ADMISSION FREE
The Meaning of Greatness, a show by Sarah Pierce opened in the Project Arts Centre on 8th June, 2006. Pierce who is known for her discursive practice (The Metropolitan Complex) drew on her research to make an archive that will result in a re configuration of the gallery.
Over the past three-and-a half years in Dublin, Sarah Pierce has developed The Metropolitan Complex - a project that taps into locality, using a variety of platforms, including talks, papers, exhibitions, and archives - that often open up these structures to the personal and the incidental. In the gallery at Project she draws on her own work, its history and 'progress' and her interests in the relationship between 1970s radical practices and contemporary art-making by connecting historical documents from protests and performances with test pieces by art students. These documents include art historical and counter - cultural references from feminism, modernism and beat poetry, to play with the notions of the artist, friendship and a solo exhibition. This pastiche contains a performance of autobiographical texts, as well as contributions from other artists and writers that serve as ready-made footnotes throughout the gallery.
In 2005 she was one of seven artists to represent Ireland in the 51st Venice Bienniale commissioned by Sarah Glennie. Other projects include compilation for 'Coalesce the Remix', curated by Paul O'Neill, Redux, London 2005; Archivo Paralelo, Sala Rekalde, Bilbao 2005; You Can't Cheat an Honest Man, for 'Romantic Detachment', PS1/MoMA, New York 2004; Paraeducation Department with Annie Fletcher, Witte de Witte/TENT, Rotterdam 2004; the red archive, Project, Dublin 2004; St. Pappins Ladies Club 1966-2003, Project, Dublin 2003, and Affinity Archive, Broadstone Studios, Dublin 2003.
She regularly publishes The Metropolitan Complex Papers and collaborates with Sven Anderson on www.themetropolitancomplex.com.
The Meaning of Greatness, a show by Sarah Pierce opened in the Project Arts Centre on 8th June, 2006. Pierce who is known for her discursive practice (The Metropolitan Complex) drew on her research to make an archive that will result in a re configuration of the gallery.
Over the past three-and-a half years in Dublin, Sarah Pierce has developed The Metropolitan Complex - a project that taps into locality, using a variety of platforms, including talks, papers, exhibitions, and archives - that often open up these structures to the personal and the incidental. In the gallery at Project she draws on her own work, its history and 'progress' and her interests in the relationship between 1970s radical practices and contemporary art-making by connecting historical documents from protests and performances with test pieces by art students. These documents include art historical and counter - cultural references from feminism, modernism and beat poetry, to play with the notions of the artist, friendship and a solo exhibition. This pastiche contains a performance of autobiographical texts, as well as contributions from other artists and writers that serve as ready-made footnotes throughout the gallery.
In 2005 she was one of seven artists to represent Ireland in the 51st Venice Bienniale commissioned by Sarah Glennie. Other projects include compilation for 'Coalesce the Remix', curated by Paul O'Neill, Redux, London 2005; Archivo Paralelo, Sala Rekalde, Bilbao 2005; You Can't Cheat an Honest Man, for 'Romantic Detachment', PS1/MoMA, New York 2004; Paraeducation Department with Annie Fletcher, Witte de Witte/TENT, Rotterdam 2004; the red archive, Project, Dublin 2004; St. Pappins Ladies Club 1966-2003, Project, Dublin 2003, and Affinity Archive, Broadstone Studios, Dublin 2003.
She regularly publishes The Metropolitan Complex Papers and collaborates with Sven Anderson on www.themetropolitancomplex.com.
