Mystery Ewer

Jane Fogarty | Mark Swords

Exhibition dates: September 10th – October 8th.

Preview: Friday, September 9th (6-8pm)

Mystery Ewer, features new work by artists Mark Swords & Jane Fogarty. Referencing the trans-disciplinary nature of contemporary practice through the work of these two artists, Mystery Ewer explores the boundaries of perceived genre. Throughout history exchange and dialogue have existed between distinct media, more recently the notion of media specificity has become a non-issue. Today’s “sculpture” derives much of its source material from painting, and “painting” from sculpture.

Jane Fogarty’s work derives from the artist’s interest in the history of painting. Fogarty’s sculptural work focuses attention on exploring those spaces that sit between sculpture and painting. Mark Swords’ paintings are well known for their ongoing dialogue with the spaces within and surrounding them, the paintings often moving out of their frames inhabiting the exhibition space. This exhibition takes its title from Adrian Saxe’s 1989 work “Untitled, Mystery Ewer”. Saxe, a member of the 1960’s Funk Art Movement (1) (along with Robert Arneson at UC Davis), explored the limits to, and integrity of clay as a sculptural medium in response to the dominance of painting’s Abstract Expressionist notion of medium specificity (2). The works featured in Mystery Ewer contain an amusing cross-referencing of genres and materials, exchanging the frame of painting and sculpture across works as each artist explores the fluidity and range of contemporary practice today.

This exhibition is curated by Hilary Murray, assisted by Isobel Foley and Katy Gaffney. Mark Swords is represented by Kevin Kavanagh Gallery, Dublin.

1. http://centralpt.com/upload/417/10001_FunkArtLessonssm.pdf

2. http://sites.uci.edu/form/files/2015/01/Greenberg-Clement-Avant-Garde-and-Kitsch-copy.pdf

Main Image: Mark Swords, Untitled (detail) (2016), left;  Jane Fogarty, Untitled (2016) right and below.

Jane Fogarty

 

PhotoIreland 2016: UU MFA

PhotoIreland 2016: MA in Fine Art in Photography, Ulster University’s Belfast School of Art.

Exhibition Dates: July 8th-23rd. Preview, Friday, July 8th (6-8pm)

New works from the MA in Fine Art in Photography, Ulster University’s Belfast School of Art. This exhibition marks the culmination of study for a group of MFA Photography Students at Ulster University’s Belfast School of Art. The photographs are part of a greater body of research that each student has completed for their final year project.

Artists: Aaron Dickson, Richard Gosnold, Dianne Whyte, Tim West, Dalyce Wilson, Katrina Taggart

This exhibition is part of the PhotoIreland festival, 2016.

Main image: Richard Gosnold, 2016. Copyright the artist.

Adam Gibney: Euclid, I miss you..

Adam Gibney: Euclid, I miss you..

June 10th-July 2nd. Preview, June 9th

“But this map of what surrounds the present, like all maps, is only a surface; its features are but abstract signs and symbols of things that in themselves are concrete bits of sensible experience.” (1)

 Symbolic descriptions of reality, even the axiomatic, have proven to be only temporary and tentative. The line, a breadthless length(2), now protrudes into the platonic. The solid formal structures that held truth now exist precariously within the newfound multitudes of reality. The rigorous quest for certainty seems to only expand the terrain of uncertainty. Here and there, an arbitrary line connects points, which have no part (3), here.

Adam Gibney is a Dublin based artist who graduated from IADT in 2010. He was the recipient of the IMOCA Graduate Award, the Aileen MacKeogh Award and the Siamsa Tíre Emerging Artist Award. His solo exhibitions include Limbo-Excavated (2011),RE:definition (2012) and Exercises of an Audionaut (2014). Most recently his work was exhibited as part of the RHA’s Futures Anthologyhttp://adamgibney.com/

In June 2016 Adam will present Euclid, I miss you, a solo exhibition in ArtBox Dublin. Other upcoming events include Deep Inside (Moscow Biennale of Young Art) and Activating Pangea (CB1 Gallery, Los Angeles).

This exhibition is kindly supported by Fingal County Council

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Cloudlands National Tour

CLOUDLANDS National Tour, Helium Arts

Exploring the Creative Lives of Teenagers in Hospital

Exhibition Dates: 19 May- 2 June. Preview: Thursday May 19th (6-8pm).

The Cloudlands National Tour by Helium Arts invites audiences into the creative lives of teenagers in hospital. Themes of alternate realities, escape and hidden stories are revealed through two distinct pieces of artwork, developed by artists Rachel Tynan and Eszter Némethi with teenagers in Temple Street Children’s University Hospital and Cork University Hospital.  The Cloudlands National Tour runs from March to June 2016 in arts venues and hospitals in Galway, Waterford, Cork and Dublin. Cloudlands will be accompanied by a series of free events for artists, schools and medical students at participating arts venues. For tour information visit www.helium.ie

2016 PUBLIC TOUR DATES

Galway Galway Arts Centre 4 – 19 March 2016

Waterford Garter Lane Arts Centre 31 March – 9 April 2016

Cork The Atrium, Cork City Hall 22 – 28 April 2016

Dublin ArtBox, 19 May- 2 June 2016

The Cloudlands National Tour is funded by an Arts Council of Ireland Touring and Dissemination of Work Award.

Rachel Tynan graduated from the National College of Art and Design (BA Art and Design Education) in 2009. She recently completed her Masters in Design, examining the effects illness has on the human body through textile, sculpture and body art. She exhibited Soar Saor as part of The Ark’s Awakening Curiosityexhibition (2012) and her solo exhibition Cut Throat at The LAB (2012) pushed her work beyond the fixed manifestations of installation with an explorative dance performance which further explored the experience of living with an illness. www.racheltynan.ie

Eszter Némethi is a theatre maker and holds a BA in Drama and Theatre Studies from UCC. She has a special interest in collaborative performance making in various contexts. Her work centres on “real” non-actor performers and collaborators, strongly defined spaces and a special attention to the audience’s experience and engagement. Over the past year, Eszter has been exploring the use of game-mechanics and interactivity in her work. Eszter is the artistic director of Makeshift Ensemble and director of the company’s productions to date, Exit Strategy (2013), No One Can Hear You In There (2012) and Osteoporosis (2011). She is also curator of the multi-disciplinary arts event Quarter. www.makeshiftensemble.com

Helium Arts is a children’s arts and health organisation transforming the healthcare experience of young people and those who care for them through art, imagination and play. Established in 2009, Helium’s creative projects take place in hospitals, health centres, and community settings across Ireland. www.helium.ie

FOR MEDIA INFORMATION, PLEASE CONTACT:

Emma Eager, Communications Officer, Helium Arts

Mob: 086 3552789 | E-mail:communications@helium.ie

Fiona Marron: PROVING GROUND

PROVING GROUND: The Age of Independence, The Internet and Ireland

Exhibition Dates: April 1st-30th. Preview: Thursday, March 31st (6-8pm)

ArtBox is delighted to present a new work by artist Fiona Marron. Marron’s. PROVING GROUND, explores Ireland’s communications infrastructure and its significance historically. This extensive project also explores how  Ireland’s perceived neutrality and geographical location contributed to the cultivation of a scientific research tradition, nurturing its existence as a location for experimental systems.

Juxtaposing the contemporary with the historical, the work presents the latest Irish cable station in its preparation for a new fibre optic cable to be put in service during 2016, together with an account of Ireland’s position within the development of cable technology over the past century. Linking America to Europe, this new submarine cable is designed to be the most secure transatlantic cable system in existence and has its landfall on the west coast of Ireland. The cable’s onward course is observed at various junctures in the Irish landscape, beneath which it follows a trajectory to the featured cable station.This work was developed in association with the UCD Art in Science Residency programme – Parity Studios.

Fiona Marron was born in Co. Monaghan in 1987 and now lives and works in Dublin. She holds a BA in Fine Art from Dublin Institute of Technology (2009) and an MA in Visual Arts Practice from IADT Dun Laoghaire (2013). Solo exhibitions include ‘Pivot a closed path’ at Flat Time House, London (2015), ‘Co-location’ at RUA RED South Dublin Arts Centre (2013), ‘Last and First Men’ at The Joinery, Dublin (2011), ‘As Topic and Tool’ at The Joinery (2010) and ‘For Who Knows What’ at FOUR, Dublin (2009). Recent group exhibitions include ‘Bandits live comfortably in the ruins’, Flat Time House, London (2016), ‘Reverse Pugin!’ at St. Cartage Hall, Lismore Caste Arts, Co.Waterford (2015), ‘In Free Circulation’ at Mother’s Tankstation, Dublin (2014), ‘Ingenious Showcase’ at The Drawing Project, Dun Laoghaire (2014) and ‘At the level of entity’ at The LAB, Dublin (2013).

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OBJECT WARS

Barbara Knezevic | Tadhg McSweeney

Exhibition dates: February 5th-March 5th.
Preview: Thursday, February 4th, ArtBox 6-8pm

The object has engaged with art’s historical and contemporary encounter with destruction, as well as more philosophical explorations of iconoclasm. When we witness destruction in the field of culture, such as the recent destruction of Palmyra in Syria, some societal breakdown has inevitably occurred:

“News footage of museum looting in times of civic unrest and revolution, seem particularly powerful, functioning almost metonymically for the breakdown of civilized society as a whole into anarchy” (1)

Object Wars explores the rich history of object making, collecting and the place of the object in fine art today. Museum collections and the objects therein, are often seen as the vehicle of historic human narrative. Depicting scenes from World events, these objects often reduce the complexity of human suffering into a simplified mark or decoration. Through the contemporary art object, artists challenge the framing of history through cultural institutions, whilst acknowledging the delicate balance between the preciousness of the object and the precariousness of life.

“The sense of something irreplaceable at stake in each example is matched by the paradoxical way this reverence is reawakened by the sound of its own disintegration, whether we actually hear it or not.”(2)

1. Laura Grey ‘No Construction without destruction’: Ceramics, sculpture and iconoclasm. Art and Destruction, Jennifer Waldon (Ed)
2. Cornelia Parker, ‘Thirty Pieces of Silver’. Art and Destruction, Jennifer Waldon (Ed)

Main image: Barbara Knezevic , Objects for a film (2015)

This exhibition is curated by ArtBox Director Hilary Murray. Tadhg McSweeney is represented by Kevin Kavanagh Gallery, Dublin. ArtBox is supported by Dublin City Council.

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DEMOCRACY

A series of performance events at ArtBox.

Exhibition dates: December 3rd – December, 17th, 2015.

Participating artists: Atoosa Pour Hosseini | Teresa Gillespie | Justine McDonnell

Schedule (all 6-7pm):
December 3rd: “MIRAGE”, Atoosa Pour Hosseini
December 10th: “You and Me”, Justine McDonnell
December 17th: “moot”, Teresa Gillespie

In the idea of art we find the moment in which human alienation is overcome and the need for the experience of meaning and value is satisfied. Through art, in the aesthetic experience, the rift in the world that frustrates our primordial desire for encountering a sense of meaning and value is healed. (1)

Against the assumption that there is a single public sphere in which citizens come together to argue about the great issues of the day, performance art shows us how fragmented and plural public spheres are in contemporary democracies. For there can be no doubt that this is art by, and for, a minority audience, an art that cannot even pretend to mass appeal. When it does intersect with the more general public sphere, it is precisely its challenge to the reigning assumptions about decency, artistic value, and the role of state sponsorship of controversial art that has a democratising effect. Democracy, we might say, works best if such enclaves are allowed relative autonomy and allowed to serve as laboratories for unorthodox and even offensive ideas and practices, which can then invigorate, outrage, and provoke the general public, whose pieties need to be challenged from time to time. Although the more general public can easily dismiss what it finds objectionable as self-indulgent and exhibitionist, and often has, in time, a kind of learning process can take place in which at least some of the provocations produce more general reflections on the cultural and political issues raised by the offenders. (2)

1. Thomas Alexander, “The Art of Life: Dewey’s Aesthetics,” in Reading Dewey: Interpretations for a Postmodern Generation, ed. Larry A. Hickman (Bloomington: Indiana University Press, l998)

2. Excerpt taken from, Somaesthetics and Democracy: Dewey and Contemporary Body Art, by MARTIN JAY, Journal of Aesthetic Education, Vol. 36, No. 4, Winter 2002

Main image: Justine McDonnell, image below Teresa Gillespie “moot” (2015) video stills. Series curated by Hilary Murray, assisted by Daniel Bermingham.

ArtBox at VUE Contemporary Art Fair, RHA.

VUE Contemporary Art Fair
Venue: Royal Hibernian Academy, Gallagher Gallery, 15 Ely Place, Dublin 2, Ireland
 
Dates: Friday 6th – Sunday 8th, November.
Preview event: Thursday 5th November (6-8pm)

ArtBox is delighted to be representing a selection of artists that have shown (or are due to show) in the gallery, at this year’s VUE Contemporary Art Fair at the RHA. Items on show at the ArtBox booth will include recent work by Janine Davidson, Richard Forrest, Dragana Jurisic, Barbara Knezevic and Miriam O’Connor. All ArtBox Editions will also be available to purchase through the booth. https://artboxprojects.wordpress.com/editions/

Complimentary tickets to the fair can be collected from ArtBox. All ArtBox Members will have an invitation for the special preview on Thursday 5th, as well as tickets for the weekend event reserved for them under their name at the main desk at the RHA. Tickets are required for both dates – complimentary tickets may be collected from ArtBox. Weekend tickets admit two.

The Gallery on James Joyce Street remains open for the duration, Wed-Sat (11-5pm), with the exhibition “2039”. https://artboxprojects.wordpress.com/

ArtBox looks forward to providing an on-going platform for the presentation and sale of contemporary works in Ireland. See you at VUE!

Main image, Richard Forrest, image below Janine Davidson, courtesy ArtBox.

Out-of-shot-underground

2039

2039

Exhibition dates: October 16th-November 20th.

Preview, Thursday October 15th.

Emer O Boyle | Meadhbh O’Connor

2039 brings together new work by artists Emer O Boyle and Meadhbh O’Connor. The exhibition explores the parallels that bind the pursuits of both artists and scientists, in a continuum of reciprocal influence.

Early in the life of the solar system, dust and rock circling the sun were pulled together by gravity into planets. But Jupiter, the largest planet, kept a number of the pieces from coalescing into another planet. Instead, it’s gravity disrupted the formation process, leaving an array of unattached asteroids. The exhibition takes its title from a piece of rock orbiting the sun between Jupiter and Mars. It has been there since the dawn of our solar system. Only 23km in diameter, it travels alone, 600,000km from any other object in space. It travels in the Main Asteroid belt among billions – maybe even trillions of asteroids. On February 14th, 1974, it was observed and named. It’s called asteroid 2039 Payne Gaposchkin. In 1925, Cecilia Payne Gaposchkin discovered the composition of the stars. Her Phd work on decoding stellar spectra underpins all modern astronomy. Her story is the impetus for a new body of work by Emer O Boyle.

Since graduating with an MA in Fine Art Sculpture in 2007, Emer O Boyle has worked with forms of expanded portraiture to explore individual stories within collective contexts and to create conditions for exchange between different interest groups. Her long term projects have been funded by the EU Partnership for Peace Programme, Amnesty International, EUFP7 project called GLORIA – Global Robotic Telescope Intelligent Array and University College Dublin. Since 2010 she has collaborated with UCD Professor of Astrophysics Lorraine Hanlon and is co-founder and director of UCD Parity Studios.

Méadhbh O’Connor produces large-scale sculptural installations that mix handcrafted objects, engineered constructions and ephemeral materials. Her projects are all, whether directly or indirectly, propelled by her interest in science. For 2039 at ArtBox, Méadhbh explores the role of fiction as a domain in which complex and seemingly unlikely ideas can be processed through the imagination. Here she creates a world which combines Baroque and Gothic Revival styles, the scientific instrument, references to the astronomical, to the Sci-Fi subgenera of Steampunk and Planetary Romance; echoing tropes which persist in Science Fantasy today, often serving as elaborate backdrops to alternative worlds. Recent exhibitions and awards include Welcome Disturbances, The LAB, Dublin, 2015; Sculpture Workshop Award, Fire Station, 2015; Unknown Shores (solo exhibition), O’Brien Centre for Science, UCD, 2014; UCD Science Artists In Residence Award, 2013; powers + √roots, Pallas PP/S, Dublin, 2013.

This project is curated by ArtBox Director Dr. Hilary Murray.

Image: Emer O’Boyle, Prof. Lorraine Hanlon and processed by Dr Antonio Martin Carillo from, the UCD Watcher telescope.

The Anti-Room

Artists: Janine Davidson | Naomi Sex | Nicky Teegan

Exhibition Dates: September 4th-October 7th

Preview, Thursday September 3rd (6-8pm).

The “archive” is a grouping of work that aspires to recoup failed visions in art, and it is [the] arrangement of these works, that attempts, through multiple agencies and media, to transform the no-place of the archive, into the no place of a utopia (1). And yet, art’s historical frame – what we think of as “canon”, is itself a type of archive, one involved in a continuous process of self reproduction. A process mediated through market forces and social conditions of the day (2). If art is memorialised from a particular vantage point, it is because those responsible for creating the archive, define and prioritise this way of looking.

The works here attempt a futile rebellion. Each presents itself in a way which articulates and appropriates the relationships between artist, artwork, viewer and exhibition site, but also uses these relations as a way of exploring the structures that condition them. The works create a visual typology, offering material for further art historical research, while at the same time experimenting with the registers involved in the act of exhibition making. Each work is not a closed, self-contained entity, but rather the product of specific historical practices and belief systems. The Anti-Room works form a type of anti-canon, one that bears the imprint of the ideas, values and conditions of existence, but rebels against them.

Main image: Naomi Sex, “Next Previously Meanwhile” (2012), Actors: Dave Layde, Darina Gallagher, Naomi Sex

1. Hal Foster, An Archival Impulse (2004)

2. Re-Thinking The Canon (1996): Michael Camille, Zeynep Çelik, John Onians, Adrian Rifkin & Christopher B. Steiner, pp 198-217.The Art Bulletin, Vol 78, Issue 2. 1996.

This exhibition has been kindly supported by Fingal County Council

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