Draíocht’s Five Year Strategy (2018 to 2022) was developed in 2017 through wide consultation with key internal and external stakeholders, using workshops, one-to-one interviews, a public online survey as well as a review of our body of work since our Opening in 2001. This process was invaluable. It defined our ambition and laid out a clear set of priorities to achieve it.
Our new strategy presents a vision which may be familiar - of an Ireland where everyone has the opportunity to enjoy and be enriched by the arts. It is a vision shared by many organisations and individuals working in the arts and beyond with each of us contributing to its realisation in different ways. How we work towards that vision stems from our name: Draíocht meaning magic. We seek to share the magic of the arts through presenting a year-round programme of work, by creating opportunities for participation and by supporting artists, all the while bringing our values of welcome, fun, magic, belonging and nurture, to life.
This strategy sets out where we will now focus our efforts and continue to distinguish Draíocht as one of Ireland’s foremost arts centres, grounded in its community and a model of best practice in work for children and young people. That being so, our priorites over the next five years are, with imagination and ambition, to develop our programme by supporting artists, respond to our community (people and place), create outstanding work with and for children and young people, build strong and effective partnerships and ensure our sustainability.
Should you wish to discuss any aspect of the strategy, please do not hesitate to contact Emer McGowan, Director on 01-8098027 or on email@example.com
Request a printed copy from firstname.lastname@example.org
Included in Draíocht’s New 5 Year Strategy 2018-2022, is our commitment to building strong and effective collaborative partnerships, supporting artists to develop their practice and work.
Draíocht & Fishamble: The New Play Company
A PLAY FOR IRELAND
Draíocht is delighted to be collaborating with Fishamble: The New Play Company and 5 other venues across the island of Ireland on ‘A PLAY FOR IRELAND’ (2017-2019), a major new playwriting initiative that supports new writing and encourages the citizens of Ireland and non-Irish citizens living on the island of Ireland, to write plays, engaging people from all communities throughout the country. A PLAY FOR IRELAND is the search for an idea for one, big, ambitious play that bursts with humanity and tackles a subject about which the playwright feels passionate, a play that captures the zeitgeist of the country. The two-year development process will work with playwrights throughout the island of Ireland, and result in the production of a very special new play. Five writers will be chosen to take part in the initiative in each venue, making a total of 30 playwrights, to mark Fishamble’s 30th birthday, in 2018.
Draíocht and Centre Culturel Irlandais Paris
ARTIST RESIDENCY PROGRAMME 2018-2019
Centre Culturel Irlandais’ annual residency programme offers great opportunities for artists of all disciplines to tap into the resources of the CCI and the city of Paris, as well as being an important means of showcasing Ireland's dynamic contemporary culture on an international stage. Draíocht is partnering with CCI by supporting two one month residencies for artists working in any discipline with a clear focus on children and/or young people articulated in their proposal.
Announced on 29.03.18 ... The 2 artists awarded Residencies are Dan Colley and Mary-Lou McCarthy.
Draíocht and Selma Daniel – Fingal Dance Artist
Draíocht is supporting local dance artist, Selma Daniel, to develop her new piece for children called A-do-le-tá!, a joyous creative and rhythmic dance theatre show about friendship and play. Selma Daniel is a choreographer and a dancer originally from Brazil. She was awarded an MA in Contemporary Dance Performance from the Irish World Academy of Music and Dance, University of Limerick. With support from Fingal County Council in 2014, she completed the first round of research for this work. This has led to developing a dance theatre show informed by the importance of free play during early childhood. In this phase of the production, Selma is working closely with a set-designer and puppeteer and the relationship between the dancer, the props and performance. Draíocht is delighted to be presenting the work as part of our Autumn 2018 season.
Draíocht’s Network Collaborations
ShortWorks & Strollers Touring Networks
Draíocht is an active member of two venue networks.
ShortWorks is a four member Network that focuses on multidisciplinary work for children from 0 to 12 years. 2018 will see this Network continue our relationship with theatre artist, Fionnula Gygax to enable the further development of her theatre piece ‘Boy In A Boat’. ShortWorks is also supporting a development phase of Fidget Feet’s new show ‘Hatch’.
Strollers is a 10 venue nationwide venue Network. An annual Production Award is granted to a company or artist to assist in the making and touring of work. 2018 sees Strollers work with Fishamble: The New Play Company and Pat Kinevane, supporting his new production ‘Before’. This piece will tour to all Stroller venues in Autumn 2018 and will be here in Draíocht from 23-24 November.
THE ARTIST PANEL
LOOKING FORWARD: STRATEGIC PLANNING 2018-2022
With the development of The Artist Panel in 2018, Draíocht aims to support a small group of ten artists with whom we have worked over a sustained period of time. Made up of dancers, musicians, visual arts and theatre practitioners, these artists are the backbone of Draíocht’s artistic projects and programming. Through facilitated meetings and invited guests, we will support and nurture these artists by providing time and space to explore, think and reflect on both their personal and facilitative arts practice, consider cross disciplinary engagements and collaborative practices as well as the evaluation of the quality and type of engagement they have with Draíocht’s programmes and with the community of young people whom we serve. A very successful collaborative discussion took place around PLATFORM ’18, an exhibition featuring 21 early career artists in Feb/March 2018.
Further information about Artistic Collaborations from Emer McGowan, Director, 01-8098027 / email@example.com
The opening night for the exhibition PLATFORM 18 at Draíocht was a well attended event with artists and their supporters jostling for space amidst the cornered artworks. It took a number of calls from Emer Mc Gowan, Director of Draíocht to gather the audience attention and announce that three performance works were about to commence.
Dancers: Cian Coady and Mia DiChiaro / Photographer: Misha Beglin
The first piece in the programme demanded the audience to free a rectangular space marked with tape on the gallery floor. Two young dancers, Cian Coady and Mia DiChiaro, occupied the taped area and guided by the slow pulsating beat of a metronome, their initial static bodies dissolved into blurring movement, conveying the emotion of youthful relationships through dance, in 'Distrupting the Flow'. The young boy placed his insistent hand on her shoulder but she dislodged his misguided approach disdainfully and swirls away out of reach. Undaunted and trying to make a connection once again, the male dancer mirrored the female dancer’s movements across the floor. Failing in his attempts at romantic courtship, he increases the frequency of the metronome and his angular gestures unbalance the passionate tension between the dancers. Stopping the metronome and resetting it to a slower pace, the female dancer weaves control and she gradually allows the young man to place his love melted hand on her shoulder while her sinuous neck caressed his hollowed breast.
Artist: Mark Buckeridge / Photographer: Misha Beglin
Mark Buckeridge uniquely combines the disciplines of painting and song to explore the transient nature of secular existence. On the opening night he created a musical performance with the aid of a small electronic piano and digitally recorded background rhythm. His voice complimented the urgent pulsing cords of the electronic piano and the unrelenting tempo of the digital base line. The lyrics colour the tonal phrases of the piano with prickling passion as the artists voice emphasises the tenor of the song. The phrase “All I want to do is cry” is repeated with various changes of anxious cord modulations creating a note of melancholy to the performance. A sense of resolve is discovered when romantic despair allows a song be born from the artists pen. His anxiety is tempered by the songwriter’s craft that permits him to sing triumphantly the words “Hand crafted with love and joy”. His two paintings in the show use a variety of materials that present an unrepressed desire to allow calligraphic marks find the surface of the canvas intuitively, unhindered by cogitative processes. In ‘Riff’, a swirling mark of silver spray is surrounded by a black paint that does not suffocate the image but allows it breath like an opening guitar riff of a song. ‘Autograph’ is an all-white canvas bestowed with gyrating black marks with a hastily pasted transparent plastic sheet superimposed on the canvas. The unbridled mark making are secured in the composition by the engaging trompe l'oeil intervention of the clear plastic material.
Robbie Blake, Elizabeth Hilliard and Julie Shanley, three members of Tonnta vocal ensemble, presented a performance of a work called ”A Signalling”. Each wore a blindfold and earplugs isolating themselves from each other and the audience. Disengaged from the senses they began to sing songs which had a personal relevance to their lives. The performance fragmented into a loose arrangement of songs and the arbitrary interchange dismisses a shared narrative. The emotional attachment the singers instilled in their song, remained inaccessible to the other performers. It was only when the singers began to vocalise accapella and words had no relevance to the recital, that they became a unified force. Language builds walls but music opens doors and the singers suddenly began to communicate with the audience and themselves. They were no longer three separate elements exploring individual concerns but an inclusive unit, emotionally connected by music. When the three minute performance ended there was a spellbound silence like the hushed quiet of fallen snow, before the attentive audience applauded. Music needs silence to give it structure and the audience participated to this end because the music ensnared their willing attention.
Emma Brennan installs three small video monitors on the floor depicting the artist attempts to move an amorphous mass of sticky dough across the gallery. The doughy substance corresponds to the artist’s body weight and no doubt relates to societies obsessive desire to ceaselessly record our weight daily. If we are above our correct body mass index, as denoted by weight, the unconscious impact of how we internally visualise the way we are perceived externally, can lead to personnel revulsion and psychological disorders. The physical demands in moving this loquacious mass leaves the artist breathless as she endeavours to propel it across the gallery space. The action moves slowly from screen to screen as meaningless progress of the uncrumpling task is inscrutably recorded. The artist receives no break unlike the mythical character Sisyphus who gained respite after he propelled the punishing stone to the summit of his mountain and watched it roll unaided to its origin. There are no receding slopes to help ease this absurd undertaking or a finish line to end the fruitless journey. The performer tragically becomes imprisoned in an unending labyrinth of absurdity while attempting to portray meaning in a meaningless world. The end product is a work of art which is inherently gripped by its own insular logic.
Artist: Eve O Callaghan / Photographer: Misha Beglin
Eve O Callaghan’s two large elegant paintings convey, through the formal language of minimal abstraction, a restrained emotional atmosphere that challenges the viewer to find understanding in art by paint alone. In ‘Word’, the woven paint surface both reflects and absorbs light, oscillating the vibrancy of the hues across the receptive fabric. A large section of the canvas is covered in scrumbled blue, painted sparingly over black under-painting, which bleeds out to the insistent edge of a yellow border. The muted magnetic blue soaks up the gallery light, forming a subterranean realm beneath the exterior skin of paint. A glistening green stripe, that tops the painting, pushes forward perceptively and acts as a counterweight in opposition to the receding gesture of the blue. The push pull retinal after-image caused by the paint gives an illusory sensation of movement.
In ‘Copy’, a large area of untreated canvas acts as a secondary colour to the painted sections of orange and black. The orange expanse of colour is warm and effervescent, while the black is cool and reductive. The orange and black do not touch but are separated by a thin line of unaffected raw canvas. The black’s natural dominance over other colours is undermined by the removal of thin strips and the abbreviated rectangle form lacks completion. Truncated and unbalanced, the black is held in check by the light affirming orange. The phlegmatic visual language deployed by the artist cannot contain the vibrancy of these paintings.
Ella Bertilsson and Ulla Juske collaborate to make art and their exhibit is based on a residency they had in Draíocht’s Artist Studio. They placed a large pile of A4 sheets of paper, filled with short informative sentences, on a plinth, encouraging members of the public to remove them as they wish. The paper stack is constantly replenished like a shelf in a supermarket that must never appear empty. The relentless demand to renew the stockpile introduces an element of consumerism to the artwork reflecting on societies all-consuming appetite for material things. The title of the work ‘Back And Forth There And Back’, reveals short pieces of random data that are concerned with the science of cosmology, intermingled with aimless indiscriminate observations on daily life around the of area Dublin 15. Yet the work reads like a long poem that has an inherent logic and rhythm that even its apparent chaotic formulation cannot unwind.
The Gum Collective are an eclectic group of artists who specialise in printmaking, yet maintain a broad based practice dipping with ease into various visual art disciplines.
Ciaran Gallen presents a digital video of a super hero character floating above a city in a riot of synthetic colour hypnotically mesmerizing the viewer. Head phones are supplied and vibrating sonic rhythms blend seamlessly with the imagery on the video screen. The punchy vibrancy of the screen theatrics are held in check by the haptic intervention of black plastic mesh, which hovers like a web between viewer and screen. This added sculptural presentation creates a visual dilemma for the audience, when looking at the screen action the mesh dissolves before the eye; while staring at the mesh the video monitor becomes obscured and out of focus. The foreground and background oscillate constantly creating a retinal aftershock for the viewer, which although disturbing has a striking effect.
Stephen Lau and Aaron Smyth offer a unique framework for their art pieces. Four large planks of wood are fastened from the gallery balcony and reach the floor of the main gallery. Stephan hangs a humorously shaped sculpture from a chain with glass baubles dangling above four super hero figurines. There is a playful characteristic to the installation, as strange bulging forms protrude from the sculpture that hangs like a mother-ship above the plastic figures. The return by artists to childhood themes offers a transgressive posture against the current trends in contemporary art. Reaching back to childhood where creativity began, allows the artist find forms, unclouded by art history which have a uniquely individual and formal presence. The artist understands this and makes juvenile artefacts that use humour and wit to undermine the solemnity of conventional art practice.
Aaron Smyth encloses his double sided drawings behind glass between wooden planks suspended from the upper balcony. A finally executed drawing in red chalk of a man and woman are explored in a fractured fashion giving an insight into a deteriorating relationship. Shared recollections of their affair splinter across the surface of the drawing as a gentle hand lifting an arm dissolves into sharp edges and unfurling bed sheets. Relationships fall apart but knotted memories cling on inside to create a forlorn replica of the irretrievable. Another drawing is positioned on the reverse side of the hanging frame. A naked man tethered to emptiness floats in an indefinable space beneath another displaced figure which dissolves in throbbing flumes of mist. Unreconciled the two figures drift apart into the dismembered shadow land of drained desire.
Artists: Alex DeRoeck & Ciara O'Brien / Photographer: Misha Beglin
Alex DeRoeck’s sculpture stands emphatically on an aluminium base where ‘no dogs allowed’ signs are fixed triumphantly to the pedestal. A humorous dog like creature with a cigarette protruding from a muzzle hangs on a leash affixed to the sculpture waiting obediently for its master’s instructions. The sculptural structure is roughly covered in black acrylic filler where a female superhero figure emerges from the shadows. The sculpture recalls comic book imagery of tortured super heroes whose all too human flaws far outweigh their powers. This quixotic effigy recalls these fallen super heroes as they prepare to overcome trials in a random dystopian future.
Artist: Sofya Mikhaylova / Photographer: Misha Beglin
Sofya Mikhaylova’s sculptural work sits delicately on the gallery floor. Enclosed in meshed wire and bordered by red felt are fragile drawings in charcoal of female figures. The illustrations are drawn on cut out pieces of white felt with a red trim of enclosing thread. The feminine forms at times seem hemmed in by the red trimming, restricted in their space and are unable to move freely. The cut felt pieces shrink the figures environment and become a vehicle for imprisonment. It is a sober ephemeral work, exploring the lingering legacy of gender imbalance in contemporary life.
Ciara O’Brien displays large-format digital prints of clouds, placed like playing cards on top of each other and gives an illusion of depth, while paradoxically maintaining the hard-edged primacy of the printed surface. The pixelated clouds surge and float creating illusory movement while displaying stillness. The retinal focus shifts constantly across the prints surface, as the semblance of motion is embedded in the viewer’s imagination. The artist examines how we readily accept visual information that is false and misleading, implying that our brain is hard-wired to betray us.
Aimee Gallagher employs digitalised photos and screen prints to cover a section of the gallery wall with the depiction of a mountain range. The silhouette edge of anonymous mountain peaks stand out sharply defined against the stark white gallery walls. Floating architectural forms protrude from the sky above the mountains like UFO’s, creating a sense of unease as the relationship between mountains and the hovering architecture is ambiguous. The arrested definitions of the work permit multiple interpretations allowing the viewer freedom to decipher its enigma.
Sadbh O’Brian’s Lacuna is made of white plastic material whose bulbous appearance is slotted with holes. Some cavities are filled with collaged imagery from magazines, that glossily portray the female form utilised as a means of product promotion in advertising. Bare legs with a flower beside seductive lips incorporate a quote “We are talking about the body of the beloved, not real estate“, which is attributed to Terry Tempest Williams, an environmental and social campaigner. The artist is reacting against the prevailing trend in advertising to commodify the female body for commercial reasons and isolating it from the artistic desire to represent the female form as a transcendental exploration of beauty. Beneath the white PVC sculpture is a moulded boxing glove tethered to cloth chains humorously implying there is a fight-back against the misrepresentation of women to sell merchandise. Art is always at the forefront of change in society.
Landing Collective is the name of a project devised by the Dancer Aliina Lindroos and visual artist Moran Been-noon. They investigate through the medium of dance and video, social themes of alienation, displacement and our deeply driven impulse to create a home. The video called ‘Can You hear The Birds from the Water’, displayed on double screen monitors, captures the shifting ground between water and land, where the initial contact for a new beginning is initiated for fleeing migrants. This fluid hinterland on the edge of flight and freedom precariously lures the protagonist to believe that hope lies just beyond the watery border. The screen shows feet pushing forward through the guarded shallows, searching for dry land as loud sonic booms pommel the air with foreboding. The expansive water seems unending and dry land elusive. Another screen displays black and white imagery of a young woman suspended over coloured imagery, which slip and collide as the protagonist blindly aspires for a new life. The performer is marginalised on the interface of a traumatic past and an uncertain future, unable to move beyond the waters threshold by unseen forces.
Artist: Louis Haugh / Photographer: Misha Beglin
Louis Haugh is a photographer and his large multi-faceted photograph dominates the largest gallery wall in the Ground Floor Gallery. The bleak landscape of a denuded forest arches upwards to a choked grey skyline and the scarred scrubland is all that is left of a forest felled as a crop leaving the terrain ruined and abandoned. The shrouded image is formed, by the grouping in a rectangle, of seventy photographs, inscrutably pinned by nails to the gallery wall. Each photograph curling at the edges tries to remove itself from its restraints like a butterfly attempting to escape the stabbing pin of a lepidopterist. The photograph is ready to crumple and tear and uniquely resembles the blotted landscape it portrays. The photograph and landscape mutually share the same ravished fate.
Early Career Artists, Curators And Collectives
WED 21 FEB - SAT 31 MAR 2018
Ground Floor Gallery, Draíocht Blanchardstown
Participating artists: Ella Bertilsson & Ulla Juske, Robbie Blake, Emma Brennan, Mark Buckeridge, Cian Coady & Jessica Kelly Hannon, Gum Collective (Aaron Smyth, Alex de Roeck, Aimee Gallagher, Ciara O’Brien, Ciaran Gallen, Sadbh O’Brien, Sofya Mikhaylova, Stephen Lau), Sarah Farrell, Lisa Freeman with members of Dublin Youth Dance Company, Louis Haugh, Landing Collective (Aliina Lindroos & Moran Been-noon), Eve O’Callaghan.
Curated by Sharon Murphy.
Draiocht's Galleries are open Monday to Saturday 10am-6pm. Admission is Free.
Desmond Kenny is an artist based in Hartstown, Dublin 15. He is a self taught painter, since he began making art in 1986 he has since exhibited widely in Ireland and abroad, solo shows include Draíocht in 2001, The Lab in 2006 and Pallas Contemporary Projects in 2008. His work is included in many collections including the Office of Public Works, SIPTU, and Fingal County Council. Kenny's practice also incorporates print making and he has been a member of Graphic Studio Dublin since 2004.
Be an early bird and book before 06 April for these New Season shows and get these great discounts!
MAY - DRAMA
No Smoke Without Fire / Mary Murray
THU 03 MAY 8.15PM
Full price: €16 / Early Bird: €14
MAY - CIRCUS
How to Square a Circle
FRI 04 – SAT 05 MAY 8PM
Full price: €14 / Early Bird: €10
JUNE - FILM
The Secret Scripture
WED 13 JUN 7.30PM
Full price: €7.50 / Early Bird: €5
JUNE – DRAMA
The Words Are There
FRI 15 JUN 8.15PM
Full price: €16 / Early Bird: €14
JUNE - FILM
The Death of Stalin
WED 27 JUN 7.30PM
Full price: €7.50 / Early Bird: €5
Tickets must be paid in full before 06 April to avail of these Early Bird Offers.
A maximum of 6 tickets can be bought at these prices per person.
Not applicable to group bookings.
BOX OFFICE 01 885 2622
or Book Online www.draiocht.ie
PLATFORM ‘18 is both an exhibition and a series of performances showcasing the work of twenty-one young and early career artists who have been invited to explore the gallery as a playful, experimental, creative space as well as a place to show. Using a wide range of visual forms, film, music, dance, food and live art, the viewer is invited to engage with these art makers as they explore and interrogate their ideas and practices. What makes PLATFORM ‘18 distinctive, dynamic and eclectic is that it includes work by individual artists and collectives; works-in-progress and finished works; work across a range of media; and work exploring contemporary life and culture and experimenting formally within and between disciplines.
PLATFORM ‘18 is less a destination than a journey. It features the work of art as ‘process’ as well as ‘finished object’. In terms of subject matter and formal concerns it offers insights into the preoccupations of a new generation of artists.
PLATFORM ’18 Exhibiting Artists:
Ella Bertilsson & Ulla Juske, Emma Brennan, Mark Buckeridge, Gum Collective (Aaron Smyth, Alex de Roeck, Aimee Gallagher, Ciara O’Brien, Ciaran Gallen, Sadbh O’Brien, Sofya Mikhaylova, Stephen Lau); Lisa Freeman, Louis Haugh, Landing Collective (Aliina Lindroos & Moran Been-noon); Eve O’Callaghan.
PLATFORM ’18 Performing Artists:
Robbie Blake, Mark Buckeridge, Cian Coady & Mia DiChairo, Lisa Freeman.
PLATFORM ’18 Researching Artists:
Robbie Blake, Sarah Farrell.
Performance PLATFORM ‘18:
7pm Ground Floor Gallery
03.04.18 - SAVE THE DATE
Featuring new performance work by Robbie Blake, Cian Coady &
Jessica Kelly Hannon, Lisa Freeman, Dublin 15 Youth Theatre and
PLATFORM ’18 is one of Draíocht’s new artist development initiatives which supports emerging artists, curators and cultural creatives to explore their current practice through research, studio space, exhibition, residencies, performance and public engagement.
Exhibition runs 21 February - 31 March 2018.
Draiocht's Galleries are open Mon-Sat 10am-6pm. Admission Free.
Curated by Sharon Murphy
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Concert Series @ Draíocht (2018)
Concert Series is a series of pop concerts placed within the context of a contemporary art gallery which are produced & manufactured in Buckeridge’s studio at the Sandberg Instituut, Amsterdam. The materiality consists of an arrangement of pre-recorded digital MIDI files clashed with Buckeridge’s analogue ‘live’ vocals. Concert Series deals with ideas of temporality, affect and communal understanding. The process of developing Concert Series is fluid and adaptable and is presently being refined as part Buckeridge’s MFA studies.
Mark Buckeridge (b.1991, Dublin), lives and works in Amsterdam, the Netherlands. He graduated from the Crawford College of Art and Design with a BA in Fine Art in 2013 and is currently studying for an MFA at the Sandberg Instituut, Amsterdam. His work focuses on live performance, painting, drawing and is heavily influenced by his background in music.
Recent exhibitions and performances include: solo show Touring Rock Landscapes at Pallas Projects, Dublin, 2016 and group shows at De Punt, Amsterdam, 2017, Temple Bar Gallery + Studios, Dublin, 2017, Catalyst Arts, Belfast, 2016 and the Royal Hibernian Academy, Dublin, 2016.
a signaling (2017)
This performance piece explores ideas of connectivity, intimacy and vulnerability through the voice. Created for Tonnta vocal ensemble, the score asks each performer to choose a song that is personally significant to them. Wearing eyemasks and ear-plugs, they then enter a state of semi-isolation that distances them from their singing colleagues. The piece presents an untraditional performance mode for music. With it, Robbie is also examining the material with which to make musical performance; in this instance, it is the autobiographical. Woven around these personally-chosen songs, the performers sing newly-composed melodic fragments. They echo from performer to performer, in a wash of vibrant sound. Robbie Blake b. 1989 is an artist and composer working across many contexts of performance. Their work is fuelled by curiosity and carried out with sensitivity. Robbie is the artistic director of Tonnta, a music company and new-music vocal ensemble that champions new Irish music. With Tonnta, Robbie leads experimental collaborative projects with dance artists, visual artists and composers to create exceptional new music. A graduate of Trinity College Dublin where they studied music and philosophy, Robbie also holds a diploma from the Royal Irish Academy of Music and an MA from the University of York. Recent and upcoming presentations include Town Choir in collaboration with Canadian company Theatre Replacement (Vancouver, 2017), a durational performance in Dublin City Gallery the Hugh Lane (2017), and new music theatre work as part of Home Theatre (Ireland) at Draíocht (2018).
Cian Coady & Mia DiChairo
Disrupting the Flow (2018)
DISRUPTING THE FLOW is a new dance work made especially for Draíocht’s Gallery. Performed within a matrix of floor line drawings it explores ideas of time, temporality and presentness. Dealing also with the ephemerality of performance the visual markings act as a record and a memory of a once animated space. This piece explores a linear, yet warped, flow of time and the yearning to escape time’s influence. Cian Coady, born in Dublin, began dancing at the (later) age of 18. Since then, he has performed with Dublin City University / national intervarsity competition and has taken on several collaborative dance projects incorporating singing, filmography and photography. Cian is a member of Dublin Youth Dance Company and has performed in the Irish Youth Dance Festival, Dublin, Unanimous in Belfast, and Noise Moves. He has performed in Berlin, Rimini, and Scotland. He also works as a choreographer. Mia DiChiaro is Dublin-based dancer and arts administrator interested in inclusive dance practices. She is a graduate of New York University where she developed a concentration in “Performance and Arts Activism”. She is currently serving as the Mischief Coordinator for General Mischief Dance Theatre (New York, USA) and dances with Dublin Youth Dance Company.
Ella Bertilsson & Ulla Juske
BACK AND FORTH THERE AND BACK
This work was made in the context of our Incubate Studio Residency at Draíocht (2017). During the residency we audio-recorded stories and memories of people who live and work in the local area. The project evolved around the idea of cultural identity where collective memory and oral history was in focus. BACK AND FORTH THERE AND BACK is inspired by the material gathered and from the every-day experience of being in Blanchardstown. Ella Bertilsson & Ulla Juske are a multidisciplinary artist collective based in Dublin since 2000s. They are interested in the beauty of the every-day experience of time passing. Interviews and conversations with people in relation to specific communities or places are the foundation of their methodology. They are currently investigating the concept of home exploring historical, political, social, cultural contexts where collective memory and oral history stands in focus. Together they construct non-linear narratives that drift between fact and fiction, past, present and future. These narratives become the catalyst for developing installations that are exploring the relationship between time and memory, place and identity. The artists started to collaborate during their postgraduate studies on the MFA; Art in the Digital World Programme at NCAD, Dublin (2015). Currently they are artists in residence at NKD; Nordic Artist’s Centre in Dale, Norway. The artists wish to thank Corduff Community Centre, Hartstown Community School, the Institution of Technology Blanchardstown, Phoenix FM’s podcast ‘Africans in Ireland’, Draíocht’s Dublin 15 Youth Theatre.
Copy, 190x240cm, oil on linen, 2018 (POA)
Word, 190x120cm, oil on linen, 2018 (POA)
These paintings act as colour cards or samples in oil paint. They function on the basis of an interaction between black and other, brighter, colours, so that what we see is light and dark based on the amount of light each colour reflects. Where the Indian Yellow and Ultramarine Blue pigments seen evoke something of sunlight, beauty and nature, black is the colour of technology, printed material, information and censorship. The large format, pure colour and exposed canvas speak of the basic materials of a long history of painting but the flat surfaces of the works appear as if they could have been printed rather than painted. Instead of the pages of a book or a sheet of paper, these large-scale, abstracted forms become a vehicle for visual – rather than readable – information. Eve O’Callaghan is a Dublin-based painter. Her practice is concerned largely with the history of painting, colour and abstraction. O’Callaghan graduated from NCAD in 2017 with a degree in Fine Art Painting and Visual Culture. She was shortlisted for the RDS Visual Art Awards in October 2017 and has been resident in the RHA School Peer studio since September 2017.
Can You Hear The Birds From The Water (2017)
In collaboration with Dolex Laxer
Made from our lived past, current environment, and future aspirations, our identity is influenced by how we understand ‘home’. The project is led by the belief that it is important to examine ‘home’, a vastly misused term, as a conflicted concept for migrants, and this approach to the subject matter is part of what puts Landing in the political art scope. The visuals and motion aim to convey this complex cultural relationship between humans, homeland, migration, and water. The struggle between water’s necessity and the fear of it, the view of the new entities water delivers onto the land, its locals, and its culture, and a reference to water as a source of life and evolution. Finnish mythology and its water dwelling creatures have given the work its aesthetic and symbolic nuances.
Aliina Lindroos and Moran Been-noon are collaborators on an on-going project entitled Landing. Lindroos, whose practice is rooted in dance and performance, is originally from Finland and now lives between Dublin and Berlin. Been-noon is an Israeli Dublin- based new-media artist and curator. Both are migrants out of choice, and interested in exploring the meaning of a home, and the relationship between this term and one’s physicality and identity by drawing on choreography, video, installation and multimedia performance. They are particularly interested in exploring the psychological processes of ‘acculturation’ experienced by migrants. The project’s solo debut was in Eight Gallery in Dublin in 2016, and since their creative outcomes have been included in group exhibitions in Belfast, Berlin, and Austin TX.
Remnants, Looking North. 53°13'32"N, 6°18'47"W. (2017) POA
This work is a silver-gelatin photographic installation from my ongoing research, Alien Architecture. In 1907 celebrated botanist Augustine Henry gave expert advice to an Irish governmental committee. His advice was to replant Ireland’s previously deforested landscape with alien (non-native) coniferous trees. This advice was contrary to the proposed plan to replant using native broad-leaf species. More than 100 years later this legacy is made visible through the forestry industry dominating Ireland’s landscape. The original alien samples sent from Alaska are housed in the Augustine Henry Collection in The National Herbarium, Glasnevin and in themselves can be seen as a blueprint for Ireland’s landscape today. Alien Architecture is an ongoing response to both Henry’s advice and to the alien specimens found in the collection. The work presented as part of PLATFORM 2018 made at an area of recently logged land in Wicklow overlooking Dublin asks how we form relationships to our national landscape when it is dominated by industry.
Louis Haugh is a visual artist based in Dublin. A graduate of IADT, Haugh specialises in analog and historic photographic processes and currently works form his studio at The Darkroom, Stoneybatter. Haugh’s practice is founded on his strong photographic foundation and incorporates audio, video and text. Other recent work includes a public art commission by the Grangegorman Development Agency; One Hour Archive (OHA), a community based art project looking at the oral histories and lived experiences of older residents of the Stoneybatter/Grangegorman area.
Heed, to the mound (2017)
running time: 35 mins
This video installation depicts a performance in which I move a mound of dough, equivalent to my own body weight, across the gallery space. Emma Brennan is a visual artist whose practice is focused on the use of performative methods to engage with the viewer. At the core of her practice is an interest in how we as a society perceive and assign value. In particular, she is interested in questioning the relationship between producer and consumer and more specifically on that relationship in terms of the artist and the viewer. Her recent work, made in the context of the Draiocht’s incubate studio residency, has been an exploration into these ideas, with specific investigations into the value of the intangible self.
Emma Brennan is a 2016 graduate of the National College of Art and Design Dublin, curating and exhibiting in numerous group and solo shows during her time there. She has also participated in a number of live art festivals including Livestock and the Dublin Live Art Festival, as well as curating the inaugural NCAD Live Graduate Performance Showcase in 2016. Brennan is currently working on expanding this piece and bringing it to a live audience with a proposal for the Dublin FRINGE festival 2018. The artist is happy to announce that as a result of her incubate residency she will work as assistant curator to Sharon Murphy at Draíocht for 2018.
Within this site-specific installation we wanted to create a framework bringing together the disparate qualities in our work and to place them in contrast to one another allowing them to interact in a casual way. The wooden beams provide a central pivot from which the artworks can interact, mirroring a sense of community between the artists and the overlapping elements of their practice. GUM Collective is a group of Dublin based visual artists. Formed in 2013, the group began from a shared background in printmaking. Since then the group have developed multifaceted practices in a range of different mediums. Their practices are underpinned by the community ethos that their shared studio environment provides, unified through shared interests, studio and experiences. The connection between each artist is a subtle flow of corresponding themes, visuals and mediums that transcends individual ideologies.
Artists include: Aaron Smyth, Aimee Gallagher, Alex DeRoeck, Ciara O’Brien, Ciaran Gallen, Sadbh O’Brien, Sofya Mikhaylova, Stephen Lau.
GUM Collective select exhibitions include: More Than One Maker (IMMA), GUM (Royal Hibernian Academy), how to grow (blackmoon) (The Complex), Unexpected Item in the Bagging Area (Studio 6 Temple Bar Gallery + Studios), Distorted Perspectives (Letterkenny Regional Arts Centre), Leg Over Soil (MART Gallery), LIMBO (Argus House).
GUM has also been awarded residencies in The Royal Hibernian Academy, Black Church Print Studio and most recently The National Gallery of Ireland.
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