C105 preview section

See

A look at some events not to miss, compiled by Declan Sheehan

In an international and multi-collaborative project, Radical loyalty, the artist Chris Evans will forge an alliance between managing directors of international companies (from retail, telecommunication, energy, advertising, finance), a collective of Estonian artists and the Tramway Gallery. A sculpture park is being constructed in the industrial town of Jarvakandi, Estonia, based on sketches and prints created by Evans around the individual feelings of the managing directors on the theme of loyalty. The sculptors involved include those who constructed the region's monuments during the era of Soviet occupation. The exhibition at the Tramway in Glasgow (12 September - 12 October) will present all of the proposals for the sculpture park, a maquette of one of the sculptures, the park's signage and an artist's impression of the finished site.

Chris Evans: from Radical loyalty; courtesy TramwayEnrico David: Rubber girl, wool on canvas, 230 x 290 cm; courtesy ProjectHaunted logo; courtesy City Arts Centre

The gallery at Project will be transformed by the artist Enrico David into his private HQ during September and October. The artist has previously worked with "large-scale embroidered canvases depicting extraordinary figures constructed in thread out of complex linear patterns." This exhibition of new work will follow a period in which he has diversified, using fabric sculpture, furniture, animation, and works on paper.

Enrico David, Rubber girl, wool on canvas, 230x290 cm; courtesy Project

Little info on this yet save the commission process but if it lives up to its promise, it should be one of the shows of the year. City Arts Centre has asked artists to propose a piece to be exhibited in the old City Arts Centre building - and they mean anywhere in the whole building from old offices to stairwells, lifts, kitchen, toilets and storerooms. The whole building will be taken over by artists as part of the Dublin Fringe Festival as a prelude to the building's demise as the City Arts Centre moves on. It promises to be a unique exhibition, the largest collection of site-specific works in Ireland - a whole space colonised by artists and performers. Proposals were received during the summer and at the time of writing no further info is available. Haunted will take place within a three-week period from 22 September.

Haunted logo, courtesy City Arts Centre

White Diamond Projects (www.whitediamond.org) in collaboration with the Context Gallery will be publishing an innovative DVD, Safecracker, based around a novel challenge set to Donegal-based artist Mark Hill: "You have a maximum of twenty-four hours to crack a safe in the centre of the Context Gallery - without destroying its contents." The artist's performance and installation took place on 9 August, focusing on the myth and reality of the central character throughout the history of crime cinema - the safecracker. The performance, installation and a multitude of safecrackers from the history of cinema and the popular imagination will go to make up the DVD, to be premiered during the Foyle Film Festival and available to order from the gallery and from www.whitediamond.org.

From Safecracker; courtesy Context Gallery

Daphne Wright's new piece These talking walls takes on the monumental - large-scale constructions replicating the Soviet Mir space station, in an environment made up of four dark, featureless landscapes of intaglio prints and a fragmented, disorienting soundtrack. The pieces will be constructed of aluminium foil coated in resin, a technique which Wright has by now made her own. These talking walls will be at Crawford Municipal Art Gallery, Cork, 10 October - 29 November.

Daphne Wright: These Talking WallsJ 2001; courtesy the New Art Centre, Salisbury/Crawford Municipal Gallery

Esther Shalev-Gerz has been making public artworks across Europe for over twenty years, tackling issues of image, identity, community and change. The rapid urban development in Dublin's North Inner City is the next environment in which she will work, alongside Fire Station Artists' Studios. In November, her Daedal(us) project will make a labyrinth of the area, using large-scale slide projections to relocate sites and views. It will be a constantly evolving piece, with the site of the projections changing, making the total work, and a vital area of the city, a Daedal(us)-ian and Deleuz-ian maze.

Esther Shalev-Gerz: Daedal(us)1 and 2; courtesy Fire Station

By November, we may all be witnessing the war on terror part 3, no doubt as an attempt to distract our attention away from the epic quest for WMDs and the mysterious death of British state scientists. As a timely antidote, the photographer Paul Seawright has new work at the Irish Museum of Modern Art, made during his role as an Official War Artist, or Research Artist, during the Western invasion of Afghanistan begun in October 2001. Seawright visited the country in June 2002, looking at the hidden malevolence sewn in the Afghanistan landscape by those Western weapons of indiscriminate destruction, landmines. His photographs are sparse and understated, silent and depopulated and his response to these heavily mined desert landscapes draws upon, extends and reworks the distinctive aesthetic the artist has established through earlier photographs of politically contested, contaminated landscapes, made first within his home city of Belfast and more recently on the fringes of a number of European cities. The exhibition is curated by Angela Weight, Keeper of the Department of Art, Imperial War Museum, London. A catalogue with essays by Mark Durden and John Stathatos accompanies this exhibition (price at 24.00 euro tbc). In December there will be another IMMA exhibition by the other appointed war artists, Langlands and Bell.

Paul Seawright: Minefield, 2002, photographic print, edition 1/6, 124.5 x 150cm; courtesy the artist/Imperial War Museum/IMMA

The Context Gallery in Derry has invited Irish/Swiss artist Elizabeth McGlynn to present her work in November 2003 (during the international Foyle Film Festival) and she has decided to explore her personal history of "loss and reclaim" with Ireland with the tools of the artist and art therapist. The show re search, comprising collages, found images, video, and interviews, will present this work-in-progress which "prefers the fleeting perception to monumental statements," as is mirrored in her ongoing aim to link the various cultural identities en route between Austria and Ireland. Her focus will be on the Northwest of Ireland (the City of Derry, N.Ireland, Co. Donegal and Boyle, Co. Roscommon), places relevant to her own biography but also of special interest for their beauty and troubled history, from the viewpoint of her foreign home, Vienna.

Elizabeth McGlynn: What I see is not what I know Nr. 45: "Unhomely Culture", 2002, mixed media, 21 x 25 cm; courtesy Context Gallery

And just a reminder - look out for the Louise Bourgeois show at IMMA (to be covered, we hope, in a future issue) from 26 November to February 2004.

Louise Bourgeois, CELL XVI (detail), 2000, steel, glass, wood and black-and-white fabric, 177.8 x 109.2 x 109.2 cm; courtesy Cheim & Reid/IMMA