This exhibition is curated by ArtBox Director Hilary Murray as part of The PhotoIreland Festival (2015).
“(It’s kind of like) telephone” exemplifies a collaborative and interrogative visual practice between a group of photographers, taking place in the public arena. As each artist posts an image, it appears online via a Tumblr feed; the next artist responding in-turn. This continuous exploration into individual practice and how it is influenced by a collaborative event (taking place across a digital platform), eschews geographical awareness, and further explores the complexity of online dialogue.
Artists: Una Spain, Kate Nolan, Mandy O’Neill, Dragana Jurisic, Amy Stevens, E. Brady Robinson, Miriam O’Connor (main image) and Ethna O’Regan.
All works featured in the exhibition are limited editions and available to purchase through the gallery. Information on PhotoIreland editions can be seen here.
Exhibition: May 29th -June 27th. Preview: Thursday, May 28th
‘100 Muses’ is an initial chapter in a larger body of work titled ‘My Own Unknown’. With this project artist Dragana Jurisic explores the John Keats statement; ‘beauty is truth, truth beauty – that is all ye know on earth, and all ye need to know’.
“My initial questioning of this statement took me to Paris to commence an exploration on L’Inconnue de la Seine, the name given to a young woman whose body was allegedly recovered from the River Seine and whose death mask was cast in a bid to identify her. Her serene and quiet beauty became a muse for artists such as Man Ray, Albert Camus, Anais Nin and many others, who projected imagined identities on this drowned Mona Lisa. The idea of the muse often evokes images of a male artist and a passive female muse. The two main job requirements for a muse are beauty and mystery; hardly a job for a feminist, or is it? The female muse is often depicted as nude in visual art. And in turn “the nude” – one of the biggest clichés of Western art tradition, is a genre predominantly inhabited by male artists.”
At the beginning of April 2015, Jurisic began the task of photographing 100 female nudes over a period of five weeks in order to explore what happens when a female artist looks at female body. What are the characteristics of the female gaze? What happens once 100 women respond to the open call of being photographed nude? Once in the artist’s studio, they are given two props: A chair and a veil. How do they utilise these props? To show, or hide their bodies.
A polarity is presently developing between the finite, unique work of high art, that is, painting or sculpture, and conceptions that can loosely be termed unobjects, these being either environments or artifacts that resist prevailing critical analysis. This includes works by some primary sculptors (though some may reject the charge of creating environments), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations. Looming below the surface of this dichotomy is a sense of radical evolution that seems to run counter to the waning revolution of abstract and nonobjective art. The evolution embraces a series of absolutely logical and incremental changes.1
The exhibition ‘Intelligent Machinery’ explores ideas that inform artificial intelligence, pattern recognition (in neural networks), complex networks, coding, and how these factors have been used in seminal moments in our history. The classical grid of Art History has given way to the ‘system’, and modern forms of invention have to deal with a norm composed of complex inputs often concerned with redaction, obfuscation and reflection. “To understand art as software is to understand it in terms of codes and information rather than in material or medium-specific terms.” 2 A contemporary art-tech revolution now sees a new form of mechanical perception within the confusion of digital avatars.
Sofie Loscher (b. 1987) lives and works in Dublin. She holds an MFA in Sculpture from NCAD and a BA in Visual Arts Practice from IADT. Recent exhibitions include Neutral: Tulca Festival of Visual Arts, Galway (2014); EVA International, Limerick (2014) and Periodical Review #4, Pallas Projects/Studios, Dublin (2014).
Jonathan Mayhew (b. 1981) is currently based in Paris. He holds an MFA and BA in Painting from NCAD. Recent exhibitions include Elefants, The Joinery, Dublin (2014); Housing a Pig, Flood, Dublin (2013) and (((O))), Clonlea Studios, Dublin (2013).
Niamh O’Doherty (b. 1988) is a visual artist based in Dublin. O’Doherty graduated from Fine art at Chelsea College of Art and Design in 2010 and an MA in Art in the Contemporary World, NCAD in 2013. She was recently awarded a grant from She was selected to exhibited at Kilruddery House, Co. Wicklow (2013) and a had a solo exhibition at Broadstone Studios (2014) and has previously shown in London at the Wayward Gallery (2010) and at Slade School of Art (2011).
Catherine Barragry I Teresa Gillespie | Maria McKinney
March 20th-April 25th
Preview: March 19th (6-8pm)
“There is but one world and everything that is imaginable is necessary to it. For this world also which seems to us a thing of stone and flower and blood is not a thing at all but is a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are also the selfsame tale and contain as well all else within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall.” (1)
The world population is expected to reach over 10 billion by 2050. This means that there will not be sufficient employment available for everyone, not enough housing and food, and more waste will be produced contributing to air pollution (2). Overpopulation, coupled with a loss of habitat and biodiversity, means that ecology is incapable in its current form of responding to the needs of the population (3). A different future will emerge, one that challenges our ability to adapt to changes in climates and ecosystems, and the outcomes of our adaptive capacity will in large part be determined by our creativity (4).
Considering humanities ecological outlook, the human body can now assume a sentient phase, a becoming-animal. Philosophically, the animal is understood solely as the object of property, and can in many ways be seen as representative of man’s original right to property (and product of man’s dominion). A purely mechanical, “soulless” object, to be utilised in any way for its instrumental value to human ends (5). To ‘become animal’ will be humanity’s only path of escape. We will cross a threshold, where human becomes animal, not in a literal sense, but in a taxonomic sense (6). The discourses and social relations previously afford the body, shall be assumed by something more capable of survival and adaption.
When our future ecology reaches its final conclusion, each one of us will take our rightful place on the pedestals of the DEAD ZOO.
Cormac McCarthy, The Crossing (1994), published by Alfred A. Knopf (as part of ‘The Border’ Trilogy)
As an integral part of GOBO, a performance of /portals/, a play written by Ella de Búrca and starring actors Jill Harding, Bob Kelly and Aine Ní Laoghaire took place in the gallery space on February 12th and 13th. Two limited edition prints have also been created by the artist for this exhibition. All enquires can be directed to email@example.com.
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.