5.30pm Friday 6th December 2019 (followed by the opening of Periodical Review #9, from 6pm)
Join us for the launch of Permanent Recession: a Handbook on Art, Labour and Circumstance, a new enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia. Excavating a shared history of independent practice stretching back to the 1980s, this publication situates new research within a rich continuum of debate about the Australian artmaking context. We are delighted that publication editor Channon Goodwin will be in attendance to give a brief introduction to this important research project and the All Conference network.
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Permanent Recession: a Handbook on Art, Labour and Circumstance is an enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia. Published by Onomatopee Projects, and commissioned by the All Conference network, this expanded study reveals and interrogates the economic and cultural particularities of these creative organisations and the political territory in which they operate.
Excavating a shared history of independent practice stretching back to the 1980s, this publication situates new research within a rich continuum of debate about the Australian artmaking context. The intention is to produce cultural and metric evidence of the value of the small-scale and artist-run sector, distinct from the larger pool of small-to-medium organisations and to assess the true impact of this stratum. Permanent Recession is collective resources, providing strategies essential for the future integrity of the sector, and of the Australian arts ecology more broadly.
This publication combines new qualitative and quantitative research around the small-scale and artist-run sector in Australia, contextualised within a catalogue of re-published texts going back to the early 1980s, so as to situate new research within a rich continuum of thought and debate about the Australian artmaking context. Part research, part advocacy document, part literature review, part reader, Permanent Recession is a living contribution to current thought. As a handbook, it is a compilation of useful information in a compact and handy form. It should be used!
The publication features new and republished texts by Peter Anderson, Andrew Brooks, Andy Butler, David Corbet, Léuli Eshrāghi, Ben Eltham, Catherine Ryan, Colleen Chen, Tristen Harwood, Mark Jackson, Georgie Meagher, Macushla Robinson, Anne Marsh, Jacqueline Millner, Kate MacNeill, Bernice Murphy, Margo Neale, Spiros Panigirakis, Francis Russell, Kate Scardifield, Philipa Veitch, Amelia Wallin, and Tian Zhang; and transcribed discussions with Esther Anatolitis, Hana Pera Aoake, Marnie Badham, Clare Cooper, Sarah Gory, Lucie McIntosh, Lisa Radford, Pip Shea, Talia Smith, Pip Wallis, Katie Winten, and Tian Zhang. Edited by All Conference co-convener, Channon Goodwin.
As included co-authors Ben Eltham and Catherine Ryan state, artist-run spaces “...embody a nuanced and highly resourceful response to the economic challenges faced by working artists and small-scale cultural practice. They have repeatedly demonstrated highly successful adaptations to the constantly evolving artistic environment while maintaining a shared commitment to artistic autonomy, small-scale economic independence, diverse practice and a nimble and flexible operational doctrine. ARIs are some of the great unheralded success stories of Australian culture.”
Edited by Channon Goodwin and copy edited by Sarah Gory of un Projects. Proofing by Mark Gomes. Design by Paul Mylecharane, Kim Mumm Hansen at Public Office. Printed by Unicum, Netherlands. Published by Onomatopee, Eindhoven.
448-pages softcover
108 x 176 mm
ISBN: 978-94-93148-07-9
About All Conference
All Conference is an organising network established in 2016 and comprised of fifteen Artist-Run, experimental and cross-disciplinary arts organisations from around Australia. The network is the result of a national collectivising impulse by a dynamic group of organisations focused on the production and presentation of new contemporary art. The group’s current members are BLINDSIDE, Boxcopy, Bus Projects, c3 Contemporary Art Space, Cool Change Contemporary, Constance ARI, FELTspace, Firstdraft, KINGS Artist-Run, Liquid Architecture, Outer Space, Runway Journal, SEVENTH Gallery, Trocadero Artspace, un Projects, Watch This Space, and West Space. Working together, this alliance forms a platform for research, publishing and knowledge-sharing. All Conference champions the important role that artist-centric organisations play in sustaining the Australian arts ecosystem and in imagining alternative futures. All Conference is co-convened by Channon Goodwin (Bus Projects), Georgia Hobbs and Claudia Roosen (Firstdraft).
During the run of Periodical Review #9, RGKSKSRG will be presenting RGKS Cribs #4: Bea McMahon
RGKS Cribs is a season-by-season plunge into artists’ studios. Each artist is commissioned to produce a video clip online, to be followed by a one-off event staged with an audience in their studio, home, or place of work. RGKS Cribs is a commissioning platform by RGKSKSRG that explores the significance of the artist studio. Artists featuring in 2019 are Christopher Mahon (January–April), Vivienne Dick (April–July), Eithne Jordan (July–October), and Bea McMahon (October–January).
Tickets for the event are limited and onsale now here at €10 each (including booking fee). All sales proceeds go to support the year-long project RGKS Cribs
RGKS Cribs #4: Bea McMahon, Event takes place 3–5pm, Saturday 21 December, at Studio 2, The LAB Gallery, 1 Foley Street, Dubin 1
Watch video online > here <
Bea McMahon (b.1972, Ireland) makes performances, moving image works, drawings and sculptures that together form a technology of gesture, which she proposes is an endlessly deformable thing that delivers all its information in one go. For instance, a recent performance Aftermath 2018 enacted the construction of a gesture that could rotate the idea of a horse. McMahon wants to make work that is permissive – attending to the reality of the society we live in, but not forgetting our dreamscape and that our bodies are a site where a myriad of forces play out and where we are the beings that reconcile these forces.
Her work has been shown at The Library Project, Dublin; hmn, London; Treignac Projet, Treignac; Musiek Gebouw, Amsterdam; The Museum of Modern Art, Warsaw; The XII Baltic Triennial, Vilnius; Kunstverein, Amsterdam; W139, Amsterdam; Via Farini, Milano and she has had solo exhibitions at CCA Derry/Londonderry, Salzburger Kunstverein, and The LAB Gallery, Dublin. She has undertaken residencies at Asian Culture Centre,Gwangju; Flattime House, London; The Mattress Factory, Pittsburg; the Rijksakademie van Beeldende Kunsten, Amsterdam and Via Farini, Milan. Her work is in the collections of the Irish Museum of Modern Art and FRAC Midi- Pyrenees.
McMahon edits a zine SIC Intertrashional launched with performances during the earth’s solstices, and composes and performs with the lip-synching franchise Dina from Egypt.
RGKSKSRG is the paired curatorial practice of Rachael Gilbourne and Kate Strain.
The fourth in the series of RGKS Cribs has been made possible with support from The Digital Hub, Dublin City Council, Dónall Curtin and other private patrons. With additional support from The LAB Gallery, Dublin and AFK, Stichting Amsterdams Fonds voor de KUNST.
For further information please contact: rgksksrg@rgksksrg.com
Image caption: RGKS Cribs #4: Bea McMahon (video still). Commissioned and produced by RGKSKSRG, 2019. Videography by Dan Walwin.
Friday 29th November / 7 'til VICTORY
Davy Moor & Pete Prendergast, in conjunction with PP/S, would love you to join us at the Pallas Gallery in the Coombe for our eighth inter-(visual art)-organisational tourney.
PLEASE RSVP >>daveymoor@gmail.com<< IF YOU ARE INTERESTED IN PLAYING THIS YEAR OR KNOW SOMEONE WHO MIGHT...
It has been a year since new Paraic Leahy held the KPP trophy-bat aloft for the RHA, and time has come again to swig a beer with one hand while swatting a small white ball away with the other.
Anyone in the visual arts can play - office staff, members, techs, artists, board members, curators, lecturers, registrars, writers, interns, under the banner of an organisation, gallery, studio, college ... you get the picture.
We will also have a brand new KRAZY TABLE, this year, made by artist Daire McEvoy!
Irish Art's most coveted prize? Well, of course.
The Irish Art calendar's most jocular event? You bet it is.
CHECK OUT OUR WORLD-WIDE-WEB PAGE HERE
Time: 6pm Thursday 14th November 2019
Admission free - All welcome - No booking required
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To coincide with her current solo exhibition at Pallas Projects/Studios ‘Declaration of the State Metropolis at Tara’ the artist Doireann Ni Ghrioghair shares her research on this exciting project.
The artist will discuss the article “Maoidheamh ar Árd-Chathair Stáit i dTeamhair” (Declaration for the State Metropolis at Tara) that inspired the work in the exhibition, as well as her research around Ailtirí na hAiséirghe (Architects of the Resurrection) and the architect, Daithí Hanly. She will also discuss her ideas in designing the sculptures, the architecture that influenced the designs, as well giving an insight into her process of digital 3D modelling and 3D printing.
Refreshments will be provided in the gallery space & visitors can enjoy a late view of the exhibition.
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“There is many a country that has decided to establish a capital city with grandeur, efficiency and unity of the central government. In ancient times, urban planning was pursued in Egypt, in a large number of cities in China, Greece and Rome. There are examples of this today in Washington, New Delhi, Ankara and Canberra.There is no need to tell why the location of Tara is suitable from the historical point of view. But there are many other recommendations, which make it suitable as the Capital of Ireland. It is in the centre of the country (25 miles from Dublin; Belfast, 78; Derry, 127; Limerick, 99; Tralee, 159; Sligo, 106; Athlone, 72; Kilkenny, 94). It would satisfy the people of Belfast, who have a congenital hatred of Dublin, as a city of conflict and not only as a capital: it would break the alien influence of the people of Rathmines, Rathgar and the Royal Irish Academy on the persons of the Government of Ireland. Therefore, it would not be too far “at all”, from Dublin, and it would not oblige all the officials of the Government to be brought from Dublin nor from Belfast. The new city of Tara would not be removed from rural life, as is Dublin, and it would be a clear sign that we have left for good, the old-bad-days that we have had during the seven centuries, during which we were under the heavy yoke of England; may it be our intention, sincerely, to build a new epoch in Ireland for ourselves.”
—Daithí Ó hÁinle, extract from “Maoidheamh ar Árd-Cathair Stáit I dTeamhair”, Áiserighe 1942 - published by Ailtirí na hAiséirghe, translated by Paddy Greer
Doireann Ní Ghrioghair (b. 1983) graduated with an MA in Fine Art from Chelsea College of Art & Design, London in 2010. Her sculptural work takes its lead from monumental architecture in contemporary European cities. Through examining the materiality, form and aesthetics of these buildings, her work aims to probe at the psychological and physical consequences of this architecture for the individual in the city. She completed a long-term residency at Fire Station Artist Studios, Dublin from 2014-17. Solo exhibitions of her work have been held at MART Gallery, Dublin (2017); Platform Arts, Belfast (2017) & Eight Gallery, Dublin (2016) Notable group exhibitions include Urgencies, CCA Derry-Londerry (2019); Klimaweschel – MKH Biennale, Germany (2018); Fatal Attraction, Thames Side Gallery, London (2018); We Only Want The Earth, Adobe Backroom Gallery, San Francisco (2018); TULCA -The Headless City curated by Daniel Jewesbury (2016); After the Future, Eva Biennial (2012) curated by Annie Fletcher, Limerick. She was selected four times to exhibit at Creekside Open, APT Gallery, London (2017,2015, 2013 & 2011 curated by Alison Wilding, Lisa Milroy, Ceri Hand and Phyllida Barlow respectively). She recently completed a residency in the School of Architecture & Engineering, UCD as part of Parity Studios.
Pallas Projects/Studios are seeking a candidate to join their team as part of the Community Employment (CE) Scheme*.
Role description
The Community Employee will gain practical experience in how Pallas Projects/Studios, which is an Artist-Run Organisation in The Liberties, is run. This will involve first hand interactions with artists, and the curator/directors in preparing exhibitions as part of the various aspects of the gallery programme and the ancillary events.
The role will involve the Community Employee in developing contacts with local schools and community organisations and devising a programme of gallery visits with outside bodies.
The role will involve working in tandem with the Programme Curator/Producer to devise strategies for developing our outreach programme. Other tasks depending on the candidates proficiency may include assisting the gallery technician with gallery installations and other tasks, assisting with social media for the gallery and studios.
Please download our full Job Description/Guidelines below before applying.
How to Apply:
Please note this scheme is being provided by The Mercy Family Centre and as such applicants should send a LETTER OF INTEREST as a PDF attachment explaining why they are suitable for this position with a CV/biog emailed to: cescheme@mercyfamilycentre.com and cc-ed to info@pallasprojects.org with PALLAS CE SCHEME APPLICATION - OUTREACH in the subject line. Please be informed about Pallas Projects/Studios and what artist-run spaces are before applying. www.pallasprojects.org
Deadline: 21-10-2019
* Please contact your local DSP Employment Services/Intreo Office to check your eligibility and to apply for this vacancy. Vacancy Reference Number will be required. Eligibility to participate on CE is generally linked to those who are 21 years or over and applicants must also be in receipt of a qualifying Irish social welfare payment for 1 year or more. This is a developmental opportunity, no experience necessary. Accredited training will be provided to support your career.
