Past Residents & Guests
Chiara Liberti (IT)
Ed Devane (IE)
Stephen Mc Glynn (IE)
The Good Hatchery (IE)
Stephen Vitiello (US)
Mark Hall-Patch (CA)
Strange Attractor (IE)
College of Fine Arts, Frankfurt am Main (DE)
Rouzbeh Rashidi (IR)
April Gertler (US)
MA Drama & Theatre Studies UCC (IE)
Nelson Silva Sousa (PT)
Andrew Wood (UK)
AJM Collective (PT)
Katrin Hornek (AT)
Andrew Johnson (UK)
Paraic Leahy (IE)
Lorenzo Casali, Micol Rubini (IT)
Zsolt Kozma (HU)
Karen Power (IE)
Philip Zarrilli (UK)
Gavin Prior (IE)
Ki Woun Shin (KR)
Point B (US)
Mary Hyunhee Song (KR)
Dermot Browne (IE)
Ian Helliwell (UK)
Roland Etzin (DE)
Jerome Rothenberg (US)
Kirsten Posehn (US)
David Sherry (UK)
Colette Lewis (IE)
Sebastian Buerkner (DE), Anders Smebye (NO)
Mathias Forge, Leo Dumont (FR)
Ciara Moore (IE)
Chiara Liberti (Italy)
November 6th-13th 2011
Starting from the idea that the curatorial practice involving films and video is an area which demands further discussion and investigation, Chiara Liberti will be presenting the talk This must be the Film place: complexities and nuances of curating film and moving images today at The Guesthouse, during the Cork Film Festival.
The talk will be a presentation of her research project, focused on the emblematic role of the film curator and the film programmer, today, â€šÃ„Ãºentangledâ€šÃ„Ã¹ between different contexts, various audiences and continuous challenges.
For the past four years, Chiara have carried out extensive research on this topic, which have led her to a body of interviews that will be shown at the talk, a journey through exchanges and dialogues with film curators and film programmers working in Europe.
Chiara Liberti received a BA in Film Studies at the University of Bologna, Italy (2007) and an MA in Visual Arts Practices (curatorial pathway) at IADT(2011). She curated an Irish Film Season at the Film Institute of Bologna in 2008 and an Irish Animation film screening programme at Future Film Festival in Bologna in 2011. She has worked as artistic and programme consultant with the Irish Film Festa of Rome.
Currently, Chiara works as programme coordinator and film researcher at Biografilm Festival, an event dedicated to biographical documentaries and biopics. She has written essays in books, film magazines and she was author of a film weekly radio show titled Stagefright on an independent italian radio station.
Ed Devane (Ireland)
October 1st - 31st 2011
Ed Devane will be presenting his Stop/Run project at The Guesthouse. Stop/Run is an ensemble of experimental musical instruments built by Devane, which he invites musicians to use in the creation of new compositions. The instruments are electroacoustic zithers or percussive instruments with mechanical elements. In previous Stop/Run gigs artists have prepared pieces over the course of a week, then performed these pieces in public concerts. With two events completed in Dublin and Galway, the Cork Stop/Run promises to involve a wide range of artists over the four weeks of the residency. Devane aims to host at least two concerts in his time at The Guesthouse, and is open to submissions from musicians who are interested in partaking in the project. More information about the project, including audio recordings, video, artist biographies and images can be found at www.stop-run-music.com.
"A lot of my recent work revolves around the idea of creating an environment or set of rules in which events, situations or outcomes are created by other people. I am interested in challenging individual's creativity by presenting them with a set of unfamiliar concepts, and seeing what they do. When making or playing music live I aim to hypnotise and take control of my audience, using dynamics and all sonic frequencies available to me to guide them through an emotional mixture of excitement, fear, contemplation and hyperactivity."
Ed Devane is a Dublin-based artist primarily working with sound and music, but with parallel interests in visual art and design. Using electronic audio feedback, home-made instruments and modular software to achieve his sound, experimentation lies at the heart of Devane's work.
Stephen Mc Glynn (Ireland)
August - December 2011
Worlds End :Taking lead from a short story arc in the now classic comic series Sandman I see The Guesthouse a kind of 'soft place" where people who's lives intertwine, if only fleetingly, converge for a short respite. Extending upon this idea, over the course of my residency in The Guesthouse I propose to utilise the space in accordance with the above pretense and invite people or groups from my wider community to avail of this short respite to co-ordinate an event/present a work in progress/engage with a new strand of production. More an exercise in opening doors than of sequencing works on the basis of content, I hope to refrain from directing the individual or groups output and encourage that each invitee find themselves free of restrictions.
August 1st - 13th
HELLO OPERATOR (S) : STEPHEN MC GLYNN , BLATHNAID NI MHURCHU , ANN MARIA HEALY , DEE O SHEA , JAMES GREENWAY , MORGAN KEAVENEY
August 16th - 30th
PAPER VISUAL JOURNAL : ADRIAN DUNCAN , NIAMH DUNPHY , NEIL CARROLL , BARBARA KNEZEVIC , MARTA FERNANDEZ CALVO
September 11th - 20th
ROSEANNE LYNCH WITH PADRAIG SPILLANE
September 21st - 20th
SCISSORS CUTS PAPER : MAIRE O MAHONY , ANNE HENDRICK , FIONA CHAMBERS , LUCY SHERIDAN
October 1st - 10th
October 11th - 20th
SARAH O BRIEN
October 21st - 31st
TRISH BRENNAN , THISISPOPBABY , NIALL SWEENY, TBC.
October 31st - November 6th
PAMELA CONDELL & CATHY WALSH
November 1st - 10th
ANNA CRUDGE AND NORA O MHURCHU
STEPHEN MC GLYNN AND EIMEARJEAN MCCORMACK
November 15th - 30th
NINA TANIS WITH TBC
December 1st - 14th
THOMAS MCGRAW-LEWIS , CLODAGH EMOE, DANIEL MCGRAW-LEWIS
Born and presently based in Cork,
My practise has evolved through concurrent threads of activity, one the one hand out of a deep respect for the processes of printmaking, printed matter and lens based media where my work takes the guise of site specific instillation - incorporating textiles, print, appropriated objects and other visual signifiers, operating collectively to engage the viewer and on the other engaging with social concerns such the public voice ( the Mapping Office ) and concerns relevant to Arts Facilitation ( Worlds End : a six month arts facilitation residency at The Guesthouse )
MAPPING is an on-going series of self-published, artist led publications. The project strives to afford the opportunity to invited artists to engage with the production of a thirty two page book. Printed in an edition of 1000, the invited artist is made free of restrictions and invited to use the format in any way they so choose. Sales from each publication go towards the funding of the next in the series.
The Good Hatchery (Ireland)
May 1st - July 31st 2011
Recipients of Residency Award 2011
Bulwark Special is the name given to a new project by visual artists Carl Giffney, Elaine Reynolds and Chris Timms. Over the course of a three month residency they tackled their surrounding environment through many activities with a particular emphasis on performative research and live presentation. They aimed to mine Corks recent history of flooding in order to engage globally with issues of deluge, disaster and pseudoscience. The three artists met during their studies at The National College of Art and Design and have worked together on various projects including the foundation of the Good Hatchery in East Offaly.
MAYDAY Event, Chris Timms, Carl Giffney & Elaine Reynolds, May 1st 2011
The residency began with a Sunday lunch event Mayday, Mayday, Mayday, a special briefing event that took place on 1st May, to introduce a series of ideas being explored throughout the residency.
Carl Giffney : For Bulwark Special 2011, my focus was on emergency and accident. This took form for the first time in Mayday, Mayday, Mayday a group project that, through presentation, interior design and performance laid out the many ideas that we planned to explore during our residency. These ideas and areas of interest included flooding, communication devices, lobster farming, the importation of ice and code systems.
Following this period I worked individually, collectively, curatorialy and in research and writing. Although all different strands of practice followed a central interest in emergency, the various progresses and outcomes were eclectic and included meetings with local artists, Gardai and emergency services.
One physical manifestation of my work took the form of an emergency response vehicle. Using reflective and day-glo vinyls a white van was turned into a non descript service vehicle given the moniker 407.C. Its aesthetics describe function yet it has none. It patrols roads, parks and scrublands with a changing inventory of tools and cargo.
Further physical experiment employed Star Trek VHS tapes. Over a month the entire Voyager series was hinged together, in series, with brass hinges and rivets. The outcoming object is a long and durable belt. This belt of outmoded American sci-fi is a loaded object that can be used to power various machines using a belt drive system that would be common to industrial machines in the form of timing belts, direct drives or belt gears. It will be used in upcoming exhibitions.
Carl Giffney, 407.c , 2011
Carl Giffney received a 1st class BFA in 2007, specialising in sculpture, from NCAD before going on to be award a 1st class masters degree in Visual Art Practices from IADT in 2011. His practice is responsive to the social contexts and the material environments that he works within. Performative research plays a crucial role in the developmental stages of his work, often focusing on specific social groups and public infrastructures. The outcomes of this research regularly use construction techniques to investigate social cohesion in its many different forms. Currently, he is interested in the architecture and aesthetics of rescue and in recent histories that document accidents. He has been involved in many exhibitions and residencies both nationally and internationally and has received Irish Arts Council funding on a number of occasions.
Elaine Reynolds : Using the May Mayday Mayday event as a point of departure, I went on to develop a body of work that examines how, in times of adversity, the act of questioning leads individuals to embrace various prophetic doctrines.
Diverse systems of dichotomies and dualities, both spiritual and political, became critical reference points in this process. Marxist rhetoric and pseudo-scientific hypotheses were put forward as signifiers of antagonisms that exist within our society. In particular, the supposed desire for change verses the social inertia that seems to dominate in reality.
Materialisation of these initial ideas included a number of experiments in video, coded 2d images and customised Chinese fortune cookies. This work went on to be exhibited in Disavow at The Joinery, Dublin (curated by Enagh Farrell and Marysia Magda Wieckiewicz) in August 2011.
Elaine Reynolds, Pinyin, Pencil and ink on paper - 53 cm x 500cm
S.peak O.racle. S.ublime, Customised Chinese fortune cookies - Dimensions variable
Superstruction I, Mirror cube - 75cm cubed - *prop. for video of the same title
Elaine Reynolds, was born in Dublin, Ireland, 1985. She studied at the National College of Art and Design, Dublin and the University of Ljubljana, Slovenia. Reynolds work takes form in the public sphere and responds to social phenomena within specific contexts. Recent undertakings address the economy and the architectures of cause and effect that occur within it. Existing systems are identified, appropriated and perhaps set to a new purpose. History, economics, hearsay and folklore are amongst a multitude of subjects that are referenced in her on-going enquiries. Reynolds is a founding member of the artist led initiative The Good Hatchery. In 2010 she was selected as artist in residence at the Leitrim Sculpture Centre, Manorhamilton, she participated in The Advanced Course in Visual Art with visiting professor Hans Haacke at Fondazione Antonio Ratti, Como, Italy. She also presented work as part of Holding Together at The Douglas Hyde Gallery, Trinity College, Dublin, and in Give and Take at Fabbricca del Vapore, Milan, Italy. In 2011 she will commence an MFA in Fine Art at Goldsmiths University, London.
Chris Timms : M.O.O.N. (Multi-local Object Orientated Network) was an open communication infrastructure, comprised of several two-way communication points, concealed behind various objects, and positoned around Cork city in such a way as to aerially map a triangle, that all received and transmitted sound to and from all the other communication points. In addition to the possible physical engagement of the network at their individual fixed local contexts, the network could also be accessed from calling an advertised phone number, granting engagment from potentially any location in the world.
The physical system was loosely based on the architechture of mesh networks, and somewhat resembled a two-way public address system, but by utilising the free communication software skype as the networks backbone, any utopian affinities were quickly stuttered or sometimes completely disrupted through the invisible and unpredictible interference of communicative artifacts from unknown origins. (See past events page July 2011 for further information)
Video documentation, M.O.O.N. (Multi-local Object Orientated Network), Chris Timms, 2011
Chris Timms graduated with a 1st class BFA in Fine Art Media from the National College of Art and Design in 2007. His practice focuses on mediation and documentation as acts, phenomena, and manifestations of cultural paradigms. Informed by ethnographic turns and returns, he cultivates new relationships with, and potential spaces within these mediated paradigms. Chris is involved with numerous collaborative and research based groups, and has exhibited work nationally and internationally, most recently in the Market Studios (IRL), the Estonian Artist Association in Tallinn (EES), the Phoenix festival (IRL) and in Kongsi (NL). He was a founding member of the Good Hatchery, and currently sits on its board of members.
Stephen Vitiello (United States)
April 10th - 17th 2011
In association with the National Sculpture Factory
Stephen Vitiello will be presenting an installation and artist talk as part of the Just Listen international Sound Art event in Cork and Limerick. For futher information on this event click here.
Stephen Vitiello is an electronic musician and sound artist who transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler, Pauline Oliveros and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center, Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment.
A new solo exhibition of his work opened at Museum 52 in NY on January 12. He also has a number of collaborative CD projects due for release during 2011, including a live recording with Steve Roden, Olivia Block and Molly Berg on 12k and a CD with Lawrence English on the Crâˆšâ‰¥nica label.
Mark Hall-Patch (Canada)
February - April 2011
Mark illustrates in watercolour with narrative themes relating to concepts of storytelling, mysticism, folk art, the ephemera of cultures, memories of home, Irish and Canadian iconography, advancements in technology and sociological phenomena.
Mark has been at the Guesthouse utilizing the 1st floor for his design and illustration practices. In March of 2011 he created a weekly event for collaborative drawing which currently runs twice a week unless otherwise posted. He continues to work at the Guesthouse on his watercolour narrative work as well as working collaboratively on various other projects in the local Cork arts community.
Left: Untitled/Various Objects 4" x 6", watercolour & pen Right:Untitled/Namtab Sweatshirt 4" x 6", watercolour & pen
Untitled/Magick Carpet 10" x 7", watercolour
Mark Hall-Patch is a freelance designer and illustrator born in Vancouver, British Columbia, Canada and moved to Cork, Ireland in September of 2010. He received his Bachelor of Design in 2008 from Emily Carr University in Vancouver and has been working as a freelance designer since 2004 focusing on illustrative design for organizations that have a focus in the arts and culture scene. He also has a strong affinity for collaborative illustration practice and founded the drawing group Collab in 2006 with a group show in Vancouver in 2008. In the summer of 2010 he became the co-owner/founder of The Worship Museum, an online store that represents a global spectrum of esoteric art & design, and continues to run the website from Cork. Mark has recently joined the Board of The Guesthouse.
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Strange Attractor (Ireland)
Strange Attractor is a collaborative venture between five artists, Anthony Kelly, Danny McCarthy, Irene Murphy, Mick Oâ€šÃ„Ã´Shea and David Stalling. Throughout this project we have worked both as a group and as individuals using improvisational sound performance, experimentation with technology and combined media to explore creative possibilities.
To assist with the development of the project and collaborative opportunities Strange Attractor decided to propose to the Guesthouse to use the second floor to meet for group workshops, to view and get a perspective on the work that would be installed as part of a residency in the Crawford Gallery in April and for Irene Murphy to build a prototype scafform structure which would be designed and constructed with the assistance of intern Sol Godino and artist Joanne Bohan. This structure was designed to have multiple functions and be produced for the collaborating artists to use during the residency in the gallery. The Guesthouse residency was an essential meeting point for the project as a location beyond the performances that was specifically for Strange Attractor enabling the artists to view the developing ideas.
Strange Attractor is supported and hosted by the Crawford Gallery and began in October 2010 with monthly durational sound performances with invited guests. The gallery based residency in April presented sound installations, regular performances with guests, sculptural interventions, a retro resource sitting room, still and moving image and a growing archive of photographic and video documentation. This series of ventures will be followed by a publication which will be launched in November 2011.
DANNY McCARTHY is one of Irelandâ€šÃ„Ã´s pioneers of performance art and sound art and he continues to be a leading exponent exhibiting and performing both in Ireland and abroad. In 2006, he founded the Quiet Club with Mick Oâ€šÃ„Ã´Shea, a floating membership sound (art and electronics) performance group. He is a founding director of Triskel Arts Centre and the National Sculpture Factory.
IRENE MURPHYâ€šÃ„Ã´s work questions the role of the artist, creative space, and engages with a broader concept of creativity. A common link in her art are ideas about performativeness, site specificity and communality with Murphyâ€šÃ„Ã´s art acts being private interventions into public space. She is active in initiating and participating in many group and collaborative projects and events, such as The YOYO Club, Ideal State Agency, Electric Rain, Us Live and Club House. The creative trio The Domestic Godless use food and hosting as their chosen medium. Murphy is a founder member of the Cork Artists Collective and The Guesthouse.
MICK Oâ€šÃ„Ã´SHEA works spring from his essential experience in drawing. His medium includes sculpture, drawing, sound and cooking. In 2003 Oâ€šÃ„Ã´Shea and fellow artist Stephen Brandes and Irene Murphy set up the collaborative practice, The Domestic Godless which, through performative cooking events, explores culinary activity as art practice and tests assumptions about the cultural traditions of food in challenging and often irreverent and absurdist ways. In 2006 he formed The Quiet Club with Danny McCarthy to promote and showcase improvised music and soundworks. Oâ€šÃ„Ã´Shea is a member and director of the Cork Artists Collective.
ANTHONY KELLY & DAVID STALLING have been collaborating on a series of sound and visual works since 2003. Their work encompasses a shared practice of recycling â€šÃ„Ã²objets trouveâˆšÂ©sâ€šÃ„Ã´ of sound, visual and text material in their ongoing collaborative sessions. The juxtaposition of contrasting material results in a series of audio/visual â€šÃ„Ã²musique concrâˆšÂ®teâ€šÃ„Ã´ pieces. Kelly & Stalling founded the sound art label Farpoint Recordings in 2005, publishing projects by artists such as Danny McCarthy, Alan Lambert, Linda O'Keeffe and Damo Suzuki amongst others alongside their own work. www.farpointrecordings.com
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College of Fine Arts, Frankfurt am Main (Germany)
March 14th - 18th 2011
Artists in residence from the College of Fine Arts, Frankfurt am Main, Germany. Artists included Timothy Fuery, Oliver Heinzenberger, Theresa Kampmeier, Shane Munro, Dana Munro and Martin Dineen (Outlaw Studios Cork)
Rouzbeh Rashidi (Iran)
February 24-25 2011
In association with An (Other) Irish Cinema
Rouzbeh Rashidi's films are inspired by and constructed around images, locations, characters and their immediate situations. The stylistic elements that make up his distinctively personal film language include the use of natural light, non-professional actors, slow paced rhythms, abstract plots, static shots and minimal dialogue. He employs a wide range of different formats and devices to make his films, including video, Super 8mm, webcam and mobile phone cameras. His consistently low-budget work is entirely self-funded and made with complete creative freedom. He strives to escape the stereotypes of conventional storytelling and instead roots his cinematic style in a poetic interaction of image and sound. He intentionally rejects scriptwriting, or any other form of written pre-planning.
During his stay at The Guesthouse a series of Rouzbeh Rashidi's films were screened as part of a Flickswitch event.
Rouzbeh Rashidi (born in Tehran, 1980) is an Iranian independent filmmaker. He moved to Ireland in 2004 and currently lives and works in Dublin. He has been making films since 2000, when he founded the Experimental Film Society in Tehran. He has directed and produced forty short films. Since 2008, he has focused on feature projects, making eight full-length films. His films have been screened in film festivals nationally and internationally in Iran, Ireland, Northern Ireland, Wales, UAE, USA, Hungary, India, Italy, Greece, France, England and Brazil.
April Gertler (United States)
January 9 - February 6 2011
In association with the Sirius Arts Centre
April Gertlerâ€šÃ„Ã´s work is rooted in her ongoing fascination with photography, collage and drawing. Various projects have evolved from the careful observations she has made from her huge collection of snap shots in connection to her own photographs. The resulting interplay between these two worlds, which also includes drawing and collage, are what have made up a lot of her most recent projects. Aprilâ€šÃ„Ã´s work is thematically concerned with female identity, human relationships and the representation of memory.
While at The Guesthouse April spent her time working on a body of work and subsequent show both titled: â€šÃ„Ã²Prisoner of damp patchesâ€šÃ„Ã´, which was exhibited at the Basement Project Space on January 27th 2011. She also hosted a Sunday Lunch and gave an artist talk during her residency on January 23rd.
Left: Gingham exaltation, 19" x 23.5", digital photograph
Right: Feelings of inadequacy, 19" x 23.5", digital photograph
The magnificently active star, #1, 2' x 7', chalk drawing
April Gertler received her BFA in Photography (1997) at the California College of the Arts, Oakland, CA and her MFA in Photography (2002) at Bard College, New York. April has been working and living in Berlin since 2005. She has most recently exhibited her work at Autocenter, Berlin, German; Basement Project Space, Cork, Ireland; AtelierFrankfurt, Frankfurt/Main, Germany; Pool Gallery, Berlin, Germany and Agent Double, Geneva, Switzerland. Her work has been published in Capricious, Camera Austria, and ROJO Magazine.
In the summer of 2009 April founded PICTURE BERLIN, a hybrid residency / art academy concentrating on issues in contemporary photography. PICTURE BERLIN comes on the heels of other collaborative projects April has started; such as an international critique group based in Berlin and collaborative curatorial projects as well like the Gemini Show - an annual exhibition with Lise Harlev and me2u - a music project.
PALLASADES were hosted at The Guesthouse coinciding with their exhibition 'Score for 51Â¬âˆž57'N 08Â¬âˆž40'W' (ESB Substation, Cork, in association with Triskel Arts Centre, The Black Mariah + PCP, 2010) 18th December 2010 - 20th January 2011
Pallasades are Imelda Barnard, Fiona Chambers, Rachael Gilbourne, Michelle Hall, Tracy Hanna and Sharon Murphy. They began working collaboratively in 2008 following participation in the first internship programme at Pallas Contemporary Projects, Dublin.
MA Drama & Theatre Studies UCC (Ireland)
December 14-16 2010
In association with GAIA Projects.
The purpose of this residency was twofold: to get to know the city and the local artistic panorama and, at the same time, present my own work in the city. I added the creation of work in Cork, which should be both personal and inspired by the experience of the place.
My work at the National Sculpture Factory was the major part of my residency project at The Guesthouse in Cork. The space at the NSF was suggested to me so that I could continue my work on the industrial theme; but the place itself immediately drew my attention to the nature of the institution and its activity, which is why I decided to continue my work devoted to sculpture. I thus turned towards a new development, motivated directly by the nature of the reality I found. With a certain degree of intentional subversion in mind, transfers of function are induced at the place where sculptures are normally produced in the traditional sense, and the sculptures are replaced by the tools that usually create them. These tools, which are (only?) apparently promoted to this important position, then have their intrinsic function usurped by the camera, which aims to become the latest sculpting tool.
Other smaller pieces of my work in Cork include some night photography and my interplay with the residence itself and its surroundings, both ways of working Iâ€šÃ„Ã´ve been exploring before. Major inputs from this artist residence was the development of my approach to the sculpture work and the further acknowledgement of the possibilities of music and sound as part of the art work.
At The Guesthouse a projection show was produced and exhibited featuring the work from the National Sculpture Factory Sculptures From The Factory as well as the related previous pieces from Modern Sculptures; after the cooking and community sharing of a Sunday Lunch with a Portuguese flavor, of course. For further information and images on this work click here.
Nelson Silva Sousa
Sculptures From The Factory
Nelson Silva Sousa
Sculptures From The Factory
Born in 1971, Oporto, Portugal. Educated in the Natural Sciences, followed by a degree in Advertising Studies. Commenced photography studies in 1993, initially focusing on commercial photography before turning to his own projects. Since 1999 he also teaches photography.
2009 JUP gallery, Oporto
2008 Mirror in the wall â€šÃ„Ã¬ installation in the Oporto Tram Museum with 11 large format photographs and text.
2005 Salvation: exhibition in Almeida Garrett Oporto Public Library and exhibition, installation and performance in Oporto Agramonte Cemetery.
2004 frissâˆšÂµes in S. JoâˆšÂ£o da Madeira, Portugal.
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Andrew Wood is an artist, designer, researcher, photographer, film maker and creator of Bright Stem based in Belfast in Northern Ireland. During his stay at the The Guesthouse Andrew presented a series of video works as part of Seesound event on the 13th November.
Andrew Wood, video still Not Squares 'Release the Bees' 2010
Bright Stem came about through the work Andrew was doing within education which focused around building relationships between different 'things'. Things could be understood in many terms for example: people, disciplines, materials, images. The important thing isn't what the 'thing ' is but how it relates to the other 'things'. So bright stem was born giving him a platform to work more freely across a multitude of areas simultaneously.
'I felt that working as an 'artist/designer' under my own name would not allow me the freedom needed to develop ideas, projects business models or research in a satisfactory way there was too much baggage that came with that. Where as Bright Stem can be understood in whatever way best suits the project/activity i.e. it can be understood as a retailer when selling cards, a production company when creating music videos or a think thank when developing research projects.'
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AJM Collective (Portugal)
October 18 â€šÃ„Ã¬31 2010
The AJM Collective is an improvised music ensemble, which gives particular emphasis to real time composition and contemporary music, since the beginning of 2009 this collective have played in different contexts with a range of musicians from the improvised music scene. AJM Collectiveâ€šÃ„Ã´s music is influenced by free jazz and experimental music; in live performances their music interacts with image in real time.
During their stay at The Guesthouse AJM Collective performed a concert at The Guesthouse on Saturday 23rd October with projected video by the late John Younge and a concert at The River Lee Hotel on Sunday 24th October as part of the Cork Jazz Festival.
AJM Collective performance at The Guesthouse on 23rd October 2010
Photograph courtesy of Robin Parmar
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October 15 â€šÃ„Ã¬18 2010
Based in Vienna the variable artist collective ANONIM was founded in 2009 as an open space.The participants vary depending on the project and are interdisciplinary composed. ANONIM stands for situate and interdisciplinary work, for processuality, for communication, and synergy. The artistic craft is seen as a work in progress, that re-forms and re-defines depending on thematics and actuality. The dispute with specific locations and situations, the collective development of artistic strategies for certain states and questions form the core of the methodology and are seen as more important than the formal end product.
On invitation from current artist-in-residence Katrin Hornek ANOMIN produced new work on-site at The Guesthouse culminating in an exhibition of video performance and installation.
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While on a three month residency in Cork, hosted by the National Sculpture Factory and PâˆšÂ©piniâˆšÂ®res europâˆšÂ©ennes pour jeunes artistes in 2009, I began my research on the indigenous Irish nomadic people, the Irish Travellers. Thanks to the Guesthouse Project, I could come back to Cork after a necessary time of reflection in September/October 2010, in order to finish the interview series and the imagery for the exhibition 'The Willows' at the Crawford Art Gallery. Since I felt the great opportunity to also use the exhibition space of the Guesthouse while I was there, I invited the artist collective ANONIM to do a site-specific work.
Settled Travellers, Mobile Settlers, 2010
Due to the loss of no-manâ€šÃ„Ã´s-land, modernization and strict new trespass-laws in the past few decades, Irish Traveller have been forced to settle down. Whilst Travellers are not â€šÃ„Ã²Gypsiesâ€šÃ„Ã´ by blood they lead related lifestyles and are similarly segregated from society. Interviews were recorded with the Travelling community from a variety of generations portraying their stages of sedentariness chronologically. The camera follows their stories from life on the road in tents and hand-made barrel-top caravans, to trailers parked by the road side, to government-organized trailer parks on hidden halting-sites, to social housing and finally, for those who adapted to the modernizing of Ireland early enough, to privately owned houses. Settled Travellers talk about their former desires to move into a house, their need for mobility and freedom, their possible cleaner future, their boxed feelings whilst living between four walls and their shift in focus to maintenance rather than continuous flow. The imagery switches from architectonical introduction shots to interior details, portraying a capitalization of spaces and minds.
Settled Travellers, Mobile Settlers, HDV video still
The Willows, Crawford Art Gallery, Cork 2010
The Willows, Crawford Art Gallery, Cork 2010
Katrin Hornek (Austria 1983) currently lives and works in Vienna. She studied at the Royal Danish Academy in Copenhagen and at the Academy of Fine Arts Vienna where she graduated in 2008. Her work has recently been shown at Basis Frankfurt, Museum of Modern Art in Moscow, at Pori Art Museum in Finland and EdB/Dolores, Amsterdam.
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During his residency Andrew worked on the development of a new collaborative video work with Ger Staunton.
Andrew Johnson graduated from Duncan of Jordanstone College of Art, Dundee, in 1992, with a BFA (Bachelor of Fine Arts- Hons) and an MFA (Master of Fine Arts). He has exhibited in the UK, Ireland, Europe and America, in solo and group shows. He now lives in South Wales working with painting, video work and photography.
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My residency became a point of research and solitude for expressing ideas and different processes and to produce a new body of work for two exhibitions titled - The Woods , Limerick City Gallery curated by Mary Conlon and Imposing Nature at the Monster Truck Gallery, Dublin. The residency allowed me the time and space to delve further into ideas and motifs free from daily routine and familiarity.
The work became a accumulation of imagery from a variety of sources in relation to themes and motifs centered around my art practice. This involved a few processes. I went to a lot of charity shops, took a lot of photo/documentation of the area for further research, eat some rabbit and spent some time walking around the maze like structure of Shandon hill, I was gripped by this lost quality of the area. All ideas and thoughts were brought to the studio and worked on.
Relaying on childlike or adolescent sources, the work presents non-scenes, where the world outside its narrowly selected view has been whited out. Just as memory is exceedingly selective, faced with such an overwhelming amount of data, so too are these images. What is recalled is rich in specifics, whether true or not, attempts to reconcile dichotomies between corporeality and fiction, as well between what appears tamable and intractable, to create a tension within the work, despite being imbued with a childlike sense of curiosity.
My paintings and drawings aims to be simple and playful. By using the confines of the canvases the work deals with sparseness within empty spaces on a flat smooth surface, creating a sense of something lost or something waiting to happen or anticipation. A common trend within the work is concepts centered around wounded animals, traps, large/small; real and imaginary.
Oil on gesso board, 610mm circumference, 2010
Tastes Like Chicken,
Pencil on paper, 620mm x 560mm, 2010
Paraic Leahy graduated from Limerick School of Art and Design in 2008 with an honors degree in Fine Art Painting. Founding member of Occupy Space a new Artist lead galley in Limerick City. Awards include Claremorris Open Exhibition 2010 - Second Prize, Tyrone Gutherie Centre Bursary Award 2010, funded by the North Tipperary Arts Council. Upcoming exhibitions Imposing Nature, Monster Truck Gallery, Dublin, The Woods, Limerick City Gallery and â€šÃ„ÃºSomething tells me theres something happening at the zoo, Kevin Kavanagh Gallery, Dublin.
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During their residency at The Guesthouse Lorenzo Casali and Micol Roubini created a new video work titled Ignition filmed in Knocknaheeney, located on the northside of Cork city during the summer solstice bonfire night celebrations.
The extended environment of the city nourishes this video: it looks into the outskirts of the city of Cork intended as the sub-urban/rural areas, and proposes to elaborate an archaeology of a metamorphosing extra-urban landscape. The film embodies a reflection on the changing city, on the memories and shadows cast by both real and symbolic areas.
Ignition aims at mapping the forgotten plots â€šÃ„Ã²without purposesâ€šÃ„Ã´ through an audio-visual survey. More precisely, this work intends to describe and re-present the unseen leftovers of industrialisation, the relics of the mutation of the city. The video focuses on marginal areas, residual interstices, unexpected paths not designed by urban planners. We consider these wastelands as the black box of the cities, as the time capsule that collects or redeposits the excreta of unbridled consumerism in which are findings preserved as traces of contemporary times. These fragments are the origin of our personal research but also a common practise of reading-understanding portions of reality.
Ignition is the result of a praxis guided by a direct examination or autopsy on shared public spaces. The first step is an exploration around and inside specific threatened suburban voids. Each site is considered for its physical, urban, social, political, as well as metaphysical aspects. Therefore a peculiar reality is the start of a cogitation process: in our view, this practice as individual engagement is the basis of any shooting. After the in-situ observation of some emblematic cases of metamorphosis, the collected audio-visual landscapes are combined together during a delicate process of editing. The result aims to find a balance between a critical reflection on the internal tensions of an urban setting and a contemplation of spaces and physical phenomena in the time flow. Form and perception are an effect of emotive participation, are a result of a mutual exchange with time and conditions of the surrounding in which people and things exists. No artistic formula can be conceived but a radical acceptance to uncertainty.
Lorenzo Casali, Micol Roubini
Micol Roubini and Lorenzo Casali
Ignition, 8â€šÃ„Ã´23â€šÃ„Ã¹ , Digital Video, 2010
Lorenzo Casali was born nearby Milan in 1980. He graduated in sculpture at the Academy of Fine Arts in Milan in 2004. Since 2001 he participated in several exhibitions, screenings and awards in Italy and abroad. In 2005 he realized the project Contesto â€šÃ„Ã¬ site specific installations in Navelli (AQ). Albedo (2006), his first solo show, and Blank (2010) took place in Senzatitolo in Rome. In 2007 the Chamber of Commerce of Rome commissioned him the video Pulsar, later presented in the Hadrianâ€šÃ„Ã´s Temple. In 2008 he was selected for residency program in Duende Studios and Kaus Australis in Rotterdam. Later that year the solo exhibition Traguardo was presented at Ikona Gallery in Venice. In 2009 he won the Movin up grant and later he was selected for the R. Pezza Award with an exhibition at the Museum of Contemporary Photography in Milan. In 2010 the project Recent Ruins was presented in Rotterdam in solo exhibitions at the Berlage Institute, Mirta Demare Gallery and Historical Museum. He took part in Enigma, a group exhibition in TENT. Rotterdam and was nominated for the Special Italia award at the Photography Foundation of Modena.
Micol Roubini was born in Milan in 1982. She began her studies at the Academy of Architecture in Mendrisio, later enrolled at the Academy of Fine Arts of Brera in Milan, where she graduated after a year spent at the UniversitâˆšÂ§t der KâˆšÂºnste in Berlin. In 2008 she got a degree in audio technology at Irmus, Institute for Musical Research, department of the Scuola Civica, Milan. After graduation she began to show her works in exhibitions and screenings: 2007, Lo schermo ansioso, Verona; Corpo / REO - Short Video Convention, Brescia, 2010 Camera Video, March Foundation, Padua, Loop Festival, practica e diffusione della video arte in Italia, Barcelona, Art in Kaunas, Kauna, Litany, Tina B festival, Prague, Camera Video, Palazzo Ducale Genova. Since 2007 she works as a sound engineer for various orchestras of classical music and as a sound designer for filmmakers and video-projects/installations for personal projects and also in collaboration with other artists.
From 2010 Micol and Lorenzo began to work together with Ignition, a video made during their residency at The Guesthouse. In 2011, the video was presented at the International Film Festival Rotterdam XL event and at the Sub Urban Video Lounge. In 2011 they have been selected for a residency at AiR Novia Univeristy of Applied Sciences in Nykarleby, Finland. Traversate, their second project has been selected for exhibitions at Hangar Bicocca in Milan and at the Tel Aviv Museum of Art-Jaffa Station.
They live and work between Milan and Rotterdam.
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Zsolt Kozma was invited by current curator-in-residence Mary Hyunhee Song. During his stay at The Guesthouse he gave a presentation introducing the history of media art in Hungary and including a screening of selected video works.
Zsolt Kozma is a curator with Videospace Gallery in Budapest. Videospace is an international media art gallery located in Budapest. It was founded in 1999, and opened its exhibition space in 2007. The programme of the gallery focuses on media art in the broaders sense. It represents Hungarian and international artists on the Hungarian market and at international art fairs. Exhibitions and projects are accompanied by artistsâ€šÃ„Ã´ talks and other events. The gallery stages exibitions at external venues as well. Their aim is furthermore to promote young artists and maintain international contacts. The gallery also provides advice on the foundation and management of private and corporate collections.
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During my stay I worked on a 20 minute quadraphonic sound installation piece, which was then performed at the 5th Sonic Vigil in St. Finbarâ€šÃ„Ã´s Cathedral, Cork, July, 2010. The original concept for birds I view through cracks (2010) was to create simultaneous soundscapes using 4 different sonic environments. Each of these environments would fundamentally belong to one speaker and on top of each basic environment; I would place sonic references to each of the other three soundscapes. The intention was to produce a work that in theory was clearly derivative of one space, but that in reality, when fused with multiple other spaces was transformed into something new and less identifiable.
I was interested in working with the idea of what happens when you remove most of what ties a sound to a particular environment and replace those sounds with others from another environment altogether. Once I started work on the piece, it became clear that elements of this theory were not producing audibility interesting results (in my opinion) therefore, I reworked part of the theory so that part each of the, now five soundscapes, were divided and guided more intuitively by their sonic features and contours.
Karen Power performance at Sonic Vigil, St. Fin Barre's Cathedral, Cork
Photograph courtesy of Patricia Klich
Karen Power is an Irish composer who writes primarily for acoustic and electroacoustic forces. Her initial interest in composition came during her undergraduate degree in University College Cork (UCC), where she familiarised herself with as many musical styles as were on offer while developing a compositional language with â€šÃ„Ã²post-minimalistâ€šÃ„Ã´ influences. ??In 2009 she completed a PhD in acoustic and electroacoustic composition at SARC (Sonic Arts Research Centre), Belfast, with Prof. Michael Alcorn. Throughout her PhD, Karenâ€šÃ„Ã´s works focused on the commonalities and individualities of both acoustic and electroacoustic composition aiming to develop a more integrated language, which acknowledges and utilizes such strengths.
Recently Karen has spent time in residency at The Banff Centre, Canada, The Guesthouse, Ireland and was a composer fellow at UCDavis, California, USA. Karen has written pieces for Alarm Will Sound, SCAW, Carin Levine, the Ulster Orchestra, Kate Ellis, Mmm Trio and Quiet Music Ensemble. She has been awarded national and international awards and honorary mentions for her work and has represented Ireland internationally on a number of occasions. Karenâ€šÃ„Ã´s compositional interests are constantly shifting, transforming and re-shaping, with current projects including a sound and movement collaborative work and a video and sound collaboration.
Karenâ€šÃ„Ã´s acoustic and electroacoustic compositions have been performed at a number of international festivals including; SPARK, Madness and Music Festival, ICMC, WEARL, SEAMUS, Spitalfields, New Music Festival, California, DEAF, Quiet Music Festival, Hilltown New Music Festival and EAR un-plugged.??Karen Power is an active member of AIC (Association of Irish Composers), SPNM (Society for the Promotion of New Music), IAWM (International Alliance for Women in Music), SEAMUS (Society for Electro Acoustic Music in the US) and a founding member of ICC (Irish Composerâ€šÃ„Ã´s Collective).
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In association with Cork Midsummer Festival.
During his visit to Cork Phillip Zarrilli was hosted at The Guesthouse in association with Cork Midsummer Festival. He is internationally known for training actors in psychophysical process through Asian martial/meditation arts, and as a director/performer. He runs a private studio (Tyn-y-parc C.V.N. Kalari/Studio) in Wales, and conducts workshops and long-term residencies throughout the world.
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Gavin Prior making field recordings facing Shandon in Cork
Gavin on location in the National Sculpture Factory
Photographs courtesy of Suzanne Walsh
â€šÃ„ÃºBabbleon Corkâ€šÃ„Ã¹ is the result of my residency in the Guesthouse in May 2010. Iâ€šÃ„Ã´ve created an audio collage in three parts composed solely of sounds recorded during my time in Cork. With my portable recorder, I moved through the city guided by suggestions from Corkonians, my ears and serendipity. I had certain recording locations in mind but many of the sounds were stumbled upon or lured me away from my intended destination.
As a musician/producer Iâ€šÃ„Ã´m used to generating the sounds I want to hear. Field recordings are only an occasional element in my work. In Cork my job was to listen keenly and to seek out interesting places and people to record my source material. Working within a strict set of limitations I used only the material I could find in the city to produce the collage, making conventionally â€šÃ„Ã²musicalâ€šÃ„Ã´ passages solely from found sound. I avoided effects (apart from some EQ scrubbing up) because I wanted to keep it visceral and life-like. I felt driven to create a contemporary, urban soundtrack when the voices featured are those of skateboarders and hoodie-clad party-goers.
I frequented areas I wouldnâ€šÃ„Ã´t normally spend time in when visiting Cork so we hear teenagers spouting racism in a city centre chipper and perspectives on the economy from a homeless man and some carousing economics students. Sometimes I changed my appearance to blend in and others I engaged with people to draw out their stories. Cork sounds much like any other Irish city but the undulous Cork accent is truly unique. Thereâ€šÃ„Ã´s a documentary element with space for city-dwellers to share their stories and opinions. The emotional content of the direct speech is soundtracked and enhanced by the abstract, instrumental in the collage.I simply followed my ears during the residency without a theme in mind but during the editing/assembly process themes and connections revealed themselves.
The result is a short album which captures the energy of the city mixing layers of abstracted sounds and the fluent, irreverent utterances of the Corkonians themselves. Iâ€šÃ„Ã´ve released this project as a free download under a creative commons licence leaving it open for sampling and remixing.
Since graduating from the University of Limerick with an MA in Music Technology Gavin Prior has been involved in free improv, noise, folkish musics and rock. At an improv workshop hosted by Eddie Prevost of AMM in 2001 he met some fellow improvisers with whom he formed the free improv group Murmansk. and the Deserted Village label which mostly releases music from the worlds of noise, improvisation and folk. Murmansk had a shared membership with United Bible Studies the shape-shifting psyche-folk-rock group. United Bible Studies have gigged tirelessly throughout Ireland and Britain and the USA. His other longest-running collaboration is the noise duo Toymonger with Andrew Fogarty. As an improvisor he has found himself in many one-off and occasional collaborations. As a promoter he brought fringe-dwelling musicians to Ireland (often for the first time) from around the world. He is currently working on future United Bible Studies releases and the debut of a new band Sabre Series.
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Ki Woun Shin was invited by current curator-in-residence Mary Hyunhee Song to present a series of works based around the action of 'grinding'. During his residency at The Guesthouse Ki Woun Shin presented a screening of video works and talk about his grinding works, and a live 'grinding' performance accompanied by The Quiet Club sound improvisation.
I understand that 'Grinding' can be translated alot of ways by any object what I choose. First 'Grinding' makes dust. From my results, most solid objects make grey tone dust, even if I grind a colourful thing, the colour is almost all lost in the dust, except some fragments. This fact maybe analysed in terms of the grinding action as neutralizing characteristic. Second the Korean verb, 'galda' (grind) is an expression which is used to mean 'punish', or 'revenge'. For example a couple splits up and one will say 'I will grind him (or her), meaning I am going to 'kill you' or 'I will destroy you'. Third, when Asians talk about dust proverbs in Buddhist terms, it connotes emptiness, coming to nothing and zero. This idea indicates our life has no meaning without common existence, worth, or valuable things as money. It means the 'desire' looks like 'smoke'. - Ki Woun Shin
'Shinâ€šÃ„Ã´s work shows how attached we are with the material; new technology, superheroes, text books, money, classical instruments, etc. â€šÃ„Ã¬ all the â€šÃ„Ã²importantâ€šÃ„Ã´ things which we would never imagine destroying, especially if these are very new and expensive or if these are what we worship. The more he grinds, the more we lose our â€šÃ„Ã²preciousâ€šÃ„Ã´ stuff. When he plays this process of grinding backwards, he creates the whole world back, but we know all the materials he ground already became dust in the grinding machine. He touches our deep emotion towards â€šÃ„Ã²important thingsâ€šÃ„Ã´ by grinding all these into dust. Then, he just gives these back to us as only images he creates by playing the video backwards. Then, we think to ourselves, what was so important? Or was it really important? Shinâ€šÃ„Ã´s philosophical approach by grinding lets us rethink our attachments and the attitude towards social constructs in the different dimensions of human life.' - Mary Song (curator)
Ki Woun Shin presents a series of his grinding video works
Sunday Lunch event 28th March 2010
Detail of the Grinding Performance Ki Woun Shin with The Quite Club
8th April 2010
Ki Woun Shin is a Korean artist currently living in London. Since moving to London in 2007 to study an MA at Goldsmith College he began to concentrate on video art media.
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In association with the National Sculpture Factory
Point B is a self-sustained, artist-run International Worklodge for art and science professionals. The aim is to offer Lodgers unique studio lofts for periods of uninterrupted time. The studios can be used for ongoing research/art, on-site experimentation and are stimulated by cross-cultural influences. Lodgers will also benefit from monthly presentations, Open Studios and international as well as New York based networking.
The project stems from the belief that simplest acts of living can create the most complex pieces of art. By inventing a flexible platform for creative professionals constantly on the move, the project is exploring means and tools for the new nomadic lifestyle. Under the PointB umbrella, we are developing the concept of international Worklodges.
During their time in residence a public conversation took place between Mark Parrish (Point B founder and design artist) and artist Maud Cotter on Saturday 27 March at The Guesthouse.
Mark Parrish (Point B) in conversation with artist Maud Cotter
27th March 2010
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Mary Hyunhee Song is an independent curator from Korea; currently based in Finland. Her independent curatorial projects include: Foreigners? Aliens?? Shinhan Gallery, Seoul (2007); Minority Report, Gallery 175, Seoul (2007); and Young Collectors' Choice, Shinhan Securities Group, Seoul (2008). She is focused on collaboration with local artists for international projects and cultural exchange to reduce the gap between different cultures and misunderstanding. She writes regularly for her blogs, 'Mary Art Project', about her art experiences and information, and 'Mary Songster', about her travel and culinary experiences.
During her time as curator-in-residence Mary Hyunhee Song hosted a series of Sunday Lunch events and a performance event featuring presentations with invited Korean artist Ki Woun Shin and Hungarian curator Zsolt Kozma. Through her residency at The Guesthouse she made contact with Gruenrekorder (record label) and later in the year curated an exhibition with in Korea.
March 28 Sunday Lunch: Artist Talk by Ki Woun Shin
April 8 Grinding Performance: The Quiet Club + Ki Woun Shin
May 26th Lunch Time Talk
June 6 Sunday Lunch: Hungarian Curator Zsolt Kozma Budapest
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I used this time to re-visit some older works and explore new ways of presenting them in terms of what might be called â€šÃ„ÃºInstallation Artâ€šÃ„Ã¹. The freedom to do this was a great revelation to me, which might not have occurred in normal studio practice.
Much of my work to date has been about ideas of what painting can be about. My works are largely abstract in nature, but have increasingly included both figurative elements and spaces.
'SYNTAX REVEALED' A Painting Installation, is largely about spaces. The works are situated in what is essentially a domestic space, in a real street, in a real town. What I sought to do is to situate these small paintings firmly in the context of the project room in The Guesthouse. To tie them to the space, I painted large sections of the walls with a number of household colours. The shapes and forms, which these areas take, also relate back to elements within the paintings. In this way, I hope to have â€šÃ„Ãºexplodedâ€šÃ„Ã¹ the meaning of what a painting (or these paintings) can be about.
This explosion or projection, or extension, of the works is very important within my practice. In this circumstance it has allowed me to really create one work throughout the whole room. There is a definite attempt to try to encompass the viewer in a full installation experience. But it is also hoped that the individual works can then be interacted with on a more personal level.
This moving between the actual works and the painted room, blurs the edges of where the works start and finish. A painted wall has a different visual intensity, than an actual fine art painting. But yet both are related. Design meets â€šÃ„Ãºhigh artâ€šÃ„Ã¹ practice, both working at different levels.
'SYNTAX REVEALED' A Painting Installation @ The Guesthouse, February 22 - March 23, 2010.
To view a video of this installation by Rory Mullins paste this link into You Tube : http://www.youtube.com/watch?v=ni11oNxSVNc
Dermot Browne is an Irish artist whoâ€šÃ„Ã´s work is abstract in nature, and which has in recent years become about how means of exhibition and installation can affect the understanding of the art-work. He was born in Dublin, and over the past 4 years has worked and exhibited abroad mainly in Italy and Portugal . He is also the founder of GAIA PROJECTS a new artistâ€šÃ„Ã´s group which seeks to: â€šÃ„Ã¹bring art and global awareness closer together in a productive and creative dialogue about how we liveâ€šÃ„Ã¹.
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In association with the Cork Film Festival
Ian Helliwell is an audio-visual artist based in Brighton whose work encompasses short experimental films and the composition of electronic music with instruments he designs and builds himself. He has screened and performed widely at festivals throughout the world.
During his residency at The Guesthouse Ian Helliwell presented a screening and talk Cameraless Films and Soundtracks with Helliwell Instruments and See Sound an evening of film with live sound performance.
Since he first started making films at the start of the 1990s, direct animation â€šÃ„Ã¬ drawing on, scratching, bleaching and hand colouring of Super 8 â€šÃ„Ã¬ has been one of Helliwellâ€šÃ„Ã´s major concerns. This programme looks at an area of experimental filming where the camera takes a back seat, and for the main realisation of the idea, dispenses with it altogether.
Soundtracks with Helliwell Instruments
Music and electronic sound is central to Helliwellâ€šÃ„Ã´s art and life, and features prominently in all of his films. He has been building a range of Hellitron tone generators since the beginning of the 1990s, making soundtracks to his own work as well as for silent 8mm prints. Here Ian presents several vintage archive films to which he has composed electronic scores, and will play live with his self-built Hellisizer 1000 to his ongoing film collage Holes, started over 15 years ago and still being added to.
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Roland Etzin works in the genres of field recordings and audio art. He is co-founder of the recordlabel Gruenrekorder and the Society for the Advancement of Phonography and Experimental Music. He also is part of the electronic music formation Autumn Appreciation Society.
During his three month residency Roland produced a series of new sound works incorporating field recordings made in Cork city. As part of an outcome of his residency Roland performed with sound artist Tobias Schmitt of Acrylnimbus.
Photograph courtesy of Robin Parmer
For further information about Roland's work and to listen to sound files click here.
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In association with SoundEye
Jerome Rothenberg is an internationally known American poet, translator and anthologist who is noted for his work in ethnopoetics and poetry performance. As part of SoundEye, Jerome Rothenberg was hosted at The Guesthouse.
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Kristin Posehn is a conceptual artist currently based in the Netherlands who primarily uses photography to create sculptural installations that re-interpret architecture. Her visit to Cork was to undertake a short period of research. During her stay at The Guesthouse Kristin gave a presentation and talk about her current work.
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As part of the Cork Midsummer Festival, David Sherry presented Complaints in the Lewis Glucksman Gallery, a live performance work that invites members of the public to air their grievances on just about anything. To view images of this performance click here.
During his stay at The Guesthouse David Sherry gave a presentation and talk about his work.
David Sherry came to public and critical prominence in 2003 representing Scotland at the Venice Biennale and as a short-listed artist for the Beckâ€šÃ„Ã´s Futures art prize in the ICA, London. Since then his darkly humorous work has been shown extensively including solo exhibitions in Antwerp, San Francisco, Geneva, Paris and London. Sherry is currently taking part in the exhibition Grin & Bear It: cruel humour in art and life, at the award-winning Lewis Glucksman Gallery.
Colette Lewis (Ireland)
In association with RehabCare Bruach and The Guesthouse
dreamWorkers Art Project explores through a creative process the potential and possibility to create ones own vision, personal ambition and dream occupation. The project came about in response to the closing of the last RehabCare Sheltered Workshops in Ireland in December 2008 and seeing it as an opportunity to engage in a critical dialogue with service users to reflect on the impact of its closure and the current state of opportunities for people with disabilities to access open employment.
The project was based in The Guesthouse and for five month between May-November a group was formed and met on a weekly basis. The format of the project was based around a discussion group forum. Content for discussion was informed by weekly print and broadcast news media, media representation of disability and employment issues.
One of the responses out of the project was to create an intervention in the RehabCare resource centre to create a portrait wall of photographs of staff and services users holding a handwritten sign declaring their dream occupation. On the wall opposite a print out of the International Standard Occupation Classification was installed.
Project participants included Christine Buckley, Tom Casey, Brian Coffey, Pat Harris, Kieran McCaffery, Brian McDonnell, Willian O Donovan, Paddy O Hagan, Joe Quigley and Mary Williamson.
Colette Lewis is a visual artist currently living and working in Cork city. She graduated from the Limerick School of Art & Design with a BA in Fine Art Sculpture (1995) and will be commencing an MA in Visual Art Practices from IADT Dublin in 2010. At present she is a studio member and Director of the Cork Artists Collective and a founding member of The Guesthouse.
Her current practice operates within the field of socially engaged practices informed by socio-political relations and contexts. She works primarily with audio visual and print based media and her work process often incorporates a collaborative or participatory process with other artists or various social groups in the research and making of work.
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Anders Smebye (curator) was invited by Cork based artist/curator David Dobz O' Brien as part of 6x2x2, an experimental program hosting 6 exhibitions in Cork City, each exhibition containing 2 artists, one international and one Irish. For the first exhibition in this series, located in The Guesthouse, Anders Smebye selected international artist Sebastian Buerkner to exhibit a series of animation works.
Anders Smebye is an artist, curator and founder of projectspace Bastard. He lives and works in Oslo.
Sebastian studied painting in Germany then moved to London to complete his fine art education with an MA at Chelsea College of Art & Design in 2002, where he was awarded a Fellowship Residency the following year. His work has been exhibited in several group and solo shows internationally. Since 2004 his art practice has shifted exclusively to animation. Solo exhibitions have included Lounge Gallery, Whitechapel Project Space, The Showroom, Tramway Glasgow and Sketch.
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Mathias Forge & Leo Dumont (France)
Leo Dumont and Mathias Forge
25th March 2009
During their stay at The Guesthouse, Mathias Forge and Leo Dumont performed a live concert, performing also were John Godfrey and Jesse Ronneau and The Quite Club.
Mathias Forge plays the trombone, the radios and prepared piano (always upright). He began with piano jazz in several bands and likes playing Thelonious Monk's tunes and songs. Now he works a lot with Cyril Epinat (guitarist) in DUO... and Skratroum (dance, skateboard and radios with Emilie Borgo) and they both give performances with Leo Dumont (drummer) and Li Ping Ting (dancer). He likes improvising with people from the ishtar collective in Masal Caldi (12 musicians) and Le pire c est une poire qui prend l eau (with Anne Pellier and Eddy Kowalski) or with Xavier SaâˆšÃ˜ki in SAPIENS.
Leo Dumont plays drums and percussion and has different experiences in jazz, rock, free rock and theatre music. He plays regularly with two groups: -Trio Sieste : with Vincent Guglielmi (tp) and Xavier SaâˆšÃ˜ki (guit.), a project to make people sleep. -Quatuor MICRO : with Mathias Forge ( piano), Cyril Epinat (prep. guit.) and Thierry Moulat (tb) His free music work is based on sound textures. He plays on â€šÃ„Ãºclassicalâ€šÃ„Ã¹ percussions (cymbals and trunks) and objects (motors, sheet steels, cake plates, springs and stones, ...). The trunk or the cymbal becomes an amplification mode of the objects noise. He particularly loves old basses drum and bad little snares drum especially when the skin has some holes (which can help for other textures).
Both Mathias Forge and Leo Dumont along with Cyril Epinat and Thierry Moulat created the MICRO (Im-provised Music in CâˆšÂ¥te Roannaise) association to promote improvisation through the organisation of several concerts, projects, performances, in the country around Roanne and the Cote Roannaise.
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Ciara Moore (Ireland)
In association with the National Sculpture Factory
Ciara Moore was hosted at The Guesthouse in association with the National Sculpture Factory coinciding with her first solo exhibition The Ivory Tower Project in the Triskel Arts Centre. The exhibition was in response to her residency in Tasmania as part of the inaugural National Sculpture Factory Ireland/Australia Residency Exchange Programme. Ciara works primarily in video, sound and text and her work is grounded in philosophical, sociological and cultural theory.
Ciara was born in Dublin in 1966 and attended the National College of Art Design from 1996 to 2000. She was awarded a first class honours degree in painting and was the recipient of the CAP Foundation Award in 2000. In 2002 she was granted an Arts Council of Ireland Commission Award to produce a video artwork for Cork Film Centre. She has also participated in the PâˆšÂ©piniâˆšÂ®res EuropâˆšÂ©ennes pour Jeune Artistes, with a three-month residency at the Museum of Contemporary Art in Crete.
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In Association with the Lewis Glucksman Gallery
To coincide with the Lewis Glucksman Gallery upcoming exhibition Getting Even: Oppositions + Dialogues in Contemporary Art , Mark Clare was hosted at The Guesthouse. The exhibition explores the exchange of different social and political viewpoints that exist in society. Through works from the 1960s to the present day, the selected artists use various media to refer to protest, political activism, and other strategies of opposition and dialogue. Curated by Rene Zechlin and Matt Packer.
During his stay at The Guesthouse Mark Clare gave a presentation about his practice as part of a Tuesday Lunch event.
Born in London in 1968. Graduated from St.Martins College of Art & Design (1992), London with a BA (Hons) Fine Art Sculpture before completing a MA in Fine Art at the University of Ulster (2004). Now lives and works in Dublin, Ireland.
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In association with SoundEye
Kenneth Goldsmith was hosted at The Guesthouse as part of SoundEye: A Festival of the Arts of the Word.
Kenneth Goldsmith is an American poet based in New York. He is the author of ten books of poetry, founding editor of the online archive UbuWeb, and the editor of I'll Be Your Mirror: The Selected Andy Warhol Interviews, which was the basis for an opera, "Trans-Warhol," that premiered in Geneva in March of 2007. Kenneth Goldsmith is the host of a weekly radio show on New York City's WFMU. He teaches writing at The University of Pennsylvania, where he is a senior editor of PennSound, an online poetry archive.
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Â¬Â±Plus/Minus is an arts project initiated and curated by SKART (Cork) that brought together 4 Irish artists, 4 âˆšÃ±land -based artists, and a Danish artist in SâˆšÂ§ttra, âˆšÃ±land, Sweden, for 2 weeks in February 2008 to make and present work responding to the surroundings. The artists were based in SâˆšÂ§ttra on the island of âˆšÃ±land, Sweden from 18th -29th February, and presented their work in two events â€šÃ„Ã¬ first in/around Yellow Box Art & Music Centre, SâˆšÂ§ttra, Sweden on 28th February and in The Guesthouse on August 17th 2008. The nine artists work in a wide range of materials â€šÃ„Ã¬ film, paint, sound, electricity, ceramics, performance, intervention and installation.
â€šÃ„Ã²Â¬Â±â€šÃ„Ã´ is a symbol used in science and engineering to show â€šÃ„Ã²toleranceâ€šÃ„Ã´ â€šÃ„Ã¬ expected, allowable, or unavoidable variation. The project aims to investigate the intrinsic contrasts in our environment, and explore the possibilities that a change of location can bring.
Artist involved are: Helle Kvamme, Irene Murphy, Malin Lindmark-Vrijman, Kevin Flanagan, Mathieu Vrijman, Morten Espersen, Sharon McCarthy, Kalle Runeson and Kevin Tuohy.
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In association with Art Trail
SâˆšÂ©amus O`Donnell and Jo frgmnt Grys were hosted at The Guesthouse and facilitated a workshop in sound art as part of Art Trail.
SâˆšÂ©amus O`Donnell is an Irish artist based in Berlin. He works as artist and organizer on different audio art projects. With Noisiv or as Lifeloop, he uses a mixture of concrete and electronic audio material, pumping new life into everyday sounds. Since 1999 he gathers recordings of his surrounding soundscapes, then cuts, filters, converts them by digital means into aural noise. Structure to chaos - to structure again. He is careful not to restrict himself within the standard sequenced rhythms or melodies. Solo or collaborative projects (for performance or installations) can include FM radio experiments with receivers and self built mini-transmitters; reel-to-reel tape machine loop or relay set ups; and also a live set with a mix of manipulated field recordings, self made devices and other more traditional instruments. As an organizer he works with Salon Bruit e.V., an association for audience and composers interested in experimental music and video works, as well as installations and workshops.
Jo frgmnt Grys is a Berlin based electronic artist. Before art: He studied chemistry and other sciences - but then turned his interest towards feedback, oscillation and formation of structures and living patterns. Grys works with videosnow, radio emissions electronic machines driven into unpredictable behaviour. He was member of Hugo Ball im kubistischen KostâˆšÂºm, NervengrâˆšÂºn/frgmnt, noisiV and TOB as feedback projectionist and noise maker.
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In association with Art Trail
Daniel Weiss is a German sound artist and physicist from Berlin. During his residency at The Guesthouse he gave a workshop in sonic drawing.
Daniel works with sonic drawing and also performing on the Luxophon a self made instrument. The Luxophon was created by Daniel Weiss in 2001 based on the solar sound modules by Ralf Schreiber. Itâ€šÃ„Ã´s an instrument that uses small solar panels and analogue circuit to generate various sound pattern which depends on the amount of light that reaches the surface of the solar panels.
Daniel Weiss 'Monoline' sound drawing workshop using graphite as a conductor, the resulting drawings were connected to electronic circuits to produce sound.
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Space As Praxis
MA Drama & Theatre Studies UCC