In 2011, the Arts Council took a bold step in initiating a conversation with a number of festivals nationally around the observed interest and growing international trend towards the presentation of projects rooted in arts and health practice at festivals.
I was born by a river I grew up in London, within the sound of Big Ben, a short walk to the Houses of Parliament. It was a lively, crowded place of poor, largely immigrant families and bomb-damaged houses. Our first playgrounds were bomb sites. We were living on the ruins of a city our parents came to rebuild. We thought everyone was like us…
Artist Jesse Jones talks about The Prosperity Project (OPW and The Convention Centre Dublin) and the way she has approached this collaborative public art commission through both engagement with an elective community, research based practices, video and performance.
The Prosperity Project by Irish artist Jesse Jones, in collaboration with associate artists and thinkers, is a significant public art commission for The Convention Centre Dublin (The CCD), a landmark building in Dublin’s Docklands area. The commission is funded by The Office of Public Works and managed by Create, the national development agency for collaborative arts.
With the exponential growth of collaborative and dialogical art practices over the past decade we begin to see something like a crisis in contemporary art criticism, as conventionally trained historians and critics struggle to come to terms with a form of artistic production which challenges many of their normative assumptions about the work of art.
Sheelagh Broderick on collaborative processes and the AIC Scheme
Sheelagh Broderick on collaborative processes and the AIC Scheme
Sheelagh Broderick, artist and visual artist, & Sherkin Island Development Society Ltd, on collaborative processes; collaborative practice as a contingent practice and the role and importance of documentation and evaluation.
This video was originally published in 2012 to celebrate the tenth anniversary of the Artist in the Community Scheme
Public Art has been an evolving practice over many decades now, moving from the artwork (often sculptural) commissioned by architects or planners for the adornment of buildings or public spaces to much more complex and interesting practices embracing all art forms. That is not to say that on occasions a permanent artwork is not suitable or even brilliant. In this context, I think of commissions, such as, the iconic ‘Perpetual Motion’ by Remco de Fouw and Rachel Joynt for the Naas, bypass (N7),1995 commissioned by Kildare County Council or the highly nuanced sculpture ‘Misneach’ by John Byrne commissioned by Breaking Ground, Ballymun, installed in 2010. These two artworks espouse all that is excellent in such commissioning practice. But all too often this approach can be clumsy, simplistic, and populist (in the worst of ways) resulting in poor quality artwork, which is foisted on us permanently.
Artist in the Community Scheme: Artists’ Perspectives
In this video, originally published in 2012 to celebrate the tenth anniversary of the Artist in the Community Scheme, artists Seamus Nolan, Jennie Moran, Sheelagh Broderick, curator Michelle Browne, and Tony Fegan, Director Tallaght Community Arts share their perspectives on the AIC Scheme as, variously, recipients and panel members.
Artist and writer Joshua Sofaer introduces Create’s Collaborative Arts Theatre Pack. He writes here on the development and thinking behind the Live Art Pack which has inspired the making of Create’s Collaborative Arts Performance Pack. Like the original Pack developed by Joshua Sofaer, the Create Collaborative Arts Performance Pack is both an artwork and education resource.
The task set for this short text is to consider the role of art and artists in: (i) supporting a sense of possibility within civil society; and (ii) preventing the shutting down of social and community discourses now regarded as outmoded by various institutional and political interests. These are quite daunting themes to address. Indeed, simply communicating what is at stake in these themes is perhaps already a task that exceeds what is possible in a thousand words. However, fools rush in…
Create News 10: Michael Seaver on Artistic Excellence and Change
It’s been said many a time, but the story of dance in Ireland is the story of individuals. It’s a thin history, made up of individual threads of practice that has never been interwoven with schools of thought or aesthetics. The thin warp of personal ideals has never been joined by a weft of collective ideals.
Create News 9: Daniel Jewesbury on The Value of Mentoring
Dr Daniel Jewesbury is a visual artist based in Northern Ireland. All art-making proceeds by questions. And each attempt at an answer brings more questions: it’s a dialectical process, always unfinished, always leading to some other consideration, some new problem that can enrich the understanding of a situation, not necessarily by being ‘answered’ definitively, but by suggesting yet more questions, more problems and concerns and new approaches.
Faisal Abdu’Allah, Private Views, ed Judith Palmer (Serpents Tail) My practice is a visual auto-biography played out in text, image and space, each one a true testament to my uncompromising and critical analysis of the collective I live in. My work in the community is the perfect catalyst to summarise my work ethic and principles. We are informed about the gallery space but never comprehend it as being an extension of the artist studio, a haven that purifies emotions through the evocation of fear, stimulation of thought and interaction. Questions of class, ownership and rites of passage are consistently volleyed around this creative playground.
Contemporary arts practice is increasingly integrated into healthcare settings in Ireland, allowing for the creative expression of our own sense of humanity and at times giving voice to our isolation and loneliness. But how do we articulate the value of integrating arts practice into healthcare situations and why place art and artists in such loaded contexts?
“Façadism – but we are going in” says Tadhg O’ Keefe, archaeologist and practitioner on a unique experimental archaeological project, Placing Voices, Voicing Places, that partners UCD School of Archaeology, UCD School of Sociology, UCD School of Cultural Policy, Dublin City Council, Office for Integration, Create, and the commissioned artists Ursula Rani Sarma and Sean Lynch to explore the landscapes of working class and immigrant communities of Dublin’s inner city – Clanbrassil Street and the Monto from the mid 19th Century through the 20th Century and into the present.
‘What matters is the exemplary character of production, which is able first to induce other producers to produce, and second, to put an improved apparatus at their disposal. And this apparatus is better the more consumers it is able to turn into producers – that is readers or spectators into collaborators’ – Walter Benjamin – ‘The Author as Producer’