The Prosperity Project: Associate Artist biographies
Franco Berardi Bifo is a contemporary writer, theorist and activist. He founded the magazine A/traverso (1975-1981) and was part of the staff of Radio Alice, the first free pirate radio station in Italy (1976-1978).
Like others Involved in the political movement of Autonomia in Italy during the 1970's, he fled to Paris, where he worked with Felix Guattari in the field of schizoanalysis. During the 1980's he contributed to the magazines Semiotexte (New York), Chimerees (Paris), Metropoli (Rome) and Musica 80 (Milan). His recent published works include Ethereal Shadows (New York, 2007), Felix Guattari (New York, 2008), Precarious Rhapsody (New York, 2009), The Soul at Work (Los Angeles, 2010) and After The Future (Edinburgh, 2011).
He is currently collaborating on the magazines Loop and Alfabeta2 as well as teaching social history of communication at the Accademia di belle Arti in Milan. He is the co-founder of the e-zine rekombinant.org and the telestreet phenomenon
Iain Boal is an Irish social historian of science, technics and the commons, with a particular interest in aesthetics, visual culture and questions of representation. Since moving to the US in 1982 he has worked at Harvard, Stanford, and the University of California at Berkeley and Santa Cruz, teaching the history of science, environmental politics, and community studies.
In 2005/6 he was awarded a Guggenheim Fellowship in Science and Technology. He is currently affiliated with Birkbeck’s Institute of Humanities, and is co-director of the MayDay Rooms, an ‘archiving from below’ project based in London and San Francisco.
He was a member of the Pumping Station Collective in Boston, and is associated with Retort, a group of antinomian writers, artisans, and artists based in the Bay Area. He is one of the co-authors – with T.J. Clark, Joseph Matthews and Michael Watts – of Retort’s Afflicted Powers: Capital and Spectacle in a New Age of War (Verso), and was involved in Retort’s installation at the 2nd Seville Biennial.
Michelle Browne is an artist and curator based in Dublin. She has performed and exhibited both nationally and internationally most recently at Istituto Cervantes Cordoba, Argentina; Galway Arts Festival, Ireland; Performance Space, London; The Void, Derry; The Lab, Dublin; Transmuted International Performance Festival, Mexico; Les Halles, Belgium; The National Review of Live Art, Scotland; European Performance Art Festival, Poland. Currently, Browne is artist advisor to Dublin City Council’s Grafton Street Design Team and is presenting work as part of Risk Lab at the Science Gallery Dublin.
Liz Burns curates the visual arts programme for Fire Station Artists’ Studios in Dublin. In addition to providing live and work studios for professional visual artists , Fire Station runs a skills programme for artists as well as commissions art projects often of a socially engaged and collaborative nature. Recent projects include ‘Troubling Ireland’( 2010-11) a think tank for artists with the Danish curatorial collective Kuratorisk Aktion. Liz completed her MA in Visual Arts Practices with IADT Dublin 2008/9.Her independent curatorial projects include 'It has no name' for DIT Broadcast Gallery in April 2013.
Commonage is a community-based organisation, which seeks to commission and provide a critical platform for contemporary art and architecture practice in the public realm. Commonage creates and supports new opportunities and contexts for artists and designers to work in, by being responsive to political, social, cultural and geographical contexts. Landing Place is an Arts Council funded project, curated by Commonage, in partnership with the Dublin City Council Heritage Office at the Pigeon House Precinct on the Poolbeg peninsula. This site contains a number of sites of national significance, including the Dublin Electricity Generating Station, which is currently inaccessible to the public. The project is focusing on the multi-layered histories and ecologies of the site, and issues of access. A series of commissioned new works are in development by artists Sven Anderson, Aoife Desmond, Fiona McDonald and Ema Nik Thomas in sound, film, architecture and performance. These will be disseminated over a weekend of public events on 25th and 26th May 2013.
Janyce studied with tenor Eduardo Gimenez at the Opera Studio, Teatro del Liceu in Barcelona. Among her awards and prizes are the Quitana Rodes scholarship, Dublin Corporation’s, Advanced Musicians bursary, and the Arts Council’s Music Bursary. Janyce’s studies were generously supported by the Sisk family.
Her work covers Opera, Oratorio, and song recital. She has sung with companies such as Glyndebourne Festival Opera. Her operatic roles include Elisabetta Roberto Devereux (Donizetti), Adina l’Elisir d’Amore; Adele Die Fledermaus; Nora Riders to the Sea (Vaughan Williams) Norina Don Pasquale; Countess Le Nozze di Figaro; Tosca; and Madama Butterfly.
Oratorio/concert work: Brahma Ein Deutsches Requiem; Mozart’s Requiem; Haydn Nelson and Creation Masses; Handel’s Dixit Dominus; Vivaldi’s Gloria; and Monetverdi Magnificat.
Janyce also regularly collaborates with artists in other disciplines. She has worked with artist Jesse Jones on a number of projects.
Cormac De Barra is a harper and television presenter and comes from a family of traditional Irish musicians and singers. He is the third generation of harper in the family and first studied with his grandmother, Róisín Ní Shé, in Dublin. He went on to study concert harp in the USA. He has represented Ireland on many international stages from Japan and China to the United States and Brazil and all across Europe.
Cormac has pushed the boundaries of Irish harp beyond the traditional and the classical through his collaborations with a variety of artists including actress and punk icon Hazel O'Connor, Clannad and composer and singer, Julie Feeney. He also hosted the Arts series 'Imeall' on TG4 for three years.
Theatre performance credits include musical director for Playboy of the Western World at the Ambassador in Dublin and music for W.B. Yeats' Cuchulain Cycle at The Riverside, London. He also made his acting debut alongside Hazel O'Connor in a show called O'Carolan's Dream at the Edinburgh Fringe Festival.
Cormac is currently collaborating with Moya Brennan (the voice of Clannad) on a project called Voices & Harps. Their second CD together 'Affinity' is being released this summer.
Wojciech Doroszuk was born in 1980 in Glogów, Poland and currently lives in Rouen. He received his MFA from the Academy of Fine Arts Kraków in 2006. In addition to critically acclaimed solo exhibition Special Features at BWA Awangarda Gallery (2009, Wroclaw), and another at the Bunkier Sztuki (2007, Kraków), he has participated in innumerable group exhibitions throughout Europe since 2003, including, 15th Media Art Biennale, Wroclaw, Poland (2013) Double Movement: Migratory Aesthetics (2008, The Stenersen Museum, Oslo, Norway); Blankly, perfect summer (2008, vertexList, New York); Where the East Ends (2008, Nassauischer Kunstverein, Wiesbaden, Germany); Flowers of Our Lives (2008, CSW Znaki Czasu, Torun, Poland); Ain’t No Sorry (2008, Museum of Modern Art, Warsaw, Poland); The Memory of this Moment from the Distance of Years (2007, Schindler’s Factory, Kraków); At the Center of Attention (2006, Centre for Contemporary Art Ujazdowski Castle, Warsaw).
Anna Furse is an award-winning director and writer with a life-long focus on the body as artistically semiotic, as a system of memory and experience and as cultural presence. She is currently Professor and Head of Department of Theatre and Performance, director of the international laboratory MA in Performance Making, Chair/Curator of the Performance Research Forum and co-director of the interdisciplinary Centre of the Body at Goldsmiths, University of London. One of the handful of first generation of women directors in the UK, she uniquely combined feminist concerns with Laboratory theatre research from the late 1970s, her work driven by a merging of experimental dance and theatre towards her own form of ironic expressionism.
Artistic Directorships include the pioneering international-touring Bloodgroup 1979 - 1986, the new writing company Paines Plough 1990 – 1995 and her current company Athletes of the Heart. Her productions have toured Western and Eastern Europe, in Asia, the Middle East and the USA. Following a prolific directing career, in 1995, she began an arc of ‘sci-art’ research on assisted reproduction technologies in a range of projects funded by Awards from the Wellcome Trust. Her current project When We Were Birds - a duet with co-Royal Ballet dancer Esther Linley on body memory and ageing - premiered at the Cantieri Culturali Zisa in Palermo in 2013. In October she opens an installation on her work on hysteria (AUGUSTINE (BIG HYSTERIA) 1991) at the Freud Museum, London and is concurrently working with the London Mental Health Foundation towards their Anxiety 2014 festival of the arts. Among her many publications, her most recent include her innovative anthology THEATRE IN PIECES, POLITICS, POETICS AND INTERDSICIPLINARY PERFORMANCE (Methuen, 2011). Anna is a regular speaker at international conferences and events and recipient of many grants and prizes including Arts Council England, AHRC, British Academy, ArtsAdmin, British Council and the Wellcome Trust.
Alexander R. Galloway is a writer and computer programer working on issues in philosophy, technology, and theories of mediation. Associate professor of Media, Culture, and Communication at New York University, he is author of several books on digital media and critical theory, mostly recently The Interface Effect (Polity, 2012). His collaboration with Eugene Thacker and McKenzie Wark, Excommunication: Three Inquiries in Media and Mediation, has just been published by the University of Chicago Press. With Jason E. Smith, Galloway co-translated the Tiqqun book Introduction to Civil War (Semiotext[e], 2010). For ten years he worked with RSG on Carnivore, Kriegspiel and other software projects.
Galloway has given over a hundred lectures both across the U.S. and in ten countries around the world. His writings have been translated into eight languages. He is recipient of a number of grants and awards including a Creative Capital grant (2006) and a Golden Nica in the 2002 Prix Ars Electronica (Linz, Austria). The New York Times has described his practice as "conceptually sharp, visually compelling and completely attuned to the political moment."
Galloway's next project is a monograph on the work of François Laruelle, set to be published in October 2014.
The Korea Society of Ireland provides a forum for the social support of Koreans living in Ireland and promotes social and cultural links between the two countries.
Caroline Campbell and Nina McGowan have been working together since 2012 under the name of Loitering Theatre (which is also the name of their first work). They have a broad base of research interests that reflects the interdisciplinary nature of their backgrounds in law, technology, sculpture, film and landscape architecture. Some principal current themes of their work are: network cultures, strange architectures, notions of the permitted, pre-nostalgic moments and sci-fi futures made real.
Their practice uses Ireland's unique position as a worldwide center for cognitive capitalism as a focal point for critique of its emergent platforms. Their work has been featured in the New York Times, Wired Magazine and widely across local Irish media on and offline. It has received coverage from hacker group Anonymous and has been the subject of censorship by the Irish police.
Niamh McCann trained as an Actor at The Guildhall School of Music & Drama , (2003-2006). Niamh began her career at Shakespeare’s Globe Theatre in London and has since carried on to work with some of the leading theatre companies in the U.K and Ireland. In addition to her performance work Niamh has been heavily involved in leading and facilitating workshops through outreach work with companies including the Royal Shakespeare Company, The National Theatre Southbank London, Drama Queens, The University of Exeter Drama Department, CREATE – Artist in the Community Scheme and NCCCAP – Outreach at The Abbey Theatre.
Last year Niamh was appointed Artist in Resident at The Mill Theatre, Dundrum. As part of her residency she worked with a group of non-professional Actors on a weekly basis teaching and facilitating the group in a diverse range of skills for performing.
Niamh was also appointed as the key facilitator for the Fast Track to Dance programme, a collaboration between Project Brand New & Dublin Dance Festival.
Lynnette Moran is a Creative Arts Producer, Director and Performance Maker working across and between art forms. In 2009 Lynnette founded Live Collision, an international producing template redefining the ways artists create, engage and collide through live performance and digital platforms. In the same year she established Live Collision International Festival. Live Collision producing template is currently working with a number of projects both in Ireland and internationally, they include The Prosperity Project by Jesse Jones, Internal Terrains by Natasha Davis, a new work by Bruno Humberto and When We Were Birds by Anna Furse.
Lynnette is Research & Development Producer for Create. Since 2009 Lynnette has been co-curator and producer of Project Brand New (PBN). In 2011 Lynnette also worked as an associate producer at Cork Midsummer Festival. Lynnette originally cut her teeth at Battersea Arts Centre, London (BAC ) as assistant to the Artistic Director, David Jubb.
As a director and performance maker, Lynnette has directed over 25 performance pieces for theatre and gallery spaces, as well as for screen and digital media. Most recently she was resident artist at NOVASS in Riga, Latvia hosted by Dance.lv as part of E-Motional Bodies and Cities.
In 2011 Lynnette created and directed TRASH, a live art electro trash band presented in Project Arts Centre (Dublin), Solas Nua (Washington DC), HERE Arts Centre (New York) and GIFT (Gateshead International Festival of Theatre, Gateshead).
In 2005 she founded ‘mouth to mouth’, an international performance collective, with Kate Craddock. mouth to mouth are based in eight countries around the world, rehearsing and devising online before the performances land. In 2012, Lynnette was selected by the European Festival Association (EFA) to take part in ‘Atelier’ for Young Festival Directors in Ljubljana 2012, following on from her involvement in SPACE (Supporting Performing Arts Circulation in Europe)
She has a BA Hons Degree in Fine Art Film Making from University of Wolverhampton and an MA in Performance Making from Goldsmiths College, London.
MOUTH is an actionist art project in culinary divinomics formed in March 2012 by Edia Connole and Scott Wilson. Associates for LAND: A Scarcity Banquet include Cecilia Bullo, Petra Jackson, Michael O’Rourke, Robert Mirolo, Emer Roberts, Kathy Tynan and The Korean Society of Ireland. Recent events include Eternal Winter of Festivity, The Other North Symposium, CCA Derry~Londonderry, April 2013; ‘os mentis [mouth to mouth]’ with Nicola Masciandaro, Weaponising Speculation, Independent Colleges Dublin, March 2013; All Fingers and Tongues: Hosting the Divine with Charlie Gere & MOUTH, Break Bread Open, FACT, Liverpool Biennial, October 2012; Melancholia, Messianic Banquets and the 19th Hole, Culture Politics Eschatology: A Symposium, Glasgow University & Lancaster University, The Storey Institute, Lancaster, September 2012; A Black Mass for Quentin Meillassoux, Thinking the Absolute: Speculation, Philosophy and the End of Religion, Liverpool Hope University, July 2012. Publications include MOUTH, ‘The Number and the Beast: A Black Mass for Quentin Meillassoux,’ in Steven Shakespeare (ed) Thinking the Absolute, Ashgate (forthcoming); MOUTH, ‘The Black Depth,’ in Michael O’Rourke, Nicola Masciandaro and Karin Sellberg (eds) P.E.S.T. (forthcoming). http://mmmouth.wordpress.com
Kyungso Park is a gayageum player from Seoul. Kyungso Park’s gayageum compositions flow from the tranquil naturalist tendencies of classical Korean string music. Kyungso’s three solo albums flaunt modern production techniques, spaced-out house beats, and tunneling echoes, all embellishing her dazzling melodic runs. Drawing her influences from “earth, metal, wood, silk,” her work is a serene conduit for the passage of environmental states.
Kyungso challenges those who see the nearly thousand year old gayageum as merely an “exotic museum piece” by introducing new 21st century applications to the versatile instrument. Committed to educating younger generations about the venerable fixture of Korean culture, Kyungso lectures on gayageum at Korea National University of Arts, Chungwoon University, and Yeoju Institute of Technology.
Besides her solo work, Kyungso collaborates with the gayageum ensemble AURA and the jazz-fusion band Oriental Express. Her openness to experimentation has invited Kyungso into the company of avant garde composers and electronic DJs alike. http://parkkyungso.com/