Dublin Contemporary 2011 – A Terrible Beauty is Born

The biggest contemporary art exhibition ever held in Ireland takes place in Dublin later this year. It aims to put the Irish capital firmly on the map as an international center for the visual arts.

When you think of contemporary visual arts, Dublin is not a city that immediately comes to mind. But now an ambitious bid is being launched, supported by the Irish government, to change all that. The first Dublin Contemporary festival takes place for eight weeks during September and October this year, and will showcase Irish artists alongside some of the cream of talent from all five continents. But can Dublin Contemporary really make a mark, along the lines of the Venice Biennale?

“The ambition for it is to be a blockbuster exhibition – that’s the kind of budget we have, and that’s the kind of goal we have set out for ourselves,” says lead curator Christian Viveros-Faune. “And it is supposed to repeat, it’s a Quinquennial, which is it happens every five years,” The New York-based curator and writer was headhunted by organizers to take over the running of the festival, following the departure of the original artistic director Rachel Thomas at the start of this year.

Viveros-Faune is a former director of the prestigious Chicago Arts fair NEXT and VOLTA NY in New York, and has written for several prestigious art publications including Art in America, Art Review and The New Yorker. He insisted on having Jorge Castro as his co-curator, a Brussels-based Franco-Peruvian artist, curator and former UN and EU diplomat. Castro has curated exhibitions at the Venice Biennale, and major exhibitions in Spain. The pair took over the reins in February, just seven months before the massive project was due to open, and immediately changed the theme.

“I would have never considered taking the job to do somebody else’s show,” says Viveros-Faune, “That was really one of the stipulations that we wanted. We were never filling in. We were doing our own exhibition. Thankfully, the previous group had really not done a tremendous amount of work, and they really only had a couple of artists on board. So we almost had a blank slate to work with, which in this case turned out to be a blessing.”

The theme they chose Terrible Beauty—Art, Crisis, Change & The Office of Non‐Compliance, addressed the “elephant in the room”, he says. The title of the show is taken from the famous WB Yeats poem Easter 1916 in which he responded to the dramatic political developments of the time. It’s hoped Dublin Contemporary can also highlight art’s potential for commenting on current events in Irish life.  “I think any major cultural event in Ireland has to identify the overarching social, cultural and economic issue that not only the nation is facing, but the entire world is facing," says Viveros-Faune, “What we want to do is basically explore the connection between art and these kinds of crises - art and life in a certain sense.”

Although the final line-up of artists has yet to be confirmed, Viveros-Faune says there are several who are confirmed that have the potential to be really exciting. “Richard Mosse, for example, is an Irish artist that has been taking tremendous photographs in the Congo, at some significant personal risk, I should add. They are significantly more than just ordinary photographs. They are taken with an infra-red camera in the day, and they actually make the 20-year-old “generals” look almost feminized because they seem to be sporting pinkish or fuchsia uniforms. So that’s one example of terrific work.”

“There’s a collective called the Bruce High Quality Foundation, from America, and they are looking to investigate the connections between art and life. They are currently touring art schools here in the States – and essentially they want to kick-off their European tour in Dublin, hopefully Trinity College. And then, you know, Lisa Yuskavage is one of the biggest living painters in the world, she has a show at the RHA.”

Others artists confirmed include Nina Berman (USA), Tania Bruguera (CUB), Fernando Bryce (PER), Chen Chieh-Jen (TW),  James Coleman (IRL), Dexter Dalwood (GBR), Wang Du (CHN), Omer  Fast (ISR), Goldiechiari (ITA), Patrick Hamilton (CHI), Jim Lambie  (GBR), Brian O’Doherty (IRL), Niamh O’Malley (IRL), and Superflex (DEN).

The curators are hoping that the festival will viewed as a fresh new upstart on the contemporary arts circuit that is looking to be immediately relevant. They’ve promised that the art on view will bring in people who are not specialists in the visual arts and will be “very provocative”. Much of the art will be in on display at a cluster of buildings on Earlsfort Terrace, while others will use some of the well-established art institutions across the city. The festival is already leading to some interesting collaborations involving some of those institutions.

Meanwhile the city of Dublin itself will be used as a canvas, with street art inspiring and provoking public interest. Over and above the numbers attending, and the coverage Dublin Contemporary 2011 gets in the media, there is one other way that Viveros-Faune will be measuring its success. “That is the fact that we are putting on the biggest exhibition of contemporary art that Ireland has ever seen. And I think that in itself is going to raise the bar on efforts after 2011 and hopefully inspire some artists, and young potential commentators, and people who are not yet interested in the arts to possibly become more engaged. Those things are not so readily quantifiable immediately but they do have a lasting significance.”

Dublin Contemporary 2011 takes place Sept 6^th – Oct 31^st.

A version of this article appears in the summer edition of Irish Connections magazine

Gabriel Byrne on the Irish elections and the power of art

The Irish are justifiably angry, Hollywood star Gabriel Byrne tells Vincent Murphy, but they’ll still probably elect the Usual Suspects.

“I’m not an economist but I think it’s pretty clear what happened,” Gabriel Byrne says, “The country was Madoff-ed.”

“And I think we have a natural desire for retribution.”

The Irish actor plays television’s most famous psychiatrist on HBO’s In Treatment and right now what he’s prescribing for his home country is justice.

“I think when Madoff was put in jail here, a lot of people felt there was some kind of retribution, some kind of closure,” he says.

“That doesn’t seem to be happening over there.”

It’s now over two years since the Irish government gave a blanket guarantee to the debts and liabilities of Irish banks, and details started to emerge of suspicious financial transactions at Anglo Irish Bank.

In the intervening years, bankers like Sean Fitzpatrick and David Drumm have become social pariahs in their home country, but no-one has been prosecuted.

The Garda Fraud Bureau and the Office of the Director of Corporate Enforcement have been investigating alleged wrongdoings at Anglo and other banks.

But no-one has yet ended up behind bars.

And unlike most other countries who have been suffering the effects of the global recession, there has not been an election until now.

Since the crisis began, Barack Obama has been elected US president and his party has suffered a ‘shellacking’ in the Mid-Terms.

In the UK, the government of Gordon Brown has been turfed-out of office to be replaced by a coalition of David Cameron’s Conservative Party and Nick Clegg’s Liberals.

But in Ireland, Brian Cowen and his government have continued in office.

There’s a real hope that if the upcoming election offers nothing else, it will offer an opportunity to draw a line in the sand – to look forward, instead of constantly looking back and pointing the finger of blame.

Byrne says he’s noticed that Irish people now seem to carry a strange guilt about the Celtic Tiger.

“I hear sometimes when I’m talking to people ‘Oh we shouldn’t have done that’ and a certain amount of shame in it,” he says.

But he says the truth is, not everybody got carried away. Not everyone partied.

“I don’t think everybody had a great time during the Celtic Tiger. I think it’s perceived that the entire country went crazy and everybody overspent.”

The election has led to loud calls for political reform in Ireland, with talk of “Reclaiming the Republic” and so forth.

“Funnily enough, they are saying the same things here,” says Byrne, “there are politicians who are saying ‘Let’s take America back’.

“But back from what, to what…I don’t know.”

Byrne sees echoes of the mood which spawned the Tea Party in the US in the Irish situation.

“There is a certain amount of anger, real anger, on the ground with the system here in the US that may or may not translate into action.

“But I think the Mid-Terms proved that Americans had a voice. And they sent the Democrats a harsh lesson.”

In Ireland, he sees a similar desire among ordinary people to let their political masters know that they are angry, and that they are too disconnected from the people.

But Byrne remains unconvinced that real change will happen.

“The truth is, from my point of view, what can actually happen? A coalition of the parties that are there already without real political reform, really fundamental political reform, I don’t know that that’s going to change anything.”

“How does one harness the legitimate anger that’s on the ground and use it to reclaim politics, to reclaim the system of government?

“Classically that’s a time when an alternative radical party could come into power, either from the right or from the left.

“And a radical shift to the right or the left in Ireland is something that I still wouldn’t rule out, but I think that unless there is a real profound change in the political system, like in Washington, then it’s just going to be more of the same.”

He smiles at me, “Is that too pessimistic a view?”

We’re not even here to talk about politics.

We’re here to talk about art.

Byrne is Ireland’s Cultural Ambassador and in that role he’s been spearheading the promotion of a year-long festival of Irish arts in the United States called “Imagine Ireland”.

It’s the biggest ever tour of Irish music, theatre, visual arts and dance in the US, taking in 40 states.

The Irish government has justified the $5m cost of the tour – saying it will open new cultural links, promote Ireland as a tourist destination and cast Ireland in a positive light at a time when we are in international headlines for all the wrong reasons.

But Byrne is unhappy at the spin being put on it.

“Economically we will recover,” he says, “But artistically we have never been set back.”

“Economically, Ireland has gotten a lot of bad press here obviously.

“But this isn’t about ‘oh now let’s tell the good news’. Irish culture consistently has always been evolving, and it will continue to do that through good times and bad.

“It’s been the story of our history, how our artists have turned great sorrows and great tribulations into amazing art.”

He knows too well that the general public may baulk at seeing millions being spent on art at a time when money is scarce.

“In and of itself, it is not going to put bread on the table, nor will it stop immigration.

“But perhaps artists can lead the way, and lead the way for politicians to reexamine the nature of the society we inhabit.

“Because art will transform a society as fast as a politician, in a more profound way I deeply believe.”

Byrne speaks of the potential of art, particularly in a recession, to offer hope and inspiration with a deep passion.

“I’m very interested in getting the message of art, and community art, across to young people, and how powerful the presence of art can be in your life, how it can break down barriers, social barriers, and can free the imagination.

“Introducing that concept into the lives of young people is one of the goals that I have.”

He says at a local level, a drama society can offer somewhere to escape the prevailing mood of depression and negativity, and offer something, for want of a better word, happy.

“I’m a huge supporter of the Irish Amateur Drama group, you know, because that combines social and artistic functions that only another organization say like the GAA can fulfill.”

“In these times especially it’s really important the people have unfettered access at least to the world of the imagination.

“Because the world of the imagination can show us ways to deal perhaps with the economic crisis we are currently going through.

“I’m not saying it’s the answer, but I’m saying it at least provides perspective”

[This article appears in this week's issue of the Irish Examiner USA]

Hanafin: Art event can send positive and vibrant message about Ireland

A new contemporary art event, which is expected to bring 150,000 extra tourists to Ireland next year, was launched in New York on Friday. Leading figures from the arts and business world gathered at the spectacular Irish Consul General’s residence in Manhattan to hear Minister for Tourism, Culture and Sport Mary Hanafin announce details of Dublin Contemporary 2011.

The large-scale visual arts event will open in Dublin next September, showcasing the best of Irish and international contemporary art. It’s planned to hold the event every five years, and it aims to put the Irish capital on the map as a destination for lovers of contemporary art, in a way that Venice Biennale has done for its host city.

“It can be and will be a very imaginative and very exciting event,” said Minister Hanafin. She said it sent out message about Ireland that was “very positive and vibrant” at a time when Ireland is in the international headlines for all the wrong reasons.

When you ask anybody around the world what do they know about Ireland, there is very few that will mention the Irish economy. But what they will talk about is our culture

“This is a way of saying to people: ‘Look at Ireland in a different way’ and look at what we do well,” she said. “When you ask anybody around the world what do they know about Ireland, there is very few that will mention the Irish economy. Very few of them will be able to name a particular bank or a developer or anything like that. But what they will talk about is our culture. And our unique characteristics that set us out from any other country that speaks English.”

The event is already generating interest in the New York arts community – among those attending last Friday’s launch were art historian and critic Barbara Novak, Village Voice art critic Christian Viveros-Faune and renowned Irish-born artist Brian O’Doherty. The business community was also well represented by, among others, Revlon president Alan Ennis, and Continental Airlines director Patricia Cunningham.

Details of the programme for Dublin Contemporary 2011 will be announced in March, but it will include a trail around the city at landmark sites including established art venues, warehouses, churches and open spaces. “It’s the open space element that I’m looking forward to most,” said Minster Hanafin “Because I have no doubt those will be the pieces that will be bold, daring, exciting and those are the ones that will cause debate. And there should be debate about contemporary art.” She said cultural tourism was very important to Ireland – if the event is a success it has the potential to generate €13.5m for the economy.

Among those attending were art historian and critic Barbara Novak and Village Voice art critic Christian Viveros-Faune

The festival’s artistic director Rachael Thomas, who is on secondment from the Irish Museum of Modern Art, said the theme would be “Silence”. She says it takes its inspiration from James Joyce, Samuel Beckett and John Cage, and told the gathering that it can be seen as part of a long tradition of Irish art from the Book of Kells to Jack B Yeats. 

Dublin Contemporary 2011 was also launched in London last week at the 2010 World Travel Market – the biggest expo event for the travel industry in the world.