Abstract
This essay offers interpretations and documentation of the Broken Vessels exhibition (described below) held in 2021. It is structured in three parts: (I) an evocative series of impressions of the author in response to the experience of the exhibition in situ, and responses to the words 'broken' and 'vessel' from the title, with her interpretations and evocations; (II) a close-reading of each work when walking the exhibition site; (III) threads that run across the show, including place (time and space) and practice (creativity and memory). The interpretative text is interwoven with references to correspondences with the artists and curatorial team; documentation of the event; relevant references; and prior artworks and writing on the artists' work. Central themes are historical and ecological melancholia of contemporary times, in addition to the (failed) promises of artistic and scientific representation.
Broken Vessels was conceived as “a pilot exhibition project for a long-term art biennial” of collaborative creative arts projects between Irish and African artists. For the inaugural exhibition, which ran from the 14th September to the 15th October 2021, a small group of six artists were selected to engage with the curatorial thematics, the installation site and western Ireland. Three were artists working within the immediate local spaces and concerns, Anne Marie Daecy, Noelle Gallagher and Louise Manifold; and three worked remotely, based in South Africa, Christine Dixie, Monique Pelser and Lesego Rampolokeng. The exhibition was curated by the South African artist Brent Meistre, curator of Analogue Eye: Video Art Africa, as part of the Interface programmes directed by Alannah Robins and produced by Jill Murray.
Broken Vessels was conceived as “a pilot exhibition project for a long-term art biennial” of collaborative creative arts projects between Irish and African artists. For the inaugural exhibition, which ran from the 14th September to the 15th October 2021, a small group of six artists were selected to engage with the curatorial thematics, the installation site and western Ireland. Three were artists working within the immediate local spaces and concerns, Anne Marie Daecy, Noelle Gallagher and Louise Manifold; and three worked remotely, based in South Africa, Christine Dixie, Monique Pelser and Lesego Rampolokeng. The exhibition was curated by the South African artist Brent Meistre, curator of Analogue Eye: Video Art Africa, as part of the Interface programmes directed by Alannah Robins and produced by Jill Murray.
Original language | English |
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Number of pages | 37 |
Publication status | Published - 07 Feb 2022 |
Keywords
- environment
- art
- melancholia
- Ireland
- South Africa
- Connemara