ArtBox has now moved into our projects phase and will no longer have a presence at Unit 3, James Joyce Street, Dublin 1. Though we are sad to leave the MONTO we are keen to engage with other communities and groups.
Projects will kick-off in earnest at the end of 2018, in the meantime we are working with our long-term collaborators Arbor, using their multidisciplinary practice to branch into a host of fields.
For more information on our current research project, Grown Home, developed by Arbor and supported by the Grangegorman Development Agency and Dublin City Council, please see the Arbor website: https://arborprojects.wordpress.com
Thank you for your support during our time at James Joyce Street!
Exhibition: Nov 2-26, Private View: Thursday, Nov 2
Event: Friday 24th (6-8), Sonic work response by Sean Carpio as part of Dublin Gallery Weekend.
This body of work references a diverse range of research sources that are centered around botany and botanical activity throughout western history, exploring the relationship between human and plant species.
The work involves a large scale pressed flower installation, a series of lithograph prints and drawings in glass. A related sonic work will also be developed in collaboration with composer Sean Carpio over the course of the exhibition period, this will be performed at ArtBox as part of Dublin Gallery Weekend on November 24th.
ABOUT THE RVAF AWARD
The Roscommon Visual Artists Forum Award supported by Roscommon Arts Centre & Roscommon County Council Arts Office was established by curator in residence Linda Shevlin to provide visual artists based in or from the county with a platform to develop their practice. In response to the needs and requirements of the artists in the county, the RVAF award was set up in 2015. Naomi Draper was selected by Hilary Murray from an open call and was supported with a production budget, a residency at ArtBox, Dublin and an exhibition at both Roscommon Arts Centre & ArtBox.
Michelle Hall is an interdisciplinary artist and writer. Throughout her practice she uses details, textures, words and objects to create works that examine modes of behaviour and thought. She is a recent graduate of the MA Art in the Contemporary World programme at NCAD and completed her BA Fine Art at DIT Portland Row in 2007. In 2016 Hall was jointly awarded the RC Lewis-Crosby Award at in the inaugural RDS Visual Art Awards. Her work has been selected for the upcoming StartPoint Prize exhibition, Prague, after which she will travel to London for a research residency with The CENTRE FOR THE STUDY OF SUBSTRUCTURED LOSS. Hall has been awarded the Arts Council Film Bursary 2017, the Dublin City Council Tyrone Guthrie Residency and the Fingal County Council Project Award.
Culture Night 2017 will mark the halfway point of Michelle Hall’s PROCESS Residency at ArtBox Gallery, Hall will project a preview trailer for the exhibition into the large-scale window of the gallery turning the street into a temporary cinematic space.
Culture Night screening will take place Sept 22nd from 6-10pm, Window, ArtBox James Joyce Street, Dublin 1.
This project is kindly supported by Fingal County Council Arts Office.
Pet Boy and The Bird’s Dream, has been developed as part of Avocado – a UCD Parity Studios’ Artist-in-Residence production, by the 2016-17 Arts and Humanities’ Artist-in-Residence Sonia Shiel. It involves the materialisation of dove-tailing short-stories into a new play and will see its adaptation to film, sculpture and installation with a series of events throughout 2016 and 2017, and this first performance of it in ArtBox on the 25th of November. Pet Boy and the Bird’s Dream is written and directed by Sonia Shiel. It acts as a prologue to her project at UCD, which will culminate in a major performance and installation in autumn 2017. UCD Parity Studios is a university wide programme connecting the rich ecology of art practice in Ireland with research and education at University College Dublin. The performance will take the shape of a staged read through, akin to free reader theatre, or chamber theatre. The installation will feature intrinsic props and set pieces, around which the action is performed, gestured and narrated, conjuring surreal encounters between fictional characters and the illusory world around them.
Sonia Shiel has had recent exhibitions at The Crawford Gallery, Cork; The Irish Museum of Modern Art, Dublin; The Lewis Glucksman Gallery, UCC, Cork; Rua Red, Dublin; ISCP, New York; The Kevin Kavanagh Gallery, Dublin; and The Oonagh Young Gallery, Dublin, among others. In 2014, Sonia Shiel received the Arts Council’s Project Award, with which she completed the Art & Law Fellowship Program, at Fordham Law School, while participating on the International Studio & Curatorial Program (ISCP) in New York. In 2015, she was Artist-inResidence at the Irish Museum of Modern Art and received Arts Council Visual Artists Bursary 2015. She has been the recipient of many competitive awards including the (HIAP) Helsinki International Artist-in-residence; Culture Ireland and Arts Council funding; the Centre Culturel Irlandais Award; the TBG+S Frankfurt Exchange Program; Banff Centre for the Arts, Leighton Residency Award, Canada; the Hennessy Craig Award (RHA); The Tony O’Malley Award; and TBG&S Membership Residency, among others. Her works are in public and private collections including the Arts Council of Ireland and the Office of Public Works. She is represented by the Kevin Kavanagh Gallery, Dublin. UCD
PARITY STUDIOS ARTIST IN RESIDENCE PROGRAM Through the UCD Artist in Residence Programme, Elective modules and Public Engagement Programme, UCD Parity Studios Residencies support critical thinking and creative approaches to cross- disciplinary research, pedagogy and communication. It offers year long residencies to professional artists who are interested in developing collaborative projects in a university environment. Artist studios, based in converted laboratories in UCD School of Physics, provide a bright working hub and supportive environment for this unique community of artists at University College Dublin. Supported by UCD Colleges of Science, Social Sciences and Law, Arts and Humanities and College of Business, the Residency Program creates a dynamic network of professional artists, academics, researchers and students, working at the intersections of their disciplines. Pet Boy and the Bird’s Dream has been kindly supported by the UCD School of Arts and Humanities and The UCD Drama Society, with special thanks to Eamonn Jordan and Seán Mac Dhonnagáin.
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 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.
In this exhibition, artists Susan Connolly and Maggie Madden examine the relationship of the aesthetic subject and the idea of ‘exhibition’. The title for this exhibition is taken from Director Ingmar Bergman’s seminal 1960’s film, ‘Persona’. Both art and film have at certain junctures, exposed the limits of their media to further examine the role of art and its presentation. The film ostensibly explores the relationship of two women placed in close proximity, however what remains central to the work is the non-reciprocated conversation between the two protagonists. And although a reciprocity between (object and viewer) is often looked for in the presentation of art, the gallery, ultimately retains a performative disposition.
Susan Connolly’s works rotate around a complex axis, oscillating between the flattened plane (of painting) and the space of sculpture. Maggie Madden’s work pushes the boundary of the formal grid into a mutability that decries all previous assumptions regarding sculpture, solidity and form. Can the ‘exhibition’ deconstruct1 itself enough to engage in a subjective manner with the viewer? Does immediacy2exist in the presentation of art, or is art destined to remain a performative ‘event’3 embedded in the greater terms of one’s singular temporality?
1. Derrida, Jacques (1967), Of Grammatology; 2.Henri Bergson, (1896) Matter and Memory; 3. Alain Badiou (1988), Being and Event.
Main Image: Susan Connolly, C/M/Y (2014)
Susan Connolly. Graduated from Limerick School of Art and Design, Degree in Fine Art-Painting (1998), she holds an MA in Fine Art from the University of Ulster (2002), a first class honours MA, Art in the Contemporary World, NCAD, Dublin (2013) and is currently a PhD candidate at University of Ulster (VC Scholarship). Recent exhibitions include The Sunken Gallery, The MAC, Belfast (2014), Essays for the House of Memory, Ormston House (2013);Three Degrees of Painting, Solstice Arts Centre; Detonate, Limerick Arts; Encounter, Stranger/Stranger, The Complex (2013); Urban Interventions, NCAD/UCD (2012); Airports for Shadow, EIGSE Carlow; The Cross Gallery. Habitation-An Exhibition, Newbridge, Co. Kildare. VISUAL, Carlow and Connections Rua Red (2011). Connolly received Arts Funding from Kildare County Council and was awarded the WARP residency, Sint Nicklaas, Belgium in 2010.
Maggie Madden graduated with a Masters in Fine Art at NCAD in 2006 and B.A Fine Art Painting from Limerick School of Art and Design in 1998. Solo exhibitions include Far and Wide, The Dock, Leitrim, (2014), Site Line, The LAB, Dublin (2012), Fading Not Ending, Roscommon Arts Centre, (2010). Upcoming solo exhibition at Rua Red, Tallaght, Summer 2015. Recent group exhibitions 184th Annual Exhibition, RHA, (2014), Re-Framing the Domestic in Irish Art, Highlanes Gallery, Drogheda (2014), Pallas Periodical Review, Pallas Projects, (2013), Futures, RHA, (2013), Lacuna, Taylor Galleries, (2013), RUA Annual Exhibition, Ulster Museum, Sluice Art Fair, London, (2013), Claremorris Open, (2013), What has been shall always never be again, Ormston House, Limerick, (2013), Nailing Jelly to the Wall, Monstertruck at Catalyst Arts, Belfast, (2013), Artists on Architecture, Áras an Chontae, Co.Offaly (2013). Received Visual Art Bursary from the Arts Council in 2014, 2013 and 2011.
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