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GradCAM Head of Artistic Research delivers opening lecture at the New Research Center For Public Education at Maynooth University on the 24th April.

Titled: Evental Education, Dr. Glenn Loughran’s presentation explored how to link art and education through the concept of the event. The “event” is a blind spot in the dominant educational ideologies of efficiency, accountability and flexibility. This theory of public education was explored through large-scale public art projects and programmes which set out to engage participants at marginal sites of exchange.

Initiated by Professors Gert Biesta and CarlAnders Salfstrom the research center aims to support educational research on public education and civic engagement.

For more on the New Research Center for Public Education see: here 

GradCAM PhD Researcher Siobhán Doyle’s article on the relationship between sports photography and national identity has been published by RTÉ Brainstorm.

The article outlines how sport is an integral and even a defining element of the culture of a nation and examines the role sports photography plays in developing national identity.

RTÉ Brainstorm is a partnership between the national radio station and third level institutions in Ireland. It is where the academic and research community contribute to public debate, reflect on world events and communicate fresh thinking on a broad range of issues.

Siobhán’s research into sports photography and national identity began during her previous role working in the Gaelic Athletic Association.

https://www.rte.ie/brainstorm/2019/0424/1045369-how-sports-photography-tells-a-story-about-who-we-are-as-a-nation/

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WELCOME TO THE ANTHROPOCENE

DSCA Lecturer Glenn Loughran on research secondment in the Jambeli Archipelago, Ecuador

A long-time escape for tourists and locals, Jambeli island has been slowly disappearing due to rising sea levels. In December 2017 the island police station, hotels and residences were destroyed by rising tides. The residency is part of a European Union H2020 Marie Sklodowska Curie (MSCA) Project being led by GradCAM. All residencies in the research project will culminate in a joint academic symposium and artistic research exhibition, beginning in Guayaquil on 8th– 14th July, and finishing in the Galapagos Islands on the week of 21st July.

For more information on Glenn’s residency see here:

http://www.uartes.edu.ec/docente-irlandes-glenn-loughran-dictara-seminario-en-la-uartes.php?fbclid=IwAR0HIg3KKEHiE70G0eTDanUbT4O_iltvQRPdOKlTRIhA6xoIc5Ere8AKT-s

 

Siobhán Doyle, GradCAM PhD Researcher, publishes the article ‘The Bullet in the Brick: The Materiality of Conflict in Museum Objects’ in the March 2019 issue of Arms and Armour.

Through a study of the display of a brick in which is embedded a bullet that is said to have passed through the body of Francis Sheehy Skeffington when he was executed by firing squad during the Easter Rising in Dublin in 1916, the article explores the historical configuration of the brick and analyses its public display in the National Museum of Ireland.

https://www.tandfonline.com/doi/full/10.1080/17416124.2019.1581488

Siobhán is a final year PhD Researcher at the Graduate School of Creative Arts and Media (GradCAM) in the School of Creative Arts at Technological University Dublin and received the Dean of the College of Arts and Tourism scholarship award in March 2016. Siobhán’s doctoral research concerns the material and visual culture of modern Ireland with particular focus upon the role of exhibition display in commemoration and representations of death. Siobhán’s research has been published by Four Courts Press and the European Remembrance and Solidarity Network.

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Siobhán Doyle presents paper at the Imperial War Museum in London

PhD Researcher Siobhán Doyle presented a paper at the Curating the Great War conference at the Imperial War Museum, London in September.

The conference formed part of IWM London’s 2018 Making a New World season, which explores responses to the war in its aftermath and attempts to rebuild the world. The theme of the conference was how the First World War was and is represented and interpreted in museums across the world and was organised by the University of Bristol and the IWM Institute.

Siobhán spoke as part of the ‘Museums, Communities and the Centenary of the Great War’ session, which addressed exhibitions of the Great War, in celebration of its centenary from 2014 to 2018. Her paper discussed practices of representing death in commemorative exhibitions, through a historical analysis of Joseph Plunkett’s rosary beads on display at the National Museum of Ireland. Siobhán’s  paper interrogated the way the exhibition presents a particular narrative of reconciliation and links the Great War with the 1916 Rising through the display of Plunkett’s last possession in the ‘Proclaiming a Republic: The 1916 Rising’ exhibition in Collins Barracks.

You can read more about the conference here:

https://www.iwm.org.uk/events/curating-the-great-war

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PhD researcher Gráinne Coughlan to present paper at the Southeastern College Art Conference in Alabama

GradCAM PhD candidate, Gráinne Coughlan will present her paper “Speculative Drawing in From Different Worlds (1987)” at the South Eastern College Art Conference, Birmingham, Alabama this October.  Gráinne will be part of a panel exploring the relationships between socially engaged art and drawing. Her paper will examine how British artists Stephen Willats used diagrammatic drawings as “speculative modelling tools” to propose and generate new social action in his project From Different Worlds, commissioned by Leeds Art Gallery in 1987. The paper develops Gráinne’s ongoing research interest in the organisation of socially engaged art, information visualisation and systems aesthetics.

Tommie Soro discusses the discursive construction of artistic reputation at DiscourseNet 22 Conference in Giessen, Germany.

This September 13th, Gradcam Postgraduate Scholar Tommie Soro discusses the discursive construction of artistic reputation at DiscourseNet 22 Conference in Giessen, Germany. Combining Bourdieusian Field Theory with methods of Critical Discourse Analysis and Corpus Linguistics, the study presented contributes a discourse analytical perspective to the current literature on artistic reputation. In particular, the study examines the discursive norms and limits surrounding the use of modifiers, and the discursive construction of cosmopolitanism as a form of cultural capital in the field of contemporary art.

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DiscourseNet 22, 12th-14th September, Giessen

Publication: Art in the Age of Financial Crisis

Dr Conor McGarrigle, Lecturer in Fine Art in the Dublin School of Creative Arts, has co-edited a special edition of the Routledge journal, Visual Resources with Professor Marisa Lerer of Manhattan College. The edition had its origins in a panel for the 2017 College Art Association Conference in New York City.

Direct URL: https://www.tandfonline.com/toc/gvir20/34/1-2?nav=tocList

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Art in the Age of Financial Crisis

This issue addresses the long financial crisis of 2008 and the nature and diversity of artistic responses to it. This financial crisis is understood as a globalized result of late capitalism that nonetheless is experienced differently at local, regional, and national levels. It is multi-faceted in nature, a phenomenon that has historical roots and precedents that inform contemporary responses. Artists are not restricted to engage with the economy through one specific vehicle of inquiry or one type of medium and message. Therefore, the central question that this issue poses is: what is the artist’s role in finance, crisis, and the economy? Should artists: fix the economy; explain it; attempt to alter it; reject it; participate in it; or none of the above? The articles, artists’ projects and interviews presented here attend to these questions through a wide-ranging lens including: studies of historical precedents such as the Great Depression of 1929 and currency crises in Latin America in the 1970s; artistic direct interventions within financial systems that reveal and challenge their opaque processes and value systems; alternative currencies highlighting the neo-colonialism of global financial markets; and blockchain-based rethinking of art market ownership models. These multi-faceted projects spanning different time periods and geographies offer crucial and distinct theoretical positions. This issue, which saw its origins in a panel for the 2017 College Art Association Conference in New York City, adds to scholarship on these pressing topics and seeks to foster a continued discourse on the intersections of art and financial crisis.

The edition includes articles by Elena Shtromberg, University of Utah; Amy Whitaker, NYU Steinhardt School; Jennifer Gradecki, Northeastern University; Derek Curry, Northeastern University; Jillian Russo, curator at the Art Students League of New York; and El Putnam of the Dublin School of Creative Arts. The edition includes Art Projects by LigoranoReese and Kennedy Browne as well as interviews with the artists Mansour Ciss Kanakassy, Miguel Luciano, Fran Ilich and Gabriela Ceja, and Paolo Cirio.

Siobhán Doyle, GradCAM PhD Researcher publishes the article ‘James Connolly’s Bloodstained Vest’

Mediating Death and Violence in Commemorative Exhibitions’ in a special issue in 20th Century European History of the Remembrance and Solidarity Studies journal.

The main aim of the article is to analyse the memorialization of James Connolly (1868–1916), socialist and revolutionary leader, at the National Museum of Ireland. The article describes in detail the process of memorialization and the multiple difficulties that hinder past reconstructions using the tools of museology.

Remembrance and Solidarity Studies in 20th Century European History is a platform for exchange of views between researchers of the history of Central Europe. The May 2018 volume is devoted to the diverse aspects of violence in 20th-century European history and the research papers showcase the complexity and multiple perspectives from which the phenomenon of violence can be studied. The journal is available for viewing and download online: http://www.enrs.eu/docs/studies/studies-2018-www.pdf.

GradCAM PhD Researcher Martijn Tellinga ‘songlines II’ Het Glazen Huis @ Zone2Source

GradCAM PhD Researcher Martijn Tellinga’s installation, ‘songlines II’, will be on display at Zone2Place Amsterdam. Below you can read the pamphlet information in relation Martijn, his work, and this installation.

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Songlines are invisible pathways crossing all over the Australian continent, used to navigate distances of sometimes hundreds of kilometers by means of song. While moving, songs sung in certain sequence provide bearing to the singing traveler, describing locations of (former) landmarks or (super) natural phenomena.

“Aboriginal Creation myths tell of the totemic being who wandered over the continent, singing out the name of everything that crossed their path – birds, animals, plants, rocks, waterholes – and so singing the world into existence.” – Bruce Chatwin

Tellinga’s recent installation works explore the idea that within a landscape, experience of place and surrounding comes about through perceiving and creating resonance. Through a partly poetic, partly scientific reading of the acoustic resonances of a given space, these works attempt to make those resonances palpable as an extension of architecture and traversable as a musical and experiential plane.

Five pairs of aligned speaker drivers have been installed, bridging the different dimensions of the space. Each pair has been assigned an electronic pure tone of which the frequency is proportionate to the physical distance between two opposing speakers. This causes the space to respond and naturally reinforce and diffuse the quietly projected tones: the space appears to hum omnipresently in unison with the tones at its intrinsic pitches (informed by architectural shape and size). A constantly shifting interval of two tones can be heard, slowly scanning the resonant spectrum of the room. Gentle physical movement through the space reveals a panorama of audible crests, slopes and meeting points.

Recordings of a sustained singing voice occassionaly tune with a tone, causing acoustic ripples and melodic resonances to appear at specific points in the room. The voice, because of its rich timbre, instantly sings body and location into the static abstracted landscape, connecting the invisibly traversing songlines within the space.

Maria Antonia Company Morell – voice

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Martijn Tellinga (1974, Netherlands) is an artist, composer and occasional performer. His practice enfolds and integrates elements of concert, installation and performance art. Drawn from a reduced formalist-seeming vocabulary, his work centers on the exploration of sound & listening to express ideas of space, place and process: their reciprocal production, contextual intertwining, and potential as a perceptual, performative and social medium. It includes a wide variety of conceptual actions and chance operations, probing the emergent field between intended and accidental occurrences.

He performs and exhibits his work worldwide, lectures and works in residence. He is one of the curators for the long running series DNK-Amsterdam and visiting professor at the Central Academy for Fine Arts in Beijing and ArtEZ in Arnhem. He is a PhD candidate at the Graduate School of Creative Arts and Media in Dublin. He lives and works in Amsterdam.

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