JOUISSANCE- barcelona- july 2013

The displacement of the individual to an unknown geografic space, as a deliberated act of placing oneself in an alien context, becomes a journey not only spatial but vital, it transforms the traveler in the fundamental protagonist of a challenge, a challenge that often gets initiated with the acceptation of loneliness.

In this new start or initiative voyage, the main anchor originates in oneself and one's epidermic border that keeps us apart from the external chaos, the hostility of what is strange, the initial disagreement with the surrounding.

Nonetheless we are able to enjoy the freedom that anonymity confers us, to appreciate the possibilities that uncertainty offer us, the rupture with the happenstance that use to constrained us. And this experience transport us to a vertiginous pain, to a delight (jouissance) that place us in discomfort’s anteroom.

But this trip is also a process of osmosis and to exist within unalike realities implies the conversion of the language, the domestication of new sceneries, the acceptation of the otherness. To be someone else being oneself.

The creative fertility of these diaspora identities, materialises through a drawing or a poem, and becomes a subjectivated work lying crossways by a volatile state of mind, aroused by the permanent provisionality.

The peculiarity of this project is, without a doubt, the creative communion of two different exile experiences, uprooting , voluntary expatriation, searching inspiration in cultural contexts diametrically different but, nevertheless, bonded in an imaginary community.

^{jouissance or a painful excess of pleasure urges a return to the origins, origins that after such a long absence are perceived in an altered way but in the memory are kept intact.}

Barcelona becomes the reencounter space that allowed us overcome the servitude of distance.



See installation shots;

THE FOUNDING PHANT, Ormston House, Limerick

Please join us for the preview of The Founding Phant during the Riverfest celebrations on Saturday 4 May from 6-8pm. Alan Magee | Alan Phelan | Anitra Hamilton | Bryan Moore | Caroline Doolin | Darya von Berner | Deirdre Power | Kristian Smith | Levin Haegele | Oisín O'Brien | Padraig Robinson | Róisín McArdle | Sarah Lundy | Tara Woods-Moran | Vanessa Donoso López Curated by Paul Quast and Joan Stack Exhibition dates: 5 April - 18 April 2013 www.prequel-ormstonhouse.com www.ormstonhouse.com Detail from Freedom of the City (2013) by Deirdre Power, framed photograph and article from the Limerick Leader, 70cm x 70cm. Photo credit: Dermot Lynch. Society today is comprised of a series of spectacles which aim to inspire, astound and encourage reverence to anything which appears striking, out of the ordinary or impressive in nature. Whether the spectacle exists through some exploitation of physics, technology, discovery, détournement or even the intrusion of the extraordinary into the mundane, the ever-evolving nature of the term 'spectacle' remains deeply associated with and reflective of the culture in which it appears; "The spectacle is not a collection of images; rather it is a social relationship between people that is mediated by images.”1 Critical theories state that spectacles manifest themselves as an enormous positive event which exists for the sole purpose of identifying aspects which are unnatural and that the monument of their success becomes their eventual downfall from prestige. However, it is with their striking rise to prominence that spectacles serve the purpose of informing and educating viewers of the reasons behind their reverence. They are a vital part of the way the world is viewed and have been a cornerstone for inspiring the pursual of knowledge, understanding and celebration over millennia. The foundation for this open call began as a challenge to artists to create their own spectacle in society equal to that of an aged spectacle to take place in Limerick City 200 years ago. The starting point for this challenge stemmed from a Limerick newspaper article,2 published on the 4th May 1813, which detailed the first elephant to visit Limerick City (housed on the site of the current 9-10 Patrick Street building). ____________________________________________________________ 1.  Society of the Spectacle, Debord, Guy. Zone Books, 1967. 2.  Limerick Chronicle, 4th May 1813 edition.

follow on Twitter | friend on Facebook | forward to a friend   Ormston House Gallery, 9-10 Patrick Street, Limerick City, Ireland info@ormstonhouse.com www.ormstonhouse.com Ormston House is open Wednesday-Saturday 12-6pm or by appointment

40/40/40 - MADRID / WARSAW / ROME - 2013

40/40/40 Exhibition - Atrium, 51 St. Stephens Green, Dublin 2.Mon, 25 Feb 2013
40/40/40 is a travelling exhibition of contemporary art works from the Irish State Art Collection organised by the Department of Foreign Affairs and Trade and the Office of Public Works. 　
The artworks have been created by 40 artists under the age of forty, who are Irish or have chosen to base themselves in Ireland.　 It is in celebration of the 40th Anniversary of Ireland as a Member State of the EU.

The works reflect the current art practice of these artists and cross a variety of media
– photography, drawing, sculpture and painting. The unique vision of each artist reflects the diversity of new work being created on our island.　 The exhibition will take place between the months of March and July and will travel to three cities in Europe – opening first in Madrid (March/April), then to Warsaw (May/June), and lastly Rome in June and July 2013.

Look at the PDF catalogue:    http://www.opw.ie/en/media/404040%20Catalogue.pdf


Pictured with Minister Brian Hayes in the Atrium in 51 St Stephen's Green, Dublin 2 yesterday were:

(L-R) Ministers of State Brian Hayes and Lucinda Creighton pictured with exhibiting artist Vanessa Donoso Lopez. Her piece is entitled "Wild Hybrid Ceramic Animals Adiestrator".

(L-R) Ministers of State Brian Hayes and Lucinda Creighton pictured with Jacqui Moore,

Art Advisor for the OPW.

　
　

(L-R) Ministers of State Brian Hayes and Lucinda Creighton pictured with exhibiting artist Colm MacAthloach. His piece is entitled "Hallelujah".

(L-R) Ministers of State Brian Hayes and Lucinda Creighton pictured with exhibiting artist Michelle Considne. Her piece is entitled "Road Diverted".







La VANGUARDIA.com

Conde Duque inaugura este miércoles una exposición de arte contemporáneo irlandés

MADRID, 19 (EUROPA PRESS)

El Conde Duque inaugura este miércoles una exposición de arte contemporáneo irlandés que conmemora el 40 aniversario de la entrada de Irlanda en la Unión Europea y la actual presidencia irlandesa, según ha informado el Ayuntamiento de Madrid.

La muestra, que permanecerá en la Sala 2 del centro hasta el próximo 20 de abril, se titula '40/40/40' e incluye 43 obras de diverso formato -ilustración, escultura, pintura y fotografía-, creadas por 40 artistas menores de 40 años, irlandeses o residentes en Irlanda. 

Entre ellos se encuentran Lisa Gingles, originaria de Belfast, que estudió en Inglaterra y ahora vive y trabaja en Valencia, y Vanessa Donoso López, nacida en Barcelona y que ahora vive y trabaja en Dublín.

El proyecto '40/40/40' refleja la influencia de esa adhesión en la sociedad, la vida cotidiana y el arte irlandés contemporáneo, así como la diversidad del panorama artístico irlandés contemporáneo. Tras su presentación en Madrid, '40/40/40' viajará a Varsovia y Roma. 

Esta muestra forma parte de un programa más amplio puesto en marcha por el Gobierno irlandés bajo el título 'La cultura conecta', que fomenta las conexiones culturales entre Irlanda y el resto de Europa, en cuyo marco se organizarán diferentes eventos en todos los estados miembros de la Unión Europea, a lo largo de la presidencia irlandesa.

El mismo miércoles se celebrará un acto de inauguración que contará con la presencia del director general de Museos y Música del Ayuntamiento de Madrid, Juan José Herrera de la Muela; el embajador de Irlanda, Justin Harman; el secretario de Estado de Cultura, José María Lasalle; el secretario de Estado de la Unión Europea, Iñigo Méndez de Vigo, y la artista irlandesa Lisa Gingles.

Esta exposición se suma a las dos muestras fotográficas que acoge actualmente el Conde Duque, 'Miradas de Asturias', de Alberto García-Alix, y 'Hereros: Pastores ancestrales de Angola', con imágenes de Sergio Guerra.

Leer más: http://www.lavanguardia.com/local/madrid/20130319/54369425414/conde-duque-inaugura-este-miercoles-una-exposicion-de-arte-contemporaneo-irlandes.html#ixzz2OedWxmRl
Síguenos en: https://twitter.com/@LaVanguardia | http://facebook.com/LaVanguardia

Mas artículos en castellano relacionados;

*http://www.lavanguardia.com/local/madrid/20130319/54369425414/conde-duque-inaugura-este-miercoles-una-exposicion-de-arte-contemporaneo-irlandes.html

*http://ecodiario.eleconomista.es/cultura/noticias/4686216/03/13/Una-muestra-del-arte-irlandes-contemporaneo-llega-a-Madrid.html

*http://www.euroxpress.es/index.php/noticias/2013/3/20/madrid-hasta-el-20-de-abril/

*http://www.esmadrid.com/condeduque/cargarFichaEvento.do?anio=0&texto=&identificador=1018422&idSala=0&fechaDesde=&idCategoria=0&fechaHasta=

*http://www.ociopormadrid.es/2013/03/404040-arte-irlandes-contemporaneo-en.html

*http://www.hoyesarte.com/exposiciones-de-arte/en-cartel.html?start=8

*http://www.europapress.es/madrid/noticia-conde-duque-inaugura-miercoles-exposicion-arte-contemporaneo-irlandes-20130319172916.html
*http://alsalirdelcurro.wordpress.com/

'Thick, turgid and lacking in soothing oil' ORMSTON HOUSE, Limerick

    Vanessa Donoso López, 'Mama, threads are not just for sawing'.



"Thick, turgid and lacking in soothing oil"

Winter Members' Exhibition curated by Joe Duggan and Mike Fitzpatrick Preview:
Thursday 24 January, 8-10pm Exhibition dates: 25 January - 16 February 2013

Please join us for the preview of our Winter Members' Exhibition featuring works by John Burke, Angela Darby, Vanessa Donoso Lopez, Levi Hanes, Ramon Kassam, Emmet Kierans, Bartosz Kolata, Chris Leach and Frances Leach on Thursday 24 January, 8-10pm.

At the request of Mary Conlon, London-based artist Joe Duggan and I selected this year’s OHM exhibition and we must apologise for several reasons, firstly for not selecting the 100 plus other members. And there are many other reasons for APOLOGISING for what we selected! Too much thick turgid painting, the use of brown paint in particular and some of it, just plain messy and more so works which are deliberately not beautiful. We are also responsible for selecting tiny ‘big’ drawings, why couldn’t they have been bigger? We accept the blame for the inclusion of specific stylistic ‘neo-contemporary’ figurative works, some of which are rather wonderful silent screaming paintings, depressing yes, but in that rather charming film noir cropped manner.

One large print work represents the making of old symbolic money (slightly different from the current IOUs we are allowed to use) weaving a lost cause Lady Lavery genuflecting to a past nostalgia. Handmade symbol of wealth left out in the rain. Sure we all know that wet damp feeling, afraid we are going to seize up in a country lacking in soothing oils or lacking any oil. There are also installations of works including bunting, brains and lampshades. Finally we included a video work which shows plastic bags billowing with air created by blowing wind out of a dustbin, empty but evocative.

Ormston House, the exhibition space conceived and brilliantly directed by Mary Conlon, with the assistance of a group of present and past LSAD students, are currently hosting their Winter Members' Exhibition. Conlon came to Limerick as the third Shinnors Curatorial Scholar, the collaboration between Limerick City Gallery of Art and Limerick School of Art and Design, LIT. She brought the space into being as part her on-going PhD curatorial research with the help of the Creative Limerick initiative of Limerick City Council which allows underused commercial spaces to become sites of cultural activity. Ormston House have developed a significant reputation over its short history. There is something highly energetic and smart about how the space is curated and organised on a minuscule budget with voluntary labour. One is struck by how this space demands standards that seem way beyond its means.

PS: A must-see show, with some of our best, brightest and unabashed artists, who just really enjoy making work that some of you will love.

Mike Fitzpatrick

Ormston House Gallery, 9-10 Patrick Street, Limerick City, Ireland

info@ormstonhouse.com

www.ormstonhouse.com

Ormston House is open Wednesday-Saturday 12-6pm or by appointment



HIGHLIGHTS OF THE YEAR 2012, The Irish Times Aidan Dunne

http://www.irishtimes.com/newspaper/features/2012/1227/1224328176466.html

Empty pockets, but rich pickings in art

'

     Vanessa Donoso López. 'It never rains to everybody's taste'

    Queen Street Studios and Gallery, Belfast.2012  

    Photo; Tony Corey
   

                           

AIDAN DUNNE

Despite a lack of funding and reduced support in 2012, artists rose to the challenge and created brilliant work
Early this year, two important positions in the Irish art world were filled after prolonged speculation. Sarah Glennie took over as director of Imma, following the highly successful tenure of Enrique Juncosa, and Sean Rainbird took the reins at the National Gallery, following the retirement of Raymond Keaveney, long a steady hand in one of our most closely watched, jealously regarded national institutions.
Glennie and Rainbird took on formidable challenges, some overlapping. They both had to face directly into talks about the startling, Twilight-like resurrection of the plan to amalgamate Imma, the National Gallery and the Crawford Art Gallery. Both of them are dealing with very difficult budgets, with serious implications for programme planning, acquisitions and staffing. And their two galleries are undergoing significant renovation and refurbishment, necessitating the closure of Imma’s main galleries and a large proportion of the National Gallery at Merrion Square. Encouragingly, the signs so far are that they are more than up to the challenges.
Not everything in the garden was rosy, however. Opened in 2009, Carlow’s Visual National Centre for Contemporary Art ran smack into the recession from the word go. The board’s decision not to renew director Carissa Farrell’s contract, despite praise for her programming, signalled a rethink about how it functions.
Visual is a large-scale venue and there’s been comment that its scale is at variance with its location. To build an audience commensurate with the scale of the galleries would take time and thoughtful work, and the town may have nursed unrealistic expectations, perhaps based on the enthusiastic response to the annual Éigse festival. But while audiences can be relied upon to flock to festivals, they are less likely to attend regular exhibitions.
Interestingly, Athlone has taken a different tack with its recently opened Luan Gallery. It is capacious but modestly scaled, in a carefully adapted and transformed, widely liked building, centrally positioned in the town. A studio residency schedule and arts workshops were in place a year in advance, and the gallery is linked to another tourist amenity, the adjacent castle. Expectations seem realistic.
Andy Warhol’s aphoristic equation of art with business is not unrealistic or unreasonable if you consider the international art market and headline news stories. People routinely equate art and market value, as though it’s like winning the lottery. By that reckoning, monetary value is the bottom line. But long before the auction houses, the oligarchs and the headline writers get there, art is born out of passion and conviction far removed from the profit motive. There are perpetual efforts – so far not entirely successful – to keep it outside of that domain completely.
In the middle ground, we have “commercial” galleries, mostly run by people who are, indeed, passionate and committed. If they weren’t, we would not have anything like the number of galleries that currently survive here. In the new Ireland, everybody owes money or is owed money and artists and gallerists are no exception. Year on year, the art market is struggling. Routinely, artists subsidise their art. They make work because they feel compelled to, but it costs rather than earns them money.
While we have a public gallery infrastructure, generally within the framework of regional arts centres, they are under pressure because national and local funding has been squeezed, and unfortunately artists are at the bottom of the food chain. If that sounds bleak it’s because the situation is quite bleak. Witness Visual and the cash-strapped Letterkenny Regional Arts Centre, or the question over the future of Galway’s 126 artist-run gallery, which has lost its very modest funding.
Against this background it is perhaps surprising that the contemporary art scene is so lively. Limerick, for example, was a centre of activity, and not alone because of the return of Eva and the continuing vitality of the Limerick City Gallery of Art with new director Helen Carey. In the absence of money, the city has incentivised cultural enterprise in other, imaginative ways, aiding such initiatives as Ormston House and Limerick Printmakers. Other projects, such as Askeaton Contemporary Arts and Belltable’s revived visual arts programme (Michelle Horrigan is the link between the two) lend depth to contemporary arts in the region. Similarly, Belfast seemed quite energised this year, with innovative venues operating in tandem with more established galleries and the MAC.
Perhaps surprisingly, it was a very good year for exhibitions, though there were fewer of them; it may be no harm that runs are longer. Some of the impressive large-scale shows countrywide included Merlin James’s survey at the Douglas Hyde Gallery, David Mach’s blockbuster biblical sculpture and collages in Precious Light at the Galway Arts Festival, and Paul Mosse and Hans Op de Beeck’s equally superb exhibitions at the Butler Gallery in February and August respectively.


Summer treats
The work of the great figurative sculptor Hans Josephsohn, who died during the year, was ideally located at Lismore Castle as its summer exhibition. Simon Norfolk’s Crawford Gallery show was a fascinating dialogue with the work of the 19th-century Irish photographer John Burke, whose steps he retraced in Afghanistan.
Making Familiar at Temple Bar Gallery was a serious attempt to consider the state of contemporary painting, curated by Robert Armstrong and James Merrigan. Among many solo shows of note were Jennifer Cunningham at the Galway Arts Festival, Sam Keogh’s Terrestris, his fantastic contribution to Conjuring for Beginners at the Project in July, Charles Tyrrell at the Taylor Gallery, Willie Doherty and Callum Innes at the Kerlin, Mary Lohan at the Hamilton in Sligo and, with David Quinn, at the Fenderesky in Belfast, and Vanessa Donoso López’s It never rains to everyone’s taste at Queen Street Studio’s gallery. And The Tale of the Bamboo Cutter, a set of scrolls based on the oldest work of Japanese prose fiction, newly restored, made a stunning exhibition at the Chester Beatty Library in the summer.
It was a little disappointing, in May, that Ireland’s favourite painting – beating off Vermeer, no less – turned out to be Frederic William Burton’s Hellelil and Hildebrand, the Meeting on the Turret Stairs, at the National Gallery. It is undeniably and enduringly popular with gallery visitors, as postcard sales attest. At the same time, it is a stolid rather than an outstanding or exciting piece of work, and in terms of subject matter and treatment it is a prime slice of Victorian schmaltz.
Sadly, two great artists died this year: Louis le Brocquy, a towering figure in 20th century Irish art, and Paddy Jolley, one of the most ambitious and brilliant younger artists to have emerged in years.
5 best shows of 2012 Skating in Wyoming, snipers in Sarajevo and a new era for Eva
The Josef Albers show at the Glucksman in April was a landmark. Made possible through the commitment of The Josef Anni Albers Foundation in the US, and particularly director Nicholas Fox Weber, the exhibition was a richly textured, remarkably well-rounded survey of the life and work of one of the most celebrated abstract artists of the 20th century. The only flaw was the presentation of Albers as the Sacred Modernist and a Catholic artist. The work suggested these were peripheral concerns.

Limerick’s Eva embarked on a new era. The exhibition After the Future opened in June under the auspices of new director Woodrow Kernohan. Guest curator was Dutch-based Annie Fletcher. Together, they produced an impressive, international event. Fletcher had in mind art that articulated alternative ways of dealing with contemporary, often oppressive realities. Outstanding highlights included Pilvi Takala’s inventive take on corporate life (documenting her experience as a trainee in Deloitte ), Adrian O’Connell’s dramatic Library and Ailbhe Ní Bhriain’s poetically surreal video installation.

Brian Duggan’s Everything can be done, in principle, the centrepiece of Éigse at VISUAL in Carlow, involved building a rollerskating rink in a facsimile of an 1890s Wyoming timber bar in the gallery, and providing skates for visitors. For everyone, including curator Helen Carey, it was a huge undertaking. The inspiration was Michael Cimino’s cult 1980 film, Heaven’s Gate, which went famously and ruinously over budget. Duggan’s work is fascinated with the idea of failure, and the notion of community, each and in combination very relevant to Ireland now.

Anri Sala’s 1395 Days Without Red, at Imma, Earlsfort Terrace, in June, is a collaboration between Sala, New York-born composer and conductor Ari Benjamin Meyers and French filmmaker Liria Bégéja. Set during the Siege of Sarajevo, from April 1992 to February 1996, it ingeniously charts the progress of a woman – actress Mirabel Verdú – on her way to work (with the Sarajevo Symphony Orchestra, which never gave up through the siege), as Serbian snipers fired at will.

Imma’s Alice Maher survey, Alice Maher: Becoming, at Earlsfort Terrace, from October, is a triumph, striking a lively balance between older and new work. The title indicates Maher’s fascination not just with metamorphosis, but also with how, as individuals, we carve out personal identities in the midst of institutional conditioning. Don’t miss it.

'it never rains to everybody's taste' Queen Street Studios and Gallery, Belfast

   Installation shot. Queen Street Studios and Gallery, Belfast.

Opening - Thursday 1st November 2012   18-21hrs

Artist Talk - Thursday 1st November 2012 at 17hrs

Exhibition Dates - 01.11.2012- 01.12.2012

 

Vanessa Donoso López  practice is committed to explore concepts of transicional phenomena and 'objecthood'. 

The original notion of this concept whas used by the psichoanalist Donald Winnicott to describe the intermediate area of human experience between inner reality and the outside world. Within this field the basis of play and culture forms. Through play, Donoso López creates transitional objects while exploring how extreme alterations of context can modify the understanding, content and perepcion of transicional phenomena.

Videos related to this works hosted in www.vimeo.com

Hard working needle; https://vimeo.com/54372086
Fugitive Dolls; https://vimeo.com/54373279
Experiment #3; https://vimeo.com/54370123
Belgian bag; https://vimeo.com/54368451
Four; https://vimeo.com/53550791
My neighbours upstairs...; https://vimeo.com/54312712

'Hard working needle'.

Queen Street Studios and Gallery, Belfast.

    Installation Shot. Queen Street Studios and Gallery, Belfast.

     Installation Shot. Queen Street Studios and Gallery, Belfast.



 

Late Night Opening - Thursday 1st November 2012   18-21hrs

Artist Talk - Thursday 1st November 2012 at 17hrs

Exhibition Dates - 01.11.2012- 01.12.2012

Gallery Open Tues-Thurs 10am - 5pm or by appointment

Queen Street Studios Gallery  

3rd Floor

37-39 Queen Street

Belfast

BT1 6EA

tel; 00 44 (0)28 90 24 31 45

email;gallery@queentstreetstudios.net | web; www.queenstreetstudios.net

www.vanessadonosolopez.com

www.vanessadonosolopez/blogspot.ie

METAMORPHOSIS, PS2, Belfast

Stephen Brandes (UK),Vanessa Donoso López (ES), Priscila Fernandes (PT), Cainneach Lennon (IE),

Tom Molloy (IE), Ann Murphy (IE), Magnhild Opdøl (NO), Andrea Spencer (UK).

Curated by Rowan Sexton.

There is grandeur in this view of life, with its several powers, having been originally

breathed into a few forms or into one; and that, whilst this planet has gone cycling on

according to the fixed law of gravity, from so simple a beginning endless forms most

b e au t i f u l and mos t wonde r f u l h ave b e e n , and a re b e i n g , evol ved.

- Charles Darwin,

The Origin of Species, 1859.

Metamorphosis alludes to the process of transformation, where a profound change of form,

structure or substance occurs. This exhibition aims to establish clear associations between art and the natural sciences, and to contextualize these dual frameworks, where significant cultural

common ground exists. The biological mechanisms of growth, change and evolution are examined

in tandem with material, philosophical and conceptual concerns within the visual arts. Highlighting

the mutual elements in these distinct disciplines opens up a discourse, which emphasizes

experimental overlaps, perception and interpretation, in an historical and contemporary context.

At its core, Metamorphosis aims to explore the dynamic relationship between art and the natural

sciences. Each of the artists involved has a unique approach to the dual topics under consideration,and their diverse interpretations encompass a multitude of styles and methodologies. The exhibition encourages a deep integration between both disciplines, and incorporates artworks that investigate experimentation, hybridity, physiological studies, psychoanalytical models, musical interpretation, the historically traditional métier of taxidermy, the specialised craft of glass blowing and sculptural interventions within the space.

Opening Reception at PS2, Friday 19 October, 6 – 9pm.

METAMORPHOSIS continues 19 October – 10 November 2012.

PS2, 18 Donegall Street, Belfast BT1 2GP |

Open: Tuesday - Friday: 1-5pm, Saturday: 11am-3pm.

    Vanessa Donoso López 'Soakers, from B to B', 2012