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I Went to the Woods The artist as wanderer


Contents

Foreword

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Notes on The Artist as Wanderer

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I Went to the Woods: overview

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I Went to the Woods: artist information Anna Bak Brendan Earley Fiona Kelly Juha Pekka Matias Laakkonen Richard Long Helen Mirra Ria PacquĂŠe herman de vries Walker & Walker

30 32 34 36 38 40 42 44 46

Acknowledgements

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Foreword

Curated by Chris Clarke and Pådraic E. Moore, I Went to the Woods: The artist as wanderer explores poetic responses to the natural world by artists who shape their work through walks and keen observation of the landscape. The exhibition brings the wonder and sensitivity of their gaze into the gallery spaces and encourages us to review our relationship to nature as we set off on our own wanderings. This guide provides a reflection on the research themes that guided the curators, as well as an introduction to the artists selected for the exhibition. Support for I Went to the Woods and the accompanying programme of artists’ talks, workshops and curatorial events has been generously provided by University College Cork, the Arts Council of Ireland, Embassy of Denmark, Ireland, Danish Arts Foundation, Flemish Agency for Art & Heritage, and private philanthropy through Cork University Foundation. Fiona Kearney Director, the Glucksman University College Cork, Ireland

Image: Fiona Kelly, The Underdog, 2012, lino cut on BFK Rives paper

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Notes on The Artist as Wanderer Pádraic E. Moore

The process of co-curating I Went to the Woods: The artist as wanderer enabled me to bring together and interrogate, via dialogue with several artists, strands of research I have been preoccupied with for some time. The notes that follow offer an insight into some of these divergent strands. These are intended to suggest and encourage other potential readings of the project in terms of its philosophical and historical influences. One of the core ideas which interests me is that of the artist’s movement through a landscape; while this subject as a conceptual practice is long established, the exhibition registers the fact that recent decades have seen an unprecedented rise in the idea of the artist as cultural nomad. Motivated not just by wanderlust but also by necessity, many contemporary artists are engaged in peripatetic post-studio practices.

Back to Natu re Another idea fundamental to the exhibition is that of the artist going ‘back to nature’, retreating from what might be seen as the oppression of urban life. During the industrial revolution of the late 18th and 19th century, technological, social and scientific developments constituted the beginning of an ongoing process of environmental degradation. ‘Wild nature’ 13


seen as something to be dominated, controlled and exploited; it was viewed merely as a system of processes and resources submissive to the needs of humankind. The Romantic movement represented an aesthetic and intellectual retort to this attitude, with the paintings of this period depicting bucolic landscapes and idealised representations of the natural world. Rural living came to be viewed as somehow wholesome and restorative by predominantly urban audiences. Artists began to seek out rural idylls, forming colonies in isolated outposts.

Source of Revelation The American writer Henry David Thoreau (1817-1862) wrote in Walden (1854): “We need the tonic of wildness...at the same time that we are earnest to explore and learn all things, we require that all things be mysterious and unexplorable, that land and sea be indefinitely wild, unswayed and unfathomed by us because unfathomable. We can never have enough of nature.” The sentiment expressed in this quote epitomises the essence of 19th century Romanticism, which portrayed nature at its most sublime and awe-inspiring, something one might escape into as a means of escaping oneself. Thoreau’s writing was significantly influenced by the philosophies of Ralph Waldo Emerson (1803-1882) who viewed nature not only as a means of refuge but also as a direct source of revelation. Emerson’s book Nature (published anonymously in 1836) reads as a manifesto of pantheism, arguing that nature is a direct manifestation of the divine. The Romantic view of wild nature as valuable and vital has remained consistently present throughout the history of art, albeit in a variety of manifestations.

The Greenest Branch The 11th century visionary, composer, writer and proto-feminist Hildegard von Bingen (1098-1179) believed in the potential of the earth as a garden where humanity could converse with the

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divine. Although she wrote many books on subjects ranging from philosophy to natural healing, Bingen’s spirituality is rooted in her concept of Viriditas or ‘greening power’. This is the belief that the life-force animating the natural world is visible in the greenness of every leaf and blade of grass, which is the same life-force infusing all creation (including humankind) with vitality. Although her writings are generally dense and cryptic in tone, her mind was undoubtedly that of a radical. And despite being ostensibly devoted to the Christian cause (she is also known as Saint Hildegard), her focus was not on theology or scriptural study so much as the pantheistic appreciation of the natural world. Essentially, the idea of Viriditas is a specific type of vitalism that connects divinity to nature through the appearance of colour. In her hymn O Viridissima Virga, Hildegard writes of “the greenest branch” as not only beautiful, but sacred - and worthy of worship because it is a manifestation of the life force that unifies and animates all living things. In connecting the degradation of ‘mother earth’ with the oppression of women, Bingen also reveals how gender roles have shaped our view of the environment. However, instead of linking the female and the natural together in subordination to a patriarchal culture, Hildegard should be seen as a kind of proto eco-feminist, through her assertion that the ‘mother earth’ has the capacity to resist or retaliate via some form of environmental crisis. As Bingen writes: “the elements are complaining with strident voices to their creator. Confused through the misdeeds of humans, they are exceeding their normal channels, set for them by their creator through strange and unnatural movements and energy currents.“

A Cultivated Wilderness Time recently spent in the Netherlands has made me more acutely aware of aspects of my native country. There is still a wild ruggedness to the landscape of Ireland that is missing from North Holland - especially those areas which were ‘reclaimed’ from under sea level and designed to accommodate human habitation and industry. Here, one can travel for miles

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in an effort to seek out some untamed nature but will find only ordered and regulated terrain. However, recently, Dutch authorities have adopted strategies to propagate a kind of man-made wilderness. A National Ecological Network has been established that involves the transformation of more than 50,000 hectares of land into new ‘natural’ areas. Former farmlands will be left completely undisturbed to evolve into a kind of would-be wilderness. This situation (which is also taking place in parts of the U.S.) represents development in the relationship between nature and human society as a consequence of environmental change, exemplifying how the threat of apocalypse has seen the emergence of a new relationship between humans and their environment. While there is of course a certain irony to the contrivance of a ‘cultivated wilderness’, this development might also be seen to represent the contamination of the ‘nature versus culture’ polarity upon which romanticism was based.

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Pรกdraic E. Moore is a writer, curator, and art historian, whose independent curatorial projects include Now is forever lasting constant in the mind, Van Abbemuseum, Eindhoven; ฮจ (Psi), Fokidos Gallery, Athens; Hot on the Heels of Love, The Irish Museum of Modern Art, Dublin; The Girl With The Sun In Her Head, Jan Van Eyck Academie, Maastricht; A Modern Panarion, Dublin City Gallery The Hugh Lane, Dublin; The Temple of Psychic Youth, Kevin Kavanagh Gallery, Dublin; As Above, So Below, G126, Galway; Luminous Flux: Andreas Kindler von Knobloch, Oonagh Young Gallery, Dublin; Conclave: Agne Raceviciute, Galleria Collicaligreggi, Catania; Maradona two for four: Cullinan/Richards, The Lab, Dublin; Aion Experiments, Project Arts Centre, Dublin; Sunday Night: Aleana Egan, Temple Bar Gallery, Dublin; and Whispering Pines: Shana Moulton, Broadcast Gallery, Dublin.


I Went to the Woods Chris Clarke

"I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived." Henry David Thoreau I Went to the Woods looks at how artists have experienced and portrayed their surroundings in the course of walks, journeys and ramblings. It explores the idea of the drifter, nomad, and traveller, who captures the external environment through the careful observation of their surroundings and the collection of materials, objects and images. In this way, it epitomises an idealised sense of individualism, a deliberate turning away from the complications and comforts of modern life. As in Thoreau’s 1854 book Walden: or Life in the Woods, which recorded the author’s experiences of living in a cabin deep in the forests of Massachusetts, the artists here follow his dictum “to live deliberately”, demonstrating a desire to understand and communicate their own position in the world, on their own terms.

Setting Forth The journey provides an opportunity for contemplation and meditation, a chance to quiet the mind in order to see one’s surroundings anew. At the very outset of the exhibition, a pair of walking sticks greets the visitor. In Brendan Earley’s The Cure, snippets of song lyrics, remembered from the artist’s

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countryside walks, are etched into the sticks, evoking moments of reflection and reminiscence. The invitation to proceed is countered by Anna Bak’s felt flags, embroidered with the ominous message: “All Hope Gone Go Back.” This lingering threat is embodied in the artist’s sculptural installation Wilderness Survival, a ramshackle shelter of piled sandbags and wooden props supporting a tent-like parachute. While alluding to the desolation experienced during an individual’s withdrawal from society, the structure also houses a new video work by Bak entitled Search Party, a montage of static shots of wilderness settings. The accompanying narration consists of interviews with artists who have undertaken residency programmes in these locales, ruminating on the appeal and impact of such places on their respective practices. In her Unusable Monuments series of prints, Fiona Kelly captures the subtle changes that occur in abandoned spaces, meticulously portraying and preserving sites of deterioration. Her thorough observation of rubble and debris, half-built structures and crumbling edifices, is evident in an unusual framing device: the compositions are presented as if seen through a stereographic viewfinder. Walker and Walker employ a similarly self-reflexive approach to the landscape, aligning a row of photographic reproductions of Caspar David Friedrich’s paintings to create an unwavering horizon line. For Ria Pacquée, travel and wandering are the essential components of her practice, as she collects and arranges images and items according to their formal affinities. Her installation Pleroma / Playroma comprises a survey of spherical objects that the artist has found, the culmination of journeys over several years and across different continents.

Making Tracks The exploration of the natural environment requires a particular sensitivity to the land, as well as the ability to orient and adapt oneself to unfamiliar surroundings. Walker and Walker’s Northern Star is a single, glowing light, embedded in the wall of the Glucksman and directed towards true north. Their work

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The Ghost of Cadere leans against that same wall, a striped cane that refers to the artist André Cadere and his propensity for leaving his similarly stylised sticks in Parisian galleries throughout the 1970s. These subtle interventions into institutional spaces are indicative of the artist’s peculiarly nomadic way of exhibiting his sculptural works. For Richard Long, walking itself is the medium and means of exploring ideas of time and distance. Through journeys across shorelines, snowscapes, fields and deserts, the materials that Long finds are arranged in configurations such as circles and lines, which are "timeless, universal, understandable and easy to make." His 1992 work Spring Circle captures a walk through north Cornwall by arranging chunks of greenish-blue slate in a circle on the floor. Slate splits easily into smooth layers, and for this piece, it has been cut to preserve the natural form and presented with the smooth side facing up. A similar impulse to record and register one’s travels informs Helen Mirra’s work. Her Hourly directional field recordings reveal rubbings of oil stick on raw linen, folded and creased from being transported in her backpack over the course of day-long walks in rural Italy. In another work, entitled Field Index, Emilia Romagna, a series of typewritten cards mark her travels through poetic descriptions of specific encounters: “Strange Ersatz Trees – Green Steel Trunks, Pine Branches Attached”, “Pair of Bites on Jawbone”, “No Trail Hot Turn Around.”

Crossing Paths The artist’s walk often results in the foraging, collection and selection of materials along the way, with the artwork then serving as a visual record of the experience. herman de vries was originally trained as a botanist and his collages of natural elements reflect a long interest in chance, change, and the environment. His journal knetzberg (winter) presents leaves, stem, soil, and plant cuttings from the vicinity of his home in the Black Forest. Juha Pekka Matias Laakonnen’s sculptural works are also crafted directly from natural materials collected by the artist during extensive forays into the wilderness. Their

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immaculate presentation belies the means of production: Dodo resembles a smoothly molded brown egg yet is made of bird bones and resin while, in Visitation Rights, a small, flat stonelike object is rendered from moose faeces and spring water. These delicate items and their suggestions of travel, nature and solitude reveal a distinctly poetic sensibility. In Richard Long’s Stone Line, a footpath of broken pieces of slate exemplifies the artist’s direct approach and sincerity to materials. The work also recalls Fiona Kelly’s Dust Breeding, an image of strewn rubble and cluttered refuse, which has been printed in tar on plywood and presented on a large, free-standing billboard. The gradual disintegration of the built environment in Kelly’s work is also evident in the unusual assemblages of man-made objects and natural elements depicted in her Follies series. Brendan Earley also combines aspects of the artificial and the organic in his sculptural works and, in his piece Not on Facebook, presents aluminium-cast fragments of modern detritus alongside handmade books. As in his work The Searchers (part two), these seemingly discordant parts are displayed, integrated and overlaid, on large blocks of untouched wood. The titles of the books, drawn from fiction and philosophy and psychology, reflect the same restless desire for escapism and transcendence found in Thoreau’s writings. In Walden, Thoreau’s desire for simplicity and self-reliance leads him to the wilderness, spending two years and two months living by the labour of his own hands and gaining a new insight into his own capabilities. Similarly, the artists in I Went to the Woods reveal a comparable need to understand their place in the world, to test their resolve against isolation and the elements, and to “live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth.”

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Chris Clarke is Senior Curator at the Glucksman, University College Cork, where he has previously curated exhibitions including 2116: Forecast of the next century; Everything Must Go: Art and the Market; Stitch in Time: The Fabric of Contemporary Life; Selective Memory: Artists in the Archive; and Fieldworks: Animal Habitats in Contemporary Art. He has also curated international exhibitions including Under the Surface: Newfoundland & Labrador at the 55th Venice Biennale; WADE IN at Eastern Edge Gallery, St. John’s, Newfoundland; and The Second Act at Arts Centre de Brakke Grond, Amsterdam.


I Went to the Woods Artist information


Anna Bak Born in Denmark, 1985 Anna Bak’s practice is centered on studies of geographical placement and the cultures, landscapes and social tendencies that prevail in various locations. Fascinated with nature, her work examines ways in which people observe and relate to the landscape through an existential lens. Addressing issues associated with isolation and the desire to survive, her practice considers the practical and philosophical implications of the ‘survivalist’ lifestyle. Furthermore, Bak’s work explores notions of ‘wilderness’ as a physical space and a mental state. She investigates codes of survival in both the wilderness of nature and in the absence of social organisation. Anna Bak’s work has been shown in solo exhibitions at House of Art and Design, Holstebro; Studio 47, Amsterdam; Onomatopee, Eindhoven; X and Beyond, Copenhagen; The SejerØ Festival, SejerØ; OK CORRAL, Copenhagen; as well as part of group shows including Byens Kro, Copenhagen; Koldinghus Museum, Kolding; Brandts Kunsthal, Odense; Montana State University; and Mixer Art Gallery, Istanbul. Exhibition works All Hope Gone Go Back 2015, 3 felt flags with fabric letters, brass, iron Rucksack 2015, backpack, leather, fabric, belt, metal Search Party 2016, single-channel video, 25’00” Wilderness Survival 2015, parachute, sandbags, wood, felt blankets All works courtesy of the artist

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Anna Bak, installation view of Wilderness Survival, 2015, parachute, sandbags, wood, felt blankets and Search Party, 2016, single-channel video, 25’00�

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Brendan Earley Born in Ireland, 1971 Brendan Earley creates sculptures and drawings that orbit around the philosophical ‘dialectic of hope’, wherein the drive of Utopian optimism is tempered by an impending sense of inevitable failure. Since studying under the influential sculptor Robert Morris, Earley’s work has inventively explored new ways to address dominant western paradigms and high Modernist solutions within contemporary practice. He describes his practice as akin to the scientific thinking inherent in Modernism, one which links technological progress to a timeless future in which rationality and abstraction remain untouched by reality. Brendan Earley has had solo exhibitions at Urs Meile Gallery, Beijing; Royal Hibernian Academy, Dublin; Roscommon Arts Centre; Temple Bar Gallery, Dublin; and Triskel Arts Centre, Cork. He has also exhibited in international group shows at Fergus McCaffrey Gallery, New York; Centre of Contemporary Art of Thessaloniki; EV+A, Limerick; and Prix Ars Electronica, Vienna. He is represented by mother’s tankstation, Dublin. Exhibition works Backwoods 2016, Pencil and marker on paper For a New Compass 2016, linen, jersey material, gesso Not on Facebook 2016, aluminium, blank bound books, beech wood, steel The Cure 2016, oak and enamel paint The Searchers (part two) 2016, alumnium, blank bound books, mahogony, steel All works courtesy of the artist and mother’s tankstation, Dublin

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Brendan Earley, Backwoods, 2016, pencil and marker on paper

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Fiona Kelly Born in Ireland, 1985

Fiona Kelly is an artist based in Cork whose observations of the man-made landscape, topographic movement, stagnation and metamorphosing debris are represented through sculpture, printmaking, video and photography. In uniting objects, reclaimed materials and text, she invites the viewer to join in a fundamental dialogue, intrinsic to Kelly’s work, which quietly speaks of urban sprawl, throwaway culture, and the absurdities found in unremarkable environments. Fiona Kelly’s recent exhibitions include solo and two-person shows at SOMA, Waterford; Cork Printmakers; 126, Galway; Ratamo Gallery, Jyväskylä; Ateliers BaZtille, Zoetermeer; Belmont Mill, Offaly; Gas Lane Gallery, Westmeath; and SIM @ Seljavegur 32, 101 Reykjavik. Her recent group exhibitions include West Cork Arts Centre, Skibbereen; Impact 9, Hangzhou; Catalyst Arts Gallery, Belfast; Spike Island, Bristol; Galway Arts Centre; and The Don Gallery, Shanghai. Exhibition works Dust Breeding 2016, screenprint, bitumen on plywood, wooden structure Follies 2012, series of lino cuts on BFK Rives paper Unusable Monuments 2013, series of lino cuts on Atsukuchi paper All works courtesy of the artist

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Fiona Kelly, installation view of Dust Breeding, 2016, screenprint, bitumen on plywood, wooden structure

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Juha Pekka Matias Laakkonen Born in Finland, 1982

Juha Pekka Matias Laakkonen begins his art with a journey, crafting intricate sculptural objects through his interaction with nature. His practice makes use of natural elements as raw material and often includes a performative element, taking place in isolated environments, such as the middle of a forest or the Norwegian countryside. Sometimes objects are produced in the course of the performance and remain as the only trace of the project. His works appear almost negligible; however, once detected, an echo of an acute, poetic sensibility prevails. Juha Pekka Matias Laakkonen is an artist based in Helsinki, Finland and Skรถvde, Sweden. His previous exhibitions include solo presentations at The /// Project, Bergen; Malonioji 6, Vilnius; Johan Berggren Gallery, Malmรถ; and Corvi-Mora, London; as well as group exhibitions including Lofoten International Art Festival; MuHKA, Antwerp; Pleasant Gallery, Copenhagen; and KHM Gallery, Malmรถ. He is represented by Corvi-Mora, London. Exhibition works Dodo 2015, bird bones, resin Visitation Rights 2015, pine resin, moose faeces, spring water All works courtesy of Corvi-Mora, London

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Juha Pekka Matias Laakkonen, Dodo, 2015, bird bones, resin

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Richard Long Born in UK, 1945 Richard Long has been at the vanguard of conceptual and land art in Britain since he created A Line Made by Walking in 1967 while still a student. This photograph of the path left by his feet in the grass, a fixed line of movement, established a precedent that art could be a journey. In 1969, Long was included in the seminal exhibition When Attitude Becomes Form at the Kunsthalle Bern for which he made a walk in the Alps that was documented by his first text work. Developing from his early mud and clay floor sculptures, in the 1980s Long began making new types of mud works with handprints applied directly on the wall. Throughout his career, he has also continued to make large sculptures of lines and circles from slate, driftwood, footprints or stone, often sourced from quarries near the exhibition sites. Richard Long represented Britain at the 37th Venice Biennale in 1976 and won the Turner Prize in 1989. He has received the Chevalier de l’Ordre des Arts et des Lettres from the French Ministry of Culture and was awarded Japan’s Praemium Imperiale in the field of sculpture. Solo exhibitions of his work have been held at Arnolfini, Bristol; Faena Arts Centre, Buenos Aires; Hamburger Bahnhof, Berlin; Tate Britain, London; San Francisco MoMA; and Guggenheim, New York. He is represented by Lisson Gallery, London. Exhibition works Spring Circle 1992, Delabole slate Stone Line 1979, Cornish slate British Council Collection

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Richard Long, installation view of Spring Circle, 1992, Delabole slate

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Helen Mirra Born in USA, 1970 After a number of years making discrete works with sundry materials, Mirra's present rhythm of working usually takes the form of a kind of paced printmaking, made through walking. The activities are interdependent; the walking structures the printing, and the printing impels the walking. Sometimes a terse kind of writing replaces the printmaking, and occasionally hourly location recordings, made in collaboration with Ernst Karel, occur instead. She uses humble materials, such as wool blankets, raw linen, and hand-dyed cotton banding in her artworks and, since 2010, has been organising these walks as open-ended expeditions in different places of the world. Helen Mirra participated in the 50th Venice Biennale and the 30th Bienal de SĂŁo Paulo. She has had solo exhibitions at The Renaissance Society University of Chicago; Dallas Museum of Art; Berkeley Art Museum; Whitney Museum of American Art, New York; Kunst-Werke Berlin; and Haus Konstruktiv ZĂźrich. A fifteen year survey (1996-2010) of her work was presented at Culturgest, in Lisbon Portugal, in 2014. She is represented by Galerie Nordenhake Berlin / Stockholm. Exhibition works Field Index, Emilia Romagna 2011, ink on paper Hourly directional field recording, Aquacheta, 5 May, 2011 2011, oil on linen Hourly directional field recording, Gravagna, 11 May, 2011 2011, oil on linen Hourly directional field recording, P. Colletta, 10 May, 2011 2011, oil on linen All works courtesy of Galerie Nordenhake Berlin / Stockholm

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Helen Mirra, Hourly directional field recording, Gravagna, 11 May, 2011, 2011, oil on linen

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Ria Pacquée Born in Belgium, 1954

Ria Pacquée had her international breakthrough in the 1980s as a performance artist, employing different personas to explore the thin dividing line between the fictional and the actual. In her more recent work she has concentrated on photographic and video productions, in which the experiences gained as a performance artist still play an important role. As a spectator of public life, her work is characterised by observation, anthropology, and ideas of ritual and repetition. In this way, Pacquée's arrangement of found materials around formal affinities such as colour or shape acts as an organisational principle, a way of visually structuring her seemingly aimless wanderings through different cities and spaces. Ria Pacquée’s work has been shown internationally, including solo exhibitions at Stilll Gallerij, Antwerp; Treignac Projet; Argos Centre for Art & Media, Brussels; Kunsthalle Lophem; MuHKA, Antwerp; Campo Santo, Ghent; and Museum Moderne Kunst, Arnhem. Her group exhibitions include Cultureel Centrum Mechelem; Kunsthal Rotterdam; Emily Harvey Foundation, New York; Shanghai Art Museum; Centre for Contemporary Art, Maastricht; Al-Ma'mal Foundation, Jerusalem; and Manifesta 7, Trento. Exhibition works Pleroma / Playroma 1996, objects, photographs Courtesy of the artist

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Ria PacquĂŠe, installation view of Pleroma / Playroma, 1996, objects, photographs

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herman de vries Born in The Netherlands, 1931 Trained as a botanist, herman de vries began his art career in the 1950s, working in tandem with artists of the international ZERO movement and producing reductive white paintings and collage works through the use of chance procedures. In 1970, de vries went to live in Eschenau, a small village in northern Bavaria. Once there, he began to work directly with nature, presenting and selecting objects and circumstances from the larger environment. With the artist's declaration that "my poetry is the world", these works in nature have continued to the present day, reflecting the artist's interest in the imperceptible changes that take place in his immediate environment. herman de vries was chosen to represent The Netherlands in the 2015 Venice Biennale and has exhibited his artworks in galleries and museums including Land Art Biennial Mongolia 360°, Ulan Bator; Framer Framed, Amsterdam; Galerie Mueller-Roth, Stuttgart; Erasmus House, Jakarta; Stedelijk Museum, Amsterdam; and Royal Botanic Garden, Edinburgh. He is represented by Art Affairs, Amsterdam. Exhibition works journal knetzberg (winter) 2013, mixed media, 24 parts Courtesy of Art Affairs, Amsterdam

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herman de vries, installation view of journal knetzberg (winter), 2013, mixed media, 24 parts

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Walker and Walker Formed in Ireland, 1989 Walker and Walker explore ideas of landscape and nature in their work, often refracted through allusions to art history, transcendence and the notion of the sublime. Working in film, sculpture and photography, their practice merges aspects of the Romantic tradition with mundane, everyday materials. While their subtle, at times almost invisible, interventions into the gallery draw on references to minimalism and conceptual art, they also point to a sincere interest in the moments of discovery and surprise that might arise when one wanders without intent or direction. Walker and Walker are twin brothers who first began collaborating in 1989. They co-represented Ireland at the 2005 Venice Biennale and their previous exhibitions include group shows at Christopher Grimes Gallery, Los Angeles; Galleria Civica di Modena; Kunstverein Ludwigsburg; Gimpel fils, London; Rotunda Gallery, New York; Irish Museum of Modern Art, Dublin; Glassbox, Paris; Locks Gallery, Philadelphia; Douglas Hyde Gallery, Dublin and solo exhibitions at Sheppard Fine Arts Gallery, Reno; Floating IP, Manchester, and the Royal Hibernian Academy, Dublin. Exhibition works Horizon Line 2002, pages from books Northern Star 2002, halogen bulb, plaster, paint The Ghost of Cadere 2008, wood, resin, paint All works courtesy of the artist

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Walker and Walker, installation view of Northern Star, 2002, halogen bulb, plaster, paint and The Ghost of Cadere, 2008, wood, resin, paint

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I Went to the Woods The artist as wanderer Artists: Anna Bak, Brendan Earley, Fiona Kelly, Juha Pekka Matias Laakkonen, Richard Long, Helen Mirra, Ria Pacquée, herman de vries, Walker & Walker. Curated by Chris Clarke and Pádraic E. Moore

I Went to the Woods: The artist as wanderer was presented at The Glucksman, University College Cork from 22 July - 6 November 2016 A public programme of artists talks, academic discussions, creative workshops, and curatorial events accompanied the exhibition.

I Went to the Woods is supported by University College Cork, the Arts Council of Ireland,

Embassy of Denmark, Ireland, Danish Arts Foundation, Flemish Agency for Art & Heritage, and private philanthropy through Cork University Foundation.

Thanks to: All artists, Gianni Alen-Buckley, Art Affairs, Stephen Bean, Rikke Bjørnbøl, Loretta Brennan Glucksman, British Council, Mark Buckeridge, Ellen Byrne, Willie Carey, CIT / Crawford College of Art & Design, Mike Collins, Leah Corbett, Cork University Press, Tommaso Corvi-Mora, Tadhg Crowley, Antoinette de Stigter, Sacha Dillon, Claire Doyle, Cathal Duane, Diana Eccles, Brian Fay, Caroline Fennell, Nicholas Fox Weber, Galerie Nordenhake, Benjamin Gearey, Nora Geary, Sophie Gough, James Halliwell, Nicola Heald, Rachel Hobbs, Damian Jones, Lisa Keane, Lissa Kinnaer, Valerie Kohler-Regel, Birgitte Lindeneg, Ben Loveless, Rita Lund, Emer Lynch, Sarah McAuliffe, Stuart McLaughlin, Cillian Moynihan, mother’s tankstation, Michael Murphy, Pernille Frimann Sparrewath Nielsen, Lawrence O’Hana, Killian O’Dwyer, Ulrika Pilo, Mark Poland, Rebekah Purcell, Hazel Ramsay, Eva Skorstengaard Rauser, Kevin Van Campenhout, Jean Van Sinderen-Law, Toni Sadurni Vinas. Catalogue prepared by Fiona Kearney and Chris Clarke. Installation photography by Tomás Tyner. © The artists, authors, and the Glucksman, 2016. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical, or otherwise, without first seeking permission of the copyright owners and of the publishers. ISBN:978-1-906642-86-0 The Glucksman, University College Cork Tel: + 353 21 4901844 www.glucksman.org

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I Went to the Woods: The artist as wanderer  

Artists: Anna Bak, Brendan Earley, Fiona Kelly, Juha Pekka Matias Laakkonen, Richard Long, Helen Mirra, Ria Pacquée, herman de vries, Walker...

I Went to the Woods: The artist as wanderer  

Artists: Anna Bak, Brendan Earley, Fiona Kelly, Juha Pekka Matias Laakkonen, Richard Long, Helen Mirra, Ria Pacquée, herman de vries, Walker...

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