Austin D. H. Ivers – On The Beach

a man's face as if peering through a space just mouth to under eyes
Austin D. H. Ivers

On the Beach

New work by Austin D. H. Ivers

December 14th – January 7th

 
Opening reception: Saturday December 10th at 7pm
 
Gallery will be closed for Christmas between December 23rd – January 3rd
 
“People can’t touch. I can’t touch you. The idea of us touching enrages… To communicate, we resort to technologies. Analogue signals sent to tubes translate an idea from me to you. To do otherwise would be fatal. Such is this, our year 1981.”
 
In his new one person show, “On The Beach”, Austin D. H. Ivers continues his crippling fascination with imagined pasts and murky futures. Set in the early eighties, a series of interrogations are conducted, via CCTV. We cannot know what they are about or where they are taking place. There can be no meaning to this.
 
Austin is an artist and teacher based in Galway. He has shown and toured, most recently with Live8 and Tulca. This is only his third solo exhibition, the previous ones having in Cork and Tralee. Austin, along with Ben Geoghegan, co-founded 126, Artist-run Gallery.

Gregory Sholette – The Imaginary Archive

selection of pages articles handing from clips

Gregory Sholette – The Imaginary Archive

4th November – 20th November, 2011

Opening reception: Saturday 5th November, 6pm

126, Artist run gallery in association with Tulca 2011 is delighted to present new work by artist and writer Gregory Sholette for “After the Fall”. A critical international figure in the area of collectivity and artist-led activity and politics, Sholette has been collaborating with the 126 Gallery and its membership over the last number of months to re-visit the concept of the Imaginary Archive.


Synopsis:
Imagine yourself uncovering a cache of materials and documents that record a past whose future never arrived? Imaginary Archive Galway (IAG) is just such a repository: printed materials, objects, and narratives that imagine an alternative history, which nevertheless sheds a surprisingly strong light on concrete realities. New York based artist Gregory Sholette invited participants from Galway, New Zealand, Europe, and the United States to produce this “what if” collection of archival materials addressing topics from forgotten Irish inventors and fantastic nation-branding campaigns, to uncharted offshore islands and mysterious pirate radio broadcasts. On display at 126 Gallery, IAG consists of under-represented, unknown, invisible, or merely hoped-for “historical” materials that point to multiple ways of interpreting the past, the present, and the future. For more information click here.


Biography: 
Gregory Sholette is a New York-based artist, writer, and founding member of the artists’ collectives Political Art Documentation/Distribution (PAD/D: 1980-1988), and REPOhistory (1989-2000). A graduate of The Cooper Union (BFA 1979), The University of California, San Diego (MFA 1995), and the Whitney Independent Studies Program in Critical Theory, his publications include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2011); Collectivism After Modernism: The Art of Social Imagination after 1945 (with Blake Stimson for University of Minnesota, 2007); and The Interventionists: A Users Manual for the Creative Disruption of Everyday Life (with Nato Thompson for MassMoCA/MIT Press, 2004, 2006, 2008), as well as a special issue of the journal Third Text co-edited with theorist Gene Ray on the theme “Whither Tactical Media.” Sholette recent exhibitions include Imaginary Archive (for the Tulca Festival in Galway, Ireland 2011, and for Enjoy Public Art Gallery in Wellington, New Zealand 2010); a contribution to Temporary Services Market Place for Creative Time’s Living as Form (2011); a two-person exhibition at the Santa Fe Art Institute in New Mexico (2011), and the installation “Mole Light: God is Truth, Light his Shadow” for Plato’s Cave, Brooklyn, New York (2010). Sholette is an Assistant Professor of Sculpture at Queens College: City University of New York (CUNY), has taught classes at Harvard, The Cooper Union, New York University, and Colgate University, and teaches an annual seminar in theory and social practice for the CCC post-graduate research program at Geneva University of Art and Design.

www.gregorysholette.com 
www.darkmatterarchives.net



Participating artists:
Niall Moore (Galway), Dave Callan (Galway), Simon Fleming (Galway), Roger O’Shea (Galway), Ben Geoghegan (Galway), Austin Ivers (Galway), Tiarnán McDonough (Galway), Paul Maye (Galway), Àine Phillips (Clare), Allan Hugues (Belfast), John Hulsey, Brian Hand (Dublin), Jeffrey Skoller (NY), Matthew F. Greco (NYC), Todd Ayoung (NY), Aaron Burr Society (NY), Yevgeniy Fiks (NYC), Maureen Connor (NYC), Johan Lundh and Danna Vajda (NYC/Sweden), Trust Art (NYC), Ellen Rothenberg (Chicago), Oliver Ressler (Austria), Markus Wetzel (Berlin), Murray Hewitt (NZ), Jeremy Booth (NZ), Grant Corbishley (NZ), Dara Greenwald & Josh McPhee (NYC), Bryce Galloway (NZ), Lee Harrop (Australia), Malcom Doidge (NZ) and White Fungus (Taiwan) working in collaboration with Imaginary Archivists Olga Kopenkina and Gregory Sholette (NYC).


Dark Matter: Art, Politics, and Imagination under Crisis Capitalism 
Talk by Gregory Sholette on Saturday 5th Nov at 12:00pm in Galway City Museum, Spanish Parade. For more information click here.



Contemporary Artists’ Collectives: Tactics, Models, and Imaginative Possibilities 
Workshop by Gregory Sholette on Monday 7th Nov from 10:30am – 4:30 pm,
Ground Floor Aras Na Gael, Dominic Street, Galway.
Places are extremely limited and booking is essential. For more information click here.

Naheed Raza

poster a man carrying dough or clay on his shoulder no face visible









Naheed Raza

October 5 – October 22

Opening reception: Saturday 1st October, 7pm

For her exhibition at 126, Naheed Raza will be showing recent film and photographic works arising from her micro-residency at the Edinburgh Sculpture Workshop between April-May 2011, which hint at the way sculptural ‘gestures’ might permeate culture, mediating many aspects of our experience. By considering activities involving highly physical, rapid and automatic gestures in the first instance and complex, painstaking ones on the other, the exhibition isolates moments of transformation and malleability in both art and the everyday.

Naheed Raza’s background is in both Art and Science, having initially studied Medicine at Oxford University before switching to Fine Art, first at Chelsea College of Art and then at the Slade. Much of her practice, which spans sculpture, installation and film, explores the limits of knowledge and ideas relating to haptic and tacit awareness – a corporeal intelligence, which lures and locks the viewer into a complex relationship between eye, mind and material. The themes of weaving, spinning and drawing recur in her work with outcomes often heavily influenced by process.

Her recent works have been exhibited at the Centre for Contemporary Art Glasgow, the Edinburgh Film Festival, Bloomberg SPACE and the Royal Institution of Great Britain. Naheed is currently living and working in Edinburgh.

126 is generously supported by the Arts Council of Ireland, Galway City Council and its membership.

Exhibition runs: 5th October – 22nd October

Gallery hours: Wed – Sat, 1pm – 6pm

www.126gallery.com

Sensory Threshold

could be a would nymph half human half animal features lying on woodland floor feathered white
Image: Suzanne Dolan, Dining on Delicacies, 2011

Sensory Threshold

126 Annual Graduate Exhibition

Suzanne Dolan, Marie Dollard & Tina Hopp

September 3rd – September 24th 2011

Opening reception: Friday 2nd September 7pm
Artists talk: Friday 23rd September 8pm

 

126 presents ‘Sensory Threshold’, an exhibition of new work by three recent graduates from Galway & Mayo Institute of Technology and Limerick School of Art and Design. The title refers to the level of strength a stimulus must reach to be detected. This is comparable to the way that these emerging young artists have provided a powerful enough stimulus, in the form of their own work, to be detected and afforded this opportunity to make themselves apparent to a wider audience. Threshold can also refer to the point at which these artists find themselves in their artistic careers. The work, responding to themes of the abject and liminal spaces include sculptural work, painting, ceramic work and embroidery. Considering their recent transition this exhibition provides a platform for new processes, dialogue and interaction. The artists are at the beginning of their professional careers, and their personal visual language is tentatively starting to emerge and take form.

Suzanne Dolan

‘An animal is defined as any living organism characterized by voluntary movement.’

In her work, Suzanne Dolan aims to use this broad definition to highlight our own skewed perception of animals and what we find acceptable to eat. She looks at the idea that it is more ethical to eat certain animals than others, as hypocritical and seeks to challenge the view that an animal and a piece of meat are two separate things. In her work, the hunter becomes the hunted. Suzanne graduated from LSAD this year with a degree in ceramics. She lives and works in Galway.

Marie Dollard

Marie Dollard exploits the decorative and accessible qualities of traditional embroidery and pairs them with the more grotesque, visceral experiences of the body. The resulting works deal with themes of attraction / repulsion and of feminine identity and aim to subvert the viewers’ expectations.
Marie Dollard was born in 1985 in Laois. She moved to Galway in 2007 to study painting in GMIT, receiving her BFA in 2011. Marie is currently working as a visual artist and divides her time between Laois and Galway.

Tina Hopp

‘In Crisis’.

What happens in states of crisis, being confronted with the unexpected, with events that create high levels of uncertainty?

Tina Hopp’s current work explores notions of crisis and related phenomena such as fragility, failure, transformation and liminality. Liminal events refer to in-between situations and conditions that are characterized by the dislocation of established structures, the reversal of hierarchies, and uncertainty regarding the continuity of tradition and future outcomes.In playful and subtle ways, periods of scrutiny are invoked. Central values and axioms are questioned which lead to an instance where normal limits to thought, self-understanding, and behaviour are undone. In such situations, the very structure of society is temporarily suspended and reality or our perception of it is called into question.
Born in Germany in 1977 Tina Hopp is a visual artist based in the West of Ireland. She holds a BA Honours Degree in Painting from GMIT Galway. An interdisciplinary artist, Tina’s work includes painting, drawing, installation, sound, video, objects and performance. She is a member of the Kitchen Table Collective and is currently based in the Rosa Parks Studios, Galway.

Naheed Raza at Lismore Castle Arts

like patterns in sand



16 July to 14 August

Lismore Castle Arts in collaboration with 126 Gallery presents: Naheed Raza – Sand

Lismore Castle Arts: St Carthage Hall, Chapel Street, Lismore, Co. Waterford

Exhibition runs: 16 July to 14 August 2011, open Saturdays and Sundays 2 – 5pm
Launch: Saturday 16 July at 2pm


Lismore Castle Arts: St Carthage Hall is a new offsite project space in a former Victorian church hall. For 2011 Lismore Castle Arts has invited several artists and artist-led projects to curate an exhibition to coincide with the Still Life exhibition at the main gallery. Naheed Raza – Sand, curated by 126 Gallery, was recorded at the edge of The Empty Quarter in the United Arab Emirates, and is a meditation on the strange, silent power of the desert.  The transience, mobility and immersive quality of the shifting sand acts as a metaphor not only for time but also relates to thresholds of seeing, thinking and being.

Naheed Raza  (b. 1980, UK) is  an artist whose practice explores the tension between appearance and reality, and the elusive, often ambiguous nature of experience. Recent films have been exhibited at the Centre for Contemporary Art Glasgow, Edinburgh Film Festival, Bloomberg SPACE and the Royal Institution of Great Britain. Naheed is currently living and working in Edinburgh and holds a MA Fine Art from Slade School of Fine Art, University College London.

126 Gallery is Galway’s and the west of Ireland’s first artist-led exhibition space. 126 was established in 2006 by local artists in their own living room as a response to the urgent need for more non-commercial gallery spaces in Galway. In the last ten years a diverse and internationally significant visual arts scene has emerged in Ireland. It is in this development that 126 plays an important role as the only permanent space in Galway that allows artists to experiment and take risks with their practice. Locating to a white-cube space, 126 invited local artists to form a Board based on the successful democratic style of Catalyst (Belfast) and Transmission (Glasgow). In 2009, 126 relocated to a larger, more prominent space on Queen Street in the city centre. 

Lismore Castle Arts, a not-for-profit initiative, was founded in 2005 with the aim of presenting and promoting internationally significant contemporary art to audiences in Ireland and beyond. The main gallery hosts one exhibition, of work by leading international artists, per year. Lismore Castle Arts: St Carthage Hall, a new venture for 2011, is sited in the town of Lismore and will be open every weekend from April to September.

14 – 5 = 126, Galway Arts Festival

empty studio space



14 – 5 = 126

Alwyn Revill, Joe Nix, Alan Butler, Louise Manifold, David Beattie, Jonathan Sammon, Stefan Johansson, Karolin Reichardt and Maurits van Putten.

In association with the Galway Arts Festival

11 July – 24 July 2011

 
 
14 – 5 = 126 is an experimental artist led project that will take place in 126 Gallery, Queen Street, Galway. Over the course of nine days, coinciding with the Galway Arts Festival, nine artists – local, national and international, will work consecutively in the space from 6pm in the evening, until opening time, 1pm in the afternoon of the following day. As part of this progressive collective installation the artist will use the gallery to his or her maximum ability and may extend from floor, wall and ceiling.
The following evening the next artist will enter the space at 6pm and continue the process. The pattern is methodically repeated and the next chosen artist will work in the gallery also from closing time to opening time. Each artist will follow the steps made by the first artist. They may erase parts or the whole work, critique it, enhance it, react to the work or decide not to react at all. This cyclical process will develop discourses, open the gallery up like a sketchbook, challenge and question methods of working singularly and as a collective. Artists will work under a certain time constraint and within strict spatial limitations. The results cannot be planned. Questions of system, structures, hierarchy and the decision making process will be analyzed by this experimentally led nine day project.
This process will be repeated until the nine chosen artists have worked for nine consecutive days as part of 126 programme for the Galway Arts festival. Every day between 1pm and 6pm the result of each days work will be shown to the public. Webcams will also be in place throughout the project so the public can view the work as it unfolds in real time.
At the end of 14 – 5 = 126 there will be a reception held of the closing ‘opening’. It will be the culmination of the nine artists work. A documentary video projection will reflect the process throughout the nine days.

Opening reception: Monday 11th July, 7pm (Experimental minimalist set by Shane Burke)

Closing reception: Thursday 21st July, 7pm

Check out our Facebook page for more info and a live webcam feed of the project throughout the Galway Arts Festival.

A Public Mosaic

an image projected on a circular wall

Image credit: James Kennedy, ‘GateWalls’, UCD, 2011

A Public Mosaic

An experimental collaborative project of work by NCAD MA students, Art in Contemporary World and UCD MA Architecture students.

24 June – 2 July 2011

 
Opening reception: June 24, 7pm – 9pm

 
This collaborative process began with a series of discussion between UCD and NCAD students at Newman House opposite St. Stephens’ Green, Dublin. Over a period of weeks people worked in groups to develop an experimental collaborative process between visual arts, literature, sound, video, and architectural working methodologies. There was no set remit; it was open ended, debatable, and constructive as a work in progress.
NCAD and UCD became a mini collective in their approach to this project which manifested itself naturally through conversation, random dialogue, research, presentations and now finally at 126.This collaborative working group now have the opportunity to develop this project within the artist led experimental space. Contemporary Art offers the platform to represent this plurality through visual art, writing and architecture. Here collaborative strategies such as psycho geography, social play, appropriation, literature, music, intervention are employed to critique our sense of the public park, our sense of what a public space is. Visual artists often use this space in their practice while architects design and plan it. Through this embrace of common collaborative strategies can the combination of art and architecture find a new voice or discover the opportunity for a new world within our modern living?

Beyond Guilt Trilogy – Ruti Sela and Maayan Amir

from the back two men standing on a bed half undressed

Beyond Guilt Trilogy

Ruti Sela and Maayan Amir

May 26 – June 18

Opening reception: May 26, 7pm – 9pm

The series Beyond Guilt addresses the undermining power relationship between the photographer and the photographed, men and women, the public domain and the private sphere, object and subject. As the film’s directors Sela and Amir take an active part in the event. They seduce the interviewees on the one hand, and turn the camera over to them on the other as part of the relationship between the photographer and subject.
The choice of pick-up bar services or hotel rooms as shooting locations strives to represent an underworld with its own language and signifiers. The quick encounter before the camera calls to mind the ephemeral nature of intimate relations, but above all the works allude to the influence of the occupation, terror and army as constitutors of an Israeli identity in the most private moments. The sexual identity and the military-political identity seem inseparably intertwined.

Through dealing with radical dispositions Sela and Amir observe the boundaries of the individual’s autonomy within the arrangement of forces and interests that surrounds them. Through the engagement with video they experiment with the construction of situations. They create environments. Their work juxtaposes the documentary idiom with fictitious interventions while interjecting areas of violence, aggression, submission and blind ideological obedience.
Ruti Sela and Maayan Amir have shown their works internationally including the Sydney Biennale (2006), the Istanbul Biennial (2009), the Berlin Biennial and Manifesta 8 (2010). In 2009 Amir and Sela developed the ‘Exteriority Project’. They received the UNESCO young artist award (2009).

Artlessness: The Cultural Logic of Nonceptuality – Darren Barrett

a baby doll with a paintbrush in hand with art around it
 

Artlessness: The Cultural Logic of Nonceptuality

Darren Barrett

28 April – 21 May 2011

Opening reception: 28 April, 7pm – 9pm

Artists talk: 4 May, 12.30pm @ GMIT, Cluain Mhuire Campus


‘We represent nothing and as such have the latent potential to become anything’.

Anon, Of Nonceptuality, p 4, 1983

‘In every respect, Nonceptuality is a transgression. It puts law into question, it
denounces its nominal or general character in favour of a more profound and more artistic reality’.

Anon, Of Nonceptuality, p 37, 1983

Darren Barrett presents Artlessness: The Cultural Logic of Nonceptuality, an exhibition which strives to transmit something of the playful vitality of the artistic collective known as the Nonceptualists. The exhibition is comprised of a series of two and three dimensional works attributed to this clandestine group.

The Nonceptualist collective itself is composed of a geographically decentralised network of artists and theorists from a multitude of different nationalities. It has been in existence in one form or another for well over twenty years. During this span of time, it has produced a complex and expansive body of work and critical writings, deliberately eschewing the prevalent stylistic conventions dominant within the contemporary visual arts. The group has chosen to preserve its anonymity in order for its members to retain as much creative autonomy in their practices as possible and to prevent the transgressive spirit of the collective from becoming assimilated into the economic hegemony currently driving the art world.

Rejecting the lethargy and ennui of the mainstream artworld, precipitated by its rampant commercialisation, the central objective of Nonceptuality is to create an alternative environment where a proliferation of different styles and working methodologies can breath and cohabit, allowing visual and theoretical sources to be twisted, distorted and manipulated in a continuous process of aesthetic evolution and overcoming.

Darren Barrett is an artist currently based in Dublin. He graduated from the National College of Art and Design in 2007 with a BA in Fine Art (specialising in painting). He has had solo exhibitions in the Joy Gallery in Dublin (2009) and Basement Project Space in Cork (2011) and has also participated in numerous group shows throughout the country. His practice examines the issue of how we apprehend and evaluate the visual arts within the present age. His work operates within a metaphysical crevice situated somewhere between theory and practice The contemporary of a plethora of confident young emerging Irish artists, Barrett characterises his own artistic and intellectual position as that of a diverging artist and is currently living through what he describes ‘as the intermittently glorious years of onanistic solitude’.

Community Skratch Games 2011

poster for community skratch games


Community Skratch Games 2011

21 April – 22 April 2011

Thursday, 8.00pm

The opening night of Community Skratch Games 2011 sees the launch of Deviant & Naive Ted’s “Send In The Hounds” 12″, with performances from Deviant, Sebi C and improvised performance from the Community Skratch Players, including DJs Jimmy Penguin, Mikey Fingers and Tweek, alongside Galway musicians Tony Higgins, Andrew Madec and Simon Kenny.

“Send In The Hounds” is an Irish folk based record, created from a box of dusty old records, performed, compiled and arranged by hand with minimal digital manipulation. The first 50 12″s will come with individual inserts illustrated by designer JP Hartnett, a selection of whose work for Community Skratch will also be exhibited during the event.

 

Friday, 8.00pm

Special screening of “A Night at the Knitting Factory”

This concert movie, released in 2004, is renowned among skratch music practitioners as a defining moment in the development of turntable manipulation. It was a culmination of the musical possibilities hinted at by the so-called second wave of skratching, that of “turntablism”. The concept of the “DJ band”, first popularised by the Invisibl Skratch Picklz a decade before, had finally come to realisation.

The headline performance consists of seminal DJ crew the Beat Junkies performing tracks from the album “Phantazmagorea” by DJ D-Styles.

Community Skratch artwork, designs and photography will also be exhibited over the two days. On show will be a retrospective of Alis Klaar’s retro themed posters for Community Skratch events, photography from past events by Niall O Brien and original ink paintings by Dan MacEoin in collaboration with music producer Jimmy Penguin.

Community Skratch is a not-for-profit collective of DJs, producers and artists promoting turntable manipulation and sample culture since 2007. For more information on Community Skratch please visit www.nozlrecordings.com

What’s the Point of Art Centres Anyway? Possibility, Art and Democratic Deviance.

To all those who may be interested in taking part in the 126 reading group on Thursday April 14th, here is the text to be discussed.  If you’re interested in taking part we’d appreciate it if you could let us know beforehand by email, so we can have an idea of the numbers attending.
 
 
Charles Esche
 
What’s the Point of Art Centres Anyway? – Possibility, Art and Democratic Deviance.
 
The fall of the Soviet Communist party and the unconcealed rule of capitalist-democratic state on a planetary scale have cleared the field of the two main ideological obstacles hindering the resumption of a political philosophy worthy of our time: Stalinism on one side, and progressivism and the constitutional state on the other. Thought thus finds itself, for the first time, facing its own task without any illusion and without any possible alibi. (Giorgio Agamben, ‘Notes on Politics’ in Means without Ends, University of Minnesota Press, 2000 p109)
Agamben sets out with the utmost clarity the position under which we labour. We are increasingly without illusions when it comes to the anachronistic way contemporary society chooses to negotiate its oppositions and find sufficient consensus to continue. Today, we cannot fail to see socialism as a failure, can only see social democracy for the broken compromise it is, and bend the knee to planetary democratic capitalism only because it’s the last idea left standing. In return, the neo-conservative evangelists do their utmost to take advantage of this (hopefully brief) moment.
 
The question Agamben’s introductory quotation begs is where and how can thought face ‘its own task’ to construct a renewed political philosophy. For the field of modern art, the old politics of the left could be imagined as a kind of anti-matter universe – alluring in its familiarity to many artistic concerns but constantly threatening the destruction of its cherished freedom. The shifts of modern and even very recent art oscillated between a desire for social (and political) engagement and a passion for artistic autonomy, yet both extremes were found wanting. The art centres, museums and galleries have usually simply been the vessels within which this activity is housed. Occasionally however, the places where art happens have also been the creative engines for a rethinking of the categories of visual art and the role of artists; of how visual culture can alter personal consciousness, and even change the world.
 
If we start to imagine a contested cultural future, it might be that this latter possibility is the one we need to re-energise, even as we acknowledge that it is dependent on a collaborationist engagement with institutions by ‘free’ artists. This difficult terrain between engagement and autonomy or social ambition and the subjective psyche are what we have been trying to explore at Rooseum over the last three years. With varying degrees of success, projects like In 2052 Malmö will no longer be Swedish, Open Forum and the Future Archive, as well as exhibitions such as Intentional Communities, Baltic Babel, Superflex, Creeping Revolution and Rooseum Universal Studios, have been our way of testing out an initial challenge to rethink the purpose of and the audience for this provincial Swedish Kunsthalle. Rooseum is, of course, not unique in these ambitions but it’s relatively isolated, small city base in a historically social democratic state provides a particular environment in which the reality of social engagement outside the art world can be tested intensively.
 
I am aware that the claim of privilege on behalf of art institutions carries dangers; not least that capitalism’s toleration of culture is simply a device to divert resistance away from more pertinent activities. Yet, in this situation of Agamben’s political Stunde Nul, or what the Slovenian thinker Slavoj Zizek has called a ‘Denkverbot‘ to exclude all thinking beyond democratic capitalism, I am not sure that any of the existing formal or informal political channels of opposition have any kind of purchase on the system either. Art is, after all, not the same as politics and cannot be seen as political action by other means. Instead, paraphrasing Agamben, it has ‘to face its own task without any illusion’. I am hopeful that such a task could be defined within the experimental institutions, using the broad field of contemporary art to be a permissive and imaginative space for expressing individual and collective desires that could not be accommodated, or even thought of, within current political discourses. Of course, the artists, the public institutions and the self-made artists spaces that produce and promote art are all necessarily located within the economic hegemony of capitalism. They are always already compromised but that compromised position is potentially their very advantage. They stand in an ‘engaged autonomous’ relationship to capitalism, as much as to political opposition or movements for social change – complicit but fenced off, in ways that define both art’s irrelevance and also its possibility to become, in Superflex’s terms, ‘tools’ for thinking and relating.
 
The term possibility seems a vital one to use in relation to such issues. It is the concept (and the challenge) of creating possibility for the artist, for the audience and perhaps also for the city and citizens where we are based that drives our ideas at Rooseum. Possibility is, in these terms, simply a condition that leads to thinking differently or imagining things otherwise than they are. Creating possibility is not a fixed point of view but a slippery and changeable condition made of spatial, temporal and relational elements. In other words, for possibility to emerge there needs to be a site, a moment and a group of people – material that is obligingly in the hands of public art institutions with their potential appeal to a wide spectrum of society.
 
The creation of possibility has also little in the way of precedents in the current climate. There are no obvious formulas to follow, although the frequent talk these days of laboratories and factories gives us the beginnings of certain kinds of models from science and industry. I am however, rather uncertain about these terms as they seem to exclude a position for a visiting public – both labs and factories being be definition private productive sites. To use the institution at its best, we need to balance the need for private experimentation with public discussion, especially as the forums for a generalised intervention are reducing as public space is privatised. Art and its institutions need to move in an opposite direction if they are to play the role of political imagination forum.
 
If the art institution today has the potential to become such a place, it must begin by being defined its constituent social actors in more complex ways than artists, curators and viewers and to imagine new forms of exchange between them. I would like to imagine that the Rooseum and similar organisations become spaces of ‘democratic deviance’, where ideas that are beyond what Zizek’s defines as the Denkverbot are contributed from all participants and issues are raised over a longer period than a single exhibition event. The task of the institution would then mutate to some extent, to become one of clear communication of its own agenda to encourage art ‘to face its own task’ or think beyond free market capitalism, followed by hospitality towards artistic proposals, as well as direct invitations, and generosity in the dialogues that result. Only after investing in such a process would the organisation of space and time and outspoken approval for those ideas that seem to take the agenda furthest follow.
 
The practical application of such an approach is, of course, always disappointing in some ways. Reality can never match the rhetoric though it does not mean that the rhetoric itself is not needed, indeed cannot inspire more ambitious and more carefully thought out projects in the specific conditions of an actual Kunsthalle. At Rooseum, I believe a number of projects have approached moments of genuine possibility or democratic deviance. To describe them in text is of course inadequate, but it might offer some idea of where we have got to over three years of operation. In early 2001, I defined the new mission of Rooseum as follows:
“What’s the point of an institution like Rooseum? It’s tempting to say ‘to offer hope, faith and charity in complicated times’ but it’s too glib. Some time ago it seemed that art institutions might find themselves constrained by the modifier ‘art’ and its popular meanings. Now, the term ‘art’ might be starting to describe that space in society for experimentation, questioning and discovery that religion, science and philosophy have occupied sporadically in former times. It has become an active space rather than one of passive observation. Therefore the institutions to foster it have to be part community centre, part laboratory and part academy, with less need for the established showroom function. They must also be political in a direct way, thinking through the consequences of our extreme free market policies. Secondary questions are whether individual institutions will have the courage to find their own balance in this mix or follow the old centre-periphery model and whether funders can be persuaded to drop the touristic justification for art institutions in favour of increasing creative thinking and intelligence(s) in society. These are the things we will try to deal with over the next years. The first step is to re orientate the direction of the organisation through shifting the identity of the architecture of the old electricity works. The three levels will be separated in terms of function with studios and a project room upstairs, a main hall for large scale exhibitions and productions on the ground floor and an archive and micro cinema downstairs.”
 
Three years on, Rooseum has developed its different strands of activity to achieve something close to that mix of community centre, club, academy and showroom that we originally proposed. While keeping the headcount level, our users have radically changed. Today there are fewer general visitors and many more specifically engaged groups or individuals working with us on projects or returning to see the development of long-term programmes. I am confident that this is the right direction for Rooseum to continue in the future. Based in Malmö, we should take account of the ecology of exhibition and artistic spaces around us, as well as the unique character of the city itself. With a Konsthall and Konstmuseum, as well as a number of smaller exhibition and cinema spaces, the city is well off for ‘art shows’ relative to its size. With the University and Art Academy, it has a thriving younger audience who have time and curiosity enough to become involved in more complex programmes of activity. With an important community of citizens with close links to cultures outside Sweden, the value of international cultural exchange on the micro-level hardly needs to be explained. As the birthplace of Swedish social democracy, the city can be confident of taking a progressive role in re-imagining the cultural politics of the nation.
 
Projects and exhibitions like “Superflex – Supertools” and “Baltic Babel – cities on a nervous coast” as well as the long term residency and commissioning programme “In 2052 Malmö will no longer be Swedish” delivered a critical view on public engagement, regionalism and cultural identity. Other initiatives have been developed in the light of the ‘real existing’ Malmö, concentrating on the different elements that we have observed in the city and its history. The ‘Öppet Forum” programme of local groups who develop their own activities within one space at Rooseum has seen activities from furniture design to a very important initiative called ‘Curiocity’ organised by the group Aeswad that really introduced many marginalised communities to Rooseum and to the possibilities of cultural activity to make themselves heard. In a different sense, our Critical Studies international study programme creates an international local context, and gives Rooseum 8-12 young artists, curators and critics to contribute to the pool of ideas and projects around the organisation. Many of the approaches we have taken prioritise the long- term and the quiet persistence of artistic work, rather than the spectacle of the exhibition. The intention has been to make the residencies, study initiatives, open forum projects and small presentations or screenings of work into the life-blood of an active, thinking Rooseum attached to the city in a myriad of intimate. Small-scale ways.
 
The question this begs concerns the purpose of an art institution in a particular place, if not the purpose of art itself. I would maintain that art spaces have a duty to be demonstrably different from the kinds of public spaces dedicated to consumption that have invaded the centres of our cities. There, the displays take on some of the aspects of visual art in their seductive, tempting and luscious attraction. However, as presentations dedicated to a single end – individual purchase – there is a limit to their possible effect on our imagination and thinking. They are aesthetic devices at the service of a predetermined motivation and therefore at odds with any idea of artistic freedom, however compromised that now may be.
 
Public spaces like Rooseum should seek to engage with that idea of freedom – challenge it and critique it for sure, but still suggest the idea of a society of free thinking citizens as a possible reality, if only for a particular moment and in a certain place. The freedom we propose is one that encourages disagreement, incoherence, uncertainty and unpredictable results. It is also grounded in the locality of its production, and a proposal for what might be needed here. To make sense of that for the visitor requires hospitality above all, but also recognition of the difficulty of asking for people’s time and energy in our hyperactive society. That’s why it has to be done modestly, over time and in relation to the city itself. It is not good enough to devise a good international programme in isolation; instead what we do must address the separate micro-communities that make up the city.
 
This is an undoubtedly demanding agenda for a small and relatively weak institutional frame. Yet, it might only be as such a space that an institution might even begin to imagine justifying new or continued public funding. Within the various forms of European socialism and social democracy, exhausted by years of unrelenting attack from the free market fundamentalists, there is little desire to continue to prop up the bastions of what are called ‘elitist’ cultural institutions. The withdrawal of funding may happen suddenly or gradually, but it is more than likely. In response, those committed to culture as a testing ground for the future are required to refashion our tools. The economic contribution argument will not work in the long term, because the social democratic state will simply privatise culture and let it battle it out with other forms of consumer entertainment. Perhaps only as identified and acknowledged spaces of ‘democratic deviance’ can cultural palaces be justified at all in the twenty first century, not least to the culturally active themselves.

Let’s see what happens: Part 2

negative photo of a child with a knife pointing at a wall socket

Woooochild! Here we go again!

126 Artist run gallery invites you to:

Let’s See What Happens: Part 2

April 12th – April 16th

@ 126 Gallery, Queen Street, Galway

 
After the great success of the first ‘Let’s see what happens’ week, 126, Artist run gallery is again transforming its Queen Street gallery space into a hub of events for another week this April. Hosting a range of educational, unusual, fun and informative events the board aims to move away from its usual pattern of consecutive exhibitions and open up the space to different kinds of happenings. 126 is looking to explore new possibilities for the gallery and step beyond it’s usual comfort zone to ‘see what happens‘ as a result. All are welcome and events are free unless otherwise stated.
 
Tuesday April 12th
 
TerriBAD Movie Night DOUBLE FEATURE: The Room + Birdemic: Shock & Terror

 

7pm
€5 / €3 for members 126 & artist-led initiative Angry Hammers present the TerriBAD Movie Night a double feature of infamous films so bad they’re good. The evening kicks off with James Nguyen’s Birdemic: Shock & Terror, a romantic thriller in which a small town comes mysteriously under attack from eagles and vultures, but who will survive Birdemic? From Wikipedia: “Birdemic has been noted for its poor quality.”
The main feature for the evening is a screening of notorious cult film The Room variously described as so very bad that it becomes riveting” and “the Citizen Kane of bad movies”. Written, directed, produced and starring auteur Tommy Wiseau, this film has to be seen to be believed. Don’t forget your spoons.
BYOB. Popcorn will be provided and shouting at the screen is encouraged.
Proceeds from the evening go towards Angry Hammer’s inaugural exhibition In The Asphalt City, a group exhibition of Galway based talent practising in the field of contemporary visual art coming this July.
Wednesday April 13th
 
‘It Was All A Bit Black & White’ – Live audiovisual performance.
7pm – 11pm
 
It Was All A Bit Black & White are a post rock, experimental instrumental band. By using loop stations, effects pedals, and synthesizers, they look to create a rich, textured atmospheric sound and move away from more conventional ideas of what a rock band should sound like.
Their performance in 126, entitled ‘Birds’, will be made in conjunction with visual artists Steven McGovern and Matthew Sutton, as the group create a one-off, improvisational audio visual collage in the Queen Street gallery space.
 
BYOB!
 
 
Thursday April 14th
 
Artist Led Reading Group
2pm – 4pm
 
An artist led reading group, steered by board member Victoria Smith, will meet to discuss What is the point of Art Centres Anyway?  126 members, artists from Engage studios, Arts Space studios and directors various of art spaces in and around Galway will be among the participants.  The talk is also open to all members of the public, to take part in or observe.  Please email contact@126gallery.com to indicate your interest in participating in this reading group to receive the text in advance of the reading group, all members welcome. The text will also be availbe at www.126gallery.com
Refreshments provided.
How can thought face ‘its own task’
The fall of the Soviet Communist party and the unconcealed rule of capitalist-democratic state on a planetary scale have cleared the field of the two main ideological obstacles hindering the resumption of a political philosophy worthy of our time: Stalinism on one side, and progressivism and the constitutional state on the other. Thought thus finds itself, for the first time, facing its own task without any illusion and without any possible alibi(Giorgio Agamben, ‘Notes on Politics’ in Means without Ends, University of Minnesota Press, 2000 p109)
The art centres, museums and galleries have usually simply been the vessels within which this [Art] activity is housed. Occasionally however, the places where art happens have also been the creative engines for a rethinking of the categories of visual art and the role of artists; of how visual culture can alter personal consciousness, and even change the world. 
Charles Esche  What‘s the Point of Art Centres Anyway? – Possibility, Art and Democratic Deviance. [Text]
 

Adapt Galway presents: What are you thinking?” An evening of art and events in alternative spaces Seminar and Discussion 7.30 – 9.30pm 126 hosts an evening talks and discussion concerning Adapt Galway and the potential use of slack spaces by the creative sector in Galway city.  Joining us to provide their insight and experience of working with similar projects around the country, will be representatives from other artist led initiatives including Occupy Space in Limerick, Exchange Dublin Collective Arts Centre. Dr Patrick Collins of NUIG and the Western Development Commission will also be speaking along with Lise Ann Sheahan, formerly the driving force behind the Creative Limerick initiative.   Coinciding with the talks and discussions, a collaborative exhibition will be held in the Niland Galley, Merchants Road, curated by Austin Ivers, lecturer in GMIT, comprising of artists from the various Adapt coalition members.  The Niland Gallery is an Engage Art Studios project and is made possible by the generous support of the Niland family

Eight Bar and Restaraunt will be launching Transforming Ireland, an exhibition this by Carol Anne Connolly

.

Adapt Galway is a coalition of visual arts organisations. These groups are working together to create a united vision for the visual arts in Galway.
Adapt GalwayLorg Printmakers, Artspace and A-Merge, and has been endorsed by Tulca Season of Visual Art, Average Arts, MART, Féach Steering Committee, Live@EIGHT, and welcomes the support of other interested organization involved with visual arts in Galway.
 
Adapt Galway has to date identified and supports the following key campaigns:
 
1. The use of appropriate vacant spaces in the city centre for creative purposes.
 
2. The development of a temporary Centre for Contemporary Art (Féach) in the docklands in the next 2 years. With the aim of creating a permanent Centre in the same area.
 
3. The re-purposing of the Connaught Laundry as a working arts facility to house Lorg, Groundworks, a sculpture centre, residential studios, meeting rooms, offices, exhibition space and more. This can be achieved in a phased development and would facilitate the sharing of resources and information in the visual arts.
 
4. The creation of a festival of independent practice that for a month freely associates groups of artist-led projects.
 
 
Friday April 15th
 
Micheál Conlon – ‘Parking Area Strategy Development (Undergoing Steady Modernisation)’
9pm – 3pm
From 2001 to 2005 a young ambitious male worked a regular nine to five, forty-hour shift from Monday to Friday. He did not work weekends as the premises was closed and during the week received all legal daily lunch breaks in accordance with the national employment rights authority. He was paid the minimum wage and availed of his four working weeks paid annual leave for his holidays. This company had an irritating problem with public commuters benefiting from the spacious car-park on their premises and so hired this employee to deter motorists from taking advantage of their facilities. His solution was to deny entry to the public by holding a twenty-foot rope across the entrance from his work cabin, which obstructed the motorists and only allowed access to those of his discretion. Upon receiving his minimum amount of notice before his dismissal, he was commended and praised on both his work ethic and inventiveness by the company.
 
Mitch Conlon presents satirical and absurd socio-political anthropological investigations into the delusions that our society place their certainty in. The misconception of the community that their alternative at puzzle-solving is a legitimate auxiliary option can contribute to a collapse. By searching to dismantle the flux and folly of these systems, Conlon’s work is presented in flippant deadpan performative interventions that highlight this sense of isolation and confusion.
 
Ann Maria Healy – ‘SpeakERR’
4pm – 6pm

To err: To be mistaken, to be incorrect, to go astray in thought or belief SpeakERR is a new performance by Galway based visual artist Ann Maria Healy about how perspective can fuel isolation. It explores an inability to communicate, fears of saying the wrong thing, the futility of waiting until you know you’re right. Ann Maria Healy is a visual artist based in Galway, Ireland. Graduating from Galway & Mayo Institute of Technology in 2009 with a first class honours in fine art, sculpture, her practice includes live performance, installation and photography. Her work explores the bodies’ relationship to space and time, in particular focusing on cycles, how they affect and shape our lives. She has shown both nationally and internationally, recent work includes Amanda Coogan’s, Yellow – Re-performed as part of the Dublin Theatre Festival, Right Here Right Now – Irish Performance Art at Kilmainham Gaol and a residency at the Live Art Development Agency in London.

 
 
Fergus Byrne – ‘Loop’
7pm – 8pm

The performance Loop uses intense physical activity and spoken text to create a dense layering of experience in a relatively short space of time. Byrne’s interest in the practice of stillness, life modelling and the examination of movement have produced this work which uses, as sound accompaniment, ‘I am sitting in a room’ by Alvin Lucier and found text from 19th century medical documentation of Eadweard Muybridge’s studies of human and animal locomotion.

 
Saturday April 16th
 
Fergus Byrne – ‘Duet drawing’
11am – 2pm
 

This drawing workshop explores the possibilities within partner drawing. What can be learnt from another person’s hand? How much do we take for granted in our own way of drawing? How close can we get to seeing with another person’s eyes? The session will commence with a physical warm up to loosen the body before people begin to work on drawing. Please wear loose fitting clothes in which you can move. Physical work will not be too strenuous but a willingness to participate is essential. 20 places available Fee: €10 To take part, contact: contact@126gallery.com

 
 
126 Karaoke and Kinect Evening!
6pm – late
 
To round off the week, 126 will be hosting an evening of fun, frolics and bad singing! Come along and have a go belting out some of your favourite hits on the 126 jukebox with our evening of karaoke. Or for those less keen on displaying their singing talents (or lack thereof!) have a go on the X-Box Kinect game which uses a camera and fancy new motion sensing technology to put YOU in to the actual game!
BYOB
 
For more information on any of these events, email contact@126gallery.com or check our Facebook page  //www.facebook.com/group.php?gid=59630853618

Marie Hannon – “Nil aon tinteán mar do thinteán féin”

a ple of turf in the shape of a kiln

126 presents:

“Nil aon tintéan mar do thinteán féin.”

126 Open Studio Residency Project: Marie Hannon

April 6th – April 9th, 2011
Opening Reception: Tuesday 5th, 7pm

 

“Traditions and ways of life associated with bogs stretch back beyond folk memory to the very roots of our society. They are an essential element of our cultural heritage, and are important to our understanding of ourselves as a people and a country.”

Protecting the Raised Bogs of Ireland
Environment, Heritage and Local Government 2011

126, Artist run gallery is pleased to present new work by Marie Hannon, completed during a three week residency in the Queen Street gallery.

During this time frame the space was treated as an artists studio. The space was open during normal gallery hours for the duration of the project, in which members of the public were encouraged to visit, observe and converse with the artist at work. We hope that this helped foster an environment where the public could engage with, and gain a greater insight into the contemporary creative process. The project culminates as an exhibition for the final week.

Marie Hannon graduated from G.M.I.T in 2010 with a First Class honors degree in sculpture. Her practice is primarily concerned with the environment that defines who we are as a society. Themes of the domestic, displacement, confinement, struggle and the damage of silence are frequent in her work. Marie works mainly in object manipulation, drawing and photography.

126 Open Studio Residency Project: Marie Hannon

poster marie hannon residency project
 

126 Gallery presents:

126 Open Studio Residency Project: Marie Hannon

An artists residency and solo exhibition by Marie Hannon

(March 14th – April 9th, 2011)

 
Residency: March 14th – April 2nd
Exhibition: April 6th – April 9th
Opening reception: Tuesday, April 5th, 7pm

126, Artist run gallery is pleased to announce that local artist Marie Hannon will be undertaking a unique new residency in 126’s Queen Street gallery space during March and April.

For this time the space will be treated as an artists studio in which the artist will create new work. The project will culminate in the exhibition of this new work during the final week. The space will be open to the public during normal gallery hours for the duration of the project, and we would encourage members of the public to visit, to observe and converse with the artist at work. We hope that this will foster an environment where the public can engage with and gain a greater insight in to the contemporary creative process.

Marie Hannon graduated from G.M.I.T in 2010 with a First Class honors degree in sculpture. Her practice is primarily concerned with the environment that defines who we are as a society. Themes of the domestic, displacement, confinement, struggle and the damage of silence are frequent in her work. Marie works mainly in object manipulation, drawing and photography.

Fundraiser Party Extravaganza!

throught the front window 126 in fire

Thanks to all those who made this first  week of ‘Let’s see what happens’ such a ragin success!  Turn out for nearly all events was high, saw lots of new faces about the place, and all the performers and participants were a pleasure to work with!

So keep an eye out for our second week of events from April 13th – 16th.  Details of the specific events will be emerging over the coming weeks.  And again, thanks a bunch, yiz are only gorgeous!

Lets See What Happens

boy knife socket
 
126, Artist run gallery is transforming its Queen Street gallery space into a hub of events for four days this March. Hosting a range of educational, unusual, fun and informative events the board aims to move away from it’s usual pattern of consecutive exhibitions and open up the space to different kinds of happenings. 126 is looking to explore new possibilities for the gallery and step beyond it’s usual comfort zone to ‘see what happens’ as a result. All are welcome and events are free. 
 
 

March 9th – Wednesday:

‘Feed Me Weird Things Live Show Bonanza Mega Cast’

Flirt FM presents Feed Me Weird Things Live Show Bonanza Mega Cast, a live radio transmission of electronic music, mind-bending visuals and cutting edge performances from Jimmy Penguin, Destitute and Stem Cell Sally.  Live broadcast in 126 Gallery: 8pm – 10pm (followed by Feed me Weird Things dj–set)

March 10th – Thursday

Micheal Conlon’s ‘Queen Street C.R.P (Crime Reduction Programme) Workshop’

This is a interactive workshop that aims to question the absurd potentialities of feng-shui for a community, how this small community can create their own social transformation and to promote the communication of information as a creative process. Suitable for all ages! 2pm

‘SCULPTURE 3 VIDEOS’

A selection of high quality video art from 3rd year sculpture students studing at Cluain Mhuire GMIT 7pm

March 11th – Friday

Oral Presentation by Niall Moore ‘Dark Matter’

‘By outlining a materialist perspective this presentation will consider the generative capacities of sound. In proposing alternative readings of specific sonic encounters and giving concrete examples the intersections between visual culture, science and theory will be mapped out.’

3pm – 4pm

 

Contemporary Dance Solo ‘The Melody of Thinking’

Choreography: Angie Smalis, Dance: Katarína Mojžišová Music Composition: Dorota Konczewska

A conceptual, improvised dance piece for one, inspired by the nature and parameters of controversies, which explores the dancer’s personal movement vocabulary in a given space, referring to procedural knowledge and observation.

6pm

Poetry Swap Shop

‘Poetry Swap Shop’ aims to give people a new perspective on poetry, including the poets themselves. Local Poet Laurie Leech will bring together a mixture of poets from different schools and all across the board of styles to exchange poems randomly. Men reading poetry written by women and vice versa, the results will be hilarious and touching by turns.

7pm

March 12th – Saturday

126 Fundraiser Party Extravaganza!

126 will host an evening of Music and Mayham with some of Galways finest and Funnest DJ’s providing the soundtrack for the evening!

  • Mr Kablamo
  • Destitute
  • Kid Kongo
  • Heardy Byron  

€5 on the door and free to 126 members. 8pm – 12am

‘Wishful Thinking’ | An evening of 16mm film.

man pouring bag of coins into fountain

126 Gallery in association with the Glucksman Gallery, Cork, presents:

Wishful Thinking

Wishful Thinking, curated by Matt Packer from The Lewis Glucksman Gallery, University College Cork, is a travelling programme of selected 16mm film by contemporary international artists: Luke Fowler, Jaki Irvine, Ursula Mayer, Rosalind Nashashibi, Roman Ondak, João Maria Gusmão & Pedro Paiva, Deborah Stratman, and Moira Tierney.

Borrowing it…s title from the common phrase to describe an optimistic and ever hopeful outlook, Wishful Thinking presents artist’s films that look beyond the surfaces and circumstances of the world as we find it. Whether by casting into the future, back to the past, or by re-­approaching things that are all too familiar, the selected artists employ the particular characteristics of 16mm film to reshape our experiences of time through moving images.

Matt Packer is Curator of Exhibitions & Projects at Lewis Glucksman Gallery, University College Cork, where he has curated exhibitions including ‘School Days: the look of learning’ (2010-11), ‘Grin & Bear It: cruel humour in art & life’ (2009), ‘Getting Even: oppositions & dialogues in contemporary art’ (2008). He studied on the Curatorial programme at Goldsmiths College, London, and is a current member of IKT, the international association of curators of contemporary art.

The Lewis Glucksman Gallery is a cultural and educational institution that promotes the research, creation and exploration of the visual arts. Wishful Thinking has been developed by the Glucksman to enable wider access to contemporary artists’ film and curatorial models of programming.Image courtesy of: Roman Ondak, gb agency, Paris, Janda gallery, Vienna and Johnen gallery, Berlin.

James Brooks | Staged and Screened – Photos

clear gallery space
 Some snaps from our current exhibition by London based artist James Brooks.  It’s a really strong show that I think has cleared out and calmed down the space aesthetically after our last few shows which were visually quite busy.  Come down for a look!
 A shot from before the install began – the space is newly opened up again after the previous four shows made use of a wall to divide up the gallery.
 Board member Siobhan applying the finishing touches to our new vinyl window sign!
James Brooks 
‘Reversed Performance’

 James Brooks
‘The Third Man’
2011
text projection/ b n w/ loop
1 minute 36 seconds

 ‘The Third Man’ (detail)
 Installation views
James brooks
Seating plans of 7 ‘Off’ Broadway theatres
2010
Pen on graph paper
29.7 x 21 cm (each)
Board members Siobhan McGibbon and David Finn – hard at work!

James Brooks – Staged and Screened

126 presents:

STAGED AND SCREENED

James Brooks

The exhibition utilises high and low cultural sources from– cinema, theatre, music and television as departure points to produce a series of works in – drawing, video, print and audio. The work explores the performance-based nature of the source material, through employing processes which forefront ideas concerning time, duration and visibility, along with an audience’s relationship to Art production.
Staged and Screened in part, attempts to spotlight an audience’s role within an auditorium or public space: where to sit or stand, the etiquette of appreciation and participation- with reference to Bertolt Brecht’s writings on the subject, along with the more recent analysis within Nicolas Bourriaud’s publication Relational aesthetics. Brooks’ interventions attempt to reaffirm the viewer’s physical position in time and space as an important component, akin to Walter Benjamin’s ideas on the importance of a physical encounter with a work of art.
All the pieces in the exhibition operate with a strong sense of internal logic in relation to the source material. These ‘slight to laborious’ interventions of altering the aesthetics of the specific information are an attempt to forefront a particular aspect or observation- from the whimsical to the austere. One part of the exhibition presents a series of 31 audience seating layout drawings of New York City theatres- Seating plans of 24 ‘On’ Broadway theatres and Seating plans of 7 ‘O ’ Broadway theatres. By presenting the crowd or audience as the artwork, Brooks is attempting to question the 20th century convention of cultural consumption by playing with an intentional disorientating inversion. Continuing the analysis of an ‘active’ or ‘passive’ engagement of an audience, the audio work- Absent friends edits out the narrative and visual content of a generic episode of the American TV series- Friends, leaving just the sporadic punctuation of canned audience laughter for its duration, which is synthetically utilised in the show’s production as a device for keeping the tempo of the sitcom. Furthermore, Brooks’ video piece- Reversed Performance appropriates the 1970’s Film – Performance, starring Mick Jagger, then at the height of his fame, in a semi-acting/ real life role. By re-filming the rewinding visuals of the thriller from the reverse of a domestic television, the narrative content of the film is lost and thus becomes an abstract light presentation, akin to music concert lighting projecting out into the audience from a stage position.
Furthermore, geographically the location of 126 in Galway is conceptually of interest to this body of work. The gallery- in turn exhibition, on the West coast of Ireland is across the Atlantic from the United States of America and more specifically New York City. Thus, this addresses on a larger cultural and geographical scale the notion of who is the symbolic ‘actor’ and who is the ‘audience’ in this particular exhibition scenario.
James Brooks was born in Devon, England in 1974. He completed his MA in Fine Art at Chelsea college of Art, London and his BA in Fine Art with 1st class honours at the University of Plymouth. To date, he has shown in International spaces in: Paris, Frankfurt, Norway and New York, along with shows in London at: Tate Britain, Seventeen, Domobaal, Arcade, Monica Bobinska gallery, Trinity Contemporary, and Riflemaker. Furthermore, he has curated a number of Arts Council funded groups shows on drawing in London and Paris, along with delivering a paper on the future of Contemporary Drawing at the National gallery in London. He lives and works in London.
Further information at: //www.jamesbrooksdrawing.blogspot.com 

Mind the gap…

Ok, after something of a lapse in the upkeep of the 126 blog (it seems to have been about a year?!), we’re back in action!  We hope to update this regularly with a variety of content from different contributors, covering a variety of 126 events, other goings on in Galway and the wider art world, and other general fluff that accumulates in our minds.
It promises to be enlightening so pop in once in a while!

126 ‘Out of a Box’ | 4th Annual Members Show – Some snaps….

Here’s a few images from our recent members show.  These are just the images I had to hand so apologies to those whose work aint featured here, I’ll remedy that asap!
Some general gallery shots…
Timothy Emlyn Jones – An Enquiry Into The Turning of The World
Austin Ivers – The Great Dictator 2010
Tu me tues (Fionn Kidney & Caroline Campbell) – Music Video
 
Niamh O Beirne  ‘You are Standing into Danger’, 2010, Various media
Our chairperson, the lovely Gina!

The 4th Annual 126 Members’ Show: OUT OF A BOX

 

126 presents:
The 4th Annual 126 Members’ Show

OUT OF A BOX

January 6th until January 29th

As part of our continued commitment to support our membership, 126 is proud to present its forth annual members’ show, to be held this year for the first time in our Queen Street premises. 126 is grateful for the financial and moral support of its members and each year offers this special opportunity to exhibit their work.

The members were asked to respond to the theme ‘Out of a Box’.

The term ‘out of the box’ is said to derive from a famous puzzle created by early 20th century British mathematician Henry Ernest Dudeney, in which someone is asked to interconnect nine dots in a three-by-three grid by using four straight lines drawn without the pencil leaving the paper. In order to be successful, the puzzle solver has to realize that the boundries of the dot array are psychological. The only way to solve the puzzle is to extend the lines beyond the artificial boundary created by the nine dots.

We have curated a range of work that reflects our diverse membership, from emerging artists to those more established, working in a variety of disciplines and media, painting, video, sculpture, installation and photography. The way the artists have responded to the theme conceptually has been equally diverse, ranging from the academic and aesthetic, to the critical, to those with a more playful and humorous tone.

The artists showing are: TU ME TUES, Niamh Ó Beirne, Austin Ivers, Timothy Emlyn Jones, Sarah Lundy, Jim Ricks, Micheál Conlon, Eileen Hutton, Christopher Banahan, Lorraine Neeson and Nina Amazing.

Alan Butler – IntheBedroom OMIGOD SUBSCRIBE!!! KTHXBAI XXX

126 presents:

Alan Butler
IntheBedroom OMIGOD SUBSCRIBE!!! KTHXBAI XXX

November 25th until December 18th

 

The exhibition is a new selection of mixed media works, which use the proliferation of culture as their subject or starting points. Through drawing, video, print and installation, Butler has produced a series of works, which abstractly examine the life-cycle of musical artifacts and paraphernalia that have been reproduced as ‘tributes’ to well known works.

The research for the works in this exhibition is based on new modes of production which challenge the 20th Century’s producer/consumer model of transmission for film and music. In recent years, consumers have become both producers of and audience for the multitude of entertainment and cultural artifacts available online. Butler has collected and appropriated 20 versions of a pop song from 1974 (performed and uploaded YouTube.com users) and synchronised these to create an absurd, and at moments unpleasant, virtual choir from the song’s re-interpretations. The original videos in raw format are testament to the genuine passion and love people have for culture. The mash-up, which presents us with the aimlessness of this kind of activity, highlights the very human need to produce our own culture and share it with like-minded individuals, regardless of its collective uncouthness. It presents to us a network of people from many different age, ethnic, gender and geographical backgrounds who are connected by one song and asks the question ‘who owns culture outside of commerce and copyright (with its ever-dwindling relevance)?’ Are these performers, singing to an unknown audience, the unknowing authors of a new folk art?

A new series of 2D works use appropriated content from online fan sites to present hidden spectacles which sometimes go unnoticed due to the abundance of information online. These works are made from collections of album bootlegs re-arranged by colour and presented as colourful matrices. Also exhibited are drawings combining logos of teeny pop-stars and grindcore/death-metal acts which contrast the very definite methods of visually presenting or branding music.

The exhibition will also feature an ‘offsite’ online work which can be accessed after visiting the gallery. Much of the content from this show is created in a similar manner to its subjects, rather than needing a studio it could have been produced in a garage or a bedroom and uploaded to share with anyone interested.

Alan Butler was born in Dublin in 1981. He completed his BA of Fine Art (specialising in new media) in NCAD in 2004 and has complimented his prolific studio practice with various curatorial, art-community and art management projects. Some of these include work for the Dublin Fringe Festival, Dublin Art Fair ’08, Monster Truck Gallery & Studios, Temple Bar Gallery & Studios, blackletter.ie (Irish online art-community) and the Dublin Arts and Technology Association (DATA). Since his MAFA at LaSalle College of the Arts, Singapore (2008-09) Butler’s art work has featured in projects and exhibitions at The Institute of Contemporary Art, Singapore, Hatje Cantz Con prefazione di Angela Vettese, Venice and École Nationale Supérieure des Beaux-Arts, Paris. Most recently, he has had solo exhibitions at Temple Bar Gallery & Studios and Cake Contemporary Arts, Kildare, and a collaborative exhibition at the Mermaid Arts Centre, Bray. He currently occupies a project studio at Temple Bar Gallery & Studios where he listens to Gwar.

Jennifer Brady – The View From Here

 

Tulca 2010 & 126 presents:

Jennifer Brady
The View From Here

November 6th until November 21st

For Tulca 2010, 126 presents The View From Here, an exhibition of Brady’s new video works exploring the everyday spaces we inhabit from radical and fantastical perspectives, varying from conspiracy theory, gaming culture to virtual landscapes. The works themselves address notions of place, using narrative devices, voiceover and soundtracking elements with which to re-imagine these spaces such as the city, the suburban park and computer gaming landscapes. The exhibition seeks to revise and destabilise the ways in which we perceive these familiar sites.

Jennifer Brady’s practice involves video and sound installation. Her video works fuse documentary and fictive modes of production, with particular emphasis given to the element of storytelling within them. The stories she tells through her video works are based on research into both real and fictive events. This material is often used to construct narratives which in turn explore such notions of reality and fiction.

She is currently completing a M.A in Visual Arts Practice (IADT). Selected recent exhibitions include Public Gesture: Pirate Capital, The Lab, Dublin 2010; Flicks: The Cinematic in Art curated by Cliodhna Shaffrey, Drogheda (2009), Sounds Like Art curated by Carissa Farrell, Draíocht (2009) and the Claremorris Open Exhibition (2007) where she was a prizewinner. She was commissioned to produce new video work for multi media event Snakes and Ladders (Dublin, Wexford and New York), curated by composer Daniel Figgis (2009). Her work has also been purchased for the Bank of Ireland Art Collection.

Niamh Heery – Bulk

126 presents:

Bulk
Niamh Heery

October 8th through October 30th, 2010

Opening reception: Thursday October 7th, 7-9pm

Artist talk: Thursday October 7th, 6:30pm

 

Bulk is a body of video, photography and sculptural work resulting from the artist’s investigation into the logistics of consumerism and capitalism. During April and May 2010, the artist embarked on a 24 day transatlantic voyage on a freighter ship from Buenos Aires to London. Stopping at six different commercial ports in Latin America, Africa and Europe, she observed with great detail the routine processes and bulk operations that define modern industry and commodity culture today.

In a time of economic uncertainty, the cyclical process of cargo shipping is still a constant. Steel containers provide anonymity and conceal the items inside. Identical containers pack the docks and vessels with goods that are constantly hidden from view. Bulk explores the homogenized, anonymous steel domain that is the working port and invokes the idea of the double to portray the sense of overwhelming and sublime that one is met with when a system of commodity culture is revealed.

Niamh Heery b. 1983 is a multimedia artist from Dublin, Ireland. She graduated from IT Tallaght in 2004 with a Higher Diploma in Audio Visual Media. In the following years she went on to work in the area of contemporary music and media production and had films screened at festivals around Europe. In 2009 she graduated with a BA in Visual Arts Practice at IADT, Dun Laoghaire, specializing in multimedia installation. She spent the following year completing work in Toronto and Buenos Aires. Niamh is currently enrolled as an MA student in the Huston School of Film, NUI Galway. Her work has been exhibited in Ireland, France, Canada and the USA.

Who dares this pair of boots displace?


126 presents:

Who dares this pair of boots displace?

Steve Maher, Fiona Hession, Tadhg McCullagh, Anne O’Byrne, Aidan Kelleher and Brendan Hoare.

September 10th – October 2nd, 2010

Opening reception: Thursday September 9th, 7 – 9pm

Who dares this pair of boots displace? a show by six recent graduates from Galway & Mayo Institute of Technology and Limerick School of Art and Design. The new works, responding to the theme displaced, include drawing, sculpture and video. Considering their recent transition this exhibition provides a platform for new processes, dialogue and interaction.

Steve Maher is a graduate of Limerick School of Art and Design and is a member of the artist partnership ”Like Studio” in Limerick city. His work is based around performance, sculpture and drawing. Maher considers that within the enculturation endured through the formative years of life, there exists a duality in how individuals are taught to interpret their immediate environment.

Fiona Hession, a GMIT graduate, is a Galway Based Visual Artist. Her work to date has focused on the various face of “Home” in modern society and what this term means on a personal level. Hession uses a variety of disciplines such as sculpture, print and textiles to inform her work. In this new work she has endeavoured to look beyond the traditional concept of her own home and try to understand the emotional trauma of being displaced on a much larger level.

Tadhg McCullagh studied painting at Limerick School of Art and Design. Who me? Yes you. Not me! Couldn’t be! Then who? presents moments where the instrumental attitudes that are dominant in our society can be, at least momentarily, set aside. The cogs are given a chance to turn alternatively allowing an opportunity for reflection on the system as a whole to take place. Tadhg’s practice is informed mainly by sociological studies and how these issues can be represented through art.

Anne O’Byrne studied at the Limerick College of Art and most recently at GMIT. O’Byrne’s work focuses on the engagement and observation of the mundane and the banal. Things we see in front of us every day, things we work with and places we live in are all subjects of her analysis. Working with her deep interest in all things aeronautical with conceptual ideas of construction, O’Byrne toys with the physical entity of a ‘Displaced Threshold’. The body of work consists of 4 works on paper, 3 works on gessoed board, a video piece approx. 9 mins, and a constructional piece.

Aidan Kelleher received a B.A in Fine Art Printmaking from Limerick School of Art and Design and is a member of Limerick Printmakers. Aidan’s practice studies the use of devices with which a viewer can interact. For 126 Aidan created a machine designed to evoke an emotional response. “Fear”was conceived by first researching an accurate definition of what fear meant and researching different ways that people could be agitated by the presence of danger. To create the feeling of and the image of this fear, two electrodes were attached to the controllers which are set to randomly administer an electric shock. A sense of danger and tension is generated.

Brendan Hoare completed a degree in Fine Art in GMIT, Galway. In the work created for this show, Hoare suggests we are programmed to perceive identity in ourselves. This identity is a mask which allows us to interact and function socially. We are in fact a collection of perceptions which succeed each other with great rapidity and are in perpetual movement. Memory, which is basis of identity, is constituted of a collection of these disjointed fragmentary episodes. The unified, continuous self is an illusion. The inner life is too subtle and transient to be known to itself.

Catalyst Members’ Show


126 presents:

The Catalyst Members’ Show
Our 2nd Annual Members’ Show Exchange

A selection of works from Allotments, the Catalyst Arts Members’ Show.

Opening reception: Thursday, February 5th at 7pm
Runs through the end of February.

126 was set up on the model of Catalyst Arts. The galleries have a shared ethos of providing space and opportunities for artists at various stages of their careers, experimentation and a strong commitment to their membership bases.

These Annual Members Shows provide a prime opportunity for early career artists to exhibit alongside more established artists. The richness and diversity of practice in the membership is best reflected in the open submission policy.

The exhibitions this year will run simultaneously in both galleries. Opening event Tuesday 3rd February in Catalyst at 7pm and Thursday 5th February in 126. The Catalyst Members’ Show will run through the end of February.

126 is a voluntarily led, artist-run gallery that promotes challenging and experimental works that would not be seen in commercial galleries or conventional institutions.

Gallery hours: Thurs-Sat 1-6 or by appointment.

126, Artist-run gallery
Unit 11o, Ballybane Ind Est,
Tuam Rd, Galway
Ireland
+353 (0)91 761626
www.126gallery.com

126 is supported by the Arts Council, the Galway City Council and our membership.

A Reading Group.


You are invited to take part in a close reading of Karl Marx’s ‘Capital – Capitalist Production – Volume 1’, over 13 monthly meetings.

There are many reasons for reading Capital and each participant will have their own motives for getting involved in the reading of this text. The reading group is supported by Artspace Studios, a fitting environment providing an ideal artistic setting to explore the text. Artspace Studios has served Artists living in Galway for the pass 22 years and continues to provide a healthy environment allowing open discussion and debate around contemporary issues of concern to visual artists. The short ponderable statement below is intended as a starting point for reflexive conversation during the following meetings.

Art production is a blueprint, a perfect example of the process of capitalism. On the other hand, Art is one of the last refuges of Marxist thinking, creating a critical space to consider capitalism.

Marxist theory is often referred too in both Art conversation and texts. This reading group is offered as a platform to explore the Marxist filter with respect to Art production. The ‘Capitalist Production’ text is intended to provide a structure for this exploration, through discussion, debate and further reading.

The structure of The Reading Group

The reading group is designed to accommodate as many people as possible. Meetings will take place for the most part in Galway, at Artspace Studios, although other venues may be employed. If you are unable to attend regular monthly meetings but would like to follow the reading of ‘Capital’ and part take in some aspect(s) of the groups activities you are very welcome, either on the blog or at a meeting later in the year.

The reading timetable follows a 13 part podcast by David Harvey produced while lecturing at The City University of New York in 2008. The video and audio podcasts and for more information on David Harvey please go to //davidharvey.org/

The reading group will meet on the last Wednesday of each month. At each meeting a video podcast will be viewed, followed by group discussion on the ‘Capital’ text and cross texts read, along with the material covered on David’s podcast. The video podcast section starts at 4.30 pm and is optional as you can enjoy/study the video or audio podcast in your own time, before joining the group for the discussion section of the meeting at 6.30 pm. The meeting adjourns to Live at 8 @ The Number Eight Bar, the Docks, for the light refreshment section/session.

A TEAM BLOG; //aptareadingroup.blogspot.com/

This team blog has been set up as a posting area for pooled knowledge, photographs, videos, comments, ideas, interesting and related sources of information and written texts from reading group members. Each participant in the group is invited to become an author on this Blog. For these who are unable to make the monthly meetings regularly, this maybe a site of importance, keeping up to date with the activities of the group.

A number of guest speakers will be invited to present to the group during the course of the thirteen reading group meetings, from various disciplines, from Art Practitioners, Critics to Academics, etc.

For those wishing to take part in the reading group please email aptletters@gmail.com to register. If you know of someone who may be interested in this reading group please forward on this information.

The first meeting will take place on the 28th of January 2009 at Artspace Studios, Unit 7 and 8, Addley Park, Liosban Trading Estate, Galway. Tel: 091 773046

Apt in collaboration with Artspace Studios.

The 2nd Annual 126 Members’ Show





126 presents:

The 2nd Annual 126 Members’ Show

Opening reception: this Thursday, 8th of January, 2009 at 8pm.

As part of our commitment to encouraging and supporting the greater Galway visual arts community, 126 is proud to host its second annual members’ show. 126 is grateful for the financial and moral support of its membership, so once a year we open the gallery to them as a sign of thanks.

By taking this unique democratic approach, this show highlights the diverse strengths and approaches of 126’s membership, which varies from students, to unrepresented emerging and local artists to those established at an international level.

We have an open membership available to anyone who supports our aims and ethos. Please visit our website www.126gallery.com for more information on becoming a member today.

The show runs through January 29th and will travel to Catalyst Arts in Belfast for February.

126 is a voluntarily led, artist-run gallery that promotes challenging and experimental works that would not be seen in commercial galleries or conventional institutions.

Gallery hours: Thurs-Sat 12-5 or by appointment.

Unit 11o, Ballybane Ind Est,
Tuam Rd, Galway
Ireland
+353 (0)91 761626
www.126gallery.com

Supported by The Arts Council of Ireland and the Galway City Council

I’ve Become a Magpie








126 presents:

I’ve Become a Magpie

New work by Cian McConn

Featuring collaborations with Vivienne Griffin and Kay Merryweather.
Curated by Mary Nally

November 27th – December 13th , 2008

Thurs – Sat, 12-5pm or by appointment.
Opening reception: Thursday, November 27th, 2008 at 7pm

 

“We inhabit a universe with which we are out of key, man is bewildered, troubled and obscurely threatened…” – Martin Esslin, ‘Theater of the Absurd’

 

McConn has spent two years living and working in New York City. This exhibition is a commentary on his experiences of America in uncertain times. His inspirations come from the environment which surrounds him, whether that is working in an office or a restaurant. His work addresses his own struggle to find not just a job but a place to be, a place to call home even if its just for a while.

By using combined media – video, collage, photography, performance – an assemblage of ideas is created. The work embraces a low-tech approach and creates simple, poetic pieces, in an attempt to communicate how vulnerable we are to the ploys of a fickle world.

Using humour, elements of romanticism and borrowing from schools of thought such as the Theater of the Absurd and The Situationist International, Cian McConn to comes to terms with an urban environment in which everyone is seemingly vying for attention through fashion, the media and desire.

I’ve Become a Magpie also opens up the creative process to involve other artists in a collaborative role. For this exhibition McConn will show a piece from a series of photographs he is currently working on with New York based Irish artist Vivienne Griffin and work from an ongoing video series with free lance musician and performer Kay Merryweather.

126 is an artist-run project and gallery space in Galway, which promotes experimental and risk-taking artworks that wouldn’t normally be shown in museums or commercial galleries. 126 is democratically organised and has an active membership of over 100.

126, Artist-run gallery
Unit 11o, Ballybane Ind Est,
Tuam Rd, Galway
Ireland
+353 (0)91 761626
www.126gallery.com

Thurs – Sat, 12-5pm or by appointment.

Supported by The Arts Council of Ireland

BLACKFLASH



All photos courtesy of Dave Ruffles


126, for the Tulca season of visual art, presents:
Blackflash new work by Mark Cullen

Nov 1st – 22nd

Opening reception: Thursday, Nov 6th, 7pm.
After party @ Bar No. 8 with DJ Whitelightning, 9:30 til close.


Blackflash:
A disorientating condition when an occurrence from a fictional past intercedes in the mind of the present, perceived as a real event, or as a continuum of happening.

An instance of remembering an experience that may or may not have happened when one has ‘blacked out’, lost consciousness, or when one has disconnected from ones own subjectivity, through the result of an immersive experience in an alternate reality, an hallucination, or such as a through a ‘letting go’ engagement with fiction, with music or with ones daydreams.

An uncomfortable ‘snap back’ effect may be experienced as one returns to a pre-blackflash state.

Mark Cullen explores cosmologies, playfully engaging our senses, he jolts our position in relation to our surroundings and our imagination. Making use of cinematic and theatrical devices, Cullen directs installations that draw on conventions of the carnivale to engage the viewer in a participatory encounter. He is interested in implicating the viewer within arts ability to stretch logic, time, material and experiential possibilities, and to entice the viewer into a consideration of a cosmological experience.

The stars, the heavens, the planet, atomic material; how they are represented in popular science and science fiction, and how in turn it is subjectivised in our imaginations is a launch pad for this work. Questions of humankind’s evolution interpenetrates science fictive subjectivities.

Mark Cullen was born in Dublin in 1972. Works include MAIM XI for Irish Museum Modern Art, Temporary Portable Reservoirs at The Hugh Lane Municipal Gallery, Dublin and Siege House, London, Cosmic Annihilator, an installation at Pallas Heights and Open EV+A (curated by Dan Cameron 2005) Limerick City Gallery. Recent works include STAR P*WER at Flicker, The Burren College Gallery, Star Gazing at 52° North at Synaesthesia Sat, Workhouse Birr Arts Festival. In 2005 he completed a Masters in Visual Arts Practices at DLIADT and was an award winner at EV+A 2005. In 2007 he attended a residency at El Levante in Rosario, Argentina. Cullen was curator of Darklight Digital Film Festival from 1999-2004.

In 1995 with Brian Duggan he was the co-founding partner of Pallas Studios, Dublin. Pallas through their various guises and programmes have been key exponents of experimental art practice in Dublin. He is also a director of Pallas Contemporary Projects a new space for experimental art in Dublin.

www.pallasprojects.org
www.pallasheights.org
www.pallasstudios.org

www.tulca.ie

126
Unit 11, Ballybane Ind Est
Tuam Rd. Galway Ireland

Gallery hours are Thursday to Saturday 12-5

Kevin Gaffney for Artisit? [3]




Pseudo Nippon

126 Presents:

Kevin Gaffney
for Artisit?[3]

October 2nd – 18th

Opening reception 7pm October 2nd, 2008
with a sound based performance by Pseudo Nippon at 8pm

Artisit? is a creative project that began in 2006 with the aim of creating a platform for artists emerging from college to display their work that would in turn help to bridge the gap that often exists between art education and professional practice. Through a series of art events, exhibitions and parties, Artisit? will showcase the work of these artists from around the world with various locations and venues around Galway city playing host to a range of site specific artwork, installations, video, photography, drawing, print, performance and interventions from cutting edge graduates of the finest national and international art schools.

Gallery open Thursday through Saturday, 12 – 5pm.

Duty Dance & Workshop




Duty Dance

Performances by Dan Monks, Sinead McCann and Naomi Sex
Opening reception – 7pm Saturday September 27th 2008

For this collaborative weeklong project, the artists will use the behaviour traits of feral pigeons, bowerbirds and washing machines as reference points to explore our relationship with the urban system of governed spaces and the power structures that exist within them. Working in a similar manner as Thursday’s workshop, the artists’ week long investigation will consist of the development of micro-performances, the continuous structural modification of the gallery (so as to delineate performance areas and viewing points; this will entail the building of walls, corridors, and platforms), and the collection of audio recordings. Additionally, the entire process will operate under an open doors policy and will culminate in a performance on 7pm, Saturday September 27th 2008.

 

And…

 

Performance Workshop

ALL AFTERNOON – Thursday September 25th 2008

Opening reception at 7pm.

Limited spaces, please RSVP: contactg126@gmail.com

Dan Monks, Sinead McCann and Naomi Sex have been invited by 126 to use the gallery space as a centre for performance workshops. The artists will provide a one-off professional training workshop, as well as develop a series of micro-performances with third-level students at GMIT and the Burren College of Art. Envisioned as a collaboration, this project will explore themes of family structure, home, and power structures.

The two-day workshop will begin through simple exercises designed to stimulate the audience, regardless of prior experiences with performance. Various performative strategies will be delivered through participatory manoeuvres. Imaginative prop construction will be encouraged. A series of small-micro performances will be developed, culminating in an exhibition that evening at 7pm, Thursday September 25th 2008.

Some days you’re the pigeon, some days you’re the statue



126 with Galway Culture Night 2008 presents:

Some days you’re the pigeon, some days you’re the statue
A performance and temporary installation by Dan Monks

Friday September 19th 2008, 7-11pm
Spanish Arch, Galway City Museum

126 is pleased to make possible an unique evening of performance and temporary installation. Glasgow-based performance artist Dan Monks will intervene on the streets of Galway. He will be using only the streets, the company of pigeons, a shopping trolley and a lot of cardboard.

Dan Monks will be traversing Galway with a shopping trolley, gathering cardboard from the outside of shops, from the backstreets, from bins, etc. Dan and his makeshift materials will converge with audience members at Spanish Arch from 7-11pm and over the course of the night the cardboard will be built into a miniature ‘city’.

Additionally, Dan will be feeding the local birds in and around the ‘city’ and supplying sound-based excursions for the enjoyment of the passers-by, the birds, and himself.

Dan Monks was borne in 1981 in Dublin and raised in the suburbs. In 2005 he moved to Glasgow to attend the Master of Fine Art program at the Glasgow School of Art. Negotiation, collaboration and utterance are three words he keeps returning to in relation to his work. He lives and operates, most often, in Glasgow.

G126 is an artist-led project and gallery space in Galway, which promotes experimental artworks that wouldn’t be shown in conventional institutions such as commercial galleries.

www.galwayculturenight.com
www.g126.eu

Accumulations






G126 presents:

“Accumulations”

new work by Niall de Buitléar

August 21st – September 13th 2008

OPENING RECEPTION: 7pm Thursday August 21st

Accumulations is an exhibition of sculpture and drawing that have been produced through the labour intensive accumulation of simple elements. The sense of growth of the work over a period of time is essential

The sculptures use pre-processed materials; the artist is interested in their transformative potential. Central to the sculpture are the relationships that are formed between the found material, the processes of construction, and the resulting forms. The sculptures are essentially abstract but are intended to be suggestive of various structures such as cells, fungi, landscapes or cityscapes, and standing figures. Large drawings are composed of simple, geometric elements; Freehand drawings lead to a distortion, away from the
geometric towards the organic.

Niall de Buitléar was born in Dublin in 1983 where he currently lives. After graduating from D.I.T. with a BA in fine art in 2006 he was awarded the year-long graduate residency at Flaxart Studios in Belfast. His work has recently been shown at the Lewis Glucksman Gallery, the Lab in Dublin, Temple Bar Gallery and Studios, Queen Street Studios in Belfast, and at the Contemporary Art Centre in Vilnius. This summer he undertook residencies at Ard Bia Berlin and Limerick City Gallery of Art.

www.nialldebuitlear.com

G126 is a democratically run, artist-led gallery and project space in Galway, which promotes experimental artworks that wouldn’t be shown in conventional institutions such as commercial galleries.

G126
Unit 11, Ballybane Ind Est
Tuam Rd. Galway Ireland

Gallery hours are Thursday to Saturday 12-5

www.g126.eu

Tuam Arts Festival

Martin Rochford

Aoife Cassidy

Dave Callan

Lucy Jones

Linda Monks

Jim Ricks


Sharon O’Grady

Bored?
Tuam Arts Festival

Tuam Shopping Centre
Saturday 9th – 25th of August 2008

G126 Board members were invited by Visual Arts Co-Ordinator Joanne Hynes to exhibit at this years Tuam Arts Festival.

Aoife Cassidy: Installation Artist of Sorts A small installation of bits and pieces, including works on paper from a series called ‘The Lonely Hearts Club’ and video.

Dave Callan: Don’t Panic We’re All Doomed II”A mixed media installation of fear. paranoia, cheap chinese (made)labour and preparations for the imminent end of the world.

Jim Ricks: His work is combustive, rambunctious politically driven, found-objectbased multimedia work intended to disrupt the mainstream narrative.

Linda Monks: My work thus far has been an investigation of the self. I’m fascinated by Narcissistic Personality Disorder; the grandiose sense of self-importance.

Lucy Jones: The attack of the killer tomatoes! In Medieval times it was said that tomatoes were deadly poisonous.

Martin Rochford: Control My work is often influenced be the complexity of human interaction. Why do people put themselves in difficult situations?

Sharon O’Grady: An artist and curator based in galway. She paints things on occasion.

Tuam Arts Festival site

The Irish Artist-Led Archive


G126 presents:
The Irish Artist-Led Archive

The ‘Irish Artist-led Archive – Sustainable Activism and the Embrace of Flux’ is a curated archival project and touring exhibition that seeks to publicly present the rich history of Irish artist-led cultural Initiatives that have taken place over the past 30 years. The project forms an on-going investigation into artist-led initiatives in Ireland and aims to decipher the kind of cultural conditions that led to their birth, their economic independence (or lack of), their organizational structures and how all of these factors effected their activities and life spans.

The project uses a variety of live archiving strategies to initiate dialogue and debate into artsit-led culture. Methods in collecting information include live presentations, roundtable discussions, performance art works and word of mouth. Through the process of dialogue and exchange artist-led groups will have the freedom to continually develop and be involved in an evolving representation of their activities, rather than presenting a fixed definition of themselves within a permanent archive.

Over the course of 2007 and 2008 the project will be involved in many live events across Ireland and the archive and concurrent exhibition will tour to various art centres and spaces in Ireland. It is envisioned that this archive will be infinitely malleable and continue to evolve and change form according to the environment it finds itself in. As a traveling “housing of information” this archive will attempt to initiate and inform interest in artist-led culture in localized contexts by providing a national and international context for such activities.

The ALA website will continue grow to form an online resource and directory of artist-led culture in Ireland.
We are currently seeking out any information/memories of any artist-run collectives, co-operatives, projects, galleries, publications, project spaces from approx 1970 -present, from both North and South of the border. Even if you were not part of such initiatives but have some memories of them we would be pleased to hear from you . Likewise if you have any writings or relevant information that you feel could contribute to the project or would like to take part in, or initiate an event please contact: info@theartistledarchive.com

www.theartistledarchive.com

G126 will be hosting the ALA for the next few months. The archive is being housed in our office and is available to view by appointment or during regular gallery hours. Th-Sat, 12 – 5pm

D A D A L E N I N





Above photos by Dave Ruffles

G126 and the Galway Arts Festival present:

DADALENIN
by RAINER GANAHL
July 14th – August 16th 2008

Opening Reception: 7pm Thursday July 17th

Rainer Ganahl is a Swiss artist based in New York. His work encompasses grand narratives and Google searches, EBAY and embroidery, explores how the incidental and banal are inextricable from the political. He has recently shown at the Istanbul, Venice and Moscow Biennials. G126 is delighted to make possible his first appearance in Ireland.

DADALENIN is an ongoing project that asserts that V. I. Lenin was a founding member of the Dadaist movement; That Lenin was a regular at the Cabaret Voltaire when in Zurich in 1916; That he operated in disguise and most other Dadaists weren’t aware of it; That Lenin even wrote poems for Tristan Tzara, had a secret relationship with him and participated in a diverse range of early Dadaist advances. In the latest Irish installment of this project Ganahl has included James Joyce as a collaborator. Joyce was also present in Zurich at the same time as Lenin and the Dadaists. Ganahl uses DADALENIN to prove these assertions by connecting historical events, artifacts, images, readings, internet searches, even other artworks and historical figures. Making serious points through a comedic methodology, DADALENIN addresses the lost causes of the 20th century’s problematic history.

G126 is a democratically run, artist-led gallery and project space in Galway, which promotes experimental artworks that wouldn’t be shown in conventional institutions such as commercial galleries.

G126
Unit 11, Ballybane Ind Est
Tuam Rd. Galway Ireland

Open everyday of the Arts Festival 12- 5.
Regular gallery hours are Thursday to Saturday 12-5

www.ganahl.info

www.ganahl.info/g126.html

G126 Raffle at the G Hotel

L to R: Mayor Conneely and G126 Board member Aoife Cassidy

L to R: G126 Board members Jim Ricks and Aoife Cassidy, Mayor Conneely and Blaise Drummond.

And the winner is… Sharon O’Grady!!!

Congratulations!

Special thanks to Blaise Drummond, Galway City Mayor Padraig Conneely and the G Hotel.

Join G126 at the G Hotel on Saturday the 26th of July for the raffle of a painting by Galway-based artist Blaise Drummond, which will be drawn by Galway City Mayor Padraig Conneely.

Blaise Drummond has kindly donated a painting for this raffle, ‘Island No. 6’. His work has been exhibited widely across Europe and America. His work sits in the IMMA collection, Ireland’s museum for modern and contemporary art and in many important collections around the world.

Drummond’s paintings, whether seen as a series or in isolation, explore the tenuous relationship between nature and culture. His works attempt to excavate hope of an abiding natural world, amidst the debris of civilization’s relentless progress.

Tickets cost 20 euro and are available at the Galway Arts Centre and G126.

For further information please see the G126 Blog that also contains an image of the painting for raffle, ‘Island No.6’ OIL AND GLOSS ON BOARD 91.5 X 91.5CM.

G126 office number 091 761626, our regular hours are Thursday, Friday and Saturday 12 – 5pm. Additionally, we will be open everyday of the Arts Festival 12-5pm.

G126
Unit 11
Ballybane Industrial Estate
Galway

contactg126@gmail.com
www.g126.eu
www.g126.blogspot.com

other men’s flowers

G126 co-founder Ben Geoghegan at the Hugh Lane

26 June – 5 October 2008

Curated by Michael Dempsey
Head of Exhibitions

Behind the proclaimed ‘tabula rasa’ of modernism, where Avant Garde artists of the early 20th Century denied the past and viewed themselves as the original inventors of radical new ways of seeing the world, there lies a more complex truth. Before clearing the way for their theories to emerge these artists had in fact looked intensely at the art of the past through national and private collections and absorbed their lessons well.

Art critic Robert Hughes elucidates how artists by looking at great works of Art extract either lessons of relevance for their own work or by wrestling with the tradition, they ingest it, and transform it into something of their own making.

The art of the past has always been a resource for artists. Advancing the ‘new’ and establishing a position in the long history of art requires an intimate knowledge with that tradition.

‘other men’s flowers’ includes early drawings and paintings by Frank Auerbach and Leon Kossoff from the Tate collection and some works from our Francis Bacon Archive that have never been publicly viewed before. Also included are works by Jeff Wall and Patrick Graham that reference art history and new works by Ben Geoghegan and Brian Fay dealing directly with the Hugh Lane collection.

www.hughlane.ie

Closer to Paradise

Photo: Kelly O’Connor

Photo: Dave Ruffles

Photo: Kelly O’Connor

Photo: Kelly O’Connor

Photo: Dave Ruffles

G126 Presents:

Closer to Paradise

An exhibition by Moxie artists:
Hannah Doyle and Michael Murphy

June 5th – July 5th

Opening reception: Thursday June 5th, 7pm

Closer to Paradise features new installation work by Hannah Doyle and Michael Murphy. Both are members of Moxie Dublin, an art collective that was founded in 2006 which serves as a platform for emerging artists.

Michael Murphy’s work is characterised by a transformation of everyday materials into sculptural works through a laborious process of fabrication. Moxie co-founder Hannah Doyle creates fantasy worlds in miniature, combining multi-layered islands of vibrant colour with children’s toys and grandma’s kitsch.

Hannah Doyle and Michael Murphy have worked together on a number of collaborative installations including Open Systems, as part of a group show in the Green on Red Gallery, Dublin, and Better on the shelf than in the wrong cupboard for The Lab, Dublin

G126 is the only democratically run artist-led gallery in the west of Ireland. A not-for-profit organization, G126 offers an alternative to museums and commercial galleries.


www.g126.eu

www.moxiedublin.com
www.hannahdoyle.net

G126, Ballybane Ind Est, Tuam Rd, Galway, Ireland
+353 (0)91 761626
Gallery hours: Thursday – Saturday, 12 – 5 pm

Head or Tail






G126 with Pallas Contemporary Projects present:

Head or Tail
Contemporary video works from Thailand

OPENING: Thursday May 29th 7pm
Runs through May 31st

FEATURES: Nawapol, Santipab Inkong namg, Nontawa, Suchada Sirithanawuddhi, Nitipong Thinthubthai, Jakrawal, Sathit Satarasart, Suthirat Supaparinya, Patomporn Tesprateep, Olarn Netrangsri, Chulayarnnon Siriphol, Olarn Netrangsri, Shane Bunnak, Kraisak Chunahawan.

Head or Tail was first exhibited in Dublin in Pallas Contemporary Projects in 2007, organised by PCP and Project 304. This the second exclusive screening of the exhibition in Ireland of new video by young Thai artists, and a new exciting linking between Pallas [Dublin] and G126 [Galway] and Project 304 [Bangkok].

“Head or Tail” or “Hua rua Goy” is the term that Thais use to describe the uncertainty of the situation or simply to gambling with the future. Of course, one will be a winner and one will walk away a loser. With the South East Asian political style, one never know the future from the past or past from the present. Lives go on no matter who or what will be declaring the “Leader” of this exotic Oriental paradise.

This collection of media and video works has been created by generation that has been immune by the changes both subtle and dramatic. The new technologies are their friends and information is their “teachers” those flashing on the monitors or on the dials of their mobile phones. There is a great deal the yearning for the past and their definition of the “past” ranges from a few hours ago to yesterday those to them, sounded like a fairy tales.

G126, Ballybane Ind Est, Tuam Rd, Galway, Ireland
Gallery hours: Thursday – Saturday, 12 – 5 pm

www.g126.eu
www.pallasprojects.org
www.project304.org

Sacred & Profane











G126 Presents:

Sacred and Profane

Work From 9 Emerging San Francisco Artists
Curated by Jim Ricks

Alika Cooper
Lisa Rybovich Cralle
Jeremy Ehling
Cameron Hasslebusch
Chris Lux
Jennifer Marshall
Laura Plageman
Rob Sato
Hank Willis Thomas

April 17th – May 24th

Reception: 7pm, Thursday, 17th of April 2008. To be opened by Galway City Councilor Mary Leahy

G126, Ballybane Ind Est, Tuam Rd, Galway, Ireland
Gallery hours: Thursday – Saturday, 12 – 5 pm

Features new work by a diverse selection of emerging artists based in the San Francisco area. This is the first time any of these artists have shown in Ireland. The artworks range from delicate, intimate watercolours and detailed illustrations to strong conceptual photography and ramshackle installations.

The show is curated around the theme of the Sacred and the Profane. Contemporary US society has become increasingly contradictory, particularly in fast-paced regions like San Francisco. This dichotomy becomes apparent in the artworks through explorations of long overlooked conflicts and re-evaluations of fame, glamour and even reality. An inevitable disappointment is evident as the gloss of American life fades and cracks, to reveal a chaotic past and present of exploitation. The works of these 9 artists deal with both the beauty and the darker sides of post-modern America.

hankwillisthomas.com
robsato.com
alikacooper.com
lisa-rc.com
icrushit.org
photolp.com

Quiet, Dark, Bonkers


Three G126 members in:

The Burren College of Art Masters of Fine Art graduate exhibition entitled

Quiet
Dark

Bonkers

will open on Saturday April 12th @ 2pm in the Burren College of Art, Newtown Castle, Ballyvaughan, Co Clare, by visual arts officer and curator Maeve Mulrennan. This exhibition features the work of Cassandra Dorer, Pam O’Connell and Aoife Cassidy who are the only three Masters of Fine Art graduates in the West of Ireland. The exhibition is designed to take the viewer on a journey through the human psyche beginning at a quiet place, moving through the dark shadows of the mind and ending in a manic state with an element of psychosis. This exhibition comprises both traditional and contemporary visual media.

The exhibition runs from Saturday April 12th to Friday April 25th.

For more information, please contact the Burren College of Art at +353 65 7077200 or email anna@burrencollege.ie

The Burren College of Art and NUI Galway

Brian Duggan



G126 Presents:

A long walk off a short pier
New work by Brian Duggan
20/March – 12/April/2008

www.brianduggan.net

Opening Reception: 7 pm (Holy) Thursday, 20th March, 2008
G126, Ballybane Ind Est, Tuam Road, Galway, Ireland.

Gallery hours: Fridays and Saturdays 12-5pm

Brian Duggan will be presenting new work for this solo project at G126. Duggan’s practice continues to re-examine the role and function of the individual. By arranging at times illogical actions, the artist tests boundaries and rules that make up lived experience. Familiar landscapes are reconsidered in relation to stress that is unrelenting but hidden. Tension in the ordinary brings forth real and imagined anxiety and also physical practical problems.

Brian Duggan lives and works in Dublin. Solo exhibitions have included: Atelier portes Ouvertes, Centre Culturel Irlandais, Paris, France 2007. More Often than Most, Pallas Heights, Dublin 2005. During the meanwhile, Hugh Lane Gallery, Dublin 2005. Group exhibitions have included; (I’m always touched) By Your Presence, Dear, curated by Rachel Thomas, The Irish Museum of Modern Art (new acquisitions) 2007-2008. The Lucifer Effect, Primo Alonso, London, 2007. Fully Loaded, K3, Zürich, 2006. Braziers International, U.K 2006. Ev+A 2004, 2002. Crawford Open 2001. In 2007 Duggan was artist in residence at Centre Culturel Irlandais, Paris.He is also the co-founder and co-director of Pallas since1996. www.pallasstudios.org/ and also curates several exhibitions each year with Mark Cullen and Gavin Murphy at Pallas

www.pallasprojects.org

G126 is the only democratically run artist-led gallery in the west of Ireland. A not-for-profit organization, G126 was established in 2005 by local artists as a response to the urgent need for more non-commercial gallery spaces in Galway. G126 offers an alternative to museums and commercial galleries by providing a space for young and emerging artists, new work, meta curation, promoting discussion, lectures, and international exchanges. G126 consciously seeks work that is unconventional and unable to be shown in profit-minded venues or conventional public institutions. G126 also provides a place where artists can meet, talk and exhibit along with their local and international peers and influences.

www.g126.eu

www.brianduggan.net

The Great Art Raffle

The Great Art Raffle raising funds for the core operating costs of G126, an artist led visual arts organization and gallery.

Blaise Drummond has kindly donated a painting for this raffle, ‘Island No. 6’.

Blasie Drummond’s work has been exhibited widely across Europe and America. His work sits in the IMMA collection, Ireland’s museum for modern and contemporary art and in many important collections around the world.

Drummond’s paintings, whether seen as a series or in isolation, explore the tenuous relationship between nature and culture. His works attempt to excavate hope of an abiding natural world, amidst the debris of civilization’s relentless progress.

There are 250 tickets going on sale, at 20 euros a ticket.

Once all the tickets are sold the raffle will take place in the G126 Gallery and the winner will be announced via the G126 Blog. www.g126.blogspot.com

Tickets will be available at The G126 gallery, The Galway Arts Center and various locations throughout Galway.

For further information please see the G126 Blog which has a ticket counter, counting down the tickets sold, and also contains an image of the painting for raffle, ‘Island No.6’ OIL AND GLOSS ON BOARD 91.5 X 91.5CM.

G126 office number 091 761626 Thursday, Friday and Saturday 12 – 5pm
contactg126@gmail.com

‘Island No.6’ OIL AND GLOSS ON BOARD 91.5 X 91.5CM

The G126 Annual Members Show

Annual Members show




G126 presents:

The Annual G126 Members Show.

As part of our commitment to encouraging and supporting the visual arts community G126 is proud to host its first annual member’s show.

We have an open membership available to artists or anyone with an interest in the visual arts. Please visit our website for more information on becoming a member.

This show highlights the strength and depth of G126’s membership, which varies from unrepresented emerging artists to those established at an international level.

Opening reception Thursday, 14th of February, 2008 at 7pm

Runs until the 15th of March

Open Friday and Saturday 12-5pm

G126 members news flash


Suzannah Vaughan (G126 member) at The Alley Arts Centre, Strabane

“Structure” which will be held in the Alley Arts Centre, Strabane from the 12th of November to the 7th December ’07 is Suzannah’s first solo exhibition. She is greatly influenced by the world around us and the spaces we inhabit in our day to day lives. Her work combines two simple and beautiful materials, glass and concrete, which encapsulate the relationships between internal and external architectural space. Each piece plays with light and the idea of space.

For more information contact The Alley Arts Centre, Strabane,

Phone: +44 28 71 384444 or Website: //www.strabanedc.org.uk

Earlier this year Suzannah Vaughan was awarded “The Belltable One Person Exhibition Award” when taking part in Open ev+a 2007, “A Sense of Place’, Curator by Klaus Ottmann. “Annex” is one of Suzannah’s first Solo exhibitions and will be commencing on the 29th of November through to the 3rd of January ’08 In Belltable Arts Centre in Limerick. This exhibition looks at the relationships between internal and external architectural space through her sculpture in glass and concrete. For more information you can contact

Belltable
69 O’Connell Street
Limerick
Tel: 061 315 871
Fax: 061 418 552
Email: info@belltable.ie

EGM Tuesday November 13th

As Advertised the EGM will be taking place on Tuesday November 13th at 7:00 PM in the back room of Monroe’s Pub, Dominick Street.

The Board members will be giving a run down of the years events. The main goal is to get feedback from the members, so please make an effort to come along (non-members are welcome too) to give your proverbial tuppence.

Do it.

G126 presents: Catalyst Members Show

G126 invites you to the ‘Catalyst at G126’ show

Opening on Saturday the 10th of November at 7pm through the 24th of November.

Gallery open Fri and Sat 12-5.

Features: Peter Richards, Alistair Wilson, Deirdre McKenna, Lucas Dillon, Kev Largey, Brendan O’Neill, Colm Clarke, Ethna O’Regan, Fiona Larkin, Brian Hart, Niall de Buitlear, Paul O’Neill, Keith Winter.

In keeping with this year’s Tulca theme of ‘Hospitality’, G126 is delighted to host a selection of the Catalyst Arts members show. Catalyst Arts is based in Belfast and ‘Catalyst at G126’ is the first part of an exchange, which will see a swap of member’s shows between the two organizations.

‘Catalyst at G126’ will open on Saturday the 10th of November at 7 pm and runs from the 24th October until the 20th of November.

Both G126 and Catalyst Arts are modelled from a similar cast. Artist run by a volunteer committee, members of the committee serve for no longer than two years keeping the galleries dynamic in a state of consistent flux. The galleries are non-profit and facilities the growth and development of the visual arts in a local, national and international arena. Each organization holds an annual member’s show, which is pivotal to the gallery as it is intended as a springboard for further shows while highlighting the dept and range of the membership.

The second part of this exchange will see the G126 members show which opens on the 29th of November at 7pm in the G126 gallery and runs to the 22nd of December travel to Catalyst Arts. If you are interested in becoming a member of G126, Catalyst or both, know someone or a few people that would have an interest in taking part in exhibiting work
at both G126 and Catalyst Arts, you are welcome to join the membership. Please email contactg126@gmail.com and/or info@catalystarts.org.uk with your details.

Weather Permitting


g126 presents ‘Weather Permitting’

An outdoor nocturnal happening which includes video works, performance, sound installation etc., alongside Lough Corrib at Greenfields Co. Galway around dusk (7.30pm). Then moving to the local for (warming up) beverages!

Artists presenting works include:
Joan Healy
Caren Hession
Aileen Lambert
Clare Shannahan
Brian Sherry
Eileen Healy
A.J Doyle
Myra Epstein
Rebecca Massey
David Stalling
Anthony Kelly
Joanna Hopkins
Kelly O Connor
Michael Fortune
Isaac Senchermes
Suzanne M Leahy
Vera Klute
Brian Mooney
Edward Cunniffe
Philippa Sutherland
AnnMarie Barry
Stephen Gunning
Pat Corcoran
Aissa Lopez
Sarah O Brien
Donomic Thorpe
N.C.C.C.A.P
Brian Loughran
Augustine O Donoghue
Andi McGarry
Alec Conway
Holly Assas
Pauline Cummings.

Curated by Augustine O’Donoghue & Eileen Healy

Directions from Galway: 30-40 mins drive
Take the Castlebar road N84 as far as Headford. Turn left at the main crossroads in Headford sign-posted for CLARAN at Joyces Supermarket & Varley’s Pub. Follow the road out of the town past church on left, school on left, for few miles until a staggered crossroads. Turn right here signposted GREENFIELDS & Corrib Lakeshore Hotel. Stay straight on this road for another few miles until you reach the Corrib Lakeshore Hotel car park. ‘Weather Permitting’ beyond the car-park, beside Lough Corrib.

Transport: MUST BE BOOKED IN ADVANCE BEFORE 11AM SAT
Bus (T & S Kinnevey Bus Company – White Bus) leaving Galway Arts Center at 6.30pm sharp. Returning to Galway 11pm. Contribution €3 appreciated.

For more info: contactg126@gmail.com
Tel: 087 2836825 or 091 761626

I’ll Show You Mine If You Show Me Yours

G126 presents…

“I’ll Show You Mine if You Show Me Yours”

Show opens Thursday 20th of Sept at 7pm.

Have you ever been curious about the type of art that artists themselves buy and collect? Well we were, and with this in mind decided to invite a number of Ireland’s better known artists to show us their private collections. The resulting exhibition of works selected from these collections examines the relationships between the practices of these artists and the artists that they collect.

presenting…

Blasie Drummond showing the Royal Art Lodge.

John Behan RHA showing Ger Sweeney.

Deirdre O’Mahony showing Sean Hillen.

Tom Molloy showing Mary Molloy.

Aine Philips showing Anne Ffrench.

The but Y section ??

More than 60 arts festivals and groups in Galway city are in line for major funds with this year’s Arts Grants, but it will be October before they receive them.

Monday’s city council meeting was due to discuss the Arts Grants for 2007. Despite appeals from some, approval or otherwise has been deferred until the October meeting as a number of the councillors want to have time to discuss the issue. However the report has been seen by the Galway Advertiser. In it, city arts officer James Harrold has proposed to grant a total of €350,000 to 69 different arts groups throughout the city. Among the biggest potential recipients of council grants will be the Galway Arts Festival, which is in line for a €47,000 grant; Macnas is to get €35,000; the ConTempo String Quartet has been earmarked for €24,500; Druid for €30,000; the Galway Arts Centre for €14,000; Galway Film Fleadh for €13,000. The Cúirt International Festival of Literature is to get €13,000; Baboró International Children’s Festival is to receive €10,000; Artspace Studios is to get €10,000, as is the TULCA international festival of visual and multi media art; Music For Galway is in line for €8,000. Grants ranging from €750 to €7,000 are earmarked for other cinema, theatre, festival, and music groups and projects. Despite the deferral, it is understood that there is likely to be little problem with passing this year’s grants.

BY KERNAN ANDREWS From the Galway Advertiser, September 13th 2007.

The but Y section ?

Fears have been expressed over the deterioration of the old City Museum located at Comerford House at the Spanish Arch. There are concerns the property is being destroyed due to a lack of upkeep by city management. The historic property was donated to the city council by the Comerford family to be used for community purposes. However, it has now fallen into disrepair, and the remaining artefacts housed in the old museum are being hit by rain and rising damp.

The Galway Civic Trust has expressed an interest in taking over the management of the building. Spokesperson Dello Collier said they are interested in city hall assigning it to them. She said they have a project in mind to keep the building for community use but would not divulge the information at this time.

The issue was raised at this week’s city council meeting. Outspoken Councillor Padraig Conneely voiced his concerns over the upkeep of Comerford House and hit out at the new museum calling it a “white elephant”. City Council official, Kevin Swift said there were issues surrounding Comerford House “by virtue of its listing”

From The Galway Independent, Wednesday 12th of September 2007

 

I see Prisms & A Synesthesiacs’s Sketchbook




For the Galway Arts Festival 2007.

The Open Eye Club presents ‘I see Prisms’

The Open Eye Club was founded in 2005 by Karen Cunningham & Leonora Hennessy. The Club curates one off events to show video and animation alongside, installation, painting and performance. The Club is also evolved in commissioned the production of new videos by artists. All the events are FREE, ONE-OFF for ONE-NIGHT only occasions which aim to provide for the artists and viewers a unique and communal viewing experience. Amongst the artists featured at these events, Jim Lambie former Turner Prize Nominate and Dave Sherry who showed as part of Beck’s Futures at the ICA London, CCA Glasgow and Southampton.

As part the eight strong artists to show at this event, we are delighted to be showing some a new work by international artist David Shrigley.

‘I see Prisms’ will be the first event by The Open Eye Club to take place outside of Glasgow. The Club have programmed a selection of 9 artists whose work reflects contemporary art being made in Glasgow and includes for the first time, work by The Open Eye Clubs curators.

As well as a screening in two parts the event will feature a ‘live slide projection’ performance by artist/photographer Fred Pedersen. This performance in is a new work that has grown out of his first performance at The Open Eye Clubs 5th event which took place in December ’06.

Artists showing in the event:

Originally from Iceland Sigga Bjorg Sigurdardottir works primarily with drawing and animation. She is represented by Galerie Adler Germany.

Ann Bowman is an American painter based in Glasgow who has recently started making videos.

Karen Cunningham originally studied photography. Her practice has expanded to include sculpture, video and painting.

Formally a lighting designer since the early 90s Ronnie Heeps has been involved in performance, public art and painting.

Leonora Hennessy is from a painting background, she currently works with found objects and new media.

Ciara Phillips work incorporates elements of painting printmaking drawing and sewing and now video.

Originally from Canada Gordon Schmidt has a background in sculpture and is now working with painting and video installations.

David Shrigley is a Glasgow based artist with a diverse art practice who is internationally known for his drawings. He is represented by Stephen Friedman.

who i am and what i want by david shrigley and chris shepherd

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—–




A Synesthesiacs Sketchbook

Curated by Karen Cunningham & Leonora Hennessy

Gallery g126 – Galway, Ireland
17th – 28th July 2007

Originally from Belfast Neil Clements studied painting at Glasgow School of Art. By taking romanticised modes of production as a starting point Clements draws out a sense of fatalism inseparable from the idea of a purely formal artwork. Pace ‘til Death is from an ongoing series of paintings that take as their starting point catalogue images of artists’ studios and related sources. The title is borrowed from a Song by Scandinavian Black Metal pioneers Bathory. Codified as paint and represented as a ghostly backdrop, the Pace Gallery becomes a sentimentalised reflection on the flawed idea of an entirely self-referential practice.

Leonora Hennessy studied painting at Limerick School of Art before going to Glasgow to study for a MFA at Glasgow School of Art. Using a broad range of found materials she is continuously re-evaluating the parameters of drawing and the use of line in her practice, primarily through video, sculpture, installation and drawing.

By documenting banal events and brief encounters with strangers, Fred Pedersen investigates formal relationships such as the relations between the individual subjects and their environment; those specific to photography which emerge during the process of photographing between photographer and subject and those subsequent relationships between author and viewer. The connections formed between these photographs emphasise their real and constructed similarities, establishing a resistance by each individual photograph to be categorised as either document or fiction, existing as both simultaneously.’ Pedersen recently exhibited in a 2-person show at the Transmission Gallery in Glasgow where he also launched a limited edition publication of his work.

Karen Cunningham studied photography at Edinburgh College of Art and then on the MFA program at Glasgow School of Art. Influenced by science and fiction (or speculative fictions) her work draws upon the notion of a ‘common sense’ relationship to knowledge and experience; the idea that there is a generally accepted view of the things based on innate rationality, a form of pre-cultural reasoning used to apprehend the world.

Dave Sherry was short listed for the Becks Futures prize in 2003 and has just returned from a yearlong residency at Villa Concordia in Bamberg, Germany. He will be exhibiting in Dublin and Geneva later this year.  “In this work I wanted to analyse an image, a photograph of an iconic figure. I wanted this simple task to be a documentary. This work is my version of ‘The South Bank Show’ or ‘Horizon’. I don’t ever want to give out the identity of the subject and in this way the TV program is a guess who. The seriousness of the image I describe is contradicted by the manner in which the work is presented. These kinds of contradictions are vitally important to me in trying to create a dynamic within a work.”

www.g126.eu
tel: 091 761626

The Surprise Painting Show

THE SURPRISE PAINTING SHOW.
8th of June till the 7th of July 2007.

SEVEN COMMITTEE MEMBERS CHOOSE SEVEN PAINTERS TO SHOW IN ONE SPACE.

G126 Galway’s artist run gallery space prepared a show with a difference. Artists Aideen Barry, Niall Moore, Ben Geoghegan, Sharon O’Grady, Eileen Healy, Megs Morley and Jim Ricks make up a committee of seven, each committee member will curate an artist who works within the media of painting. The artist and work will remain a surprise to the other committee members and the public until the grand unveiling on the 7th of June at 7pm.

Gallery opens from 12 to 5pm Friday and Saturday.
Funded by both City and County Councils.

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G126 Announces the Surprise Painting Show Artists were:

Felicity Clear (IRL)
Alice Maher (IRL)
Christoph Kronke (GER)
John Brady (IRL)
Patrick Rios (USA)
Sean Lyons (USA)
Brendan Flaherty (IRL)

Vivienne Dick – “The True Centre Is Always New”

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THE TRUE CENTRE IS ALWAYS NEW
Thursday 10th May – Saturday 2nd June
Preview Thursday 10th May @ 7-9pm

Gallery opens Fridays and Saturdays 12-5

G126 presents The True Centre is Always New, from material shot in New York, Queensland, Wellington NZ, Donegal and Galway.

There will also be a screening of Vivienne Dick’s She Had Her Gun All Ready, a classic No Wave film made in New York in 1978. Lydia Lunch and Pat Place feature in this trash melodrama, which describes a destructive relationship where one character is in thrall to the other.

The film critiques a concept of relationship based on conflict and domination which blights us to this day and which is powerfully exemplified in the 60’s rock anthem by ? and the Mysterians – “96 Tears”.

Vivienne Dick has been making films and video work since the late seventies. Her work has shown widely at festivals, on television and at many international museums.

Times of screenings of She Had Her Gun All Ready (28m) will be listed on the website. This film along with other early work, Guerillere Talks and Staten Island, will shortly be available on dvd, distributed by Lux.

More information on Viviennne Dick’s work is available on

//www.luxonline.org.uk/artists/vivienne_dick/index.html

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Aoife Merrigan – “A/Void”

a/void, Aoife Merrigan’s first solo show took place in G126 from the 19th April 2007 to Saturday 5th of May 2007.

Aoife Merrigan created a site specific artwork in the exhibition space of G126 using elastic cord and other simple materials. The sculptural installation interacted with the space creating an artwork unique to the gallery. The artists practice seeks to question the notion of value through the use of basic materials and focuses on the exploring the exhibition space often highlighting the aspects within a gallery space which are often overlooked such as fittings and fixtures. A/Void is part of an investigative process to explore use of space and the possibility of transforming the functional into the aesthetic.

Aoife Merrigan recently completed a BA (Hons) Fine Art in IADT, Dun Laoghaire . She is co-founder and member of art collective Moxie Dublin . Recent group exhibitions include ‘Without a Parachute’, The Back Loft, and ‘Launch/ Making Do’ in The Lab.

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Mick Fortune – “Reigning Cats And Dogs”

Mick Fortune – “Reigning Cats And Dogs”

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For the G126 show the artist presents a newly created multi-channel video installation which was recorded in the artist’s family home in Co. Wexford over the 2006 Christmas period.

Reigning Cats and Dogs is comprised of various recordings which depict mini incidents involving the family pets and his immediate family. Filmed from the animal’s perspective, each fixed-frame shot portrays a domestic-styled wildlife documentary where animals co-exist, share and interact in a house full of humans and other animals. Each recording was made at different times and stages of the day and so allows the viewer to witness the calm and chaotic rhythms which exist in the daily household routine.

This work documents the age-old relationship between animals and humans and explores their personal and shared territories within this domestic environment.

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Cliona Harmey | Timeline

Cliona Harmey – “Timeline”

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Photo Sharing and Video Hosting at PhotobucketLeft To Right: Ben, Austin (G126), Cliona Harmey, Cyril Briscoe, Eileen (G126)

Photo Sharing and Video Hosting at PhotobucketCyril Briscoe’s Speech

The video ‘Timeline’ charts the passage of a ship to shore using two simultaneous recordings taken by devices placed at distant points in space. The title Timeline refers both to a technological timeline whilst also referencing the strong connection between the maritime and modern conceptions of timekeeping as well as concerns with ideas of transmission. The viewers realtime interaction with the physical sound is a crucial element of this piece. The sound which was recorded underwater, begins just before the ship enters the frame and continues to build until the ship passes the recording point.

Jim Ricks Woz ‘Ere

G126 Presents:

Jim Ricks Woz ‘Ere
New work by Jim Ricks

January 13th – February 5th 2007

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James C Harrold opens the exhibition
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L-R: Ben (G126), James C Harrold (Galway City Council), Timothy Emlyn Jones (Burren College of Art), Jim Ricks, Austin (G126), Eileen (G126)

 

Jim Ricks’ show is comprised of several elements themed around interpretations of identity and ideology in Ireland. Instead of making a single issue piece, he deals with the complexities of Irish society through several simultaneous explorations. The show revolves around the core concept of a what is ‘true’ in contemporary Irish society vis-à-vis what is ‘manufactured’ and marketable. Ricks also plays with both the historical definitions and the contemporary revisions of everyday signifiers. The show promises to be playful, demanding and consciously cluttered.

1% Fire | Ben and Miriam de Burca

So, this blog will run in parallel with our official website: www.g126.eu.

A mammoth first post is in order to catch up on all the shows and news that has happened since we opened our doors to the public during last years TULCA Festival.

“1% Fire” by Ben & Miriam De Búrca

As the First show at the new gallery premises we were delighted to invite Ben & Miriam De Búrca, from Catalyst in Belfast.

“As a body of work, 1% Fire operates on a number of levels, including the subjective, objective and relative. They intertwine in an attempt to gain understanding of the experience of living in close proximity to an urban interface in North Belfast, It is an existence that engenders a simultaneous sense of belonging and exclusion and one would think that these responses ought to cancel each other out, but at certain points in the socio-political fabric of Belfast, they succeed in existing as a volatile dynamic, indeed in a state of co-dependence. In order words, I one belongs here, one is automatically presumed excluded there, and vice versa. Benjamin and Miriam de Burca do not belong to either ideology and this allows them to view the situation from a third perspective.”