Our Day Will Come
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(with Mick Wilson, Sarah Pierce, Annie Fletcher, Garrett Phelan and including works from David Blamey, Liam Gillick, Rhona Byrne, Jem Noble and Garreth Long)
Paul O’Neill; curatorial artist
B. London, 1970. Lives and works in London, UK.
Paul O’Neill is a curator, artist and writer based in Bristol, UK. His practice across all three categories is interested in addressing the systems of interpretation that are involved in making sense of the world around us and the compulsions that lead to interpretation and meaning itself. His work explores the experience, of traversing territory, of moving across things rather than patrolling boundaries. This exploration may take a number of forms, from curatorial projects and art- making, to writing or lecture presentations. O’Neill explored notions of exhibition-making as a form of artistic practice through Coalesce: Happenstance, an evolving exhibition designed to sit closer to a work of art in progress than traditional, more static exhibiting methods. Coalesce: Happenstance saw works overlapping with one another – the exhibition was completed on-site by artists using the exhibition space as their site of production. Artists and viewers were encouraged to consider the exhibition as a collaborative structure that facilitates a space of co-habitation, critical responsiveness and of cooperative exchange.
As an artist, he has exhibited extensively across Europe, including at Zacheta Gallery of Contemporary Art, Warsaw; The Irish Museum of Modern Art, Villa Arson; Nice, The South London Gallery and Cell London; Project and Temple Bar Gallery, Dublin.
He has curated and co-curated more than fifty exhibition projects throughout Europe and is a regular contributor to Art Monthly. O’Neill is reviews editor for Art and the Public Sphere Journal and on the editorial board of The Exhibitionist and The Journal of Curatorial Studies. He is editor of the curatorial anthology, Curating Subjects (2007) and has recently published Locating the Producers: Durational Approaches to Public Art with Valiz, Amsterdam.
B. 1961, London, UK. Lives and works in London, UK.
David Blamey’s work encompasses several activities which all overlap to form a multi-layered practice that defies straightforward categorisation. A guiding principle behind this objective is the idea that our perception of the world can never meet our understanding of it; his projects often pivot on a dialectical tension between things that are so familiar that they have become almost invisible and ideals that are somehow always out of reach.
B.1972, Dublin, Ireland. Lives and works in Dublin, Ireland.
Rhona Byrne makes sculpture, films, photographs, drawings, context specific installations, collaborative event-based projects and books. She graduated from NCAD with a BFA in Sculpture in 1994. Her works explore the person-environment relationship and engages with the complex layers of physical, mental and social space. Her practice employs an interdisciplinary approach using a combination of media, some of which are sculptural installations and interventions and sometimes collaborating with diverse industries, groups and individuals.
B.1971, Carlow, Ireland. Lives and works in the Netherlands.
Annie Fletcher is the current curator of exhibitions Van Abbemuseum, Eindhoven. In 2004 in collaboration with Sarah Pierce she developed The Paraeducation Department as part of Tracer at TENT / Witte de Rotterdam.
The Paraeducation Department is an on going project acting as a counter balance to debates that occur within institutional and educational contexts. Instead of being prefixed on a distance between speakers and listeners, Paraeducation works to define an ethics of group exchange, where the purpose of dialogue is to discover common points of reference and value is placed on thinking as an act in itself.
B. 1964, Aylesbury, UK. Lives and works in London and New York.
Liam Gillick is an artist based in London and New York. He graduated with a BA in Fine Art from Goldsmiths College, University of London, in 1987. His art is underpinned by rigorous theorising: he is as much a writer as a maker of objects. However, Gillick’s work is shaped by a very visual awareness of the way different properties of materials, structures and colour can affect our surroundings and therefore influence the way we behave.
B. 1979, Toronto, Canada. Lives and works in New York.
Long’s work centres on processes of transference, translation and collaboration as a means to question authorship and the mechanisms of cultural and knowledge production. In much of his previous work, he has explored the cross-translation of artistic forms, non-linear narrative tropes and gestures de-stabilizing medium specificity. Frequently, these explorations lead to a revised understanding of Modernism as it relates to artistic and literary traditions and the history of design, particularly book publishing.
B. 1974, Stone, UK. Lives and works in Bristol, UK.
Jem Noble draws on diverse disciplinary influences that collide in his concerns with materiality, subjectivity and their inter-relationships. Encompassing moving and still image, sound, music, text, sculpture, site-based gesture and social encounter, he works in conversation with histories of conceptual art and its resonance in questions of framing, indeterminacy, reception and agency across a broad constellation of critical platforms and practices.
B. 1965, Dublin, Ireland. Lives and works in Dublin, Ireland.
In recent years Garrett Phelan has focused his practice around extensive explorations around the ‘formation of opinion’ and ‘the absolute present’. These explorations largely having taken place through drawing, video, photography, web based projects and independent FM radio transmission projects. Phelan is best known for his site-specific drawing installations and his idiosyncratic radio broadcasts where received information is continually regurgitated into the stratosphere.
Over the past few years Garrett Phelan has enjoyed significant national and international attention. Recently his controversial Black Brain Radio project was broadcast on 89.9Fm and exhibited simultaneously at Temple Bar Galley and Studio, and IMMA, Dublin.
B. 1968, Connecticut, US. Lives and works in Dublin, Ireland.
The Metropolitan Complex – despite its institutional resonance, this title does not signify an organization, it is a term coined by Sarah Pierce to describe her own on going project. Drawing on her broad understanding of cultural work, articulated through various working methods, involving papers, interviews, archives, talks and exhibitions, Pierce plays with a shared neuroses of ‘place’. Her activity considers forms of gathering, drawing on both historical examples and those she initiates herself. The processes of research and presentation that Pierce undertakes highlight a continual renegotiation of the terms for making art: the potential for dissent and self-determination, the slippages between individual work and institutional context, and the proximity of past artworks.
Recent exhibitions include: Push and Pull, Tate Modern, London and MUMOK, Vienna (2011/10), Appeal for Alternatives, Schmela Haus, K20+K21, Dusseldorf, (2011), We are grammar, Pratt Manhattan Gallery, (2011), By now we share and affinity, Townhouse Cairo, (2010), The question would be the answer to the question ‘Are you happy?’, Van Abbemuseum, Eindhoven (2010) and Sala Rekalde, Bilbao, (2009).
B. 1964, Dublin, Ireland. Lives and works in Dublin, Ireland.
Mick Wilson is an artist, writer and educator having recently returned to art making with his participation in the group exhibition Blackboxing (2007) curated by Tessa Giblin at the Project Arts Centre, and Coalesce: Happenstance (2009) curated by Paul O’Neill at SmartProject Space, Amsterdam.
Wilson’s research and professional interests are eclectic, ranging from the reputational economy of contemporary art to the rhetorical construction of knowledge conflict, and from the contested reconstruction of the contemporary university to the general arena of critical cultural pedagogies.