Project Arts Centre presents
Please join us for a very special artist talk, Jesse Jones in conversation with Dr Tina Kinsella and Dr Lisa Godson where they will discuss the theories behind Tremble Tremble, the wider political impacts of the work, and art practice in a feminist context.
Jesse Jones threw a spotlight on feminism and women’s issues with her work Tremble Tremble when she represented Ireland at the 57th Venice Biennale / La Biennale di Venezia in 2017. Since then the political landscape has changed dramatically, with calls for change echoing around the world. In the wake of #MeToo, #IBelieveHer, revelations about the gender pay gap, and in the year that that saw Irish citizens go to the polls for an historic referendum vote, Jesse Jones has returned to Dublin with the Irish premiere of this timely work. Jones has transformed Project’s Space Upstairs into a multi-media installation which re-imagines feminist history and law, presenting an artwork she describes as a “bewitching” of the judicial system.
Admission to the artist talk is free but ticketed.
Tremble Tremble runs until 18 July, find out more about the exhibition here.
Credits
Tremble Tremble is a collaboration with theatre artist Olwen Fouéré, sound artist Susan Stenger and commissioner and curator Tessa Giblin, Director of Talbot Rice Gallery, University of Edinburgh. It was originally commissioned for the Pavilion of Ireland of the 57th Venice Biennale (2017), and produced with Project Arts Centre.
Press
“…a small, but potent reminder that change is possible: what is imagined in art can eventually become law, and what is law can eventually become history” Sunday Business Post [break]
“…the persistence of the feminine as a parallel, subversive reality – embodied in the witch, demonised, hounded and suppressed.” Irish Times [break]
“…artist Jesse Jones has pulled off a triumph. Tremble, Tremble is a Pandora’s box of a film installation which unleashes a stagey, supernatural yet utterly compelling witch on the audience.” Moira Jeffrey, The Scotsman
Funding
The Irish presentation of Ireland at Venice is supported by the Arts Council as part of its commitment to promote the visual arts to Irish audiences.
Ireland at Venice is an initiative of Culture Ireland in partnership with the Arts Council. In 2017 it was produced and supported by Project Arts Centre, and the Pavilion Production Manager was Aaron Kelly. Principal Sponsor: Dublin Port Company. International Partner: LASALLE College of the Arts, Singapore. Production Partner: Institute of Art, Design + Technology (IADT).
Proudly supported by CIT Crawford College of Art & Design; Talbot Rice Gallery, Edinburgh College of Art and University of Edinburgh; South Dublin County Council and Rua Red; Dublin City Council; Dublin City Gallery The Hugh Lane; the Irish Museum of Modern Art, and the patrons of Ireland at Venice 2017 and Project Arts Centre’s Visual Arts.: Emma and Fred Goltz, Jennifer and Adrian O’Carroll, Ronald A. Christaldi, Monica Flood, the Kerlin Gallery, Donall Curtin, Jonathan Ellis King, Sue Raethorn, Gearóid Faherty and Martin Mackin.
Disclaimer
Dr. Tina Kinsella is a Lecturer in Critical and Contextual Studies (Art) in the Faculty of Film, Art and Creative Technologies (FACT), Programme Contributor to the MA in Art & Research Collaboration (ARC) in IADT and Research Fellow at the Centre for Gender and Women’s Studies, Trinity College Dublin. Her research draws on critical theory, philosophy, and psychoanalysis to institute conversations between contemporary visual culture and artistic practice.
Dr. Lisa Godson is co-Director of the MA Design History & Material Culture at NCAD and Visiting Research Fellow at the School of Histories and Humanities, Trinity College Dublin. She was research collaborator with Jesse Jones on Tremble Tremble and with Jones and Sarah Browne on the multi-platform Arts Council of Ireland/Create project In the Shadow of the State (2016). She researches and publishes on material culture, architecture, design and ritual, particularly in relation to non-hegemonic modernities and the formation of historical subjectivities.