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Dates: 16 Sep - 20 Sep
Show Time: 11.00am - 8.00pm
Tickets: €0.00 (Admission Free)
Part three of a four-part series of lectures and screenings curated by writer, lecturer and researcher Maeve Connolly. This screening of Stuart Marshall, Distinct, 1979 will run continuously throughout the day and will be accompanied by a lecture by Connolly on 17 September.
TV Museum: The Mini-Series is a four-part lecture and screening programme created by Maeve Connolly. Structured around various characters, plotlines and situations drawn from Connolly’s forthcoming book TV Museum, the series explores and extends ideas central to her ongoing research on contemporary art and media. Unfolding over a year, the programme will configure these ideas as a parallel narrative, intersecting with TV Museum’s analysis of art and television.
Full schedule of events for TV Museum:
17 – 26 April | 11.00am – 8.00pm Screening: TVTV Looks at the Oscars, 1976
23 April | 5.00pm – 7.00pm | Lecture and Book launch
Lecture – Critics, Collectives and Cable TV
Focusing primarily on the figure of Michael Shamberg, critic, activist and TV producer, this lecture explores the rise and fall of ‘guerrilla television’ collectives in the 1970s.
Book Launch: following her lecture, Maeve Connolly will be in conversation with Sarah Glennie (Director of Irish Museum of Modern Art, previous Director Irish Film Institute) marking the public launch of TV Museum, which will be available to purchase at a reduced launch price for the duration of the evening, in association with Darklight Festival 2014.
3 – 10 July | 11.00am – 8.00pm | Screening: General Idea, Blocking, 1974 and Pilot, 1977
9 July | 5.30pm – 7.00pm | Lecture – Pilots and Pageants
This lecture focuses on televisual temporality, exploring the role of the pilot, the pageant and the episode in contemporary art.
16 – 20 September | 11.00am – 8.00pm | Screening: Stuart Marshall, Distinct, 1979
17 September | 5.30pm – 7.00pm | Lecture – The Situation of the TV Studio
The lecture explores the material, social and institutional form of the TV studio and its significance for a range of artists since the 1970s.
15 – 25 October | 11.00am – 8.00pm | Screening: Shana Moulton, Feeling Free with 3D Magic Eye Poster Remix, 2004
22 October | 5.30pm – 7.00pm | Lecture – The Artist and the Actor
Several scenarios involving artists and TV actors are explored, forming the basis for a discussion of labour, affect and agency.
Maeve Connolly is a writer, lecturer and researcher whose work centres on concepts and forms of publicness in contemporary art, media and culture. Her publications include TV Museum: Contemporary Art and the Age of Television (Intellect/University of Chicago Press, forthcoming 2014), The Place of Artists’ Cinema: Space, Site and Screen (Intellect/University of Chicago Press, 2009) and The Glass Eye: Artists and Television (co-edited with Orla Ryan and published by Project Press, Dublin, 2000). Her writing has appeared in Afterall, Artforum, Art Monthly, Frieze, Journal of Curatorial Studies, Millennium Film Journal, MIRAJ, Mousse and Screen, and she has contributed to publications on the work of Gerard Byrne, Phil Collins, Martin Healy, Jesse Jones, Alex Martinis Roe, Bea McMahon, Niamh O’Malley, Sarah Pierce and Susan Philipsz, among others. She is a lecturer in the Faculty of Film, Art & Creative Technologies at Dun Laoghaire Institute of Art, Design & Technology, Dublin.
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Project Arts Centre is delighted to collaborate with IADT, Dun Laoghaire to present this exceptional body of work throughout 2014. TV Museum: Contemporary Art and the Age of Television has been kindly supported by an Arts Council of Ireland Project Award.
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May 14 2019, at 11:31am
Upcoming Artist Talk event from Emma Wolf Haugh around her ongoing research will be presented later this year. Date and Location TBC. This event will present the artists research towards new work from Haugh in 2020 Domestic Optimism begins with the work and continually expanding legacy of the Irish-born, self-taught, modernist architect and designer, Eileen Gray. A considerable amount of attention has been given to Gray’s work in recent years but, more often than not, the queerness inherent in her life and design is sidelined or ignored. I am interested in what comes to bear on the construction of legacy and what…Read More