NOW THAT’S WHAT I CALL PRAXIS
Open Submission Show
Artists: Charlotte Bosanquet, Pamela Condell, Gillian Fitzpatrick, Orla Gilheaney, Joanna Hopkins, Sofie Loscher, Tadhg O’Cuirrin and Amanda Rice.
Utilising the open submission model, Occupy Space have developed an exhibition that explores the duality of contemporary practice as both documentation of the present and a catalyst for future work. The initial call for submissions was open to all disciplines with no predetermined theme. The resulting show aimed at an authentic survey of the current culture of art practices with relevance to the contemporary social environment.
'Now that's what I call PRAXIS' offers an engaging selection of work made by emerging contemporary artists, creating an environment where one can observe modes of inquiry and the execution of ideas in a constant re-engagement with the now.
click images to enlarge
Building Blocks (2011) 17 painted cardboard blocks, bulldog clips, dimensions 43x43x43cm each.
TPS (2011) 21 serial coded heaxgonal tiles, Lite plywood, paint, varnish, dimensions 17x19.5cm each.
Building Blocks is a temporary, ephemeral architectural intervention, exploring themes of Space Age Utopian architecture and creating the illusion of a monumental structure.
TPS references the heat resistant tiles, (Thermal Protection System) that covered the exterior surfaces of the Space Shuttles, the failure of this system in 2003 lead to the ‘Columbia’ shuttle disaster.
The history of the Space Shuttle Programme is particularly significant to this body of work. After the final missions of the ‘Endeavour,’ and ‘Atlantis,’ Space Shuttles in 2011, this remnant of Space Age / post-Moon Landing euphoria was laid to rest, for economic reasons, and NASA was forced to adopt more cost effective strategies.
Building Blocks (reverse view)
Obstacle (2011) Digital C-Type Print, Dimensions 594x842mm.
No Mans Land (2011) Digital C-Type Print, Dimensions 594x842mm.
“Slowing down he looked around at the countryside, something he had never actually done before. He had begun to think of space as a negative value, a waste of time, an obstacle to his progress” - Milan Kundera, Lost Letters.
'De-Constructing Paradise' is a body of work which I'm currently developing. I initiated this project whilst in residency at Platform China last year. Obstacle and No Mans Land are two resolved pieces in a series of long experiments.
This project concerns the duality of language and landscape in relation to the fabric of urban environments and wastelands. Text in the form of neon signs is used to create a dialogue between the architecture of space, structures and pre-existing detritus found within it. These scenes are constructed with the remnants of former villages on the outskirts of Beijing, demolished in order to necessitate the rapid rate of progression and urbanization with the city.
Through the documentation of these constructed scenarios, the labelling of these forms subsequently create absurd allegories whereby meaning is not fixed or stable but multiple and incongruous. Puns play upon the ambiguity of environment, ownership, progression and the subject of displaced culture. I began to look at these wastelands as a blank canvas, a raw material to consider the cusp of innumerable possibilities, the negativity of urban rejuvenation, the beauty within the banal destruction and the vivacity surrounding the area’s future potential.
No Mans Land
Tadhg O' Cuirrin
Tadhg Ó Cuirrín
Untitled (F.B.B) (2011) Inkjet print on paper, dimensions 199x 153cm.
Untitled (F.B.B.) is a large matt inkjet print on paper measuring 199cm x153cm. It directly references Yves Klein’s IKB 3 (1960), described as the 'quintessence of 20th century monochrome painting' Klein saw his work with the IKB pigment as being evocative of the sea and the sky, where the phenomena of vital, tangible nature appear in their most abstract form. It was cosmic and romantic, and in its duality between the metaphysical and physical, neatly encapsulated the contradiction of Modernism. FBB is a distinctly 21st century monochrome. Its colour is derived directly from the exact shade used on the Facebook website and it’s associated branding. It is then siphoned through Photoshop, and presented before us as a print on paper - ephemeral in comparison with Klein’s blue which is deep with connotation, history, and aesthetic quality.
FBB evokes a corporate giant and a simultaneous opening up and closing in of human horizons. Where IKB spoke of the sea, the sky and distant mountains, FBB speaks of a society where people are not too concerned with such elements and whose main interaction with them is often mediated through the prism of the internet and other digital media. It is an unusually flat contrast with Klein’s cosmic themes and is a direct example of the self referentiality of contemporary culture, and contemporary visual art specifically. Ironically, much of the re-appropriation that forms today’s culture begins on websites like Facebook.
Tadhg O' Cuirrin
Waiting (2011) Silver gelatin print on fibre based paper in electrical light box, dimensions 14"x18”.
Waiting is a handmade diorama made from paper, carpet and wood, photographed from a single light source and placed in an emergency exit door light box. The image chosen for the light box replaces the words usually chosen which are used to represent the image. The usual image used of a human in suspended 'run' stance infers panic and speed. In an emergency if everyone responded to the image of the running figure no one would make it out the door. The top of a ladder at the end of an unseen tunnel implies more care and patience in approach. In an emergency its usually better to be calm,wait and then approach. Having said that the artist believes the nature of signs and images are easily made subjective and can be re-contextualised by the viewer.
“A continued theme in my work is built around the domestic, the structure of life within a home, the physical nature of the interior and exterior/human interactions and relations/memories/possessions, etc.
Home to me is many things, banal and everyday but always of the utmost importance. We all experience moments within our individual contexts of home or family, but do not necessarily share them beyond the physical construct of our own setting.
There is an unspoken curiosity to see how others have these moments. We are all guilty of taking glimpses through windows to see how others live. I’m really interested in this compulsion? Is it curiosity, just plain nosiness or is it something more? Is it a desire to validate our own existence, to elicit self-reflection? What are we looking for when we glimpse through into an others life?
My work’s aspiration is to make people think about their homes and home life in a poetic way, triggering feelings about family and how we live, how the space we live in is part of the fabric of our lives and how objects and treasured possessions interact with us and generate emotional connections.
I spent spring of 2011 in Berlin, Germany working on the project INVERSION, photographing the interiors of stranger’s homes".
Children Clapping 2mins 30 sec film, looped.
Children Clapping, filmed in 2006, had not been shown before and has recently been re-edited and contextualised. Children Clapping is a performance to video of 30 children clapping. The audience of the film becomes at once the subject then throughout the 2mins 30 sec the roles are reversed. Increasingly I have become interested in audience actions and clapping was a natural act that was performed and loaded. The set-up was in a school hall and this voyeurism was playing with the ideas of school days/plays . The set-up of the performance to camera was rigorous but the process of making is flexible and I try to remain open to the possibilities of unforeseen elements in the work, especially working with 'performers' out of the studio. The works manifesting usually as actions and stage performances that have a conversation with the audience, conspiring co- collaborators in my practice.
Tadhg Ó Cuirrín
Francophile (2011) 1 minute silent film, looped.
Francophile is a 1 minute long silent looped GIF style video piece. Utilising humour, it refers to a sense of self regard and navel gazing that is common in the world today. This type of solipsism and insular thinking is also frequently seen in contemporary visual art circles and practice. This cyclical nature is reflected in the GIF as a means of conveyance.
The GIF functions as a means to compress information, images and ideas. It is heavy with connotation but light at first appearance. This information can be 'unzipped' and re-expanded by those who wish to.
Tadhg O Cuirrin
http://www.youtube.com/watch?v=4DFp00tnSv (2011) mixed media on board, dimensions 122x 61cm.
'Do you want to go on a trip? (2011) mixed media on board,Dimensions 61x122cm.
http://www.youtube.com/watch?v=4DFp00tnSv represents both personal internal conflicts and external global happenings. It was painted in May - June 2011 when I was listening every day to news reports of the Arab Spring and events in the Middle East. I was trying to explain what I was feeling and thinking visually with totems of my own personal landscape and understanding. The bungalow for me represents the safe, the familiar and the personal whilst the dragon is change and the external - exciting and exhilarating but also unfamiliar and terrifying. In order to relate to and somehow connect with people and a culture separated across geographical lines I did so by the only means I knew how, namely popular culture. The title comes from the youtube link to Yusaf Islam's 'The Wind', an artist for me who represented both traditions. For me the song evokes the human qualities of truth, love, honesty and dignity, qualities which unite us all across all divides.
Do you want to go on a trip? is about how somehow and from somewhere, the opportunity for change is presented to us, either from within ourselves or by an external force or event that comes along. The title is a question, both an invitation to begin an adventure and perhaps even a cautious ask of the self, as change can be frightening and sometimes we can be reluctant to do it. The layers of rock strata is a geological reference to going deeper or digging down to get to the root of things and the answers, and the flesh colour at the bottom is about going down under your skin. The eagle has uprooted the home and all its' security and is taking off on a journey.
Do you want to go on a trip?
untitled (fan+balloon) 2011, high velocity industrial fan, latex balloon, air,dimensions: 150cm x 92cm x 92cm.
Air generated by the fan creates an area of low pressure. The balloon sits on this stream of low pressure while high pressure pushes in around it on all sides, allowing sure it to hover permanently above the fan.
My primary areas of investigation are notions of liminal or in-between space, and how energy can manifest itself into physical forms. This object stands within a process of constant becoming; it’s objecthood is not static, but a process of permanent action. It’s state occurs as a threshold or, as a point where the object transfers from one condition to another. This is the core function of liminality --- a series of alterations through active states.