DOCSLIB.ORG

Pod Three/ Almost Place/ Tour/ Workshop

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pod Three/ Almost Place/ Tour/ Workshop /28 /29 Pod Three/ Pod Three/ Exhibition Almost Place/ One/ Tour/ Workshop/ Pod Three Opening Night Almost Place Wednesday 9 December New Work by Andre Stitt 7:30—9:00pm Exhibition runs from MCAC is thrilled to present newly 10 December—23 January 2010 commissioned work by internationally Artist’s Talk known performance artist Andre Stitt. Wednesday 9 December 6:00—7:00pm Originally from Belfast and now living Location Gallery 1 & 2 in Wales, Stitt presents a site-specific exploration of the ‘new city’ of Craigavon. Tour He investigates memory through the Looking at the work produced for this exhibition, interrogation of space as a primary vehicle participants will examine how art, and in for tracing its repression and recovery and particular painting, can be used as a means to how through memory and recall this may interrogate space and its history. Worksheets be translated or mediated through painting. will accompany the talk. Duration 45 minutes. FREE Stitt has returned to painting to recall formative experiences which are evoked Workshop and applied to Craigavon. The artists Referencing the exhibition the workshops psychogeographic experience of Craigavon will enable participants to gain a greater is examined through a series of site visits understanding of the themes of memory, and explorations via the new city’s cycle The show will tour Ireland and the UK in history and how these are entangled with our and pedestrian network. This process is 2010, and an exhibition catalogue with an interpretation of specific places. then in turn extended to the wider context essay by Justin McKeown will be published of trauma, and conflict transformation in for the show. Choosing from a number of workshops Northern Ireland. The project is both an participants will be invited to create expressive investigation of the failure of institutional “Through painting I consider myself in the mixed media paintings and maps or shadow planning, exemplified by dead-ends, role of unofficial ‘conflict-zone artist’ and boxes, which allow for a visual representation planned but uncompleted city sectors and extend this to that of a responder to, and of the layering of history. vacant land, and a celebration of utopian documenter of civil conflict”. Duration 1 hr 20 min. FEE £2 aspirations through the integration of —Andre Stitt 2009 housing, civic amenities, dedicated paths, For more information contact MCAC Education. the separation of traffic and green space. Tours and workshops available by appointment. All images copyright Andre Stitt. /30 /31 Pod Three/ Pod Three/ Pod Three/ People/ Film/ Andre Stitt/ Andre Stitt/ In-reach/ Outreach/ Masterclass/ Pod Class/ Born in Belfast, Stitt is considered one As part of the artistic programming for Pod of Europe’s foremost performance and Two, MCAC presents a film series inspired interdisciplinary artists. He has worked as by the current exhibition. an experimental artist since 1976 creating hundreds of unique works at major galleries, The Lost City of Craigavon (2007) festivals, alternative venues and sites specific Screenings – second Saturday throughout the world including the Venice 2.00pm 12 December 2009 Biennale 2005, The Drawing Centre, New FREE York, 2006 and Artspace, Sydney 2007. In this documentary for BBC Northern Masterclass In-reach/Outreach Using digital photography a group will explore His artistic output includes performance art, Ireland, local man Newton Emerson (born Akshun Performance Art the unique architecture and urban landscape painting, drawing, installation, digital print, in Lurgan, brought-up in Portadown) Saturday 16 January 2010 (to be determined) of Craigavon. Typography, collage and video, photography, and relational activity. takes us back to the stomping grounds of painting will be employed to express both the He also produces music and tours with his his childhood and youth. In doing so he 10:00—4:00pm Stitt is identified with a strain of rich and interesting history of this area and its band The Panacea Society. After living in provides viewers with a celebratory, yet performance relating more to visual art potential for change in the future. London for nearly 20 years he relocated irreverent look at the ‘lost city’ of Craigavon and art action [referred to in Stitt’s work as to Cardiff in 1999 to become programme as he unearths the original plans, meets “akshun”]. His work focuses on difficult and director of the Time Based Art course at the visionary architects, encounters the Pod Class traumatic themes; issues of oppression, Cardiff School of Art. In 2004 he became evicted farmers and visits the residents of Creative Writing freedom, coercion, subversion, experiences a professor of the University of Wales and the experimental city. In the course of his Wednesdays commencing of alienation, appropriation of cultures, is at present director of the Centre for Fine journey of rediscovery Newton explores the 6 January (3 weeks) globalisation, and communal conflict. His Art Research at CSAD, University of Wales original vision for Craigavon, creating a state- 7:00—9:00pm work physically and emotionally embodies Taking Stitt’s subject matter of Craigavon Institute, Cardiff. of-the-art city that would utilise every 1960s the divisive forces of capitalism and into consideration, participants will be asked pseudo-scientific town planning concept materialist addiction; processes of building to take part in a creative writing class that Stitt is identified with a strain of performance such as recreation zones, mixed housing, and disintegration and the resulting journey explores Craigavon as the ‘Lost City’. relating more to visual art and art action cycle paths and of course roundabouts. toward redemption. [identified in Stitt’s work as “akshun”]. His It tells the stories of the people whose £15 work focuses on difficult and traumatic lives were transformed by the Craigavon Identifying concepts found within the themes; issues of oppression, freedom, experiment, from the farmers whose land exhibition and implementing Andre Stitt’s coercion, subversion, experiences of was vested, to the people who came to approach to performance art, this master alienation, appropriation of cultures, live in this planners’ vision of a modern city. class provides a valuable opportunity globalisation, and communal conflict. His The Lost City of Craigavon is a DoubleBand to work with professional artists in the work physically and emotionally embodies Films production for BBC Northern Ireland. creation of an individual interpretation of the divisive forces of capitalism and performance art. materialist addiction; processes of building and disintegration and the resulting journey £20 toward redemption. All images copyright Andre Stitt..
Load more

Recommended publications
  • CV: Anthony Shapland Exhibitions//Projects
    CV: Anthony Shapland 58 Oakfield Street, Cardiff CF243RF m: +44[0]7910 570 794 [email protected] www.anthonyshapland.com http://vimeo.com/anthonyshapland Skype: anthonyshapland b.1971, Wales. 93-96: BA Fine Art first class, Solent University & Universidad Politecnica de Valencia, Spain Exhibitions//Projects 2018: A Sound Not Meant To Be Heard, Solo show, Oriel Davies, Newtown Red Route, Collaboration with Becca Thomas, MiR Cardiff. 2016: Gravity, Sheffield Hallam University, Sheffield The Hand That Shapes The Sound, Cardiff Contemporary, Cardiff A Crossing Out An Underlining, Solo show, Spit and Sawdust, Cardiff The Book Project, Glynn Vivian Gallery, Swansea 2015: 24 Hour Residency Spit and Sawdust, Cardiff To Pay Respect To The Generosity of the Three-Minute Punk-Rock Song Pt: 2 re-edit Beef, Bristol 2014: [...] Mission Gallery, Swansea Wales Visitation National Museum Wales, Cardiff, UK The Colour Of Saying Collaboration with Rich James, Union Square, Melbourne, Australia 2013: Estudio Abierto URRA, Buenos Aires, Argentina The Colour Of Saying Collaboration with Rich James, Chapter Cinema, Cardiff, UK The Unremark Solo Show, Goat Major Projects, Cardiff, UK Like A Monkey With A Miniature Cymbal, Aid & Abet, Cambridge UK Setsuko Hara, Launch and works, Furnished Space, London. Spirit Of Place, with Graham Sutherland, Oriel Y Parc, St Davids Border Crossing, O:4W commission, Cardiff Wales Ffilm 4, Glynn Vivian Setsuko Hara, Curated by Richard Bevan, Oriel Sycharth, Wrexham. 2012: New Ground, Oriel Y Parc, St Davids Mannheim Short Film Festival, Mannheim, Germany Landscapes, The Lightbox, Woking UK [pause] Time & Motion Study, Glynn Vivian, Swansea 2011: To Pay Respect To The Generosity of the Three-Minute Punk-Rock Song, CRATE, Margate Memory Of A Hope, Ceri Hand Gallery, Liverpool, UK.
    [Show full text]
  • 2 0 1 8 B Eep P Ain Tin G B Ien N I
    2018 BEEP PAINTING bienniaL 2012 2014 Image: Rhiannon Davies . Twats in coats juDges PROFESSOR SUE WILLIAMs Painting deserves more attention and where best to begin but with BEEP Discussions were bountiful and intense, equally our decisions were often Painting Biennial 2018. For two days I had the privilege of working alongside difficult to make. Regrettably many paintings have not been included but this Andre Stitt and Jonathan Powell viewing a vast selection of paintings from does not reflect upon the work, as all artists showed their individual passion, around the world. I found the experience to be humbling to say the least, as it confidence and authority. When selecting work from so many talented artists highlighted great human endeavour and commitment, particularly in a culture there will always be disappointment for some. Selection has to be done with where the future of the arts and arts education is being seriously challenged care and consideration as the resulting exhibition needs to be as coherent and and questioned. As artists we are living in interesting political times and I am as balanced as possible so there is an essential radical approach that allows sure many would agree we have further challenging times ahead of us, so I a sense of fluidity, providing a finely tuned representation of good painting see it as a time when we need to use our artistic abilities as powerful political practice. As a practitioner and lecturer in painting I am fully aware of the voices. It is important to find every opportunity to reveal our voices and this sense of urgency that echoes within us all when applying for open submissions, is where a unique platform such as BEEP Painting Biennial allows the painter creating high expectations and some disappointments.
    [Show full text]
  • Sample 15-16
    ANDRE STITT Sample 15-16 Theme From The Regular Shape of Forever acrylic on canvas 190 x 300cm 2016 Studio: Monument I & ll acrylic on canvas 190 x 300cm 2015 Synthetic Model For A Post-Capitalist Economy In A Parallel Universe mixed media painting installation 2015-16 Studio Work in Progress “ An embodied memory has an essential role as the basis of remembering a living IN THE MATERIAL World space or place. We transfer all cities and towns we have visited, all places we have recognised into the incarnate memory of our body.” 2 The architecture of the military bunker The civic centre of the new town I have recently been investigating The ambition is for work that may cre- is transposed, reconfigured and posi- of Craigavon in Northern Ireland is how painting can be experienced as ate a sense of recognition counter tioned as quasi-monumental edifice.1 aligned with Victor Pasmore’s ‘Apollo an ‘extended’ practice through in- balanced by a sense of timelessness, Pavilion’ in the new town of Peterlee in stalled groups and configurations. loss, longing, disconnection and mel- The municipal centres of the lost new England. The current focus of this work is an ancholy. In so doing I wish to make towns of Britain are celebrated through exploration of modernist architectural paintings that seem to arrive as if from utopian memorials for a future that William Mitchell’s postwar concretopia legacies as a visionary utopian em- another time and place; a potential didn’t arrive. becomes the lost dream of the cosmic bodiment of progressive civic, munici- dissident space where all era’s co- soviet and a territorial memory of teen- pal and social engineering.
    [Show full text]
  • André Stitt Living in the Material World Exhibition
    andré stitt living in the material world exhibition Published by gallery/ten gallery/ten contemporary art gallery/oriel gelf cyfoes 13th october - 19th november 2016 http://www.gallery-ten.co.uk 23 windsor place [email protected] @gallery_ten cardiff cf10 3by © 2016 andré stitt and gallery/ten www.andrestitt.com installation All rights reserved. No part of this publication may be reproduced, stored in a retrieval sys- cardiff contemporary tem, or transmitted, in any form or by any means, electronic, 10th october - november 12th 2016 mechanical, photocopying, recording, or otherwise, without the prior permission of the pub- lishers, artist, and photographers. school of art & design cardiff metropolitan university The authors have asserted their right to be identified as authors of this work in accordance with the Copyright, Designs and Patents Act 1988. western avenue, cardiff cf5 introduction The gallery is pleased to present ‘Living in This, Stitt’s second solo exhibition at the Stitt’s practice moves at a quick pace, with synthetic is celebrated through more con- the Material World’, a major solo exhibition gallery, sees a clear and concise body of Stitt prone to comment ‘I’ve moved on from temporary substances - free from the heavy by artist André Stitt. work which feels like a definite and defining this’ when viewing his work on the gallery traditions of oil and canvas - fitting for the point in his practice. Inevitably, comparisons wall. This is testament to his astonishing futuristic optimism of the era. Tinged with a The gallery has represented Stitt since 2013, are drawn between Stitt’s 2014 exhibition work ethic alongside the practical implica- dystopian air, the concrete structures and with his art not only becoming a staple in the ‘Dark Matter’ which, at first glance, seem tions of using such quantities of oil paint, forgotten public art of the time are used here gallery’s exhibitions, but also in the collec- worlds apart.
    [Show full text]
  • Performance Art in Northern Ireland: Ritual, Catharsis, and Transformation
    Performing Political Acts: Performance Art in Northern Ireland: Ritual, Catharsis, and Transformation By André Stitt I often think about the war in Northern Ireland that made me what I am: holding a gun in my hand when I was 15, seeing a burnt and severed leg in a street in Belfast after a bomb, the smell of excrement mixed with a sweet aroma not unlike lilies, being shot at for going out with a Catholic, random violence and the sound of Jean Jeanie. I also think about making a performance on a frosty morning in 1979 in a derelict church I knew as a child. Naked, my breath caught in the winter light. And, I often think about the sense of freedom, wonder, and dignity making art has afforded me. 1 Realising the ‘bottom line’ is never ideological, but human; that art is not in, of, or onto itself. It’s for people. 2 On yer doorstop For over forty years artists have been creating performances, art actions, interventions, and other time-based art in Northern Ireland during a period of traumatic civil conflict. Their work reveals contextual methodologies, issues, and concerns specific to performance art that was happening in a conflict zone on their own doorstep. In this text, I will explore how and why radical art was made in an environment of political conflict taking place in a developed western society, such as Northern Ireland, and if this art, produced through performance, contributes to personal and/or societal conflict transformation. I will present examples of my own formative engagement with performance art in Belfast during the 1970’s along with examples of simultaneous engagements by other artists in Northern Ireland from this period through to the present.
    [Show full text]
  • National Contemporary Art Gallery Wales: Preliminary Feasibility Study
    National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal July 2018 Client: Museums, Archives and Libraries Division (MALD), Welsh Government Event Authors: Lucie Branczik and Becky Schutt Revision no: 02 Date: July 2018 Event Communications Ltd India House 45 Curlew Street London SE1 2ND +44 (0) 20 7378 9900 [email protected] www.eventcomm.com © Event Communications Ltd 2018 The right of Event Communications Ltd to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patent Act 1988. Front cover: Laura Ford, Cardiff Contemporary Festival Source: Laura Ford Contents Executive Summary 7 Appendices 1. Introduction 17 Appendix 1: Consultation List 138 2. Findings and Opportunities 23 Appendix 2: Site Visits 140 Contemporary Art in Wales 25 Appendix 3: Bibliography 142 Supply: Visual and Applied Arts Ecology 30 Appendix 4: List of Figures 144 Demand: Audiences 51 Appendix 5: The Market 147 Key Contexts 61 Appendix 6: Longlist Options 155 Sector Ambition 86 Appendix 7: Vision and Mission Examples 227 3. Purpose and Vision 91 4. The Options 97 5. Recommendations 103 6. Details of the Model 119 7. Recommended Next Steps 131 “In Britain, whenever people come across something new and exciting, but challenging, there is a tendency for them to run for cover, to want what they know and are comfortable with. To design a great new building takes courage on everyone’s part. I think we have a lot more explaining to do.” Zaha Hadid, 1995 Jonathan Glancey, “A monumental spot of local trouble” (The Independent, Jan 1995) 5 Kelly Best, Installation View.
    [Show full text]
  • What Is the Central Idea/Point That Is Being Made
    André Stitt Performing Political Acts : Performance Art in Northern Ireland: Ritual, Catharsis and Transformation [1] ON YER DOORSTEP “Each person is art (and can make what art is) Real art resolves inner and outer conflict. It heals wounds within and without the self. To HEAL is to make WHOLE” 1 Alastair MacLennan “My artworks seek to embody and identify with processes of transition, the resolution of conflict, community and communion. These elements constitute an evocation of the individual and communal body on a journey towards redemption. A treatment towards a new communionism.” 2 André Stitt For nearly forty years artists have been creating performances, interventions and other time-based art in Northern Ireland during a period of traumatic civil conflict. However, their work remains largely confined to half-remembered anecdotes, rumours and hearsay. In the following essay I will explore through recovered documentation, memory and personal testimony how one might get a more insightful understanding of the vibrancy and importance of performance art that was happening on the artists‟ own doorstep. With the recent reunion and performance art collaborations by myself and Alastair MacLennan I would like to take the opportunity to investigate how making performance art for us has continued to reveal through the legacy of those formative experiences an „experimental exercise of freedom‟3 on our own doorstep. In discussing context-specific examples of our work I am interested in how and why radical art was made in an environment of political conflict taking place in a developed western society, such as Northern Ireland, and if remembering this art, produced through performance, contributes to conflict transformation.
    [Show full text]
  • 30 Years of Action Art in Wales] Heike Roms
    Document generated on 09/26/2021 12:38 p.m. Inter Art actuel What's the Welsh for "performance"? [30 years of action art in Wales] Heike Roms Number 88, Fall 2004 URI: https://id.erudit.org/iderudit/45845ac See table of contents Publisher(s) Les Éditions Intervention ISSN 0825-8708 (print) 1923-2764 (digital) Explore this journal Cite this article Roms, H. (2004). What's the Welsh for "performance"? [30 years of action art in Wales]. Inter, (88), 22–25. Tous droits réservés © Les Éditions Intervention, 2004 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ What's the Welsh for "performance' [30 years of action art in Wales] Heike ROMS The history of performance art in Wales has yet to be written. Over a period of In ways more than one, Paul DAVIES' and Mario MERZ' appearance at the Na­ more than thirty years artists have been creating performance, action or time- tional Eisteddfod in Wrexham in 1977 can be regarded as a seminal event for based art in this country, yet their work remains largely confined to oral history, contemporary Welsh art. Critic Shelagh HOURAHANE has called DAVIES' action, to half-remembered anecdotes, rumours and hearsay.
    [Show full text]
  • Brutal Silences
    Brutal Silences Parachute by Aideen Barry. A Live Art Development Agency Study Room Guide on Live Art in Ireland By Ann Maria Healy and Helena Walsh 1 Table of Contents Introduction to Guide - p. 3. Ann Maria Healy (AMH) and Helena Walsh (HW) Interrupting Cycles of Silence: The Study Guide in Context - p. 6. Helena Walsh Silent Interventions Amanda Coogan: Medea (HW) - p. 11. Áine Phillips: Redress (HW) - p. 13. Dominic Thorpe: Redress State: Questions Imagined (AMH) - p.14. Helena Walsh: Invisible Stains (HW) - p.17. Áine Oʼ Dwyer: Horseplay (HW) - p. 20 Staining Aideen Barry: Whatgoesaroundcomesaround (HW) - p. 22. Aideen Barry: Black Ice (AMH) - p. 25. Michele Browne: Rite of Passage (HW) - p. 26. Chrissie Cadman: The Laundries (HW) - p.29. Pure Labour Amanda Coogan: Yellow (HW) - p. 33. Amanda Coogan: Yellow Re-performed (AMH) - p. 36. Ann Maria Healy: Out of your mind and into your body (AMH) - p. 39. Helena Hamilton: Brought Forth By Birth (Notetoadistantgod) (AMH) - p. 41. Moving Forward in Circles Aideen Barry: Flight Folly (HW) - p. 43. Victoria McCormack: If you donʼt know where you are headed then you are bound to end up where youʼre going (AMH) - p. 45. Áine Phillips: Red Weight (HW) - p. 47. Study Room Resources on Live Artists Featured in the Guide - p. 49. Study Room Resources on Live Art and Irish Culture - p. 55. 2 Introduction to the Study Guide This Study Guide is about endurance and duration. It is about repetition, cycles of struggle, containment and oppression. It is about abuse, violence and power. It is about penance and the search for purity.
    [Show full text]
  • In Time a Collection of Live Art Case Studies
    In Time A Collection of Live Art Case Studies A Live Art UK project Contents Introduction 4 Live Art Development Agency In interesting times 8 Lyn Gardner Live Art Now – Situating the Present and Projecting the Future 12 Sonya Dyer Infrastructure Professional Development 24 Artsadmin, Live Art Development Agency, New Work Network Artist–led Activities 42 The Bluecoat and New Work Network Networks 56 New Work Network Economies of Live Art 70 The Bluecoat Public Engagement Programming and Curating 84 Colchester Arts Centre Audiences 96 Fierce Internationalism 110 Chapter Arts Centre and Arnolfini Education 126 Artsadmin Legacies Critical Writing 138 Live Art Development Agency Archiving 148 Arnolfini Credits 158 Introduction Live Art Development Agency By Lois Keidan and CJ Mitchell, Live Art Development Agency on behalf of Live Art UK In Time is a collection of ten commissioned case studies, designed to represent some of the innovative and pioneering ways in which Live Art has both posed and responded to many of the exciting cultural challenges of our times. The timing of this collection feels auspicious: the quality and quantity of Live Art practice currently undertaken by artists in the UK is unprecedented – and, in turn, this is reflected in increased audience engagement and supported by theatres, galleries, festivals and the higher education sector. Indeed, the title of the collection, In Time, not only refers to the fact that much Live Art practice is concerned with ideas of time and its experience, but also to both the timeliness of this publication and the long overdue nature of such an overview of Live Art in the UK.
    [Show full text]
  • Ten Weeks of Free Exhibitions, Talks, Films, Tours and Events
    15 September – 25 November The UK Biennial of Contemporary Art Liverpool Biennial 2012 Ten weeks of free exhibitions, talks, films, tours and events 1 Pall Mall St Moss Churchill Way Old Hall St Hatton Garden Trueman St Norton St 22 13 26 Address List 14 IslingtonEverton Park Daulby St 14Daulby Cheapside Brook St Churchill Way 19 Heyworth Street Entrance 18 London Rd Bixteth St Vernon St Anson St Liverpool Biennial 1 The Cunard WilliamBuilding Brown St L5 4LA Edmund St London Rd Water St L3 1ES Princes Parade New Quay Moorfields Crosshall St St. John’s The UK Biennial of Contemporary Art Tithebarn St Old 15 St. George’s Hall Seymour St Pembroke Rd HaymarketSt. John’sGardens Lane St. Vincent St 18 Sir Thomas St 2 the Bluecoat St. LordGeorge’s Nelson St Place L1 1JJ Exchange St Victoria St 15 6 School Lane L1 3BX Great Newton St Stanley St St. Georges Place Brownlow St Brownlow 16 Dale St 16 Exchange Flags Ashton St ChapelRumford St St North John St Queen Square Liverpool Biennial 2012 presents work Covent Garden 3 28–32 Wood Street L2 3YL L1 4AQ 24 Castle St Victoria St WhitechapelWillamson Copperas Hill by 242 artists in 27 locations. The festival Square Renshaw17 St Museum of Liverpool Fenwick St Richmond St St Nicholas Pl 4 The Tea Factory Pier Head L38 1DG Drury Lane 20 Cook St Elliot St takes place in galleries, museums and sites Water St chapel 79 Wood Street L1 4DQ The Goree 18 World Museum, William White Brownlow Hill Canada Boulevard Brunswick St Williamson St across the city and includes a dynamic Tarleton St Lord St Lord St 5Church FACT St Brown Street L3 8EN Duckingfield St 1 Basnett St Parker St South John St 88 Wood Street L1 4DQ Brownlow Hill Clarence St Ranelagh St 27 programme of talks, events, screenings School Lane 19 Walker Art Gallery James StDerby Square Mount Pleasant 11b6 Hotel Indigo William Brown Street 2 Wood St Bold St Mount Pleasant and family activities.
    [Show full text]
  • Curating, Cultural Capital and Symbolic Power: Representations of Irish Art in London, 1950-2010
    UvA-DARE (Digital Academic Repository) Curating, cultural capital and symbolic power: representations of Irish art in London, 1950-2010 Cotter, L.Á. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Cotter, L. Á. (2011). Curating, cultural capital and symbolic power: representations of Irish art in London, 1950-2010. Eigen Beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 Curating, Cultural Capital and Symbolic Power Representations of Irish Art in London, 1950-2010 Lucy Cotter Amsterdam School for Cultural Analysis University of Amsterdam © L.Á Cotter, 2010 All rights reserved. Without limiting the rights under copyright reserved below, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form by any means (electronic, mechanical, photocopying or otherwise) without the written permission of the author.
    [Show full text]