SEAN LYNCH DISCUSSES HIS PROJECT ME JEWEL & DARLIN’
I lived in Dublin in 2008, while I was participating in part IMMA’s artist residency programme. I had never really had the opportunity to be involved with the art scene there, and I had a great time working in the city over seven months. During the course of my residency I decided it would be interesting to explore some histories about the city and make an artwork that would reflect this process.
The resulting project, entitled Views of Dublin, was exhibited at the Gallery of Photography later that year and was based upon a series of inter-related events in the city in 1965. John Le Carre’s cold war thriller The Spy Who Came in from the Cold was produced as a film in that year, and a replica of the Berlin Wall and Checkpoint Charlie was constructed in Smithfield Market as part of the film’s set. Actor Richard Burton and his wife Elizabeth Taylor stayed at the Gresham Hotel for ten weeks, attracting much attention. Recollections of these events are today still heard around the city, and the Wall replica is often recalled as an unusual oddity of Dublin architecture.
(more…)
I lived in Dublin in 2008, while I was participating in part IMMA’s artist residency programme. I had never really had the opportunity to be involved with the art scene there, and I had a great time working in the city over seven months. During the course of my residency I decided it would be interesting to explore some histories about the city and make an artwork that would reflect this process.
The resulting project, entitled Views of Dublin, was exhibited at the Gallery of Photography later that year and was based upon a series of inter-related events in the city in 1965. John Le Carre’s cold war thriller The Spy Who Came in from the Cold was produced as a film in that year, and a replica of the Berlin Wall and Checkpoint Charlie was constructed in Smithfield Market as part of the film’s set. Actor Richard Burton and his wife Elizabeth Taylor stayed at the Gresham Hotel for ten weeks, attracting much attention. Recollections of these events are today still heard around the city, and the Wall replica is often recalled as an unusual oddity of Dublin architecture.
(more…)
VAN May/June 2011: Unabashedly Instrumental
JASON OAKLEY REPORTS ON – The ethics of collaboration within socially engaged arts practice
– A SEMINAR DEVISED BY THE FIRE STATION ARTISTS’ STUDIOS, DUBLIN AND
HOSTER BY THE NATIONAL COLLEGE OF ART AND DESIGN (11 MARCH 2011)
Aesthetics, ethics, participation, collaboration, authorship and power dynamics – whenever art with political aims or some kind of social or community remit is being discussed, this heady brew of concepts is brought to the boil. The most frequent outcome is a simmering divergence of opinions around these ideas; along with anxious hand-wringing about what should, could and can be done, to address the ‘problem’ of highly educated professional artists trying to speak for the disenfranchised and underprivileged groups who are usually the subjects of such projects. What can also percolate is a sense of shame and guilt about how the supposedly ‘empowered’ art world is inconsequential in the face of actual social problems. And so, despite frequently claiming the contrary, contemporary art often has to resign itself to its autonomy – cut off from, ignored and often derided by society at large. (more…)
Submitted on May 13, 2011 – 10:47 am
Artut Zmjewski 'Two Monuments' (2009) Video Still
Aesthetics, ethics, participation, collaboration, authorship and power dynamics – whenever art with political aims or some kind of social or community remit is being discussed, this heady brew of concepts is brought to the boil. The most frequent outcome is a simmering divergence of opinions around these ideas; along with anxious hand-wringing about what should, could and can be done, to address the ‘problem’ of highly educated professional artists trying to speak for the disenfranchised and underprivileged groups who are usually the subjects of such projects. What can also percolate is a sense of shame and guilt about how the supposedly ‘empowered’ art world is inconsequential in the face of actual social problems. And so, despite frequently claiming the contrary, contemporary art often has to resign itself to its autonomy – cut off from, ignored and often derided by society at large. (more…)
VAN May/June 2011: Ongoing and Roundabout
AILBHE NI BHRIAIN TELLS THE STORY-SO-FAR OF HER CAREER AS A PROFESSIONAL VISUAL ARTIST.
I recall reading an article (somewhere) in which John Baldessari said (to someone) that approximately one percent of art school graduates go on making work after college – and of that percent only one percent make a living from their work. I am sure his calculations were about as formal as my referencing of them, but, applied to my own (committed, talented) year groups through college, the figures still manage an around-about-rightness.
Of Baldessari’s percentiles, I belong to the former: I do not make a living from my work. I work chiefly in video and video is tricky. A benefit of this uncommercial niche is not having to store unsold bubble-wrapped works under beds and in other people’s garages. You could also say it gives the luxury of being a purist, removing the pressure to shape work towards a buying audience. The downsides are obvious enough: lack of money; need to do other things for-to-get money to make work; lack of time to make work because of doing other things to get money to make work etc. But for the majority of artists (aforementioned 99%) this is nothing new. I state it just to signal that, for me, career development means simply supporting the continued production of work, and is an ongoing and often roundabout process.
(more…)
Submitted on May 13, 2011 – 10:28 am
Ailbhe ni Bhriain 'Great Good Places' (Video Still) Courtesy Domobaal, London
I recall reading an article (somewhere) in which John Baldessari said (to someone) that approximately one percent of art school graduates go on making work after college – and of that percent only one percent make a living from their work. I am sure his calculations were about as formal as my referencing of them, but, applied to my own (committed, talented) year groups through college, the figures still manage an around-about-rightness.
Of Baldessari’s percentiles, I belong to the former: I do not make a living from my work. I work chiefly in video and video is tricky. A benefit of this uncommercial niche is not having to store unsold bubble-wrapped works under beds and in other people’s garages. You could also say it gives the luxury of being a purist, removing the pressure to shape work towards a buying audience. The downsides are obvious enough: lack of money; need to do other things for-to-get money to make work; lack of time to make work because of doing other things to get money to make work etc. But for the majority of artists (aforementioned 99%) this is nothing new. I state it just to signal that, for me, career development means simply supporting the continued production of work, and is an ongoing and often roundabout process.
(more…)
VAN March/April 2011: Responsible Driving
Colleges can provide a shelter for artists – giving them space to develop – but these institutions also inform, passing down knowledge and perpetuating schools of thought. Past a certain point in the development of one’s art practice, I’ve been wondering if the shelter of the art college actually encourages a shirking of responsibilities? Shouldn’t artists claim independent agency over their own learning?
In light of these questions, I have become interested in alternative models of learning and peer critique – that can offer an alternative to formal education while still providing a sense of community and collaboration. As I personally experienced in the course of the ‘Mercedes Fire’ summer school 2010 (1), there is an amazing sense of generosity and camaraderie within the art community in Ireland, which openly invites the free formation of alternative models of social engagement and learning within it.
(more…)
Submitted on March 21, 2011 – 1:21 pm
Mercedes Fire
Ruth E. Lyons profiles ‘Mercedes Fire’, an artist-led seven-day touring summer school.
As it becomes increasingly the norm for more art colleges to offer the continued study of visual arts practices at masters and doctorate level, there is a greater demand on artists to obtain higher levels of academic qualifications. I am interested what effect this increase in time spent by artists in development within institutes of education has on the character of contemporary art.Colleges can provide a shelter for artists – giving them space to develop – but these institutions also inform, passing down knowledge and perpetuating schools of thought. Past a certain point in the development of one’s art practice, I’ve been wondering if the shelter of the art college actually encourages a shirking of responsibilities? Shouldn’t artists claim independent agency over their own learning?
In light of these questions, I have become interested in alternative models of learning and peer critique – that can offer an alternative to formal education while still providing a sense of community and collaboration. As I personally experienced in the course of the ‘Mercedes Fire’ summer school 2010 (1), there is an amazing sense of generosity and camaraderie within the art community in Ireland, which openly invites the free formation of alternative models of social engagement and learning within it.
(more…)
VAN March/April 2011: Productive Reflection
(more…)
Submitted on March 21, 2011 – 12:22 pm
Anne Lynott reports on ‘The Museum Revisited’, a seminar on ‘New Institutionalism’ and contemporary art galleries and museums, held at The Science Gallery, Dublin, 16 October 2010.
‘New institutionalism’ has been a buzz phrase in European curatorial discourse since the last decade. The late 1990s saw previously independent curators beginning to move to key posts within major art institutions (1). And by the new millennium, developments were taking place in how galleries and museums were being operated. This ‘new institutionalism’ was characterised by self-reflexivity and an interest in alternative curatorial models, particularly those aimed at debate and dialogue with other fields of knowledge. A defining characteristic was that exhibitions no longer had precedence over other types of activity. Instead, equal importance was placed on discourse, research, analysis and thinking about contemporary art, as much as presenting it. As Claire Doherty has put it “new institutionalism responds to (some even say assimilates) the working methods of artistic practice and furthermore, artist-run initiatives, whilst maintaining a belief in the gallery, museum or arts centre, and by association their buildings, as a necessary locus of, or platform for, art.”(2)(more…)
VAN March/April 2011: From the Amazon to the Sahara
(more…)
Submitted on March 21, 2011 – 12:01 pm
Augustine O'Donoghue 'The Disappeared: Mother and Son'
Augustine O’Donoghue reports on her recent work with the Artifarti Project in the Western Sahara Liberated Territories and the Tinduff refugee camps in Algeria.
Over the last number of years, my art practice has taken on an international dimension, which involves working with a wide range of communities around the world, often outside the traditional art arena. In early 2009, I undertook a research trip to the World Social Forum (WSF) in Brazil with NCAD. At the event, we had a chance encounter with organisers of Artifariti, an experimental art festival in the Western Sahara Liberated Territories. We invited them to speak at an upcoming conference / exhibition in NCAD ‘Art with Africa’. Following the success of this event, Artifariti invited NCAD students and staff to attend Artifariti 2009 in Western Sahara Liberated Territories and the Tinduff Refugee camps Algeria. Following my involvement in this event, I was invited back this year to develop a collaborative project with Saharawi refugees in Tinduff refugee camps (along with Irish artists Neil Rudden and Brian Duffy).(more…)
VAN January/February 2011: Architectural Essence
The Arts Council recently published a
study into public engagement with architecture in Ireland, written and
researched by Alan Mee and Richard Wakely. The authors acknowledge that
public engagement with architecture is a relatively recent phenomenon in
Ireland and must therefore start from “a low base”. The study
identified a range of actions, which the Arts Council might wish to
consider as a means of enhancing the level of supports for engaging the
Irish public with the art form of architecture. Mee and Wakely recommend
the facilitation of a broader approach encompassing the wider built
environment and giving opportunity for the public to be exposed to,
become aware of, appreciate, and participate in the creative endeavour
associated with architecture. Commonage – curated by Rosie
Lynch, Tara Kennedy and Jo Anne Butler for the town of Callan, County
Kilkenny was funded under the Arts Council’s Touring and Dissemination
Architecture Award, 201. It was an exemplar of a broad approach – as
well as being a beautifully pitched and curated experience.
(more…)
Submitted on February 11, 2011 – 11:45 am
Commonage exhibition - Old Co-op, Callan
Cliodhna Shaffrey profiles ‘Commonage’ a
project merging art and architecture that took place in Callan, Co.
Kilkenny during 31 JULY – 8 AUGUST 2010
The Arts Council recently published a
study into public engagement with architecture in Ireland, written and
researched by Alan Mee and Richard Wakely. The authors acknowledge that
public engagement with architecture is a relatively recent phenomenon in
Ireland and must therefore start from “a low base”. The study
identified a range of actions, which the Arts Council might wish to
consider as a means of enhancing the level of supports for engaging the
Irish public with the art form of architecture. Mee and Wakely recommend
the facilitation of a broader approach encompassing the wider built
environment and giving opportunity for the public to be exposed to,
become aware of, appreciate, and participate in the creative endeavour
associated with architecture. Commonage – curated by Rosie
Lynch, Tara Kennedy and Jo Anne Butler for the town of Callan, County
Kilkenny was funded under the Arts Council’s Touring and Dissemination
Architecture Award, 201. It was an exemplar of a broad approach – as
well as being a beautifully pitched and curated experience.
Commonage exhibition - Old Co-op, Callan
(more…)
VAN January/February 2011: Honouring Creativity & Craft
Tucked away between Newry and Belfast, it can be easy to drive past the FE McWilliam Gallery without even being aware it is there. Though easily missed, once visited, it is never forgotten. As well as the striking architectural layout, the permanent and temporary collection are sure to lure you back. The Gallery and Studio is dedicated to the memory of the renowned sculptor, Frederick Edward McWilliam, born in Banbridge in 1909. After his death in 1992 the sculptor’s studio and its contents was gifted to the town of his birth. The gallery and studio houses this collection in a superb exhibition facility of gallery, sculpture garden and reconstructed studio. It also provides a tourist information centre, café and craft shop. I spoke to the acting curator, Ms. Deirdre Quail, who very kindly answered my questions, but added many little anecdotes from her talks with the McWilliam family.
(more…)
Submitted on February 11, 2011 – 11:40 am
FE McWilliam Gallery & Studio
Anne Callanan talks to Deirdre Quail, acting Curator, FE McWilliam Studio and Gallery.
FE McWilliam Gallery & Studio
Tucked away between Newry and Belfast, it can be easy to drive past the FE McWilliam Gallery without even being aware it is there. Though easily missed, once visited, it is never forgotten. As well as the striking architectural layout, the permanent and temporary collection are sure to lure you back. The Gallery and Studio is dedicated to the memory of the renowned sculptor, Frederick Edward McWilliam, born in Banbridge in 1909. After his death in 1992 the sculptor’s studio and its contents was gifted to the town of his birth. The gallery and studio houses this collection in a superb exhibition facility of gallery, sculpture garden and reconstructed studio. It also provides a tourist information centre, café and craft shop. I spoke to the acting curator, Ms. Deirdre Quail, who very kindly answered my questions, but added many little anecdotes from her talks with the McWilliam family.
(more…)
VAN January/February 2011: Airport Art
(more…)
VAN November/December 2010: Sites of Becoming
Submitted on February 11, 2011 – 11:23 am
Production sill from Terminal Convention (working title), an experimental documentary by artist and filmmaker Mike Hannon.
Production sill from Terminal Convention (working title), an experimental documentary by artist and filmmaker Mike Hannon.
Sara Baume introduces ‘Terminal Convention 2011′ an major international art exhibition that will take place on the site of the former Cork International Airport (17 – 27 March).
What do you get if you cross hundreds of empty baggage trolleys, a couple of stalled conveyors and a dehydrated fountain with a gaggle of international artists, musicians and speakers – then shuffle them all together in a tumbledown airport on the outskirts of civilisation across the St. Patrick’s weekend? It may sound something of an obscure joke, but suspend disbelief long enough and you might well find yourself revelling in just such an event throughout 11 eclectic days this coming springtime…(more…)
Submitted on December 16, 2010 – 10:47 am
No comments:
Post a Comment