acw blog

Tue Oct 20, 2009

from 'EK-STASIS/ENTASIS': work by Paula Barrett

Notes and pictures from the exhibition, September 2009

Posted by: Declan Long on Oct 20, 09 | 1:40 pm | Profile


Mon Jun 15, 2009

the rural - fashionable in the artworld (for now)

London_Fields.pdf

Posted by: fiona w on Jun 15, 09 | 10:30 pm | Profile


Thu May 14, 2009

Eija - Liisa Ahtila: The Present, Charlotte Perkins Gilman: The Yellow Wallpaper.

Eija - Liisa Ahtila: The Present

As a little experiment in art writing, I want to bring two seemingly disparate things together and see what results, if anything. What tools we use to help us read or understand art is of interest to me here. By bringing Gilman and Athila in parallel how does the reviewing process change. In recent discussion the idea of creating worlds has come up in relation to contemporary art and curatorial practices. What all believable worlds need are characters and narrators to move forward a plot and create depth in illusion. An American short story and video installations by a Finnish artists may at first not seem like comfortable bed fellows. Both present characters, flawed and all too human. The short story The Yellow Wallpaper by Charlotte Perkins Gilman crept around my head as I watched Athila’s short video portrayals of women experiencing various states of psychosis. Striking similarities can be found in the experience of the woman protagonist in Gilman’s short story and Athila’s various women protagonists. ..

Posted by: Edel Horan on May 14, 09 | 4:43 pm | Profile


Wed May 13, 2009

Mon May 11, 2009

From the archives ... reflections on artists & curation

Today's discussion of artists and the practice of curating reminded me that a few years ago I'd written a little piece of journalism about artist-led initiatives in Dublin. Given that Pallas Heights came up as an interesting example in the session, I thought I'd post these now-ancient (and then half-baked) thoughts to see if any part of it is still of use or makes sense.

The article refers to Nina Canell's first show: she's since gone modestly supernova. It refers to Four Gallery: it's since moved house and is going strong (unlike myself after a climb up their Library-of-Babel staircase). It discusses Mother's Tankstation, which has since become a fine gallery with an impressive roster of artists, including Kevin Cosgrove, who featured in last Saturday's Irish Times magazine. (Good to see something worthwhile featuring in this usually asinine publication). It also describes artist-run spaces in Dublin as 'endangered spaces': this is a pathetic pun that now looks even sillier as artist-run spaces are today off the endangered list and thriving in diverse habitats throughout the city.

Anyway, this piece is originally from UK mag A-N, from mid 2005 (I think).

Posted by: Declan Long on May 11, 09 | 10:00 pm | Profile


Wed Apr 29, 2009

TALES FROM THE PROMISED LAND; Negotiating a space

TALES FROM THE PROMISED LAND; Negotiating a space

When I began researching and documenting my approach to this paper I began by playing with the idea of the Paris Commune and community. I then came across a quote from Courbet during the time of the Commune. It reflects for me the challenge and diversity of practices that Common Ground intersects and forms in order to exist and work alongside partners like artists and community. So how do I find ways to integrate the theory and practice of my work?

Posted by: siobhan geoghegan on Apr 29, 09 | 6:46 pm | Profile


Sat Apr 25, 2009

Participatory democracy

Congratulations everyone for a very rewarding session in the 'participation' strand on Friday. From my perspective it was quite a discomfiting experience. And very valuable on that basis. Is there a general proposal / description of the event that could be posted here?

I see that the ICA is doing a series of events that seeks to address 'speech as a tool and as a medium to produce and negotiate meaning, both within the field of art and across other areas of life such as politics, business and entertainment.' It'd be interesting to exchange a few further thoughts here on Friday's experimental class and see how the off-kilter staging of conversation in your session relates to the ideas explored in the various ICA events.

Talk Show
A season of speech-based
artworks and events
Curated by Will Holder with
Richard Birkett and Jennifer Thatcher

6 - 31 May 2009

http://www.ica.org.uk/talkshow

The ICA has long been a site for heated exchange, through conversation, oration and performance, and the voices of artists, critics, theorists and audience alike have contributed to a sense of constant articulation and production. Talk Show is a month-long programme of events, displays, residencies and workshops that directly address speech as a tool and as a medium to produce and negotiate meaning, both within the field of art and across other areas of life such as politics, business and entertainment.

Many contemporary artists employ the spoken word as a medium or reference point, and Talk Show includes an exhibition of speech-based works. Other spaces are being used as a location for a series of artists' residencies, events that are open to the public and in which participants will research, rehearse and produce new work, laying bare the function of conversation and collective negotiation. The season also features a large number of performances and presentations by artists, musicians and others, a programme that promises a rich array of experiences. Finally, Talk Show includes a number of workshops and discussions, as well as a conference, a programme that invites the audience to consider the social and cultural adaptation of the voice.

A wide range of resources are linked to Talk Show, and a range of background material and research will be presented on the ICA's website, as well as in the first issue of Roland, the magazine of the ICA's visual art programme. Furthermore, the ICA's new Reading Room will present a number of spoken word archives, allowing visitors to pursue their own research. The ICA has a history of experimental, inter-disciplinary and artist-led programming, and Talk Show is a part of this trajectory. It has been curated by artist, writer and designer Will Holder, with Richard Birkett and Jennifer Thatcher of the ICA. It is produced in partnership with The London Consortium, and with support from the French Embassy, Lightweight Media and Kirin.

Posted by: Declan Long on Apr 25, 09 | 3:03 pm | Profile


Mon Apr 13, 2009

my new website

www.fionawoods.net

Posted by: fiona w on Apr 13, 09 | 3:38 pm | Profile


Tue Mar 24, 2009

GIVING AWAY THE COMMON SEAMUS NOLAN’S DOCKS TOURS 2008 Tim Stott

I never had chance to listen to Mr Michael McCarthy, the ex-docker employed by Seamus Nolan to conduct horse-drawn tours of Cork’s docklands last autumn. I hear that Mr McCarthy did not always hold court with grand tales as he drove his passengers through the area, that occasionally he seemed rather to hold something back, making his exchanges opaque, sometimes abrupt; ambiguous, at the very least. Although the greater part of passengers appear to have thoroughly enjoyed their time in the company of Mr McCarthy, some were bound to be disappointed, especially if they brought with them expectations of a familiar, if perhaps more personable, version of the guided heritage tour. Whatever the quality of the exchanges between passengers and guide, whatever the dynamics of their performance before one another, we who were not party to these local and short-lived conversations know only further tales, recounted afterwards, no more nor less trustworthy than tales generally are. Docks Tours turns upon the complexity of such primary conversations, even on those occasions when they are lacking – the quality of the work is indexed to the quality of conversation – yet it makes no attempt to represent them.

Posted by: Tim Stott on Mar 24, 09 | 2:06 pm | Profile


In defence of an idea (by one who was there).

Starting out to criticise something that one hasn’t seen, heard, read, and so on, is obviously ill-advised, especially if, despite a preliminary disclaimer (‘I wasn’t there, so I don’t know’), one carries on to vent one’s spleen regardless. The defence of an idea that remains to be thought will always be difficult when faced with those who are certain of their condemnation or praise before that thought has been attempted. Certainty confused with rigorous argument and disciplined thought has been the bain of Marxist thought for some time. Thankfully, this confusion seems to be passing, for some at least.

Posted by: Tim Stott on Mar 24, 09 | 1:35 pm | Profile


PREV page NEXT page

Art in the Contemporary World

Philosophy
Reviews
Thinking aloud