Homo Lundens (Man at Play) accompanying text for Black Church Print Studios (2018) Young, single and ready to navigate through complex issues regarding temporality and time review of PLATFORM’18 and panel discussion at the Draiocht (2018).

Photo credit goes to Matthew Thomas.

IRISH FILM “Memory Room” TO PREMIERE IN PARADOCS SECTION OF IDFA 2018

A new short film by Adrian Duncan and Feargal Ward will have its world premiere
next month at the prestigious IDFA (International Documentary Festival Amsterdam).
Memory Room (2018, 17 mins, Arts Council) was shot in the Arctic Circle and
retraces the steps of an Irish forester sent to Finland in 1946 to secure poles for the
rural electrification project being undertaken back home. The film has been selected
for the Paradocs section of IDFA 2018 – a programme that showcases what is
happening beyond the frame of traditional documentary filmmaking, on the borders
between film and art, truth and fiction, and narrative and design.
The film was written and directed by Adrian Duncan (Bungaló Bliss) and Feargal
Ward (Yximalloo, The Lonely Battle Of Thomas Reid). Actor, Barry Ward (Jimmy’s
Hall, Britannia, Save Me, Maze) was cast in the role of the forester. The film was
photographed by Feargal Ward and Jonathan Sammon, with the score created by
Declan Synnott. The film was funded in 2016 by the Arts Council as part of their
Project Award strand. A version of the film and accompanying sculptural installation,
which was titled The Soil Became Scandinavian, was selected for Ireland’s biennial,
EVA International 2018 – curated by Inti Guerrero.
Co-directors, Duncan and Ward say, “It’s great to have the opportunity to bring this
type of film to IDFA. Our film exists at the outer fringes of what might be called the
‘traditional documentary form’, which is of course an area we are very excited to
work in. Making unconventional works that challenge the medium are incredibly hard
to get funded. We can’t thank the Arts Council enough for making this possible – we
are indebted to them for giving us the freedom and confidence to make this happen.”
Trailer here:
https://vimeo.com/292075357

Contact:
Adrian Duncan – +49 152 02767503 – a@adrianduncan.eu
Feargal Ward – +353 86 3313690 – feargal@fsefilms.com

In + Around | Deirdre Ni Argain and Natalie Pullen at In-spire Gallery, Dublin 1


September 27, 2018
Inspire gallery
56 Gardiner Street Lower – Dublin 1

Siuan Ni Dhochartaigh curates the artwork made by her mother, Deirdre Ni Argain, during and after pregnancy. Their mother-daughter collaboration is shown in and around ‘The Five’, a series of paintings by Natalie Pullen delving into feminine mysticism and the Occult.

Bringing their diverse practices together has started a conversation about their personal and professional relationships as artists and women. Through the programme of daily events they hope to open this conversation up and re-activate the work on show through viewer participation.

Join us at the opening reception, 6pm Thursday 27th September.
On Friday there will be a curators tour and talk at 1.15pm and 6.30pm. On Saturday 5pm, Natalie Pullen will host an automatic drawing workshop and on Sunday there will be a full day workshop led by art therapist Deirdre Ni Argain. Reading circles and live readings will happen throughout the week. Find more information and the full schedule through Facebook and on Instagram @inand_around. Please get in touch at 287gallery@gmail.com for any enquiries and booking.

Date/Time: 27/09/2018 – 04/10/2018

Email
nataliepullen123@gmail.com

Launch of Paper Visual Art: Vol 9

Launch of Paper Visual Art: Vol 9 will open at Temple Bar Gallery and Studios in the atrium space on Thursday the 20th Sep from 7 pm. All welcome

Rachel Maclean and Doireann O’Malley at Dublin City Gallery The Hugh Lane

The Hugh Lane’s current exhibition Just be yourself! by Scottish artist Rachel Maclean will end on Sunday 16 September.

This exhibition presents the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who creates fantastic visual narratives using green-screen technology. She parodies fairy tales, children’s television programmes, advertising, internet videos, and pop culture to examine identities, power dynamics and consumer desire. All of the characters are played by the artist, who transforms herself through extravagant costumes and make-up.

This exhibition includes Spite Your Face which Maclean exhibited at the 57th International Art Exhibition – La Biennale di Venezia in 2017, representing Scotland+Venice 2017, curated by Alchemy Film and Arts in partnership with Talbot Rice Gallery and the University of Edinburgh. The film refers to the Italian folk-tale The Adventures of Pinocchio and offers a powerful critique of contemporary society and its underlying fears and desire. Spite Your Face is a tale across two worlds – with a bright, glittering and ordered upper world, and a warped, dirty, impoverished lower world – where the lure of wealth, power and adoration entices a destitute young boy into the shimmering riches of the kingdom above.

Find more info here: http://www.hughlane.ie/forthcoming/2031-rachel-maclean

Furthermore the exhibition of Irish-Berlin based Doireann O’Malley: Prototypes is extended until the 30th of September, you can find more details here http://www.hughlane.ie/current/2029-doireann-omalley-prototypes

Prototypes is a multi-screen film installation by Berlin-based Irish artist Doireann O’Malley.
Exhibition extended to 30 September.

Doireann O’Malley’s film Prototypes brings together transgender studies, science fiction, bio politics, psychoanalysis, AI, and experimental music. She skilfully ties these to phantoms of modernist utopias, epitomized by the post-war architecture of Berlin, which serves as a dreamlike scenography for the main, protagonists’ ghostly actions.

HEAVY WEATHER – opening 29th August 2018

HEAVY WEATHER’s origin is a reading group convened in September 2017 by artist Emma McKeagney and including ACW Alumni Ciara McMahon and Danny Kelly, to consider New Materialism in its implications for art practices. Generous explorations of materiality as an enigmatic potential, reworking of human relations with entities and agencies, and spectres of environmental collapse, have intrinsically or tangentially informed the practices – and affect the artists – collected here. Deriving from the 1977 album by fusion group Weather Report, HEAVY WEATHER is a provisional encounter of disparates, forced by contemporary exigencies. It is a settled but uncertain address, a dose of talk about the weather. Featured artists: Louisa Casas; Ann Ensor; Adam Goodman; Milica Jovanovic; Danny Kelly (ACW Alumni); Emma McKeagney; Ciara McMahon (ACW Alumni); Cliodhna O’Riordan.

Opening at the Complex,( https://www.thecomplex.ie/ ) Little Green Street, 6-8pm 29th August, 2018

Open daily 11 – 6pm, 30th August – 3rd September 2018

https://www.facebook.com/events/291026194819137/

half-way to cyborg-city*


*a liminal-point at which a hybrid entity consisting of organic human and technological mechanisms is in the process of becoming a cyborg, though does not yet have a body. The ‘city’ in this case suggests a hypothetical destination in which the cyborg is integrated into contemporary metropolitan society.

ACW student Sara Muthi responds to Composition 2: Notes on Breathing + Space by Siobhan Kavanagh and Adam Gibney at Ground Floor Gallery, The Complex. The text is avalible to read on in:Action, here: https://inaction.ie/2018/08/20/half-way-to-cyborg-city/



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