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Circa 124 Contemporary Visual Culture in Ireland Summer 2008 | ¤7.50 £5 Us$12 | Issn 0263-9475

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Circa 124 Contemporary Visual Culture in Ireland Summer 2008 | ¤7.50 £5 Us$12 | Issn 0263-9475 CIRCA 124 CONTEMPORARY VISUAL CULTURE IN IRELAND SUMMER 2008 | ¤7.50 £5 US$12 | ISSN 0263-9475 c . ISSN 0263-9475 Contemporary visual culture in circa Ireland ____________________________ ____________________________ 2 Editor Subscriptions Peter FitzGerald For our subscription rates please see bookmark, or visit Administration/ Advertising www.recirca.com where you can Barbara Knezevic subscribe online. ____________________________ Board Circa is concerned with visual Graham Gosling (Chair), Tara culture. We welcome comment, Byrne, Mark Garry, Georgina proposals and written Jackson, Darragh Hogan, Isabel contributions. Please contact Nolan, John Nolan, Hugh the editor for more details, Mulholland, Brian Redmond or consult our website www.recirca.com Opinions ____________________________ expressed in this magazine Contributing editors are those of the authors, not Brian Kennedy, Luke Gibbons necessarily those of the Board. ____________________________ Circa is an equal-opportunities Assistants employer. Copyright © Circa Amanda Dyson, Astrid Lucas, 2008 Seanán Oliver Manfred Kerr ____________________________ ____________________________ Contacts Designed/produced by Circa Peter Maybury 43 / 44 Temple Bar www.softsleeper.com Dublin 2 Ireland Printed by W & G Baird Ltd, tel / fax (+353 1) 679 7388 Belfast [email protected] www.recirca.com Printed on 115gsm + 250gsm Arctic the Matt ____________________________ ____________________________ c ____________________________ ____________________________ CIRCA 124 SUMMER 2008 3 Editorial 22 | Update 25 | Features 26 | Reviews 60 | Project 107 | (front cover) Bea McMahon The last sandwich stand on earth (detail) 2007 watercolour and granulatedsugar on paper 26 x 32.5 cm courtesy the artist 22 Editorialc c . Peter FitzGerald shorthand, grand theory of sci-fi, the form sci-fi takes among some artists in Ireland is excitingly short-circuited; as Chris Fite-Wassilak outlines in his article here, these artists engage in a disturbing sci-fi of the present; no need for a future identity, the present one is odd enough! As the Wall came tumbling down in 1989, the then chancellor of West Germany, Helmut Kohl, turned two state identities into one with what was probably undue haste. I liked the old East Berlin. When crossing to it via Checkpoint Charlie, the border officer told us that our visas were not valid, and that we would have to go to Alexanderplatz to change them before he could let us through; having disburdened himself of this officialese, he then let us through, probably as the only way of In the animated film Madagascar, four New York zoo reconciling himself with the fact that Alexanderplatz was animals wash up on an unfamiliar tropical shore. One of in East Berlin. A bit like the border officer, East Germany 23 them, Alex the lion, is about to undergo a major identity seems to have been a (pretty grim) place where things crisis in the absence of his normal supply of sirloin steak. worked somewhat, most of the time, with only the fallibility In Dublin, a ‘dead zoo’, the Natural History Museum, of the system to keep it human. Meanwhile, West Berlin is currently washing up on the unfamiliar shore of its own was a draw for youth from across West Germany, future. It’s a museum for which many in Ireland have great as residents were exempt from military service. Now there’s fondness, among them many an aspiring artist. Why? two halves of a city whose identity has been through In her article here, Sherra Murphy mentions one display the mill! In art terms, since ‘the Wall’, we had been hearing in particular, the badgers; its arrangement is more or less how Berlin was ‘the new New York’; now it seems, that of the ‘perfect’ family, human or mammal. Part of our based on David Ulrichs’ trilogy of articles in this issue, fondness for the museum, the zoo, or Madagascar, that Berlin is very much itself, on a grand scale, New York flows from such anthropomorphism, as we project our or no New York. And it’s a pleasure, along the way, to get own concerns onto other critters. But for all its apparent insight into the work of Aleana Egan. Victorian stasis, the Natural History Museum has transformed itself repeatedly since its inception, allowing Finally, a bugbear of many an artist: the curator. some aspects of its identity to match our own, as a society ‘Star’ curators have often sometimes earnt themselves and as a state. a bad name by allowing their vision – their identity – to dominate, forcing the work of exhibited artists into a Facing the future, the identity of the Dead Zoo is in background limbo. In this issue, Peter Murray performs danger, or so it would seem, even though that identity an in-depth analysis of the curator of this year’s ev+a, has never been fixed. Identity is tricky at the best of times, Hou Hanru. It seems Hou’s identity – his origins and and it is something artists negotiate incessantly; artists are preferences – has impacted positively. It is sometimes often acutely uncomfortable about their identities, perhaps said of society and politics in Ireland that we are more at no time more so than when a show of their work is Boston than Berlin; it seems this year’s ev+a has made about to open. Identity can be deliberately blurred, though, Limerick a bit more Bladerunner than, well, Madagascar. sometimes as a strategic move to contest the sway of identity as the thing of most value, the ‘brand’ of the artist; What else? There’s Andy Parson’s project, which tricks and sometimes because two or more minds are more with the individual and the sublime: more identity issues creative than one. In this issue Isobel Harbison and as Caspar David Friedrich’s wanderer gains a hoodie. Ilaria Gianni look at two specific examples of artistic And there’s more, lots more – enjoy! identity-blurring, those of ‘Claire Fontaine’ and of Nina Canell and Robin Watkins. One of identity’s sneakiest tricks is its instability, while the word itself seems to hold the promise of fundamental stability. And one of the ironic tricks of science fiction is to use temporal change – a jump to the future – to scrutinise our current identities; radical change allows a sort of essentialism to emerge, as we are invited to see what is left over from our ‘old’ behaviour. If that is a sort of c . Update ticker Former Director of the Irish Museum of Modern Art, the Orchard Gallery and the City Arts Centre, and current Director of Interface, Declan McGonagle is to be the next Director of the National College of Art and Design, Dublin • Caoimhín Corrigan, Arts Officer of Leitrim County Council, Curator of The Dock in Carrick on Shannon, Circa gratefully and formerly closely involved with Visualise in Carlow, is to be the Republic's next Venice Biennale Commissioner acknowledges the • The Arts Council/ An Chomhairle Ealaíon and The Arts Council of Northern Ireland have announced the desire to support of its cooperate more closely; the most interesting potential change comes in an intention of “harmonising support for Major Supporters, artists.” • At ev+a, Curator Hou Hanru has divided the ¤10,000 prize pot equally, to each of five artists: Alan Partners and Bulfin, Mark Clare, Sarah Hurl, Mairéad McClean and David O'Kane; the John Hunt Residency Award went to Friends. Ruth LeGear; the winners of the Belltable Solo/ Joint To find out more Exhibition Award for 2008 are Angela Darby and Robert Peters • The Oonagh Young Gallery has opened at 1 about the Circa James Joyce Street (formerly Corporation Street), Liberty Corner, Dublin 1 • Painter Eoin MacLochlainn has taken Friends Scheme, this year’s Golden Fleece award, worth up to ¤20,000; merit prizes went to Sharon Lindsay Ferguson, Sylvia please visit Hemmingway and Bob Johnston • This year’s AIB prize, worth ¤20,000, has been won by Jackie Nickerson; the www.recirca.com/ shortlisted artists and their nominating venues were: Joy friends Gerrard – Millennium Court Arts Centre; Eoin McHugh – Temple Bar Gallery and Studios; Jackie Nickerson – Gallery of Photography; Margaret O'Brien – Droichead Arts Centre • Temple Bar, Dublin, has a new art gallery: a Guinness heir has set out his stall in Eustace Street – the Sebastian Guinness Gallery • Belfast-born, Glasgow- residing Cathy Wilkes has been shortlisted for this year’s Turner Prize; Wilkes is a Fine Art graduate of the University of Ulster, the fourth such to be shortlisted for the Prize • Isabel Nolan has won the inaugural Louis O’Sullivan Award, valued at ¤5,000, at Art 08 • The winners of the National Sculpture Factory temporary- art commissions are Cork-based artists Eli Caamaño and Sorcha O’Brien, Chicago-based Iñigo Manglano-Ovalle, and Dublin-based Séamus Nolan. Errata In the review of Alan Phelan’s show at mother’s tankstation in Circa 123, the following mistakes should be noted: The Ralph Gifford photographs were taken during World War I, not II. The planet-destroying star was in Star wars. And the glue used in Pig protester was Evacon-R. c . Features 26 Berlin: 3 angles David Ulrichs (The Berlin gallery scene 28 The 5th Berlin Biennial 31 Artist Profile: Aleana Egan 34 ) | Inner space: Science fiction and Irish art Chris Fite-Wassilak 36 | They’re not going to change it, are they? The Museum of Natural History Dublin as material culture Sherra Murphy 42 | The glue and the wedge: The cases of Claire Fontaine and Canell and Watkins Isobel Harbison and Ilaria Gianni 48 | Hou Hanru: Art, ev+a and the global bazaar Peter Murray 54 | (background) Nina Canell c . Morasko circle, 2007 20 litres of water, bucket, mist-machine, acrylic, snare stand, silicone, hydrophone, lantern, portable PA system dimensions variable courtesy the artist c . David Ulrichs David Ulrichs is an independent art critic and curator living in Berlin; he is the Germany correspondent for La p i z (Spain), <h>art (Belgium) and Circa (Ireland).
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