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.

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.


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:


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:


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:

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.


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


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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GradCAM PhD Researcher Jye O’Sullivan to Present Paper at the Latin American Studies Association conference in Barcelona

GradCAM PhD researcher Jye O’Sullivan will be presenting his paper: Positioning Centro de Arte y Comunicación within a Global Art History of Engagements with Cybernetics at the Latin American Studies Association conference in Barcelona in May. Jye will be part of a panel exploring art and politics in Latin America during the sixties and seventies, and will present on the specific ways in which Centro de Arte y Comunicación used conceptual art as political resistance in Buenos Aries during the seventies.

Jye’s present research examines the interactions between cybernetics and art, the history of early computing, biological cybernetics, Latin American conceptual art, and global networks of knowledge sharing. He is an active member of the Digital Studies Network as well as the Environmental Art and Design Seminar.

PhD Researcher Jye O’Sullivan Awarded Grant by Getty Institute

GradCAM PhD researcher Jye O’Sullivan has been awarded a grant by the Getty Institute, Los Angeles, to conduct a month of research at the Getty Institute Library Archives on Centro de Arte y Comunicación – an Argentinian artistic collective working in Buenos Aires during the seventies. Jye will be spending September 2018 in the archives of the Getty, researching Centro de Arte y Comunicación’s artistic engagements with cybernetics and their importance on a global scale as a key, though neglected artistic collective.

Jye’s research will focus on the work of Luis Fernando Benedit and the way in which he explores the boundary between the biotic and the abiotic through art.

Jye’s present research examines the interactions between cybernetics and art, the history of early computing, biological cybernetics, Latin American conceptual art, and global networks of knowledge sharing.

Migration and the Humanities: Critical Challenges Published

The proceedings of a recent workshop examining questions of migration and citizenship has just been published and is available on the Irish Humanities Alliance website (pdf). The document is called Migration and Humanities: Critical Challenges, and offers thorough engagement with issues in migration by numerous academics working in the humanities, as well as key recommendations.

This workshop was funded by the Irish Research Council and sponsored by the Irish Humanities Alliance, of which Dean of GradCAM Prof. Noel Fitzpatrick is Chair.

Prof. Fitzpatrick provides the forward of this document:

Migration raises fundamental questions, not just about who we are and where we come from,
but also what it means to belong to a nation state and to be recognised by the state as a
citizen or a potential citizen or a transitory citizen. When a recognition of the ‘transitory’ or
‘transitioning’ citizen takes place there is an obligation to acknowledge basic human rights:
the rights to education and the right to work. The demand to be recognised/acknowledged
within the nation state as a citizen or transitory citizen is one of the major challenges of
contemporary Europe and is perhaps, more broadly, a challenge to the EU project itself.
The positive intercultural and interlinguistic experience offered by the movement of people
is often overlooked by more populist discourses in relation to the fear of the other.
In June 2017 the Irish Humanities Alliance (IHA) put in place a forum to raise these
questions as part of our annual conference in 2017 and the results of these interventions and
discussions are presented here. We have also provided some recommendations arising from
this in relation to the Humanities and Migration in the hope that these recommendations can
be acted upon in the very near future. Moreover, as we go to print, we welcome the fact that
four of our member HEIs – DCU, UCC, UCD and UL – are recognised as designated ‘Universities
of Sanctuary’ for asylum seekers and refugees while other member HEIS are currently aiming
for that status by fostering a culture of inclusion for all.

March, 2019







































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