Hazelwood Estate presents Magnetism, a major contemporary art exhibition in the old Snia/Saehan factory that sits on the peninsula at the historic site of Hazelwood in County Sligo.
Curated by Vaari Claffey MAGNETISM features the work of noted Irish and International artists including Lucy Andrews (UK), Mikala Dwyer (AUS), Igor Grubić (CRO), Siobhan Hapaska (UK), Aleksandra Mir (SWE, USA), Laura Morrison (UK, FIN) and Garrett Phelan (IRL). For more details on the artsits’ work visit our website http://www.hazelwoodhouse.ie/
The exhibition also features a programme of VHS based artworks selected with an international team of researcher/curators entitled REWIND <PLAY> FASTFORWARD and a programme will be made available in exhibition.
A major contemporary exhibition, MAGNETISM has taken over seven rooms of the old Snia/Saehan factory where the extraordinary scale of the space allows for the exhibition of what could be called “extreme objects”; or large-scale works that populate the immense rooms of the factory. These dynamic sculptural works have a transformative effect on the former industrial spaces – including the huge videotape ‘pancake’ stores and welder’s workshop – through inflatables, lighting, motors, draping and film projection.
Hilary Lloyd’s exhibition Woodall is presented as a collaboration between Temple Bar Gallery + Studio’s and PLASTIK Festival of Artists’ Moving Image.
Hilary Lloyd’s work centres on film and video, while also engaging with sculpture, painting, collage and installation. Her films resist the conventional notion of ‘duration’, instead presenting filmic images to be encountered. They often relate to the urban environment, their subject matter veering between the recognisable – a crowded bar, a building, a motorway bridge – and more fleeting or subliminal images, which play with the processes of seeing and interpreting.
For Temple Bar Gallery + Studios, Lloyd has constructed a multi-part installation in which film and sculptural elements are interwoven. Central to this installation is a group of new film works in which Lloyd continues to probe the architecture and ambiences of particular places. She integrates sounds and images in ways that challenge typical viewing conventions – sliding from interpretable scenes into ‘abstract’ formulations of colour, shape and light. Through a strategy of juxtaposition, Lloyd shifts between detachment and intimacy, abstraction and reality – offsetting psychedelic backdrops with casual observations of urban life. The films are integrated into a sculptural installation which includes printed fabric hangings, echoing and reframing the videos’ contents. Throughout the installation, the repetition of shapes and motifs provides a rhythmic quality to the work, connecting real-life visions with constructs of digital technology. Lloyd’s film works have a salient beauty and visual restraint, continually informed by an awareness of the mechanisms through which they are displayed.
As in previous works, Lloyd responds directly to the architecture of the gallery, energizing and subtly transforming the location. The arrangement of different elements in the installation ¬– projections, posters, fabrics, furniture – invests it with a sculptural quality, while also foregrounding the physical position and movement of the viewer in the space. In this regard, her work harbours a subtle performative element. Lloyd draws the audience through the architecture of the gallery and through the camera’s frame of vision, distilling and repeating her highly-attuned view of the world.
Hilary Lloyd lives and works in London. She has exhibited internationally, with solo exhibitions including Blaffer Art Museum, Houston (2016); Robot, Sadie Coles HQ, London (2015); Balfour, Sadie Coles HQ, London (2015); Museum für Gegenwartskunst, Basel (2012, accompanied by a catalogue); Artists Space, New York (2011); Raven Row, London (2010); Tramway, Glasgow (2009); Le Consortium, Dijon (2009); Kunstverein München, Munich (2006); Waiters, Henry Moore Foundation Contemporary Projects, Venice Biennale (2003); Kino der Dekonstruktion, Frankfurter Kunstverein, Frankfurt (2000); and Chisenhale Gallery, London (1999).
Lloyd was nominated for the 2011 Turner Prize for her exhibition of 2010 at Raven Row, London. In 2016 she received The Bryan Robertson Trust Award. Forthcoming solo exhibitions include Dorich House Museum, Kingston University, UK; Focal Point, Southend- on-Sea, UK; Greene Naftali, NY, USA and 356 S. Mission Road, L.A., USA. Hilary Lloyd is represented by Galerie Neu, Berlin; Greene Naftali, New York; Sadie Coles HQ, London.
This is a list of the materials present in Exquisite tempo sector. The exhibition is an omnivorous selection of things acting together to call to mind a film set, a photographic shoot, retail and museum displays and other stagings of stuff in the world. These items are arranged with attention to, though not always respecting museological conventions that make visible the hierarchies of value in material culture.
The force of time is central to this exhibition; the influence of human, material, geological and ecological duration is present throughout. Candle sculptures flicker and ooze and seawater and other liquids evaporate silently. The stems of Monstera deliciosa, the quintessential house-plant, gradually unfurl to reveal tender, pale green leaves that gradually become darker and tougher. These plants count out their own metronomic beat, an inbuilt and primordial rhythm dictated by the influence of light, heat and moisture. Some materials are known only by their absence, present as chemical apparitions in a photogram, characterized as versions of themselves in photographic C-type prints or digitally on an LED screen.
At times, this display invites a relaxation into the seduction of viewing, an immersion in affect. It is felt in the warm glow of candlelight, in the scent of woody, earthy essential oils, the quasi-healing power of salt lamps and the rustic, matte surfaces of hand-built ceramics. A refusal to this way of being with artworks is provided by the reflective surfaces of clear acrylic plinths and offered by the slick surfaces of high-gloss photographs. The presence of tripods and other ancillary photographic apparatus in the display insist on an awareness of the act of viewing and being with things, and the durational nature of an artistic exhibition.
This exhibition is about the exposure of artworks and matter; to light, viewing, time, human activity and to each other. It is a reflection on the life span of things, and what remains when they seem to be gone.
Exploring the boundaries of art and life, Breaking Rainbows uses the relationship between wo/man and animal, and the cannibalistic, symbiotic tension between [Orla Barry] the artist and [Orla Barry] the shepherd to reflect on the primal, poetic and unpredictable bond we have with the natural world. Presented as a live performance and video installation, Barry’s new work is a fascinating journey into the land of shepherding through the lens of ‘doing’ rather than ‘observing’ the job at hand. The tour will begin in Temple Bar Gallery + Studios as part of Dublin Theatre Festival, running from September 29th to November 5th 2016.
Endearing, humorous and challenging, Breaking Rainbows reflects on both our interdependence and disconnection from the natural environment. Made up of a series of vignettes, Barry’s new work brings us into a journey through time, conceptualisations and effects: from the realms of sheep farming traditions, ancient Greek shepherd’s singing competitions, contemporary consumerism and gender roles, to the intimate relationship of caring for a sheep about to give birth.
Interweaving live performance, video, a 300 kg pile of wool produced on Barry’s farm in 2015, and an aural landscape which touches many different forms of speech, Breaking Rainbows is congruous with Orla Barry’s multidisciplinary aesthetic. However, as in her most recent work, Mountain, it also marks a new step in her trajectory by introducing chance procedures and a collaborative approach to the development of the texts. This results in the stories being reinvented and reshaped, defying notions of ownership, authorship and authenticity, and thus also reflecting on the nature of oral storytelling as transferred throughout generations. This is played out in an unpredictable dramaturgy in which no performance or experience of the installation is the same.
Orla Barry is both visual artist and shepherd. She lived in Brussels for sixteen years and now runs a flock of pedigree Lleyn sheep in rural Wexford. A leitmotif running through her recent work is the human disconnection from the natural environment. Barry writes, and makes performances, video and sound installations. She has shown work at The Irish Museum of Modern Art, SMAK and Tate Modern, amongst others, as well as taking part in Manifesta 2.
This is work is a work of fiction. An exaggerated story. A cacophony of voices and words. Names, characters, places, events and incidents are the products of Orla Barry’s imagination and are used in a fictitious manner. Any resemblance to actual persons, living or dead is purely coincidental.
Written and directed by Orla Barry | with the collaboration of Einat Tuchman, Derrick Devine|assistant director Noelia Ruiz | dop Luca Rocchini |sound Michael Lemass | edit Simon Arazi| colour correction Michael Higgins |technical assistance John Beattie & Anthony Butler | fabric design Oonagh Young & Orla Barry
Commissioned and produced by Wexford Arts Centre, Temple Bar Gallery + Studios | co-production Kaaitheater, ARGOS centre for art and media, Crawford Art Gallery| funded by Arts Council of Ireland | support Dublin Theatre Festival, Midsummer Festival Cork, Opera Festival Wexford, IMMA’s Residency Program
Eleanor Duffin/Caoimhe Kilfeather/ Barbara Knezevic
Duality of form is a philosophical inquiry into the nature of objects and how their meaning comes into being. The world of objects and artifacts are a trove of hidden meanings that evolve and change over time. As artworks, objects demonstrate their capacity to elude definition. In contemporary society we are defined by what we consume and collect, within these parameters we tend to define our environment. The invited artists explore and elucidate the idea of an object’s plurivocality through sculpture, photography, drawing and text.
In his book Illuminations, Walter Benjamin wrote that every object was invested with a double valence: negative and positive, like an object and its shadow. In the lifecycle of an object when it is created he viewed it as vested in its utopian dimension, its cynical dimension was as a commodity and only in its obsolescence could it regain its freedom. He remarked: “only in extinction is the (true) collector comprehended”. Both Caoimhe Kilfeather and Barbara Knezevic play with this notion of the artist as a collector, as someone who ‘liberates things from the bondage of utility.’ What is decisive for Benjamin is that the “object be dissociated from all its original function in order to enter into the closest possible relationships with its equivalent. This is the diametric opposite of use, and stands under the curious category of completeness”.
Caoimhe Kilfeather’s photographic series titled Skep, looks at the properties of a defunct object that reflects outmoded practices as well as form and aperture. A Skep was used for collecting bees and has now become an ornament. Kilfeather’s oval line of bronze shown in conjunction with the photographs delineates the base of the skep as it rotates and outlines a boundary that alludes to drawing and perhaps a space that objects are contained. Her second photographic series in the exhibition of facades relate directly to the hanging ceramic tile works. They point to real world environments and reflect on the subjective nature of memory when recalling details of places. Memories tend to be a construct of objects, which retain significance only when recalled.
Through her sculptural pieces Barbara Knezevic traces possible meanings that are trapped in material objects that conspire to evade us through their presence and absence. Pine broomhandles are scorched and burnt in coded patterns, a floor piece of a knotted rope the center of which burnt is out, a clear cast glass object is placed in the center. The interconnectivity between the pieces allows us to decode possible interpretations of the works. Fire is a signifier of civilization, it destroys, illuminates, purifies. Knezevic edits and rearranges objects into unstable and often temporary arrangements creating new relationships between objects. The materials are conduits of meaning
The artist Marcel Broodthaer’s when talking about his work stated; ‘that fiction allows us to grasp reality and at the same time what it hides’. Similarly, Eleanor Duffin creates a fictive space through her publication Phantom of Form; using text and graphics she creates a narrative around a fictional ‘other’ woman whose primary focus is materiality in relation to objects and their functional presence. The female protagonist is a device to create distance between the artist and her work. This resonates with Benjamin’s idea of the ‘double valence’ – in this case the artist and her shadow. Duffin through this work explores how language can inform sculpture and how material/immaterial language can be manifested in text and in visual formulation.
We have now entered speculative realism – ‘a world where the object, whether thing, tool commodity, thought, phenomenon or living creature has regained its rights, freed from the subject of mind, body and gaze’. The artists demonstrate this liberation through artworks that obstruct, disrupt and interfere with social-norms. In a time when objects tend to define us through our reliance on them for validation, to communicate, socialise, we perhaps need to re-assess our relationship to the object and turn our gaze.
Ann Maree Barry| Rhona Byrne| Mark Clare| Carol Anne Connolly| Colin Crotty| Culturstruction| Christo| Jason Deans| Michelle Deignan| Caroline Doolin| Angela Fulcher| Tue Greenfort| Martin Healy| Louise Hervé & Chloé Maillet| Allan Hughes| Brian King| Barbara Knezevic| Clare Langan| Nevan Lahart| Richard Long| Ruth Lyons| Maggie Madden| Maria McKinney| Dennis McNulty & Ros Kavanagh| Ailbhe Ni Bhriain| Seamus Nolan| Seoidin O’Sullivan| Owen Quinlan| Oswaldo Ruiz| The Canary Project| Anaïs Tondeur & Jean Marc Chomaz| Michael John Whelan
George Bolster| Adam Chodzko| Shezad Dawood| Otolith Group| Werner Herzog| Tadhg O’Sullivan| Laura Smith
The future of the global environment may very well be the most pressing political priority of our time. This exhibition seeks to illuminate issues of climate change and our place in the changing landscape while, at the same time, examining the language associated with climatologists’ future projections–language often evocative of science fiction rather than science fact. Through a combination of the real and the imaginary the exhibiting artists create a collective call for a sea-change, literally, in our current climate policies.
Climatic shifts could engender large-scale environmental transformations leading to a cycle of entropic social and ecological upheaval ultimately threatening human’s long-term survival. In fact, one could easily imagine that our western lifestyle is being turned back upon us now with cataclysmic results.
What’s more, carbon emissions contribute to the world’s already deplorable social and economic inequality. It creates a kind of geography of vulnerability, which is vastly different between countries and social classes–as is the international response to the situation.
We especially, as island dwellers, are vulnerable to the rising sea levels caused by warming. According to one estimate, by the middle of this century 200 million people may become permanently displaced due to the effects of the rising sea, especially heavier floods and more intense droughts.
This is the starting point of TULCA 2015. At its conceptual core it focuses on the legendary island Hy-Brasil: an island, noted on maps as early as 1325, which the Genoese cartographer Dalorto placed off the west coast of Ireland. Mythologised through oral history and written accounts, Hy-Brasil was said to be inhabited by a highly advanced society, although it could only be glimpsed through the fog every seven years. It was only omitted from sailing charts in 1865 when its location could not be verified.
There are different hypotheses on the existence of this island, and the debate continues as to whether it is fact or fiction–for instance, a raised bank off the Atlantic coast is thought to mark the site of the island which sank like the legendary Atlantis. The ways in which the myths associated with this island reflect the changing landscape of our environment form the central line of inquiry of this exhibition.
We have entered an epoch of the anthropocene; climate change offers huge challenges to our societies and is a major test of our capacity for collaboration, imagination and resourcefulness. Art creates a platform for conversations to illustrate and encourage imaginative responses to both the history and future of the climate debate.
Lee Welch (USA/Irl) , Ruth Proctor (UK), Sarah Jones (UK), Dimitra Xidous (Gr), Ella De Burca (Irl), Sally Rooney (Irl), Claire-Louise Bennett (Irl), Dorit Chrysler (Aus)
June 24th, 2015
In the Silence of the night is a line taken from Etel Adnan’s novel Sitt Marie Rose; the style of writing is a mixture of conversations, news bulletins, monologues, and interviews. The series of performances engages with this idea of open forms of expression, through spoken word, live art, sculpture and music. They evoke the lyrical fluency and the abstract nature of forms of expression within a culture of language where words are the primary form of expression. The performances and the artworks are arranged to create a specific response through meaning, sound and rhythm.
The era of the internet has hailed the most significant cultural shift in the twenty first century. The way we interact with technology to mediate our lives is unprecedented. InterPlay explores artists’ relationship with materiality, sound and visuals who work with technology as a genesis or point of origin.
Adam Gibney engages with sound and sculpture as a means to investigate semiotics and its relationship with technology. The sculptural work employs a mantra as a meditative tool to remove the viewer from reality; he is interested in this use of language not as a means of communication but to induce transcendental moments through repetition. Richard Forrest’s sculptural work infiltrates the digital world and breaks down imagery to its pixelated form, the result occupying the space between the virtual and the real. Ocusonic’s immersive installation explores the possibilities of creating visual music through the use of digital programming. The exhibition takes the viewer from the real to the virtual, creating a sense of inhabiting the inner workings of the digital world.