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Irish Glass Biennale 2019

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Irish Glass Biennale 2019 Kevin Killen: LUX, 2018, neon installation, photo: Brendan Bell and Luca Piffaretti Irish Glass Biennale 2019 Was fällt Ihnen spontan ein, wenn Sie an irisches Glas What immediately comes to mind when you think of denken? Einige sehen vor ihrem geistigen Auge sofort Irish glass? For some it’s still the image of tableware in Festtafeln in feudalen georgianischen Salons oder splendid Georgian drawing rooms or the ecclesiastical die von führenden Vertretern der irischen Arts-and- stained glass created by leading exponents of the Crafts-Bewegung wie Harry Clarke und Wilhelmina Irish Arts & Crafts movement such as Harry Clarke and Geddes geschaffenen Kirchenfenster. Andere denken Wilhelmina Geddes. For others it might be Ireland’s vielleicht an Irlands Geschichte der Glasproduktion history of production glass in the twentieth century, in im 20. Jahrhundert und dabei insbesondere an die particular Waterford Crystal’s dominance as a global Dominanz von Waterford Crystal als Marktführer. brand. elche Zeit auch immer, es scheint, dass, hatever the period, it seems that Ireland’s past sprechen wir von Glas, Irlands Vergangen- is still very much present when we talk about W heit allgegenwärtig ist. „Unsere Geschichte W glass. ‘Our history is still on the mindset of a lot steckt noch immer in den Köpfen vieler Leute“, bestä- of people’, suggests Dr Audrey Whitty, Head of Collections tigt Dr. Audrey Whitty, Leiterin der Abteilung Samm- and Learning at the National Museum of Ireland. But lungen und Kunstvermittlung am National Museum of she also believes that modern and contemporary glass Ireland. Dennoch ist sie überzeugt, dass auch Irlands practice in Ireland is well respected internationally, 18 NEUES GLAS – NEW GLASS: art & architecture mentioning artists such as Debbie Dawson and Peadar Lamb, who have successfully developed new audiences for stained glass, and Northern Ireland artist Alison Lowry who uses glass as a medium to explore serious societal issues such as child abuse and domestic violence. Her work, previously featured in NEUES GLAS- NEW GLASS: art & architecture*, is now the subject of a major exhibition at the National Museum of Ireland. Dr Whitty has now been invited to chair a panel at a forthcoming symposium in Dublin. It‘s one of a series of events taking place during the forthcoming Irish Glass Biennale [IGB]. The inaugural IGB in 2017 was modest in scale. However this time around the event has grown; applications have doubled and the exhibition will take place from 23rd October 2019 to 7th January 2020 at a new venue, the Coach House Gallery, Dublin Castle. This move is seen as significant, bringing the event into the cultural heart of Dublin where it has the potential to reach a wide audience. IGB 2019 is co-funded by Creative Europe, as part of their ‘Imagining Sustainable Glass Network Europe’ [ISGNE] project, a partnership between North Lands Creative, Berlin Glas e. V., Ltd. Stikla Maja Latvia and the National College of Art and Design [NCAD] Ireland. The overall objective of the project is presenting and challenging international perspectives of glass, and exploring its potential as creative expression. The IGB was curated through an open call to both established and emerging practitioners with a selection panel comprising three international jurors: Reino Liefkes, Senior Curator and Head of Ceramics and Glass, V&A, London, Diane C. Wright, Curator of Glass and Decorative Arts, Toledo Museum of Art, and Paula Stokes, Artist and Co-Founder of the METHOD Gallery, Seattle. moderne, zeitgenössische Glasszene weltweit ange- sehen ist. Als Beispiel nennt sie Künstler wie Debbie Dawson und Peadar Lamb, die für die Glasmalerei erfolgreich ein neues Publikum gewannen, sowie die nordirische Künstlerin Alison Lowry, die mittels Glas gesellschaftliche Probleme wie Kindesmissbrauch und häusliche Gewalt thematisiert. Das National Mu- seum of Ireland widmet jetzt dieser Künstlerin und ihren Arbeiten, die schon einmal in NEUES GLAS-NEW GLASS: art & architecture vorgestellt wurden*, eine große Ausstellung. Auf Einladung wird Dr. Whitty auch im Rahmen des Begleitprogramms zur kommenden irischen Glas- biennale (IGB) in Dublin ein Symposium leiten. Die erste IGB fand 2017 statt und war bescheiden im Umfang. Inzwischen ist sie gewachsen; die Zahl der Anmeldungen hat sich verdoppelt. Zu sehen ist die Ausstellung vom 23. Oktober 2019 bis zum 7. Januar 2020 an neuem Ort in der Coach House Gallery, Dub- lin Castle. Der Standortwechsel dürfte von Bedeu- Kamila Mroz: Christ of the nations?, 2017, high frequency driven single electrode plasma sculpture, flameworked borosilicate glass, 55x60x30 cm, photo: Magdalena Wodarczyk No. 4/2019 19 tung sein, denn die Veranstaltung zieht damit direkt Dr Caroline Madden, from NCAD, hopes that the new ins kulturelle Herz von Dublin und erreicht so eine venue, longer exhibition run and addition of a number breite Öffentlichkeit. of supporting events will provide the impetus this time Die IGB 2019 wird co-finanziert von Creative Europes around to test many more ideas relating to practices in ‚Imagining Sustainable Glass Network Europe‘-Projekt art, craft, design, collecting, curatorship and critique. (ISGNE), ein Kooperationsprogramm zwischen North ‘Essentially’, she says, ‘we want more people to have a Lands Creative, Berlin Glas e.V., Ltd. Stikla Maja Latvia conversation with glass.’ A tireless advocate for glass in und dem irischen National College of Art and Design Ireland, Dr Madden is acutely aware of the challenges (NCAD). Deren gemeinsames hauptsächliches Anlie- encountered by those who work in the industry. These gen ist es, internationale Perspektiven von Glas aufzu- range from the practicalities of living on an island zeigen und zur Diskussion zu stellen und sein Potenzial [getting materials in and work out], to the lack of als Medium des kreativen Ausdrucks auszuloten. Ku- opportunities that currently exist for engagement ratiert wurde die IGB über eine offene Ausschreibung and collaboration. She sees the IGB as offering great für Glasschaffende, ganz gleich, ob etabliert oder noch potential for cross fertilisation through activities and nicht, mit einer dreiköpfigen internationalen Auswahl- the chance for students and practitioners to experience, jury. Diese bestand aus Reino Liefkes, Seniorkurator first hand, the work of the award winning international und Leiter von Ceramics and Glass, V&A, London, Dia- names, who have been selected to exhibit. This include ne C. Wright, Kuratorin für Glas und Kunstgewerbe am the sculptural works of Canadian artist Jenny Judge, Toledo Museum of Art sowie Paula Stokes, Künstlerin Danish artist Morten Klitgaard, the Guatemalian born und Mitbegründerin der METHOD Gallery, Seattle. María Renée Morales Lam, American artist Morgan Dr. Caroline Madden vom NCAD hofft, dass der neue James Lethbridge: Madison, British artist Carrie Fertig and the jewellery of Acanthus in Gold, Ort, die längere Ausstellungsdauer und die beglei- Silver & Copper, 2019, Israeli artist Nirit Dekel. tenden Veranstaltungen Ansporn für weitere Ideen in borosilicate flame NCAD is currently the only third level college in Ireland Sachen Kunst, Kunsthandwerk und Design, Samm- worked components, with hot glass facilities, while outside of the college internally gilded in lungen, Kuratorenwesen, Kritik und Würdigung sein 24ct gold leaf, silver environment, facilities are limited and so students tend werden. „In erster Linie“, so Dr. Madden, „wünschen leaf and copper leaf, to go abroad and when they do, they tend to stay. For 30x50x20cm, weight wir uns, „dass mehr Menschen sich von Glas angespro- 3kg, photo: James example other exhibitors at the 2019 IGB include the two chen fühlen.“ Als unermüdliche Botschafterin für Glas Lethbridge NCAD graduates Edmond Byrne and Laura Quinn. Byrne 20 NEUES GLAS – NEW GLASS: art & architecture in Irland kennt sie all die Schwierigkeiten, mit denen María Renée Morales went on to complete an MA in Glass at the Royal College Lam: Silent Stories sich diejenigen herumplagen müssen, die in diesem Of Interaction - of Art, London in 2008 and now lives and works in the UK Fach arbeiten. Das reicht von alltäglichen Problemen Revolution, 2019, while Quinn has just completed an MA in 3D Design Crafts vom Leben auf einer Insel (Material herbeischaffen The Billiards Room, at Plymouth College of Art. She sees emigration as still catalogues, a und Werke hinaus) bis zu den fehlenden Möglichkei- print, blown glass, one of the main options for Irish graduates in glass who ten von Engagement und Zusammenarbeit. Für Dr. dimensions variable, wish to keep working in the field. Describing herself as photo: Ida Halling Madden ist die IGB eine großartige Gelegenheit, durch a designer with a practice that is material and process zahlreiche Aktionen zu einem fruchtbaren Miteinan- led, her jewellery, in blown glass and recycled rubber, der und Austausch zu gelangen, und eine Chance für also features in the exhibition. Quinn is one of a number Studierende und Kunstschaffende, die preisgekrönten of young designers who are keen to change perceptions Werke der für die Ausstellung ausgewählten, internati- around the fragility of glass and ‘open up the conversation onalen Künstler und Künstlerinnen im Original zu sehen. that it can be worn and can be flexible and moveable.’ Cathryn Shilling: Consonance, 2019, kiln formed glass cane with metal, 36x50x15 cm, photo: Ester Segarra David Reekie: Temptation of Lies III, 2018, lost wax cast glass, 33x40x33 cm, photo: Pam Reekie No. 4/2019 21
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