Words by Project


Following the exhibition ‘The Long Goodbye,’ Active Archive – Slow Institution will continue with various events including talks, seminars and screenings throughout, while in late summer Project Arts Centre as institutional partner will host an event by Emma Wolf-Haugh in the framework of her current research project Domestic Optimism – Queering & decolonising architectural modernism supported by an Irish Arts Council Project Award.

Swedish visual artist and researcher Åsa Sonjasdotter continues her long-term enquiry Peace With Earth: Cultivating Multispecies Stories hosted by institutions and initiatives in Sweden, Ireland and Germany. Since 2017 Sonjasdotter has been revisiting histories of agriculture with a focus on multispecies cultivation and knowledge exploring the capacity to learn from plants, places and practices that dwell in the gaps between already well-known (his)stories. Sonjasdotter’s practice to advocate collaborative nurturing engages with what science-and-technology scholar Donna Haraway calls ‘to make trouble, to stir up potent responses to devastating events, to affirm finitude and both living and dying’ thus ‘the cultivation of “response-ability”, the capacities to respond.’

Peace With Earth: Cultivating Multispecies Stories is hosted by BAC-Baltic Art Center, Visby, the Museum of Gotland and The Valand Academy, University of Gothenburg in Sweden; Archive Books, Berlin in Germany; Project Arts Centre and The National Museum of Country Life, Turlough in Ireland. Further collaborators: Gutekorn Grain Association, Sweden; The Irish Seed Savers Association, Scarriff; The School of Archaeology and the Ancient Foods Research Group and of the Archaeobotany Laboratory at UCD, Dublin; The Céide Fields, Ballycastle; The Bridgefoot Street Community Garden, Dublin and theorist, lecturer and editor, Dr Ros Gray, London, UK.

Programme Announcement: 2019 Exhibitions at Project

April 11th 2019, at 12.46pm

Project Arts Centre is proud to present a new season of solo exhibitions featuring work from leading international artists.

Highlights from the 2019 visual arts programme will include Exorcisms, the first solo exhibition in Ireland of Israeli-American artist, writer and film director Roee Rosen that negotiates the alternate forms and practices of devotion, possession and politicized demonology, and a landmark solo exhibition with a new commission from Northern Irish artist Sandra Johnston. The 2019 programme will close out an exhibition of work from one of the most outstanding feminist and queer artists of her generation, Prague-based visual artist Anna Daučíková.

Internationally-acclaimed and widely exhibiting since the 1990s, Roee Rosen has employed numerous real and fictive personae, hybridised narratives and paradoxical stories to provocatively address the instrumentalisation and ritualization of history and historical trauma, as well as the complex relationship of collective and personal histories and the politics of identity. Rosen’s richly referential narratives not only intertwine but also transform his source materials from popular media, political propaganda, the history of the avant-garde, comics and classic children’s fairy tales, often in the act of fictionalisation and the employment of various styles of humour and irony that challenge and transgress normative canons and protocols. In recent years, his practice as an artist and writer has become increasingly aware of current dilemmas regarding artistic autonomy, and the growing tendencies of oversimplification and stereotyping.

Rosen has participated at documenta 14 – Learning from Athens both in Athens and Kassel in 2017 and his most recent solo exhibitions include Histoires dans la pénombre (Stories in the Dark) in Centre Pompidou in Paris in 2018.

‘Exorcisms’ was supported by the “Artis Grant Program”.

Ghosting Through Situations of Minor Importance (working title) is a solo exhibition of newly commissioned video work by Sandra Johnston that partly revisits her time spent in Dublin during the late 1990s.

As an emerging artist Sandra was both resident at IMMA and participated at the OFF Site programme of Project Arts Centre, curated by Valerie Connor between 1998 and 1999. Her work ‘Reserved ’ consisted of a performance over two consecutive nights on the rooftop of the former Ormond Hotel and a video installation shown inside the building. Connecting different experiences and conversations Sandra recalls the challenging living and working conditions of being an artist in Celtic Tiger Dublin. Based in the Liberties and working daily on a FÁS community scheme, she observed both the continuing precarity and the imminent changes occurring in her neighbourhood. This exhibition will bring together salvaged film materials from 1950s/60s archival sources, late 1990s documentary footage filmed by the artist, and new performance-based video work as it attempts to piece together historical moments from peripheral viewpoints, locating specific objects and gestures, and interacting and interrupting narratives of situations both common and unowned.

Based in Newscastle, Sandra Johnston is a visual artist from Northern Ireland active internationally since 1992, working predominantly in the areas of site-responsive performance and installation. Her actions have often involved exploring the aftermath of trauma through developing acts of commemoration that exist as forms of testimony and empathetic encounter.

Sandra Johnston’s new work is supported by the Irish Museum of Modern Art Production Residency.

Anna Daučíková has worked in a broad spectrum of media from glass, painting, drawing, photography, conceptual photo-collage, performance, and from the nineties with video. Her first solo exhibition in Ireland will feature a selection of recent and older works including her video Thirty-three Situations (2015) that she describes as ‘something between a police dossier, a medical history, and a sort of stigmatic script of the individual situations’ and which drew extensively from her private life experience in Soviet Russia. Informed by historical and political aspects of feminism, Daučíková’s practice addresses issues around the conflicting aspects of normativity, the technologies of power, queer subjectivity and the politics of privacy.

Anna Daučíková is an artist and teacher based in Prague. After her graduation at the Academy of Fine Arts in Bratislava in 1978 she emigrated to Moscow (then the USSR) where she lived and worked until 1991. During this period her extensive painting practice and interest in photography were triggered by her encounter with feminist thought. Returning to Bratislava in 1990s her artistic practice veered towards video art and performance events, then widely organized in the Slovak art scene. In her video art the engagement of the artist’s body and bodily action became her main concern in presenting her queer statements. Alongside her artistic work she was a co-founder and activist in several women’s NGOs, and became a spokesperson for LGBT rights in Slovakia.

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