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Daniel Jewesbury, partenaire de generic
& aussi / also:
voir notre post: generic, flux: Willie Doherty "Non-Specific Threat"
Seamus Harahan, Valley of Jehosephat / Version - In Your Mind. Video still. Courtesy of the artist.
“Harahan's work uses video footage of the urban environment, its incidental detail and fugitive nature.
Seamus Harahan (born Belfast, 1968, lives in Belfast) uses his video camera - a relatively accessible and moderately affordable technology - to take hand-held, seemingly amateur footage, the contents of this footage locating Harahan through found activity occurring around him. The main subject is the urban environment, its incidental detail and fugitive nature. The light is often unfiltered and the image over-exposed, implying a mode of filmmaking that prioritises recording before thought, the absent-minded gaze.
Music is a vital element in all of Harahan's works, with songs used as soundtracks or informing the composition, title or duration of individual pieces. The artist takes songs from an eclectic range of sources, including reggae and hip hop as well as traditional English and Irish music. The recording style can be equally telling, from scratchy track-intros (Picking Up Change in the King Fu Theatre, 2004) to a John Peel introduction to a live session track (Free as a Bird, 2006). These seemingly disparate musical sources are laid over Harahan's urban footage, often coming with references to war and conflict, including lyrics intending to motivate or comfort soldiers and freedom fighters. The marriage of such lyrics to footage of Belfast, but particularly to images that focus on the minutiae of found activity, strike a balance between a sense of political conflict and an intuitive response to individual human concerns.
In Clonemen (2004), a track by an American rap group accompanies footage of Northern Ireland's hinterlands, over which the British flag constantly reappears, a journey that detours along the M1 to Belfast. Avoiding dogmatic rhetorical devices, the artist manages to suggest not the eye of surveillance, but instead the viewpoint of a fascinated bystander - one whose environment is in a constant state of unravelling (a position echoed in the artist's choice of music). Harahan's work can be interpreted as an open and sophisticated exploration of the shortcomings of social and political representation in general, rather than a lament or protest concerning Northern Ireland in particular.
At the ICA Seamus Harahan is presenting a two-screen video installation entitled Valley of Jehosephat / Version - In Your Mind (2007). In this work the same footage is projected alternately on two adjoining walls, the two loops accompanied by different songs. One is a roots reggae track by Max Romeo from the late seventies - referring to a biblical valley of judgment. The other is Bryan Ferry's In Your Mind (1977), which suggests a philosophical quest for personal resolution. Both songs accompany the same footage of the Bloody Sunday Commemoration in Derry, and Harahan's camera captures marchers, uniformed bandsmen, bystanders, commemorative banners, political murals and graffiti - as well as other cameras recording the event. The alternating soundtracks destabilise our reading of the work, which becomes almost meditative in quality.
Nought to Sixty in pictures: Seamus Harahan"
(notre emphase / our emphasis)
""The Big Fish"
Owner: Laganside Corporation
Location: Donegall Quay
Title: ‘The Big Fish’
Artist: John Kindness
Material: Printed Ceramic Mosaic
Size: 10 metres
Funded by: Laganside and the National Lottery through the Arts Council of Northern Ireland
Background: This 10 metre (32ft) Salmon made a big splash in Belfast in 1999. The work was commissioned to celebrate the regeneration of the River Lagan. The site is a significant landmark as it is the location of the confluence of the River Farset with the River Lagan (Belfast is named after the River Farset). The outer ‘skin’ of the fish is a cladding of ceramic tiles decorated with texts and images relating to the history of Belfast. Material from Tudor times to present day newspaper headlines are included along with contributions from Belfast school children (including a soldier and an ‘Ulster Fry’). The Ulster Museum provided the primary source of historic images, while local schools/day centres located along the line of the River Farset were approached to provide drawings for the fish. Images were provided by Glenwood Primary School, St Comgalls and Evrton Day Centres. The ‘Bigfish’ also contains a time capsule storing information/images/poetry on the City.
Artists Details: Well-known for his humorous and quirky visual commentaries and use of unconventional materials, John Kindness is one of Northern Ireland’s best known artists, particularly in relation to the work he has produced for public spaces including ‘Big Fish’ at Donegall Quay in Belfast (1999) and ‘Waterfall of Souvenirs’ at the Ulsterbus Station in Glengall Street, Belfast (1991). He has had solo exhibitions in the Ulster Museum, Douglas Hyde Gallery, Dublin, Art in General, New York and Third Eye Centre, Glasgow. His work has been is included in many private and public collections including the Boston Museum of Fine Arts, Irish Museum of Modern Art, Victoria and Albert Museum, London and the AIB Bank
voir notre post: generic, flux: Titanic @ Belfast 1912
Aisling O' Beirn was born in Galway, Ireland and is now based in Belfast.
Her current work is concerned with exploring spatial politics encompassing subjects as diverse as the technologies behind space exploration to the very localised practice of nicknaming places and landmarks. Research takes the form of a constantly expanding collection of vernacular information ranging from urban myths, anecdotes, place nicknames and hand drawn maps gathered from various locations.
The interest in these unofficial accounts stems from a concern regarding the politics of how place is described at a local level. Recent installations and site specific projects marks an attempt to bring together some of this seemingly disparate information in a non-linear fashion through sculpture, installation, animation and site specific means.
O' Beirn studied sculpture at The University of Ulster in 1990 and has been exhibiting since. She was awarded a PhD by the University of Ulster in 2005. O' Beirn has exhibited both nationally and internationally. She is an Associate Lecturer in Sculpture at the University of Ulster. O' Beirn is represented by The Third Space Gallery, Belfast.www.thethirdspacegallery.com
Recent Exhibitions include 2007: Dark Matter, Belfast (solo) 2006; And Other Storeys' Derry, (solo); Some Things About Belfast (Or So I'm Told), Space Shuttle Mission 3, Belfast (solo project); A Small Urban Inventory, Belfast, (solo)
Group shows include 2008: Maquettes En Modekllen, Paper Biennale, Stedejilk Museum, Aalst, Belgium, Campouflash, Dresden and Poznan; 2007, Campouflash, Lodz, Le Syndrome De Broadway' France, Protokol Sc, Centrifugal, Sekvenca II, Zagreb, 'Tides', Pittsburgh, USA, Resolutions. Washington DC, USA, 2006; Dogs Have No Religion, Prague, 'Recontre Internationales, Paris, Berlin, 2005; 'The Nature of Things: A Long Weekend'. Venice Biennale, (as part of N. Ireland at 51st Venice Biennale),
Documentation of previous work can be seen on www.aislingobeirn.com"
voir aussi / see also: http://www.flaxartstudios.com/aisling.html
"Temps Mort: Dead Time
2 mins, 20 secs
This piece was made for the project ‘Technically Sweet’, curated by Copenhagen-based artists Yvette Brackman and Maria Finn and presented at Participant Inc and Anthology Film Archives, New York, January-March, 2008.
The exhibition took as its starting point an unrealized screenplay, 'Technically Sweet', written by Michelangelo Antonioni in the late 1960’s that was due to shoot with Jack Nicholson and Maria Schneider before producer Carlo Ponti pulled out and the project was cancelled. (Antonioni and Ponti subsequently went on to make ‘The Passenger’ with Nicholson and Schneider.) The curators had Antonioni’s screenplay translated into English for the first time and invited 12 international artists to ‘finish’ the film with works in all mediums, based on their interpretation of the manuscript.
‘Temps Mort: Dead Time’ is based on a short wordless scene that occurs early in the screenplay, in which ‘T’, the Jack Nicholson character (played by Jan Leyssens), meets 'The Contessa' (Susan Romanoff), with her nurse (Nanci Thayer), in the doorway of a pharmacy. They exchange glances but, at this point in the screenplay, we are not aware of who this woman is, or whether the man and woman know each other, nor the significance of the pharmacy location.
The scene is notable for its final line, the indication that “the tall woman's scarf blows in the wind”. The direction seems to serve no conventional narrative or metaphorical purpose, instead suggesting what the Cahiers Du Cinema critics called 'temps mort', or ‘dead time’, a term coined to describe the way Antonioni’s camera frequently wanders to and holds on apparently insignificant details in the frame, non-narrativized elements that have the effect of draining significance from the events that have just unfolded. As Sam Rohdie has noted, “The silence and obliteration which adhere to Antonioni’s moments of abstraction are like moments of death, beckoning with a beauty which simultaneously offers up an absolute of emptiness and of freedom…”. We later learn that the woman in the scene is dying of cancer and ‘T’, it transpires, is also to meet his end before the conclusion of the screenplay."
(nos liens & emphase / our links & emphasis)
"Outline Exhibition information:
Radical Architecture presents a solo show with a project which work charts social and cultural change through an analysis of rock climbing in the Peak District. It consists of a sculptural construction climbable by visitors, and 2D images based around significant rock climbs in the Peak District. These are exhibited alongside three historical artworks borrowed from municipal collections.
Within this exhibition, Radical Architecture makes reference to alternative readings of landscape – in relation to our access to it, engagement with it, and our understanding of it; for example the ideas explored by social critic John Ruskin (1819-1900), and actively furthered by local figures such as Benny Rothman (1911-2002, instigator of the 1932 Mass Trespass over Kinder Scout), and avant-garde climbers such as Joe Brown (b.1930). Ruskin’s writings continue to resonate in contemporary society, advocating class equality and respect, while the activities of Rothman and Brown during periods of mass unemployment and poor industrial relations opened up places and pursuits for the working classes previously only available to the middle and upper classes. I visited significant sites in the Peak District that were made accessible and internationalised by the pioneering vision of such individuals, and have used them to create a climbable sculpture based on physical elements of rock climbs at such places as the The Roaches in Castlefield Gallery’s double height space.
The sculpture and images are contextualised by the presence in the gallery of works borrowed from local municipal collections by Ramsey Richard Reinagle (1775–1862), Ruskin, and Grete Marks (1899–1990). This juxtaposition offers an alternative reading of Manchester’s heritage and geography, considering the radical outdoor movements of the 19th and 20th Centuries as points of departure; with the rise and fall of the city’s textile industry simply offering a backdrop rather than a focal point.
Radical Architecture was Shipsides’ first exhibition in Manchester, and has been curated by The Salford Restoration Office. Works have been loaned by Buxton Museum and Art Gallery, Buxton; The Potteries Museum & Art Gallery, Stoke-on-Trent; and Ruskin Foundation, Ruskin Library, Lancaster University.
The Salford Restoration Office, is a curatorial and educational programming agency which, in developing projects with cultural institutions in Greater Manchester, attempts to address questions of artistic context and policy, and generate discussion surrounding the conditions art institutions find themselves working within in a city like Manchester.
As well as working with Dan Shipsides to make Radical Architecture for Castlefield Gallery, The Salford Restoration Office is also developing The Whitworth Cabinet with The Whitworth Art Gallery and Centrifuge with Manchester Metropolitan University and Northern Edge.
I t's directors are James Hutchinson and Lesley Young.
Exhibitied at Castlefield Gallery, Manchester Oct - Nov 2007"
"Introduction by Jane Humphries
For over a decade, Jennifer Trouton has been observing the flux which the habitus has had on the physical transformations that map the Irish landscape and the houses built on this landscape, some of which have been abandoned [Re(collection), 2007] or others which have been cherished, with memories both real and imagined exposed [Ellipsis, 2008].
As an artist, she has sometimes occupied these spaces physically and at other times conceptually, making work with exceptional skill and dexterity that bears integrity of purpose, achieved largely due to her role as an empathetic observer. She is drawn to the oft-overlooked banalities of human existence, giving dignity to the little losses that are slipping away; the lost generations and their culture; of childhood innocence subsiding into adolescence, and of community based everyday rituals that are usurped by individualism and isolation. In Still, her latest exhibition, she has furthered her ideas of home as an allegory as to how we live now, by exploring the relationship between the environment and its transformations, bringing relational aesthetics into her conceptual process. ‘Home is no longer a dwelling but the untold story of a life being lived,’ is how Nikos Papastergiadis has defined this contemporary state.
Like all her exhibitions, the title is one that has been carefully considered, layered with multifarious interpretations, thick with meanings, laden with metaphors and allegory, revealing the obvious whilst simultaneously hiding it. For example, Still could refer to the inertia of all two-dimensional work, in particular still life paintings.
However, in our media saturated age, the term can also imply film stills, which were once animate, thus referencing the visual - past and present. Idiomatically, the title also suggests a notion that underneath the apparent ‘stillness’ in these works there is a sense of rage as in the saying ‘still waters run deep’ and although the work appears representational, it is only one layer of the conceptual process. Within this body of work there lies a subtext which suggests that there has been a tumult, an agitation, an excitement that has passed, adding a feeling of unease or unheimlich.
Jane Humphries Doctoral Candidate in TRIARC, Trinity College Dublin whose research theses is ‘Re-imagining The Domestic in Contemporary Irish Art’."
Biennale, Venise, 2009 Irlande du Nord
REAL FACES: SUSAN MACWILLIAM: REMOTE VIEWING: PARANORMAL VIDEO INSTALLATIONS
Chris Wilson, North Coast
61cm x 61cm
acrylic and graphite on canvas
24 x 24 inches