Archived entries for ACW

Silence is the Master by Orlaith Phelan

A recap on Lawrence Abu Hamdan’s Earwitness Theatre at the Chisenhale Gallery, London. The show marked the artist first solo UK exhibition in 2018, and remains one of such interrogative force that it has duly propelled him into this year’s Turner Prize arena. Occupying a trajectory that encompasses art, activism and investigation – boundaries are rewritten, language is reconstituted, and interrogation breathes a new articulation where even silence becomes deafening.

Earwitness Theatre artist and researcher Lawrence Abu Hamdan shows his latest enquiry into the political effects of listening at London’s Chisenhale Gallery. The exhibition is a double installation presenting Abu Hamdan’s latest research with Amnesty International and the first portrayal of his sonic library of sounds. For those of you unfamiliar with his work, his initial interest in the spatial qualities of sound has ledway into a career where the extent of his knowledge, acoustic research, and art production now even position him as an authority in legal cases where sound analysis is required. Apart from an ever growing list of accolades most notably he was approached to undertake the sound dissection of the ammunition used in the killing of two teenage boys in the Gaza Strip (2015). Expanding his acoustic analysis for the trial, stills and video of sonic imaging were distilled from the killing and used to form the basis of his acclaimed exhibition Earshot (2016), questioning the “aesthetics of evidence and the politics of sound and silence”. His affiliation to Forensic Architecture, nominated for the Turner Prize in 2018, should also start to ring some bells.

Earwitness Inventory is Abu Hamdan’s physical offering within the Chisenhale. 95 objects are on display that make up his catalogue of sonic violence. The objects are sober, unnatural and sharp within the space. Without knowing his work or the usual preoccupations of the Chisenhale Gallery they could almost be dismissed as the exhibition of an angst ridden assemblage artist. Almost. Once rushed through the immediate entrance of the exhibition space, amidst those first seconds of disorientation and strain for comprehension, the flickering text on the wall is just enough to ground your attention to a halt. The sudden anchor is exactly Abu Hamdan’s power. While you’re busy trying to side step the paddling pool, breeze block, and melon configurations on the ground to find where the real exhibition is, the words begin to register. Streams of text start implicating the various objects in descriptions of death and trauma; descriptions of brutal violence now being reconveyed through textual sound analogies of the everyday. The carefully stacked Pepsi bottle now evokes someone being bludgeoned to death, and the generic box of cinema popcorn becomes the plummeting sound of a collapsing building. Text and objects flicker across your eyes and body but though no sound is uttered the impact is deafening. You want to use a different word to describe this but there really is no other, this is exactly what it does. Confusion and naivety are replaced by a reality with such immediacy you’re now shocked, grateful, and fully engaged without having even glanced further into the gallery then past the objects by your sides.

The second installation is Saydnaya (the missing 19db); an audio work portraying the new limits of torture by the Syrian regime within the existing prison now used to house only political protestors. In this prison silence is their torture. The audio installation is housed separately in a dark sealed room placed at the center of the gallery space. Inside is the kind of dark that makes you fumble anxiously until you gratefully bang your head on the opposite wall; it is consuming. The audio track is less than 15 minutes long and gives you firsthand accounts of the prisoners within Saydnaya. To begin, Abu Hamdan uses sound samples in an ever descending scale to take you into the silence of the prison – because this is not sound as you know it nor that you could comprehend without these efforts. On our way there we plummet from the boom of a Boeing 747 landing, the screaming sounds of a New York highway, to the whispers of tranquility at a Swiss Alps retreat, and into stark sharpness of the Chernobyl exclusion zone… and we are still not at Saydnaya.

The prisoner testimonials that follow eradicate the assumption of anything over an inaudible whisper existing within the prison. In Saydnaya “the border between sound and silence is the border between life and death.” To move, to cough, to make any sound involuntarily or otherwise results in punishment of death. If life in Saydnaya has any opportunity to be clung to, how excruciatingly can you choke silence for survival? Using tonal comparisons between the whispers of prisoners before and after 2011, when the prison switched from housing standard inmates to those of political protestors only, 19db was found to be the difference. To put this into perspective a difference of 19db is the same as comparing a jackhammer on a footpath to a dishwasher. Now instead of subtracting from the sound of a jackhammer, subtract from the average level of a human voice. That unbearable border of sound, the difference of 19db, suddenly becomes quantifiable. Once the brain has grasped this recognition its effect can’t be removed. Saydnaya is a reality that we could never have conceived before, but through Abu Hamdan’s tools of reconstruction it’s as if we sit in those cells too.

While the title of “artist and researcher” might cause an initial dismissal of the credibility of the work, it is clear that Abu Hamdan is a master of both the subject matter and its representation. He is using distortion to portray distortion, something only achievable through the manipulation of language to demonstrate the perversion of its use in Saydnaya. The result of this complex contradiction is incredibly evoked between both installations. It is as if the war of sound that now suddenly exists, can only be combated and reconstructed with the architecture of an exhibition that exploits sound itself. The uncanniness in the work makes it impossible not to surrender. It’s something which we have never had to question before, but now after this experience will find it hard to clear from our minds.

The content may appear brutal but it is so necessary; Earwitness Theatre is making us all accountable. Whether these are issues you want to engage with or not, there isn’t really an option when encountering this work. It is presenting concepts that are sordid and extreme, yet it still manages to transform them into something fiercely tangible. The installations succeed in quantifying the unquantifiable and your reward for listening is a brief glimpse into the realms of terror of a Syrian political prison from the safety of a respectable East London Gallery. You will never have experienced this in an exhibition before.

You feel the silence of Saydnaya when Abu Hamdan wants you to feel its silence, and you hear only the sound of brutalized violence when his text and assemblage compositions invoke you to do so. Freedom of speech now becomes confused with freedom of silence, but you can’t quite work out which is more necessary or whether one exists without the other. Crystal clear but almost out of grasp, this is the art of Abu Hamdan’s work.

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

Interview with Alan Butler by Seanán Kerr, ACW student

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TYPECAST X David Booth Exhibition Launch & Artist Talk


TYPECAST x David Booth Exhibition Launch & Artist Talk

Opening 14 June 2019 at 18:00 – 21:00
Runs until 29 June 2019

Artist Talk between Una Sealy RHA and David Booth on Wednesday, 26 June at 18:00
(please RSVP to hello@hangtoughgallery.com)

The Hang Tough Gallery is delighted present Typecast, the first solo show by Dublin based artist David Booth. Booth’s practice deals primarily with painting and drawing, using both traditional acrylic and oil paint on canvas but often incorporating mixed media on unconventional surfaces. Sympathetic to the human form Booth’s attention is largely monopolised toward portraiture. While engaging with a widely traditional format such as is portraiture, it is Booth’s stark contrast between hyper-realistic detailed features and graphic illustrative brush strokes which carry his paintings into the contemporary. Rather than an intention to display the expression or likeness of a human subject, Booth’s subjects are often anonymous; displaying the expression of the artistic gesture.

Occupied by the ongoing study into representation of identity, Typecast is the result of this ongoing theme. While working from his own resources, source imagery is developed in collaboration with contemporary photographers Philip White, Cayne Kxa and Eric van Kampen. Booth uses the portrait as a starting point that usually distills other multidimensional viewpoints. As the concept and vernacular of identity is reorienting, Booth recontextualises the term typecast to challenge these developments and how they refer to social, psychological factors.

David Booth completed his BFA at Wexford Campus School of Art. In 2013 he moved to Dublin to begin his full time career as an artist and has since exhibited both nationally and internationally. Booth has featured in The Irish Times, The Independent and has been awarded the Evans Painting Prize in 2016. His painting ‘Unit’ was selected for the Zurich Portrait Prize 2018/19 at The National Gallery of Ireland. Booth was recently accepted to the BP Portrait Award at the National Portrait Gallery in London. His work is held in both private and public collections including Office of Public Works (O.P.W) and various private collections in Ireland and Europe.

This exhibition is co-curated by ACW alumni and Hang Tough Gallery Assistant Sara Muthi.

Hang Tough Gallery | 25 Lennox St, Portobello, Dublin 8

www.hangtoughgallery.com

FB | IG @hangtoughgallery

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

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.

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

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

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

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

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

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

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

IMMA Presents: A Vague Anxiety

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

Opening Thursday 11 April 18:00 – 20:00

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

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

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.

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

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

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”>



Copyright © 2004–2009. All rights reserved.

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