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Irish Museum of Modern Art


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Studio 10 Adult Programme at IMMA

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Studio 10 at IMMA

If you’ve ever wanted to experience something more creatively hands-on in relation to IMMA’s exciting programme of changing exhibitions, there are several programmes that use exploratory art-making to give you a richer understanding of the artworks and exhibitions on show in the galleries. Developed and run by IMMA’s Engagement and Learning  department (previously called ‘Education and Community’) these programmes are facilitated both by invited artists and art practitioners and our in-house facilitators from IMMA’s Visitor Engagement Team. These art-making activities focus on creative process and experimentation and are incorporated into a whole range of programming that caters for families, children, teenagers, third level groups, and adults.

For this blog we spoke to Caroline Orr (Engagement and Learning) and Joan Walker (Visitor Engagement Team) to hear more about one of the longest running of these programmes – “Studio 10” . This art-making workshop series takes place in three or four week blocks on Friday mornings, 10am to 1pm, in an autumn/winter and spring/summer schedule.  Each block focuses on a single current exhibition and explores the themes and techniques used in the making of the artworks presented in the galleries.  This involves several visits and tours to the gallery spaces, and lots of discussion, which then leads to a practical session of making in the studio. Officially called the Adult Gallery/Studio Programme it has become known as “Studio 10” – the number of the IMMA studio in which the art-making takes place. “Studio10” is free of charge and you don’t need to book in advance, you can just drop along on the day. For more information about the current dates and topics please see our website http://www.imma.ie/en/subnav_8.htm#adults

To give you a better idea of what the workshops feel like, we’ve taken a closer look at a recent project developed by the group.  In November 2016 Studio 10 was exploring the work of Jaki Irvine’s new work: If the Ground Should Open.” which was on exhibition in the Courtyard Galleries. An IMMA Commission, the work is a multichannel video and sound installation commemorating the often forgotten role women played in the 1916 Easter Rising. Using themes from this work such as commemoration and the role of memory Visitor Engagement Facilitators Barry Kehoe and Joan Walker devised a specific workshop for Studio 10 participants to make their own collaborative video work. Joan describes how the idea came about and how the film was made:

Joan tells us more:

The idea for this workshop began by honing down the Jaki Irvine piece to its essential core, which is to honour the name of a remembered person. In her case it was the memory of the women who played important roles in the 1916 Rising. To say a person’s name can be powerful, even in general conversation. It makes us pay attention, it’s grounding and it makes us feel recognised.

When Barry and I took this idea to the Studio 10 group our first step was to ask the group to think about someone who had meaning for us; perhaps someone we loved, honoured or respected. This could be someone from the past or the present, someone known intimately or even someone we had never met. We sat quietly with our memories, letting them flow to the surface and allowing the chosen person’s name to fill our heads, fill our mouths with its vibrations and then to whisper and speak out that name and indulge in its vowels and rhythms. The next step was to take a pencil to paper and begin to write the name and then to progress this further by doodling with the name, playing with it, decorating it, growing it on paper. We spoke about illuminated texts where initials are glorified in gold and jewel like colours or the bright primaries of pop culture and writing the name like a popstar or in love hearts like sweethearts, the type carved in trees or graffiti on to bathroom doors.

Soon there was spontaneous writing, drawing or collaging. There was complete silence in the studio, the concentration was immense as everyone, locked in their thoughts, began a visual memorial to their chosen name.

At our next session the following week we introduced a selection of percussion instruments, to pick up from the music at the centre of Irvine’s work. We gathered in a circle and began to improvise with sound. In their own time each person allowed their special person to come forward in their mind and let it flow to their hands and their instruments so they could honour that name in sound. Immediately some people began to sing, hum or shout out their chosen name. The Studio filled with wonderful sound and the cacophony was all the time being recorded on a mobile recording desk.

Following this it was time to record the actual speaking of the chosen name. During the recording process many participants recounted cherished memories of their person. Neither Barry nor I could have anticipated the outpouring of honesty, emotion and rich tales that would go on to weave this wonderful tapestry of sound and vision.

The next and final stage was to photograph the drawings which were combined with the recordings to produce this truly heartfelt memorable piece of art.


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Behind the Blink – Go behind the scenes with the IMMA Collection: Freud Project Advertising Campaign

IMMA Collection: Freud Project is a landmark exhibition at the Irish Museum of Modern Art around one of the greatest realist painters of the 20th century, Lucian Freud (1922-2011). The current exhibition features a selection of 30 of the artist’s finest paintings and 20 works on paper.

To celebrate this extraordinary exhibition we asked Dublin-based advertising agency Irish International BBDO to created a 20 second advertisement for television, cinema, display, digital and social media that would capture the feeling of seeing a Freud work in the flesh. We absolutely loved the result, and hope you do to! Everything you see below was achieved in camera with NO special effects or computer generated imagery – this is a model sitting very, very still with her face brilliantly painted…with an eye-opening twist.  Don’t believe us? Read on to watch a time-lapse of the whole process.

Original 20″ Advert:

II BBDO Creative Director Dylan Cotter, who nicknamed the ad ‘facetime’, explains the concept:

The difference between looking at Freud’s portraits on a screen or in a book or catalogue, versus seeing them ‘in the flesh’ – is profound. Rachel and myself visited the exhibition in December and our reactions differed in many respects, but we both felt that. Part of it was the physics of the paint, the depth of it. And part of it was just spending time. For me, it was only after a little while of staring and exploring, that I noticed how in every portrait the eyes were these points of quite fierce stability amongst all these swirls and eddies of withering, weathering flesh.

We wanted to capture that in our ad.

Quite literally invoking people to see this work ‘in the flesh’; but also making that point on a more emotive and less literal level.

At the exhibition we read a quote from Freud, next to Man in a check cap: “As far as I’m concerned, the paint is the person. I want it to work for me just as flesh does.”

This sparked a thought with Rachel, to play with that relationship between the paint and the painted.

We were incredibly lucky to find a make-up artist here in Dublin – Caitríona Giblin – who is as good as anyone, anywhere, at achieving the effect we were after.

Behind-the-Scenes Timelapse:

We are very proud of the fact that the finished work was completely achieved in camera. One take, no cheats or fixes or embellishments, no CGI tricks. This is a real model with a painted face, standing in front of a painted backdrop (also by Caitríona), and opening her eyes.

It’s a simple and hopefully resonant comment on Freud’s ability to truly connect the viewer of the portrait with the subject of the portrait, in a startling and transcendent way. Go to the exhibition and you’ll see what we mean!

Like any piece of creative work, experimentation was an important part in the making of this ad. While the general concept and story had been planned before the final shoot took place, the team saw an opportunity to play with the idea and expand it further. The result is a series of videos where one is more playful and cheeky than the last.

Playful and dramatic:

Freud painted from life, and usually spend a great deal of time with each subject, demanding the model’s presence even while working on the background of the portrait. His portraits depict people he was close to; friends, family, lovers, and the like as he wished to capture his subjects alongside his interactions with them, stating:

The subject matter is autobiographical, it’s all to do with hope and memory and sensuality and involvement, really..

His subjects usually recall having to devote enormous amounts of their time for an uncertain period of commitment.  Freud’s portraits could take weeks or even months to complete and required extensive dedication and focus from his subjects which sometimes led to emotional and physical discomfort. Perhaps the following take is the result of a similar experience felt by the production team (we hope not!):

Our model had excellent control over her eyebrow muscles. We were impressed:

Kiss, kiss. Wink wink.

While the production team had a lot of fun directing these different takes during filming the restrained drama of the model’s first take was ultimately the most fitting and striking moment captured on the day. Her subtle movement beautifully translates the connection a viewer can feel when standing in front of one of Lucian Freud’s portraits.

We wish to extend our sincerest gratitude to the team at Irish International BBDO  and and all the individuals who donated their time and expertise to this campaign.

Creative Director: Dylan Cotter
Art Director: Rachel Foley
Producer and Editor: Georgia Stevenson
Post Production: Lee Miller
Account Manager: Lorna Begg
DOP: Martin Osborne
Makeup Artist: Caitríona Giblin
Model: Deirdre J Lynam
Kevin Breathnach (Avondale Studio)

IMMA Collection: Freud Project is now open. Tickets are available online and advanced booking in strongly recommended. Find out more here and book tickets here.


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To Be Determined (for Jean) – Dispatch from week two of the Emily Jacir workshop at IMMA

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As we enter the final weekend of Emily Jacir’s exhibition at IMMA ‘Europa’, ending this Sunday 26 February, we hear from Emily Jacir on the second week of her workshop “To Be Determined (for Jean)” which took place during the month of January in conjunction with her exhibition.

Conceived and organised by Jacir, in collaboration with IMMA, the workshop was based around a student collaboration with Jacir’s students from the International Academy of Art Palestine, Ramallah and a number of Irish students. IMMA invited colleges throughout Ireland to nominate students to participate, resulting in students from Limerick School of Art and Design (LSAD); Galway-Mayo Institute of Technology, Centre for Creative Arts and Media (GMIT  CCAM); the National College of Art and Design (NCAD), Dublin and Dublin School of Creative Arts, Dublin Institute of Technology (DIT).

In the second week of the workshop the students traveled to the Burren College of Art, Co. Clare where they worked with Conor McGrady and Áine Phillips. On their return to Dublin they participated in workshops by artists Gerard Byrne and Shane Cullen. Here we hear from Emily Jacir and the participants in the programme, both artists and students, on their reflections on the second week and what the workshop meant to them.

Read the blog from week one by Emily Jacir and the participants in the programme.


Emily Jacir’s new installation at IMMA, “Notes for a Cannon”, which she describes as throwing open her sketchbook, constellates histories of Palestine and Ireland in a magnetic field of correspondence and convergence. We could think of the two week-long workshop as aiming at something similar: not a process of instruction or “information delivery”, but an ongoing, collective sketch-work that kept discovering past and present interconnections between two sites that are geographically remote but bound together by actual and analogical links. Both the land and the culture of Ireland and Palestine are marked by imperialism and settler colonialism and by an enduring resistance to them. The fragmentary and episodic connections traced between them may look like the debris of historical damage, but are charged with the openness to the future that the imagination and forging of life in common inspires. – David Lloyd, Distinguished Professor of English at the University of California, Riverside.

My workshop To Be Determined (for Jean) started on 23 January at IMMA (read my dispatch from week one) and in our second week we kicked off by heading to the Burren College of Art on Sunday to spend a few days there. On the first day there we went to see the Atlantic Ocean and the Cliffs in the morning. Then it was back to the Burren College of Art (who hosted us and where we stayed) for Conor McGrady‘s seminar: “Visual Culture & The Irish Conflict: Incarceration, Resistance, & the State.”

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Conor McGrady Seminar at the Burren College of Art

On our second day at the Burren we started with a drawing seminar in the beautiful studios of the Burren College of Art, pictured below. This session focused on using drawing as a way for the students to process in their own language the many things they have been confronted with on this journey together.

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Drawing workshop, Burren School of Art

After lunch Áine Phillips presented us with her lecture entitled “Contemporary Live Art: Colonialism and Gender in Ireland”. This was followed by a field trip to an abandoned famine village. The day ended in the castle at the Burren College of Art where a fire was lit and local musicians and poets from County Clare came and shared their gifts with us.

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Burren College of Art was pleased to participate in Emily Jacir’s workshop, that brought a group of her students from the International Academy of Art Palestine to Ireland to work with students from four Irish colleges over a two week period. At BCA seminars were complimented with intensive discussion, reflection and visual documentation/drawing in response to issues impacting art and politics in Ireland and Palestine. Emily’s workshop comes in the wake of the centenary of the 1916 Easter Rising and at a critical conjuncture in contemporary global politics. In engaging with Ireland’s past and Palestine’s present, it posed important questions on the role of the artist in responding to the social, cultural and political legacies of colonialism and conflict. It was an honor to work with Emily in this important initiative, and to share time, space and discussion with such a dynamic group of committed and enthusiastic students.– Conor McGrady, Burren College of Art.

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The second week of the workshop was again a fantastic experience, travelling to the Burren gave a great insight into the more rural aspects of Irish history and culture, between that, the drawing workshop and an array of great lectures and discussions not to mention invaluable tutorials from a range of people at the top of their profession I have been left with new insights and a rich vain of useful ideas that can feed directly into my work now and into the future – Conor Burke (GMIT- CCAM)

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After our return to Dublin we wrapped up the last few days of the workshop with seminars with artists Gerard Byrne and Shane Cullen (pictured below) regarding their practice. Gerard and Shane and I also conducted one on one tutorials with the students to discuss their work and the new projects they are embarking on inspired by the workshop.

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Gerard Byrne, Emily Jacir and Shane Cullen

During the workshop we have been introduced to many inspiring people and stories. We are only beginning to process all the information, and I am sure it will stay with us for a long time. Being away from the college working structure, working with different artists is also a great opportunity for us to look at our own work from a wider perspective. Personally, I have not only found out more about Ireland and Palestine and their relationship, but also about my own identity and my own relationship with Ireland. – Oliwia Nowak (LSAD)

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Final dinner with artists, students, participants in IMMA’s Residency communal house.

The workshop has been over for nearly a month now and I’m still picking apart and digesting the experiences that were cultivated during those intense two weeks. In my mind, the second week of the workshop is a blur of wild landscapes hurtling past the windows of our bus, beautiful food shared with beautiful friends and songs sung in both familiar and unfamiliar languages (of which I still find myself idly humming along to). I rediscovered the power of drawing. I was reminded of the value of song and spoken word. I learnt about the importance of making work locally, for yourself and for your neighbours. It’s difficult trying to chronicle or sum up the happenings of the workshop and I think it would not be helpful to do so right now. I can only express my undivided gratitude to the many wonderful people I was fortunate enough to meet. May this be only the beginning. Yurika Boo.

Emily’s proposal for a student workshop, which she presented to IMMA’s Engagement and Learning team during the early planning stages of her exhibition, provided a way for IMMA to further explore how we can be a support and locus for research and student interaction. The collaborative approach of the workshop involved many individuals and organisations coming together through seminars, lectures, site visits, excursions, and also meals which provided important opportunities for the learning and experience to be digested. Taking place against the backdrop of Emily’s exhibition at IMMA, this student workshop provides a rich model for future student collaboration and exchange which we hope to build on in the development of IMMA as a site for research and learning. – Lisa Moran, Curator: Engagement and Learning, IMMA. 

Europa is in its final weekend, ending this Sunday 26 February. The exhibition is free. 



About the Author

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Emily Jacir. Photo John McRae, 2016.

Emily Jacir’s recent solo exhibitions include IMMA (Irish Museum of Modern Art), Dublin (2016 – 2017); Whitechapel Gallery, London (2015); Darat il Funun, Amman (2014-2015); Beirut Art Center (2010); Guggenheim Museum, New York (2009). Jacir’s works have been in important group exhibitions internationally, including the Museum of Modern Art, New York; San Francisco Museum of Modern Art (SFMOMA); Fondazione Sandretto Re Rebaudengo, Turin; dOCUMENTA (13) (2012); 5 consecutive Venice Biennales, 29th Bienal de São Paulo, Brazil (2010); 15th Biennale of Sydney (2006); Sharjah Biennial 7 (2005); Whitney Biennial (2004); and the 8th Istanbul Biennial (2003).

Jacir is the recipient of several awards, including a Golden Lion at the 52nd Venice Biennale (2007); a Prince Claus Award (2007); the Hugo Boss Prize (2008); the Herb Alpert Award (2011); and the Rome Prize (2015).

In 2003 O.K. Books published belongings. a monograph on a selection of Jacir’s work. A second monograph was published by Verlag Fur Moderne Kunst Nurnberg (2008). Her book ex libris was published in 2012 by Buchhandlung Walther König, Köln. In 2015 The Khalid Shoman Foundation published A Star is as Far as the Eye Can See and as Near as My Eye is to Me the most extensive monograph to date on Jacir’s work in English and Arabic. The most recent publication on her work are Europa which accompanies the exhibitions at Whitechapel and IMMA. Earlier this year NERO, Roma published TRANSLATIO about Jacir’s permanent installation Via Crucis at the Chiesa di San Raffaele in Milano.

She has been actively involved in education in Palestine since 2000 including PIVF and Birzeit University. Over the past ten years she has been a full-time professor and active member of the vanguard International Academy of Art Palestine in Ramallah. She conceived of and co-curated the first Palestine International Video Festival in Ramallah in 2002. She also curated a selection of shorts; “Palestinian Revolution Cinema (1968 -1982)” which went on tour in 2007. Jacir is on the faculty of Bard MFA in Annandale-on-Hudson, NY.


AZURE at IMMA – for people living with dementia and their family, friends and carers

Are you living with dementia or do you know someone who is? IMMA is one of the lead partners of a programme called Azure which aims to make art galleries and museums around Ireland dementia-friendly spaces. Azure explores how people with dementia-related conditions such as Alzheimer’s, and the people who care for them, can have a deeper involvement in cultural institutions and can participate in cultural activities.

Inspired by the ‘Meet Me at MoMA’ programme at MoMA, New York, Azure offers guided exhibition tours specifically designed to support people living with dementia and their family, friends or professional carers, to engage with the art work on show and enjoy a social museum experience.

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Being in the moment with visual art

Ciaran McKinney, Head of Arts and Culture at Age and Opportunity, says the arts are
increasingly recognised “as being really helpful for people living with dementia. In an interview with the Irish Times he spoke about how “It can be an experience of being in the now. It’s not about the past. Also, it’s not about needing to refer only to safe material. People with dementia have the same rights as the rest of us to be shown something that is challenging, new or avant garde. To really hate an art work is just as valid as loving a piece”.

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To Be Determined (for Jean) – Dispatch from week one of the Emily Jacir workshop at IMMA

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Workshop participants in session with David Lloyd and Emily Jacir at IMMA

This month we are presenting “To Be Determined” a workshop with artist Emily Jacir in conjunction with her current exhibition at IMMA – Europa (26 November 2016 – 26 February 2017). Conceived and organised by Jacir the workshop is based around a student exchange and we are delighted to welcome her students from the International Academy of Art Palestine, Ramallah to Dublin. They are in IMMA to work with Irish students from colleges around Ireland including Limerick School of Art and Design (LSAD); Galway-Mayo Institute of Technology, Centre for Creative Arts and Media (GMIT  CCAM); the National College of Art and Design (NCAD), Dublin and Dublin School of Creative Arts, Dublin Institute of Technology (DIT).

The workshop is taking place over two consecutive weeks in IMMA and also in a number of locations around Ireland, including Belfast, the Centre for Contemporary Art, Derry/Londonderry (CCA Derry~Londonderry), and the Burren College of Art, Co. Clare. Jacir has invited a number of artists and writers to contribute to the workshop including Gerard Byrne, Shane Cullen,Willie Doherty,David Lloyd, Declan Long, Conor McGrady, Áine Phillips, and Maggie Royanye. Below we hear from Emily Jacir and the participants in the programme, both artists and students, on their reflections after week one.


IMMA are hosting a brilliant initiative right now, as part of the extended Engagement and Learning programme around Emily Jacir’s show. Together with the museum, Emily has brought together a group of nine students, from the International Academy of Art Palestine, GMIT, LSAD, DIT and NCAD, for an intensive series of discussions and reflections around the politics and the art of Ireland and Palestine through the prism of Post-Colonialism. Parallels as well as differences are being teased out in the IMMA artist residency studios, as well as on bus trips to Belfast, Derry, and the Burren School of Art, where students are tapping into a network of ties that Emily has built up on Ireland and abroad with some of the more challenging and interesting Irish artists, including Willie Doherty, Shane Cullen, and writers like David Lloyd, and Declan Long. I’m involved, and really enjoying it.

Gerard Byrne (Artist)

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Artist Emily Jacir with workshop participants in her IMMA exhibition Europa

My workshop To Be Determined (for Jean) kicked off last Sunday January 23rd at the Irish Museum of Modern Art. My students from the International Academy of Art Palestine, Ramallah, joined Irish students from colleges around Ireland to take part in a workshop I designed and organized in conjunction with my show at IMMA Europa (26 November 2016 – 26 February 2017).

It was very important for me to conduct this workshop in tandem with my show for many reasons but namely because of the long relationship I have with Ireland its impact on my work. Many of the themes which run through my exhibition at IMMA are being touched upon in this workshop. Additionally the colleagues I have invited to contribute to my workshop are people I have been working with for decades and almost all have worked in Palestine. So the workshop is not only built along the lines of my own research, explorations and interests but also in line with a long history of exchange and collaboration with Willie Doherty, Conor McGrady, Gerard Byrne, Shane Cullen, and David Lloyd among many others.

In my view this workshop also joins an enduring history of solidarity between Ireland and Palestine and so we will also be investigating not only that history of solidarity and collaboration but also the current situation of Palestinian prisoners (the role of prisoners in both Ireland and South Africa played crucial roles in ending those conflicts) as well as popular techniques used by the Irish (and also South Africans) which have served to inspire Palestinian efforts to resist occupation.  As Europa opened during the centenary of the 1916 Easter Uprising and with the shared history of British colonial rule in Palestine and Ireland (remnants of which still abound today) it was especially crucial to me to bring these students and thinkers together to examine these histories in a critical way.

This workshop has been such an amazing experience, from the trips to historically significant sites in Dublin, Belfast and Derry to the interaction with other students from Ireland and Palestine. The sharing of different views, opinions and ideas it has provided so much food for thought and source material for the development of artistic works. The warmth and hospitality of the accommodation has only been exceeded by that of all the people I have met at this workshop. – Conor Burke (GMIT – CCAM)

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Workshop participants on the Falls Road in Belfast

It has been amazing to meet the other students from Palestine and Ireland; sharing our perspectives and discussing our ideas has been mentally stimulating. The seminars, lecturers and visits to Northern Ireland taught me more about the conflicts and history, as well as learning more about the history and present of Palestine. Overall, the workshop has been overwhelmingly rich and fascinating, and I’m honoured to be a part of it. – Tuyen Tran (DIT)

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At the core of this workshop is a focus on the events and discourse surrounding the Easter Uprising of 1916 in Dublin. For this reason it was essential to me to organize a visit to Kilmainham Gaol (above) and the Royal Hospital Kilmainham (where IMMA is housed) upon arrival in Dublin so that the students would understand the site and buildings in which we are working in and having our discussions in. I invited my colleagues to lead seminars that would interrogate themes such as resistance, the right of return, martyrs, independence, remembrance and commemoration from a variety of different perspectives.  We kicked off the first half of the week with a fantastic seminar led by David Lloyd called “Founding Violence:Rethinking Easter 1916”.

In investigating the postcolonial condition of Ireland, we are examining how this violent colonial history and these invasive disruptions of social, cultural, religious and political orders play out in contemporary Ireland today and how it continues to shape our present condition.  Wednesday we headed to Belfast for a tour of the Falls Road Murals guided by a former political prisoner. This was followed by a seminar with former political prisoners from the Republican and the Loyalist communities, as well as a former British soldier.

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After our return to IMMA we continued the workshop with a couple of seminars led by artist Gerard Byrne exploring the role of the artist in imagining the state. In smaller group meetings with Gerard, the students were able to start to process the impact of the workshop in relation to their own practices. Declan Long’s seminar on Friday “Ghost Stories: Contemporary art and the uneasy peace of post-conflict Northern Ireland” (above) presented us with various forms of concrete examples of art projects.

We completed this first week with a trip to Derry, which included a seminar with Willie Doherty at CCA (where we were hosted by CCA Director Matt Packer and Curator Sarah Greavu . Willie spoke about his practice and his very personal relationship to this place and then led us on an intimate walking tour of Derry which included the sites of his works, as pictured below.

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Being in Ireland made me realize even more that fighting against injustice, oppression and discrimination is a global fight and not only a Palestinian one, regardless of demographics, geography, culture or religion. Also, listening to all these historical and social struggles the Irish overcame drew a very promising picture of freedom in the near future for Palestine.

Also, being around the liberal and distinguished minds of the Irish and Palestinian students, and having the opportunity to visit the outstanding artworks at IMMA has been a great influence and motivation on me.

In short, I just loved the smiling faces, the loving hospitality and the passion for politics I’ve seen in the Irish. – May Marei (IAAP)

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Workshop students and participants eating lunch together in IMMA’s artist studios

You can hear more from Emily about her current exhibition at IMMA here (video) The exhibition is free of charge and runs at IMMA, Dublin until 26 February 2017.

 

About the Author

jacirsampietrini2016_photo-john-mcrae-2016

Emily Jacir. Photo John McRea, 2016.

Emily Jacir’s recent solo exhibitions include IMMA (Irish Museum of Modern Art), Dublin (2016 – 2017); Whitechapel Gallery, London (2015); Darat il Funun, Amman (2014-2015); Beirut Art Center (2010); Guggenheim Museum, New York (2009). Jacir’s works have been in important group exhibitions internationally, including the Museum of Modern Art, New York; San Francisco Museum of Modern Art (SFMOMA); Fondazione Sandretto Re Rebaudengo, Turin; dOCUMENTA (13) (2012); 5 consecutive Venice Biennales, 29th Bienal de São Paulo, Brazil (2010); 15th Biennale of Sydney (2006); Sharjah Biennial 7 (2005); Whitney Biennial (2004); and the 8th Istanbul Biennial (2003).

Jacir is the recipient of several awards, including a Golden Lion at the 52nd Venice Biennale (2007); a Prince Claus Award (2007); the Hugo Boss Prize (2008); the Herb Alpert Award (2011); and the Rome Prize (2015).

In 2003 O.K. Books published belongings. a monograph on a selection of Jacir’s work. A second monograph was published by Verlag Fur Moderne Kunst Nurnberg (2008). Her book ex libris was published in 2012 by Buchhandlung Walther König, Köln. In 2015 The Khalid Shoman Foundation published A Star is as Far as the Eye Can See and as Near as My Eye is to Me the most extensive monograph to date on Jacir’s work in English and Arabic. The most recent publication on her work are Europa which accompanies the exhibitions at Whitechapel and IMMA. Earlier this year NERO, Roma published TRANSLATIO about Jacir’s permanent installation Via Crucis at the Chiesa di San Raffaele in Milano.

She has been actively involved in education in Palestine since 2000 including PIVF and Birzeit University. Over the past ten years she has been a full-time professor and active member of the vanguard International Academy of Art Palestine in Ramallah. She conceived of and co-curated the first Palestine International Video Festival in Ramallah in 2002. She also curated a selection of shorts; “Palestinian Revolution Cinema (1968 -1982)” which went on tour in 2007. Jacir is on the faculty of Bard MFA in Annandale-on-Hudson, NY.