(Under)Privileged Spaces: On Martha Rosler’s “If You Lived Here…” - Journal #9 October 2009. The big social groups (consisting of classes, parts of classes, or institutions ... ) act with and/or against each other.
From their interactions, strategies, successes, and defeats grow the qualities and “properties” of urban space. —Henri Lefèbvre (Under)Privileged Urban Spaces. Willie Doherty. Fintan O'Toole - Borders and Belonging: British and Irish Identities in a Post-Brexit Era. Feminist economics dept– Cassie Thornton, Feminist Economist. Feminism, Brexit and the Irish Border - The Courtauld Institute of Art. What might a feminist approach to Brexit and the Irish border look like?
In 2017 Northern Irish artist Rita Duffy created an artwork across the Blacklion-Belcoo Bridge, which straddles the Irish-Northern Irish border. Soften the Border (2017) brought together women’s groups from either side to knit brightly-coloured dolls and cushions and installed them on site. How might the work testify to the ties between those living over or between national boundaries?
What does it mean for Northern Irish and Irish women to weave and stitch together such a display of collectivity amidst a climate of right-wing political rhetoric demanding the UK ‘take back control’ and seal its borders? At a time when Brexiteers have been publicly denouncing the 1998 Good Friday Agreement for fear it undermines their desire for a ‘clean break’ from the EU, what are the stakes for the Northern Irish peace process? Cosmic Joe 16mm - Louise Wallace. Martina O'Brien. Distance From Stone - Michelle Doyle Artist. Kathy Prendergast. Ana Mendieta – Kate Chesters Art. Otobong Nkanga tate.org. Explore Otobong Nkanga's new and existing works From Where I Stand is the first UK museum show of artist Otobong Nkanga, whose practice spans tapestry, drawing, photography, installation, video and performance.
The exhibition explores the politics of land and its relationship to the body, and histories of land acquisition and ownership. It will feature new works created especially for the Tate St Ives exhibition, including a wall painting and sculpture, alongside well known works such as The Weight of Scars 2015, Tsumeb Fragments 2015, and From Where I Stand 2015, as well as several paintings and photographs which will be shown publicly for the first time. Otobong Nkanga is one of the most exciting artists working today. Otobong Nkanga Video Interview - politics nature resistance. Otobong Nkanga, 'The Breath From Fertile Grounds', 2017, Installation view, Temple Bar Gallery + Studios.
Photo: Kasia Kaminska 22 January 2018. Seoidín O'Sullivan. Christine AMckey Safe-Hold - ecology, seeds, extinction. Click here to see Exhibition Video Documentation of the exhibition opening nightOpened by author and journalist Paddy WoodworthPhoto credit: Claudio Nego - Photojournalist This exhibition is one outcome of a public art commission under Wexford County Council’s Per Cent for Art - M11 Gorey to Enniscorthy PPP Scheme (2019), whereby a number of sites with pollinator - friendly plants were sown in Gorey.
Mackey worked with local communities to actively engage in solutions for habitat loss and transform underutilized sites into aesthetically pleasing and environmentally sustainable safe-holds that serve as pollinating pastures for our bees to inhabit and for native wild-flowers to take hold. Future plantings are marked for this Spring in Enniscorthy. In-situ in the lower gallery of Wexford Arts CentrePhoto credit: Laurence O'Toole Foxglove (1814-2020)Drawn from ‘herbarium sheets’at the National Botanic Gardens, Dublin84 x 59 cms. Kathy Prendergast - Artists - Kerlin Gallery. B. 1958, Dublin.
Lives in London, UK A sculptor of quiet but immense sophistication, Kathy Prendergast’s work has persistently revolved around a potent cluster of issues, chief among which are sexuality, identity, landscape, mapping and power. Over the past decade, her work has incorporated maps modified in various ways to take on emotional and personal resonances. Though non-didactic, Prendergast’s cartographic interventions also belie shifting power structures, subtly dismantling the narratives of imperialism and colonialism, and revealing the fragility of political gestures through acts of erasure and transformation.
Though enigmatic and eerily beautiful, Prendergast’s works are often marked by a sense of misdirection or loss. Formation dancing with space blankets – and other wild ways to climb a mountain. A cloud is touching the tip of the mountain up ahead and, even though it’s the end of May, pockets of snow still dot the horizon.
The rain, which is falling steadily, runs off Simone Kenyon’s jacket sleeve, landing in fat drops on the pages of the book she’s holding. And yet we sit, three of us, our bottoms sinking into the sodden heather, listening intently to the words she is speaking. Written by the poet and novelist Nan Shepherd, the lines were inspired by the sweeping mountains that surround us, the Cairngorms. Soon I am as lost in the words as I am in the setting. These are the rehearsals for Into the Mountain, a nature-immersed arts event taking place around this part of the Scottish Highlands this week. The groups will set out at 9am, 10am or 1pm. The three groups will rendezvous in a tree-fringed glen at 3pm for a performance of dance and music, the likes of which have never been seen before in these parts.
So Kenyon and Trotman took a different route. Forest by Katie Holten– Emergence Magazine. Emergence Magazine. The Atomic Tree (360) Starling rhodedendron piece - lecture slides.