340 pages

English

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Performance Art in Ireland , livre ebook

Intellect Books - Áine Phillips

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340 pages

English

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A propos
Informations
Extrait

Description

The first book devoted to Irish performance art and the first attempt at a history of this art form in the north and south of Ireland, this book brings together contributions by prominent Irish artists and major academics. It features rigorous critical and theoretical analysis as well as historical commentaries that provide an absorbing sense of the rich histories of performance art in Ireland. Presenting diverse visual documentation of performance art practices, this collection shows how performance art in Ireland engaged with—and in turn influenced and led by—contemporary performance and live art internationally.

Copublished with the Live Art Development Agency.

Performing Political Acts: Performance Art in Northern Ireland: Ritual, Catharsis, and Transformation, André Stitt

Bbeyond and the Art of Participation, Karine Talec

Dublin and Performance Art, Twenty Years of Action 1970-1990, Amanda Coogan

The Development of Performance and Sound Art in Cork, Megs Morley interviews Danny McCarthy

Polyphonic Resonance: Sound Art in Ireland, EL Putnam

Survey: Ireland South of the Border High Performance 1984 Issue 25, Anthony Sheehan

The Development of Irish Feminist Performance Art in the 1980s and early 1990s, Kate Antosik-Parsons

Developing Dialogues: Live Art and Femininity in Post-Conflict Ireland, Helena Walsh

Performance Art in Ireland the New Millennium, Michelle Browne

Right Here Right Now, Cliodhna Shaffrey

Fragments on The Performance Collective: Subject to Ongoing Change at The Galway Arts Centre, Dublin, Ireland, Fergus Byrne

Out of Ireland: Irish Performance Art Internationally, Áine Phillips

Sujets

Energie & environnement

General

Engineering

Technology

General officer

Performance art

Live Art

Sciences et techniques

Performing Arts

Power Resources

Informations

Publié par	Intellect Books
Date de parution	01 janvier 2015
Nombre de lectures	0
EAN13	9781783204298
Langue	English
Poids de l'ouvrage	26 Mo

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

PERFORMANCE ART : IN IRELAND A HISTORY EDITED BY ÁINE PHILLIPS

166

BIOGRAPHIES

335

324

286

INDEX

: TIMELINE PERFORMANCE ART

COLOUR IMAGES

330

PERFORMANCE ART IN IRELANDIN THE NEW MILLENNIUM MICHELLE BROWNE

208

CONTENTS

INTRODUCTION ÁINE PHILLIPS

THE DEVELOPMENT OF PERFORMANCEAND SOUND ART IN CORK MEGS MORLEY INTERVIEWINGDANNY MCCARTHY

PERFORMING POLITICAL ACTS:PERFORMANCE ART IN NORTHERN IRELAND: RITUAL, CATHARSIS, AND TRANSFORMATION ANDRÉ STITT

144

RIGHT HERE RIGHT NOW CLIODHNA SHAFFREY

OUT OF IRELAND:IRISH PERFORMANCE ART INTERNATIONALLY ÁINE PHILLIPS

264

276

DEVELOPING DIALOGUES: LIVE ART AND FEMININITY IN POST-CONFLICT IRELANDHELENA WALSH

244

DUBLIN AND PERFORMANCE ART:TWENTY YEARS OF ACTION, 1970-1990 AMANDA COOGAN

: TIMELINE SOUND ART

164

106

BBEYOND ANDTHE ART OF PARTICIPATION KARINE TALEC

ACKNOWLEDGEMENTS

FRAGMENTS ON THE PERFORMANCE COLLECTIVE: SUBJECT TO ONGOING CHANGE AT THEGALWAY ARTS CENTRE, DUBLIN, IRELAND FERGUS BYRNE

174

SURVEY: IRELAND SOUTH OF THE BORDER HIGH PERFORMANCE1984 ISSUE 25 ANTHONY SHEEHAN

THE DEVELOPMENT OF IRISH FEMINIST PERFORMANCEART IN THE 1980s AND THE EARLY 1990s KATE ANTOSIK-PARSONS

POLYPHONIC RESONANCE:SOUND ART IN IRELAND EL PUTNAM

122

ÁINE PHILLIPS

Introduction

This publication examines Live Art and performance art in Ireland since the 1970s and brings together the writings of artists, critics, and academics who consider different aspects of this history through a series of new commissioned essays and themed articles. A number of older reviews are included that have been previously published but, in the context of this book, shine a fresh light on their subject matter. The purpose of this collection is to create a legacy for performance art in Ireland, to disseminate its histories, and to make it accessible to a wide audience.

The focus of this book is performance art that is made live, in front of an audience. The texts and images represent work where the artist/performer is central and where the body of the artist is crucial to the form and content of the piece or project. We examine work where the artists’ body is the site of meaning, the primary material and the aesthetic substance; where there is corporeal presence and a relationship with audience and context, be that site or subject matter. The work surveyed comes from a mainly visual art context.

Writing history is always contingent on the present, as Deirdre Heddon 1 points out inHistories and Practices of Live Art,and one of the most important reasons for this book is that performance art has ﬁnally reached a point of critical acknowledgement and attention in Irish cultural worlds. However no extensive history of this genre has yet been produced here and this dearth is problematic for students and young artists trying to ﬁnd their own position and approach for the futures of their practice. Without knowledge of what’s gone before, it’s difﬁcult to move forward with an assurance of creating original work grounded in precedent. I believe the artists and their works represented in this book will provide references, examples, and stimulus for future projects and the evolution of Live Art in Ireland and elsewhere.

Opposite: Alastair MacLennan and Áine Phillips,4 Hour Group Performance, Trouble Festival Les Halles Brussels, 2012. Photo courtesy of the artists.

My intention is to make this book about the performance art history of the island as a whole. By choosing to disregard the political border that divides the north (UK) and south (Republic of Ireland) I want to show how the work of performance operates beyond perimeters, breaks down borders, and expands into new territories of meaning and action, exchange and communication. Performance and Live Art is activist by its very nature and this book seeks to reﬂect the principles of activism (to promote peaceful efforts to seek beneﬁcial change). A special type of performance art developed out of the Irish context over the past decades and much of it is politically active and deeply socially engaged. As I worked on this publication and in editing each of the contributions – all prismatic narratives – I became aware of the political impetus behind so much work made here: in Belfast responding to the conﬂict (19701990s), by feminist artists in response to gender inequalities (19802000s) and by a current generation of performance artists taking on issues of social justice. These works in turn have inﬂuenced social and cultural frameworks.

THE EVOLUTION OF IRISH PERFORMANCE ART

As the contributions to this book show, performance art in Ireland began in the early 1970s as Irish political turmoil aroused fervent artistic response and international feminist ideas began to inﬂuence Irish society and cultural discourse. At this time a community of strongly focused individual artists began making what they referred to as performed actions and body art both north and south of the border. Artists did not respect the limitations of the political border and many group events took place on the island, especially in the cities of Cork, Dublin, and Belfast, showcasing new performances and supporting practitioners. Feminist artists embraced performance art in the 1980s to speak what was before unspeakable and do what was unthinkable for women in this conservative society where contraception, divorce, and abortion were 2 illegal. Performance became an artistic strategy enacting social change both in terms of sexual politics, social justice, and in response to ‘the Troubles’, the ethnic nationalist conﬂict in the north of Ireland. In the

Opposite top: Alanna O’Kelly,Chant Down Greenham, 1984. Photo courtesy of the artist. Opposite bottom: Anne Seagrave,jamais vu, 2005. Photo courtesy of the artist.

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