Tobias Schmitt (DE)
Paper Visual (IR)
Esperanza Collado (ES)
Erica Scourti (UK GR)
Horst Maria (AT)
Takuya Hashimoto & Sato (JP)
Aunstrup and Hafslund (NO)
Rosa Arruti (ES)
Paul Kane (US)
Marco Ugolini (IT)
Ding Ren (US)
Helen Horgan (IR)
Nicolas Carrier (FR)
Helle Kvamme (SE)
Bridget O'Gorman (IE)
Rouzbeh Rashidi (IR)
Sabina Mac Mahon (IE)
1st - 30th December 2012
The drawing scroll is created based on the actual search in Cork. I started to hunt
for personal monuments as motif from around The Guesthouse, and went outward gradually.
I think that a city is a memory-bank itself in a way. Architecture shows plasticity and contains plenty of information (recollections). And monument is not only historical site but also active media to maintain collective-memory. I transcribe it as grey shadings of Indian-ink (Oriental traditional ink). I try to express a stream of consciousness as well. Because each street has its own character or atmosphere which influence the passersbys.
The stream of image is going to grow longer, and will continue as long as possible until the end of residency period.
Takehiro Mizumoto (live and work in Yokohama, Japan)
1967 Born in Tokyo, Japan
1990 Graduated from the Faculty of Painting in Tokyo National University
of the Arts (B.F.A.)
1992 Completed the Postgraduate Course of Tokyo National University
of the Arts (M.F.A.)
Solo Exhibition (Selected)
2000 "ART-ING TOKYO 2000" Gallery K, Tokyo
2001 "FLASH-21 century vol.4" TOKI Art Space, Tokyo
2003 "Untitled Exhibition" Royal Academy of Art, The Hague, The Netherlands
2005 "McGuffin on a map" Vaasa City Library, Vaasa, Finland
2006 "re-dis-position" Bumpodo Gallery, Tokyo
2008 "anti-dualism" TOKI Art Space, Tokyo
2009 "Induction ? Deduction" City Museum in â‰ˆâ€ tâˆšâˆ«rovo, Slovakia
Group Exhibition (Selected)
1999 "VOCA-The Vision of Contemporary Art" The Ueno Royal Museum, Tokyo
2002 "A Perfect Day for Sky-fish" Bumpodo Gallery, Tokyo
2005 "FALL" Projectraum KâˆšÂºnstlerhaus, Worpswede, Germany
2007 "DOMANI -The Art of Tomorrow 2007" Sompo-Japan Museum of Art, Tokyo
2008 "Who's Next" Museum at Tamada Projects, Tokyo
2002-04 Work in The Netherlands under the Japanese Government
Overseas Programme for Artists
2003-04 Foundation Kaus Austraris, Rotterdam, The Netherlands (12 months)
2005 AteljâˆšÂ© Stundars, Solf, Finland (4 months)
KâˆšÂºnstlerhâˆšÂ§user Worpswede, Germany (6 months)
2009 Bridge Guard Residential Art / Science Centre, â‰ˆâ€ tâˆšâˆ«rovo, Slovakia
Tobias Schmitt (DE)
15th - 30th November 2012
Set up in Blackrock Castle
Installation shot- Seesound- The Guesthouse, Cork- November 2012
Tobias Schmitt started in 1989 to experiment with electronic music. Since 1994 Schmitt appeared on more than 50 releases on various international labels. Besides his solo work as Suspicion Breeds Confidence he collaborated with numerous artists and was involved in various groups and projects.
He did more than 200 appearances in the form of concerts, installations, lectures, dance pieces, radio shows and dj-sets in Europe and North America.
In 1999 he founded Acrylnimbus, initially a label and soon after the poly-functional platform for his actitivities. Since 2004 he is a consultant and designer for the label Gruenrekorder.
He co-founded and curates the non profit organisation Verein zur Fâˆšâˆ‚rderung von Phonographie und experimenteller Musik e.V. (Society for the Advancement of Phonography and Experimental Music) in 2008. He also curates Zwischen and Westentaschenlabor (all in Frankfurt).
While being resident at the Guesthouse Schmitt recorded the music for his release on SicSic Records called "Grafamen". This recordings utilize sounds recorded in and around Cork.
Furthermore he contributed a video to SeeSound, performed at Sonic Vigil and with the Quiet Club at Black Rock Castle.
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Erica Scourti (UK GR)
5th September - 29th September 2012
Erica Scourti was born in Athens, Greece in 1980 and now lives in London. She completed her BA in Fine Art at Middlesex University in 2003 and is currently enrolled on a Research degree (Masters) in Moving Image Art at Central Saint Martinâ€šÃ„Ã´s College of Art & Design, run in conjunction with LUX.
She works with video, drawing and text, and her work has been screened internationally at museums like the Museo Reine Sofia, Kunstmuseum Bonn and Jeu de Paume Museum, as well as festivals such as the Recontres Internationales, interfilm Berlin, ZEBRA Film Festival, Antimatter, Impakt, MediaArt Friesland, 700IS as well as extensively in the UK, where she won Best Video at Radical Reels Film Competition; recent screenings include Video Salon Art Prize, Exeter Phoenix, Bureau Gallery, Tyneside Cinema and Sheffield Fringe Festival.
Her work has also been published in anthologies of moving image work like Best of Purescreen (vols 1, 2 and 3) and The Centre of Attention Biannual magazine.
She has completed residencies at Can Serrat International Arts Centre, Barcelona, I-Park Artistsâ€šÃ„Ã´ Enclave, USA; LOW&HIGH, Folkestone, UK, LABA film workshop, Athens and recently completed a residency at Vermont Studio Center, USA (April 2012).
Every day, I write and email my diary to my Gmail account and perform to webcam the list of suggested keywords linking to clusters of relevant ads, making visible the way we and our personal information are the product in the 'free' internet economy.
Started in March 2012, the project will run for a year, creating a long-list of objects, brands, emotional states, desires and anything else identified by Googleâ€šÃ„Ã´s algorithms as potentially sale-able from my daily journal. This video charts the mid-way point- the first 6 months of the project.
Founded in 2009 Horst Maria work on intermedial performances and installations. The signature of the process- based work is to play with individual, regional and national memories, role models, clichâˆšÂ©s and traditions. Within these issues Horst Maria uses forms of theater and visual arts.
short list of performances/exhibitions:
upcoming: â€šÃ„Ãºbehind the door and under my bedâ€šÃ„Ã¹ SOLO, The Guesthouse, Cork, Ireland?Current: "Archiv FâˆšÂºr Nistbeobachtungen",regionale12, St.Lambrecht, Austria?2011 METAmART, KâˆšÂºnstlerhaus Vienna, Austria?2011 artist-in-residence, NES, Skagastrâˆšâˆ‚nd, Iceland?2011 "Die Badende", installation, water tower art fest, Sofia, Bulgaria?2011 "Eine Zukunft fâˆšÂºr Horst" intervention in public space, Vienna, Austria?2011 "Ich packe meinen Koffer", solo exhibition, galerie periscope:project:space, Salzburg, Austria?2011 "Ich packe meinen Koffer", serial actions in public space, Mattsee/Golling/Obertauern/St.Michael/Dienten?2011 "Ich packe meinen Koffer", performance/installation, toihaus, Salzburg, Austria?2011 â€šÃ„Ãºdate-an-artist # 4â€šÃ„Ã¹, performance, WUK, Vienna, Austria?2010 â€šÃ„Ãºdate-an-artist # 1-3â€šÃ„Ã¹, performance, Schmiede, Hallein, Austria / Ausarten, Vienna, Austria / Direktorenhaus, Berlin, Germany?2010 â€šÃ„ÃºMeine Katze hat was zu sagen....â€šÃ„Ã¹ tableau vivant, panama+, Munich, Germany?2009 â€šÃ„Ãºmir blume duâ€šÃ„Ã¹, site specific performance/video/installation, artist-in-residence, Constanta, Rumania
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Takuya Hashimoto & Sato (JP)
July & August - 2012
Helle Kvamme (ES)
9th August - 16th August 2012
Sisters of SâˆšÂ§ttra in Cork - 2012
Aunstrup & Hafslund (NO)
22nd July - 6th August 2012
Aunstrup and Hafslund's practice involves using time based medium, line, sculpture, animation, performance and sound. Beyond the realms of the conscious and playing with behaviour, urges and visual language which results somewhere between the abstract and the figurative.
They're work unfolds mediums and re-evaluates them, in attempt to grasp what each is worth and to what extent they perform as literal tools. Work's like, 'Color line' which gives the weight of three thousand persons to a line passing by a piece of paper. At the same time playing with the aesthetic experience, by engaging the viewer as part of the work itself , alleviating and enriching the psychological pressure and engagement of art and discussing the origins of idea and the artists role.
We intend to create an experimental film discussing mind/body duality, dichotomy and the effects of this through collaboration, with thoughts of Wittgenstein language games and a visual discussion of ideas transcending the order of language as we understand and misunderstand it.
In an age of information, where abbreviation has in places become standard, how does this affect our communication of ideas? Are we in unison when creating something together? Does it matter? For it is art that can fill and expose the void of language and for what words are not enough, perhaps it is glorious misunderstanding of each other that allows us to create something that becomes whole.
Gilbert Ryle suggested we only know the thoughts of others through their linguistic and bodily behaviours, and must do exactly the same in order to know our own thoughts.
We therefore plan to use a process of gestalt with imagination to collage a map of thought and the nature of it. This will include taking dialogue, conversation, and scenic language and unfolding its structure- to fill the voids of what is not said but understood and vice versa. Using different mediums, from film footage, clay, drawing, performance, and soundscapes- shifting and building from thoughts, working out how they travel through speech and gesture. In a attempt to redefine our understanding of the mechanics of communicative language, plopping into the voids between the conscious and the corporeally constructed.
Collating a rhythm of images that beget each other, it will be interesting to see which ones mind takes from this, remembers and picks out- how is it that our minds associate with letter, object and sound. The idea speaks to the aesthetic process of engaging with art. We are interested to investigate this in Cork, to further our understanding of visual communication and to enter discussion with the guesthouse, artists and others to which they see, remember or understand from a piece. The aim is to produce a mixed media film that investigates the relationship between idea, language, process and interpretation. To discuss what the journey from thoughts to actions and how language can and cannot necessarily pave this.
Rosa Arruti (ES)
1st July - 22nd July 2012
Nad Spiro's excursions into Cork's audiosphere (july 2012).
DOCKLANDS episode : Cnoc an Spiaire (Spy's Hill - over the harbour)
On July 2012 Nad Spiro immersed herself in Corkâ€šÃ„Ã´s auditory space and experienced the instant resonant channel during her stay as resident ghost artist at "The Guesthouse"
Part of the "Extensions of You" series : Nad Spiroâ€šÃ„Ã´s auditory experience of the city as a personal sensory extension.
Rosa Arruti has worked for many years under the alias NAD SPIRO -a solo venture where complex processed guitars are built into a world of electronic textures- and her recordings have been released on the pioneer Spanish experimental label GEOMETRIK RECORDS .
A member of some of Barcelona's cult underground bands (Mohochemie, Tendre Tembles...) she has collaborated with other experimentalist like Kim Cascone or My Cat is an Alien.
Nad Spiro explores unfrequented AudioZones in the outer peripheries of electronica and stretches the sonic reach of her guitar with a perverted use of this instrument.
In Atomic Spy, Nad Spiro explores further her world of shadows and uncovers hidden and twisted sounds, electronic spells that occupy your attention. Feeding her guitar through complex systems she transforms sounds in a resonant box: sound fictions that evoke ghost transmissions and melodies from a lost city.
The art work of the cd is by master of photomontage Josep Renau
(1907-1982), an image in tune with the Atomic Spy's Electricity Zone.
Paul Kane (US)
15th June - 30th June 2012
Marco Ugolini (IT)
25th May- 14th June 2012
Marco Ugolini is an Italian visual artist based in Amsterdam and Berlin. In 2008 he graduated with a bachelorâ€šÃ„Ã´s degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany).He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he achieved a masterâ€šÃ„Ã´s degree. In 2010, he was granted a scholarship for a three-month residency at JACA, Center for Contemporary Art in Belo Horizonte, Brazil. In 2012 he spent a period of 3 months as guest artist at BLUMEN, Leipziger Kunstverein, in Leipzig, Germany and was invited for a residency of 3 weeks at The Guest House, in Cork, Ireland. Apart from his work as a visual artist he works as a freelance graphic designer in the cultural field.
Marcoâ€šÃ„Ã´s projects explore interrelations between graphic design and contemporary art. His work is, in its essence, multi-medial. It gives birth to media-specific artworks, which deal with the public space in the broadest sense. His role is to find the consequent match between the concept at the base of a project and its visual outcomes, as a designer does with form and function, content and container. By readjusting objects within a context, he tries to open up a field for philosophical and political reflection, commenting on so-called normal life. His creative process draws inspiration from contemporary thinkers, such as Giorgio Agamben and Paolo Virno. Whenever he starts with a new project, an aim is discovering the roots of its keywords. By studying the etymology of words, he aims at standing face to face with an essential meaning that the word carried with itself for centuries and that has been corroded by the use throughout time. The device of irony is used in a very serious way in his works as well.
Since 2007 Marco has worked as a freelance Graphic Designer combining cultural related projects with self-initiated research in visual arts. He constantly looks for residencies and opportunities as freelancer.
Ding Ren (US)
7th May- 21st May 2012
Ding Ren (b. 1983, China) is an American artist currently based in Amsterdam, NL. She received her Masters of Fine Art from George Washington University (Washington, DC, US) in 2009 and her Bachelor of Art from University of Maryland â€šÃ„Ã¬ Baltimore County (Baltimore, MD, US) in 2005. She has exhibited her work in group and solo exhibitions throughout the Washington, DC-Metropolitan region at the Corcoran
College of Art + Design, Conner Contemporary Art, Maryland Institute College of Art, Smithsonian American Art Museum and Transformer Gallery, amongst others. She has exhibited her work internationally
in Amsterdam, NL at Kulter Proeflokaal and Manila, Philippines at the Yuchengco Museum. In 2012 she was a short-list finalist for the Frieze Foundation, Emdash Award and the Eva-International, Biennial of
Visual Art, Limerick City. In 2014, her work will be featured in a group exhibition entitled Some Uses of Photography at the Katzen Arts Center, American University Museum, Washington, DC (US). She
currently writes on arts and culture as a Provisions Library Fellow Washington, DC) and teaches at the Foto Factory (Amsterdam, NL).
My practice is a constant engagement with my immediate surroundings and the experience of living in-between cultures: between China, the United States, and the Netherlands. It examines the theme of cultural identity in relation to geography conceptualism, and social context.
Instead of larger, more obvious trans-cultural patterns, I am interested in finding, recording,and highlighting the ones that are in-between, small, and nuanced. When pieced together, these patterns can formulate a poetry of the quotidian to reveal otherwise overlooked elements about a culture and place. Although these small patterns may seem fleeting and insignificant, they are what define everyday life on a social and global level. A central formal and conceptual motif consistent in my work is that of a singular line. This line is used to reference topography, borders, and place.
At the Guesthouse I will be researching for an ongoing piece entitled Topographic Mindset. This project was started a year ago after moving to Amsterdam, as a response to feeling at odds with the flat topography. It examines the phenomenon of being subconsciously influenced by oneâ€šÃ„Ã´s immediate geographic surroundings and the idea that the topography of an environment defines a place, its mindset, and its sentiment of existence.
Installation shot at the Guesthouse
Helen Horgan (IR)
April 7th - April 30th 2012
Horgan was born in 1975 in Cork. She holds a BA (Hons) in Visual Arts Practice (1.1) from IADT and an MA in Contemporary Philosophy (1.1) from UCD. Her work has been shown in Ireland and abroad including â€šÃ„Ã²No Soul For Saleâ€šÃ„Ã´ at the Tate Modern in London and â€šÃ„Ã²Trompe Le Mondeâ€šÃ„Ã´ at Occupy Space (Limerick City Gallery offsite). Horgan is currently working on a doctorate research proposal entitled â€šÃ„ÃºGesture, aspect dawning and the â€šÃ„Ã²Eventâ€šÃ„Ã´ of meaningâ€šÃ„Ã¹ which is to be a phenomenology of the gesture in the work of Jacques Derrida and Ludwig Wittgenstein. She is a member of The Writing Workshop and is co-founder of The Legs Foundation for the Translation of Things (LFTT) with writer and artist Danyel M. Ferrari (NY).
Situated on the borders between image and object, the work of mixed media artist Helen Horgan investigates structures of thought and systems of belief through unorthodox archival and biographical methods. Her work follows an interest in both the artistic and sporting notion of â€šÃ„Ã²following formâ€šÃ„Ã´. Frequently this involves an initial epiphany which is â€šÃ„Ã²givenâ€šÃ„Ã´ by a chance encounter and which provides the starting point for a particular journey or adventure. Work proceeds much like a formula or logic unfolding, manifesting itself in a variety of mediums as a visual and sculptural â€šÃ„Ã²diaryâ€šÃ„Ã´.
Wittgenstein describes the experience or phenomenon of â€šÃ„Ã²rule followingâ€šÃ„Ã´ in the Philosophical Investigations (1958). When we talk about understanding a rule what is it that occurs when we suddenly know how to â€šÃ„Ã²carry onâ€šÃ„Ã´? It seems that there is something in a rule which suggests itself as a guide to further action, while at the same time one canâ€šÃ„Ã´t say that in understanding a rule we have at the same time grasped the entirety of all its future applications. For Wittgenstein, understanding a rule isnâ€šÃ„Ã´t the possession of a theoretical formula; understanding a rule is an expression of understanding by way of application. In a similar way any explanation of a rule doesnâ€šÃ„Ã´t declare an understanding, it demonstrates it. Each application is an informed gesture, but it is a gesture none the less, meaning one never gets to the â€šÃ„Ã²essenceâ€šÃ„Ã´ of a given rule.
Horgan will be using her time at The Guesthouse to enter wholeheartedly into the practice of â€šÃ„Ã²gestural rule following,â€šÃ„Ã´ revisiting some old thematics while opening up to the freedom given by the residency as a space for focused and fresh exploration. As a native of Cork city who has spent little time there since birth Helen is intrigued to find herself here a â€šÃ„Ã²foreigner at homeâ€šÃ„Ã´. She is currently developing a modular way of working and building mobile and transformable spaces. These installations as performative bodies of work compliment and expand upon a reflexive and playful manner of conceptualising.
Title "The Horse's Mouths" (2011) (Installation view)
foam, clay, balsa wood, vinyl, perspex, lights, water, dc motors,
Title "Garden of Evidence" (2009) (Installation view)
Mixed Media, 4x3x3.7 metres
Nicolas Carrier (FR)
March 17th - April 4th 2012
Nicolas Carrier was born in 1981, he lives and works in Paris.
Nicolas graduated from the National School of Arts Paris-Cergy with a Master of Arts and from the University of the Sorbonne Nouvelle with a Master of Cinema. His work is situated on the borders of cinema and the visual arts. He makes videos using original and found footage, which explore contemporary societies relation to fiction, with a focus on the appearances that mask some identities .His work questions the identifications that are created by an individual or a group of people and its forms of representations. He also works on the distinctive signs of authority and power that are played in social contexts.
His videos show more fragmented moments than narrative construction. He is very interested by time and the hypnotic effect that moving images produce, which he uses to evoke boredom, solitude and melancholy.
During his residency in The Guest House, Nicolas Carrier wants to develop a new video that is based on a rumor he heard about ghost estates. It seems that some societies are paying people to park cars in front of empty houses to make believe they are filled with families. The video will be presented at the end of the residency in an exhibition with other works that will be inspired by it.
video DV, 3.36min, 2010
video 3G and Div X, 7.35 min, 2011
Helle Kvamme (SE)
March 8th - March 15th 2012
Bodyhouse 11 - 2011
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Bridget O'Gorman (Ireland)
February 22nd-7th March 2012
Having been based in rural Co. Kilkenny and undergone a continuous period of making for the past two years (culminating in two solo shows â€šÃ„Ã¬ the latest opening in January 2012), The Guesthouse has provided me with the time/space and opportunity to re-evaluate my practice in a conducive and supportive environment. In light of this I will dedicate my two weeks here to reflecting on my work to date away from the studio and consider its development and possible trajectories in terms of site and the artifact
My work involves the considered placement and connection of invented object, image and sound in the creation of fictive narratives or environments. Tensions between historicity, superstition and belief are explored, raising questions about dependency, and about the construction of fiction as a human requirement.
I am currently developing a series of sculptural and video based narratives that reference a 19th Century ethos of imagination, anthropomorphism and collation. The exaggeration of life through death or the inanimate, as well as the presentation of invention and 'curiosity', relates directly to the formal aspect of the set. Informed by themes of historical mass production and consumption, I extract links between past research (often embedded in the artifact or specific site) and concerns with a contemporary culture of uncertainty.
Bridget Oâ€šÃ„Ã´Gorman (b. 1981, Co. Tipperary, Ireland) graduated with a BA in Fine Art (Painting) from the Crawford College of Art (IRL) in 2003. In 2008 she completed an MFA between the Department of Applied Art and the School of Sculpture at Edinburgh College of Art in Scotland. She is the recipient of â€šÃ„Ã²Calling 059..â€šÃ„Ã´ award (âˆšÃ¢igse/VISUAL, Carlow) and the Wexford Emerging Visual Artist Award 2010. Her work has been supported by the Arts Council of Ireland, the Worshipful Company of Glass Sellers London, the Crafts Council of Ireland, the Royal Scottish Academy and Kilkenny Arts Office. Recent exhibitions include â€šÃ„Ã²RE/SETâ€šÃ„Ã´ 2011 (solo show at VISUAL Centre for Contemporary Art) and â€šÃ„Ã²Material Cultureâ€šÃ„Ã´ 2012 (solo show at the Wexford Arts Centre). Upcoming exhibitions include â€šÃ„Ã²Dogsâ€šÃ„Ã´ 2012 (group exhibition at SOMA Contemporary (IRL)) and a solo show at the Butler Gallery 2013 (IRL) (title to be confirmed). She is currently based in Co. Tipperary where she is working with the South Tipperary Arts Office Curators in Residence Eilâˆšâ‰ s Lavelle, Sarah Lincoln and Rosie Lynch on their project entitled â€šÃ„Ã²Dig Where You Standâ€šÃ„Ã´.
1.â€šÃ„Ã²Bone Mealâ€šÃ„Ã´ 2012 (Installation for â€šÃ„Ã²Material Cultureâ€šÃ„Ã´ 2012) Slip cast bone china, recycled dining tables, MDF, skirting, coving.
Rouzbeh Rashidi (Iran)
February 1st-29th 2012
Rouzbeh Rashidi is an Iranian independent filmmaker. He has been making films since 2000 when he founded the Experimental Film Society in Tehran. Since then, he has worked completely apart from any mainstream conceptions of filmmaking. 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.
His 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, web-cam and mobile phone cameras. His consistently low-budget work is entirely self-funded and made with complete creative freedom. Rouzbeh Rashidi has directed and produced forty short films. Since 2008, he has focused on feature projects, making several full length feature films.
In February 2012 Rouzbeh commenced a three-week residency at the Guesthouse, he proposed to work on his Arts Council of Ireland funded experimental feature film HE and other projects.
He completed HE, a two hour, dream-like film, which explores the theme of suicide in a very abstract way. The production began in September 2011, and involves, James Devereaux, Cillian Roche, Maximilian Le Cain, George Hanover and John McCarthy. It was shot entirely on Canon EOS 5D Mark II with Prime Lenses and edited on Final Cut Pro.
While in Guesthouse Rouzbeh Rashidi made another extremely experimental feature film entitled Boredom Of The Disgust & Monotony Of The Tediousness with actor James Devereaux. The film was shot entirely in the Guesthouse building in four days. The subject of this film as with many other Rashidiâ€šÃ„Ã´s films is Cinema itself.
Mick Oâ€šÃ„Ã´ Shea and Emil Nerstrand recorded the soundscape for the film.
Still from experimental feature film entitled Boredom Of The Disgust & Monotony Of The Tediousness with actor James Devereaux
Still from feature film HE
During her residency at The Guesthouse in January 2012 Dublin-based artist Sabina Mac Mahon had intended to begin work on two new projects â€šÃ„Ã¬ a make-believe information film in the style of the short films shown in museums and cultural heritage centres to contextualise their exhibits and an imaginary online museum. Instead she researched Mariology, statues of King George II and local history. She also took the opportunity to step back from and evaluate her practice after an intensive year of making and exhibiting new work. She is now planning to make a small online exhibition about the statue of â€šÃ„Ã²George-a-horsebackâ€šÃ„Ã´, the Yellow Horse that once stood at the junction of South Mall and Grande Parade.
Sabinaâ€šÃ„Ã´s practice is concerned with the creation of visual and factual dilemmas through the appropriation and alteration of photographic images and other objects that are (re-)presented as primary sources. The history and theory of early photography, archaeology, hagiography, traditional narrative and devotional images, belief and museum practice are central to her work, which currently involves various investigations into the lives of saints, historical figures and Biblical characters whose biographies exist somewhere between fact and fiction. She is interested in how a truthlikeness or quality of realism in something, combined with the manner in which it is presented to the viewer, can lead to its acceptance as true or real because of the likeness of the proposition to the truth.
Sabina Mac Mahon (b.1985, Dublin, Ireland) graduated from the National College of Art and Design, Dublin with a 1st class joint honours degree in History of Art and Fine Art (Painting) in 2008. Since then her work has featured in numerous group shows both in Ireland and abroad and solo exhibitions include Longevity, if not immortality, Garter Lane Arts Centre, Waterford (2012) and Droichead Arts Centre, Louth (2011); Soft murder; appropriate to a sad, frightened time, Ballina Arts Centre, Mayo (2011) and The Transport of the Holy House of Loreto, The Joinery, Dublin (2010). Sabina was selected for the 2011 Artist in Residence Programme at Cow House Studios, Wexford and in 2012 she will be exhibiting at Wexford Arts Centre and Monster Truck Gallery, Dublin in association with the award. She recently received a travel bursary supported by Ireland at Venice 2011 and has also been shortlisted for the 2nd Alliance FranâˆšÃŸaise Photography Award.
â€šÃ„Ã²Mother Pauline of the Agonising Heart of Jesus on the Promadeâ€šÃ„Ã´
Photo on archival paper, 51 x 38 cm, private collection.
â€šÃ„Ã²The Stone of Stephenâ€šÃ„Ã´s Martyrdomâ€šÃ„Ã´ at Garter Lane Arts Centre,