space
Ciara O’Hara- ‘Nowhere Here, Somewhere There’.
Everyday subjects enter a world similar to that of legend, folklore and mythology in an unidentified space. This results in an unexplained narrative of touching moments and decontextualised encounters in the relationship between man and nature. There is a sense of melancholic hope with the imaginary subjects, predominately children and animals, emerging with a strong knowingness of their existence in this unreal space. Like in folklore and legend, recognisable subjects from our world are involved in unlikely or impossible situations evoking an emotive or didactic response in the audience. This is a place removed from our world, where freedom of movement and restriction co-exist, people become semi-rooted plant-life and animals fight trees for territory.
Format: Wall hanging and free standing.
Outreach: Workshop available.
Fee: 50 euro per hour of workshop.
Available from: November 2012- November 2013
www.ciaraohara.com
In keeping with Visual Artists Ireland’s policy we require venues or events to pay artist’s fees for exhibitions.
Monica de Bath’s work explores land use and people’s relationship with the land. The methods and ideas behind the act of mining and act of land rehabilitation is the focus of PLOT / CEAPACH.
Format of the exhibition
Thirty paintings, ranging in size from 15 x 20 cm to 80 x 80 cm.
Installation of three glass bowls (approx 35 cm height and 20 cm diameter) with growing sphagnum and two information boards drawn from research and site visits, as recorded in PLOT 2 artists book.
– Size of space required
– Small to medium. As PLOT is grouped in terms of a series of families of paintings and a research space with installation. It can be laid out in different ways. It has worked well in spaces such as the Ballina Arts Centre.
– Are there technical specs available
Good lighting for the paintings. A simple table approx 5/6 foot long and 2 foot wide painted white for three glass bowls (approx 35 cm height and 20 cm diameter). There needs to be a sense of a separation between Painting/Thought Space and Research/Installation Space.
– Is there a catalogue available
Yes. Two artist notebooks, PLOT 1 / CEAPACH 1 and PLOT 2 / CEAPACH 2, with essays by Maeve Mulrennan (Writer and Curator) and Dr. Catherine Farrell (ecologist) accompany PLOT / CEAPACH.
– Is there a worked out education / outreach programme
Yes. Two days of workshops for practicing artists/art students.
– Day 1 – Drawing with reference to Nicolaides
– Day 2 – Colour with reference to Ittens
– For Children – A mixed media workshop for children in primary schools local to the exhibition space. Work bilingually in English and Irish, if required. (Note: I deliver children’s workshops for Kildare Arts service)
Artists’ Fees
– 300 euro per day for education / outreach programme
– required
Administration Fees
– 250 exhibition fee
– 250 travel/installation and deinstallation costs required
Contact Details
– monicadebath@eircom.net
– 086 3496793
Dates that it is available from:
– November 12 th 2012
In keeping with Visual Artists Ireland’s policy we require venues or events to pay artist’s fees for exhibitions.
Everyday subjects enter a world similar to that of legend, folklore and mythology in an unidentified space. This results in an unexplained narrative of touching moments and decontextualised encounters in the relationship between man and nature. There is a sense of melancholic hope with the imaginary subjects, predominately children and animals, emerging with a strong knowingness of their existence in this unreal space. Like in folklore and legend, recognisable subjects from our world are involved in unlikely or impossible situations evoking an emotive or didactic response in the audience. This is a place removed from our world, where freedom of movement and restriction co-exist, people become semi-rooted plant-life and animals fight trees for territory.
Format: Wall hanging and free standing.
Outreach: Workshop available.
Fee: 50 euro per hour of workshop.
Available from: November 2012- November 2013
In keeping with Visual Artists Ireland’s policy we require venues or events to pay artist’s fees for exhibitions.
Title: The Good Room
Artist: Kate Murphy
Theme: This body of work explores the dual nature of The Home as both a very private stage and a public showcase. The exhibition comprises a found video of a 1950s knife-throwing mother and daughter act, re-worked domestic decorative objects, large-scale paintings and a kinetic sound installation with clock chimes.
Format of the exhibition:
•An unseen clock chime mechanism is activated by viewers as they enter the space.
•Single video piece projected in a circular format onto a pencil-drawn mural of a lace doily (no sound, dimensions variable but approx 1.5 m in diameter)
•An installation of interconnected, kinetic ticking clock mechanisms with small found objects such as swallow feathers and sewing threads (dimensions variable, approx 3m x 2m)
•Two larger oil paintings (110 x 175cm and 100 x 100cm),
•One medium-sized painting (48 x 48cm)
•Eight small paintings /made objects on found frames (max 25cm each).
Space required: Min approx 6 x 6m
Outreach programme: Available
Fees: Transport fees required
Images: http://katemurphyartwork.blogspot.ie/p/the-good-room-2011.html
Contact: kmurphymail@gmail.com
Available from: October 2012
In keeping with Visual Artists Ireland’s policy we require venues or events to pay artist’s fees for exhibitions.
The threads of comments below You Tube videos are infamous for being violent, unrelated and ridiculous. ‘Trueprod2k11’ is an experimental verbatim theatre piece of which the script is entirely composed of You Tube comments sourced from below videos related to riots located in East Belfast in 2011. This project experiments with formats of activating dormant space.
Size required: 3m x 3m
Fees Required: Transport costs
Name: Iain Griffin
Email: iaingrif@talktalk.net
Website: http://www.iaingriffin.com
In keeping with Visual Artists Ireland’s policy we require venues or events to pay artist’s fees for exhibitions.
BERGHAIN
Emma Haugh
Berghain was made in response to time spent living in Berlin. The work hinges on modern mythologies surrounding club culture and begins with the obsessive nature of online forums and the desire for an experience that facilitates complete abandon. Moving between fact and fiction the imagination is held somewhere in-between. Berghain is an infamous superclub in Berlin that feeds the craving for excess that is prevalent in the cultural make up of big cities.
Inside, Berghain is designed to facilitate a specific kind of spatial relationship through the use of lighting, hidden corners, darkrooms, techno music, an omission of any kind of reflective surface and a strict no camera policy. The architecture of the club is gendered, it comprises a gay male aesthetic that is particular to Berlin. The exhibition, like the club, promises a fabricated experience that confounds expectations.
Gallery space; 9 framed silver gelatin prints on Ilford warmtone archival paper 420mm x 310mm, 1 framed inkjet print on archival paper 390mm x 290mm, printed ephemera available to take away
Darkroom; Text etched onto mirror 7 panels 10″ x 8″ each, Strobe light, Original techno track 8.12 minutes duration
The exhibition is adaptable to spaces of various dimensions, originally it was installed across two rooms, one a white gallery space and the other a darkened room with audio and strobe lighting.
There is no catalogue but an artists book relating to the work has recently been published.
the artist has given several public presentations relating to this work and has a background in arts facilitation, an education/outreach programme is very feasible.
Artists Fees required: In keeping with VAI policy, an artist’s fee is required
emmahaughphotography@gmail.com
www.emmahaugh.com
Available from mid September onwards
TITLE:
XXX is a pilot project comprising a series of exhibitions that showcases work made by contemporary female artists.
THEME:
Taking its name from the XX chromosome, this series of exhibitions brings together female artists working a variety of media. The aim is to give a platform to artists where there is no need to respond to a theme or to force their work into a category of similarity. Although there is curatorial consideration to the groupings in each show, these artists are invited to show work that varies from their co-exhibitor, illustrating their breadth of practice.
VENUES:
The first of the exhibitions – XXX7 – will take place in Dublin at the beginning of 2013, a second exhibition – XXX5 – will take place at Woman Made Gallery in Chicago during Nov – Dec 2013. A 3rd venue is currently being sought for mid 2013.
The venue needs to be large enough to take installation pieces and have enough space to allow 2D & 3D work unhindered viewing space.
CATALOGUE:
A catalogue will be produced to cover all 3 venues. Each venue will be properly credited and will be required to submit a brief statement regarding the XXX project for the catalogue.
ARTISTS:
The artists included in this series sre from Ireland (North & South) and USA. Although all the USA artists have worked in Ireland at some point before.
Ann Carragher (NI/UK) – Sound/Installation
Rebecca Coffey (Irl) – Installation
Eileen Hutton (Irl/USA) – Sculpture/Installation
Elaine Leader(Irl) – Installation/Drawing
Sandra Minchin (Irl) – Performance/video
Georgia McBride (NI/UK) – Printmaking
Roisín McGuigan (Irl) – Painting/Digital Media
Anna Marie Savage (NI/UK) – Painting
Erin Treacy (USA) – Drawing/Painting
Pamela Valfer (USA) – Drawing
FUNDING:
Applications will be made to the relevant funding bodies for this project. Should these be successful, all fees to artists and administrative costs will be covered. Interested venues are encouraged however to contribute to the general costs of hosting the exhibition i.e. technical/installation assistance, exhibition lauch, publiclty & marketing and general administration.
FURTHER DETAILS:
A full brief and project details are available from the project curator upon request.
Project updates are also available on www.roisinmcguigan.com/xxx/
Please contact Roisín McGuigan on 087 629 8583 roisin.mcguigan@gmail.com
‘Reflections on things yet to come’ was a solo exhibition by Fiona Mulholland, which presented new sculptural works developed during her two-month residency at Leitrim Sculpture Centre. On entering the gallery space my gaze was firmly fixed on a horizontal strip of blue neon lighting, which drew me nearer, until some words could be deciphered. A six-foot high billboard-style frame, constructed from painted steel, supported the question Are we there yet? The luminous lettering exuded an audible electric crackle – an iconic sound associated with this type of retro signage.
In the background, the rear wall was guarded by some clear corrugated perspex sheets, with greater opacity achieved in the places where overlapping occurred. As a ‘drawing’, it was animated by blue streaks darting across its reflective surface. As an urban boundary marker, it indicated that I should turn back.
Behind me a mass of transparent three-dimensional structures were assembled on the floor, stacked, layered, and functioning almost as a diffuser, absorbing, reflecting, and distorting the light in the space, while casting dramatic shadows. Visually, I interpreted Mirage as a shimmering cityscape. Geographically, it was a dense floating island.
During my initial movement through the space, a luminous orange sunset had revealed itself to my right, becoming visible through a large gap between the partitioning walls of the adjacent space. I made my way towards the blazing source, anticipating heat, but detecting instead a cold draft. On my approach, I could hear the low whirring hum of an electric fan, and the sound of something synthetic flapping in its breeze.
Of things yet to come was a static sunset, composed of industrial steel gridding and layers of amber perspex, illuminated from behind by fluorescent strip-lighting placed at floor level. It made me think of post-card images, sun-sets at iconic sites: the Pyramids, the Taj Mahal. The re-production and circulation of such imagery serves to perpetuate a false reality. Fully aware of its artificial state, I marvelled at its beauty all the same, and basked for a moment in its radiance.
To the right of the ‘sun’, the tall figure of a tree imposed itself upon the space, projecting oriental silhouettes onto a fabric screen (installed to block out the street level window). Weeping and Willows portrayed the adornment of an already existing ‘found tree’. A heavy base secured the tree trunk firmly at an oblique angle, appearing solid and immovable, contrasting with the flimsiness of
its jangling transparent leaves. These were cut from recycled water bottles, each threaded into position with steel wire and brass tubing. When replicated in such a way, the universal symbols of ‘sun’ and ‘tree’ became interestingly kitsch, a departure that I found particularly appealing. The work considered fake states of being: escapism as a parody on reality, tourism as a human process of self-colonisation. If the first space was a monument to urban existence, then the second was its exotic destination.
A third space, located to the left of the main entrance, contained two wall-mounted works (Untitled 1 & 2), which were sculptural drawings constructed from orange security netting. The strong curatorial engagement that permeated the other spaces was lacking in this area, and those particular pieces were less appealing, feeling like appendages to the main event.
As an artist, Mulholland has displayed a durational curiosity about the ephemera of modern life, combining found objects with construction materials, producing a sculptural ‘bricolage’ aesthetic. ‘Reflections on things yet to come’ was a continuation of this dialogue, but her inquiry felt more urgent. The work, whilst retaining its tactile appeal, displayed a paring back of elements that not only extended the sensory pleasure of the encounter, but also allowed the symbolism in the work to resonate more clearly and freely, with distinct contemporary relevance.
Mulholland’s use of neon signage stands out as being undeniably ‘of the moment’. Frieze Art Fair 2011 show-cased a large amount of textbased work, with extensive use of neon lettering employed by artists such as Cerith Wyn Evans, Dominique Gonzalez-Foerster and Tracey Emin. This contemporary re-appropriation of neon is not concerned with nostalgia, rather, it is a mode of declaration that subverts any commodity function, sign-posting instead the stark truths that persist beneath the surface. Are we there yet? articulates a universal impatience. It directs the viewer to a vision of ‘paradise’ – once a simplistic image, functioning in the mind of the city-dweller as a site of liberation – but in late-capitalism, ‘paradise’ is exposed as a displaced, artificial landscape, more problematic than our immediate terrain.
Joanne Laws
