In Limbo Press

Following are images from the opening night of the current "In Limbo" show by artist Mariusz Soltysik.

All Installation shots courtesy the Artist.

Mariusz was also interviewed by Zbyszek Zalinski for RTÉ Radio 1's The Arts

http://www.rte.ie/arts/2009/0219/theartsshow.html

Broadcast In Limbo

MARIUSZ SOLTYSIK

in Limbo

Preview:

12th February 2009 18.00 – 20.00

Exhibition Times:

13^th of February to 2nd of April 2009

Thursdays 13.00-20.00 Fridays 11.00 – 16.00 Saturdays 11.00 – 16.00

Or by appointment. Tel – 00 353 1 4024188

In Limbo Mariusz Soltysik’s first solo show in Dublin is composed of three elements: drawings, sculpture and video. While each of these elements offer an individual reading they also convey a single thematic unity.

The drawings entitled A Theory of Inflatable Universes, or What Can Be Seen in Bubble Bath… have a dual function. On the one hand they reference the theory, formulated by Alan Guth and developed by Andriey Linde, of an early model of the universe, one that leads to the formation of what we understand today. On the other hand, they can be seen as an event one can observe in the bath tub. Through their elaborate form they constitute a kind of meditation on the course of creation, the multiplicity of theories and their inherent weaknesses. The series is both a tribute to great creators and geniuses and to their inability to fully explain phenomena.

The sculpture titled Vague Astronaut, or How to Get Lost (In Outer Space) is a tragic figure, alone and looking out to the sky, anxiously considering his sense of being lost. This is a reference to the state of affairs in our civilization acknowledging the current global crisis and aspects of faith and science. Like contemporary man, the figure is semi-transparent, indistinct, vague.

The video element places a focus on time. Broken-up pictures in slow motion suggest a direction of time that we basically do not know. Time is highlighted as an element we can only virtually control.

Through the work’s theme and name all three elements indirectly allude to the fact that the gallery space was once a convent building. In a nuanced reading Soltysik draws on Immanuel Kant’s statement: “I have to deny knowledge to make room for faith”.

Mariusz Soltysik lives and works in Lodz, Poland. He graduated from the Academy of Fine Arts Lodz and Mons, Belgium. He exhibits regularly in Poland and has shown in Germany, Ireland, Italy, USA, India and Australia. Soltysik lectures at the Academy of Humanities and Economics in Lodz and was curator of the CamouFlash events in Lodz, Poland 2007, Dresden, Germany and in Poznan during the Mediation Biennale 2008.

For further details: Tel – 00 353 1 4024188

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Broadcast Online

BROADCAST

Broadcast is a public gallery situated in the Fine Art department of the Dublin Institute of Technology, Portland Row, Dublin 1.

The gallery supports the production, interpretation and dissemination of a broad range of activities within contemporary art practice, and creates a situation in which criticality can be integrated into the pedagogical development of fine art education. Programmed workshops and lectures run in correspondence with the concerns of the artist chosen to present work in the gallery, with a particular focus upon conceptual articulation of that work and the broader question of how artists occupy the space of research.

Broadcast provides a discursive space within its academic location and within the wider contemporary art community .

Established in November 2007, Broadcast has presented exhibitions, performances and developed projects with a diverse range of Irish and international practices and practisioners, such as Patrick Graham, Anja Kirschner, Slavek Kwi, Caoimhe Kilfeather, Michael Murphy, Chris Neumann, Sarah O’Brien, Garrett Phelan and Louisa Sloan.

The Broadcast Steering Group consists of:

Brian Fay, head of fine art department (Chair),
Andrew Carson, student year 3 BA Fine Art,
Mark Garry, lecturer fine art practice
Anita Groener, lecturer/Programme Chair BA Fine Art
Joe Hanly, lecturer fine art practice
Jesse Jones, lecturer fine art practice
Ronan MacCrea, lecturer fine art practice
Anna MacLeod, lecturer fine art practice
Linda Quinlan, lecturer fine art practice
Liam Sharkey, technician sculpture workshop

Patrick Graham: CRIT

Patrick Graham:CRIT

Works on paper and a conversation

BROADCAST GALLERY

D.I.T. Portland Row St Josephs Convent,

Portland Row,

Dublin 1

Preview: 9 June 2008 18.00 – 20.00 (opens concurrently with D.I.T. Fine Graduate exhibition)

Exhibition: 10 - 14 June 2008, 10 am – 5pm and 16 – 19 June by appointment. Tel – 00 353 1 4024188

Patrick Graham: CRIT is an exhibition of rarely seen works on paper by Patrick Graham and an audio recording of a conversation between Graham and Ronan McCrea.

The works on paper are selected by McCrea and consist of sketches, notes, schemata and plans which Graham makes on a continual basis, constituting a massive reservoir of ideas and images from which Graham develops his paintings.

Counter-pointing this visual material, headphones in the gallery make available a recording of a conversation between the two artists in Graham’s Dublin studio conducted over two weeks in April 2008. Topics discussed include style, knowledge, art education, feminism and Graham’s artistic process. The title of the show CRIT will be familiar to anyone attending art school, an abbreviation for ‘critique’ – and a pointer to a basic methodology of art education; talking about art.

The impetus for this exhibition was the meeting of Ronan McCrea and Patrick Graham while both were teaching on the Fine Art Course at D.I.T. in addition to the unique situation of Broadcast gallery with an educational context. It also marks the retirement this year of Graham from over twenty years teaching at D.I.T.

The artists have very different artistic sensibilities and cultural and generational references. The multidisciplinary structure of the course at D.I.T. brought them into contact and when discussing art in general or a student’s work in particular they disagreed on just about everything.

Patrick Graham, born in 1943 in Mullingar, Co. Westmeath currently lives and works in Dublin. He studied at N.C.A.D. between 1959-63. He has exhibited widely in Ireland and internationally since the 1970s and was one of the most prominent Irish artists identified with the rise of Neo- Expressionism in the 1980s. Forthcoming exhibitions include Hillsboro Fine Art, Dublin in October 2008. He is represented by Jack Rutberg Fine Arts, Los Angeles http://www.jackrutbergfinearts.com

Ronan McCrea, born 1969 lives and works in Dublin and studied at N.C.A.D between 1988-91. Recent projects include Medium (Corporate Entities) currently on show at IMMA and Medium (Upsidedown) at Gallery for One, Dublin. He is currently working on a project at Castleknock Educate Together School, Dublin and a PhD at University of Ulster, Belfast.

For further details: Tel – 00 353 1 4024188

Website coming soon

Anja Kirschner POLLY II

Anja Kirschner POLLY II

Plan for a Revolution in Docklands

Broadcast Gallery Portland Row Dublin 1

The show will open on Thursday 10th of April at 5:00 pm with a conversation between Anja Kirschner and Dr Maeve Connolly followed by a drinks reception.


Broadcast is delighted to announce the opening of a solo show by Anja Kirschner, entitled “POLLY II – Plan for a Revolution in Docklands.” Set in the not-so-distant future POLLY II – part satirical sci-fi, part soap opera and Brechtian ‘Lehrstueck’ – portrays the lives of pirates and outcasts surviving in the flooded ruins of East London, a lawless zone set to become the latest in luxury waterside living according to government plans and venturing developers’ wet dreams.


The film imagines a future insurrection coloured by the legacy of dispossessed peasants, political radicals, whores, sailors, pirates, and former slaves whom once inhabited East London and fought a daily battle against their subjection to poverty, displacement and judicial terror.


Alluding to Polly (1728) - John Gay’s censored sequel to the popular Beggar’s Opera (1727), which resurrected the character of the robber Macheath in the disguise of the African pirate captain Morano (scheming to take revenge on a colony in the West Indies) – POLLY II is populated by many of the characters made popular by Gay and Brecht. The film features the naïve and incorruptible Polly, the vengeful whore Jenny Diver, and the treacherous and the greedy Peachum – fencer, thief-taker and king of the beggars.


Beyond drawing on Gay and Brecht, the structure of the films four main acts is conceived as an overt reference to Hogarth’s satirical print series which chronicle the ‘progress’ of stock characters from the London under-classes from poverty and petty crime towards their death on the gallows. However, the course of Hogarthian ‘progress’ is turned on its head in each scene of POLLY II, instead depicting the possibilities of a process where power is seized by the powerless and the outlaws appropriate law.


The production of POLLY II has been funded by Arts Council England, and was realised with a large cast of predominantly amateur actors from East London, whose backgrounds range from TV drama to training with Anna Scher.


The film was shot by Nick Gordon-Smith, who is himself a filmmaker and also Director of Photography to Andrew Koetting (Gallivant, This Filthy Earth).


Anja Kirschner is an artist filmmaker who studied at Slade School of Fine Art, London and also at The School of the Art Institute in Chicago. She was the winner of the Beck’s Futures Student Film and Video Prize in 2002, and has exhibited internationally in film festivals and galleries.


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