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C101
Article
See
A look at some events not to miss, compiled by Suzanna Chan
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Sandra
Johnston: Ex Spectation Or, performance,
2002, Dee/Clasoe Gallery; image courtesy the artist; performance
at South London Gallery, September 10th
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Included in a programme that focuses on collaboration, Sandra
Johnston will perform at South London Gallery Live Art on 10
September, in the gallery space. This is a chance for those in London
to witness a crucial artist whose performances have significantly
engaged with the gendered, social and material contexts of many
specific locations.
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| Paul
McCarthy: stills from Painter, 1995, 50 minute film;
courtesy the artist/Butler Gallery |
For the vividly carnivalesque spectacle of abjection, the grotesque
and corporeality, a show of video works by Paul McCarthy
runs at Kilkenny's Butler Gallery until 6 October. Using humour
and theatrics, McCarthy's works are social commentaries which dwell
on a range of issues including contemporary consumerism, sexuality,
family relations and the mass media.
An exhibition of Kathy Prendergast's work runs at
the Douglas Hyde Gallery, beginning on 5 December. Prendergast is
an artist whose practice had addressed many themes; evoking the
longings and loneliness of displacement; the uncanny in everyday
life; the gendering of landscape; the power structures inherent
in cartography and the naming of territories.
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Karen
Kilimnik: Ragley Hall - Tour of England, 2000, water-soluble
oil colour on canvas, 35.5 x 46cm; courtesy 303 Gallery, New
York/irish Museum of Modern art
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Karen
Kilimnik at the Irish Museum of Modern Art, Dublin, from 27
September, is an opportunity to see over thirty paintings, drawings,
sculptures and photographs from the Philadelphia-based artist whose
work manifests sources which include TV, fashion, ballet and fairytales,
in an interweaving of the real and imagined. Or as IMMA's press
release puts it, the show "focuses on the themes of history as a
site of fantasy and the narrative of place in Kilimnik's work."
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Willie
Doherty, At the Border III (Trying to Forget the Past),
1995, Cibachrome on aluminium,122 x 183cm, ed.of 3, courtesy
the artist/Alexander & Bonnin, NY/Irish Museum of Modern
Art
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Also at IMMA, one of the largest exhibitions to date of Willie
Doherty's work opens on 31 October. As well as featuring a specially
commissioned piece, the exhibition will include a selection of works
from throughout Doherty's career. Doherty has critically examined
how place (often Derry) and events are represented, revealing the
codes by which meanings are produced about contested locations,
and to what effect.
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Ursula
Burke: from new work, photographic series, 2002; courtesy
Context Gallery
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Familial relationships and their links to the wider community are
explored in a series of photographic portraits by Ursula Burke
at the Context Gallery, Derry, opening on November 30. For this
exhibition, Burke has worked with a group of classmates from her
childhood school in Co. Tipperary, signaling a critical exploding
of the myth of the public and private as discretely formed domains.
Over the past few years, Burke has emerged strongly, showing works
that are critically charged, richly layered and exquisitely rendered,
and this upcoming show is an exciting and important one.
Opening on 12 December, the Decorative and Applied Arts Biannual
is an important initiative focusing on applied art. Launched by
the Ormeau Baths Gallery as an open-submission exhibition, the Biannual
is intended to provide a platform for the quality and diversity
of contemporary Applied Art practice.
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Fritz
Welsh: Untitled, mixed-media collage on board, 2001
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Fritz Welsh: Untitled, installation, 2001; both images
from LO-FI, courtesy Catalyst Arts
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At Catalyst Arts the LO-FI Show opens on 3 October, presenting
works that are anathema to the volume of hi-quality, hi-tech digitally
based art in galleries, events and institutions. The line up will
include Fritz Welsh and Andy White, artists who use low-tech approaches
to signal overlooked cultural references in a direct, raw manner.
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Peter
Richards, from Art on the Seafront, photographic installation,
2002, seafront, Bangor, Co. Down; courtesy the artist
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Hopefully for those who can make it, there may still be time to
see Peter Richards' Art On the Seafront, which
uses the buildings along the seafront of Bangor, in Co. Down, to
display large-scale photographic works, until 30 September. Local
inhabitants of the seaside town collaborated with Richards by enacting
scenarios from cartoons with a nautical theme like Popeye and
Peter Pan. This project develops from Richards' previous
works where individuals got to recall and dress up as their favorite
childhood cartoon character, and were recorded by the artist using
a pinhole camera/camera obscura. The performative, collaborative
aspect of Richards' practice foregrounds the experience of an event
and processes of memory, as opposed to the photographic record by
which happenings tend to come to be known.
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Eva
Hesse: C-Clamp Blues, 1965, painted concretion, wire,
painted metal bolt, and painted plastic ball on Masonite,
83.5 x 55.2 x 23.5 cm; courtesy the Estate of Eva Hesse, Galerie
Hauser & Wirth, Zurich/Tate Modern
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At the Tate Modern, the most comprehensive exhibition yet of works
by Eva Hesse opens on the 13 November. While she is associated
with a male-dominated minimalist movement, Hesse disrupted its modernist
formal emphasizing of materials over the relational by evidencing
a subjective and bodily presence in her works. Her subversive dialogue
with minimalist tactics offered a more open sense of form and revealed
the tensions and dependencies between what are traditionally designated
as opposing categories like rationality and irrationality, known
and unknown.
(See review in this issue, pp. 92-93, of Hesse's San Francisco show,
which is moving to the Tate - Ed.)
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Monika
Oechsler: The Chase, 2000, video; from There's no
accounting for other people's relationships; courtesy
Ormeau Baths Gallery
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There's
no accounting for other people's relationships is a show of
international artists whose works deal with the complexities of
human relationships. Opening at the Ormeau Baths Gallery on 24 October,
this promises a fascinating and diverse line up of works by artists
including Pipilotti Rist, Pekka Niskanen, Nan Goldin, Lilibeth Cuenca
Rasmussen, Julika Rudelius and Monika Oechsler. Through a range
of media, explorations of the competitions, cruelties, insecurities,
ethics, loyalties, bonds, loves, conundrums and differences that
characterize our relationships with one another can be witnessed
in what looks set to be an unmissable event.
The life of the socialist leader and revolutionary, Rosa Luxemburg,
is explored in Susan Philipsz's exhibition at the Temple
Bar Gallery, opening on October 18. Philipsz's work in sound considers
a leader who founded the Communist Party of Germany upon her release
from prison, having opposed World War I. Luxembourg was murdered
by German troops in 1919, following her participation in an anti-government
uprising and her life provides a compelling basis for Philipsz's
forthcoming work.
From October to November, Stuart Brisley's Relics of Aul'Dacency
at Project, Dublin, exhibits the collections amassed by dustmen
in the course of their work. The dustmen's collections stem from
a variety of motivations like the recycling of objects or their
appreciation as curiosities. They will be exhibited in the style
of a museum display, raising many questions like the nature of authorship,
collaboration, commodity value and the art in everyday life.
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Shane
Cullen: The Agreement (image from work in progress),
2002; courtesy Project
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New sculptural work by Shane Cullen, The Agreement
commemorates the signing of the Anglo-Irish Peace Agreement in 1998
and runs from September to October. The full text of this document
is reproduced on fifty panels which will be housed in different
venues in Northern Ireland, England and the Republic of Ireland,
and is a collaboration between organisations in each of these locations.
While in the Republic, it will be installed in a warehouse space
at 14 Sheriff Street, in Dublin Port. Here, this site is to be germane
to discussions around the meaning of the Agreement in relation to
its specific setting. In Essex Street, Dublin, the Project Gallery
is to become a forum for dialogue and debate in a series of public
meetings organised with City Arts Centre, which are intended to
explore the relationships between art, politics and society, and
the 1998 Agreement itself.
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