TULCA November 2 - 18, 2018 - curated by Linda Shevlin - www.tulcafestival.com - TULCA Festival of Visual Arts
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TULCA
November 2 - 18, 2018
curated by Linda Shevlin
www.tulcafestival.com
1
artists
Bassam Al-Sabah
Cyprien Gaillard
Mark Garry
Sadhbh Gaston
Aoibheann Greenan
Helen Hughes
Jesse Jones
Mark Leckey
Colin Martin
Stella Rahola Matutes
Eleanor McCaughey
Conor McGarrigle
Dennis McNulty
Paul Murnaghan
Gavin Murphy
Laura Ní Fhlaibhín
Ciarán Óg Arnold
Ciara O’Kelly
Deirdre O’Mahony
Rosie O’Reilly
The Domestic Godless
Marcel Vidal
Susanne Wawra
2
It is an honour to introduce syntonic TULCA would not be possible without
state for TULCA this year. This should the dedication and commitment of the
be a fresh and engaging presentation TULCA team. We welcome David Finn
of material through performance, film, as our new producer having handled
artworks, events and talks. the role of production manager over
the years with a deft touch. David takes
syntonic state is curated by Linda over from Kate Howard who, along
Shevlin. We, the board of TULCA, with Denise McDonagh, have moved
recognised an ambition, audacity and on to fresh pastures. We must also
organisational flair when selecting Linda thank Joanna McGlynn, Hilary Morley
Shevlin for this year’s festival of visual and Judith Bernhardt for their sterling
arts. Linda has established a reputation work in Education and Engagement,
as an artist and curator who explores and, our Volunteer Co-Ordinator, Susan
facets of our contemporary world in Roche, who will muster a squadron
all its complexity. Her various projects of volunteers whose work is equally
are characterised by a collaborative indispensable to the success of TULCA.
approach, often in rural contexts, and We are equally indebted to institutional
reveal a sensitivity to that which is support from GMIT, NUIG and Saolta
perceived as marginalised or peripheral. University Health Care Group. Claire
From her base in Roscommon, Linda Doyle, James Harrold and Sharon
has also been developing what she has O’Grady merit special attention in
called a ‘nomadic approach’ as she their roles with the Arts Council and
develops projects in non-art spaces Galway City and County Councils.
around the county. This sensibility Finally, we must thank those who have
coupled with a solid track record of offered TULCA the use of their space:
delivering on the international stage 126, Columban Hall, Fairgreen House,
resonates with what TULCA itself aspires Galway Arts Centre, NUIG Gallery, The
to be. Fisheries Tower, Biteclub @ Electric
Galway, Sheridans and the O’Donoghue
I will admit I was unsure as to what a Centre, NUIG.
syntonic state actually is. I thought I
may well have entered one in my more TULCA is now 16 years old and on the
reckless days. But no, it turns out to be brink of adulthood. syntonic state is
what I have been seeking all this time. a welcome addition to those years of
It is to be responsive to and in harmony development and maturation. I have no
with the surrounding environment doubt it will continue the tradition of
so that any action is appropriate to rich critical engagement with the locale
the situation. So while I write on the established by previous curators and
eve of TULCA 2018, I am aware of the TULCA teams. I hope it contributes to
various new commissions and events setting further the foundations of future
planned which will draw local history TULCA’s. I hope you will enjoy all it has
and tradition through this idea in the to offer.
hope that we may (re)orientate ourselves
towards the world we now find ourselves
in. To be critically charged on the cusp Gavin Murphy
of hope is to chime once again with what Chairperson
TULCA aspires to be. TULCA Festival of Visual Art
3
4
launch
syntonic Aoibheann Greenan
The Life of Riley
state TULCA presents a major newly commissioned
performance, The Life of Riley, by Aoibheann Greenan.
TULCA 18
On the 12th of September every year, a flag is raised in
Clifden Co. Galway; on the same date in Mexico City, an
Irish Flag is raised. Two disparate communities are united
symbolically on this day by a shared cultural memory:
the story of the St. Patrick’s Battalion formed by Captain
Friday 2 November 2018 John Riley of Clifden, Galway. The latter were a group of
(predominantly) Irish soldiers who deserted the US army
to fight alongside Mexico during the War of American
8pm / Launch Reception Intervention in 1847. The San Patricios are lauded as
heroes in Mexico, with schools, streets and churches
TULCA Festival Gallery, named after them, along with a plaque in the Mexician
Parliament honouring their contribution. For the opening of
Fairgreen House Tulca, Aoibheann Greenan has invited members of the St.
Patrick’s Battalion Pipe and Drum Band from Mexico City to
9pm / The Life of Riley lead a commemorative procession through a planned route
in Galway. Along the way, local performers will narrate the
biography of Captain John Riley, the Clifden-born leader of
performance by the battalion.
Aoibheann Greenan This heroic underdog tale resonates strongly with the
concepts of nostalgia and displacement underwriting
TULCA Festival Gallery, TULCA 2018 thematic. Greenan identifies these connected
processes at play in ‘creative cities’ such as Galway;
Fairgreen House heritage industries tend to treat history as a malleable
resource for legitimating neoliberal forms of organizing;
meanwhile property markets promote the creative
10pm / Afterparty ‘character’ of certain neighbourhoods, while dispossessing
the original residents that produced it. As Svetlana Boym,
Biteclub Electric, Galway author of The Future of Nostalgia, writes, “it is algia—the
longing—that we share, but nostos—the return home—that
divides.” The artist responds to this situation by asking
how nostalgic capital might be recoded and repurposed for
the commons? How might a détournement of cultural value
enable us to construct new social imaginaries? The Life of
Riley plays with contradiction and ambiguity in an effort to
reanimate ongoing struggles for what Henri Lefebvre called
“the right to the city.”
Documentation of The Life of Riley will be installed in the
Fishery Watchtower from November 5th - 18th.
This performance is commissioned by TULCA with
additional support from Fingal County Council.
5
What is a
syntonic
state?
Linda
Shevlin
6
We live in a time of great uncertainty and confusion.
Events keep happening that seem inexplicable and out
of control. Donald Trump, Brexit, the War in Syria, the
endless migrant crisis, random bomb attacks. And those
who are supposed to be in power are paralysed - they
have no idea what to do.1
These lines are lifted from the opening of Adam Curtis’ film Hypernormalisation.
To be syntonic, or perhaps more accurately, to be ‘culturally syntonic’ in
psychology terms is to be emotionally in harmony with our environment.
But when that environment is so volatile, unfamiliar, precarious, where do
we find refuge? This spiralling sense of paralysis has led us to being in
the state we are in. We regress and look backwards to a time when things
seemed simpler, we nostalgise. A contemporary wave of nostalgic revelry
forms part of a continuum of nostalgic discourse that repeats itself until its
signifiers exist without true recollection of the original. A certain aesthetic
style speaks of a kind of nostalgia that is, even momentarily, entirely
ahistorical. It is capable of being consumed independently of any emotional
investment in the times and places to which the style alludes. In turn,
nostalgia becomes a powerful political device. The fear and anger of those
who feel most aggrieved by rapid change or loss continue to redefine the
political landscape.
Early on in the process of curating syntonic state, before it had a title or
any direction, I was revisiting a work by Mark Leckey, Fiorucci Made Me
Hardcore. I must have watched this a dozen times and felt an inexplicable
pull towards this work, the compulsion to repeatedly watch this film was
irrepressible. Leckey has openly spoken about the effect making this work
had on him. “I had an overwhelming nostalgia for Britain, I had a nostalgia
for my youth, it was like a sickeness, kind of debilitating, I was so saturated
in nostalgia I made this to exorcise these feelings of lost youth, lost Britain”
2
. I’m of a similar generation to Mark Leckey, had comparable taste in music
and I shared Leckey’s nostalgic impulses towards a time when things felt
more in my control, the world felt more contained, I didn’t have to deal with
the trauma of being an adult in a very troubled society.
Leckey described the process of making Fiorucci as a form of exorcism,
taking existing footage of raves and nightclub scenes to reassemble
memories of his youth. syntonic state has taken on a similar configuration
to Leckey’s editing. Compiling artworks that are underpinned by a yearning
to understand nostalgia, its cultural links with revelry & hedonism, our
fascination with retro future aesthetics and the fetishisation of obsolete
technologies.
1 Adam Curtis on his film Hypernormalisation. https://www.bbc.co.uk/programmes/p04b183c
2 Mark Leckey talks about Fiorucci Made me Hardcore, 2013. https://vimeo.com/63769157
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Galway is a city that’s very familiar to me. Although not from here, I spent
much of my mis-spent youth as a pseudo new-age traveller in the clubs
and pubs of this city, longing to be part of the Galway tribe. I realised Mark
Leckey’s Fiorucci Made Me Hardcore was taking me back to here, to this
city. I shared his overwhelming nostalgia and longing for a lost youth, a
lost place.
TULCA 2018, syntonic state, takes dual cues from Galway’s merchant
and mariner histories, along with this concept of nostalgia, as the
premise for this years festival. Initially founded as a military base and
urban site offering sanctuary to early colonists, Galway – derived from
the Gaelic Gaillimh, meaning ‘Town of Strangers’ – ultimately became a
settlement of foreign freemen. Burgeoning trade routes and increased
commerce influenced the evolution of Galway as a city, creating a newly-
formed social stratum – that of the merchant classes. These historical
developments arguably influenced the social and cultural diversity for
which Galway has since become renowned.
Introduced in the seventeenth century, the term nostalgia denoted a
common condition among Swiss mercenaries who displayed symptoms
of: extreme homesickness, sentimental longing, or wistful affection for the
past. Historically described as a “disorder of the imagination”, nostalgia
is now viewed as an emotion, rather than a physical condition. However,
nostalgia does not always concern the past; it can be retrospective but
also prospective. For many twentieth-century societies – including cultures
that were globally displaced, marginalised from the cultural mainstream, or
forged by eccentric traditions – a creative rethinking of nostalgia was not
merely an artistic device, but a survival strategy. Such processes sought to
make sense of the stateless condition, the impossibility of a homecoming,
or a return to the halcyon days of a bygone era. This sense of grappling
with displacement creates a desire to find one’s place in the world; to be
‘culturally syntonic’.
Festivals differ from exhibitions in that they have the ability to shapeshift,
to expand outside the parameters and confinement of the gallery space,
weave in and out of the fabric of the city. In many ways, curating TULCA
requires a reverse engineering. As a curator you generally have a sense
of the space you are working with. When looking at and selecting works I
generally visualise the space the work will be sited in, how it with function
in relation to the architecture, the works around it, the flow of people
through the space. In the context of TULCA, that clarity comes later. The
shifting of venues and the search for offsite locations means there needs
to be a fluidity around the ‘where’ and ‘how’ work is presented. Galway
city becomes a jigsaw puzzle where the pieces are buildings, streets and
pockets of space, waiting to be populated with objects, provocations
and interuptions to the everyday #Rise&Grind and #Hustle3 of the city.
Occupying spaces that have their own historical legacy and baggage,
spaces that aren’t generally accostumed to hosting these objects leads
to a shift in their function and purpose. And that’s what’s really exciting
about TULCA.
3 #Rise&Grind. By Conor McGarrigle. #RiseandGrind is a generative installation that explores the rules
and norms of global internet social media culture through the lens of two hashtags, #RiseandGrind and #Hustle. The
hashtags captured, #RiseandGrind and #Hustle, represent the globalised embodiment of the values of a neoliberal
culture that gets up early and self-exploits, success in the sharing gig economy is only achievable by getting up earlier
and grinding that bit harder, by bringing even more hustle to the game. #Rise&Grind is installed in Fairgreen House.
8
TULCA is delighted to present a newly commissioned performance by
Aoibheann Greenan as part of the launch celebrations. Aoibheann has
invited members of the St. Patrick’s Battalion Pipe and Drum Band from
Mexico City to lead a procession in commemoration of Clifden born Captain
John Riley who deserted the US army to fight alongside Mexico during the
War of American Intervention in 1847. This heroic underdog tale resonates
strongly with the concepts of nostalgia and displacement underwriting
TULCA thematic. The procession will take us from Fairgreen House to the
TULCA afterparty at Electric Galway where Mark Leckey’s work is installed.
The festival is punctuated with other events that also expand on the festival
thematic including a discussion between author Owen Hatherley and Declan
Long where Hatherley will discuss his book The Ministry of Nostalgia. The
O’Donoghue Centre in NUIG will host a screening of HyperNormalisation by
Adam Curtis, which will be introduced by Conn Holohan from the Huston
Film School. Curtis’ films are known for scrutinising the new narcissistic
culture of the self and its relationship to 1960s counter-culture, the birth of
the internet and technology networks.
To mark the conclusion of syntonic state, TULCA in partnership with CERERE
present a newly commissioned event by The Domestic Godless. Inspired by
the theme of Cereal Renaissance in Rural Europe (CERERE), Gruts Buffet
will explore the culturally and historically entangled relationship between
society and food, elucidating ironies, complexities, and contested narratives
from distinctive heritage varieties. The audience will also comprise members
of Deirdre O’Mahony’s Mind Meitheal and the exterior of the building will be
drapped with Sadhbh Gaston’s Grain Series banners.
Several of this year’s works make connections to lost futures which brought
me back to reading Mark Fisher’s writings around ‘The slow cancellation
of the future’. While reading FIsher, I had to remind myself of Derrida’s use
of ‘hauntology’ as being our inability to encounter things as being fully
present. In all our experiences the present is always mixed up with the past
and the future. We can only make sense of a present moment by comparing
it with the past. Our experiences are always haunted, haunted by that which
no longer exists and by that which does not yet exist. Mark Fisher’s use of
the term hauntology is more in reference to a cultural hauntology, the way
we are haunted by our past in our media, art and entertainment, people are
no longer trying to anticipate the future or trying to conceive new worlds
leading to revivalism and pastiche. Many of the works presented at this
year’s TULCA embody the anxiety surrounding these ideas, shaping the
narrative of a syntonic state.
Our experiences are
always haunted, haunted
by that which no longer
exists and by that which
does not yet exist.
9
Feed Your
Head:
The
Speculative
Futures of
Rave
Joanne
Laws
10A hoarder friend was having a clear-out and handed me an old ticket: SJM presents MANCHESTER MEGADOG Featuring Eat Static + Egebamyasi + Imperium WEDNESDAY 22nd MARCH 1995 Manchester Academy Doors 9pm – 4am More often than not, our student days blur into one continuous party, with vague memories occasionally thickening around significant moments. Sometimes we recall locations – a warehouse in Hume, an afterparty in a Sheffield basement, a church in Birmingham where the dawn streamed so euphorically through stained-glass windows, that the entire crowd shifted one step closer to God... Occasionally dates are the most memorably factor. Who can forget the frenzied countdown to the new millennium that ushered in the digital age? Computers were still pretty abstract things in those days, and the catastrophic threat posed by the Y2K bug seemed so irrelevant, that it may as well have been happening in a distant galaxy1. As a material artefact, this ticket betrays me on many levels. It is forcing me to formalise these memories against my will, defying the fuzzy impulses of nostalgia, by anchoring me to a specific time and place. Collapsing time, it casually exposes everything that has since become outmoded – music subcultures, technology, even certain recreational drugs. To stare at an old ticket is to confront personal aging with gratitude, thankful for an era when mid-week raves were an acceptable way to spend your time. Now I’m googling, not expecting to find very much... On YouTube, you can view a three-minute promotional video, ‘A short taste of Megadog filmed at the Manchester Academy, Spring 1995’. It’s quite a spectacular experience, to see an off-the-radar, half-forgotten moment from your past, being plucked from the depths of cyberspace. When returning to a place that I’ve previously spent a lot of time, I half expect to see ghosts of myself in the street, going about everyday business. This feels like the same kind of ‘non-place’ – an astral projection, a virtual glitch, a temporal disjuncture between then and now – that somehow belongs to neither domain. The YouTube description explains that dips in the sound quality are attributable to the footage being “rescued from an ailing VHS copy.” Filmed on cutting-edge video equipment at the time, this grainy footage not only exposes the era’s technological deficiencies, but manifests the hazy and ambiguous qualities of memory itself. Such anachronistic conjuring of videotape via the internet serves to contain the event (to a specific place and date), while simultaneously unleashing it onto a global arena, subjecting us to the contemporary forces of retrospective digital surveillance. The soundtrack accompanying the film is Gulf Breeze (Sasha Remix) by Eat Static – a live electronic music act with Merv Pepler and Joie Hinton, former members of the psychedelic rock band, Ozric Tentacles. The spiralling melody and whomping bassline situate the event within a burgeoning wave of Acid Trance, a spacier version of Techno that fused Acid House with the psychedelic and new age scenes of the mid-90s. The dark, smoke-filled nightclub is illuminated in 11
disorientating flashes. Intermittent strobe lighting reveals a
dense, rippling sea of sweat-covered bodies. Synchronised As a feverish, sleep-
light sequences throw laser beams across the crowd, like the
panopticon hunting for escaped prisoners in the dead of night. defying impulse, rave
Against a backdrop of hallucinogenic video projections, we
can see silhouettes of stage-dancers, waving arms, flailing
dreadlocks, topless men, all high as kites and oscillating at
was felt most explicitly
the same frequency. As a feverish, sleep-defying impulse, rave
was felt most explicitly at the level of the body.
at the level of the body.
Filmed in the context of a nightclub, the footage is historically
underpinned by rave’s contentious relationship with bricks-
and-mortar. Rave culture emerged in the UK during the late
80s, when DJs began to run Balearic club-nights in London,
inspired by Ibiza’s all-night beach parties. By mid-1988 –
nicknamed the ‘Second Summer of Love’, because it coincided
with the UK’s first significant influx of Ecstasy – illegal raves
and outdoor parties were springing up spontaneously all
over the British countryside, in fields, aircraft hangars and
abandoned warehouses. In 1994, the widely contested Criminal
Justice Act (which banned trespassing, squatting and many
forms of public protest) gave police the power to shut down
‘unauthorised gatherings’ featuring music characterised by
‘the emission of a succession of repetitive beats’. Organisers
responded by running ticketed events in nightclubs and
private members’ clubs. Coupled with relaxed licensing laws,
a thriving circuit of commercial all-night raves emerged across
Britain’s urban, suburban and provincial nightclubs. The
Megadog began as Club Dog, a multimedia event in an obscure
venue in North London, which aimed to “recreate the festival
environment indoors”2. Megadog later morphed into a touring
dance music event, before taking up monthly residencies in
The Rocket in North London and the Manchester Academy.
There’s Life in the North
Beyond the physical venue, the footage also alludes to
the conceptual space of the nightclub, as an important
countercultural site of hedonistic abandon. With a “policy
of inclusivity”, Megadog events attracted a diverse mix of
subcultures, from punks, goths, indie kids and drag queens,
to new age travellers, boy racers and casuals. According to
one of the cofounders, Megadog was a place where “new age
met rock, met acid house, met reggae, met squat culture, met
cabaret, met film night, met installation”3. It was a space of
“unbridled bacchanalia4, where loved-up skinheads embraced
saucer-eyed hippies and rubber-necking cultural tourists”5.
Many have argued that rave culture transcended divisions
of class, gender, age, sexuality and race, creating levels of
heterogeneity not seen in previous or subsequent youth
movements. Some suggest that rave was a place of freedom,
collectivity and community, at a time when such democratic
spaces in public life were being rapidly eroded.
The footage cuts from the dancefloor to a raver queuing in
the street outside. He is well-spoken, his cheeks sparkle with
glitter and he is wearing a Parka – a style of jacket associated
with British mods of the late sixties and revived by Britpop.
“There’s life in the North” he says. “Maybe it’s something to
do with the Northern struggle of the early years. It’s much
more lively; the blood’s more mixed”. During the 1980s under
12Absorbing the defiant Thatcherism, Britain experienced severe recession, the
decline of industry, the decimation of trade unions and the
highest levels of youth unemployment seen in half a century.
spirit of activism, rave A growing ‘north-south divide’ created unprecedented
levels of regional inequality, felt most prevalently in former
resisted the divisive industrial regions like Greater Manchester6. Above all, this
period saw the proliferation of the neoliberal ideology that
hierarchies and control “individuals should pursue their personal goals within
atomised societies.”7
mechanisms of modern General political unrest continued into the 90s – expressed
British society by through the Poll Tax riots, Criminal Justice Act protests and
Reclaim the Streets demonstrations, among others. This
provided the political backdrop of rave, framing its embodied
creating “hidden arenas connectivity as an act of rebellion. Absorbing the defiant
spirit of activism, rave resisted the divisive hierarchies and
of pleasure in the night- control mechanisms of modern British society by creating
“hidden arenas of pleasure in the night-time economy’’8.
time economy’’ Though constituted by spatially diverse ‘scenes’ and locations
– nightclubs, afterparties, street parties and festivals – rave
fundamentally hinged on the production of hedonistic space9.
As described by German artist Wolfgang Tillmans (who was
heavily involved in Hamburg’s Acid House scene after the fall
of the Berlin Wall) hedonism is a highly political gesture that
articulates “the right to party, take up space, and control one’s
body and identity”10.
Altered States: Transcending Place,
Body, Mind
This found footage from a rave in the mid-90s tells us a
lot about a culturally-ripe moment in British music history,
however, it can be difficult to preserve it from the carnivorous
forces of nostalgia, mythology and ‘retromania’. Potentially
more interesting is the relationship between rave culture and
‘the future’ – particularly a speculative future, as it may have
been anticipated and conceptualised in 1995. Inevitably, such
retrospective readings are tainted with our knowledge of what
has since transpired.
As evident in the film, one of the most pressing characteristics
of Electronic Dance Music (EDM) was its reliance on analogue
recording equipment and rudimentary digital technology that
has since become outmoded or obsolete11. The era’s large-
scale mobile sound systems comprised hardware such as
record turntables, synthesisers, drum machines and samplers
– computerised devices that convert sound into digital code
(zeros and ones), allowing pre-recorded music to be copied,
rearranged and replayed. Unlike many DJs of the time, Eat
Static created their distinctive sound through technically
demanding 52-channel live mixes. In the footage, hefty green-
screen monitors, connected via endless wiring, provide
cumbersome interfaces for tasks that could be easily carried
out nowadays with a simple laptop or iPhone. Around this
time, software engineers in California were working on Java,
a computer-programming language that would later become
the dominant software for internet browser applications.
However, in 1995, digital technology was still generally seen as
something vaguely futuristic, yet it was embraced by EDM as a
vehicle to map and interrogate the collective imagination.
13Across post-war popular culture, electronic music had been
synonymous with general articulations of ‘the future’. While Repurposing the figure
EDM was broadly perceived as a future-orientated musical
genre, the soundscapes and visual iconology of Acid Trance of the alien as a potent
brought these futuristic associations to a whole new level.
Firstly, the influence of Science Fiction on Acid Trance is
widely evident. Where early rave culture drew on Sci-Fi’s
symbol of dislocation,
visualisations of dystopian futures, nuclear contamination
and apocalypse – with clubwear featuring boiler suits, gas
exile and ‘otherness’,
masks, glow sticks and radioactive symbolism – Acid Trance’s
socio-sonic aesthetic assimilated Sci-Fi’s imaginings on Acid Trance used
“the cosmic liminality of space exploration”12. Eat Static took
their name from a quote in Star Trek II: The Wrath of Khan psychedelic event-
(1982), when Khan declares “Let them eat static” – with static
suggesting a form of transmission, making its way across the
dark galaxy and suffusing everything in its path. Eat Static’s
culture to infiltrate
first album, Abduction, expressed the band members’ shared
interest in extraterrestial life and ufology, informed by the
the dance floor, “that
modern-day folklore of their hometown of Somerset, the site
of mysterious crop circles and alleged alien abductions in
orgiastic domain in
the early 70s. Repurposing the figure of the alien as a potent
symbol of dislocation, exile and ‘otherness’, Acid Trance which a multitude
used psychedelic event-culture to infiltrate the dance floor,
“that orgiastic domain in which a multitude of freedoms are of freedoms are
performed, mutant utopias propagated, and alien identities
danced into being” 13. performed, mutant
Secondly, Acid Trance – also known as ‘intellectual techno’14 –
took influence from the ritualistic and transcendental practices
utopias propagated,
of eastern spirituality. As the DJ bounces onstage in front of
the crowd, we read the words ‘Feed Your Head’ on the back of and alien identities
his vest. In the footage, cloud formations gather on the screen,
offering visual and cerebral connections with Ambient music danced into being”
pioneers, The Orb, who released Little Fluffy Clouds in 1990.
Other projections feature spiral symbolism, alluding to rave
culture’s tribalistic roots in the Stonehenge Free Festival of
the mid-70s. This annual festival was held at the prehistoric
Stonehenge monument – a powerful site associated with
energy ley lines and pagan sun worship – until 1985, when it
was suppressed in a violent clash with authorities that became
known as the Battle of the Beanfield.
Lastly, the Acid Trance movement manifested a widespread
suspicion about the infiltration of digital technology, still
perceived as something mesmerisingly futuristic and
‘otherworldly’. According to political theorist Fredric Jameson,
who began theorising the ‘technological sublime’ in the
early 90s, “technology represents contemporary society’s
‘other’…[an] anti-natural power of dead human labour stored
up in our machinery – an alienated power”15. Eat Static’s live
shows were themed around Artificial Intelligence, resonating
with the transcendentalist fantasies of cyberpunk fiction
that juxtaposed scientific advancements in cybernetics
with a radical breakdown in societal order. Augmented and
posthuman lifeforms were common motifs, as was the robot
or cyborg, described by Donna Haraway a decade earlier as
a “cybernetic organism, a hybrid of machine and organism, a
creature of social reality as well as a creature of fiction” who
is, without question, the “illegitimate offspring of militarism
and patriarchal capitalism”16. Eat Static’s stage sets frequently
featured large Day-Glo models of brains, surrounded by dense
webs of electrical circuitry, perceived as the matrixed site of
augmented intelligence and expanded consciousness. If, as
14Haraway suggested, “liberation rests on the construction of
the consciousness”, then the driving narratives of Acid Trance
– extraterrestial encounters, digital infiltration and spiritual
transcendence – propagated ‘altered states’, through which
to depart the planet, mind and body that we currently inhabit.
Any journey (intergalactic or otherwise) became a narrative of
self-metamorphosis.
Rave Undead
Joanne Laws is an arts writer and Features Editor of the Visual Artists’ News
It is no coincidence that, with the dawn of the internet in the Sheet (IRL).
early 90s, Jacques Derrida began conceptualising his theory 1 Notes:
of hauntology – a zeitgeist of Marxist revivalism that would, The Y2K bug, also known as the Millennium bug, was a computer
ironically and symptomatically, come to ‘haunt’ postmodern glitch associated with the formatting of calendar data at the start of the
twenty-first century. It was anticipated that with the advent of the year
critical theory. Derrida defined hauntology as a “disjuncture
2000, problems would arise in relation to the four-digit date format,
of temporalities”, best expressed as a time that is “out of necessitating computers worldwide to be upgraded, in order to prevent
joint”17. Expanding the applications of hauntology, cultural widespread system failures.
theorist Mark Fisher conceived the contemporary moment 2 Andy Fyfe, ‘A Cosmic Dog’, Record Collector (December 2015) p 55.
as being ‘haunted’ by “all the lost futures that the twentieth
3 Ibid.
century taught us to anticipate” 18. Such futures – including
the heterogenous cultures of resistance and transcendence 4 Bacchanalia – Roman festivals of Bacchus, celebrated with ecstatic
conjured by rave culture – were ultimately prevented, derailed revelry, dancing and song.
or cut short by capitalism. Through a lifetime of writing, Fisher 5 Andy Fyfe, ‘A Cosmic Dog’, Record Collector (December 2015) p 56.
skilfully analysed the hauntological confluences occurring
6 As a post-industrial region, Manchester remained an epicentre of
in popular music, highlighting a continual progression countless musical subcultures. Building on the momentum of Northern
towards ‘the futuristic’ between the early-1960s and mid-90s. Soul, a Motown-influenced dance movement of the late 1960s,
After this time, the “very possibility of imagining a future Manchester’s Punk and post-Punk scenes produced bands like the
Buzzcocks, the Fall, Joy Division and then New Order. Indie acts like
was superseded by existing technologies”. By 2005, Fisher James and the Smiths were followed by the emergence of ‘Madchester’
noted that “electronica was no longer capable of evoking a in the 80s, which merged with Acid House culture to produce bands
future that felt strange or dissonant... Electronic music had such as the Happy Mondays, the Stone Roses and Inspiral Carpets.
Supported by a network of alternative record labels (most famously
succumbed to its own inertia and retrospection.” After this
Factory Records) and venues (including the Haçienda, co-owned by
point, subcultures began to lose their vitality, morphing into a members of New Order and Factory’s Tony Wilson), the city’s distinctive
series of “temporal drifts”, characterised by the “remixing and music culture was fuelled by its associations with Manchester, often
plundering of already existing genres”. For Fisher, the futures featuring place-related references and channelling localised experiences.
that were lost were more than a matter of musical style. More 7 Alistair Fraser, ‘Spaces, Politics and Cultural Economies of EDM’,
troublingly, this “disappearance of the future” also meant the Geography Compass, 6(8), 2012, p 502.
“deterioration of a whole mode of social imagination”. In other 8 Ibid. p503.
words, it marked the melancholy demise of our “capacity to
9 See Goulding, C., Shankar, A. and Elliott, R. ‘Working weeks,
conceive of a world radically different from the one in which rave weekends: identity fragmentation and the emergence of new
we currently live” 19. communities’, Consumption Markets & Culture, 5(2), 2002, pp. 261-284.
10 Ha Duong, ‘Photographers Who Captured the Ecstasy and Abandon of
Via the internet’s nonlinear streams of mass-mediation, Rave Culture’, 7 September 2018 www.artsy.net
rave as a dead movement makes its apparitional ‘return’.
11 It’s worth noting that the tactile interactions offered by certain analogue
Untethered to time and place, chronology and narrative, this devices have experienced a nostalgic revival in the digital age.
undead footage is now free to roam, flitting from screen to
12 Graham St John ‘The Vibe of the Exiles: Aliens, Afropsychedelia and
screen as a networked, immaterial incarnation. Even more
Psyculture’, Dancecult: Journal of Electronic Dance Music Culture, 5(2),
problematic than the separation of the film from its distinctive 2013, p56.
cultural history, is the reality that it can be instantaneously
13 Ibid.
downloaded and consumed without any obvious sense of
this anachronism. The fact that the footage predates the mass 14 By the mid-90s, the term ‘Intelligent Dance Music’ (IDM) was commonly
used to denote a whole form of ambient electronic music, with
self-surveillance of our smartphone age, only further enhances
prominent artists including Aphex Twin, Autechre and The Orb. The
its sense of voyeuristic infringement, as we observe the pre- compilation series released via Warp, ‘Artificial Intelligence’ (1992-4), is
digital bodies that feature in this short videoclip. Emerging widely cited as the start IDM.
instantaneously without context from another temporality, 15 Fredric Jameson, Postmodernism, or the Cultural Logic of Late
these fragmented, encoded, virtual bodies – made more Capitalism, (London: Verso 1991) p38.
foreign through grainy reproduction and outdated fashion –
16 Donna Haraway, ‘A Cyborg Manifesto: Science, technology, and
appear as low-res interlocutors from the past. These bodies socialist feminism in the 1980s’, Socialist Review, 15(2), 1985, p65.
are real, but within the hyperconnected landscapes of the
17 Jacques Derrida, Spectres of Marx, Trans. Peggy Kamuf (New York:
internet, their realism is compromised. As untouchable, Routledge 1994) p49.
weightless abstractions, their ghostliness is made explicit
18 Mark Fisher ‘What Is Hauntology?’ Film Quarterly, 66(1), Fall 2012, p16.
through hallucinogenic flashes, a phantasmic semi-presence
conjured in Day-Glo. 19 Ibid.
1516
artists 17
Bassam Al-Sabah
Wandering wandering with a sun on my back
NUIG GALLERY Wandering wandering with a sun on Tackling themes of revolution, war
MON – FRI: 12-6 my back is a new CGI film work by and exile, Al-Sabah’s works consider
SAT & SUN: 11-6
Bassam Al-Sabah that relates to war the influence and agendas of these
3 and unrealised childhood fantasies. The Japanese anime on Arab popular
work is informed by a specific series culture. His work is often concerned
of Japanese anime that were dubbed with how the past is continually revised
in Arabic in the 1980s and broadcast to meet the present, when the juvenile
across the Middle East. In these fantasy breaks down into the reality of
animations the protagonists where often adulthood. Displacement, nostalgia and
depicted protecting their homelands personal mythology play a significant
from the outside invader. The film looks role within his work as it tries to capture
at representations of hyper-masculinity a recollection that is not fixed, but rather
that is often directed at children and the an amalgamation of various narratives
potential distortions of reality and future both false and true that have collapsed
that these images may cause. into each other causing the sensation of
falsified memory and trauma.
Wandering wandering with the sun
on my back depicts various human The newly commissioned film will be
representations within dwellings that shown alongside existing sculptural
cannot be escaped, dwellings that are works.
positioned in landscapes that oscillate
between dystopian and utopian scenery. Wandering wandering with the sun on my back is
Both archival and fictional dialogue, supported by the Arab Culture Fund (AFAC) and
narrate the moving images, creating a the Arts Council of Ireland.
sense of a dislocated reality.
Wandering wandering with a sun on my back, 2018, digital render, dimensions variable.
18Cyprien Gaillard
Cities of Gold and Mirrors
126 ARTIST RUN A series of vignettes take place in An interior courtyard teems with hanging
GALLERY the Mexican city of Cancún, drawing plants as though nature is on the
MON - FRI: 12-6
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attention to the relationship between verge of taking over culture; a mirrored
architecture, time and experience, and building wobbles and is brought to the
2 the confrontation between ancient and ground with a controlled explosion; and
modern culture. The film shows a group the lighting rig of a nightclub casts its
of young spring breakers drinking lasers as though a spaceship. Uniting
bottles of tequila which are emblazoned each film is the sound of mystical,
with Mayan iconography on their futuristic synthesizers, taken from The
labels. We see dolphins idly swimming Mysterious Cities of Gold, a French-
past Brutalist architecture and a gang Japanese cartoon about Spanish and
member dressed in a bright red bandana Portuguese conquistadors in 16th
covering his hair and face, performing century Latin America. The images and
a ritualistic dance in the ancient El soundtrack amount to an investigation
Ray ruins that sit on the edge of this into the archaeological impulse of
hedonistic Mecca. science fiction, and how in the context of
Cancun, the present cannot be separated
from the ancient past.
City of Gold and Mirrors is presented in
partnership with the French Embassy in Ireland.
www.ambafrance-ie.org
Cyprien Gaillard is represented by
SPRÜTH MAGERS.
Cyprien Gaillard, Cities of Gold and Mirrors (Film Still), 2009, 16 mm film, colour, with sound, 8:52 min
19Helen Hughes
COLUMBAN HALL Columban Hall will host this new The often synthetic quality of her elected
MON – FRI: 12-6 site specific work by Helen Hughes. materials is in line with the smooth
SAT & SUN: 11-6 styling of commodification, where we
Combining two strands of working,
Hughes brings together standard, rigid, become assigned to broad demographic
5
components from our mass produced groups for marketing purposes. In this
structural surroundings with individual work, she probes a sense of individual,
fragments of modern materials that ethnic loss and nostalgia arising from
have been altered and manipulated by too pure an alignment with the spirit of
hand. No longer homogeneous units, global capitalism.
these irregular, fragile composites now
bear character and a certain human Materiality is central to Helen’s
sensibility, their flow having been sculpture and installation practice. She
interrupted and displaced on their utilises mass produced goods to reflect
designated route. on consumerism and the exuberance
of capitalist production. Materials
Drawn to working with balloons - a selected are often willful, unpredictable
fragile but ubiquitous commodity and difficult to control. Working against
providing intriguing structural/sculptural their intended use by disrupting
surfaces, Hughes altered, manipulated the designated functioning of these
and combined them with other materials materials, the homogeneity of mass
to defy their assigned path to deflation production is probed. Through fluid
and obsolescence. This process results and gestural physical engagement, she
in an eternal preservation of the balloons counters the mechanical behaviour
in an in-between state somewhere linked to materialism, forcing her
between buoyant, potent symbols of materials out of an inertia and
revelry and celebration, and left-over, endowing them with a more tactile and
flaccid, consumed fragments. These human sensibility.
semi-recognisable remnants of a past
hedonistic time continue to visibly
punctuate and disrupt the surrounding
environment.
Fair and Balanced (installation view), 2017. Resin, latex balloons, aluminium foil, 90x90x90cm
20Jesse Jones
Zarathustra
TULCA FESTIVAL The 16-mm film Zarathustra, depicts a school roots following allegations of
GALLERY performance by The Artane Band. The historical child abuse were published
MON - FRI: 12-6 /
SAT & SUN: 11-6
Band play Strauss’s “Zarathustra”, in the 2009 Commission to Inquire into
echoing Kubrick’s 1968 score from Child Abuse.
1 the film, 2001: A Space Odyssey. The
film’s release date in April 1968 makes Zarathustra plays on the sedimentation
a historical parallel to the launch of of historical forces into our culture and
the iconic modernist housing project questions how the site of leisure such
in Ballymun, the location of the as a swimming pool or marching band
drained swimming pool the band are are haunted with political ideology.
performing in. Resonances of this soundtrack’s
better-known antecedent tease out the
The film creates a parallel between the dereliction of both the historical and
popular consciousness of this moment the contemporary: just as the 1960s
and the political undercurrent to it’s vision of a contemporary civilisation
ensuing future. The Artane band also was not realised, so this swimming pool
echo a moment of a militaristic nostalgia is now abandoned to a new wave of
and how it has assimilated itself into our regeneration.
culture. This is further questioned by
the fact that the band, a famed Dublin The film ultimately conveys a sense
marching band that comes from a of modernity in general, remaining
long-standing tradition of young male undecidably placed between a doomed
marching bands, has been called upon to past and a time yet to come.
change it’s name to dis-associate itself
from the traumatic past of it’s industrial
Zarathustra, 2008. 16mm film transferred to video, 4 min. 50 sec. Courtesy the artist.
21Mark Leckey
Fiorucci Made Me Hardcore
ELECTRIC In the film Fiorucci Made Me undeniable constants in an otherwise
MON-FRI: 4-LATE Hardcore (1999), Leckey spliced altered fleeting remix of three decades of dance
SAT & SUN: 11- LATE
video footage from dance clubs with culture. Leckey composes and captures
8 an amalgamation of sounds to examine a palpable euphoria: of bodies on the
countercultural nightlife, revealing the dancefloor, of the particular pulses of the
poignant interpersonal energy and socio- music — and of nostalgia’s seductive
economic aspirations of its revelers. creep when looking back at days long
gone.
The video is sourced from footage
of British clubs that spans trends in Leckey produces art that addresses
fashion and attitude from the 1970s to the abundance of objects and images
the 1990s. Despite the differences among in contemporary culture. In his films,
the revelers, Leckey’s film unites the sculptures, and installations, the artist
disparate cultural moments in a frenzy has at various times assumed the role of
of youthful, euphoric ritual. Tongue alchemist by transforming objects and
in cheek, the title alludes to Italian images into new mediums.
fashion house Fiorucci, wildly popular
during the artist’s youth in the late ’70s. Please note Electric will be closed on
Although dress and taste evolve through November 9th.
Leckey’s edited juxtapositions, brand
allegiance and material symbolism are
Fiorucci Made Me Hardcore, 1999. Color video, with sound, 15 min.
22Colin Martin
Empathy Lab 2018
TULCA FESTIVAL Empathy Lab 2018 is based on a such as the Berlin Stasi Museum and
GALLERY dedicated area in Facebook headquarters the geneses of a boundless surveillance
MON - FRI: 12-6
SAT & SUN: 11-6
were employees can express empathy culture were the politics of private
through technology to various causes. and public space is fluid. The works
1 This series of paintings explores a explore spaces that blur boundaries
prosthetic relationship with technology. between the real and virtual and where
The practice makes reference to science technology, culture and politics have
fiction genres and imagined futures become synthesised. Newer works
that have come to pass such as future depict research and development from
orientated culture that has become technology companies such as Boston
obsolete or reappraised. The works Dynamics, Facebook and Tesla.
depict computer museums, analogue
recording equipment and modular
electronic instruments. Some paintings
depict pre-internet sites of surveillance
Uncanny Valley III, Oil on canvas 40 x 55cms
23Stella Rahola Matutes
Babel
TULCA FESTIVAL Stella Rahola Matute’s otherworldly belonging, creating a disorder and a lack
GALLERY sculptures, Babel, question the of harmony with the environment. An
MON - FRI: 12-6
SAT & SUN: 11-6
globalised capitalisation of architecture. unequivocal feeling of nostalgia for lost
Leaving aside architecture’s premise of utopias, city scapes and environments
1 utilitas (functionality) that distinguishes relates with the impossibility of returning
it from other arts, many of today’s to a previous home.
buildings are erected to represent
power. The result is no longer the Babel, as with much of Rahola Matutes’
edifice of the medieval cathedral that work, is strongly underpinned by craft.
oriented a community but rather an Confronting the modern forms of
extravagant competition of rare and capitalist production, Rahola Matutes
autonomous objects. These forms favours hand-made processes and seeks
are far from the original archetypes a material culture without the aid of
that were constructed to embody their automation that will ultimately redirect us
environment and the landscape, instead to nature.
epitomising economic status. This effect
displaces communities and extends
the feeling of rootlessness and non-
Babel I – II, 2018, mirrored borosilicate glass, 18 x 18 x 170cm and 18 x 18 x 220cm
24Eleanor McCaughey
The blood-dimmed tide is loosed
GALWAY ARTS Eleanor McCaughey presents work a sentimental affection for the past.
CENTRE under the title The blood-dimmed tide It contemplates impenetrable forces
MON - THURS: 10-5.30 is loosed. The title is borrowed from the shaping our contemporary society, from
FRI & SAT: 10-5
poem The Second Coming by William the ideological to the technological.
SUN: 12-5
Butler Yeats. The poem uses Christian
4 imagery allegorically depicting the McCaughey’s portraits are represented in
apocalypse and the second coming a way that questions how we use social
to describe the atmosphere of post- media to construct false impressions
war Europe. The second coming is a of status and authority in an age of
statement about the contrary forces at displacement and individualism that
work in history and the conflict between emphasises the moral worth of the
the modern and the ancient world; a self. The portraits appear genderless,
new civilisation will be born, one that resembling a statue of importance, a
will reject what the previous generations bust on a plinth like a godly figure on a
celebrated, while humanity descends pedestal. The presentation of the work
into moral confusion. has over time transformed spaces with a
nod to nostalgic 1990s pop optimism like
Thematically, the work is a vehicle for classic MTV studio sets combined with
reflecting on the present moment with traditional shrines and alters.
Brigid, 2018, sheet, trimmings, oil on canvas, Dimentions approx. 5ftx7ft
25Conor McGarrigle
#RiseandGrind
TULCA FESTIVAL #RiseandGrind is a generative The AI “learns” the rules of the new
GALLERY installation that explores the rules economy from this data in real time and
MON - FRI: 12-6
SAT & SUN: 11-6
and norms of global internet social begins to participate in the conversation
media culture through the lens of two on Twitter. This process is made visible
1 hashtags, #RiseandGrind and #Hustle. in the space in real-time with neon
The hashtags captured, #RiseandGrind lettering and a five-screen array showing
and #Hustle, represent the globalised the machine learning process and the AI
embodiment of the values of a neoliberal generated tweets.
culture that gets up early and self-
exploits, success in the sharing gig Throughout the festival’s duration these
economy is only achievable by getting generated tweets evolve from nonsense
up earlier and grinding that bit harder, by to well-honed texts that encapsulate the
bringing even more hustle to the game. spirit of the new economy and are often
The project data-mines Twitter to capture indistinguishable from the real thing.
millions of conversations which are used
to train an artificial intelligence model on #RiseandGrind was funded by the Science
Google’s neural network platform, Tensor Gallery Lab, Detroit.
Flow.
#RiseandGrind, 2018, neon, 165 x 28 cm
26Dennis McNulty
David (Timefeel)
TULCA FESTIVAL Dennis McNulty has recently began but hesitantly. The audio has been
GALLERY using the term AV Works to describe re-edited in the manner of a disco-
MON - FRI: 12-6 /
SAT & SUN: 11-6
his assemblages that combine media edit. The original track features drums
technologies of various kinds (screens, (physical), guitar (electro-mechanical),
1 speakers, projectors etc.), media vocals (human) and a synth (electronic).
fragments (video, audio, still images) and Like Prince’s “When Doves Cry”, a
computation (algorithms and CGI). hit in the same year, the track has no
bass-line. Fragments from different
David (Timefeel) is an AV Work which moments in the song are juxtaposed
combines second-hand speakers with to produce a strange time-feel and
an old analogue cube monitor that was prolonged listening draws attention to
intended to form one component of a this. The edited version is a long loop
video-wall. Sound and image are drawn almost devoid of language. Springsteen
from Bruce Springsteen’s 80s hit, “I’m communicates mostly by humming
On Fire” and its MTV-friendly video. and via a series of howls and yelps.
In it, Springsteen plays the part of a Most of the words that make it through
mechanic who drops a repaired car back the editing process are truncated
to the mansion of a wealthy customer. and reordered. “Sometimes it’s like
The version on YouTube has clearly someone ...” he repeats. This monitor is
been transferred between a number placed on a specifically fabricated plinth
of different media formats over time. designed by McNulty and fabricated for
Digital stills from the video are replayed his TTOPOLOGY show at VISUAL earlier
by a Raspberry Pi computer according in 2018.
to an algorithm to simulate glitching
video playback. Bruce looks skywards, David (Timefeel) was produced with the support
of VISUAL and the Arts Council of Ireland
Project Award.
TTOPOLOGY installation shot, VISUAL, Carlow.
David (Timefeel) is visible in the foreground, centre left.
Images courtesy VISUAL and Ros Kavanagh, Photographer.
27Paul Murnaghan, Somehow you
knew that this was coming
GALWAY ARTS In a review* of Video killed the Radio This is one reading of the work, and it is
CENTRE Star, the exhibition in which this work a valid one but when making the work,
MON - THURS: 10-5.30
was first exhibited, Adrian Duncan Murnaghan was considering things
FRI & SAT: 10-5
considered that The taut black piece that we think we know, things proven,
SUN: 12-5
of rope, between island and weight, empirical, like a 56 lb. weight. Vs. things
4 was a sort of constant counter-point to less knowable, a hunch, intuition, belief.
the hysterics of the fan and theatrical The flavour of our time is to know what
spotlight. we know and to refute all evidence to the
contrary. If it is not my opinion, it is fake.
Duncan focused on one of the many Perhaps this is a mercy. A tool to allow
contrasts within the work, like the those displaced, those partially erased,
solid form of the antique weight which to construct a new past and a new future.
attempts to anchor the shivering tree and To invent a different psychology that
its occupants in place, or the static oval allows them to evolve and us, to ignore.
of light which contains the constantly After all, they probably knew that this
moving shadows. While the aesthetic was coming.
is reminiscent of shadow puppetry or
early silent film, the audio tape flailing The work was originally made for Video Killed the
in the wind delivers a hint of violence or Radio Star at The Royal Hibernian Academy in
tension pertaining to something that is 2010 as part of the Artist curates series and was
curated by 126 from Galway in collaboration with
coming, something inevitable. One could
the artists and The RHA.
read it as a fatal attachment to nostalgia
or a deliberate ignorance of the ogre of *reviewed on Papervisualart.com by Adrian Duncan
new technology about to displace and
disrupt some fragile enclave.
Somehow you knew that this was coming, 2010, Inflatable palm trees and monkeys, spray-paint, cord, antique
weight, audiotape, fan, spotlight. Dimensions: variable.
28Gavin Murphy
Double Movement
GALWAY ARTS Gavin Murphy’s film and sculptural nascent modern Irish State, the building
CENTRE installation, Double Movement stems conversely became a locus for large-scale
MON - THURS: 10-5.30 from the artist’s in-depth research into Irish emigration to the UK and beyond.
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the now defunct Eblana theatre, which Its basement cinema was repurposed
SUN: 12-5
was located in the basement of Dublin’s into a theatre in 1959, and taken on
4 central bus station Busáras. The works by Phyllis Ryan as a base for her
seek to reveal and examine gaps in Gemini theatre company. At a time
our cultural memory, and to create and when The Abbey Theatre was not
preserve specific bodies of knowledge, seen to be supporting new writing,
focusing on the cultural and evidential the Eblana premièred the early works
value of architectural structures, which of Irish playwrights including Brian
can reflect and focus a wide variety Friel and John B. Keane, and staged
of social facts: from the state of the plays ranging from popular revues
industrial arts, to the processes of social to experimental works, and covered
organisation, and the world-outlooks of a taboo subjects in Ireland of the time
whole society. such as homosexuality, contraception
and criticism of the Catholic Church.
Busáras was a visionary and politically However the artistic fortunes of the
contested scheme for 1940s Ireland, Eblana gradually declined, and the
and was at that time, the largest civic theatre was eventually closed in 1995.
building project in post-war Europe. It remains – albeit in poor condition –
Designed by Michael Scott and Partners, underneath the station.
and influenced by International
Modernism, the building was envisaged Funded by The Arts Council and The Arup Trust,
as a kind of civic Gesamtkunstwerk (or supported by The Irish Architecture Foundation,
‘total art work’), to serve the practical, The Irish Theatre Archive, and Temple Bar
Gallery + Studios. Production support: Scott
social and cultural needs of its public
Tallon Walker Architects, Dublin City Archives
users. An ambitious expression of a and Project Arts Centre.
Gavin Murphy, Double Movement, 2017 (Film still).
Film with sound, 45 minutes, continual loop
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