we make our own histories

Curated by Maolíosa Boyle and Jonathan Cummins, the exhibition is the culmination of artist Anthony Haughey’s socially engaged residency from 2021 – 2024 at the National Museum of Ireland, taking inspiration from the Museum’s collections, as they relate to the Decade of Centenaries.

What does Irish culture and identity look like one hundred years after the formation of the state?

This question is at the heart of we make our own histories on display at the National Museum of Ireland, Decorative Arts & History, Collins Barracks until 30th June 2024 (extended until 31 July 2024). During the summer of 2021, I established an artist’s studio in the National Museum of Ireland – Decorative Arts & History, conceived as a learning lab where dynamic conversations, workshops, and durational art processes resulted in the co-creation of artworks that reflect an exciting time of change in Ireland. The museum’s collections reveal Ireland’s past as a colonised country entangled within the British Empire and its revolutionary struggle for independence. A central proposition during my residency was to consider the National Museum of Ireland as a site of social transformation. Museums are central to nation-building and the formation of cultural identities – how we view ourselves. If this is the case, it is apposite to ask, What does Irish culture and identity look like one hundred years after the formation of the state? And does the museum reflect a culturally diverse society?

RTE Culture article

Silent City featuring photographs from the Settlement series.

13 April – 21 July 2024
Print Gallery | Admission free

Exploring quiet urban landscapes, Silent City features photography, paintings, prints and drawings from the Gallery’s permanent collection. New acquisitions and works that have not yet been displayed in public will be highlighted.

Curator: Dara McElligot

Settlement 2011

All the photographs in this series are produced between sunset and sunrise, partly to avoid any potential confrontation with security guards who regularly patrol these sites during the daytime. The combination of darkness, artificial light and long exposures draws attention to the effects of development on the natural environment by reducing each photograph to the key elements of land and manmade constructions. The natural landscape has been disturbed by earth moving machinery generating artificial hills and valleys in front of half built or unoccupied dwellings. Slowly, nature has started to reclaim the exposed landscape. With the collapse of Ireland’s ‘Celtic Tiger’ economy, more than fifteen years of growth suddenly ended. The banks foreclosed on developer’s loans, all building projects across the state ceased. This resulted in ‘ghost estates’ and unfinished ‘one off houses’.

Changing States: Ireland in the 21st Century is a group exhibition curated to reflect the diverse ways Irish artists have addressed key issues within the context of the Irish State. Featuring work by 34 artists, the exhibition surveys recent, profound social change in Ireland, shifting demographics, and the long-term legacy of colonialism, to question existing paradigms and power structures. More information here

Open House

Framed by living memory, the exhibition evokes a time from World War II through to the gradual removal of wallpaper from homes in the 1990s. The two local photography series (June Street in Salford and Hulme Crescents – Anthony Haughey) show housing that has been demolished entirely. Whether we were around in this time or not, they are foundational scenes of gendered, racialised, class, and culture-driven experiences in the United Kingdom.

This Is What We Call Progress is a short film set in the drawing-room of 18th Century Newbridge House, Donabate, near Dublin, a Georgian Villa built to the design of James Gibbs in 1747 for the Archbishop of Dublin, Charles Cobbe.

His great grand-daughter Frances Power Cobbe (1822-1904) who was born in Newbridge House became a writer, social reformer, anti-vivisection activist, and a leading women’s suffrage campaigner. In this film a group of young women Benedit Akemba, Drucille Akemba,  Gabriella Ogwude and Ihuaku Igbosonu who collectively call themselves My Sisters Keeper assert their agency surrounded by oil paintings of colonial masters. The film explores ideas of how cultural identities are formed and represented in the public realm and the concerns expressed by young multi-ethnic youth growing up in a time of rapid change in Ireland and internationally.

In-Conversation: Anthony Haughey and Lauretta Igbosonu 7.00pm Thursday 17 August

This in-conversation event will address Anthony Haughey’s project Citizen, a small selection of which is featured in the No Place Like Home exhibition. The conversation will focus on the time Haughey spent photographing at the Mosney Direct Provision Centre. He will be joined by Lauretta Igbosonu, a founding member of the Global Migration Collective. Igbosonu has engaged in a long-term collaborative partnership with Haughey following a chance encounter almost twenty years ago.

More information

The Edge Of Europe Postcards From Mosney How to be a Model Citizen and Citizen featured in this publication

Irish Art 1920-2020: Perspectives on change edited by Catherine Marshall and Yvonne Scott, is a generously-illustrated book in which eleven authors examine different aspects of Irish art through the hundred years or so since independence. During this time, art in Ireland has borne witness to unprecedented social and political transformation, and this book of essays considers how some of the established perspectives in Irish visual culture were challenged and represented during this time.

Art in Ireland has been shaped by a range of factors – the country’s geographic position, post-colonial history, political upheaval, religious environment – and of course the complex interconnections both within and beyond the country, prompted by shifting patterns within society – identities, migration, technology, for example – as well as the artists’ evolving engagement with the wider world.

This is not a linear story; each chapter explores a particular aspect of art, how it reflected the interests of artists, the environments in which they worked both in Ireland and abroad, and how subjects and methods changed over time. The extensive richness of the last century or so, as well as the diversity, creativity and originality of the artists means that no single text can ever be comprehensive, and this one makes no such claims. Rather, his book, however, is a kind of map; it does not pretend to fully represent the entire narrative but may provide some useful clues to negotiating parts of it, or at least the basis for further exploration and debate.

Anthony Haughey featured in Yvonne Scott’s new book. This book identifies a representative selection of compelling and intriguing artworks by a range of around one hundred of the most challenging and vibrant artists from, or working in, Ireland or whose work addresses Irish landscapes and environments. This field of representation has never been more vital and expansive than it is now in the first quarter of the twenty-first century in the face of climate change.

No Place Like Home

The Domestic in Irish Photography

2 September – 2 September 2023

Michael, Mosney Direct Provision Centre © Anthony Haughey 2005

As a people with a long history of migration and dispossession, the notion of home is a deeply emotional one in Ireland. Although evoking a nostalgic sense of warmth and security, the lived reality of domestic life is often at odds with idealised representations.

This exhibition considers what ‘home’ looks like in Ireland today and how it reflects wider societal changes.No Place Like Home brings together work by leading established and early career artists who take us beyond the front door to reveal their experiences of home and domestic life, offering diverse perspectives on family, migration, mental health and economic disparity in Ireland.

This exhibition is being presented against the background of Ireland’s current housing crisis, with secure and affordable accommodation beyond reach for a large segment of the population. These artists propose new ways to visualise the complex realities of home and housing, placing these issues in a broader historical context, interrogating the distance between our notional ideas of home and the lived experience, and showing how the family unit is being redefined. More information here

Photographer Anthony Haughey is featured in The History of European Photography (1900 – 2000). An international research project spanning the whole of Europe. An encyclopaedia in English (5000 copies per volume, about 600 pages per book), divided into three volumes / periods, volume 1 – 1900 – 1938, volume 2 – 1939-1970, volume 3 1971 – 2000. Each volume of the encyclopaedia is organised alphabetically by country. A study on the history of photography in each country written by an expert on photography from that country. Alongside the main studies, each book contains extensive additional material, biographies of mentioned photographers, and timetables marking cultural, socio-political and technical photographic events in each country for a given period. There are two types of indices in each book: an index of mentioned photographers and an index of other historical names and subjects.

Portrait of a Nation: Art, Politics and the Anglo-Irish Treaty

Images Are All We Have traces the thematic development of the photographic discipline and contextualises the historical background, bringing together the diverse and socially engaged set of contemporary art practices that define Contemporary Irish Photography today. Showing works from The Edge of Europe borrowed from the Crawford Collection and the video installation Manifesto borrowed from the Arts Council Collection

In Our Own Image: The Politics of Place

The third chapter of the Gallery’s year-long In Our Own Image exhibition programme, The Politics of Place is a landmark survey exhibition that undertakes a critical reframing of the way Irish life has been represented through photography. It addresses how photographers have engaged with one of the defining obsessions of our national identity – the notion of place.

For a people so often uprooted and dispossessed, the identification of Irishness with place, with home and the ownership of land, even with the state itself, carries incredible weight. The photographers in this exhibition use place as a way of speaking to and about national identity, the spaces and the landscapes we share, the ground that we hold in common and the boundaries that divide us.

By mapping these contested territories, they consider how the relationship between place and Irishness, broadly defined, has been transformed, addressing the profound changes that have reshaped Irish society over the last four decades, from the decline of the church to the impact of globalisation, through to ongoing crises around housing, migration, and the environment.

Moving away from traditional documentary towards more socially-engaged and inclusive ways of thinking about the medium, the selected works by emerging and established artists featured in The Politics of Place touch on the most pressing issues around Irish identity and history, coming to terms with the legacies of the past and facing the challenges of the future.

Gallery of Photography Ireland is delighted to present this exhibition introducing the National Photography Collection. Featuring a selection of specially commissioned prints by established and emerging Irish artists, it provides a context for an open discussion on the development of the Collection over the coming years.

We want to work with artists to support them in archiving their artistic practice across the span of their careers, preserving their creative legacies for the future. Our vision for the Collection is to define the scope of modern and contemporary Irish photography, honouring past generations and recognising the achievements of contemporary Irish photographic artists.

 In Our Own Image: The Politics of Place A Survey of Photographic Practices in Ireland 25 June – 3 September 2022

The third chapter of the Museum’s year-long In Our Own Image exhibition programme, The Politics of Place is a landmark survey exhibition that undertakes a critical reframing of the way Irish life has been represented through photography. It addresses how photographers have engaged with one of the defining obsessions of our national identity – the notion of place.

For a people so often uprooted and dispossessed, the identification of Irishness with place, with home and the ownership of land, even with the state itself, carries incredible weight. The photographers in this exhibition use place as a way of speaking to and about national identity, the spaces and the landscapes we share, the ground that we hold in common and the boundaries that divide us.

By mapping these contested territories, they consider how the relationship between place and Irishness, broadly defined, has been transformed, addressing the profound changes that have reshaped Irish society over the last four decades, from the decline of the church to the impact of globalisation, through to ongoing crises around housing, migration, and the environment.

Moving away from traditional documentary towards more socially-engaged and inclusive ways of thinking about the medium, the selected works by emerging and established artists featured in The Politics of Place touch on the most pressing issues around Irish identity and history, coming to terms with the legacies of the past and facing the challenges of the future.

Featured artists: Enda Bowe, Noel Bowler, Simon Burch, Martin Cregg, Mark Curran, Ciaran Dunbar, John Duncan, David Farrell, Kevin Fox, Paul Gaffney, Fiona Hackett, Anthony Haughey, Seán Hillen, Shane Hynan, Dragana Jurišić, Bernadette Keating, Jamin Keogh, Shane Lynam, Stephen McGinn, Dara McGrath, Yvette Monahan, Jackie Nickerson, Kate Nolan, Miriam O’Connor, Kenneth O’Halloran, Rory O’Neill, Martin Seeds, Niamh Smith, Amelia Stein and Izabela Szczutkowska.

WE ARE HERE at Highlanes Gallery

Exploring themes of marginality and its representation, community, storytelling, world-building and critically reframing histories, these linked exhibitions present films from SONGS OF A FORGOTTEN PAST, one of five artists’ film programmes curated by Tendai John Mutambu for the British Council, the UK’s international organisation for cultural relations and educational opportunities, and LUX, an international arts agency that supports and promotes artists’ moving image practices. Including work from a range of media including moving image, sculpture, painting and photography and will include the work of artists Ayo Akingbade, Ursula Burke, Duncan Campbell, Tom Fitzgerald, Luke Fowler, Cliona Harmey, Anthony Haughey, Susan Hiller, Samson Kambalu, Brian Maguire, Colin Martin, Mairead O’hEocha, and Daphne Wright.

At 1 pm on Sunday, the 5th of December 2021 artist Anthony Haughey and the Inishowen community gathered at Fort Dunree to produce an artist intervention, the first part of an ambitious social sculpture that will involve hundreds of participants. Anthem is the outcome of my 2021 Artlink residency co-created with residents living near Fort Dunree, Buncrana, and Drumfries. This event marks the centenary of the signing of the Anglo-Irish Treaty on the 6th of December 1921

Picturing People National Gallery of Ireland 11 September – 5 December 2021

With photography from the nineteenth century to the present day, Picturing People includes works that depict urban and rural life, as well as individuals from different communities, cultures and backgrounds. This collection of photographs by Irish and international artists includes work by German photographer Evelyn Hofer, Irish artists Eamonn Doyle and Anthony haughey film maker and photographer Nevill Johnson, and English portrait photographer Jane Bown.

Exhibition curator Sarah McAuliffe commented: “As the Gallery’s collection continues to expand, we’re delighted to present over 70 artworks – many newly acquired – to the public in this exhibition. These works celebrate people in Ireland and abroad, from diverse backgrounds, communities and cultures, united by universal experiences. Picturing People offers something for everyone and my hope for those visiting the exhibition is that they will feel a sense of warmth and joy as they move through the exhibition space.”

Artist-in-residence Anthony Haughey in conversation with the Director of the National Museum of Ireland, Lynn Scarff. The residency is part of the Decade of Centenaries Programme 2012-2023. Anthony will look at the significance of this project for the Museum and for him as an artist. More information here

11 September – 5 December 2021
Print Gallery | Admission free

The National Gallery of Ireland celebrated humanity in all its forms in this photography exhibition showcasing works recently acquired for the national collection. Picturing People featured over 70 photographs by Irish and international artists such as Lee Miller, Elliott Erwitt, Inge Morath, Dorothea Lange, Anthony Haughey, Eamonn Doyle, Dennis Dinneen and Aoife Shanahan. For the first time, works by artists including Gilles Peress, Jill Freedman and Markéta Luskačová were on display at the Gallery.

From chats on street corners in Dublin to pilgrims ascending Croagh Patrick in Mayo; from lovers on park benches in New York to passengers on buses in Liverpool, discover people and communities through the decades at this free exhibition.

Curator: Sarah McAuliffe (Curatorial Assistant)

Ese, Former Butlin’s Mosney Holiday Camp Dinning Hall, Mosney Reception Centre 2006

I will be working on an artist residency with Artlink Fort Dunree over the summer months to produce a collaborative art intervention to mark the centenary of the Anglo Irish Treaty signing on 6 December 1921. Artlink

May 2021 – Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media Catherine Martin T.D. has announced 5 selected artists-in-residence under the Decade of Centenaries 2012-2023 Programme. The Department scheme underpinning the selection is a partnership with the National Museum of Ireland (NMI), the National Library of Ireland (NLI), the National Archives, the Military Archives and Beyond 2022|Ireland’s Virtual Record Treasury project. Visit the NMI website for more information

The 5 artists are: Anthony Haughey (NMI ), Julie Morrissy (NLI ), John Beattie (National Archives ), Studio 9 (Military Archives ) and Mairéad McClean (Beyond 2022 ).

Filmmaking is an inherently collaborative endeavour, yet authorship is firmly situated with the director. In filmmaking processes with community participants, where content is generated together, questions of authorship are more fluid. How do artists negotiate the ethical question of representation while managing aesthetic considerations within a collective process? This intimate workshop (maximum 10 attendees), delivered by artist Anthony Haughey, will examine questions of authorship and representation in community based filmmaking, facilitating group-wide discussion and sharing of the topics covered. Participants should have a project (in any art form) in mind to enable full participation. Access to the internet is required. This workshop is delivered in partnership with Sligo County Council Arts Service (Invitation to Collaboration Scheme).

How to apply

Submit a statement of interest as to why you wish to participate, including projects you wish to share (200 words max) plus a biography (200 words max) to vance@create-ireland.ie with the subject line “Authorship and Representation workshop application”.  The deadline for applications is 12th November, 12 noon. Successful applicants will be informed on the 16th November.

CAN YOU HEAR US NOW? 

THIS IS WHAT WE CALL PROGRESS

WAITING FOR TOMORROW

This trilogy of short films reflects on the impact of global migration from the point of view of young people in County Fingal with a particular focus on Balbriggan. This public art commission explores ideas of how cultural identities are formed and represented in the public realm. 

In this socially engaged production young migrant youth have collaborated and negotiated every aspect of filmmaking from script writing to film treatment and choice of location. At the end of this process the same young people assumed the role of non-professional actors as they claim ownership of the narrative. Each sequence and film follows a durational socially engaged method taking four months or more to complete. 

The films explore the concerns expressed by young multi-ethnic youth growing up in a time of rapid change in Ireland and internationally. The research for each film refers to historical antecedents from Civil Rights in the ‘60s to the most recent Black Lives Matter movement in 2020. Throughout this discursive process and dialogical encounters new discoveries are made and incorporated into each script. For example, in the short film Can You Hear Us Now? A group of school students generate a claim for equality within the context of xenophobic Europe. In this sequence the language and narratives of African slave, Frederick Douglas who traveled to Ireland in 1845 and performed many public speeches on emancipation and freedom were carefully and sensitively appropriated and reworked. The resulting displaced conversation between three young women from Lusk Community School evokes Brecht’s alienation effect to ‘make the familiar strange’ in order to provoke a social-critical audience response.

The second film is set in the drawing room of 18^th Century Newbridge House in Donabate, once owned by Frances Power Cobbe who was an Irish writer, social reformer, anti-vivisection activist and a leading women’s suffrage campaigner. In this sequence a group of young women who call themselves My Sisters Keeper reclaim their own place in history surrounded by oil paintings of colonial masters.

In the final short a group of young men engage in a conversation about what is at stake for their generation as they reflect on the historical speeches and claims for civil rights and equality espoused by Martin Luther King, Malcolm X and many others. The film is also a homage to Samuel Beckett’s seminal play Waiting for Godot. Waiting is akin to a ‘permanent state of crisis’ where waiting for change to come is testing the patience of many generations of young people, especially in light of recent events and the Black Lives Matter global protests. 

The films are currently in post-production and will be completed and assembled together with a commissioned animated credits sequence to honour the 75 people who contributed to this experimental trilogy. There will also be a 48 sheet billboard film poster campaign. Each of the three films will be represented by a specially designed film poster by Detail Design.

The artistic in the documentary is selected from DZ Bank’s permanent collection. The exhibition extends across photographic works of art from various visual subjects, such as the urban landscape, portrait and interiors. At the same time, the selection goes far beyond documentary images. Works by Roger Ballen, Gabriele Basilico, Sibylle Bergemann, Laurenz Berges, Claus Bury, Pietro Donzelli, Arno Fischer, André Gelpke, Mario Giacomelli, Anthony Haughey, Helen Levitt, Will McBride, Simone Nieweg, Robert Rauschenberg, Timm Rautert, among others, are shown Evelyn Richter, Heinrich Riebesehl, Boris Savelev, Shirana Shahbazi, Dennis Stock, Wolfgang Volz and Ulrich Wüst. More information about the exhibition here. Download the exhibition brochure here

I am showing work from the Disputed Territory series in a exhibition called, Go Down Moses a catalogue of the exhibition is available from MOCP. The exhibition includes luminaries such as Walker Evans, Dorothea Lange, Andy Warhol and Robert Adams.

Go Down Moses presents a reinterpretation of the MoCP’s permanent collection that can be understood as a visual tone poem of contemporary America, exploring elemental themes of movement, chaos, freedom, and hope. In doing so, Cole uses the photographic archive to interweave the past and present, suggesting an aesthetic approach to understanding the current psyche.

He writes: Questions of liberation tend to interleave the present and the past. What is happening now is instinctively assessed with the help of what happened before, and both despair and hope are tutored by memory. The old Negro spiritual “Go Down Moses,” beloved by Harriet Tubman and generations since, sought to link the black American freedom quest with the story of ancient Israel’s struggle to be free of Pharaoh’s bondage.

Through an intuitive sequence of photographs, in images soft and loud, this exhibition proposes a redefinition: that hope has nothing to do with mood or objective facts, but is rather a form of hospitality offered by those who are tired to those who are exhausted. More information available here

A new exhibition at Donegal’s Glebe Gallery tells the story of 21st century Ireland via a series of acclaimed artworks by a number of major contemporary Irish artists. 

Curated by critic and broadcaster Cristín Leach, 21st Century Ireland In 21 Artworks includes paintings, photographs, video works, sculptures, performances, and installations informed by themes of home, money, bodies, risk, mental health, society, politics and more. Including internationally important artists such as Willie Doherty, Amanda Coogan, Corban Walker, Mick O’Dea, Dorothy Cross, and Aideen Barry and Anthony Haughey.

Further information here

My Home series was collected by the CRP almost thirty-years ago. I was still a student in Farnham at the time (now called the University of Creative Arts), when I was invited to make my first exhibition in La Maison Pour Tous de Calais. Ten photographs from Home were acquired for the collection. Rediscovered in the CRP collection by independent Curator Beatrice Andrieux. More information in the CRP website here

Press release pdf

Photographs from the Home series (1992) will feature in this years Les Rencontres d’Arles. The catalogue for Isabelle Bonnet’s ‘Home Sweet Home’ exhibition will be available to accompany the show, which opens 1st July 2019 at Les Rencontres Internationale de la Photographie in Arles France. Work by the following photographers will be included:  Ed Alcock (1974), Dana Ariel (1983), Keith Arnatt (1930-2008), Laura Blight (1985), Juno Calypso (1989), Natasha Caruana (1983), Mark Cawson (1959-2018), Edmund Clark (1963), John Paul Evans (1965), Anna Fox (1961), Ken Grant (1967), Anthony Haughey (1963), Tom Hunter (1965), Sarah Jones (1959), Peter Kennard (1949), Neil Kenlock (1950), Karen Knorr (1954), Sirkka-Liisa Konttinen (1948), Chris Leslie (1974), Stephen McCoy (1956), Iain McKell (1957), Michael McMillan (1962), Daniel Meadows (1952), David Moore (1961), John Myers (1944), Martin Parr (1952), Magda Segal (1959), Andy Sewell (1978), David Spero (1963), Eva Stenram (1976), Clare Strand (1973), Colin Thomas (1950), Gee Vaucher (1945), Gillian Wearing (1963).

Introduction

This paper explores contemporary responses to crisis in Ireland as refracted through visual arts practice. The key question that will be pursued is not the primarily philosophical one of “what is the nature of crisis?” but the situational one of “how might a sense of crisis manifest itself through the practice of a visual artist?” In attempting to answer this question it is hoped some light can be shed on other questions that appear to have gained greater urgency since the pivotal moment in 2008 when the economic ground shifted under the Irish people. Do artists have an obligation to engage with politics? Can some of the underpinning rationales for artist engagement, particularly in the field of relational aesthetics, empower artists to meet expectations that their work can, or should, be capable of decisive interventions at historical moments of crisis? A related objective is to ground a theoretical understanding of the nature of crisis in the evolution of an artist’s work, to gain some sense of its temporal manifestation in the life-long, everyday practice of making art.

The two artists I have engaged with to examine these questions, Deirdre O’Mahony and Anthony Haughey, were selected with a clear understanding that any number of other artists might just as equally have suited. The reason for the choice is that the author is familiar with the work of both over time and understands both, in variable ways, to be committed to exploring the interaction of political and aesthetic values in their practice.

Full article here

Field Notes from the Border presents new work by contemporary artists working along the border in Ireland. A series of cross border exhibitions and engagement programmes curated by Gallery of Photography respond to the anxiety raised by the prospect of the imposition of a hard border and the unfolding events brought about by Brexit. Field Notes from the Border #1 opens to the public in Gallery of Photography on Thursday 7 March at 2pm. The official launch and engagement programme will take place on Thursday 21 March. Exhibition continues until 7 April.

Anthony Haughey’s exhibition and film installations respond to the perceived imminent threat of Brexit to peace and stability in Ireland. New video works, photographs and texts reflect on Ireland’s ‘seamless’ border and consider how function, meaning, and effect are often in a state of flux. As WT Mitchell observes, it is ‘a process of human interventions, intersubjective relations and ideologies that determines our understanding of the landscape.’

Looking at the Border from both sides now review The Irish Times

Fieldnotes from the Border – how Brexit inspired a new art show RTE online

Field Notes from the Border # 2 RCC Letterkenny more information

Field Notes from the Border # 3 Nerve Centre Derry, more information

Announcement – Infrastructure Public Art Programme 2018 – 2021 Awards 9 new Commissions for Fingal

Press Release

Monday 25 June 2018

Fingal County Council’s Public Art Programme 2018-2021 announces 9 major commissions to line up of artists. Five of the nine commissions awarded under Infrastructure – Fingal’s Public Art Programme 2018-2012 were given to artists from Fingal.

The art programme which is predominantly funded through the Government’s Per Cent for Art scheme is valued at €400,000 and is co-curated by Fingal County Council’s Public Art Co-ordinator, Caroline Cowley and Independent Curator, Aisling Prior. In 2017, they conducted a countywide consultation to deliver the most appropriate creative brief for emerging artists to respond to which resulted in nine being awarded nationally.

There were almost 300 submissions to the open call and three selection phases have been conducted for the Infrastructure commissions. The selection processes featured  the expertise of curators, Aisling Prior and Caroline Cowley, academics, Declan Long and Valerie Connor, local public representatives and a range of specialist staff drawn from Fingal County Council’s Community, Heritage, Cultural and Planning departments. The selection processes resulted in nine commissions being awarded to some of Ireland’s most exciting and respected emerging and established artists, all of whom demonstrate an inspiring energy and unique imagination as to how they will make innovative and challenging artworks over the coming three years.

The nine commissions will unfold throughout the county under two categories: “Public Art Awards” and “Co-Productions”.

The “Public Art Awards” projects demonstrate a high level of artistic excellence, innovation and ambition for Fingal. The “Co-Productions” category includes artists who work collaboratively with specific Fingal community groups or a new community of interest.

A third aspect of the Infrastructure commissioning programme sees artists making artworks for and in the built environment. Internationally acclaimed artist Corban Walker will be making a sculptural installation for the landscaped areas in the new housing development at Hamilton Park in Dublin 15.

Artists selected under the “Public Art Awards” are John Byrne, Sarah Browne and Adam Gibney (Fingal) and under the “Co- Productions” category we selected, Declan Gorman (Fingal), Anthony Haughey and the Migrant Collective (Balbriggan), Michelle Hall (Blanchardstown ), Gareth Kennedy, Yvonne McGuinness (Malahide) and Aoife Dunne (Blanchardstown).

The commissions are across many contemporary artforms including theatre, film, virtual reality and digital art, performance, engaged and expanded practice and literature. Each of the art commissions will align with local communities in new and meaningful ways and will engage with current issues from across the county, to deliver a rich profile of Fingal as it is now.

Mayor of Fingal, Cllr Anthony Lavin said: “I’m delighted to see five talented artists from Fingal being included in the selection process for the Infrastructure Art Programme. It is a testament to the value of the supports developed and that have been put in place by the Fingal County Council’s Arts Office over the past number of years.”

Chief Executive of Fingal County Council, Paul Reid said: “Arts are an extremely important part to Fingal’s culture and identity. This programme is an investment into the talent and creativity that exists across our county and I am delighted to see it being supported and developed.”

For more details on Infrastructure and for our updates visit www.fingalarts.ie/infrastructure

For further information, please contact press@fingal.ie or Caroline Cowley, Fingal County Council Public Art Co-Ordinator;  01 870 8449  or   087 120 1924 Caroline.cowley@fingal.ie

Reframing the Border curated by Gallery of Photography Ireland
for Remote Photo Festival

Disputed Territory Anthony Haughey

Remote Photo is a festival dedicated to photographers creating work in a remote or rural context. The theme for this year’s festival is ‘Reframing the Border’. The border in Ireland is one of the most important issues affecting the island of Ireland. As we approach the centenary of partition the possible imposition of a hard border has prompted intense speculation and debate. The ‘Reframing the Border’ exhibition at the Regional Cultural Centre presents work by established and emerging Irish-based photographers who explore the diverse physical, social, psychological and imagined spaces of the borderlands in Ireland at this critical point in time. Exhibition continues until 19 May 2018. Remote Photo Festival have invited leading artists, broadcasters  creatives, curators, entrepreneurs, historians, politicians and writers to come together for a series of discussions and events to explore issues affecting the borderlands: past, present and future.

Weekend of exhibitions, talks and events on 11th, 12th & 13th May in the Regional Cultural Centre, Letterkenny, Donegal.
For full programme details please click here

Forum is part of a cultural diversity research project commissioned by Rua Red and Civic Theatre. Its objective is to explore the cultural richness of migrant communities living throughout South Dublin County. Envisaged as a stepping stone towards a long-term process of connection, collaboration and engagement, Forum invites community leaders and arts sector providers to engage in a series of transcultural dialogues to learn from each other in mutual exchange. Forum aims to identify barriers to access and provision that may exist or inhibit ethnic groups from originating or participating in art and cultural activities in South Dublin County arts venues. Central to this event is an understanding of cultural diversity as a plurality of identities, described in the UNESCO Universal Declaration on cultural diversity as ‘an adaptive process [with] a capacity for expression, creation and innovation’.

Forum, Transcultural Dialogues programme

Artists

Samuel Laurence Cunnane, Stephanie Deady, Willie Doherty, Vanessa Donoso Lopez, Anthony Haughey, Dragana Jurisic, Ronan McCrea, Isabel Nolan, Mairead O’hEocha, Kathy Prendergast, Tamsin Snow & Sarah Tynan.

Inspired by a quote by Jacques Derrida, this exhibition curated by Linda Shevlin and Aoife Ruane seeks to present works that respond to themes of hospitality, identity, friendship and the multitude of journeys and conflicts encountered to attain them. In response to ongoing and globally transformational international events, Bealtaine, the national May-time festival celebrating creativity as we age has adopted the theme of hospitality, hosting and welcome as a broad and multi-layered festival theme. The deeper undertones to the principle of hospitality are underlined by historical interpretations of the concept, including Jacques Derrida’s philosophical work on the Ethics of Hospitality.

More information

Irish Times Review

Review newsprint

Crisis and the Visual Arts in Ireland

This paper explores contemporary responses to crisis in Ireland as refracted through visual arts practice. The key question that will be pursued is not the primarily philosophical one of “what is the nature of crisis?” but the situational one of “how might a sense of crisis manifest itself through the practice of a visual artist?” In attempting to answer this question it is hoped some light can be shed on other questions that appear to have gained greater urgency since the pivotal moment in 2008 when the economic ground shifted under the Irish people. Do artists have an obligation to engage with politics? Can some of the underpinning rationales for artist engagement, particularly in the field of relational aesthetics, empower artists to meet expectations that their work can, or should, be capable of decisive interventions at historical moments of crisis? A related objective is to ground a theoretical understanding of the nature of crisis in the evolution of an artist’s work, to gain some sense of its temporal manifestation in the life-long, everyday practice of making art.

The two artists I have engaged with to examine these questions, Deirdre O’Mahony and Anthony Haughey, were selected with a clear understanding that any number of other artists might just as equally have suited. The reason for the choice is that the author is familiar with the work of both over time and understands both, in variable ways, to be committed to exploring the interaction of political and aesthetic values in their practice.

In a new series of articles, critic and broadcaster Cristín Leach selects 21 artworks for RTÉ Culture that define Modern Ireland.

Number Five: Anthony Haughey – Settlement (2011)

Anthony Haughey’s photographs of half-finished houses and abandoned residential building-sites have a near-supernatural, spiritual glow about them. Shot in low sun, as part of a series entitled Settlement in 2011, these images capture empty homes sitting like unconsummated promises at the end of overgrown tracks edged by mounds of earth and rubble, cleared aside but never levelled.  A flare of light hits a window or gable end, suggesting a kind of poignant beauty, but what is really on offer is a bleak reminder of the physical and emotional residue of the Celtic Tiger building boom and bust. Ghost estates continue to haunt the nation’s notion of home. Haughey’s Settlement photos are images of hope and loss, what was done and left undone.

Anthony Haughey’s photographs of half-finished houses and abandoned residential building-sites have a near-supernatural quality.

Collaborative Arts, Interculturalism and Human Rights seminar, April 6, 2017

This seminar set out to encourage discussion about the vital role the arts, and in particular collaborative arts, can play in promoting interculturalism and human rights. The contributors and speakers for Collaborative Arts, Interculturalism and Human Rights seminar included: Bisi Adigun, Katherine Atkinson, Clodagh Emoe, Warsame Ali Garare, Anthony Haughey, Sinisa Koncic, Laragh Pittman, Annet Mphahlele, Marie Claire Mundi Njong, Nor Nasib and Jijo Sebastian.

Keynote presentation, Anthony Haughey and Warsame Ali Garare. Watch here

“INHABITING THE BAGEION: architecture as critique” comes from a collective that emerged from a developing relationship between Irish and Athenian-based artists, architects, urban thinkers and urban activists. We come from multiple fields in the arts but all share an interest in exploring alternative models of teaching, practice, and processes within architecture through exhibition and workshops involving a wider public. The project offers a response to current socio-political issues through architecture – and at the same time – explores the practice of critique itself. This spatial critique argues for alternative modes of knowledge and knowing (embodied, sensory, instinctual, gestural and performative) to enter into the field of critical and sensory discourse, and help shape a more responsive understanding of interpreting experience within a new mode of architectural critique.

The exhibition presents architecture as being part of a social and cultural collective process through a series of curated spaces over four storeys of the defunct hotel: Firstspace present’s alternative models of teaching architectural practice as a mechanism of social inclusion and new forms of social engagement. Secondspace presents a series of visual art films by prominent Irish and International artists (Anthony Haughey; Mark Curran; Lina Selander; Harun Farocki; Megs Morley and Tom Flanagan) where architecture appears to carry the burden of historic events in the absence of any human accountability. Thirdspace presents an ongoing ethnographic research project by Eve Olney that focuses on the agency of the architect within a participatory architectural process. The work centres on the relationship between an Activist/Architecture group, Urban React and the original inhabitants of a 1930s refugee housing block in Athens as a means of exploring the cultural value of habitation. Fourthspace is an open creative space of workshops and events led by Irish artist Seamus Nolan collaborating with Irish, Greek and Swiss squatters/activists/ artists/ architects/ musicians that explores Squatting/Occupation as a means of cultural and social production. During the two-week exhibition Nolan and his team will design and produce items of furniture from ‘Lists’ of requested items from occupations and squats around Athens and attempt to initiate ongoing programmes.

This exhibition is in collaboration with the Athens Biennale.

Exhibition Duration: 14th – 26th October, 2017 | 12:00 – 20:00
Fourthspace Workshops: 15th – 24th October, 2017 | 12:00 – 18:00
Venue: Bageion Hotel | 18 Omonoia Square, Athens

For more information please visit exhibition’s facebook page here.

Post Picturesque: Photographing Ireland, Rochester Arts Centre, Minnesota 29 June – 10 September 2017

Ireland beckons tourists with its near-mythic rural beauty, even in post-Celtic Tiger, previous economically robust times. To many outside the island, Ireland’s identity continues to be entrenched in the romantic vision of idyllic, rustic people and places. Tourists are fed photos of bucolic green fields, stone walls, ruins, grazing beasts and cottages that perpetuate practices of the picturesque, which pushes the real, contemporary experience of Irish life out of view. Defying the inherent natural beauty of Ireland, Irish photographers embrace the challenge of representing a new, emboldened Irish identity through quizzical, charming, daring and truthful photography.

This exhibition presents exciting new work by cutting-edge Irish artists, created with critical intelligence, a keen sense of history, compositional vigor, and lively humor still deeply embedded in place.  Each artist grapples with the challenge of visually defining a landscape that retains many features of Ireland’s agrarian past, even its sectarian conflict, as well as more modern concerns of turbulent economic forces, farming methods, European Union regulations, real estate development, and lifestyle choices which effect Ireland’s rural experience and urban challenges.

Playing between the lines of picturesque and practical, Jill Quigley’s Rural Fluorescent series actively engages the abandoned, overlooked and unexciting, caught in the drama of the unexpected. Questioning the notions of beauty associated with representing landscape, Miriam O’Connor intercedes through whimsical display of the domestic, while David Farrell disrupts through digging into the dark history contained in the land. Paul Gaffney descends deep into the dark forest, entry to a hidden current of a Gothic underworld, mysterious and myopic, both beautiful and dangerous. Similarly, plunged into Paul Coyle’s painterly Lovely Water series, the viewer bounces on the waves, there in the same spot, Dublin’s famous Forty Foot cove, witness to change in light and form.  Anthony Haughey and Martin Cregg explore the sublime and beautiful potential of abandoned relics of Celtic Tiger overdevelopment. Two more photographers consider the living and working potential of everday alternatives created by women running farms in Anna Rackard’s Farmers and by new age, utopian seeking commune in the West of Ireland in Ruby Wallis’ Unfixed Landscape. The Irish picturesque, under the postcolonial critique, is associated with domination and control by outsiders. By  contrast, this exhibition celebrates Irish artists’ experience of their own land and their inventive approaches to picturing place.

On the tenth year anniversary of the photographies journal, the editors, David Bate and Liz Wells, take part in an in-conversation on the contribution of the journal to critical debates and international issues for contemporary photography today. With special guest speakers, including Louise Wolthers (Hasselblad Foundation, Sweden) and Anthony Haughey (photographer and tutor at Dublin Institute of Technology, Ireland).

The event is supported by Routlege, Plymouth University and University of Westminster.
The ten year anniversary conference takes place in London on Thursday 18 May & Friday 19 May 2017.

The Politics of Images – FIF_BH 2017 – International Festival of Photography of BH

UNresolved video installation

Anthony Haughey Artist talk video during the festival 

The importance of understanding the role of images in political constructions is directly related to the possibility of criticizing and re-creating them. The emergence of more balanced symbolic systems depends on political and power relations, both ethical and plural. The Moving Images Program intents to reflect about the many creative possibilities presented by artists working with the nonstatic state of the image, in the intersection between photography, video, animation, animated GIF, cinema and new technologies. 
These works will be shown at the FIF-BH Main Exhibition 2017.

Post-Picturesque: Photographing Ireland presents nine accomplished artists, resident in the Republic and Northern Ireland, who respond to the famously picturesque Irish rural landscape with new aesthetic and critical approaches. This ambitious exhibition, curated by Perlman Teaching Museum Director Laurel Bradley, introduces the following lens-based practitioners to American audiences — many for the first time: Gary Coyle, Martin Cregg, David Farrell, Paul Gaffney, Anthony Haughey, Miriam O’Connor, Jill Quigley, Anna Rackard and Ruby Wallis.

Anthony Haughey, photographer: “Ireland in Crisis”

Anthony Haughey, one of the nine featured artists in the Perlman Teaching Museum exhibition Post-Picturesque: Photographing Ireland, will launch the exhibition with Ireland in Crisis: Post Celtic Tiger Photography, on Friday March 3, 7 pm Weitz 236 with opening reception in the museum to follow.  Haughey is a distinguished photographer and teacher (at Dublin Institute of Technology) whose photographic and film work focuses on issues of identity, tensions around borderlands, and contemporary social, political pressures related to changing geography. This talk will illuminate his Settlements project, which explores the new “ruins” left behind after the collapse of the real estate market and the “Celtic Tiger” economic boom of the late 1990s and early 2000s.

Anthony Haughey brings an artist’s eye to the task of representing empty housing estates, which he says had become a “visual cliché of post Celtic Tiger Ireland.” By contrast with banal news images of “ghost estates,” Haughey’s ruins, produced between dusk and dawn, are rendered with rhetorical grandeur: “The combination of darkness, long exposures, and artificial light draws attention to the destruction of the natural environment, a direct result of overdevelopment. Stalled building activity stands frozen in time, a reminder of disastrous laissez-faire capitalism and planning legislation.”

Just as the compositions—glowing spectacles of forlorn residential clusters and jagged unfinished walls—are theatrical, Haughey’s accounts of prowling the terrain are full of drama and strange pleasure: “Climbing over these temporary walls and walking into the darkness instills fear and awe, a sublime terra infirma.” Ultimately, the photographer defines these abandoned sites as places of collective mourning. These landscapes are not simply “a recording of what is in front of the camera lens, [they are] a reframing of collective memory/history to encourage a critical dialogue with the spectator, where memory is inextricably bound with these violated landscapes, a constant and painful reminder of economic failure and future indebtedness.”

The dystopian sublime of Settlement could paralyze an audience with shock and awe. Haughey, though, suggests ways forward via a creative collaboration with architects and architecture students. Drawn proposals for repurposing such urban eyesores as the abandoned Anglo Irish Bank headquarters site in the Dublin Docklands are a call to action and community spirit: “It is our collective responsibility to reimagine how the ruins of the present offer a unique opportunity to reimagine how we want to live in the future.”

Periodical Review 20/16

25/11/16—21/01/17
20 years of Irish contemporary art: Four perspectives
Selected by Brian Duggan, Sarah Glennie, Jenny Haughton & Declan Long

Aquinas, Callan Workhouse Union, Nina Canell & Robin Watkins, Dorothy Cross, Willie Doherty, Douglas Hyde Gallery, Fergus Feehily, Four Gallery, Anthony Haughey, Patrick Jolley & Reynold Reynolds, Des Kenny, Aileen Lambert, Clare Langan, Metropolitan Complex, Michael McLoughlin, Isabel Nolan, Seamus Nolan, Emer O’Boyle, Margaret O’Brien, Deirdre O’Mahony

An artwork, like a book, is not made up of individual words on a page each of which with a meaning, but is instead “caught up in a system of references to other books, other texts, other sentences” †

Periodical Review is an annual survey of recent Irish art, selected in collaboration with invited curators from around Ireland. Not a group exhibition per se, Periodical Review is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). Each year, Pallas Projects invite a number of peers – artists, writers, educators, curators – to review and nominate a number of art practices, selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit, to be a reminder, a critical appraisal and consolidation of ideas and knowledge; to facilitate and encourage collaboration, crossover and debate.

Periodical Review 20/16  – which coincides with 20 years of Pallas Projects – sees four invited selectors survey key events, exhibitions, moments and artworks from the past 20 years to the present. The chosen practices emphasise the recent developments in contemporary art in Ireland, a period of new engagement with international practices, an increase in visiting artists, curators and speakers, with Irish curators and educators taking up major positions overseas, and Irish artists being showcased around the world. The works display and demonstrate a new confidence and energy that emerged in the visual arts during the 1990s and 2000s, by individuals and institutions. A period that included the international conferences such as Cork Caucus, 2005; the emergence of redesigned spaces such as Project, Temple Bar Gallery & Studios, and The Model; international art fair profile for Irish artists through galleries such as Kerlin and mother’s tankstation; new major regional galleries such as The Glucksman and VISUAL; critical publications such as Third Text’s ‘Ireland Issue’ edited by Lucy Cotter, or Paul O’Neill’s ‘Curating Subjects’; and acclaimed Irish pavilions at the Venice Biennale.

In looking at self-organised exhibitions, off-site projects, commercial gallery and museum shows over this 20-year period, Periodical Review 20/16 aims to share a spectrum of practices, creating dialogue and critical reflection to help develop and support Irish contemporary art as a whole; and to act as an accessible survey of contemporary art for a wider audience, showing an expanded experience of art practices from around the country.

† Michel Foucault, The Archaeology of Knowledge

The Museum of August Destiny, Pearse Museum

4 November 2016 – 8 January 2017

Aideen Barry, Amanda Coogan, Mark Clare, Anthony Haughey, Dragana Jurisic and Sarch Pierce
A commissioned exhibition curated by Dr. Emily Mark-FitzGerald (University College Dublin). Adopting the form of the idiosyncratic “personal” museum, six artists have been asked to respond to visionary ideals set out in the 1916 Proclamation, presenting individual meditations on the State and society’s realization of (or retreat from) the “august destiny” envisioned by the Rising’s leaders.

The Museum of August Destiny, Pearse Museum

The Museum of August Destiny, Lismore Castle Arts: St Carthage Hall

UNresolved will screen in Buenos Aries, part of Bienal De La Imagen En Movimiento

More information here

A new lens-based and moving-image works by leading figures in Irish visual art, dance, and performance, engaging with the Centenary of the 1916 Rising. Followed by a Q&A session with featured artists Anthony Haughey and Andrew Duggan. Further information: National Gallery of Ireland

Manifesto screening in Centre Culturel Irlandais, part of the Paris wide 24 hour art festival Nuit Blanche (from 7pm – 7am)

Manifesto

HD Video with sound, 18 mins 30 sec

Anthony Haughey 2016

“We need to go back and recover the promise of a real republic that would be built on citizenship and that would reject as outrageous in a republic the kind of radical individualism epitomised in that ugly statement of Michael McDowell’s that inequality is needed for the stability of society”.

– Michael D Higgins’, final Dáil speech, delivered on 25 January 2011, before his inauguration as President of Ireland.

Ireland’s 1916 Proclamation was written by a group of ideologically conflicted leaders of the Easter Rising, the most critical event in the shaping of Ireland’s modern history.  From this source sprang a War of Independence that culminated in the setting up of a twenty-six-county Free State and a six-county Northern Ireland within the Union. The political sovereignty hard-won over these years was enshrined in the declaration of a Republic in 1949. But that sovereignty was seen to be compromised following the economic crisis of 2008 when a troika of managers from the EU and IMF arrived in the Republic to oversee a financial bailout for the country. The centenary of the Rising occurs only three years after the troika’s departure in 2013, raising many difficult questions about how the country measures up to the dreams and aspirations in the 1916 Proclamation of Independence. The Proclamation was controversially a call to arms, with the promise of an egalitarian Republic that was never fully realised. A century later Ireland is the most globalised economy in the world. Manifesto raises important questions for so many people living in Ireland today forced to live in ‘a permanent state of crisis’ while multinational corporations maintain huge profits.

Four writers – Pearse, Connolly, Plunkett and McDonagh – were central to the Rising. This ensured that art and culture were at the heart of the vision projected for an independent Ireland. Manifesto invokes historical and contemporary literature to reflect that fact that the Easter Rising was also an important cultural revolution and marked the emergence of Modernism.

UNresolved screening in Berlin

RuinNation The ruin in Irish art and visual culture 1916–2016

A symposium presented by TRIARC, Trinity’s Irish Art Research Centre
2nd April 2016; 10.00 am – 5.15 pm (Registration from 9.30 am)
Emmet Theatre (Room 2037), Arts Building, Trinity College Dublin.
ALL WELCOME.

Register Now

Keynote: Luke Gibbons
Contributors: Justin Carville : Terence Dooley : John Gerrard : Anthony Haughey : Sean Hillen : Fionola O’Kane Crimmins : Ellen Rowley : Yvonne Scott
Chairs:  Declan Long : Niamh NicGhabhann

UNresolved reflects on the twenanniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by The Bosnian Serb Army of Republika Srpska (VRS) under the command of General Ratko Mladic. The screening is followed by a conversation with journalist and writer Ed Vulliamy.

Beyond the Pale: The art of Revolution
DATE: EXHIBITION & FESTIVAL OPENING MONDAY 25 APRIL.
VENUE: HIGHLANES GALLERY, LAURENCE ST.
Highlanes Gallery is delighted to present ‘Beyond the Pale: The art of Revolution’, curated by artist Anthony Haughey

Independent.ie

The Museum of August Destiny
July 15 –September 4
Aideen Barry, Amanda Cooga, Mark Clare, Anthony Haughey, Dragana Jurisic and Sarch Pierce
A commissioned exhibition curated by Dr. Emily Mark-FitzGerald (University College Dublin). Adopting the form of the idiosyncratic “personal” museum, six artists have been asked to respond to visionary ideals set out in the 1916 Proclamation, presenting individual meditations on the State and society’s realization of (or retreat from) the “august destiny” envisioned by the Rising’s leaders.

Manifesto, a new film by Anthony Haughey, will be screened in the Irish Arts Centre, New York from 18 April until 1 May 2016.

Independent.ie

Irish Arts Review feature on my exhibition and new film, ‘UNresolved’ by Dr Stephanie McBride PDF download here

Disputed Territory will form part of a forthcoming Camera Austria exhibition in Kunsthalle Graz

Download Camera Austria pdf

‘Uncovering History’ exhibition Reviews pdf

‘Uncovering History’ Documentation of the exhibition in Kunsthaus Graz pdf

Irish Examiner review 10.3.15

EXCAVATION BY ANTHONY HAUGHEY

CURATED BY HELEN CAREY

23^rd January – 13^th March 2015

Anthony Haughey is an artist who explores contested territories in Ireland and Europe. In a premier for Limerick City Gallery of Art, Haughey returned to Bosnia to make a new film. UNresolved reflects on the twentieth anniversary of genocide in Srebrenica. Haughey presents a haunting memorial to the victims of the Bosnian war of 1992-95. The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a ‘safe’ area for Muslim refugees – the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haughey’s earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Breaking the silence of this film is a recording of eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history. As Walter Benjamin stated, ‘articulating the past historically does not mean recognizing it ‘the way it really was.’ It means appropriating a memory as it flashes up in a moment of danger’ (1990).

Irish Arts Review pdf 

Limerick City Gallery exhibitions

Soundings – Collective memories of the sea
13 December – 24 January
dlr LexIcon Gallery, Dun Laoghaire, Co. Dublin

dlr LexIcon this weekend celebrates the opening of its inaugural exhibition, Soundings, in its state of the art, brand new municipal gallery.

Soundings is curated by artist Michael McLoughlin with thanks to Dún Laoghaire RNLI lifeboat crewmembers. It features the work of six artists – Gary Coyle, Anthony Haughey, Emma Johnston, Sabina MacMahon, Julie Merriman and Lisa Reburn.

Introducing the exhibition, curator Michael McLoughlin said, “Soundings explores the relationships between Dún Laoghaire, the sea and its people through artworks, talks and workshops. It brings together six artists with connections to Dún Laoghaire who have investigated maritime histories, memories, testimonies and archives. Soundings talks, workshops and performances will offer further opportunities to explore and engage with the local maritime themes. Throughout this exhibition there are themes that ebb and flow between the work of the six artists — the connections between the local, the town and the port.”

Soundings events will feature a performance of Gary Coyle’s At Sea, a spoken word performance based on the artist’s daily swimming diaries and photographs (15 Jan), a special screening of A Tribute to Sound, a short film by Simone Corr which commemorates the decommissioning of the foghorn from our coastline (21 Jan) and Prospect, a video piece by artist Anthony Haughey exploring migrant journeys from sub-Saharan Africa to Europe (24 Jan).

To explore and celebrate Dún Laoghaire RNLI, the crewmembers have created a video piece and a series of photographs, these can be viewed in the project room of dlr LexIcon. There has been a lifeboat present in Dún Laoghaire since 1803 with the RNLI establishing a station in 1861. Today the RNLI operate two lifeboats in the harbour and in 2013 alone rescued 67 people.

Opening day events on Saturday 13 December include a curatorial tour by Michael McLoughlin and crewmembers from the RNLI, a TOG workshop where participants will learn how to create and experience a Skull Radio, and families are invited to join in on the fun and help create a maritime frieze on the windows of the project room in dlr LexIcon.

www.dlrcoco.ie/arts

The Land of Zero, School within a School, a 2 day symposium in Crawford Gallery moderated by Anthony Haughey

More information here

Motivational Deficit
14 November 2014–17 January 2015
Michelle Browne
Brian Duggan
Anthony Haughey
Aaron Lawless
Orla McHardy
Eoin McHugh
David Sherry
Sonia Shiel

Motivational Deficit… at the Crawford Art Gallery, Cork features the work of eight contemporary Irish artists, whom within their art-making practice have marked the pervasive nature of how recession and austerity has crept, and sometimes smashed, into our lives. The works in the exhibition, created within the last five years, offer an antidote to the phenomenon of motivational deficit* – the perceived public disaffection with political and social engagement – where society’s relationship with the governmental policies that controls contemporary society is perceived as externally binding not internally compelling. Motivational Deficit…comes together at a time when according to government and market led sources, supported by the media, Ireland is on the cusp of new economic growth. The works in the exhibition can be viewed as a set of markers which are both a critical response and a reminder in considering how to move forward from the particular set of socio-economic circumstances Ireland currently resides. Motivational Deficit… also asks if there is appetite to reconsider the overall system to prompt what lessons can we bring forward to quell the acceleration, crash and systemic failures of the Celtic Tiger and beyond….

– See more at: http://www.crawfordartgallery.ie/exhibitionsupcoming_Motivational_Deficit.html#sthash.wjr4AUD9.dpuf

Anthony Haughey and Laurence McKeown interviewed by Vincent Woods on RTE Radio 1 Arts Tonight

In keeping with the Colombo Art Biennale’s theme of ‘Making History’, Homelands grapples with the relationship between self and place in a world of transitory identities and contested geographies. Curated by Latika Gupta,the exhibition is a unique take on contemporary British art. The collection excavates the idea of a ‘homeland’ to reveal a rich plurality of meaning; ideas of belonging, alienation, history and memory.

The artists featured in Homelands are: Angus Boulton, Nathan Coley, Jeremy Deller, Suki Dhanda, Jimmie Durham, Paul Graham, Graham Gussin, Mona Hatoum, Anthony Haughey, Tim Hetherington, Susan Hiller, Anthony Lam, Langlands & Bell, Rachel Lowe, Raymond Moore, Cornelia Parker, Martin Parr, Zineb Sedira, and David Shrigley.

Homelands Press Release

Anthony Haughey in conversation with curator Latika Gupta Homelands exhibition catalogue,

Feature in the Sri Lanka Sunday Times. 

‘Homelands’ reflects on transitory identities in The Nation.

Making History: Colombo Art Biennale by Kurchi Dasgupta.

Colombo Art Biennale Review Frieze

‘Unravelling History in the Colombo Art Biennale’ in de part Dhaka (April 2014) pdf download 

British Council brings ‘Homelands’ exhibition to Colombo Art Biennale 2014. Read more here

Artist Anthony Haughey is invited to produce an installation for Colombo Art Biennale 2014. A pdf of the catalogue is available here

Artist talks and panels programme here

Good Morning Sri Lanka television interview here

‘The Art, the identity and the politics’, feature in the Sri Lanka Daily Mirror

The Arts Council Artist in the Community Scheme Bursary Award 2013: Arts and Cultural Diversity has been announced and the Bursary Award is to go to artist Anthony Haughey. Read more here

In April 2013 Anthony Haughey was commissioned to produce an exhibition for the Aftermath project. The commission involved extensive research exploring the tensions leading up to the beginning of the conflict in Northern Ireland in 1969 and the subsequent displacement of families who were forced out of their homes in Belfast and other areas across the border to escape the violence in the south. The commission also involved working with displaced people from other parts of the world who came to Ireland to escape from inequitable conditions in their home countries. Aftermath includes photographs, video and a sound sculpture designed by Haughey and Aftermath Director, Laurence Mckeown.  Aftermath Press Release PDF

Limerick City Gallery of Art (11 Oct – 23 Dec 2013)
in partnership with Fire Station Artists’ Studios
Opens Thursday 10 Oct 6pm

New work by artists Kennedy Browne, Anthony Haughey, Anna Macleod, Augustine O Donoghue, Susan Thomson and Bryonie Reid commissioned by Fire Station Artists’ Studios, will be displayed in this exhibition, which results from the artists’ participation in a year long mobile think tank for socially engaged art practitioners, titled Troubling Ireland (2010-11). More information here

New work by Anthony Haughey

This Labour and Lockout exhibition at Limerick City Gallery of Art, proposes that we do best homage to the past by being in our present and considering our future. It also suggests that work – labour – is the subject of a changing world with complex implications for human relationships – where technology complicates the matter, looking at protest, rural and urban work, the questions of Ireland’s future, systems of ownership, public space, industrial geography, sites of crisis and power, citizenship and individuality. Information about the exhibition LCGA available  here

DISPUTE 1913 | 2013

Installation: photographs, wall text and red clay bricks

On December 15^th 2011 the owners of Lagan Brick factory, in Kingscourt, County Cavan ceased production of domestic house bricks. This was due to a fall in demand following the global economic crisis and the collapse of Ireland’s overheated housing market. The workers were sacked without notice and the management refused to pay redundancy entitlements. The workers had more than 580 years service between them. They staged a dispute outside the gates of the factory. The lockout lasted for 272 days, the longest industrial dispute ever  staged in Ireland. It was finally resolved by the intervention of politicians and the Industrial Labour Court. Final redundancy payments to the workers was made in February 2013.

Red clay bricks are no longer produced anywhere in Ireland. On the final day of production one of the workers had the foresight to rescue some of the last bricks from the production line before they reached the kiln. Artist Anthony Haughey worked closely with the brick workers and documented the lockout. At the end of the lockout the unfired bricks were gifted to the artist to produce an art work dedicated to the struggle of the workers, their families and the community who supported them. The texts inscribed into the bricks reflect some of the key issues which emerged for the workers during the strike. The artist collaborated with sculptor Michael Kobuladze to produce the bricks.

An exhibition presented by Mockingbird Arts in collaboration with Pallas Projects/Studios, Curated by Helen Carey.

Artists: Anthony Haughey / Mark Curran / Deirdre O Mahony.

Opening 24 August 2013 from 6-8pm. Exhibition continues until 21 September 2013

Invitation: a letter to lucy evite  Pallas Projects website and more information here

Further information: helcarey@gmail.com or 086 3847022

Pallas Projects/Studios

115–117 The Coombe

Dublin 8, Ireland.

Gallery hours:12–6pm, Thursday–Saturday (during exhibitions)

Exile and Memory: New work by Anthony Haughey

Source Photographic Review 74 Spring 2013

Further information available here

New Irish Landscapes
Work by Anthony Haughey, David Farrell, Varvara Shavrova and Patrick Hogan
Curated by Tanya Kiang, Gallery of Photography Ireland

New Irish Landscapes presents the insights of a new generation of Irish artists in a specially curated exhibition at Beijing’s prestigious Three Shadows Gallery. This important show encompasses economic, political, rural and metropolitan perspectives on contemporary Ireland. Taken together, the work on display builds a powerful portrait of the complex forces shaping Irish society today. Further information available here Photographs from the opening of New Irish Landscapes at Three Shadows Gallery available here

Taking a historical and thematic approach, Northern Ireland: 30 Years of Photography begins with the media imagery of the Troubles that compelled photographers and artists to intervene in the flow of press photography that dominated a global, visual portrayal of Northern Ireland in the 1970s. From this response, and influenced by wider, international trends in contemporary photography, an engaged and often polemic aesthetic emerged, individual to each photographer but also shared across diverse photographic practices. With the Peace Process in the 1990s a new dynamic entered the scene which required photographers to think about the social and political past and future of Northern Ireland, and which also offered new opportunities for exhibiting and publishing work.

While presenting an analysis of its broad aesthetics, the exhibition also questions the extent to which the theme of conflict has dominated our view of Northern Irish photography. The photographers presented in the exhibition have formulated their visual language and its way of seeing Northern Ireland from wider photographic influences and from the gradual acceptance of photography as a gallery-based art form. Through the inclusion of work by photographers with a keen sense of trends and debates in the wider contexts of contemporary photography and art, the exhibition presents photography in and from Northern Ireland as a reflection of place in the broadest possible sense.

Photographers include Craig Ames, Sylvia Grace Borda, Adam Broomberg and Oliver Chanarin, Ursula Burke, John Byrne, Victoria J. Dean, Willie Doherty, John Duncan, David Farrell, Malcolm Craig Gilbert, Paul Graham, Philip Jones Griffiths, Anthony Haughey, Kai-Olaf Hesse, Sean Hillen, Claudio Hils, Daniel Jewesbury, Peter Marlow, Gareth McConnell, Patrick McCoy, Moira McIver, Mary McIntyre, Sean McKernan, Eoghan McTigue, Jonathan Olley, Mark Power, Paul Quinn, Paul Seawright, Victor Sloan, Mervyn Smyth, Hannah Starkey and Donovan Wylie.

More information available  here

Citizen is a new exhibition and installation by artist Anthony Haughey, a unique cross-border collaboration between the artist, Highlanes Gallery, Drogheda and Millennium Court Arts Centre, Portadown. Further information available here

Strike! opened on Thursday evening in Limerick City Gallery, with ‘The Battle of Orgreave’ by Jeremy Deller and a Programme of film screenings curated by Anthony Haughey. The films selected for this screening programme explore national and international industrial disputes and workers attempts to challenge the often dehumanising effects of globalisation and increasingly deregulated work practices. The films span a period of 90 years from 1924 to 2012.
This is the first of a series of public art projects, exhibitions and discussions to commemorate The 1913 Lockout.

Strike Screening Programme pdf

Anthony Haughey will exhibit works from his hugely successful exhibition Home (1992) in Latika Gupta’s curated exhibition, Homelands, which explores home, away and all the places in between, through works of art by over thirty of the UK’s finest contemporary artists. The exhibition will tour to Delhi, Kolkata, Mumbai and Bengaluru in 2013.

Anthony Haughey was invited to present a Keynote artist presentation at ‘The Future State Of Ireland’ conference at Goldsmiths. Website here 

Facebook page here

In the form of an illustrated discussion in the New Galleries, Valerie Connor (curator and lecturer, DIT) and Anthony Haughey (artist and lecturer, DIT) will give a critical response to the current exhibition, Conversations: Photography from the Bank of America Collection information available here

Projection and artist talk at Féile na Bealtaine Arts Festival, Dingle, May 4-5 2012, information available here 

Sense of Place exhibition information

Supported by Culture Ireland

PressRelease21March-1

Settlement exhibition at Helsinki Photography Biennial 2012 Press release pdf

Supported by Culture Ireland

Anthony Haughey | Think Tank

Troubling Ireland public hearing

September 10, 2011

Troubling Ireland poster campaign

12th–23rd Sept 2011, Dublin City Centre

12th–19th Sept 2011, Leitrim Sculpture Centre, Manorhamilton, Co. Leitrim

Troubling Ireland public hearing
Friday 16th September, 2–4.30pm
Liberty Hall, Dublin 1

In 2010, the Danish curatorial collective Kuratorisk Aktion was commissioned by the Fire Station Artists’ Studios in Dublin to frame and convene a think tank for artists and curators in Ireland. Drawing on their expertise and experience in social, political and cultural activism, and in colonialism and postcolonialism, Kuratorisk Aktion conceived the idea of ‘troubling’ Ireland. The think tank would provide a critical, aesthetic and discursive platform for socially engaged practitioners in which received notions of Irish identity, history and politics, and Ireland’s relationship to global capitalism, would be probed and unravelled. The chosen participants were Gareth Kennedy and Sarah Browne (as collaborative partnership Kennedy Browne), Anthony Haughey, Anna Macleod, Augustine O’Donoghue, Susan Thomson and Helen Carey.

Over the course of a year, from September 2010 to May 2011, five meetings were held in cities of social and political significance, north and south of the border: Dublin, Manorhamilton (Co. Leitrim), Belfast and Limerick. In each location, different problematics were engaged: British plantation economy and class relations, Ireland’s colonisation and division, the Celtic Tiger boom and bust, and possible paths to a more convivial and equitable future. These meetings comprised presentations, readings, screenings, walks, lectures and discussions, and concluded in summer 2011 with a collective decision to launch a Troubling Ireland Campaign, beginning with a public poster campaign and website in September 2011 and ending with a major exhibition in 2013.

Running from 12th—23rd September 2011, the poster campaign presents seven posters mounted around Dublin city centre, and related sites, as well as Leitrim Sculpture Centre, Manorhamilton (runs 12th—19th September 2011). Each poster is an initial response from the think tank participants to the concept of ‘troubling Ireland’, ultimately inviting viewers to also partake in the act of ‘troubling’. The poster campaign is accompanied by this website, which in addition to presenting the ideas behind each poster and their producers, includes a reflection on the think tank process by cultural geographer Bryonie Reid. To coincide with this poster campaign, the think tank organises a Public Hearing in Liberty Hall, Dublin on Friday, 16th September 2011, from 2–4:30 pm, where the audience is invited to discuss the think tank’s aims with its participants. Admission is free and all are welcome.

The campaign will end in 2013, when participants of the think tank will exhibit work arising from sustained individual engagements with the theme in a major travelling exhibition.

Image: Anthony Haughey, Our History is Your History

Commissioned by Fire Station Artists’ Studios, Dublin, Ireland.

Conceptualised by Kuratorisk Aktion, Denmark.

Anthony Haughey will present his work on ghost estates for Mapping Spectral Traces IV: Maynooth and Dublin  Symposium at the University of Ireland.

Published by Project Press, a division of Project Arts Centre, Dublin STATE documents a series of interrelated projects by Susanne Bosch and Anthony Haughey which explore the phenomena of migration and migratory culture in an attempt to trace and map out their respective specific contested spaces. The artists have worked together since 2006, both collaboratively and individually with migrants in Ireland (north and south), wider Europe and North Africa. Their creative investigations are based on the premise of a principal situatedness of art in place and community and its connectedness through dialogic exchange. They employ a range of strategies, from direct engagement with migrants to provocative public interferences, which expose the structures of power that impose vulnerability and marginalization on individuals. Their work has been exhibited widely internationally and their individual art works are represented in numerous public and private collections.

Anthony Haughey will discuss his project Disputed Territory at  the UCD Clinton Institute’s Photography & International Conflict Symposium

3‐4 May 2011‐ on UCD campus, Dublin

Current debates regarding the nature and potential of photography and the visual document encompass issues of economics, cultural change, technological developments and stylistic innovation and are occurring across many societal sectors. This seminar will foster dialogue between visual media practitioners, academics and industry commentators. Discussion panels will include: consideration of the multimedia genre, case
studies on the visual representation of war in Iraq and Afghanistan, imaging post‐conflict societies in Bosnia and Northern Ireland, and the politics and techniques of visual curation and display.

Speakers include:
Susie Linfield Cultural Reporting & Criticism, NYU, Robert Hariman Northwestern University, Stephen Mayes Managing Director, VII Photos
Bernadette Buckley Goldsmiths, University of London, Julian Stallabrass Courtauld Institute of Art, David Campbell Researcher/consultant: www.david‐campbell.org, Anthony Haughey Dublin Institute of Technology, Paul Seawright University of Ulster, Paul Lowe London College of Communication, Ziyah Gafic VII Network photographer,

Places are limited, contact Caitlin to
book as soon as possible
caitlin.patrick@ucd.ie
For regularly updated details see:
www.ucd.ie/photoconflict/conferences/mediumandmessage/