Listings for: Articles
Sarah Bracken Reports on the Sixth Annual London Zine Symposium
On 29 May, on a rainy London Saturday, artists, environmentalists, punk rockers, vegetarians, vegans, bike lovers, misfits, a lot of tattooed ladies and just about every other kind of person you can think of descended upon The Rag Factory on Heneage Street. The Rag Factory is a non profit organisation supporting the creative community in London, it provides spaces to rehearse, audition, film, work, think, create or just to meet. Today it was the home of the sixth annual London Zine Symposium.
VISUAL, Carlow
Le Corbusier contended that “museums are a recent invention; once there were none. So let us admit that they are not a fundamental component of human life like bread, drink, religion, orthography”. (1) Modern museum architecture began as recently as the 1970s with the Centre Georges Pompidou. So marked the beginning of the innovative museum of the people, located at pedestrian level in the civic realm rather than at an elitist remove: the palace on the hill. (more…)
Rafeal Lozanos - Hemmer. 'Vectoral Elevation Dublin'
Belinda Quirke Discusses the Meaning and Implications of the Recent Spate of Light-Related Public Art Events and Artworks.
The Berlin Festival of Lights has a theme tune … cue eurotrashtic beat, tempo moderate, non descript background musings with sensitive soulful singing by the artist Ayman “…I see it…I feel it, It’s like something I’ve never seen…I’m feeling free and I cherish every moment…turn the lights on… let it shine on..I can see things I’ve never seen”. (more…)
Edel Horan Reports on ‘Touring Exhibitions – Who Benefits?’ a Round table Discussion Held at VISUAL Centre for Contemporary Art, Carlow on 28 April
VISUAL Centre for Contemporary Art, Carlow hosted the discussion ‘Touring Exhibitions – Who Benefits?’ (28 April) in conjunction with the venues showing of the touring exhibition ‘Noughties but Nice: 21st Century Irish Art’ (2 April – 8 May 2010) curated by Mike Fitzpatrick and Susan Holland. The exhibition was originated by Limerick City Gallery of Art – where it was first shown. ‘Noughties but Nice: 21st Century Irish Art’ was supported by the Arts Council touring pilot scheme and subsequently the touring and dissemination of work scheme. The exhibition’s other ports of call were the Regional Cultural Centre, Letterkenny and Solstice Arts Centre, Navan, where it finished up. The stated central curatorial aim of exhibition was to survey the “extensive terrain of contemporary Irish art over the last decade”. The exhibition featured works by Aideen Barry, Sarah Browne, Denis Connolly, Anne Cleary, Amanda Coogan, Joe Duggan, Ciara Finnegan, Andrew Kearney, Sean Lynch, Caroline McCarthy, Tom Molloy, Seamus Nolan, Eamon O’Kane and John Shinnors.
Jason Oakley talks to Séamus Kealy, Director/ Curator of The Model Home of the Niland Collection about the Redevelopment of the Institution’s Premises.
Jason Oakley: Talk me through the redevelopment/ extension by Sheridan Woods architects?
Séamus Kealy: The entire extension of The Model increases our scale by about 40%. It augments the redevelopment undertook in 2000 and balances cleanly with the original architecture.
'Dorm' / Model re-opening night.
The building is designed with the visitor in mind. It actually feels much more comfortable inside than the grandeur of the new façade might suggest. I have strong issues with intimidating architecture, especially giant art spaces that are sometimes un-inviting to non-art specialist audiences.
We’ve nine new artist studios. Seven are rented out by local artists, one is set aside as a recording studio, and the final one is an artist residential studio. Our guests include Boris Groys for the summer, and right now we have Italian artist Paolo Tamburella. Having all these studios furthers our role in being a hub of production, and this production will rotate as we change artists in the residential programme throughout the year.
2006, photographer unknown. Images of the state governor, Ulises Ruiz are depicted over different captions that read (from l - r): The Innocent, The Cynic, The Thief, The Authoritarian, The Repressor, The Ruiner, The Assassin, The Shit.
Adam Stoneman Considers why Ireland Needs Graffiti Art With a Message.
The question of whether graffiti counts as art or vandalism – or both, still divides the opinion of the average person on the graffiti covered street. However, the Irish cultural establishment has been less equivocal in embracing this countercultural practice. These days it is not uncommon for an ‘urban art’ event to be sponsored by a local council or business, and there are now legal walls designated for graffiti in many major Irish towns. It has also entered the galleries and museums; this February BaqsR and Crap have displayed their work in the Galway City Museum and stencil artist ADW held an exhibition at the Back Loft Gallery, Dublin in April. This follows recent major retrospective graffiti exhibitions at the Tate in London (2008) and the Foundation Cartier in Paris (2009). (more…)
Nevan Lahart, 2:20 Horsepower Apocalypse. installed at the 'Non-Car-Showroom. Photo: John Beattie.
Jonathan Carroll Talks To Jason Oakley About ‘Shop If Can, Look If You Want’ A Contemporary Art Trail Organised For Dublin’s 2010 St. Patrick’s Festival.
JO: How did the idea for ‘Shop if can, Look if you want’ come about?
JC: I had been involved the visual arts element of the St. Patrick Day Festival since 2007. Each year, I would begin putting together a variety of proposals from September for the following March. The sponsorship team and the festival’s CEO would basically act like door-to-door salesmen looking for partners to help fund one of my proposals. The difficulty of getting funding became the creative force behind the ‘Shop If Can, Look If You Want’ idea. (more…)
Jay Koh Discusses His Dialogical Projects Ni Hao –Dia Duit And Reading The Self, Reading The Other, Which Explore Cross-Cultural Exchange Between The Local And Chinese Communities In Dublin.
Image: Jay Koh – article in the Sun Emerald, relating to ‘Ni Hao –Dia Duit’.
This article discusses some aspects of the dialogical components of my practice that are focused on the creation of trust between potential collaborators via dialogue and exchange (1). My specific focus is Ni Hao – Dia Duit (hello in Chinese and Irish) and Reading the Self, Reading the Other, cross-cultural projects concerned with identifying and building sustainable interactive channels between the local and Chinese communities around Dublin’s Parnell Street).
Monica Flynn VAI Education Officer interviews Rachel Brown and Brighdin Farren about their curatorial project Brown & Bri.
All Images selected by Brown & Bri from the photographic archive at Belfast Exposed Photography’.
Monica Flynn: How did your collaboration begin?
Brighdin Farren: Rachel and I joined Catalyst Arts in Belfast in 2007 as directors. During the summer of 2008 we worked on The Garden Project and thought we should work together more. Neither Rachel nor I knew Belfast or each other before 2007, so Catalyst gave us a very direct route into the heart of the contemporary art scene and a comprehensive understanding of how it functions and maintains itself, we could therefore see how we could build on this.
Rachel Brown: I moved to Belfast solely for Catalyst and arrived here not knowing the city or anyone in it. Naïve as it sounds, I found the experience completely inspiring. Being at Catalyst placed me in the middle of an existing community, where Bri and I developed similar ideas for how to contribute locally. (more…)
Formed in 1985, the Guerrilla Girls were influenced by the political movements of the 1960s and 1970s in the US, and were a part of the opposition to the backlash against the Feminist movement and, later, central to the dialogue responding to issues in post-Feminism and art. The Guerrilla Girls explore such taboo subjects as feminism and fashion, attempting to achieve equality of the sexes and ‘races’ in art, politics, film, and popular culture, and so calling themselves the ‘Conscience of the art world’. They wear gorilla masks in public, to conceal their identities, and place the focus on issues rather than personalities, and work collectively and anonymously, to produce posters, films, billboards, public actions, books and other projects. (more…)
