Cover Image. Méadhbh O’Connor, Unknown Shores, 2014, O’Brien Centre for Science UCD

5. Roundup. Recent exhibitions and projects of note.
5. Column. Morgan Quaintance. The More Real You Become?
6. Column. Orla Whelan. Athomestudios.
7. Column. Georgina Jackson. The Conversation Continues.
8. VAI News. VAI projects and events.
8. News. The latest developments in the visual arts sector.
10. Regional Focus. Tipperary Arts Office, Jenny Fox, Lorraine Cleary, Source, STAC.
13. Residency. Sustained Engagement. The residency programme at the UCD School Of Physics.
14. Profile. Activating Art Writing. Nathan O’Donnell and Marysia Wieckiewicz-Carroll, editors of Paper Visual Art journal, reflect on a series of critical writing workshops they are conducting.
15. How is it Made? Watching Liquid Run. Maolíosa Boyle and Mark Wallinger discuss curating ‘Horse’ (Void, Derry 21 February –18 April 2015).
16. Profile. Let’s Get Verbal. Emer Lynch and Tracy Hanna discuss ‘Foaming At The Mouth’, a series of spoken word events presenting text-based artworks.
17. Profile. Dialogue Between Spheres. Sarah Pierce interviews the curators of Plastik film festival.
18. Residency. Co-Operative Enthusiasm. Pádraic E. Moore reports from the Van Eyck Academy.
19. Critique. ’Smoke And Mirrors’ Garter Lane; Stephen Skrynka, Rua Red; Sue Morris, Siamsa Tire; Mick O’Dea, Triskel; Frances Crowe and Maria Noonan-Mcdermott, Solas Art Gallery; ‘The Call of the Wild: Videonale 15’ Kunstmuseum, Bonn.
23. How is it Made Capturing Passing Moments. Kevin Killen discusses his show ‘Certain Moments’ at University Of Ulster Gallery, 5 March – 2 April).
24. Conference. Change From Within? Jonathan Carroll discusses ‘Thinking Through Institutions’, a symposium held at the Huston School Of Film and Digital Media, Galway.
25. How is it Made? Shadow Carrier. Brendan Fox discusses his project ‘Less Greater Equal’.
26. Conference. Is Legenderry Dead? Sara Greavu considers the legacy of Derry City Of Culture.
27. How Is It Made? Antidote to Oblivion. Áine Phillips, editor of Performance Art In Ireland: A History, discusses the making of the book.
28. Profile. Future Intent. Director Ann Davoren introduces ‘Uillinn’, WCAC’s new building.
29. Profile. DIT at Grangegorman. VAI talks to Kieran Corcoran, Head of the Dublin School of Creative Arts at DIT, about the new campus at Grangegorman.
30. Art in the Public Realm. Artist as Go-between. Tonya Mcmullan, Project Officer for Down Community Arts, profiles Life Text, an intergenerational art project.
31. VAI Northern Ireland. Clunk and Boom. Rob Hilken reflects on some recent highlights of visual arts activities and initiatives in Northern Ireland.
32. Public Art Roundup. Public art commissions, site-specific works, socially engaged practice and other forms of art outside the gallery.
33. Opportunities. All the latest grants, awards, exhibition calls and commissions.
34. VAI Professional Development. Current and upcoming workshops, peer reviews and seminars.

The latest issue of the Visual Artists’ News Sheet is a special issue focusing on the infrastructure and supports in place for emerging artists nationwide. A range of specially commissioned extended essays, profiles and case studies offer practical advice across a range of themed sections including: Galleries & Workspaces; Residencies; Graduate Awards & Opportunities; Postgraduate Education; Career Development and a Critique section focused on exhibition featuring emerging artists.

Hugh Mulholland talks about how artists might work with different types of galleries throughout their careers. Mark Garry discusses strategies for sustaining your practice after graduation. In addition, Christopher Steenson outlines some of the main considerations when renting an artist’s studio. Elsewhere, Jonathan Carroll outlines some of the main long-running opportunities for emerging artists north and south, including prominent graduate awards and annual open-calls, while Suzanne Walsh provides an extended overview of residency programmes nationwide. Joanne Laws offers advice on artist statements, CVs and public engagement, and also interviews emerging artists Cecilia Dannell, Marcel Vidal and Bassam Al-Sabah. Pádraic E. Moore also reflects on the realities of working as a freelance curator.

In the critique section, Colin Martin reviews Bren Smyth’s show, ‘Substance of Things’, at Pallas Projects/Studios; Áine Philips reviews ‘Outflow’ at 126 Artist-Run Gallery, featuring Ronnie Hughes and Evgeniya Martirosyan. John Thompson gives his take on Klaudia Olszyńska’s exhibition ‘51.791384, -8.291099’ at Studio 12, Backwater Artists Group in Cork. Colin Darke also reports back with his thoughts on ‘A composition of she’, by Justine McDonnell, at Golden Thread Gallery, Belfast.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The final issue of 2018 is loosely themed around several prominent anniversaries being celebrated this year, offering a retrospective glance at the evolution of various Irish arts organisations.

Given the upcoming 40th anniversary of Visual Artists Ireland in 2020, we are currently working on the SSI/VAN archive (which extends back to 1980), with a view to mobilising some of this archival material during VAI’s anniversary year.
This issue inclues an edited version of an important panel discussion, organised as part of a year-long programme to mark the fortieth anniversary of the Douglas Hyde Gallery. In other organisation profiles, Declan Long reflects on 30 years of the Kerlin Gallery, while Pádraic E. Moore interviews Oonagh Young about the tenth year of her Dublin gallery. In the Belfast context, Siobhán Kelly outlines upcoming events to mark 25 years of Catalyst Arts, while Jane Morrow discusses the 25th anniversary of the University of Atypical. This year also marks the fiftieth anniversary of Derry’s Civil Rights Movement, so we asked Sara Greavu to interview artist Helen Cammock about her new film, The Long Note, commissioned by Void, Derry, which explores the involvement of women in the 1968 movement. Annette Maloney, Sinead O’Reilly and Sally O’Leary reflect on another key anniversary for the Irish visual arts – 40 years since the launch of the Per Cent for Art scheme.

We also have reports on several long-running projects: Nathan O’Donnell discusses various strands of the ongoing public art project, ‘In Context 4’, while Gráinne Coughlan reports on ‘Practice and Power’, the closing event of a four-year European project led by Create. International perspectives are offered by Kathy Tynan, who reports from her residency at the Cité Internationale des Arts in Paris, and Jonathan Carroll, who discusses the Dora García retrospective at the Museo Reina Sofía in Madrid.

The Regional Profile for this issue comes from County Clare, with organisational insights from Conor McGrady (Dean of Academic Affairs at Burren College of Art), Sinead Cahill (Gallery Manager at Glór, Ennis) and Anne Mullee (Curator of Courthouse Gallery & Studios, Ennistymon). Michaële Cutaya reports from ‘Out of Place’, a recent exhibition and seminar at Courthouse, while artists Amanda Dunsmore, Tanya Harris and Kaye Maahs discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Lavish and Judicious’ at CCA Derry-Londonderry; Theresa Nanigian at Highlanes Gallery; Phil Collins at The MAC; ‘Museum of Mythological Water Beasts’ at Ormston House; and ‘My comfort and my joy’ at the Douglas Hyde Gallery. As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In columns for this issue, Miriam Logan outlines some philosophical perspectives on activating creativity and Róisín Kennedy reviews the recently published collection of Brian O’Doherty’s letters, edited by Brenda Moore-McCann. Maeve Mulrennan discusses the recent ‘Reframing the ‘90s’ conference in UCC and Crawford Art Gallery, Cork, while Diana Bamimeke reports on ‘Winter Seminar: The Lives of Artists’ at TBG+S and the RHA. In this issue’s regional column, Manuela Pacella discusses recent exhibition highlights in Northern Ireland.

Career Development articles come from Pádraic E. Moore, who interviews Irish artist Doireann O’Malley about her recent solo exhibition at Dublin City Gallery The Hugh Lane, and Róisín Power Hackett, who reflects on her recent performance event at The LAB Gallery, which included mentorship with Amanda Coogan.

Evgeniya Martirosyan reports on her recent residencies in the Tyrone Guthrie Centre and Praksis, Oslo, while Christopher Steenson interviews Danny McCarthy and Mick O’Shea about their recent collaboration, which emerged out of their participation in the Rauschenberg Residency on Captiva Island, Florida.

In the How is it Made? section, Veronica O’Neill reflects on Clea Van de Grin’s touring show, ‘Jump’, and Michele Horrigan describes the folklore underpinning her recent exhibition, ‘Where Does The Law Stand With Leprechauns?’ at The LAB Gallery, Dublin. Áine Phillips reviews TULCA Festival of Visual Arts 2018, curated by Linda Shevlin, and Aidan Kelly Murphy interviews Eoin O’Dowd about Dublin’s former Eight Gallery. Coverage of recent VAI Events includes Chris Steenson’s report on the various happenings at this year’s Belfast Open Studios, and Kevin Burns’s review of the final iteration of the New Spaces project.

The Regional Profile for this issue comes from County Mayo, with organisational insights from Orla Henihan (Linenhall Arts Centre), John McHugh (Custom House Gallery), Ronan Halpin (Achill Artists Group) and Edward King (Heinrich Böll Residency). In addition, artists Norah Brennan, Breda Burns and Saoirse Wall discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Infrastructures of Now’ at NCAD Gallery; Maud Cotter at Limerick City Gallery of Art; ‘Manmade’ at Millennium Court Arts Centre; Tomas Penc at Triskel Christchurch; and Chris Doris at The Model.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In columns for this issue, Sarah Durcan outlines her ongoing research project, ‘The Memory-Image’, as well as a related screening event at the Irish Film Institute in January. Sara Greavu discusses the evolution of CCA Derry’s dedicated reading group, booksvscigarettes, which aims to bring concentration and care to a range of texts, through the attentive act of communal reading. The Skills Column for this issue comes from James L. Hayes, who discusses experimental casting processes, technologies and materials, as well as the most recent iteration of his ongoing ‘Iron-R’ project. Reflecting on the many uncertainties currently facing artists in Northern Ireland, VAI NI Manager Rob Hilken outlines the challenges of the new social security payment, Universal Credit.

This issue features several interviews with artists whose exhibitions are currently showing nationally or internationally. Joanne Laws interviews Nick Miller about the evolution of his painting practice and his exhibition, ‘Rootless’ – currently showing at Art Space Gallery in London – while Chris Hayes speaks to Grace Weir about her current exhibition, ‘Time Tries All Things’, at The Institute of Physics, London. Both exhibitions run until the 29 March, Brexit day, after which time the shipping of artworks to and from the UK is likely to become more complicated. In addition, Andrea Neill interviews Martina Coyle about her upcoming exhibition, ‘Paradise Is Too Far’, which will open on 30 March at Áras Inis Gluaire Gallery, Belmullet, County Mayo.

Recent Sligo IT graduate, Hazel McCrann, discusses her art practice and her recent show, ‘Peripheral Visions’, which ran at the Hyde Bridge Gallery, Sligo, as part of her Graduate Solo Exhibition Award. Melissa O’Faherty and Kiera O’Toole explain the evolution of the Irish contemporary drawing collective, Drawing de-Centred, while Tobi Maier discusses his recent curatorial residency at The Glucksman and his stay in Carraig-na-gcat, County Cork. In her extended essay, entitled ‘Seeing the Light’, Renata Pekowska reflects on several recent exhibitions across Ireland dedicated to the medium of light. In the Artist Publishing section, Annabel König discusses two of her recent publications, which use Maslow’s ‘Hierarchy of Needs’ as a point of departure.

The Regional Focus for this issue comes from Cork city, with profiles from: The Glucksman; Crawford Art Gallery; Backwater Artists Group; National Sculpture Factory; and Cork Artists Collective and The Guesthouse. Recent CIT graduate, Ciara Rodgers, outlines her research, as part of the MA Art & Process (MA:AP), and Cork-based artists Ailbhe Ní Bhrian and Darn Thorn discuss their recent work.

As ever, we have reviews of recent exhibitions, details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

This issue includes a brief focus on prominent national art collections. Discussing the 60-year evolution of the Niland Collection, Emer McGarry, Director of The Model, highlights collecting and ‘keeping’ as active investments in building ‘living repositories’ of thoughts and ideas. As the Arts Council of Northern Ireland launches its new Art Lending Scheme, Suzanne Lyle, Head of Visual Arts, discusses their contemporary collection. Similarly, Eamon Maxwell offers insights into the evolution of the Arts Council of Ireland Collection, which was established in 1962. VAI NI Manager, Rob Hilken provides an overview of art collections in Northern Ireland.

Several feature articles focus on recent or ongoing archival projects. Val Connor and Dorothy Hunter offer insights into ‘The Long Goodbye’ – an exhibition focusing on the late 1990s as a pivotal stage in the 50-year history of Project Arts Centre. In a similar recollective vein, Christina Mullan profiles the Stephen McKenna retrospective, currently showing at VISUAL Carlow, while Pádraic E. Moore discusses the cultural nostalgia underpinning ‘The Last Great Album of the Decade’, a group exhibition at The LAB Gallery, Dublin. In addition, Vukašin Nedeljković discusses his ongoing project, Asylum Archive, which documents Ireland’s Direct Provision system.

We are delighted to publish a review by Lily Cahill, winner of the VAI/DCC Art Writing Award 2019, which offers vibrant reflections on Michelle Doyle’s exhibition, ‘Obedient City’ (13 – 23 September 2017), at A4 Sounds Gallery, Dublin. Also in this issue, Jonathan Carroll speaks to artist Eva Rothschild, who will represent Ireland at the 58th International Venice Biennale (11 May – 24 November 2019).

In other feature articles, artist Karen Hendy reflects on her recent residency at Siamsa Tíre, while Aidan Kelly Murphy speaks to a group of artists who have created a temporary studio space in north inner-city Dublin. Julia Moustacchi discusses the benefits of Visual Thinking Strategies for Irish galleries, while Denis Farrell describes the evolution of Lodestar School of Art, an alternative summer residency in Glenstal Abbey.

The Regional Focus for this issue comes from County Westmeath, with profiles from Luan Gallery, Chimera Art Gallery, Shambles Art Studios. Westmeath-based artists Celine Sheridan and Liz Johnson discuss their recent work.

Reviewed in the Critique section are: Sam Reveles at Butler Gallery; Anita Groener at The Dock; Geraldine O’Sullivan at Uillinn: West Cork Arts Centre; Walker and Walker at IMMA; and ‘MAKing Art: The PAINTing Exhibition’ at Draíocht.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

For VAN’s summer issue, Joanne Laws and Alan Phelan provide thematic appraisals of the 58th Venice Biennale, while Pamela Lee reports from Art Basel and VOLTA Basel art fairs.

This issue includes a number of timely interviews with artists and curators. Chris Clarke speaks to Richard Proffitt about his recent installation, May the Moon Rise and the Sun Set, for Cork Midsummer Festival, and Paul McAree interviews Niamh O’Malley, whose exhibition is currently showing in St Carthage Hall, as part of the Lismore Castle Arts programme.

Pádraic E. Moore speaks to Annie Fletcher, who has recently been appointed as the Director of the Irish Museum of Modern Art, while Philip Kavanagh interviews Rua Red Director Maolíosa Boyle about the organisation’s recent exhibitions and collaborations. Manuela Pacella also interviews Paul O’Neill about his curatorial practice and his artistic directorship at PUBLICS in Helsinki.

Also focusing on the Finnish art scene, Jonathan Mayhew reports from Helsinki, about his experiences taking part in the TBG+S and HIAP International Residency Exchange. Similarly, Lucy Andrews reports from her recent residency and exhibition at Leitrim Sculpture Centre, while Ian Wieczorek contextualises his latest exhibition, ‘Transgress’, at Ballina Arts Centre.

In columns for this issue, Sarah Lincoln discusses research recently undertaken by The Mothership Project. In two fascinating Skills columns, contemporary textile artist Laura Angell discusses the Bargello embroidery technique, while Cornelius Browne provides insights into the practicalities of painting outdoors.

Insights into arts engagement are also provided by Jan Powell, who explores the processes of artistic collaboration, and Ann Quinn, who profiles her ongoing masterclasses in painting and printmaking. We also hear from our VAI Northern Ireland Manager, Rob Hilken, who reports on the artist talks and panel discussions, held as part of the VAI Get Together 2019, which took place on 14 June at TU Dublin Grangegorman.

The Regional Focus for this issue comes from Derry City, with profiles from Art Arcadia, Clarendon Studios, Nerve Gallery and CCA. Derry-based artists James King and Gail Mahon also discuss their practice and recent work.

Reviewed in the Critique supplement are: Hannah Fitz at Kerlin Gallery; Karen Daye-Hutchinson at ArtisAnn Art Gallery; ‘See you tomorrow’ at Sirius Arts Centre; ‘Social Commons’ at Liberty Hall; and ‘A Visibility Matrix’ at Void Gallery, Derry.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

This issue has a timely focus on several important exhibitions currently showing in galleries nationwide. On 13 April, the 38th edition of Ireland’s contemporary art biennial, EVA International, opened in various venues across Limerick city. EVA will run untill 8 July with several off-site projects also taking place in IMMA. Mary Conlon interviews EVA 2018 curator, Inti Guerrero, for this issue, offering insights into Guerrero’s curatorial research and exhibition-making strategies.

Meanwhile, a number of exhibitions and projects are currently taking place across Ireland to celebrate the diverse career of Irish conceptual artist and critic, Brian O’Doherty, who marks his ninetieth birthday this year. Brenda Moore-McCann’s extended essay outlines some of these events, while reflecting on O’Doherty’s vast artistic legacy.

Alice Maher’s solo exhibition, ‘Vox Materia’, is currently showing at The Source Arts Centre, Thurles, and will subsequently be presented at Crawford Art Gallery from 7 September to 24 November. Tina Kinsella interviews Maher about her new bronze sculptures and wood relief prints. In other features for this issue, Lily Cahill reflects on the sculptural practice of Hannah Fitz, an Irish visual artist currently based between Dublin and Frankfurt. Fitz’s solo exhibition, ‘Knock Knock’, is showing in Temple Bar Gallery + Studios until 30 June. In addition, Joanne Laws interviews Alison Pilkington about her touring exhibition, ‘How We Roam’, currently showing at The Dock, Carrick-on-Shannon until 2 June, before being presented at the RHA Ashford Gallery in autumn 2018.

Columns for this issue touch on some of the themes underpinning the upcoming VAI Get Together 2018 (which will take place in IMMA on Monday 21 May), particularly the panel discussion, ‘Curating Ireland – New Ways of Working’. VAI NI Manager Rob Hilken outlines ‘New Spaces’, an upcoming exhibition and curatorial mentoring programme taking place in non-traditional venues across the Derry City and Strabane region. Jeanie Scott – the outgoing Director of a-n The Artists Information Company – discusses some of the issues currently facing visual artists in the UK.

A number of conference reports feature in this issue: Logan Sisley reports on the ‘Networked Curator’ event at the Getty Center, Los Angeles; Anne Mullee discusses the Art and Heritage seminar that took place in Kildare in February; and Pádraig Spillane reports from Berlin’s Transmediale Festival 2018.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundup, critique section, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In light of the historic vote to repeal the Eighth Amendment of the Constitution of Ireland, we asked Cecily Brennan to reflect on the contributions of the Artist’s Campaign. In other columns, Victoria Durrer, lecturer in Arts Management and Cultural Policy at Queen’s University Belfast, discusses a new collaborative research project, aimed at evaluating the impact of art as a catalyst for reconciliation. VAI NI Manager Rob Hilken reports on the symposium, ‘Best Practice in Developing Sustainable Artist-led Workspaces’ which took place on 11 June in Belfast.

In the How is it Made? section, Aidan Kelly Murphy interviews emerging artist Áine McBride, while Sarah Ellen Lundy discusses her ecology-themed art practice. Daniel Bermingham interviews Eimear Walshe and Emma Haugh about their recent exhibition, ‘Miraculous Thirst’, which ran at Galway Arts Centre from 5 – 25 May. Brenda Moore-McCann outlines some of the new work commissioned by Sirius Arts Centre as part of the ongoing Brian O’Doherty/Patrick Ireland project, ‘One, Here, Now’, including new work by Brendan Earley, showcased in his solo exhibition, ‘Present Perfect’. In other features for this issue, Jonathan Carroll discusses some of the main international contemporary art fairs attended by Irish commercial galleries, while Christopher Steenson provides an overview of Visual Artist Ireland’s Get Together 2018 and also reports on Sonorities, a sonic arts festival that took place across Belfast in April. In the new Art Education section, facilitators offer insights into ‘I Sing the Body Electric’ – an education programme for the 38th EVA International. Two conference reports also feature: Rebecca Kennedy reports on the Turbulence symposium at The Model, Sligo, while DIT students and inaugural Create fellows, Gemma Browne and Bianca Kennedy, report on the recent CAPP staging event in Madrid.

Organisation profiles for this issue come from Cork: John Thompson outlines the evolution of the artist-led intitiave, the Guesthouse Project, while Kirstie North interviews Mary McCarthy, Director of the Crawford Art Gallery, about her future plans for the gallery, including its renovation and extension.

The Regional Focus for this issue comes from Omagh and Fermanagh. Insights on the realities of living and working in the region are offered by visual artists Helen Sharp and Susan Hughes and sculptor Simon Carman, while Noelle McAlinden discusses the evolution of Fermanagh Live Arts Festival.

Reviewed in the Critique section are: Martin Gale at Taylor Galleries; Elizabeth Magill at the Ulster Museum; Sarah Walker at Oliver Sears Gallery; Gerry Blake at Mermaid Arts Centre; and Leo Boyd at Atom Gallery, London.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundup, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The latest issue of the Visual Artists’ News Sheet is a special issue focusing on the infrastructure and supports in place for emerging artists nationwide. A range of specially commissioned extended essays, profiles and case studies offer practical advice across a range of themed sections including: Galleries & Workspaces; Residencies; Graduate Awards & Opportunities; Postgraduate Education; Career Development and a Critique section focused on exhibition featuring emerging artists.

Hugh Mulholland talks about how artists might work with different types of galleries throughout their careers. Mark Garry discusses strategies for sustaining your practice after graduation. In addition, Christopher Steenson outlines some of the main considerations when renting an artist’s studio. Elsewhere, Jonathan Carroll outlines some of the main long-running opportunities for emerging artists north and south, including prominent graduate awards and annual open-calls, while Suzanne Walsh provides an extended overview of residency programmes nationwide. Joanne Laws offers advice on artist statements, CVs and public engagement, and also interviews emerging artists Cecilia Dannell, Marcel Vidal and Bassam Al-Sabah. Pádraic E. Moore also reflects on the realities of working as a freelance curator.

In the critique section, Colin Martin reviews Bren Smyth’s show, ‘Substance of Things’, at Pallas Projects/Studios; Áine Philips reviews ‘Outflow’ at 126 Artist-Run Gallery, featuring Ronnie Hughes and Evgeniya Martirosyan. John Thompson gives his take on Klaudia Olszyńska’s exhibition ‘51.791384, -8.291099’ at Studio 12, Backwater Artists Group in Cork. Colin Darke also reports back with his thoughts on ‘A composition of she’, by Justine McDonnell, at Golden Thread Gallery, Belfast.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The final issue of 2018 is loosely themed around several prominent anniversaries being celebrated this year, offering a retrospective glance at the evolution of various Irish arts organisations.

Given the upcoming 40th anniversary of Visual Artists Ireland in 2020, we are currently working on the SSI/VAN archive (which extends back to 1980), with a view to mobilising some of this archival material during VAI’s anniversary year.
This issue inclues an edited version of an important panel discussion, organised as part of a year-long programme to mark the fortieth anniversary of the Douglas Hyde Gallery. In other organisation profiles, Declan Long reflects on 30 years of the Kerlin Gallery, while Pádraic E. Moore interviews Oonagh Young about the tenth year of her Dublin gallery. In the Belfast context, Siobhán Kelly outlines upcoming events to mark 25 years of Catalyst Arts, while Jane Morrow discusses the 25th anniversary of the University of Atypical. This year also marks the fiftieth anniversary of Derry’s Civil Rights Movement, so we asked Sara Greavu to interview artist Helen Cammock about her new film, The Long Note, commissioned by Void, Derry, which explores the involvement of women in the 1968 movement. Annette Maloney, Sinead O’Reilly and Sally O’Leary reflect on another key anniversary for the Irish visual arts – 40 years since the launch of the Per Cent for Art scheme.

We also have reports on several long-running projects: Nathan O’Donnell discusses various strands of the ongoing public art project, ‘In Context 4’, while Gráinne Coughlan reports on ‘Practice and Power’, the closing event of a four-year European project led by Create. International perspectives are offered by Kathy Tynan, who reports from her residency at the Cité Internationale des Arts in Paris, and Jonathan Carroll, who discusses the Dora García retrospective at the Museo Reina Sofía in Madrid.

The Regional Profile for this issue comes from County Clare, with organisational insights from Conor McGrady (Dean of Academic Affairs at Burren College of Art), Sinead Cahill (Gallery Manager at Glór, Ennis) and Anne Mullee (Curator of Courthouse Gallery & Studios, Ennistymon). Michaële Cutaya reports from ‘Out of Place’, a recent exhibition and seminar at Courthouse, while artists Amanda Dunsmore, Tanya Harris and Kaye Maahs discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Lavish and Judicious’ at CCA Derry-Londonderry; Theresa Nanigian at Highlanes Gallery; Phil Collins at The MAC; ‘Museum of Mythological Water Beasts’ at Ormston House; and ‘My comfort and my joy’ at the Douglas Hyde Gallery. As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In columns for this issue, Miriam Logan outlines some philosophical perspectives on activating creativity and Róisín Kennedy reviews the recently published collection of Brian O’Doherty’s letters, edited by Brenda Moore-McCann. Maeve Mulrennan discusses the recent ‘Reframing the ‘90s’ conference in UCC and Crawford Art Gallery, Cork, while Diana Bamimeke reports on ‘Winter Seminar: The Lives of Artists’ at TBG+S and the RHA. In this issue’s regional column, Manuela Pacella discusses recent exhibition highlights in Northern Ireland.

Career Development articles come from Pádraic E. Moore, who interviews Irish artist Doireann O’Malley about her recent solo exhibition at Dublin City Gallery The Hugh Lane, and Róisín Power Hackett, who reflects on her recent performance event at The LAB Gallery, which included mentorship with Amanda Coogan.

Evgeniya Martirosyan reports on her recent residencies in the Tyrone Guthrie Centre and Praksis, Oslo, while Christopher Steenson interviews Danny McCarthy and Mick O’Shea about their recent collaboration, which emerged out of their participation in the Rauschenberg Residency on Captiva Island, Florida.

In the How is it Made? section, Veronica O’Neill reflects on Clea Van de Grin’s touring show, ‘Jump’, and Michele Horrigan describes the folklore underpinning her recent exhibition, ‘Where Does The Law Stand With Leprechauns?’ at The LAB Gallery, Dublin. Áine Phillips reviews TULCA Festival of Visual Arts 2018, curated by Linda Shevlin, and Aidan Kelly Murphy interviews Eoin O’Dowd about Dublin’s former Eight Gallery. Coverage of recent VAI Events includes Chris Steenson’s report on the various happenings at this year’s Belfast Open Studios, and Kevin Burns’s review of the final iteration of the New Spaces project.

The Regional Profile for this issue comes from County Mayo, with organisational insights from Orla Henihan (Linenhall Arts Centre), John McHugh (Custom House Gallery), Ronan Halpin (Achill Artists Group) and Edward King (Heinrich Böll Residency). In addition, artists Norah Brennan, Breda Burns and Saoirse Wall discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Infrastructures of Now’ at NCAD Gallery; Maud Cotter at Limerick City Gallery of Art; ‘Manmade’ at Millennium Court Arts Centre; Tomas Penc at Triskel Christchurch; and Chris Doris at The Model.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In columns for this issue, Sarah Durcan outlines her ongoing research project, ‘The Memory-Image’, as well as a related screening event at the Irish Film Institute in January. Sara Greavu discusses the evolution of CCA Derry’s dedicated reading group, booksvscigarettes, which aims to bring concentration and care to a range of texts, through the attentive act of communal reading. The Skills Column for this issue comes from James L. Hayes, who discusses experimental casting processes, technologies and materials, as well as the most recent iteration of his ongoing ‘Iron-R’ project. Reflecting on the many uncertainties currently facing artists in Northern Ireland, VAI NI Manager Rob Hilken outlines the challenges of the new social security payment, Universal Credit.

This issue features several interviews with artists whose exhibitions are currently showing nationally or internationally. Joanne Laws interviews Nick Miller about the evolution of his painting practice and his exhibition, ‘Rootless’ – currently showing at Art Space Gallery in London – while Chris Hayes speaks to Grace Weir about her current exhibition, ‘Time Tries All Things’, at The Institute of Physics, London. Both exhibitions run until the 29 March, Brexit day, after which time the shipping of artworks to and from the UK is likely to become more complicated. In addition, Andrea Neill interviews Martina Coyle about her upcoming exhibition, ‘Paradise Is Too Far’, which will open on 30 March at Áras Inis Gluaire Gallery, Belmullet, County Mayo.

Recent Sligo IT graduate, Hazel McCrann, discusses her art practice and her recent show, ‘Peripheral Visions’, which ran at the Hyde Bridge Gallery, Sligo, as part of her Graduate Solo Exhibition Award. Melissa O’Faherty and Kiera O’Toole explain the evolution of the Irish contemporary drawing collective, Drawing de-Centred, while Tobi Maier discusses his recent curatorial residency at The Glucksman and his stay in Carraig-na-gcat, County Cork. In her extended essay, entitled ‘Seeing the Light’, Renata Pekowska reflects on several recent exhibitions across Ireland dedicated to the medium of light. In the Artist Publishing section, Annabel König discusses two of her recent publications, which use Maslow’s ‘Hierarchy of Needs’ as a point of departure.

The Regional Focus for this issue comes from Cork city, with profiles from: The Glucksman; Crawford Art Gallery; Backwater Artists Group; National Sculpture Factory; and Cork Artists Collective and The Guesthouse. Recent CIT graduate, Ciara Rodgers, outlines her research, as part of the MA Art & Process (MA:AP), and Cork-based artists Ailbhe Ní Bhrian and Darn Thorn discuss their recent work.

As ever, we have reviews of recent exhibitions, details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

This issue includes a brief focus on prominent national art collections. Discussing the 60-year evolution of the Niland Collection, Emer McGarry, Director of The Model, highlights collecting and ‘keeping’ as active investments in building ‘living repositories’ of thoughts and ideas. As the Arts Council of Northern Ireland launches its new Art Lending Scheme, Suzanne Lyle, Head of Visual Arts, discusses their contemporary collection. Similarly, Eamon Maxwell offers insights into the evolution of the Arts Council of Ireland Collection, which was established in 1962. VAI NI Manager, Rob Hilken provides an overview of art collections in Northern Ireland.

Several feature articles focus on recent or ongoing archival projects. Val Connor and Dorothy Hunter offer insights into ‘The Long Goodbye’ – an exhibition focusing on the late 1990s as a pivotal stage in the 50-year history of Project Arts Centre. In a similar recollective vein, Christina Mullan profiles the Stephen McKenna retrospective, currently showing at VISUAL Carlow, while Pádraic E. Moore discusses the cultural nostalgia underpinning ‘The Last Great Album of the Decade’, a group exhibition at The LAB Gallery, Dublin. In addition, Vukašin Nedeljković discusses his ongoing project, Asylum Archive, which documents Ireland’s Direct Provision system.

We are delighted to publish a review by Lily Cahill, winner of the VAI/DCC Art Writing Award 2019, which offers vibrant reflections on Michelle Doyle’s exhibition, ‘Obedient City’ (13 – 23 September 2017), at A4 Sounds Gallery, Dublin. Also in this issue, Jonathan Carroll speaks to artist Eva Rothschild, who will represent Ireland at the 58th International Venice Biennale (11 May – 24 November 2019).

In other feature articles, artist Karen Hendy reflects on her recent residency at Siamsa Tíre, while Aidan Kelly Murphy speaks to a group of artists who have created a temporary studio space in north inner-city Dublin. Julia Moustacchi discusses the benefits of Visual Thinking Strategies for Irish galleries, while Denis Farrell describes the evolution of Lodestar School of Art, an alternative summer residency in Glenstal Abbey.

The Regional Focus for this issue comes from County Westmeath, with profiles from Luan Gallery, Chimera Art Gallery, Shambles Art Studios. Westmeath-based artists Celine Sheridan and Liz Johnson discuss their recent work.

Reviewed in the Critique section are: Sam Reveles at Butler Gallery; Anita Groener at The Dock; Geraldine O’Sullivan at Uillinn: West Cork Arts Centre; Walker and Walker at IMMA; and ‘MAKing Art: The PAINTing Exhibition’ at Draíocht.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

For VAN’s summer issue, Joanne Laws and Alan Phelan provide thematic appraisals of the 58th Venice Biennale, while Pamela Lee reports from Art Basel and VOLTA Basel art fairs.

This issue includes a number of timely interviews with artists and curators. Chris Clarke speaks to Richard Proffitt about his recent installation, May the Moon Rise and the Sun Set, for Cork Midsummer Festival, and Paul McAree interviews Niamh O’Malley, whose exhibition is currently showing in St Carthage Hall, as part of the Lismore Castle Arts programme.

Pádraic E. Moore speaks to Annie Fletcher, who has recently been appointed as the Director of the Irish Museum of Modern Art, while Philip Kavanagh interviews Rua Red Director Maolíosa Boyle about the organisation’s recent exhibitions and collaborations. Manuela Pacella also interviews Paul O’Neill about his curatorial practice and his artistic directorship at PUBLICS in Helsinki.

Also focusing on the Finnish art scene, Jonathan Mayhew reports from Helsinki, about his experiences taking part in the TBG+S and HIAP International Residency Exchange. Similarly, Lucy Andrews reports from her recent residency and exhibition at Leitrim Sculpture Centre, while Ian Wieczorek contextualises his latest exhibition, ‘Transgress’, at Ballina Arts Centre.

In columns for this issue, Sarah Lincoln discusses research recently undertaken by The Mothership Project. In two fascinating Skills columns, contemporary textile artist Laura Angell discusses the Bargello embroidery technique, while Cornelius Browne provides insights into the practicalities of painting outdoors.

Insights into arts engagement are also provided by Jan Powell, who explores the processes of artistic collaboration, and Ann Quinn, who profiles her ongoing masterclasses in painting and printmaking. We also hear from our VAI Northern Ireland Manager, Rob Hilken, who reports on the artist talks and panel discussions, held as part of the VAI Get Together 2019, which took place on 14 June at TU Dublin Grangegorman.

The Regional Focus for this issue comes from Derry City, with profiles from Art Arcadia, Clarendon Studios, Nerve Gallery and CCA. Derry-based artists James King and Gail Mahon also discuss their practice and recent work.

Reviewed in the Critique supplement are: Hannah Fitz at Kerlin Gallery; Karen Daye-Hutchinson at ArtisAnn Art Gallery; ‘See you tomorrow’ at Sirius Arts Centre; ‘Social Commons’ at Liberty Hall; and ‘A Visibility Matrix’ at Void Gallery, Derry.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. VAN’s 2019 themed issue focuses on contemporary Irish photography and moving image, probing the expanded parameters of each medium in the digital age. With an abundance of image-making technologies now readily at hand within our daily lives, this issue considers how static and moving images are created, disseminated, consumed and stored. In technical terms, it has never been easier to produce images; however, some argue that with the plenitude of media now available, it is becoming harder to create images that are culturally relevant or interesting.

As evidenced throughout this issue, such inquiries manifest in current artistic practice through rejections or subversions of digital technologies. This includes a resurgence of analogue production and presentation formats, leading to the creation of deliberately flawed images, which sit in opposition to the ‘non-reality’ fostered by digital post-production. In addition, many artists are engaged in a ‘reassertion of objecthood’, often involving the assemblage of pre-internet material, including printed matter, found photographs or archival footage. This, in turn, creates physical repositories of knowledge, with the space of the exhibition – characterised by non-linear, sculptural or immersive installations – being pivotal to encounters with lens-based work.

Central to this themed issue are interviews with artists at various career stages, who work with photography – namely Roseanne Lynch, Darn Thorn, Róisín White, Dragana Jurišić, Ciarán Óg Arnold, Locky Morris, Vera Ryklova and Fanfa Otal Simal – as well as artists working predominantly with moving image, such as Gerard Byrne, Clare Langan, Myrid Carten, Eoghan Ryan, Emily McFarland, Bassam Al-Sabah, Frances Hegarty & Andrew Stones, Kevin Atherton and Atoosa Pour Hosseini.

This issue features two specially-commissioned essays: Alice Butler provides a survey of contemporary Irish moving image practice; while Justin Carville outlines the significance of ‘place’ in Irish photography. This issue also profiles Irish organisations, such as the production facilities, The Darkroom and Digital Arts Studios, and the Gallery of Photography Ireland. Recent film screenings are profiled – namely ‘Snapshots’ at Dingle International Film Festival and aemi’s recent touring film programme, curated by Sarah Browne – as well as prominent photography and moving image exhibitions, including: ‘The Parted Veil’ at The Glucksman; ‘New Irish Works 2019’ at PhotoIreland Festival; and ‘Screentime’ at the Green on Red Gallery.

Offering archival perspectives, Fifi Smith outlines the evolution of the MExIndex, a database of Irish moving image works, while Seán Kissane discusses the David Kronn photographic collection, gifted to IMMA. Dialogue surrounding photographic and moving image practice is fostered through contributions from John Duncan, editor of Source Photographic Review, and University of Ulster lecturer, Clare Gallagher, who discusses her practice-based PhD.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. The final issue of 2019 profiles a range of significant projects including: Dorothy Cross’s recent performative event, Heartship; Sinead McCann’s socially-engaged project, film and touring exhibition, The Trial; and Eimear Walshe’s recent commemorative project, commissioned by Roscommon County Council. In addition, Ailve McCormack visits current Turner Prize 2019 nominee, Tai Shani, in her studio at Gasworks, London.

Shifting our focus to the island of Syros in Greece, Christopher Steenson, reports on the site-specific sound residency, Sounding Paths 2019, which he attended in July, while Andrew Duggan discusses his presentation of unravel_rios at Eye’s Walk Digital Festival. In other festival profiles for this issue, Chris Clarke discusses his highlights from Middleborough Art Weekender 2019, and Sandra Corrigan Breathnach reports on ‘Somatic Distortion’, a two-day performance art event that took place across the town of Manorhamilton.

This issue features a broad range of interesting columns, including reviews of two recently published books: Sarah Pierce looks at Reclaiming Artistic Research; while Astrid Newman offers an appraisal of Curating After the Global: Roadmaps for the Present. Skills Columns by Cornelius Browne and Fiona O’Dwyer outline the logistics of outdoor winter painting and bronze age casting techniques respectively. In addition, Matt Packer introduces a new series of columns, addressing the concept of internationalism within current curatorial discourse.

Following recent queries from VAI members about artist catalogues raisonnés and GDPR protocol, we invited contributions from Toby Treves (International Catalogue Raisonné Association), Carl Schmitz (Catalogue Raisonné Scholars Association) and David Murphy (Data Protection Commission), who each offer a range of practical guidelines for artists on these subjects.

The Regional Focus for this issue comes from County Wexford, with insights from Cow House Studios, Geordie Gallery, Wexford Arts Centre and Wexford Arts Office. Visual artists local to and originating from the Wexford region, such as Julia Dubsky, Aileen Murphy, Helen Gaynor and Nadia Corrdian also reflect on the evolution of their respective practices.

Reviewed in the Critique Supplement are Sarah Long at Studio 12, Backwater Artists Group; Joanne Boyle at Mermaid Arts Centre; Claire Halpin at Olivier Cornet Gallery; David Bickley at Uillinn: West Cork Arts Centre; and ‘Open Minds’ at Rua Red.

As ever, we also have details of upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and current opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

The January – February 2020 issue of The Visual Artists’ News Sheet is out now. The first issue of 2020 introduces Visual Artists Irelands’s new discursive programme, ‘VAN Chats’, which aims to further emphasise our publishing activities through a series of public talks and events. Following a screening event at Project Arts Centre organised by VAI, Lívia Páldi interviews artist Kader Attia about his research and practice. Also in this issue, Joanne Laws interviews Kunstverein Braunschweig curator Raoul Klooker, ahead of group critique workshop and talk on queer artistic practices, which takes place on 7 February at Visual Artists Ireland’s Dublin office.

Continuing his column on plein air painting, Cornelius Browne reflects on what the New Year can bring, both in life and in painting. In his ongoing column, dealing with the subject of internationalism, Matt Packer considers the distributive powers of art world communication, while Emer Lynch reflects on ‘No Longer Peripheral’ – a screening event and symposium organised by aemi. On the subject of artist publishing, Bryan Hogan discusses the themes underpinning his recent photo book, From Where the Heart Is (2019), while Jo Melvin discusses ‘Publication Scaffold’ – a series of talks and events she organised (in collaboration with Irish artists Michelle Horrigan and Sean Lynch), as part of Temple Bar Gallery + Studios’ Dublin Art Book Fair 2019.

This issue features three festivals profiles. Offering a glimpse of the international scene, Logan Sisley reviews the Singapore Biennale 2019. In the Irish context, Hilary Morley reviews Galway’s TULCA Festival of Visual Arts 2019 and we also hear from some of the artists developing new work for the 39th EVA International as part of the biennale’s Platform Commissions. In other feature articles, Susan Thomson profiles the work of the Belfast art collective Array at Jerwood Arts in London; Aidan Kelly Murphy interviews Marysia Wieckiewicz-Carroll about the evolution of Berlin Opticians Gallery; while artists Sarah Browne and Vanessa Daws each reflect on their recent public art projects.

The Regional Focus for this issue comes from County Offaly, with insights from Birr Theatre & Arts Centre and Offaly Arts Office, as well as visual artists Julie Spollen, Brendan Fox, Veronica Nicholson, Micheál O’Connell and Claire Guinan, who each reflect on the evolution of their respective practices.

Reviewed in the Critique Supplement are ‘Over Nature’ at Rathfarnham Castle; Eoin McHugh at Kerlin Gallery; ‘Scaffold’ at The Bomb Factory Art Foundation; Camille Souter at Custom House Studios Gallery; and Doireann Ní Ghrioghair at Pallas Projects/Studios.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and listings of current artist opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

We are thrilled to present VAN 100 – the 100th issue of The Visual Artists’ News Sheet – which coincides with the 40th anniversary of Visual Artists Ireland this year. For these reasons, we are celebrating the organisation’s origins in sculpture, with this special issue. Central to VAN 100 is a specially commissioned survey, Four Decades of Irish Sculpture, profiling significant sculptural works from the last 40 years.

In addition, we present a series of Artist Interviews between artists at different career stages, with the aim of generating expanded discussion on the nature of Irish sculpture. Offering insights into their working methods, research and materials are conversations between Katie Watchorn and Matt Calderwood; John Rainey and Janet Mullarney; Aoibheann Greenan and Andrew Kearney; Jane Fogarty and Isabel Nolan; Sam Keogh and Anne Tallentire; Avril Corroon and Kathy Prendergast.

This issue also features profiles of some of the country’s main Sculpture Centres and an extensive series of Columns. Paula Murphy outlines Ireland’s main sculpture collections, while Karen Downey introduces the upcoming Sculpture Dublin programme. We also have archival insights from NIVAL and the Barry Flanagan Estate, while current postgraduate research is discussed by Chloe Austin and Audrey Walshe.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and listings of current artist opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

Magnhild Opdøl ‘point of no return’, installation view, Butler Gallery, Kilkenny, image courtesy the artist

Magnhild Opdøl
‘Point of No Return’
Butler Gallery, Kilkenny
15 June – 28 July 2013

Entry into ‘point of no return’ first brings viewers into contact with four pairs of vintage postcards depicting deer. The pairings, all of which share the title some sort of truth, are striking for their similarities and dissimilarities. For example, one presents two versions of the same picture – in colour and in black and white – but the proportion of the images differ slightly and the names of the locations printed on the postcards do not completely agree. In another set we cannot know which scene is correct. One is obviously right way round; the other has been printed in reverse. A third pairing offers two views of the same animals, but the angles from which they have been photographed are not the same. Looking at them perplexes the viewer.

They operate as visual puzzles, but their exact meaning eludes detection. On one hand these curious and quaintly nostalgic mementos appear meaningless; on the other the array of discrepancies holds my attention. As the eyes dart back and forth absorbed in a comparison of features, the mind attempts to discover the purpose of these works. During this process, I imagine that the images refer to the representation and misrepresentation of animals, or the historical practice of commercialising and romanticising nature, or even the many symbols represented by deer – but none of these ideas seem to capture the gist. Opdøl’s pairings hover in an ambiguous realm. Situated between falseness and verity, these ersatz depictions not only sidestep triteness, they also introduce us to a gnawing tension that pervades the entire exhibition.

What surprised me, though, is how Opdøl explores this sense of unease through vastly divergent themes and materials. She not only expands on the use of deer imagery, but also includes junk food and its packaging, matches and a candle, and scenes of nature and abandoned wooden buildings in works that reference Nordic and North American forests, animated film and the television series Twin Peaks. Her expansive work We’re afraid to go home in the dark features dozens more postcards of deer in which the artist has blacked out all or most of the background. The technique bestows a caught-in-the-headlights kind of look to these animals, which simultaneously proffers feelings of fear and surprise. In the same space, Fawn, a tiny bronze Bambi-like figure imprisoned under a glass dome, seems poised for escape, if only that dome were to be lifted. Its face is oriented not to viewers, but toward the gallery wall.

Further along, 299 stacked pink doughnut boxes evoke hollow sweetness and emotional eating. Titled Invitation to Love, the sculpture borrows its rubric from the fictional soap opera – a show-within-a-show – that appeared in the first season of Twin Peaks. The structure is preceded by Pilot, an unfolded and framed sample box that delineates the product in its original and unassembled state. Themes of light and darkness populate the third gallery. Here Opdøl presents The Silence After, a pencil rendering of a compact and anonymous forest space just after a heavy fall of snow. Illuminated in the weak light of winter, the frosty scene conveys a powerful sense of stillness. This impression is amplified by Being in Darkness, a bronze sculpture of a burnt out candle and two used matches, and the drawing Three days later that represents the same pair of matches. Together they evoke a potential crisis as they intimate a loss of heat and light.

In the fourth and final gallery, the juxtaposition of several old, scratched and faded forest views with a substantial number of bronze doughnuts creates a bittersweet apposition. The dilapidated state of the buildings in the photographs express abandonment, finality and decay, yet the shiny bronze doughnuts offer a powerful distraction to these sombre documents. Calling up cliché jokes about police officers predisposed to consuming empty calorie foods, these objects also immortalise these fluffy, deep fried rings of dough. Their presence not only attracts attention, it also averts it. Unlike Claes Oldenburg’s amusingly soft and oversize hamburgers, which celebrate the everyday, Opdøl’s accurately scaled and weighty trinkets express something more sinister. She has called them The Necessary Lie.

‘point of no return’ is devised of multiple and diverse pairings that consist of likenesses, faint echoes and contrasts, speaking of the richly textured world around us. Presenting examples ranging from the bland to redolent, exact to inexact, and unique to mass produced, Opdøl depicts this world as a place of sudden changes, consequences and risk, obsessive habits and misplaced desires, and where our relationship to and understanding of nature has eroded.

John Gayer is a writer / artist based in Dublin.