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Exhibition Review – Andrew Kearney, ‘Mechanism’, The Dock, Carrick-on-Shannon, November 2017 (Writer-in-Residence)

The Permeable Institution – A Response to Andrew Kearney’s ‘Mechanism’

 

“Power is tolerable only on condition that it masks a substantial part of itself. Its success is proportional to an ability to hide its own mechanisms.”

― Michel Foucault, The History of Sexuality, Volume 1: An Introduction[i]

PDF – The Permeable Institution

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Catalogue Text – Anna Macleod & Padraig Cunningham, ‘Perspectives on a Raft’, Roscommon Arts Centre, November 2017

Joanne Laws – Speculations on a Raft

“She referred to the high-rise as if it were some kind of huge animate presence, brooding over them and keeping a magisterial eye on events taking place”

– JG Ballard High Rise (1975)

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Catalogue Text – Naomi Draper, ‘Preserving Fragments’, Roscommon Arts Centre, October 2017

Preserving Fragments

 

“I confess that, in order to envisage the Ireland of my best years, I throw my mind back for half a century. There were many “disadvantages” – few bicycles, no motor-cars on the roads, no domestic electricity, no tarmac, no jazz (or worse), but there was less rush, time to think about things, and time to hold communion with nature, which is much the same as communion with God.”

Robert Lloyd Praeger, Irish Landscape: Cnéithe na hEireann, (1953) [i]

Preserving Fragments – PDF

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Interview – with Elizabeth Magill, ‘Biographical Landscapes’, Visual Artist’s News Sheet, Sept/Oct 2017

Biographical Landscapes

JOANNE LAWS INTERVIEWS ELIZABETH MAGILL ABOUT HER PAINTING PRACTICE.

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Interview – with Robert Armstrong, Ciaran Murphy and Jane Rainey; ‘Desire and Persistence’, Visual Artist’s News Sheet, Sept/Oct 2017

JOANNE LAWS INTERVIEWS THREE ARTISTS AT VARIOUS STAGES OF THEIR CAREERS ABOUT MAINTAINING A PAINTING PRACTICE IN IRELAND.

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Editorial – ‘Women Artists at Venice’, Visual Artist’s News Sheet, July/Aug 2017

Women Artists at Venice

The 57th Venice Biennale, curated by Christine Macel, proclaims an emphasis on “art and artists, positivity and reinvention”, in contrast to curator Okwui Enwezor’s overtly political stance in 2015. Probing the ritualistic aspects of art-making, Macel’s ‘Viva Arte Viva’ manifests a widespread preoccupation with craft and its traditions – an almost anthropological inquiry that occasionally borders on self-conscious ‘primitivism’.

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Cecilia Danell, ‘The Last Wilderness’, The Dock, Carrick-on-Shannon, June – August 2017

Geometric Choreography

The current exhibtion at The Dock is ‘The Last Wilderness’ by Galway-based Swedish artist, Cecilia Danell. The exhibition was produced in collaboration with the Galway Arts Centre, where a different configuration of these works was previously presented from March to April 2017. This iteration at The Dock showcases fewer artworks and there is a greater emphasis on theatrical presentation devices, in keeping with Danell’s subject matter and ontological inquiry. This approach is also subtly site-responsive, referencing the theatre space housed on the ground floor, which invariably attracts a different audience from the gallery visitors who ascend the stairs. Playing with the staircase as a metaphor for connecting these two institutional realms, the kickboards have been painted in a soft purple hue, in a spirited gesture that also echoes the name of Danell’s music band: ‘A Lilac Decline’.

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