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 | PAUL MCAREE RESOURCE + INFORMATION
NEWS Currently exhibiting in Worcester Open, details of work below. FLOOD - a new contemporary art project for Dublin, curated by Paul McAree. Third project by Terry Atkinson now available. McAree's sonic work as 'To Blacken the Pages' - double collaborative album with Korperschwache now available. See TBTP site to left for details. | |||
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RECENT WORK. ---------- Worcester Open, until 26 June 2010. A group show across 3 venues featuring many artists. Catalogue text by Dave Beech. Paul McAree, 'Oilfields', 2010. 2 x Digital Prints. The oilfields image is a satellite photo of burning oilfields in Baghdad in 2003, taken by NASA. The text is from an ongoing series, taking texts read by the artist on art, neuroscience and perception, and making a work based on a random selection. This text is taken from Paul Churchland's 'Matter & Consciousness', in particular here from a text explaining the neuroscientific activity of looking at and perceiving the colour red. The juxtaposition of image and text is an attempt to draw attention to the act of looking, meaning and interpretation. | |||||
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Sounds Like Art: David Bickley, Jenny Brady and Andrew Fogarty, Maeve Collins, Michael Doocey, Aileen Lambert, Paul McAree, Fiona Reilly
Preview Thursday 16 April 6-8pm Sounds like Art is an exhibition of 7 new sound works by artists David Bickley, Jenny Brady and Andrew Fogarty, Maeve Collins, Michael Doocey, Aileen Lambert, Paul McAree and Fiona Reilly. Our relationship and response to sound and our experience of listening is explored in different contexts, some private, some public. From reverb to high pitch, from sounds of the sea to a cityscape, this exhibition will explore the familiar and the surprising. David Bickely, Erebus & Terror In May 1845 under Sir John Franklin, the 120 strong crew of the North West Passage expedition set sail from England on the HMS Erebus and HMS Terror. Using their ill-fated voyages and the speculation that surround the vessels’ disappearance as a starting point, Bickley has created a piece that ponders the question; what if they were able to leave a video record, would it make any sense or would it too have been infected with dark forces? Michael Doocey, Falling Tone Upon activation Falling Tone begins a 3 minute descent from 20,000hz to 0hz. Falling Tone relates to human experience in that it mimics the trajectory of gravity. This may evoke a sense of celestial anxiety; or appeal to the concept of a decline in human dignity. Maeve Collins, The Sea Full In Collins has created an audio track of the sea coming in and out. The soundscape of Draíocht’s surrounding forms part of the work, as it weaves into the fabric of the sound of the tides. The intended effect is to allow passers by and gallery goers an experience of the sea coming in and going out within in the local sound scape and the visual landscape of the industrialised and suburbanised centre of Blanchardstown. Jenny Brady and Andrew Fogarty, Wellington Pentagram Using the writing of Irish New Age author Jeremy Ajmes as a point of departure, the installation spatially and sonically represents the idea of an esoteric ‘occult grid’ which exist with the city planning of Dublin. The finished piece is a composition made with field recordings from meridian points of the Wellington Pentagram and other sound sources. The piece will be played through a custom speaker configuration. Paul McAree, Crow’s Nest McAree’s work explores the concept of Heroes through both audio and visual representation, in all-encompassing surroundings. His work attempts to contextualise - through a myriad of references - what possibly forms the makeup of personal and social identity in Ireland today. Images juxtapose historic Irish images of martyrs and peasants against contemporary images of rock bands and celebrity figures. Woven within this patchwork of visual references, 3 videos further juxtapose and re-present historic and contemporary images. Throughout this is an abstract guitar-based audio piece, which serves to negate and underpin the installation. The audio from the installation has also been produced as a limited edition 12” vinyl record available from Colony Records www.colony-records.com Fiona Reilly, So I Sat There, Again Fiona has created a piece recording the commute she has made between her studio and Draíocht during the development of this exhibition. Each journey recording remains unedited and will be played through an ipod. Her piece proposes flip the concept of blocking out the noise of our daily commutes by listening to personal music players. Aileen Lambert, Song for the Chapter House This soundwork was created as part of a residency in Kells, Co. Kilkenny, and was presented in the ruins of the old priory as part of Sculpture at Kells, in August 2008. The soundwork comprises of a repertoire of vocalisations, and features the voices of Elizabeth Lebedova, Angela Hegarty, Rachel O' Sullivan and Ann Mulrooney.The chapter house is the room in which the general business of the priory was attended to, where the community of Kells Priory assembled and worked out their daily tasks and activities.
----------------------------------------------- Draíocht, Blanchardstown, Dublin 15 April to June 2009 ----------------------------------------------- | ||||||
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Crawford Art Gallery: crawford open 1 December 2007 - 9 February 2008 Michelle Deignan, Amanda Dunsmore, Yvanna Greene, Michael Gurhy, Martin Healy, Fumiko Kobayashi, Maggie Madden, Paul McAree, Tom Molloy, Abigail O'Brien, Sam Plagerson, David Theobald, Andrew Vickery, Lorraine Walsh, Mai Yamashita and Naoto Kobayashi. Crawford Open 2007, a biennial open submission exhibition of contemporary art at the Crawford Art Gallery, opens 1 December 2007. This exhibition, the sixth Crawford Open, has as its theme 'The Sleep of Reason'. Fifteen artists were selected by Frances Morris, Head of Collections (International Art), Tate Modern, and Enrique Juncosa, Director, Irish Museum of Modern Art. One artist will receive a prize award of €5000 which will be announced on December 18 2007. Crawford Open's theme refers to Francisco de Goya's 'Los Caprichos' etching 'The Sleep of Reason Brings Forth Monsters'. The works in the Crawford Open explore the innumerable foibles and follies found in today's society. For Crawford Open 2007/8, PaulMcAree will be showing 3 paintings: Baghdad / Aldershot, 2006, TV Studio, 2006, and Toll Road, 2006. Using historical and contemporary images, McAree's paintings explore the dissolution of photography into painting and the friction of truth between the two. Subjects are falsely simplistic or commune, in order to later reveal to be from pivotal moments within Irish and global history. The everyday is juxtaposed with more sublime images of the quieter/aftermath moments of disaster to suggest a more complex meaning and narrative post-peace process. The work in essence looks at the nature of identity and its possible meanings. Baghdad / Aldershot combines 2 historic photographs - one from the IRA bombing of Aldershot in 1972, and the other from the first cameraphone photograph posted on the BBC's website on the first day of Allied intervention in Iraq in 2003. The work looks at the history of pubic terror and its media qualification, seeking to draw parallels in the circulatory of history. TV Studio is two photographs from a coffee table book on the birth of the Irish State, from inside Ireland's first State run television channel, RTE. The channel, alongside the catholic church, would become the dominant educational and moral tool of the nation for many decades. Toll Road is a painting after a photograph of Ireland's most recent toll road, taken from the front cover of the Irish Times newspaper in 2005. It points to the economic and infrastructural development of a country and its priorities over its cultural value | ||
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Paul McAree, Baghdad / Aldershot, 2006 | ||
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Platform 2 : Dis-Re/place Knockbride House, Bailieborough Co Cavan, Ireland 11 - 24 November 2007 Shane Cullen, Alan Phelan, Ursula Burke, Paddy Bloomer, Nina Tanis, Paul McAree, Fiona Dowling, Mary McIntyre, Simon McWilliams, Carole Lung, Áine Ivers, Seamus Nolan and FrenchMottershead. The exhibition seeks to question the notion of a sense of place and community and how this is being threatened by displaced populations and multinational forces. Within the intricacies of the individual works curator Niamh Smyth has set up an arena for looking into how we relate to our locality and whether we are too eager to throw away facets of community life such as trust and looking out for your neighbour in favour of a society where the individual comes before the community. In light of a changing society and the shifts in lifestyle brought about in recent years throughout Ireland, Bailieborough is too experiencing a demographic influx of people who work outside the area. The displaced and the replaced as the title suggests, are the recently arrived young families pushed further and further out from predominantly the Dublin area due to spiralling property prices. For Platform 2, McAree has installed an imposing billboard, in the style of free-standing advertising hoarding, within one of the small front rooms of the house. With the back of the structure facing the room entrance, the visitor is prompted to walk around to the front to see what is on the other side. A large-scale digital photograph of an unspecified Irish landscape, with a superimposed text reads 'We forgive as we forget'. The photograph shows a landscape which could be anywhere in Ireland, wild yellow gorse spreading across the picture, to reveal evidence of factories within the landscape in the distance. McAree has been documenting the slow encroachment of industrialisation within the Irish landscape for some time, documenting in particular his homeland Cork, and areas of the West of Ireland made famous in paintings by heroic Irish painters such as Paul Henry, revisiting landscapes over long periods of time to note changes and the inevitable march of modern life. As with all of McAree's digital landscapes, the superimposed text is always from a non-related context - ie, mostly from song titles, randomly superimposed over photographs many times, where meaning may or may not cross over at certain points and imbue the background image with significance. We forgive as we forget is a chance coincidence of sorts, referring to multiple levels of meaning, while at the same time questioning notions of the 'loaded landscape' in art, and in particular Irish art, by virtue of the arbitrary system of merging image and text. We forgive as we forget has many reference points within the themes of dis-[re]-place, suggesting that society is forgiving of commercial and industrial development for short term gain and opportunity. The absurd size and dominance of the structure within the space - and its displacement within the historic Knockbride house - may also be interpreted as metaphor for the imposition within the landscape of the markers of progress and change. | ||
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ABOUT PAUL MCAREE'S WORK Paul McAree works with a variety of media – painting, photography, music and performance - to suggest new contexts, meanings and possibilities within an expanded art practice. Creating a complex and obtuse web of relations, McAree points on the one hand to specific meaning, while on the other reinforces the notion that meaning is subjective and coincidental. Paintings explore the dissolution of photography into painting and the friction of truth between the two. The paintings focus on the truths that remain outside of the documentary image and the working of memory and its failures. The images McAree works with range from the birth of the Irish State to popular music bands. Subjects are falsely simplistic or commune, in order to later reveal to be from pivotal moments within Irish and global history. The everyday is juxtaposed with more sublime images of the quieter/aftermath moments of disaster to suggest a more complex meaning and narrative post-peace process. The work in essence looks at the nature of identity and its possible meanings. 'Baghdad / Aldershot' combines 2 historic photographs – one from the IRA bombing of Aldershot in 1972, and the other from the first cameraphone photograph posted on the BBC’s website on the first day of Allied intervention in Iraq in 2003. The work looks at the history of pubic terror and its media qualification, seeking to draw parallels in the circulatory of history. 'TV Studio' is two photographs from a coffee table book on the birth of the Irish State, from inside Ireland’s first State run television channel, RTE. The channel, alongside the catholic church, would become the dominant educational and moral tool of the nation for many decades. 'Toll Road' is a painting after a photograph of one of Ireland’s most recent toll roads, the M50, taken from the front cover of the Irish Times newspaper in 2005 - and by now in late 2008 it has alreay been dismantled again. The work points to the economic and infrastructural development of a country and its priorities over cultural value. Digital works continue this exploration into the boundaries of meaning, using both historical and contemporary images with superimposed text from songs. McAree creates a complex web of meaning, negating in some senses the idea of ‘loaded landscape’ as exemplified by the photoworks of Willie Doherty. Video works weave both archival political footage with scenes from fictional films. Double presents a two-monitor video work; on one footage from the Irish civil war, 1919-21, and on the other, scenes from the 1921 film Nosferatu. The surreal juxtaposition attempts to situate the reality and parochialism of the Irish conflict within a cultural context of the wider world at that time. McAree also works with music and performance, creating sonic explorations under the name of To Blacken the Pages. He works collaboratively with a number of artists. He established FLOOD in December 2008, a new contemporary art project for Dublin city, and is curator at Breaking Ground, the Ballymun Regeneration Ltd per cent for art scheme. | ||
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