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DTSTART;TZID=Europe/Dublin:20251011T100000
DTEND;TZID=Europe/Dublin:20251011T123000
DTSTAMP:20251003T164125Z
CREATED:20250912T144636Z
LAST-MODIFIED:20251003T164125Z
UID:10000659-1760176800-1760185800@smashingtimes.ie
SUMMARY:Bridging Worlds – Live interactive art installation
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nFree admission \n\n\n\nArtists\n\n\n\nMary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist \n\n\n\nBerta Tuahuku\, Social Justice Advocate \n\n\n\nFull Event Details\n\n\n\nBridging Worlds is an interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. In an age where social media and news channels broadcast harrowing images of genocide\, war\, and famine around the clock\, we risk becoming desensitised—losing sight of the human stories behind these atrocities which are causing people to become displaced. \n\n\n\nThe piece consists of a long chain of several different textiles and coloured materials\, linking one ‘place’ to another. On this chain\, objects which symbolise travel are placed along it e.g. rucksacks\, travel tags\, tickets etc. Photos with descriptions are also attached\, which tell the stories of different people who have been forcibly displaced throughout the world. \n\n\n\nParticipants are asked\, ‘What would you take with you?’\, and after they transit through\, they are invited to share their own thoughts and add it to the chain. Materials will be available at a workstation for those who wish to spend time writing or creating something to add to the chain. The setting becomes a metaphor for bridging different worlds and transitioning from one place to another. \n\n\n\nThis piece seeks to cut through the desensitisation around forced migration and refocus attention on the individuals whose lives are turned upside down when they are forced to leave behind everything they know. It does not dwell on statistics or specific geopolitical contexts. Instead\, it simply invites participants to engage with personal stories and consider what it might be like to find themselves in a similar situation. \n\n\n\nThis piece was created as an awareness raising project as part of the Creativity and Change course in Munster Technological University\, 2024. The artists are Mary Dillon and Berta Tuahuku and are joined by Tetiana Vysotska\, Noreen Scully and Margaret Cotter. \n  \n\n\n\nSpeaker Biographies:\n\n\n\nMary Dillon is a humanitarian\, applied ethnomusicologist and art activist. Driven by a passion for culture and social impact\, she has worked with humanitarian organisations in Greece and Ireland\, collaborating with people from displaced communities through creativity\, education and research. Through community music and interactive art projects\, she helps to share and highlight messages of social justice. \n\n\n\nBerta Tuahuku (she/her) is a passionate social justice advocate based in Dublin\, Ireland\, with over five years of experience working and volunteering with displaced communities. She works in communications and advocacy for a non-profit organisation focused on social integration through sport. Berta is also part of an organisation called Europe Must Act\, where she coordinates communications. Deeply committed to equality\, integration\, and collective action\, Berta is active in grassroots initiatives aimed at building more inclusive and connected societies. \n  \n\n\n\n\n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/bridging-worlds-live-interactive-art-installation-2/
LOCATION:Smashing Times International Centre for the Arts and Equality\, Visual Art Gallery and Centre for the Arts and Human Rights\, 30 Sandycove Road\, Dublin A96V9P1\, 30 Sandycove Road\, Sandycove\, Dublin\, A96V9P1
CATEGORIES:Installation
ATTACH;FMTTYPE=image/png:https://smashingtimes.ie/wp-content/uploads/2025/09/Screenshot-2025-09-12-114328.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20251003T110000
DTEND;TZID=Europe/Dublin:20251028T180000
DTSTAMP:20251029T144026Z
CREATED:20250912T110412Z
LAST-MODIFIED:20251029T144026Z
UID:10000620-1759489200-1761674400@smashingtimes.ie
SUMMARY:Go Ye Afar
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nFree admission \n\n\n\nArtists\n\n\n\nFrank Sweeney\, multidisciplinary artist \n\n\n\nFull Event Details\n\n\n\nFrank Sweeney brings attention to the ways broadcast media has been instrumentalised to impose or restrict certain viewpoints\, often in relation to state ideologies such as religion and cultural identity. Celebrating the slippages in authenticity inherent in analogue recording and transmission\, he reveals the potential for a broader range of narrative truths and histories. \n\n\n\nSweeney’s new film\, Go Ye Afar\, records the journeys of an Irish-Nigerian taxi driver as his miraculous car moves through the streets of Dublin and Calabar. The film uses rear-projection\, re-enacted interviews\, archival material\, and Nollywood-style special effects\, to connect the use of media by missionaries in shaping the Irish understanding of the Nigerian–Biafran War\, to the foundation of major Irish NGOs in response to this conflict and the legacies of colonialism in contemporary free trade and immigration systems. \n\n\n\nThe taxi brings several characters through locations in Ireland and Nigeria\, exploring the memories and legacies of colonialism\, Christianity and charity connecting both regions. The script for the film is written by Beulah Ezeugo of the Éireann and I archive and Frank Sweeney\, originating in a series of oral history interviews with Irish-Nigerian taxi drivers and missionaries who worked in both regions. \n\n\n\nThe production of Go Ye Afar is supported by an Arts Council Film Project Award. Go Ye Afar is available to view from 3 October – 23 November 2025\, Tuesday to Saturday\, 11am – 6pm and Sunday\, 12pm – 4pm. \n\n\n\nTemple Bar Gallery + Studios\n\n\n\nTemple Bar Gallery + Studios is a leading artists’ studio complex and contemporary art gallery in Dublin City Centre. It is a centre for creativity in the capital\, and provides a place for artists to thrive and ways for audiences to experience contemporary art. For free. For everybody. Temple Bar Gallery + Studio was founded in 1983 by artists\, for artists.  Exhibitions identify Irish artists of talent at pivotal points in their practice\, and introduces international artists to Irish audiences. The gallery programme presents five exhibitions per year\, with a strong emphasis on solo exhibitions. The gallery is home to Dublin Art Book Fair – Ireland’s only art book fair.  There are thirty high-quality and affordable studios at Temple Bar Gallery + Studios. The studios provide professional artists\, at all stages of their careers\, from recent graduates to internationally recognised artists with a vital place to work in Dublin City Centre. The work made in the studios goes on to be exhibited in Ireland and throughout the world. \n  \n\n\n\nSpeaker Biographies:\n\n\n\nFrank Sweeney is an artist with a research based practice\, using found material to approach questions of collective memory\, experience and identity through film and sound. Frank Sweeney’s recent exhibitions and screenings include Anthology Film Archives\, New York (2024); FILMADRID\, Madrid (Special Mention) (2024); International Film Festival Rotterdam (Winner Tiger Short Award) (2024); EVA International\, Limerick (2023); Sirius Art Centre\, Cobh (2023); CCA-Derry (2022); Irish Museum of Modern Art\, Dublin (2021); Green on Red Gallery\, Dublin (2019). \n\n\n\n\n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/go-ye-afar-new-film-by-multidisciplinary-artist-frank-sweeney-at-temple-bar-gallery-studios/
LOCATION:Temple Bar Gallery + Studios\, 5 - 9 Temple Bar\, Dublin\, D02 AC84\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2025/09/wider-card-jpeg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231106T110000
DTEND;TZID=Europe/Dublin:20231111T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000432-1699268400-1699725600@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-11-06/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231030T110000
DTEND;TZID=Europe/Dublin:20231104T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000431-1698663600-1699120800@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-10-30/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231023T110000
DTEND;TZID=Europe/Dublin:20231028T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000430-1698058800-1698516000@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-10-23/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231016T110000
DTEND;TZID=Europe/Dublin:20231021T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000429-1697454000-1697911200@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-10-16/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231013T100000
DTEND;TZID=Europe/Dublin:20231022T180000
DTSTAMP:20231106T200732Z
CREATED:20230831T111415Z
LAST-MODIFIED:20231106T200732Z
UID:10000379-1697191200-1697997600@smashingtimes.ie
SUMMARY:Eternal Rebels Change-Makers Exhibition
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo booking necessary\, all welcome. For group tours with a guide\, contact Freda on 087 2214245 or email admin@smashingtimes.ie \n\n\n\nArtists\n\n\n\nMary Moynihan\, Writer\, Director\, Theatre and Film-Maker and Artistic Director\, Smashing Times International Centre for the Arts and Equality \n\n\n\nAmna Walayat\, visual artist  \n\n\n\nHina Khan\, visual artist \n\n\n\nFull Event Details\n\n\n\nEternal Rebels is a multi-disciplinary exhibition featuring visual art\, film\, photography and poetry and is a visual and poetic reflection on the stories of  change-makers in Irish history from the Decade of Centenaries to today.  The exhibition runs Friday 13 – Sunday 22 October 2023\, Monday to Sunday\, 10am-6pm daily at the Pumphouse\, Dublin Port\, Dublin 1. The artists are Mary Moynihan\, writer\, poet\, theatre and film-maker\, Artistic Director\, Smashing Times International Centre for the Arts and Equality\, and Artistic Curator of the Dublin International Arts and Human Rights Festival; Hina Khan\, visual artist and miniaturist; and Amna Walayat\, visual artist.   \n\n\n\nThe exhibition is presented for States of Independence\, a major project celebrating the stories of change-makers from the Decade of Centenaries in Irish history linked to the stories of change-makers today working to make society a better place. \n\n\n\nThe exhibition features original artworks\, photography\, poetry and stories celebrating the stories of change-makers from the Decade of Centenaries 1912-1922 linked to the stories of change-makers today working to make society a better place. Change-maker stories include Eva Gore-Booth (1870-1926)\, a poet\, writer\, trade unionist\, campaigner for equality and a sister of Constance Markiewicz;  Hanna Sheehy Skeffington (1877-1946)\, a feminist\, pacifist and human rights campaigner and one of Ireland’s foremost suffragettes and James Connolly (1868-1916) a trade union leader and revolutionary who played a leading role in the Irish Rising in 1916. \n\n\n\nOn display in the exhibition is Change-Maker Stories – A Book of Names capturing timeless change-maker stories and photographs of activists and artists from the Decade of Centenaries period in Irish history. As part of the exhibition we are inviting those in attendance to share the name of a change-maker who inspired you.   \n\n\n\nJoin us for a launch of the exhibition and Change-Maker Encounters panel discussion with the artists and guest speakers on Friday 13 October at 6pm\, all welcome.  \n\n\n\nSpeaker Biographies:\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short films Courageous Women and Grace and Joe inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.  \n\n\n\n\n\n\n\n\n\n\n\n\n\nAmna Walayat has an M.A. in Modern and Contemporary Art\, History\, Theory and Criticism from University College Cork (2015) and M.A. in Fine Arts from University of the Punjab\, Lahore in Pakistan (2002). She has worked as a Program Organizer with the Pakistan National Council of the Arts; Curator with Alhamra Arts Council and PhD studio-based researcher with PURAF\, University of the Punjab. Her interest lies in British India\, colonialism\, orientalism\, migration\, and gender with the current focus on feminism. \n\n\n\nHer recent shows include Maternal Gaze online\, IMMA\, 2021. Constellation\, a two-person e-show\, LHQ Gallery\, Cork County Council. Imagine online Christ Church\, Dublin\, 2020. Transhumance\, The Space\, Dublin7\, 2020. \n\n\n\nShe recently initiated the Ireland-Pakistan Arts Exchange (IPAE) to bring both art communities together through creating opportunities for networking and exchange. She has curated an e-exhibition\, Re-Root with the Pakistani Artists Community in Ireland in collaboration with the Embassy of Pakistan\, Dublin (August 2020) and organised Opportunities in Pakistan\, a Visual Artists online Café in collaboration with VAI\, December 2020. \n\n\n\nAmna Walayat resided in the UK and France before settling in Cork\, Ireland. She is a recipient of Arts Council Ireland Visual Artist Bursary Award\, 2020 and Recipient of Glucksman Art Gallery Cork\, Curatorial Mentoring Support under a Professional Development Award 2021 and the Dilkusha Award 2021.  Currently she is Member of Art Nomads\, Smashing Times Dublin\, Sample Studios Cork\, Angelica Network\, Visual Artists Ireland\, Lavit Gallery Cork\, Cork Print Makers under the Dilkusha Award. \n\n\n\n\n\n\n\n\n\n\n\n\n\nHina was born in Pakistan in 1980 and completed an MFA\, majoring in Miniature Painting from Pakistan. Hina’s work uses a mixture of traditional and innovative techniques in Miniatures. She portrays social issues\, immigration\, humanitarian crises like prostitution\, gender discrimination\, gender restrictions\, trauma\, child abuse and killing etc in her work. \n\n\n\nHina has chosen Miniature because of its intricacy and delicacy of brush work which has a unique identity. Most of Hina’s work is a mixture of traditional and contemporary miniature. Her work is the constant search for the best way to interpret the ideas expressed by her own ideologies through symbolism.  \n\n\n\nAccording to Hina ‘I am creating a dialogue through my art. My art is a reflection of inner connection\, and how immigrants and nomadic artists are a part of this land. Migration is deeply rooted in my blood. I have carried two cultures\, one from where I was born and the other is this culture where I am trying to re-root myself. Sometimes a situation is not in our control\, but life always takes us on different voyages. This journey has built up a constant transition in my art\, personality\, experimentation\, enabling me to evolve my art practice.’ \n\n\n\nHina has participated in a number of group shows in Pakistan from 2002 to 2011. Hina came to Ireland in 2015 and participated in a number of exhibitions in Dublin\, Laois\, Mayo\, and Cork. Hina was awarded several residencies with Fire Station Arts Center\, Create Ireland\, West Cork Art Center and Cow House Studio and has displayed solo exhibitions at Ballina Art Center\, Mayo\, and Stradbally Art house\, Laois. \n\n\n\nHina’s art pieces are also in the permanent collection of Arts Council Ireland. She is the recipient of several Awards from Arts Council Ireland\, Create Ireland\, and different counties.  \n\n\n\nHina says that\, ‘as an artist\, I am inspired by Sadequain\, Michelangelo\, Picasso\, Frida Kahlo\, Shahzia Sikander and Anselm Kiefer.’ \n\n\n\n\n\nStates of Independence\n\n\n\nThis event is part of States of Independence\, a project that celebrates the stories of change-makers from the Decade of Centenaries 1912-1922 linked to the stories of change-makers today working to make society a better place. The stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts.  \n\n\n\nThe artists come together to create a range of artworks and performances for public display in sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies.  \n\n\n\nEvents are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. Events  take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally\, celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all.  \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie \n\n\n\nPresented by Smashing Times International Centre for the Arts and Equality \n\n\n\nAs part of States of Independence – A Celebration of Change-Makers \n\n\n\nSupported by The Arts Council Open Call \n\n\n\nAs part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. \n\n\n\nPresented for the annual international Arts and Human Rights Festival and Theatre in Palm. \n\n\n\nFor information telephone 021 4215104 10am-1pm Monday to Friday or email admin@smashingtimes.ie \n\n\n\nBookings:  www.smashingtimes.ieSmashing Times don’t want ticket cost to be a barrier to experiencing any of our shows. Please contact admin@smashingtimes.ie if you would like to attend. \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/eternal-rebels-change-makers-exhibition/
LOCATION:The Pumphouse\, Dublin Port\, Alexandra Road\, Dublin 1
CATEGORIES:Exhibition,Installation,Interdisciplinary,Photography,Poetry,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/10/eternalrebels-new.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231009T110000
DTEND;TZID=Europe/Dublin:20231014T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000428-1696849200-1697306400@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-10-09/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231004T100000
DTEND;TZID=Europe/Dublin:20231105T163000
DTSTAMP:20231106T200806Z
CREATED:20230828T102222Z
LAST-MODIFIED:20231106T200806Z
UID:10000376-1696413600-1699201800@smashingtimes.ie
SUMMARY:Courageous Women - A Celebration of Change-Makers
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary\, available daily. \n\n\n\nArtists\n\n\n\nLead Artist and Curator: Mary Moynihan\, Writer\, Director\, Theatre and Film Maker\, and Artistic Director\, Smashing Times International Centre for the Arts and EqualityProducer: Freda ManweilerAssociate Curator/Researcher: Niamh ClowryCast: Megan O’Malley\, Róisín McAtamney and Ann SheehyCostumes: Risa AndoSet Design: The CompanyDigital Artist/Graphic Design: EM CreativeConsultant Historian (pro bono): Sinead Mc Coole \n\n\n\nFull Event Details\n\n\n\nCourageous Women is a film by Mary Moynihan inspired by a creative re-imagining of moments from the lives of women in Irish history from 1916 to 1923. The film is inspired by the stories of Constance Markievicz (1868-1927); Helena Molony (1884-1967); Margaret Skinnider (1893-1971); Hanna Sheehy Skeffington (1877-1946) and Eva Gore Booth (1870-1926).   \n\n\n\nCourageous Women is on display in Rathfarnham Castle\, Dublin\, from 4 October to 5 November 2023\, Wednesday to Sunday only. \n\n\n\nThe women whose stories inspire the film are: \n\n\n\nConstance Markievicz (1868-1927) an Irish politician\, revolutionary nationalist\, suffragette and socialist \n\n\n\nHelena Molony (1884-1967)\, a Republican\, feminist and labour activist. Helena was a member of Inghinidhe na hÉireann and the Irish Citizen Army and was stationed at City Hall Garrison during the Easter Rising of 1916. \n\n\n\nMargaret Skinnider (1893-1971)\, a revolutionary feminist and maths teacher who came to Dublin from Scotland at the age of 23 to take part in the Easter Rising. \n\n\n\nHanna Sheehy Skeffington (1877-1946)\, radical activist\, feminist\, pacifist and human rights campaigner and one of Ireland’s foremost suffragettes. Hanna was one of the original founders of the militant Irish Women’s Franchise League set up in 1908 to fight for emancipation and a woman’s right to vote. \n\n\n\nEva Gore Booth (1870-1926)\, a poet\, writer\, trade unionist\, feminist\, campaigner for social justice\, and a sister of Irish revolutionary Countess Markievicz. \n\n\n\nThe film is written by Mary Moynihan and is inspired by and incorporates original writings from Constance Markievicz; poetry excerpts by Eva Gore Booth; original testimony including an adaptation from Doing My Bit for Ireland by Margaret Skinnider; original testimony from Helena Molony and writings by Hanna Sheehy Skeffington.   \n\n\n\nNo booking necessary\, available daily. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short films Courageous Women and Grace and Joe inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.  \n\n\n\n\n\n\n\n\n\n\n\n\n\nRóisín is an actor and facilitator based in Dublin. Originally from Cork\, Róisín undertook a BA in Drama Performance from DIT’s Conservatory of Music and Drama. Upon graduating from DIT Róisín worked in New York on off-Broadway show Ten Ways on A Gun. Other theatre credits include Antigone\, Romeo and Juliet and Smashing Times’ The Woman is Present: Women’s Stories of 1916 and If you could Read my Mind from the highly acclaimed Testimonies. Róisín has performed in the Smashing Times tour of The Woman is Present: Women’s Stories of WWII performing in Deirdre Kinahan’s new piece Ode to Ettie Steinberg\, which toured to Ireland\, Northern Ireland and Germany. \n\n\n\n\n\n\n\n\n\n\n\n\n\nMegan O’Malley has recently completed a ‘Masters in Theatre Practice’ student in University College Dublin. Previous to this she graduated from the Gaiety School of Acting’s two-year full time course in 2015. While training she took on many roles\, including: Runt in Disco Pigs\, Ophelia in Hamlet\, Kate in The Taming of the Shrew\, and Mags in The Spinning Heart. Megan also played Melissa in The Full Moon Hotel by Philip Doherty. Since graduating she has played Queen Elizabeth in ‘Gráinne’\, and has worked on several short films including ‘Rising’\, ‘The Nest’\, ‘Lilith’ etc . She also stared in Kerry Gold’s latest TV commercial and We Cut Corners music video ‘Of whatever’ by Stoneface Films. Megan was awarded the Gaiety Theatre Bursary\, 2014. More recently\, Megan won the F.A.B. bursary award for Best Actress 16-21. Megan is also a passionate writer and was the first in the school’s history to premier her own work ‘MJ’ for the GSA graduation industry showcase. She also worked alongside Paul Meade for her Manifesto piece ‘The Mourning Seat’. From there Megan worked with Paul Meade over 2016 in developing her idea for ‘Home’\, and was thrilled to present it as part of Smock Alley’s Scene and Heard festival for new work in 2017. Megan has since expanded ‘Home’ to a full length production and which premiered in The New Theatre in 2018. \n\n\n\n\n\n\n\n\n\n\n\n\n\nSinéad McCoole is the author of many books including Hazel\, A Life of Lady Lavery (1996) and No Ordinary Women (1997) and Easter Widows\, the untold story of the wives of the executed leaders (2014) and Women 1916-Mná 2016 (2017). She is a member of the Government’s Expert Advisory Group on the Decade of Centenaries (2012-to date). She was Historical Advisor to the 2016 National Commemoration Programme\, Curator of Mná 1916. She has curated exhibitions on Irish history & art in both Ireland and the U.S. A Broadcaster and script writer her work includes Guns and Chiffon (2003) and A Father’s Letter part of the After ’16 Irish Film Board shorts commissioned for the centenary was based on her interviews with Fr. Joe Mallin (1913-2018). Her areas of expertise are Modern Irish History from the 1880 to the present\, Material culture\, museums\, the history of Irish women\, child prisoners\, Sir John and Lady Lavery. She is an expert in the area of women’s imprisonment 1916-1923. Her current area of interest is women in politics and public life 1918-2018. \n\n\n\n\n\nStates of Independence\n\n\n\nThis event is part of States of Independence\, a project that celebrates the stories of change-makers from the Decade of Centenaries 1912-1922 linked to the stories of change-makers today working to make society a better place. The stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts.  \n\n\n\nThe artists come together to create a range of artworks and performances for public display in sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies.  \n\n\n\nEvents are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. Events  take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally\, celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all.  \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie  \n\n\n\nPresented by Smashing Times International Centre for the Arts and Equality \n\n\n\nAs part of States of Independence – A Celebration of Change-Makers \n\n\n\nSupported by The Arts Council Open Call \n\n\n\nAs part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. \n\n\n\nPresented for the annual international Arts and Human Rights Festival and Theatre in Palm. \n\n\n\nFor information telephone 021 4215104 10am-1pm Monday to Friday or email admin@smashingtimes.ie \n\n\n\nBookings:  www.smashingtimes.ieSmashing Times don’t want ticket cost to be a barrier to experiencing any of our shows. Please contact admin@smashingtimes.ie if you would like to attend. \n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/courageous-women-a-celebration-of-change-makers-3/
LOCATION:Rathfarnham Castle\, Rathfarnham Road\, Rathfarnham\, Dublin\, D14 K3T6
CATEGORIES:Film Screening,Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/07/Courageous-Women1.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20231002T110000
DTEND;TZID=Europe/Dublin:20231007T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000427-1696244400-1696701600@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-10-02/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230925T110000
DTEND;TZID=Europe/Dublin:20230930T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000426-1695639600-1696096800@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-09-25/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230918T110000
DTEND;TZID=Europe/Dublin:20230923T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000425-1695034800-1695492000@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-09-18/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230911T110000
DTEND;TZID=Europe/Dublin:20230916T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000424-1694430000-1694887200@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-09-11/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230904T110000
DTEND;TZID=Europe/Dublin:20230909T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000423-1693825200-1694282400@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-09-04/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230828T110000
DTEND;TZID=Europe/Dublin:20230902T180000
DTSTAMP:20230921T112135Z
CREATED:20230828T101034Z
LAST-MODIFIED:20230921T112135Z
UID:10000422-1693220400-1693677600@smashingtimes.ie
SUMMARY:Love Story
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nNo Booking Necessary \n\n\n\nArtists\n\n\n\nCandice Breitz\, artist \n\n\n\nFull Event Details\n\n\n\nLove Story (2016)\, a seven-channel video installation\, interrogates the mechanics of identification and the conditions under which empathy is produced. The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini\, a competitive swimmer who escaped war-torn Syria; José Maria João\, a former child soldier from Angola; Mamy Maloba Langa\, a survivor of sexual violence from the Democratic Republic of the Congo; Shabeena Francis Saveri\, a transgender activist from India; Luis Ernesto Nava Molero\, a political dissident from Venezuela; and Farah Abdi Mohamed\, an idealistic young atheist from Somalia. Love Story evokes the global scale of the so-called refugee crisis\, having evolved out of lengthy interviews conducted with the six participants in the countries where they are seeking or have been granted asylum (two interviews took place in Berlin\, two in New York\, and two in Cape Town). \n\n\n\nThe personal accounts shared by the interviewees are articulated twice by Love Story. In the first space of the installation\, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (who are cast in the work as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a greenscreen set\, without the support of fictional backdrops\, costumes\, props\, accents\, or interlocutors. Breitz’s edit intertwines the six renditions\, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. Her polished restaging of the six stories strips the source interviews of their depth and nuance\, of their imperfect grammar and accented English\, provocatively mimicking and exposing the logic by means of which ‘true life stories’ migrate into popular entertainment. It is no coincidence that the two actors at the heart of this manoeuvre are white\, and that the stories which they voice are predominantly those of people of colour. \n\n\n\nIn a second space that is accessible only via the first\, the original interviews unfold across six suspended screens in their full duration and complexity\, now intimately voiced by the individuals whose lived experiences they archive. \n\n\n\nSuspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media\, and an accessible drama featuring two actors who are the very embodiment of visibility\, Love Story raises questions about how and where our attention is focused. The work deploys the hypervisibility of Moore and Baldwin to amplify stories that might otherwise fail to elicit mainstream attention or empathy. At the same time\, it invites reflection on the callousness of a media-saturated culture in which strong identification with fictional characters and celebrity figures runs parallel to a widespread lack of interest in people facing real-world adversity. \n\n\n\nLove Story is the first chapter of a trilogy of video installations. The work was shown prominently in the South African Pavilion at the 57th Venice Biennale in 2017. As of July 2020\, Breitz is working on the final installation in the trilogy. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nCandice Breitz (born in Johannesburg\, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally. Throughout Breitz’s career\, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community\, be that the immediate community that one encounters in family\, or the real and imagined communities that are shaped not only by questions of national belonging\, race\, gender and religion\, but also by the increasingly undeniable influence of mainstream media such as television\, cinema\, and other popular culture. Most recently\, Breitz’s work has focused on the conditions under which empathy is produced\, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity. In 2022\, she completed The White Noise Trilogy\, a trio of multichannel video installations that includes Love Story (2016)\, TLDR (2017) and Whiteface (2022). \n\n\n\nBreitz holds degrees from the University of the Witwatersrand (Johannesburg)\, the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s ‘Le Pavillon’ residency as a visiting artist during the year 2005-2006. She has been a professor at the Hochschule für Bildende Künste in Braunschweig since 2007. \n\n\n\nSolo exhibitions of Breitz’s work have been held at the Tate Liverpool\, Louisiana Museum of Modern Art (Humlebæk)\, Museum Folkwang (Essen)\, Kunstmuseum Stuttgart\, National Gallery of Canada (Ottawa)\, San Francisco Museum of Modern Art\, Kunsthaus Bregenz\, Palais de Tokyo (Paris)\, The Power Plant (Toronto)\, Boston Museum of Fine Arts\, Modern Art Oxford\, De Appel Foundation (Amsterdam)\, Baltic Centre for Contemporary Art (Gateshead)\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, Moderna Museet (Stockholm)\, Castello di Rivoli (Turin)\, Pinchuk Art Centre (Kyiv)\, Centre d’Art Contemporain Genève\, Bawag Foundation (Vienna)\, Temporäre Kunsthalle Berlin\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain)\, FMAV / Fondazione Modena Arti Visive (Modena)\, Wexner Center for the Arts (Ohio)\, O.K Center for Contemporary Art Upper Austria (Linz)\, ACMI / The Australian Centre for the Moving Image (Melbourne)\, Collection Lambert en Avignon\, Sonnabend Gallery (New York)\, FACT / Foundation for Art & Creative Technology (Liverpool)\, Neuer Berliner Kunstverein (Berlin)\, Arken Museum of Modern Art (Ishøj-Copenhagen)\, Blaffer Art Museum (Houston)\, Void Contemporary Art Space (Derry)\, EMMA / Espoo Museum of Modern Art (Espoo\, Finland)\, West Den Haag (Den Haag)\, Iziko South African National Gallery (Cape Town)\, Kunstmuseum Bonn\, the Baltimore Museum of Art\, Auckland Art Gallery Toi o Tāmaki (Auckland)\, the Contemporary Jewish Museum (San Francisco)\, Staatliche Kunsthalle Baden-Baden and Centrale for Contemporary Art (Brussels)\, among other institutions. \n\n\n\nIn 2017\, Breitz represented South Africa at the 57th Venice Biennale (alongside Mohau Modisakeng). In the past\, she has also participated in biennials and triennials in Johannesburg (1997)\, São Paulo (1998)\, Istanbul (1999)\, Taipei (2000)\, Gwangju (2000)\, Tirana (2001)\, Göteborg (2003 + 2009)\, Venice (2005 + 2017)\, New Orleans (2008)\, Singapore (2011)\, Dakar (2014)\, Melbourne (2017)\, Cleveland (2018)\, Sharjah (2019)\, Aichi (2019)\, Rabat (2019) and Prague (2020). Her work has been featured at the Sundance Film Festival (New Frontier\, 2009)\, at the Toronto International Film Festival (David Cronenberg: Transformation\, 2013) and in the Gorki Theatre’s Herbstsalon (4. Berliner Herbstsalon: De-heimatize It!\, Berlin\, 2019). \n\n\n\nSelected group exhibitions include The Cinema Effect (Hirshhorn Museum + Sculpture Garden\, Washington\, D.C.\, 2008)\, South Africa: the art of a nation (British Museum\, London\, 2016)\, Laughing in a Foreign Language (The Hayward\, London\, 2008)\, Made in Germany (Kunstverein Hannover\, 2007)\, Superstars (Kunsthalle Wien\, 2005)\, CUT: Film as Found Object (Museum of Contemporary Art\, North Miami\, 2004)\, Continuity + Transgression (National Museum of Modern Art\, Tokyo\, 2002)\, Thank You for the Music (Kiasma Museum of Modern Art\, Helsinki\, 2012)\, Rollenbilder–Rollenspiele (Museum der Moderne Salzburg\, 2011)\, Performa (New York\, 2009)\, Contemporary Outlook: Seeing Songs (Museum of Fine Arts\, Boston\, 2009)\, Remix: Contemporary Art and Pop (Tate Liverpool\, 2002)\, Looking at You (Museum Fridericianum\, Kassel\, 2001)\, and Michael Jackson: On the Wall (National Portrait Gallery\, London\, 2018).Works by Breitz have been acquired by museums including the Museum of Modern Art and the Solomon R. Guggenheim Museum (both in New York)\, Tate Modern (London)\, Louisiana Museum of Modern Art (Humlebæk)\, San Francisco Museum of Modern Art\, the National Gallery of Canada (Ottawa)\, Städtische Galerie im Lenbachhaus (Munich)\, Art Gallery of Ontario (Toronto)\, FNAC / Fonds national d’art contemporain (France)\, Castello di Rivoli (Turin)\, Hamburger Kunsthalle (Hamburg)\, M+ / Museum of Visual Culture (Hong Kong)\, the National Gallery of Victoria (Melbourne)\, Milwaukee Art Museum\, Kunstmuseum St. Gallen\, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg)\, MUSAC / Museo de Arte Contemporáneo de Castilla y León (León\, Spain)\, Kunstmuseum Lichtenstein (Vaduz)\, MONA / Museum of Old and New Art (Tasmania)\, QAGGOMA / Queensland Art Gallery (Brisbane)\, Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome). \n\n\n\n\n\n\n\n\n\n \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/love-story/2023-08-28/
LOCATION:Rua Red\, South Dublin Arts Centre\, County Hall\, Belgard Square North\, Dublin 24\, D24 KV8N\, Ireland
CATEGORIES:Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/08/CandiceBretiz_LoveStoryMain.jpg
ORGANIZER;CN="Rua Red%2C South Dublin Arts Centre":MAILTO:info@ruared.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230801T110000
DTEND;TZID=Europe/Dublin:20231031T160000
DTSTAMP:20230921T112200Z
CREATED:20230726T103427Z
LAST-MODIFIED:20230921T112200Z
UID:10000364-1690887600-1698768000@smashingtimes.ie
SUMMARY:Courageous Women - A Celebration of Change-Makers
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\n\n\n\n\nArtists\n\n\n\nLead Artist and Curator: Mary Moynihan\, Theatre and Film Maker\, and Artistic Director\, Smashing Times \n\n\n\nProducer: Freda Manweiler \n\n\n\nAssociate Curator/Researcher: Niamh Clowry \n\n\n\nCast: Megan O’Malley\, Róisín McAtamney and Ann Sheehy \n\n\n\nCostumes: Risa Ando \n\n\n\nSet Design: The Company \n\n\n\nDigital Artist/Graphic Design: EM Creative \n\n\n\nConsultant Historian (pro bono): Sinead Mc Coole \n\n\n\nFull Event Details\n\n\n\nCourageous Women is a film by Mary Moynihan inspired by a creative re-imagining of moments from the lives of women in Irish history from 1916 to 1923. The film is inspired by the stories of Constance Markievicz (1868-1927); Helena Molony (1884-1967); Margaret Skinnider (1893-1971); Hanna Sheehy Skeffington (1877-1946) and Eva Gore Booth (1870-1926).   \n\n\n\nCourageous Women is on display in The Tearooms\, Glebe House\, Co Donegal from 1 August to 31 October 2023.  \n\n\n\nThe women whose stories inspire the film are: \n\n\n\nConstance Markievicz (1868-1927) an Irish politician\, revolutionary nationalist\, suffragette and socialist \n\n\n\nHelena Molony (1884-1967)\, a Republican\, feminist and labour activist. Helena was a member of Inghinidhe na hÉireann and the Irish Citizen Army and was stationed at City Hall Garrison during the Easter Rising of 1916. \n\n\n\nMargaret Skinnider (1893-1971)\, a revolutionary feminist and maths teacher who came to Dublin from Scotland at the age of 23 to take part in the Easter Rising. \n\n\n\nHanna Sheehy Skeffington (1877-1946)\, radical activist\, feminist\, pacifist and human rights campaigner and one of Ireland’s foremost suffragettes. Hanna was one of the original founders of the militant Irish Women’s Franchise League set up in 1908 to fight for emancipation and a woman’s right to vote. \n\n\n\nEva Gore Booth (1870-1926)\, a poet\, writer\, trade unionist\, feminist\, campaigner for social justice\, and a sister of Irish revolutionary Countess Markievicz. \n\n\n\nThe film is written by Mary Moynihan and is inspired by and incorporates original writings from Constance Markievicz; poetry excerpts by Eva Gore Booth; original testimony including an adaptation from Doing My Bit for Ireland by Margaret Skinnider; original testimony from Helena Molony and writings by Hanna Sheehy Skeffington.   \n\n\n\nNo booking necessary\, open daily. \n\n\n\nSpeaker Biographies:\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short films Courageous Women and Grace and Joe inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.  \n\n\n\n\n\n\n\n\n\n\n\n\n\nMegan O’Malley has recently completed a ‘Masters in Theatre Practice’ student in University College Dublin. Previous to this she graduated from the Gaiety School of Acting’s two-year full time course in 2015. While training she took on many roles\, including: Runt in Disco Pigs\, Ophelia in Hamlet\, Kate in The Taming of the Shrew\, and Mags in The Spinning Heart. Megan also played Melissa in The Full Moon Hotel by Philip Doherty. Since graduating she has played Queen Elizabeth in ‘Gráinne’\, and has worked on several short films including ‘Rising’\, ‘The Nest’\, ‘Lilith’ etc . She also stared in Kerry Gold’s latest TV commercial and We Cut Corners music video ‘Of whatever’ by Stoneface Films. Megan was awarded the Gaiety Theatre Bursary\, 2014. More recently\, Megan won the F.A.B. bursary award for Best Actress 16-21. Megan is also a passionate writer and was the first in the school’s history to premier her own work ‘MJ’ for the GSA graduation industry showcase. She also worked alongside Paul Meade for her Manifesto piece ‘The Mourning Seat’. From there Megan worked with Paul Meade over 2016 in developing her idea for ‘Home’\, and was thrilled to present it as part of Smock Alley’s Scene and Heard festival for new work in 2017. Megan has since expanded ‘Home’ to a full length production and which premiered in The New Theatre in 2018. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRóisín is an actor and facilitator based in Dublin. Originally from Cork\, Róisín undertook a BA in Drama Performance from DIT’s Conservatory of Music and Drama. Upon graduating from DIT Róisín worked in New York on off-Broadway show Ten Ways on A Gun. Other theatre credits include Antigone\, Romeo and Juliet and Smashing Times’ The Woman is Present: Women’s Stories of 1916 and If you could Read my Mind from the highly acclaimed Testimonies. Róisín has performed in the Smashing Times tour of The Woman is Present: Women’s Stories of WWII performing in Deirdre Kinahan’s new piece Ode to Ettie Steinberg\, which toured to Ireland\, Northern Ireland and Germany. \n\n\n\n\n\n\n\n\n\n\n\n\n\nSinéad McCoole is the author of many books including Hazel\, A Life of Lady Lavery (1996) and No Ordinary Women (1997) and Easter Widows\, the untold story of the wives of the executed leaders (2014) and Women 1916-Mná 2016 (2017). She is a member of the Government’s Expert Advisory Group on the Decade of Centenaries (2012-to date). She was Historical Advisor to the 2016 National Commemoration Programme\, Curator of Mná 1916. She has curated exhibitions on Irish history & art in both Ireland and the U.S. A Broadcaster and script writer her work includes Guns and Chiffon (2003) and A Father’s Letter part of the After ’16 Irish Film Board shorts commissioned for the centenary was based on her interviews with Fr. Joe Mallin (1913-2018). Her areas of expertise are Modern Irish History from the 1880 to the present\, Material culture\, museums\, the history of Irish women\, child prisoners\, Sir John and Lady Lavery. She is an expert in the area of women’s imprisonment 1916-1923. Her current area of interest is women in politics and public life 1918-2018. \n\n\n\n\n\nStates of Independence\n\n\n\nThis event is part of States of Independence\, a project that celebrates the stories of change-makers from the Decade of Centenaries 1912-1922 linked to the stories of change-makers today working to make society a better place. The stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts.  \n\n\n\nThe artists come together to create a range of artworks and performances for public display in sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies.  \n\n\n\nEvents are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. Events  take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally\, celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all.  \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie  \n\n\n\nPresented by Smashing Times International Centre for the Arts and Equality \n\n\n\nAs part of States of Independence – A Celebration of Change-Makers \n\n\n\nSupported by The Arts Council Open Call \n\n\n\nAs part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. \n\n\n\nPresented for the annual international Arts and Human Rights Festival and Theatre in Palm. \n\n\n\nFor information telephone 021 4215104 10am-1pm Monday to Friday or email admin@smashingtimes.ie \n\n\n\nBookings:  www.smashingtimes.ieSmashing Times don’t want ticket cost to be a barrier to experiencing any of our shows. Please contact admin@smashingtimes.ie if you would like to attend. \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/courageous-women-a-celebration-of-change-makers-2/
LOCATION:The Tearooms\, Glebe House\, Co Donegal\, Letter Kenny\, Donegal\, F92 WP70\, Ireland
CATEGORIES:Donegal,Installation
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/07/Courageous-Women1.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230801T100000
DTEND;TZID=Europe/Dublin:20231031T160000
DTSTAMP:20230921T112219Z
CREATED:20230725T105123Z
LAST-MODIFIED:20230921T112219Z
UID:10000246-1690884000-1698768000@smashingtimes.ie
SUMMARY:Paradise Lost and Found
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\n\n\n\n\nBooking\n\n\n\nNo booking necessary\, available daily. For group tours with a guide\, contact Freda on 087 2214245 or email admin@smashingtimes.ie \n\n\n\nEntry fee to The Barracks and Exhibition: €6.50 adults\, €4.50 children\, €5.50 students and older people\, €20 family\, up to 2 adults\, 3 children\, €5 for groups of 10+ \n\n\n\nArtists\n\n\n\nMary Moynihan\, writer\, director\, theatre and filmmaker\, Artistic Director of Smashing Times International Centre for the Arts and Equality \n\n\n\nHina Khan\, visual artist \n\n\n\nAmna Walayat\, visual artist \n\n\n\nFull Event Details\n\n\n\nParadise Lost and Found is a visual art\, film\, photography and poetry exhibition presented for States of Independence – A Celebration of Change-Makers. The exhibition by three artists\, Mary Moynihan\, Hina Khan and Amna Walayat\, reflects on a search for peace and ways to hold on to the courage to carry on and let ourselves shine. The work explores intersections between peace\, visibility\, invisibility and fragmentation and the inner world of the mind and soul linked to the physicality of the body and connections to nature. \n\n\n\nThe work of Mary Moynihan is titled ‘The Feeling Soul: Paradise Lost and Found’ and features photography and poetic texts and a poem film on love and courage and ‘the internal journey of a person experiencing loss and crisis and the possibility of finding a way through’.  Amna Walayat’s work is a celebration and remembrance of womanhood and consists of ten pieces making up one artwork created under the title of ‘Fall’.   Artist Hina Khan has created a body of work titled ‘Visible and Invisible’ reflecting on themes of visibility\, invisibility\, migration and a search for peace.  Collectively all three artists are creating a profound body of work inspired by a celebration of the human spirit and a search for peace\, equality and human rights.  \n\n\n\nThe Old Barracks is a unique building perched on an elevated site close to the bridge over the River Fertha in Cahersiveen. It is home to a permanent exhibition which recounts the building’s remarkable history and that of the local region\, including an exhibition on Daniel O’Connell\, who was born in Cahersiveen\, and was known as ‘The Liberator’ for his role in ending discrimination against Catholics. \n\n\n\nPage photo is Haunting by Mary Moynihan. \n\n\n\n \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short films Courageous Women and Grace and Joe inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.  \n\n\n\n\n\n\n\n\n\n\n\n\n\nHina was born in Born in Pakistan in 1980 and completed an MFA\, majoring in Miniature Painting from Pakistan. Hina’s work uses a mixture of traditional and innovative techniques in Miniatures. She portrays social issues\, immigration\, humanitarian crises like prostitution\, gender discrimination\, gender restrictions\, trauma\, child abuse and killing etc in her work. \n\n\n\nHina has chosen Miniature because of its intricacy and delicacy of brush work which has a unique identity. Most of Hina’s work is a mixture of traditional and contemporary miniature. My work is the constant search for the best way to interpret the ideas expresses my own ideologies through symbolism. Shifting my practice to installation\, videos\, 3D. \n\n\n\nAccording to Hina ‘I am creating a dialogue through my art. My art is a reflection of inner connection\, and how immigrants and nomadic artists are a part of this land. Migration is deeply rooted in my blood. I have carried two cultures\, one from where I was born and the other is this culture where I am trying to re-root myself. Sometimes a situation is not in our control\, but life always takes us on different voyages. This journey has built up a constant transition in my art\, personality\, experimentation\, enabling me to evolve my art practice.’ \n\n\n\nHina has participated in number of groups shows in Pakistan from 2002 to 2011. Hina came to Ireland in 2015 and participated in a number of exhibitions in Dublin\, Laois\, Mayo\, and Cork. Hina was awarded several residencies with Fire Station Arts Center\, Create Ireland\, West Cork Art Center and Cow House Studio and has displayed solo exhibition at Ballina Art Center\, Mayo\, and Stradbally Art house\, Laois. \n\n\n\nHina’s next solo exhibition will be exhibited in the coming months.  Her art pieces are also in the permanent collection of Arts Council Ireland. She is the recipient of several Awards from Arts Council Ireland\, Create Ireland\, and different counties. Currently she is preparing a solo show which will be displayed in LHQgallery 2022. \n\n\n\nHina says that\, ‘as an artist\, I am inspired by Sadequain\, Michelangelo\, Picasso\, Frida Kahlo\, Shahzia Sikander and Anselm Kiefer.’ \n\n\n\n\n\n\n\n\n\n\n\n\n\nAmna Walayat has an M.A. in Modern and Contemporary Art\, History\, Theory and Criticism from University College Cork (2015) and M.A. in Fine Arts from University of the Punjab\, Lahore in Pakistan (2002). She has worked as a Program Organizer with the Pakistan National Council of the Arts; Curator with Alhamra Arts Council and PhD studio-based researcher with PURAF\, University of the Punjab. Her interest lies in British India\, colonialism\, orientalism\, migration\, and gender with the current focus on feminism. \n\n\n\nHer recent shows include Maternal Gaze online\, IMMA\, 2021. Constellation\, a two-person e-show\, LHQ Gallery\, Cork County Council. Imagine online Christ Church\, Dublin\, 2020. Transhumance\, The Space\, Dublin7\, 2020. \n\n\n\nShe recently initiated the Ireland-Pakistan Arts Exchange (IPAE) to bring both art communities together through creating opportunities for networking and exchange. She has curated an e-exhibition\, Re-Root with the Pakistani Artists Community in Ireland in collaboration with the Embassy of Pakistan\, Dublin (August 2020) and organised Opportunities in Pakistan\, a Visual Artists online Café in collaboration with VAI\, December 2020. \n\n\n\nAmna Walayat resided in the UK and France before settling in Cork\, Ireland. She is a recipient of Arts Council Ireland Visual Artist Bursary Award\, 2020 and Recipient of Glucksman Art Gallery Cork\, Curatorial Mentoring Support under a Professional Development Award 2021 and the Dilkusha Award 2021.  Currently she is Member of Art Nomads\, Smashing Times Dublin\, Sample Studios Cork\, Angelica Network\, Visual Artists Ireland\, Lavit Gallery Cork\, Cork Print Makers under the Dilkusha Award. \n\n\n\n\n\nStates of Independence\n\n\n\nThis event is part of States of Independence\, a project that celebrates the stories of change-makers from the Decade of Centenaries 1912-1922 linked to the stories of change-makers today working to make society a better place. The stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts.  \n\n\n\nThe artists come together to create a range of artworks and performances for public display in sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies.  \n\n\n\nEvents are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. Events  take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally\, celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all.  \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie  \n\n\n\nPresented by Smashing Times International Centre for the Arts and Equality \n\n\n\nAs part of States of Independence – A Celebration of Change-Makers \n\n\n\nSupported by The Arts Council Open Call \n\n\n\nAs part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. \n\n\n\nPresented for the annual international Arts and Human Rights Festival and Theatre in Palm. \n\n\n\nFor information telephone 021 4215104 10am-1pm Monday to Friday or email admin@smashingtimes.ieBookings:  www.smashingtimes.ieSmashing Times don’t want ticket cost to be a barrier to experiencing any of our shows. Please contact admin@smashingtimes.ie if you would like to attend. \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/paradise-lost-and-found/
LOCATION:Old Barracks Heritage Centre\, Cahersiveen\, Co Kerry\, Cahersiveen\, Kerry\, V23VR62\, Ireland
CATEGORIES:Exhibition,Installation,Kerry,Poetry
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/07/11._Haunting._Image_by_Mary_Moyniham-scaled.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230801T100000
DTEND;TZID=Europe/Dublin:20230831T173000
DTSTAMP:20230824T154624Z
CREATED:20230725T140235Z
LAST-MODIFIED:20230824T154624Z
UID:10000361-1690884000-1693503000@smashingtimes.ie
SUMMARY:Ancient Futures
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\n\n\n\n\nArtists\n\n\n\nMary Moynihan\, writer\, director\, theatre and filmmaker\, Artistic Director of Smashing Times International Centre for the Arts and Equality \n\n\n\nDumnac Goulet\, sound and visual artist \n\n\n\nFaye Boland\, poet \n\n\n\nFull Event Details\n\n\n\nEnjoy three short films on display in the Lighthouse Engine Room at Valentia Island lighthouse including: \n\n\n\nGlanleam Gallaun created by Dumnac Goulet\, location sound designer\, in collaboration with poet Faye Boland\, which tells the story of history and markers on the island of Valentia. \n\n\n\nOn the Ledge of Courage by Mary Moynihan\, performed by Carla Ryan. \n\n\n\nIn Time by Mary Moynihan\, a poem based on her personal experience of Covid-19\, and a personal response to the changing landscape around us. In Time was later transformed into a poem-film\, co-directed by Mark Quinn\, and features performances by Carla Ryan and Kwasie Boyce. Lisa McLoughlin-Gnemmi performs the musical score\, which is an original composition of her own creation\, inspired by “Jewish incantations at a synagogue or at prayer\, invoking God’s help\, a cry of the human spirit…I was inspired too by the solo plainchant of Monks or Irish Sean Nos singing.” \n\n\n\nNo booking necessary. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nFaye Boland lives in Kenmare\, Co.Kerry. \n\n\n\nHer work has been published in numerous literary magazines and journals. She has won the Robert Leslie Boland poetry prize 2018 and the Hanna Greally International Literary Award 2017. She was shortlisted in 2013 for the Poetry on the Lake XIII International Poetry Competition and was highly commended for a Kerry Literary Award (for fiction) in 2015. \n\n\n\nShe is also a Volunteer Tutor on the Fighting Words Creative Writing Programme. \n\n\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short film Courageous Women inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.   \n\n\n\n\n\n\n\n\n\n\n\n\n\nCarla Ryan is an actor\, singer and songwriter from Meath. She trained in TU Dublin’s Conservatory of Music and Drama and Columbia College Chicago studying Drama (Performance). She has been working with Smashing Times as an actor since 2016. Professional acting credits include Ettie in At Summers End\, Nadine in Shadow of My Soul and Grace Gifford in Grace and Joe. Her performance of Grace and Joe for Constance and Her Friends by Mary Moynihan was hand selected by President Michael D. Higgins to be shown at Áras an Uachtarain for Culture Night 2016. \n\n\n\nCarla is one half of the alt-pop duo ELKIN. Carla and best friend\, Ellen were writing and singing together from the age of 15 before taking their music to a new level as ELKIN. Drawing inspiration from the likes of Joni Mitchell the duo began writing and performing folk-pop\, but it wasn’t until they began working with producer lullahush that ELKIN blended their love of thought-provoking folk lyrics with fierce alt-pop production. ELKIN have played at venues and festivals across Ireland including Longitude and Electric Picnic.  Following the release of debut single Paro\, ELKIN were named as one of State.ie’s Faces of 2018.  Their debut EP\, Bad Habits\, was released in May 2018. In February 2019\, ELKIN released a new single Green Eyes\, a collaboration with Æ MAK producer lullahush. In 2020 the duo were awarded funding from The First Music Contact Recording Stimulus Grant to record their debut EP Instant Hit\, set for release early 2022. \n\n\n\n\n\n\n\n\n\n\n\n\n\nKwasie Boyce lives in Dundalk\, County Louth. He was born and raised in Trinidad and later grew up in New York from his early teens. He found his calling as an actor and trained and performed with IMPACT Repertory Theatre Performance Company\, Negro Ensemble Company and Theatre For the New City. He was drawn to theatre companies where Activism is at the core to the work they create and stories they tell. \n\n\n\nHe took part in many film projects including features in Vikings\, Red Rock and Bloods.  He is the Founder and Artistic Director of Dundalk’s M.A.D. Youth Theatre and proud to say they are heading into their 10th Year. They have devised and produced award-winning plays and have a reputation for taking risk and not shying away from issues that young people want to talk about.  He works as a freelance drama facilitator in schools and various youth organisations and currently serves as Dundalk Youth Centre’s programme coordinator for PEACE IV Anticlockwise programme\, where they use art as a tool to explore conflict\, peace and reconciliation. \n\n\n\n\n\n\n\n\n\n\n\n\n\nLisa Mc Loughlin-Gnemmi is a graduate of the Royal College of Music\, London where she received her B.Mus Hons degree. She is a lecturer in violin at the TU Dublin Conservatoire for Music and Drama. She gained her masters in performance at TU Dublin studying under Joanna Matkowska. She has performed with the National Symphony Orchestra of Ireland under conductors Alexander Anissimov\, George Hurst and Gerhardt Markson. She also worked with Lyric Opera and The Irish Film Orchestra. She has regularly performed with the RTE Concert Orchestra. \n\n\n\nPerformances with the RTECO include a chamber music recital for the commemoration of the 1916 rising at The Irish Museum of Modern Art in the presence of An t-Uachtarán and with a group of members of the RTECO playing a new composition by Simon O’ Connor narrated by actress Olwen Fouéré. Other concerts included ‘Back to the Future’\, ‘The Godfather’ with film music by Nino Rota\, ‘The Music of John Williams’ film music and RTECO’s recording of the music of Steve Mc Keon for the film ‘Norm of the North’. \n\n\n\nLisa has performed at the Dublin Metropolis Festival\, RDS and at The Button Factory\, Temple Bar with DJ Kormac. Lisa has also toured France\, South Africa and the US as solo violinist with Michael Flatley’s ‘Lord of the Dance’. Solo and chamber music recitals include DIT\, Trinity College Dublin\, The Goethe institute\, UCD and The John Field Room\, N.C.H. and The Galway Arts Festival. \n\n\n\nLisa recently performed at Dublin Castle for a production of ‘Constance and her Friends’ a play about Constance Markievicz and activists during the 1916 rising written by Mary Moynihan and performed by Smashing Times. Passionate about teaching as well as performing\, Lisa gives masterclasses\, prepares students for exams\, recitals and Feis Ceoil competitions. Lisa is married to oboist with the National Symphony Orchestra\, Sylvain Gnemmi. They have four children and live in Dublin. \n\n\n\n\n\nStates of Independence\n\n\n\nThis show is part of States of Independence\, a project that celebrates the stories of ten change-makers from the Decade of Centenaries 1912-1922 linked to the stories of ten change-makers today working to make society a better place. The twenty stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts. The artists come together to create a range of artworks and performances for public display in eight sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies. \n\n\n\nThe team collaboratively create a series of interconnected artworks including a live multi-disciplinary performance\, visual art projections and a creative billboards campaign to be launched for the 2023 annual International Dublin Arts and Human Rights festival taking place from the 13 to 22 October 2023. Events are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. \n\n\n\nEvents take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all. Events take place in a range of venues both ancient and modern including Office of Public Work spaces throughout Ireland. \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie \n\n\n\nSupported by The Arts Council Open Call as part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. Supported by Creative Europe as part of the Theatre in Palm project. \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/ancient-futures/
LOCATION:Engine Room\, Valentia Lighthouse\, Valentia Island\, Co Kerry\, Cromwell Point\, Glanleam\, Valentia Island\, Kerry\, V23 P680\, Ireland
CATEGORIES:Installation,Kerry
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/07/In-Time-frame-2.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20230724T103000
DTEND;TZID=Europe/Dublin:20230831T170000
DTSTAMP:20230824T154602Z
CREATED:20230725T130409Z
LAST-MODIFIED:20230824T154602Z
UID:10000360-1690194600-1693501200@smashingtimes.ie
SUMMARY:Courageous Women – A Celebration of Change-Makers
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\n\n\n\n\nCreative and Production Team\n\n\n\nLead Artist and Curator: Mary Moynihan\, Theatre and Film Maker\, and Artistic Director\, Smashing Times \n\n\n\nProducer: Freda Manweiler \n\n\n\nAssociate Curator/Researcher: Niamh Clowry \n\n\n\nCast: Megan O’Malley\, Róisín McAtamney and Ann Sheehy \n\n\n\nCostumes: Risa Ando \n\n\n\nSet Design: The Company \n\n\n\nDigital Artist/Graphic Design: EM Creative \n\n\n\nConsultant Historian (pro bono): Sinead Mc Coole \n\n\n\nFull Event Details\n\n\n\nCourageous Women is a film inspired by a creative re-imagining of moments from the lives of Constance Markievicz (1868-1927)\, an Irish politician\, revolutionary nationalist\, suffragette and socialist; Helena Moloney (1884-1967)\, a member of Inghinidhe na hÉireann and the Irish Citizen Army who was stationed at City Hall Garrison during the Easter Rising of 1916; Margaret Skinnider (1893-1971)\, a revolutionary feminist and maths teacher who came to Dublin from Scotland at the age of 23 to take part in the Easter Rising and Hanna Sheehy Skeffington (1877-1946)\, a radical activist\, feminist\, pacifist and human rights campaigner and one of Ireland’s foremost suffragettes. Hanna was one of the original founders of the militant Irish Women’s Franchise League set up in 1908 with Margaret Cousins to fight for emancipation and a woman’s right to vote. \n\n\n\nThe film is written by Mary Moynihan and is inspired by and incorporates original writings from ConstanceMarkievicz; poetry excerpts by Eva Gore Booth; original testimony including an adaptation from Doing My Bit for Ireland by Margaret Skinnider; original testimony from Helena Molony and writings by Hanna Sheehy Skeffington.  \n\n\n\nSmashing Times are delighted to feature this film installation in the Valentia Island Heritage Centre which was founded and opened by Tessa O’Connor in 1986 as a volunteer-run non-profit organisation. Enjoy a visit to the centre to read and view stories of Valentia Island and to engage in lively conversation as people describe and compare histories and lifestyles. \n\n\n\nNo booking necessary. \n\n\n\nArtist Biographies:\n\n\n\n\n\n\n\n\n\n\n\nMary Moynihan\, (she/her)\, MA\, is an award-winning writer\, director\, theatre and film-maker\, an interdisciplinary artist and one of Ireland’s most innovative arts and human rights artists creating work to promote the arts\, human rights\, climate justice\, gender equality\, diversity and peace.  \n\n\n\nMary is Artistic Director of Smashing Times International Centre for the Arts and Equality and works  collaboratively with artists and over 50 organisations across Ireland\, Northern Ireland\, Europe and internationally\, using the arts to promote rights and values for all.   Company patrons of Smashing Times are Sabina Coyne Higgins\, Senator Joan Freeman\, founder of Pieta House\, Ger Ryan\, actor and Tim Pat Coogan\, writer and historian. Founding patrons were writers Maeve Binchy and Brian Friel. \n\n\n\nMary’s work has won a number of awards including the Allianz Business to Arts Awards\, a GSK Ireland Impact Award\, a Dublin Bus Community Spirit Award\, a National Lottery Good Cause Award\, the international #ArtsAgainstCovid award\, an Arts Council Project Award and an Arts Council Agility Award. \n\n\n\nMary is Artistic Curator for the annual Dublin Arts and Human Rights festival implemented by Smashing Times and Front Line Defenders in partnership with Amnesty International\, Fighting Words\, ICCL\,  NWCI\, Irish Modern Dance Theatre\, Trócaire and Poetry Ireland\, funded by The Arts Council. The aim of the festival is to showcase and highlight the extraordinary work of human rights defenders in Ireland and around the world\, past and present\, and the role of the arts and artists in promoting human rights today. \n\n\n\nMary’s artistic practice encompasses theatre\, film\, literature\, poetry\, and curatorship. Mary’s work focuses on primal\, visceral and intuitive responses to vulnerability and conflict and an exploration of self and the other. Her work explores an interconnectedness of the body\, voice and imagination\, revealing the inner life through physical and spiritual energies and intuitive engagements. Mary has a focus on using historical memory in her artistic practice as inspiration for the creation of original artworks across a range of mediums\, remembering stories of ordinary yet powerful women and men from history and today who stood up for the rights of others. \n\n\n\nAs a playwright\, Mary’s work includes the highly acclaimed The Woman is Present: Women’s Stories of WWII co-written with Paul Kennedy\, Fiona Thompson and Féilim James;  A Beauty that will Pass; Constance and Her Friends – selected by President Michael D. Higgins for performance at Áras an Uachtaráin for Culture Night 2016;  In One Breath from the award-winning Testimonies(co-written with Paul Kennedy); and Shadow of My Soul\, May Our Faces Haunt You and Silent Screams.  \n\n\n\nMary’s film work includes the hour-long documentary Stories from the Shadows\, the short film Tell Them Our Names\, inspired by women’s stories of WWII and selected for the London Eye International Film Festival and Kerry Film Festival\, the creative documentary Women in an Equal Europe and the short film Courageous Women inspired by powerful women’s stories from the 1916 to 1923 decade of commemorations period in Irish history.   \n\n\n\n\n\n\n\n\n\n\n\n\n\nMegan O’Malley has recently completed a ‘Masters in Theatre Practice’ student in University College Dublin. Previous to this she graduated from the Gaiety School of Acting’s two-year full time course in 2015. While training she took on many roles\, including: Runt in Disco Pigs\, Ophelia in Hamlet\, Kate in The Taming of the Shrew\, and Mags in The Spinning Heart. Megan also played Melissa in The Full Moon Hotel by Philip Doherty. Since graduating she has played Queen Elizabeth in ‘Gráinne’\, and has worked on several short films including ‘Rising’\, ‘The Nest’\, ‘Lilith’ etc . She also stared in Kerry Gold’s latest TV commercial and We Cut Corners music video ‘Of whatever’ by Stoneface Films. Megan was awarded the Gaiety Theatre Bursary\, 2014. More recently\, Megan won the F.A.B. bursary award for Best Actress 16-21. Megan is also a passionate writer and was the first in the school’s history to premier her own work ‘MJ’ for the GSA graduation industry showcase. She also worked alongside Paul Meade for her Manifesto piece ‘The Mourning Seat’. From there Megan worked with Paul Meade over 2016 in developing her idea for ‘Home’\, and was thrilled to present it as part of Smock Alley’s Scene and Heard festival for new work in 2017. Megan has since expanded ‘Home’ to a full length production and which premiered in The New Theatre in 2018. \n\n\n\n\n\n\n\n\n\n\n\n\n\nRóisín is an actor and facilitator based in Dublin. Originally from Cork\, Róisín undertook a BA in Drama Performance from DIT’s Conservatory of Music and Drama. Upon graduating from DIT Róisín worked in New York on off-Broadway show Ten Ways on A Gun. Other theatre credits include Antigone\, Romeo and Juliet and Smashing Times’ The Woman is Present: Women’s Stories of 1916 and If you could Read my Mind from the highly acclaimed Testimonies. Róisín has performed in the Smashing Times tour of The Woman is Present: Women’s Stories of WWII performing in Deirdre Kinahan’s new piece Ode to Ettie Steinberg\, which toured to Ireland\, Northern Ireland and Germany. \n\n\n\n\n\nStates of Independence\n\n\n\nThis show is part of States of Independence\, a project that celebrates the stories of ten change-makers from the Decade of Centenaries 1912-1922 linked to the stories of ten change-makers today working to make society a better place. The twenty stories gathered act as inspiration for the creation of new artworks by ten artists\, working in visual art\, film\, dance\, theatre\, creative writing and digital arts. The artists come together to create a range of artworks and performances for public display in eight sites – both ancient and modern – across Ireland and for display via a creative billboards campaign and online on the Smashing Times Virtual Art Gallery. The stories\, artworks and performances are shared with public audiences to reflect on modern day revolutionary visions for the future inspired by the past\, launched for the annual Dublin International Arts and Human Rights festival 13 to 22 October 2023. The internationally acclaimed team of ten artists is led by Mary Moynihan\, an award-winning writer\, poet\, director\, theatre and filmmaker and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, working with John Scott\, Artistic Director and Choreographer\, Irish Modern Dance Theatre\, and a range of artists working in literature\, visual arts\, theatre\, film and new digital technologies. \n\n\n\nThe team collaboratively create a series of interconnected artworks including a live multi-disciplinary performance\, visual art projections and a creative billboards campaign to be launched for the 2023 annual International Dublin Arts and Human Rights festival taking place from the 13 to 22 October 2023. Events are accompanied by panel discussions and public talks on new visions for a peaceful and equal society for all. \n\n\n\nEvents take place in Dublin\, Kerry\, Clare and Donegal with online work accessible across Ireland and internationally celebrating changemakers and heroes from the past and today\,  bringing people together to promote active citizenship\,  equality\, human rights and diversity and celebrating new visions for a peaceful and equal future for all. Events take place in a range of venues both ancient and modern including Office of Public Work spaces throughout Ireland. \n\n\n\nFor further information please contact Freda Manweiler\, producer\, telephone 087 2214245 or email freda@smashingtimes.ie \n\n\n\nSupported by The Arts Council Open Call as part of ART: 2023 a Decade of Centenaries Collaboration between The Arts Council and the Department of Tourism\, Culture\, Arts\, Gaeltacht\, Sport and Media. Supported by Creative Europe as part of the Theatre in Palm project. \n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/courageous-women-a-celebration-of-change-makers/
LOCATION:Valentia Island Heritage Centre\, Valentia Island\, Co Kerry\, Knightstown\, Valentia Island\, Kerry\, Ireland
CATEGORIES:Installation,Kerry
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2023/07/Courageous-Women1.jpg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20221003T100000
DTEND;TZID=Europe/Dublin:20221023T180000
DTSTAMP:20221209T153703Z
CREATED:20220907T104750Z
LAST-MODIFIED:20221209T153703Z
UID:10000224-1664791200-1666548000@smashingtimes.ie
SUMMARY:State of the Art: Transformative Memories in Political Violence Multi-Media Exhibition and Installation – With MemoLabs: Performances\, Workshops\, Artist Talks
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nVisitors welcome from Monday-Sunday\, 3-23 October\, 10am-6pm (16 October 2-6pm). Contact info@smashingtimes.ie \n\n\n\nArtists\n\n\n\nMary Moynihan is a writer\, poet\, theatre and film-maker\, and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland. Mary’s work explores stories linked to historical memory in  war and conflict and focuses on the role of the arts to promote equality\, diversity\,  human rights\, gender equality and peace. Mary is Artistic Curator of the annual Dublin International Arts and Human Rights Festival (DAHRF) and is co-curator with Amna Walayat on the State of the Art: Transformative Memories in Political Violence multi-media exhibition. \n\n\n\nAmna Walayat\, visual artist and curator\, Pakistan and Ireland. Co-Curator with Mary Moynihan for State of the Art: Transformative Memories in Political Violence Multi-Media Exhibition and Installation \n\n\n\nHina Khan\,  visual artist from Pakistan and Ireland\, \n\n\n\nDr Sinead McCann\, visual artist working across the mediums of performance\, video\, installation and sculpture often in a context\, site or community specific way. \n\n\n\nErika Diettes (Bogota\, Colombia)\, visual artist and social communicator \n\n\n\nFernanda Barbosa\, Photographer and Journalist\, Colombia specialising in illustrations on land dispossession and peaceful democracies \n\n\n\nAlit Ambara\, visual and graphic artist and cultural activist\, Indonesia \n\n\n\nJeff Korondo\, solo musician\, singer\, songwriter\, Uganda \n\n\n\nWomen’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda \n\n\n\nJuliane Okot Bitek\,  Kenyan-born Ugandan-raised diasporic writer\, academic and poet\, who lives in Canada \n\n\n\nPeter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor\, British Columbia\, Canada \n\n\n\nRoberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. Conflict Textiles is a large collection of international textiles which focus on elements of conflict and human rights abuses. The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. \n\n\n\nArtists/Speakers in MemoLabs (in addition to above artists): \n\n\n\nSandra Johnston\, Northern Ireland\, artist working in site-responsive performance and installation \n\n\n\nMichael McCabe\, actor\, choreographer and facilitator with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nCarla Ryan\,  singer and performer\, with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nRob Harrington\, performer with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nCiara Hayes\, performer \n\n\n\nNiamh Sweeney\, performer \n\n\n\nHilary Bow\, singer and songwriter \n\n\n\nLisa McLoughlin-Gnemmi\, violinist \n\n\n\nOlive Moore\, Deputy Director of Front Line Defenders \n\n\n\nSenator Mary Fitzpatrick \n\n\n\nCllr Donna Cooney\, Deputy Lord Mayor\, Dublin City \n\n\n\nFull Event Details\n\n\n\nThe flagship event for the annual\, international Dublin Arts and Human Rights Festival 2022 is the State of the Art: Transformative Memories in Political Violence exhibition\, a multi-media installation and exhibition displaying a selection of artworks reflecting at both personal and political levels on themes of arts\, human rights and transformative memory in political violence impacting on communities across the globe. The exhibition features artworks in a multitude of forms –  film\, video\, poster art\, visual art\, photography\, poetry\, song\, textiles\, sculpture\,  painting\, live performance and installation – and can be viewed on site and online. \n\n\n\nThe State of the Art: Transformative Memories in Political Violence exhibition is hosted at The Chocolate Factory\, King’s Inns Street\, Dublin 1\, and Gallery Space\, dlr Mill Theatre Dundrum for the 2022 Arts and Human Rights Festival (14-23 October 2022) presented by Smashing Times International Centre for the Arts and Equality and Front Line Defenders with a range of partners and supported by The Arts Council. In addition to the onsite exhibition\, a selection of work is available online via the Smashing Times Dublin Arts and Human Rights festival gallery.  \n\n\n\nThe chapter of the exhibition at The Chocolate Factory features the work of artists responding creatively to themes of freedom\, remembrance\, political violence\, transformation\, power and control.   The exhibition highlights the role of art in post-conflict transformative work and in transforming memory arising out of political violence\, bringing together the work of twenty artists from the Republic of Ireland\, Northern Ireland\, England\, Pakistan\, Canada\, Uganda\, Indonesia\, Colombia and Argentina\, whose work explores conflict\, war and the telling of stories arising out of political violence. The artists’ work is a response to conflict in a range of countries including the Republic of Ireland\, Northern Ireland\, Uganda\, Indonesia\, Colombia\, Argentina\, Nigeria\, Syria\, Chile\, Palestine\, Peru\, Mexico\, Spain\, Poland and Germany and is also a means through which society can examine historic conflicts\, enabling open discussion and exploration to play a part in the healing process\, to provoke conversations\, questions and an exploration of key issues. \n\n\n\nThe exhibition is curated by Mary Moynihan and Amna Wayalat and accompanying  by a series of MemoLab activities – talks\, workshops and live performances. The chapter of the exhibition hosted at the dlr Mill Theatre gallery features the work of writer and artist Mary Moynihan and visual artist Aman Walayat responding creatively to themes of freedom\, change\, transformation\, power and control.  \n\n\n\nState of the Art MemoLabs\n\n\n\nThe State of the Art: Transformative Memories in Political Violence exhibition and installation is accompanied by an eight-day programme of State of the Art MemoLab activities made up of talks\, workshops and performances presented by international artists working with local artists from Ireland and Northern Ireland. The MemoLab talks\, workshops and performances are open to the public and take place over three days at the Chocolate Factory\, 26 King’s Inns Stree\, Dublin 1\, on the  14\, 15\, 16 October and for five days in Northern Ireland on the 17-21 October.  The talks and workshops feature artists and researchers from Ireland\, Northern Ireland and around the world talking about their art based methodologies and creative artworks and how the arts can be used to transform society in the wake of political violence. \nThe MemoLab programme of work in Dublin is presented as part of the State of the Art Artist Development programme and the annual networking day for the Arts and Human Rights European Network attended by artists\, citizens\, communities and human rights organisations\, supporting artists to engage in artistic practice promoting equality\, human rights and diversity. The MemoLab programme of work in Northern Ireland is facilitated by Ulster University and Healing Through Remembering (HTR)\, and includes sessions with Conflict Textiles\, the Smashing Times International Centre for the Arts and Equality and National Museums NI on their new “Troubles and Beyond” exhibit at the Ulster Museum. \n  \nKey Questions: \nWhat is the role of the arts in promoting transformative remembrance arising out of political violence and in remembering responsibility for mass and state sponsored violence and how can art arising out of political violence be transformative? \nHow does remembering responsibility in a creative way\, shape present and future relations and ways of being together in land\, community\, country and global politics? \nWhat are the processes of art from the ground up in making impactful activism using culture\, creativity and memory? \n  \nPolitical violence impacts on communities and lives across the globe. It is a multi-faceted issue\, and can take many different forms. Certain specific conflicts are addressed in this exhibition\, while other pieces interrogate the emotions that such violence produces. The exhibition comprises of artworks across all forms reflecting on the role of the arts in highlighting the issue of political violence\, and the ways in which the arts can help people to reflect and move forward in its wake. These artists offer insights into conflicts and post-war communities across the world through their evocative and poignant work. \n  \nThe Artists for the State of the Art: Transformative Memories in Political Violence Exhibition and MemoLabs are: \nMary Moynihan is a writer\, poet\, theatre and film-maker\, and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland. Mary’s work explores stories linked to historical memory in  war and conflict and focus on the role of the arts to promote equality and human rights. Mary is co-curator with Amna Walayat on the State of the Art: Transformative Memories in Political Violence multi-media exhibition for the 2022 Dublin Arts and Human Rights Festival and is Artistic Curator of the Dublin Arts and Human Rights Festival (DAHRF). \nAmna Walayat\, visual artist and curator\, Pakistan and Ireland\, specialising in Pakistani miniature painting. Her work explores a range of themes including violence against women and feminism. Amna is co-curator with Mary Moynihan on the State of the Art: Transformative Memories in Political Violence exhibition for the 2022 Dublin Arts and Human Rights Festival. https://www.westcorkartscentre.com/amna-walayat \nHina Khan is a visual artist from Pakistan and Ireland\,  specialising in Pakistani miniature painting. Her work explores themes of migration\, racism and human rights. https://visualartists.ie/arts-directory/directory-of-members-_/#!biz/id/5d39abdbf033bfab33f21b4c \nDr Sinead McCann is a Dublin based visual artist working across the mediums of performance\, video\, installation and sculpture often in a context\, site or community specific way. \nErika Diettes (Bogota\, Colombia) is a visual artist and social communicator who graduated from the Pontificia Universidad Javeriana and has a master’s degree in Anthropology from the Universidad de los Andes.  Erika’s work focuses on victims of violence. One of Erika’s focuses is her outstanding work with victims of the Colombian armed conflict\, an exhaustive work that has been recognized and supported by each of the mourners and victims\, who have contributed for her images not only their stories but the objects and crucial references in her creations. She is known internationally thanks to the different places she has taken her exhibitions and the awards she has received. https://www.erikadiettes.com/ \nFernanda Barbosa\, Photographer and Journalist\, Colombia specialising in illustrations on land dispossession and peaceful democracies. https://www.musicinafrica.net/directory/jeff-korondo \nAlit Ambara is a visual and graphic artist and cultural activist from Indonesia\, specialising in poster art. He has engaged in various movements for upholding human rights and social justice in Indonesia and Timor Leste since the early 1990s creating posters to respond to social-political issues. He is the founder of Nobodycorp Internationale Unlimited\, an initiative to encourage serious discourse about social or socio-political issues through its posters and under this label\, he regularly disseminates political messages in thousands of images through various social media channels. https://indoartnow.com/artists/alit-ambara \nJeff Korondo is a solo musician\, singer and songwriter from Uganda\, whose work promotes a range of human rights issues including children’s rights and peaceful democracies. \nWomen’s Advocacy Network\, Uganda:   Artworks are on display from the  Women’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda\, who present on the Bead Project\, on Ugandan textiles and on the Women’s Advocacy Network. The Women’s Advocacy Network (WAN) is an association of women working for a better future after a long war in northern Uganda.  The women were abducted as schoolgirls by the Lord’s Resistance Army\, (LRA) who fought the Government of Uganda between 1987-2008 and forced into so-called marriages with rebel commanders with whom they bore children.  On return\, the women organized to support each other\, share their stories\, and encourage each other\, telling their stories as survivors of conflict related sexual violence so that others with know exactly what happened. WAN has collaborated to tell their stories for more than a decade with the Transformative Memory International Network members Erin Baines (University of British Columbia) and poet Juliane Okot Bitek (Queen’s University) through life history books\, publications\, poetry and art. \nRoberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. https://www.beyondskin.net/roberta-bacic-dancing-together Conflict Textiles is a large collection of international textiles which focus on elements of conflict and human rights abuses.The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. \nSandra Johnston\, Northern Ireland\, artist working in site-responsive performance and installation\, often exploring the aftermath of trauma through developing acts of commemoration as forms of testimony and empathetic encounter. https://imma.ie/artists/sandra-johnston/ \nMichael McCabe is an actor\, choreographer and facilitator with Smashing Times International Centre for the Arts and Equality\, Ireland \nCarla Ryan is a singer and actor with Smashing Times International Centre for the Arts and Equality\, Ireland \nRob Harrington\, Performer with Smashing Times International Centre for the Arts and Equality\, Ireland \n  \nProducing Team \nFreda Manweiler is Company Manager and Producer for Smashing Times International Centre for the Arts and Equality \nCiara Hayes is Festival Producer for Smashing Times International Centre for the Arts and Equality \nProfessor Brandon Hamber\, John Hume and Thomas P. O’Neill Chair in Peace\, International Conflict Research Institute (INCORE)\, Transitional Justice Institute (TJI)\, Ulster University\, Northern Ireland \nDr Pilar Riaño-Alcalá\, Institute for Gender\, Race\, Sexuality and Social Justice\, UBC (Anthropology)\,  The University of British Columbia. \nDr Erin Baines\, School of Public Policy and Global Affairs\, UBC (Political Science)\, The University of British Columbia. \nDr Paolo Vignolo\, Universidad Nacional de Colombia\, (History)\, The University of British Columbia. \nNila Utami\, Transformative Memory Network Coordinator\, PhD Researcher\, Canada \nCate Turner\, Study Visit Coordinator\, Executive Director\, Healing Through Remembering\, Northern Ireland \n  \nPartners \nUlster University \nConflict Textiles \nHealing Through Remembering \nJustice and Reconciliation Project\, Uganda \nUniversity of British Columbia \nNational Museums NI\, Northern Ireland \nSmashing Times International Centre for the Arts and Equality \nThe Transformative Memory International Network \nThe Smashing Times Arts and Human Rights Network \n  \nPhD Organizing Group for the Transformative Memory International Network \nKetty Anyeko\, Uganda. Ph.D. candidate\, ISGP\, University of British Columbia \nFernanda Barbosa dos Santos\, Colombia. Ph.D. candidate\, University of British Columbia \nAlejandra Gaviria-Serna\, Colombia. Ph.D. student\, GRSJ\, University of British Columbia \nNila Utami\, Indonesia. Ph.D. candidate\, History\, University of British Columbia \nAaron Weah\, Liberia\, Ph.D researcher\, Law\, Ulster University \nPaula Surgenor\, Northern Ireland\, Ph.D candidate\, Anthropology\, Ulster University \nThe Artists\nThe artists in the exhibition are Mary Moynihan\, Writer\, Theatre and Film-Maker\, Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland; Amna Walayat\, visual artist and curator\, Pakistan and Ireland; Hina Khan\, visual artist\, Pakistan and Ireland; Sinead McCann\, Visual Artist\, Ireland; Erika Diettes\, visual artist and social communicator\, Colombia;  Fernanda Barbosa\, Visual Art\, Photographer\, Colombia; Alit Ambara\, visual and graphic artist and cultural activist\, Indonesia; Jeff Korondo\, solo musician\, Uganda; Juliane Okot Bitek\, Poet\, Canada; Peter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor at the Ontario College of Art and Design\, born in British Columbia\, Canada and identifying as a member of the Crow Clan;   Roberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. Artworks are on display from the  Women’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda\, who present on the Bead Project\, on Ugandan textiles and on the Women’s Advocacy Network. \n\n\n\nSmashing Times State of the Art: The Nation State as both Violator and Protector of Human Rights – Artist Development Programme for the Arts and Human Rights\, Supported by the Smashing Times Arts and Human Rights Network and Resource and Advice Service\n\n\n\nSmashing Times International Centre for the Arts and Equality runs an annual  Arts and Human Rights Artist Development programme called State of the Art; The Nation State as both Violator and Protector of human rights and is part of a programme of work supporting artists who are dedicating to use their art to promote equality\, human rights and diversity. The programme features performances\, exhibitions\, workshops\, talks\, mentoring and peer learning.  The programme is supported by the Smashing Times Resource and Advice Service (currently in development by Smashing Times) and the Smashing Times Arts and Human Rights network which is open to all artists\, activists\, citizens\,  communities\, human rights organisations and the general public to join. \n\n\n\nThe programme is  made up of three components. The first component is an Arts and Human Rights Artist Development programme bringing together artists through six exchanges and ongoing collaboration and research\, who are dedicated to using their artforms to promote equality\, human rights and diversity. \n\n\n\nThe second component is the creation of  new productions and exhibitions  to be presented for the annual Dublin Arts and Human Rights festival. For the 2022 Dublin Arts and Human Rights festival the company created State of the Art: Transformative Memories in Political Violence Multi-Media Installation and Exhibition on display at the Chocolate Factory\, Dublin 1\,  and at the dlr Mill Theatre Gallery\, Dundrum\, with MemoLabs consisting of Performances\, Workshops and Artist Talks. \n\n\n\nThe State of the Art: Transformative Memories in Political Violence multi-media exhibition is hosted at The Chocolate Factory\, King’s Inns Street\, Dublin 1\, and Gallery Space\, dlr Mill Theatre Dundrum for the 2022 Arts and Human Rights Festival (14-23 October 2022) presented by Smashing Times International Centre for the Arts and Equality and Front Line Defenders with a range of partners and supported by The Arts Council. The exhibition displays artworks reflecting at both personal and political levels on themes of arts\, human rights and transformative memory in political violence impacting on communities across the globe and  features artworks in a multitude of forms –  film\, video\, poster art\, visual art\, photography\, poetry\, song\, textiles\, sculpture\,  painting\, live performance and installation\, with artworks by artists from Ireland\, Northern Ireland\, Pakistan\, Colombia\, Indonesia\, Uganda\, Canada\,  Chile and Argentina. The Co-Curators are Mary Moynihan and Amna Walayat. Artists include Hina Khan\, visual artist\, Pakistan and Ireland; Sinead McCann\, Visual Artist\, Ireland; Erika Diettes\, visual artist and social communicator\, Colombia;  Fernanda Barbosa\, Visual Art\, Photographer\, Colombia; Alit Ambara\, visual and graphic artist and cultural activist\, Indonesia; Jeff Korondo\, solo musician\, Uganda; Juliane Okot Bitek\, Poet\, Canada; Peter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor;  Roberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile and artists and members of the Women’s Advocacy Network\, Uganda. In addition to the onsite exhibition\, a selection of work is available online via the Smashing Times Dublin Arts and Human Rights festival gallery.    \n\n\n\nThe exhibition is accompanied by MemoLabs\, a series of talks\, workshops and performances held as public events from the 14-16 October 2022\, Dublin and 17-21 October\, Belfast\, as part of State of the Art: Transformative Memories in Political Violence Multi-Media Installation and Exhibition in the 2022 Dublin Arts and Human Rights Festival. MemoLabs bring together artists\, activists\, community members and the public to explore the arts and themes of equality\, human rights and Transformative Memories in Political Violence. \n\n\n\nA chapter of the Transformative Memories was created and ran at the dlr Mill Theatre Gallery in Dundrum.  The State of the Art: Transformative Memories in Political Violence Visual Art\, Photography and Poetry Exhibition at the dlr Mill Theatre Gallery features the work of writer and artist Mary Moynihan and visual artist Amna Walayat responding creatively to themes of freedom\, change\, transformation\, power and control.  The exhibition runs from the 20 September to the 29 October 2022. \n\n\n\nThe third component of State of the Art is the holding of an annual Arts and Human Rights networking day held as part of the European Arts and Human Rights network which aims to bring together artists\, citizens\, communities\, human rights organisations and the general public and is open to all those interested in using the arts to promote equality\, human rights and diversity.  The annual networking day for 2022 consists of the Dublin Arts and Human Rights festival launch and the four MemoLab events held at the Chocolate Factory\, Dublin for the Transformative Memories in Political Violence exhibition. \n\n\n\n \n\n\n\nNetworks\n\n\n\nSmashing Times Arts and Human Rights Network \nThe Smashing Times Arts and Human Rights Network is open to all\, artists and activists\, organisations and individuals\, who believe in using the arts to promote equality\, diversity and human rights for all. The Network offers opportunities to meet\, discuss and explore human rights\, human rights defenders\, and the artists who use their work to stand up and speak out for the rights of others. The Network is free to join\, and includes information and resources emailed throughout the year. Join now: https://smashingtimes.ie/signupform/ \n  \nTransformative Memory Network \nEstablished in 2019 following nearly a decade of informal exchange and research collaboration between partners\, the Transformative Memory International Network is a collective of scholars\, artists\, social movement leaders\, community-based organisations and policymakers\, engaged with the question of what makes memory transformative of legacies of violence\, our sense of self and responsibilities to others. Network members are from Colombia\, Uganda\, Indonesia\, Canada and Northern Ireland. Our lines of inquiry and methodology build on knowledge exchange amongst Network members and partners around key questions: How do we remember responsibility for mass and state-sponsored violence? What do we learn from the strategies of powerful actors to deny responsibility? How does remembering responsibility shape present and future relations and ways of being together in land\, community\, country\, and global politics? \n\n\n\n\n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\nThe exhibition and accompanying MemoLab talks\, workshops and performances are presented in partnership with Smashing Times International Centre for the Arts and Equality\, Ulster University\, University of British Columbia\, the Transformative Memory International Network\, the Smashing Times Arts and Human Rights Network\, Healing Through Remembering\, Conflict Textiles\, Justice and Reconciliation Project\, Uganda and National Museums NI. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/state-of-the-art-transformative-memories-in-political-violence/2022-10-03/
LOCATION:Chocolate Factory\, 26 King's Inn Street\, Dublin 1\, D01 P2W7\, Ireland
CATEGORIES:Exhibition,Film Screening,Installation,Interdisciplinary,Music,Poetry,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2022/09/Hina-image-1-scaled.jpeg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Dublin:20220926T100000
DTEND;TZID=Europe/Dublin:20221003T170000
DTSTAMP:20221209T153703Z
CREATED:20220907T104750Z
LAST-MODIFIED:20221209T153703Z
UID:10000223-1664186400-1664816400@smashingtimes.ie
SUMMARY:State of the Art: Transformative Memories in Political Violence Multi-Media Exhibition and Installation – With MemoLabs: Performances\, Workshops\, Artist Talks
DESCRIPTION:Bridging Worlds – Live interactive art installation\n\n\n\n\n\n\n\n\n\nBridging Worlds is a live interactive art installation that invites participants to perform in a piece of self-reflective theatre\, imagining what it might feel like to suddenly flee their home due to a threat to their safety. Presented by Mary Dillon\, Humanitarian\, Applied Ethnomusicologist and Art Activist and Berta Tuahuku\, Social Justice Advocate.  \n\n\nBook Your Place\n\n\n\nVisitors welcome from Monday-Sunday\, 3-23 October\, 10am-6pm (16 October 2-6pm). Contact info@smashingtimes.ie \n\n\n\nArtists\n\n\n\nMary Moynihan is a writer\, poet\, theatre and film-maker\, and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland. Mary’s work explores stories linked to historical memory in  war and conflict and focuses on the role of the arts to promote equality\, diversity\,  human rights\, gender equality and peace. Mary is Artistic Curator of the annual Dublin International Arts and Human Rights Festival (DAHRF) and is co-curator with Amna Walayat on the State of the Art: Transformative Memories in Political Violence multi-media exhibition. \n\n\n\nAmna Walayat\, visual artist and curator\, Pakistan and Ireland. Co-Curator with Mary Moynihan for State of the Art: Transformative Memories in Political Violence Multi-Media Exhibition and Installation \n\n\n\nHina Khan\,  visual artist from Pakistan and Ireland\, \n\n\n\nDr Sinead McCann\, visual artist working across the mediums of performance\, video\, installation and sculpture often in a context\, site or community specific way. \n\n\n\nErika Diettes (Bogota\, Colombia)\, visual artist and social communicator \n\n\n\nFernanda Barbosa\, Photographer and Journalist\, Colombia specialising in illustrations on land dispossession and peaceful democracies \n\n\n\nAlit Ambara\, visual and graphic artist and cultural activist\, Indonesia \n\n\n\nJeff Korondo\, solo musician\, singer\, songwriter\, Uganda \n\n\n\nWomen’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda \n\n\n\nJuliane Okot Bitek\,  Kenyan-born Ugandan-raised diasporic writer\, academic and poet\, who lives in Canada \n\n\n\nPeter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor\, British Columbia\, Canada \n\n\n\nRoberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. Conflict Textiles is a large collection of international textiles which focus on elements of conflict and human rights abuses. The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. \n\n\n\nArtists/Speakers in MemoLabs (in addition to above artists): \n\n\n\nSandra Johnston\, Northern Ireland\, artist working in site-responsive performance and installation \n\n\n\nMichael McCabe\, actor\, choreographer and facilitator with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nCarla Ryan\,  singer and performer\, with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nRob Harrington\, performer with Smashing Times International Centre for the Arts and Equality\, Ireland \n\n\n\nCiara Hayes\, performer \n\n\n\nNiamh Sweeney\, performer \n\n\n\nHilary Bow\, singer and songwriter \n\n\n\nLisa McLoughlin-Gnemmi\, violinist \n\n\n\nOlive Moore\, Deputy Director of Front Line Defenders \n\n\n\nSenator Mary Fitzpatrick \n\n\n\nCllr Donna Cooney\, Deputy Lord Mayor\, Dublin City \n\n\n\nFull Event Details\n\n\n\nThe flagship event for the annual\, international Dublin Arts and Human Rights Festival 2022 is the State of the Art: Transformative Memories in Political Violence exhibition\, a multi-media installation and exhibition displaying a selection of artworks reflecting at both personal and political levels on themes of arts\, human rights and transformative memory in political violence impacting on communities across the globe. The exhibition features artworks in a multitude of forms –  film\, video\, poster art\, visual art\, photography\, poetry\, song\, textiles\, sculpture\,  painting\, live performance and installation – and can be viewed on site and online. \n\n\n\nThe State of the Art: Transformative Memories in Political Violence exhibition is hosted at The Chocolate Factory\, King’s Inns Street\, Dublin 1\, and Gallery Space\, dlr Mill Theatre Dundrum for the 2022 Arts and Human Rights Festival (14-23 October 2022) presented by Smashing Times International Centre for the Arts and Equality and Front Line Defenders with a range of partners and supported by The Arts Council. In addition to the onsite exhibition\, a selection of work is available online via the Smashing Times Dublin Arts and Human Rights festival gallery.  \n\n\n\nThe chapter of the exhibition at The Chocolate Factory features the work of artists responding creatively to themes of freedom\, remembrance\, political violence\, transformation\, power and control.   The exhibition highlights the role of art in post-conflict transformative work and in transforming memory arising out of political violence\, bringing together the work of twenty artists from the Republic of Ireland\, Northern Ireland\, England\, Pakistan\, Canada\, Uganda\, Indonesia\, Colombia and Argentina\, whose work explores conflict\, war and the telling of stories arising out of political violence. The artists’ work is a response to conflict in a range of countries including the Republic of Ireland\, Northern Ireland\, Uganda\, Indonesia\, Colombia\, Argentina\, Nigeria\, Syria\, Chile\, Palestine\, Peru\, Mexico\, Spain\, Poland and Germany and is also a means through which society can examine historic conflicts\, enabling open discussion and exploration to play a part in the healing process\, to provoke conversations\, questions and an exploration of key issues. \n\n\n\nThe exhibition is curated by Mary Moynihan and Amna Wayalat and accompanying  by a series of MemoLab activities – talks\, workshops and live performances. The chapter of the exhibition hosted at the dlr Mill Theatre gallery features the work of writer and artist Mary Moynihan and visual artist Aman Walayat responding creatively to themes of freedom\, change\, transformation\, power and control.  \n\n\n\nState of the Art MemoLabs\n\n\n\nThe State of the Art: Transformative Memories in Political Violence exhibition and installation is accompanied by an eight-day programme of State of the Art MemoLab activities made up of talks\, workshops and performances presented by international artists working with local artists from Ireland and Northern Ireland. The MemoLab talks\, workshops and performances are open to the public and take place over three days at the Chocolate Factory\, 26 King’s Inns Stree\, Dublin 1\, on the  14\, 15\, 16 October and for five days in Northern Ireland on the 17-21 October.  The talks and workshops feature artists and researchers from Ireland\, Northern Ireland and around the world talking about their art based methodologies and creative artworks and how the arts can be used to transform society in the wake of political violence. \nThe MemoLab programme of work in Dublin is presented as part of the State of the Art Artist Development programme and the annual networking day for the Arts and Human Rights European Network attended by artists\, citizens\, communities and human rights organisations\, supporting artists to engage in artistic practice promoting equality\, human rights and diversity. The MemoLab programme of work in Northern Ireland is facilitated by Ulster University and Healing Through Remembering (HTR)\, and includes sessions with Conflict Textiles\, the Smashing Times International Centre for the Arts and Equality and National Museums NI on their new “Troubles and Beyond” exhibit at the Ulster Museum. \n  \nKey Questions: \nWhat is the role of the arts in promoting transformative remembrance arising out of political violence and in remembering responsibility for mass and state sponsored violence and how can art arising out of political violence be transformative? \nHow does remembering responsibility in a creative way\, shape present and future relations and ways of being together in land\, community\, country and global politics? \nWhat are the processes of art from the ground up in making impactful activism using culture\, creativity and memory? \n  \nPolitical violence impacts on communities and lives across the globe. It is a multi-faceted issue\, and can take many different forms. Certain specific conflicts are addressed in this exhibition\, while other pieces interrogate the emotions that such violence produces. The exhibition comprises of artworks across all forms reflecting on the role of the arts in highlighting the issue of political violence\, and the ways in which the arts can help people to reflect and move forward in its wake. These artists offer insights into conflicts and post-war communities across the world through their evocative and poignant work. \n  \nThe Artists for the State of the Art: Transformative Memories in Political Violence Exhibition and MemoLabs are: \nMary Moynihan is a writer\, poet\, theatre and film-maker\, and Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland. Mary’s work explores stories linked to historical memory in  war and conflict and focus on the role of the arts to promote equality and human rights. Mary is co-curator with Amna Walayat on the State of the Art: Transformative Memories in Political Violence multi-media exhibition for the 2022 Dublin Arts and Human Rights Festival and is Artistic Curator of the Dublin Arts and Human Rights Festival (DAHRF). \nAmna Walayat\, visual artist and curator\, Pakistan and Ireland\, specialising in Pakistani miniature painting. Her work explores a range of themes including violence against women and feminism. Amna is co-curator with Mary Moynihan on the State of the Art: Transformative Memories in Political Violence exhibition for the 2022 Dublin Arts and Human Rights Festival. https://www.westcorkartscentre.com/amna-walayat \nHina Khan is a visual artist from Pakistan and Ireland\,  specialising in Pakistani miniature painting. Her work explores themes of migration\, racism and human rights. https://visualartists.ie/arts-directory/directory-of-members-_/#!biz/id/5d39abdbf033bfab33f21b4c \nDr Sinead McCann is a Dublin based visual artist working across the mediums of performance\, video\, installation and sculpture often in a context\, site or community specific way. \nErika Diettes (Bogota\, Colombia) is a visual artist and social communicator who graduated from the Pontificia Universidad Javeriana and has a master’s degree in Anthropology from the Universidad de los Andes.  Erika’s work focuses on victims of violence. One of Erika’s focuses is her outstanding work with victims of the Colombian armed conflict\, an exhaustive work that has been recognized and supported by each of the mourners and victims\, who have contributed for her images not only their stories but the objects and crucial references in her creations. She is known internationally thanks to the different places she has taken her exhibitions and the awards she has received. https://www.erikadiettes.com/ \nFernanda Barbosa\, Photographer and Journalist\, Colombia specialising in illustrations on land dispossession and peaceful democracies. https://www.musicinafrica.net/directory/jeff-korondo \nAlit Ambara is a visual and graphic artist and cultural activist from Indonesia\, specialising in poster art. He has engaged in various movements for upholding human rights and social justice in Indonesia and Timor Leste since the early 1990s creating posters to respond to social-political issues. He is the founder of Nobodycorp Internationale Unlimited\, an initiative to encourage serious discourse about social or socio-political issues through its posters and under this label\, he regularly disseminates political messages in thousands of images through various social media channels. https://indoartnow.com/artists/alit-ambara \nJeff Korondo is a solo musician\, singer and songwriter from Uganda\, whose work promotes a range of human rights issues including children’s rights and peaceful democracies. \nWomen’s Advocacy Network\, Uganda:   Artworks are on display from the  Women’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda\, who present on the Bead Project\, on Ugandan textiles and on the Women’s Advocacy Network. The Women’s Advocacy Network (WAN) is an association of women working for a better future after a long war in northern Uganda.  The women were abducted as schoolgirls by the Lord’s Resistance Army\, (LRA) who fought the Government of Uganda between 1987-2008 and forced into so-called marriages with rebel commanders with whom they bore children.  On return\, the women organized to support each other\, share their stories\, and encourage each other\, telling their stories as survivors of conflict related sexual violence so that others with know exactly what happened. WAN has collaborated to tell their stories for more than a decade with the Transformative Memory International Network members Erin Baines (University of British Columbia) and poet Juliane Okot Bitek (Queen’s University) through life history books\, publications\, poetry and art. \nRoberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. https://www.beyondskin.net/roberta-bacic-dancing-together Conflict Textiles is a large collection of international textiles which focus on elements of conflict and human rights abuses.The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. \nSandra Johnston\, Northern Ireland\, artist working in site-responsive performance and installation\, often exploring the aftermath of trauma through developing acts of commemoration as forms of testimony and empathetic encounter. https://imma.ie/artists/sandra-johnston/ \nMichael McCabe is an actor\, choreographer and facilitator with Smashing Times International Centre for the Arts and Equality\, Ireland \nCarla Ryan is a singer and actor with Smashing Times International Centre for the Arts and Equality\, Ireland \nRob Harrington\, Performer with Smashing Times International Centre for the Arts and Equality\, Ireland \n  \nProducing Team \nFreda Manweiler is Company Manager and Producer for Smashing Times International Centre for the Arts and Equality \nCiara Hayes is Festival Producer for Smashing Times International Centre for the Arts and Equality \nProfessor Brandon Hamber\, John Hume and Thomas P. O’Neill Chair in Peace\, International Conflict Research Institute (INCORE)\, Transitional Justice Institute (TJI)\, Ulster University\, Northern Ireland \nDr Pilar Riaño-Alcalá\, Institute for Gender\, Race\, Sexuality and Social Justice\, UBC (Anthropology)\,  The University of British Columbia. \nDr Erin Baines\, School of Public Policy and Global Affairs\, UBC (Political Science)\, The University of British Columbia. \nDr Paolo Vignolo\, Universidad Nacional de Colombia\, (History)\, The University of British Columbia. \nNila Utami\, Transformative Memory Network Coordinator\, PhD Researcher\, Canada \nCate Turner\, Study Visit Coordinator\, Executive Director\, Healing Through Remembering\, Northern Ireland \n  \nPartners \nUlster University \nConflict Textiles \nHealing Through Remembering \nJustice and Reconciliation Project\, Uganda \nUniversity of British Columbia \nNational Museums NI\, Northern Ireland \nSmashing Times International Centre for the Arts and Equality \nThe Transformative Memory International Network \nThe Smashing Times Arts and Human Rights Network \n  \nPhD Organizing Group for the Transformative Memory International Network \nKetty Anyeko\, Uganda. Ph.D. candidate\, ISGP\, University of British Columbia \nFernanda Barbosa dos Santos\, Colombia. Ph.D. candidate\, University of British Columbia \nAlejandra Gaviria-Serna\, Colombia. Ph.D. student\, GRSJ\, University of British Columbia \nNila Utami\, Indonesia. Ph.D. candidate\, History\, University of British Columbia \nAaron Weah\, Liberia\, Ph.D researcher\, Law\, Ulster University \nPaula Surgenor\, Northern Ireland\, Ph.D candidate\, Anthropology\, Ulster University \nThe Artists\nThe artists in the exhibition are Mary Moynihan\, Writer\, Theatre and Film-Maker\, Artistic Director\, Smashing Times International Centre for the Arts and Equality\, Ireland; Amna Walayat\, visual artist and curator\, Pakistan and Ireland; Hina Khan\, visual artist\, Pakistan and Ireland; Sinead McCann\, Visual Artist\, Ireland; Erika Diettes\, visual artist and social communicator\, Colombia;  Fernanda Barbosa\, Visual Art\, Photographer\, Colombia; Alit Ambara\, visual and graphic artist and cultural activist\, Indonesia; Jeff Korondo\, solo musician\, Uganda; Juliane Okot Bitek\, Poet\, Canada; Peter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor at the Ontario College of Art and Design\, born in British Columbia\, Canada and identifying as a member of the Crow Clan;   Roberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile. The Conflict Textile pieces in the exhibition include works from Ana Zlatkes\, Argentina\, Linda Adams\, England\, Antonia Amador\, Spain\, Guadalupe Ccallocunto\, Peru \,Sabah Obido\, Syria\, Irene MacWilliam\, Northern Ireland\, Roland Agbage\, Nigeria\,  and Deborah Stockdale\, Republic of Ireland\, and donations of pieces from relatives of the disappeared in Chile\, Colombia and Mexico. Artworks are on display from the  Women’s Advocacy Network\, Uganda with photography by Diana Ajok and the work is represented by Abiya Fatuma and Docus Atyeno\, activists from Uganda\, who present on the Bead Project\, on Ugandan textiles and on the Women’s Advocacy Network. \n\n\n\nSmashing Times State of the Art: The Nation State as both Violator and Protector of Human Rights – Artist Development Programme for the Arts and Human Rights\, Supported by the Smashing Times Arts and Human Rights Network and Resource and Advice Service\n\n\n\nSmashing Times International Centre for the Arts and Equality runs an annual  Arts and Human Rights Artist Development programme called State of the Art; The Nation State as both Violator and Protector of human rights and is part of a programme of work supporting artists who are dedicating to use their art to promote equality\, human rights and diversity. The programme features performances\, exhibitions\, workshops\, talks\, mentoring and peer learning.  The programme is supported by the Smashing Times Resource and Advice Service (currently in development by Smashing Times) and the Smashing Times Arts and Human Rights network which is open to all artists\, activists\, citizens\,  communities\, human rights organisations and the general public to join. \n\n\n\nThe programme is  made up of three components. The first component is an Arts and Human Rights Artist Development programme bringing together artists through six exchanges and ongoing collaboration and research\, who are dedicated to using their artforms to promote equality\, human rights and diversity. \n\n\n\nThe second component is the creation of  new productions and exhibitions  to be presented for the annual Dublin Arts and Human Rights festival. For the 2022 Dublin Arts and Human Rights festival the company created State of the Art: Transformative Memories in Political Violence Multi-Media Installation and Exhibition on display at the Chocolate Factory\, Dublin 1\,  and at the dlr Mill Theatre Gallery\, Dundrum\, with MemoLabs consisting of Performances\, Workshops and Artist Talks. \n\n\n\nThe State of the Art: Transformative Memories in Political Violence multi-media exhibition is hosted at The Chocolate Factory\, King’s Inns Street\, Dublin 1\, and Gallery Space\, dlr Mill Theatre Dundrum for the 2022 Arts and Human Rights Festival (14-23 October 2022) presented by Smashing Times International Centre for the Arts and Equality and Front Line Defenders with a range of partners and supported by The Arts Council. The exhibition displays artworks reflecting at both personal and political levels on themes of arts\, human rights and transformative memory in political violence impacting on communities across the globe and  features artworks in a multitude of forms –  film\, video\, poster art\, visual art\, photography\, poetry\, song\, textiles\, sculpture\,  painting\, live performance and installation\, with artworks by artists from Ireland\, Northern Ireland\, Pakistan\, Colombia\, Indonesia\, Uganda\, Canada\,  Chile and Argentina. The Co-Curators are Mary Moynihan and Amna Walayat. Artists include Hina Khan\, visual artist\, Pakistan and Ireland; Sinead McCann\, Visual Artist\, Ireland; Erika Diettes\, visual artist and social communicator\, Colombia;  Fernanda Barbosa\, Visual Art\, Photographer\, Colombia; Alit Ambara\, visual and graphic artist and cultural activist\, Indonesia; Jeff Korondo\, solo musician\, Uganda; Juliane Okot Bitek\, Poet\, Canada; Peter Morin\, performance artist\, a Tahltan Nation artist\, author\, curator and professor;  Roberta Bacic\, Curator of Conflict Textiles\, Northern Ireland and Chile and artists and members of the Women’s Advocacy Network\, Uganda. In addition to the onsite exhibition\, a selection of work is available online via the Smashing Times Dublin Arts and Human Rights festival gallery.    \n\n\n\nThe exhibition is accompanied by MemoLabs\, a series of talks\, workshops and performances held as public events from the 14-16 October 2022\, Dublin and 17-21 October\, Belfast\, as part of State of the Art: Transformative Memories in Political Violence Multi-Media Installation and Exhibition in the 2022 Dublin Arts and Human Rights Festival. MemoLabs bring together artists\, activists\, community members and the public to explore the arts and themes of equality\, human rights and Transformative Memories in Political Violence. \n\n\n\nA chapter of the Transformative Memories was created and ran at the dlr Mill Theatre Gallery in Dundrum.  The State of the Art: Transformative Memories in Political Violence Visual Art\, Photography and Poetry Exhibition at the dlr Mill Theatre Gallery features the work of writer and artist Mary Moynihan and visual artist Amna Walayat responding creatively to themes of freedom\, change\, transformation\, power and control.  The exhibition runs from the 20 September to the 29 October 2022. \n\n\n\nThe third component of State of the Art is the holding of an annual Arts and Human Rights networking day held as part of the European Arts and Human Rights network which aims to bring together artists\, citizens\, communities\, human rights organisations and the general public and is open to all those interested in using the arts to promote equality\, human rights and diversity.  The annual networking day for 2022 consists of the Dublin Arts and Human Rights festival launch and the four MemoLab events held at the Chocolate Factory\, Dublin for the Transformative Memories in Political Violence exhibition. \n\n\n\n \n\n\n\nNetworks\n\n\n\nSmashing Times Arts and Human Rights Network \nThe Smashing Times Arts and Human Rights Network is open to all\, artists and activists\, organisations and individuals\, who believe in using the arts to promote equality\, diversity and human rights for all. The Network offers opportunities to meet\, discuss and explore human rights\, human rights defenders\, and the artists who use their work to stand up and speak out for the rights of others. The Network is free to join\, and includes information and resources emailed throughout the year. Join now: https://smashingtimes.ie/signupform/ \n  \nTransformative Memory Network \nEstablished in 2019 following nearly a decade of informal exchange and research collaboration between partners\, the Transformative Memory International Network is a collective of scholars\, artists\, social movement leaders\, community-based organisations and policymakers\, engaged with the question of what makes memory transformative of legacies of violence\, our sense of self and responsibilities to others. Network members are from Colombia\, Uganda\, Indonesia\, Canada and Northern Ireland. Our lines of inquiry and methodology build on knowledge exchange amongst Network members and partners around key questions: How do we remember responsibility for mass and state-sponsored violence? What do we learn from the strategies of powerful actors to deny responsibility? How does remembering responsibility shape present and future relations and ways of being together in land\, community\, country\, and global politics? \n\n\n\n\n\n\n\nOrganisations Involved / Partner Organisation(s):\n\n\n\nThe exhibition and accompanying MemoLab talks\, workshops and performances are presented in partnership with Smashing Times International Centre for the Arts and Equality\, Ulster University\, University of British Columbia\, the Transformative Memory International Network\, the Smashing Times Arts and Human Rights Network\, Healing Through Remembering\, Conflict Textiles\, Justice and Reconciliation Project\, Uganda and National Museums NI. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue Information:
URL:https://smashingtimes.ie/event/state-of-the-art-transformative-memories-in-political-violence/2022-09-26/
LOCATION:Chocolate Factory\, 26 King's Inn Street\, Dublin 1\, D01 P2W7\, Ireland
CATEGORIES:Exhibition,Film Screening,Installation,Interdisciplinary,Music,Poetry,Visual Art
ATTACH;FMTTYPE=image/jpeg:https://smashingtimes.ie/wp-content/uploads/2022/09/Hina-image-1-scaled.jpeg
ORGANIZER;CN="Smashing Times":MAILTO:info@smashingtimes.ie
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