Name: New Perspectives Episode 2 Claire Hynes by Sainsbury Centre
Duration: 13 min 7 s
Description: For episode 2, we are joined by Claire Hynes. Claire is a Lecturer in Literature and Creative Writing at the University of East Anglia. She writes fiction, non-fiction, memoir and theatre monologues. Claire has chosen to talk about the Shrine Figure of a Mother and Child, from Osogbo, Nigeria.

This was a wonderful weaving of ideas surrounding motherhood, black lives, and the strength of women in the world. And it still kept coming back, full circle, to one of my favourite little maquettes in the world, in The Sainsbury Centre. Empowering words inspired by powerful art!

For episode 2, we are joined by Claire Hynes. Claire is a Lecturer in Literature and Creative Writing at the University of East Anglia. She writes fiction, non-fiction, memoir and theatre monologues. Claire has chosen to talk about the Shrine Figure of a Mother and Child, from Osogbo, Nigeria.

New Perspectives Episode 2 Claire Hynes

Listen back to Sara Damaris Muthi, Curatorial Fellow, IMMA for an in-gallery discussion of Redux: Contemporary Irish sculptors at Venice, featuring the work of Siobhán Hapaska, Eva Rothschild, and Niamh O’Malley.

Track details: Curator's Talk with Sara Damaris Muthi- Redux: Contemporary Irish sculptors at Venice. Recorded at IMMA 18th of Aug 2024. 18 minutes. 

About Curator:
Sara Damaris Muthi is a curator and writer, currently the exhibitions Curatorial Fellow at IMMA. Born in Bistrița-Năsăud, Romania and based in Dublin, she has exhibited annual commissions since 2018 with themes ranging from metaphysics to migrant identities. Sara is the recipient of Black Church Print Studio Emerging Curator Award 2022 and Pallas Projects Studios / PVA Writer Award 2023.

About Exhibition:
 Hilary Heron: A Retrospective celebrates the pioneering work of modernist sculptor Hilary Heron (1923 – 1977). Hilary Heron was a Dublin born sculptor who co-represented Ireland at the 1956 Venice Biennale alongside painter Louis le Brocquy (1916 – 2012). As the first major retrospective exhibition of Heron’s work since 1964, this exhibition will seek to correct the ways that her work has been overlooked in Irish and international histories of modern sculpture.

The Lower Ground Galleries contains a presentation curated by Sara Damaris Muthi titled Redux: Contemporary Irish sculptors at Venice. This display features the work of Siobhán Hapaska, Eva Rothschild, and Niamh O’Malley, all female sculptors who represented Ireland at the Venice Biennale in 2001, 2019, and 2022 respectively. Redux, meaning revival, signals Heron’s enduring influence on contemporary Irish sculpture and her legacy in proximity to contemporary sculptural practice, making her influence visible for the first time.

Curator's Talk - Sara Damaris Muthi on Redux: Contemporary Irish sculptors at Venice, 2024

The British Museum cares for a large collection of tao'a (treasures) from the Pacific island of Rapa Nui (Easter Island), many of which are seen as living entities and extensions of people. Over the years, these collections have been a significant resource for the community and the centre of multiple collaborative projects, including the making of Recalling Home.  

This audio offering honours the relation of Rapanui tao'a, including two moai: Hoa Hakananai'a, and Moai Hava. Created in collaboration with Rapanui artists and scholars, the offering is a composition of natural and human-made sounds recorded to evoke a day on Easter Island. Bringing the sounds of their island to London acts as a bridge between Rapa Nui and the Museum, attempting to shrink the space between the treasures and home.

This audio is composed of a variety of sounds, including seabirds, woodcarving, city traffic, ocean waves and fire accompanied by guitar, flute and human voices.

Duration: 16 minutes 32 seconds

Recalling Home – A Soundscape Offering

Listen back to Brenda Moore-McCann and Annie Fletcher discuss the Brian O’Doherty/Patrick Ireland Museum located in Todi, Italy. The occasion marked an important archive donation by Moore-McCann to the IMMA Collection, and launch of her book 'La Casa Dipinta/The Painted House: An Evolving Artwork The Brian O’Doherty/Patrick Ireland Museum', launched by renowned Italian photographer, George Tatge. Introduction by Sheena Barrett. 

Track details: Conversation & Book Launch - Brian O'Doherty La Casa Dipinta / The Painted House. Recorded at IMMA 22 August 2024. 67 minutes.

About Speaker:
Brenda Moore-McCann is a medical doctor who graduated from UCD in 1970. She worked in a variety of medical posts for twenty years including acting as Medical Director of Family Planning Services , Dublin, from 1980-1990. She was awarded a B.A. Mod in Art History & Classical Civilisation from TCD in 1996 and a Ph.D. in 2002. She is the author of the first monograph of the internationally renowned Irish artist and critic Brian O’Doherty (aka Patrick Ireland), also a UCD medical graduate, entitled Brian O’Doherty/Patrick Ireland: Between Categories, published in 2009.

George Tatge Internationally acclaimed photographer, George Tatge, lives and works in Florence, Italy. From 1986 to 2003, he was technical photographic director of Fratelli Alinari in Florence. He has exhibited widely including the American Academy, Rome; MASP, São Polo, Brazil; Venice Biennale; George Eastman House, Rochester and MAXXI, Rome, among many others. His work is held in the collections of the Metropolitan, New York; the Museum of Fine Arts, Houston; the Centre Canadien d’Architecture and the Maison Européenne de la Photgraphie, Paris.

Conversation & Book Launch - Brian O'Doherty La Casa Dipinta / The Painted House, 2024

Listen back to a series of creative responses exploring invisible care and labour evident in Array Collective’s 'An Dún’, a newly commissioned work for IMMA as part of 'Self-Determination: A Global Perspective'. Speakers include Kate Antosik-Parsons, Emma Campbell, Ruth Fletcher, Lisa Godson, Laura O’Connor and Sinéad Bhreathnach-Cashell.

Track details: Seminar: Self-determination & Reproductive Citizenship. Recorded at IMMA 29 August. 63 minutes. 

About speakers:
Dr Kate Antosik-Parsons is a contemporary art historian and interdisciplinary scholar who writes about performance, politics, gender and embodiment. Kate is a Post-Doctoral Research Fellow in Social Studies in the School of Social Work and Social Policy at Trinity College Dublin on the cross-border HEA-funded North/South Reproductive Citizenship project (2022-Present).

Dr Emma Campbell is Research Associate, School of Applied Social and Political Science, and Lecturer in Photography, Belfast School of Art at Ulster University where she also completed her practice-based PhD addressing photography as an activist tool for abortion rights. She is 1/11th of the Turner Prize-winning Array Collective and has exhibited in international solo and group shows.

Ruth Fletcher is a Reader in Law at Queen Mary University of London. Her research lies at the intersection of legal humanities and socio-legal studies in taking a critical feminist interdisciplinary approach to the relationship between legal form and life’s reproduction. In 2022 she was awarded a Leverhulme Research Fellowship to work on Ordering Time: Periodic abortion law, gestational labour and reproductive justice.

Lisa Godson is a cultural historian and Programme Leader of the MA Design History and Material Culture at NCAD, a unique postgraduate programme run in partnership with the National Museum of Ireland. Her research interests include the material culture of ritual, ‘tropical’ modern architecture in West Africa, the history of medical devices and the material culture of Catholicism.

Dr Laura O’Connor is a visual artist, researcher and festival co-ordinator based in Belfast. O’Connor’s work combines performance, sculpture, installation, video and digital media to look at the representation of “women” in the media and through cultural narratives.

Sinéad Bhreathnach-Cashell invites people to play. Building communities of practice, sharing spaces and getting together to do things has always been part of how she works. This kaleidoscopic practice includes interactive installations; performance art and curating. Reality sparks off an unknown alchemy of serious thoughts and fanciful imaginations.

Dr. EL Putnam is an artist-philosopher working in performance art and digital technologies. They are a member of the Mobius Artists Group (Boston), Bbeyond (Belfast), and the International Association of Art Critics. Exhibitions of note include the solo exhibition PseudoRandom at Emerson Contemporary in Boston, MA, USA (2023); the Research Pavilion at the 2017 Venice Biennale; “Art Action” with Le Lieu in Quebec City

About Projects:
REPROCIT
Reproductive Citizenship: Comparative analysis of effects of differential pathways to legalising abortion on Island of Ireland on Service User Articulations of Citizenship

An Dún, Array Collective 
An Dún, 2024 is a new multi-narrative environment by Belfast based Array Collective. Across immersive spaces a complicated and messy understanding of statehood and citizenship is unearthed. Ideological, topographical and political plans are fashioned and accumulated inside a site of destruction and construction.

Seminar & Workshop: Self-determination & Reproductive Citizenship, 2024

Teen Studio Art Exhibition 2024

Meg Day shares their relationship with poetry and their goals for the residency.

Transcript
Meg Day: Well, it's such an exciting time (laughs). It's really, really thrilling to imagine welcoming signing poets, deaf poets into the Guggenheim to, to engage with and, and respond to the art and the architecture, especially as part of a, a community that doesn't often have, like, a place to gather, right, doesn't have, like, a creative hub.

I'm Meg Day, the Guggenheim Museum's 2024 Poet-in-Residence. I've long found a challenge with the limitations of the printed page, because of ASL and the way that deaf poetry, you know, it's live. We don't really have, like, a, a "published form," quote, unquote.  So what happens is erasure.

Art museums in general seem like a fruitful collaboration for writers and artists who are working in a mode that is visual in the way that sign language is visible.

I find the Guggenheim (laughs) incredibly comforting. It's a good example of deaf space, right, of, like, deaf architecture in terms of sight lines and quote, unquote, "visibility," right? We can sign to one another from across the rotunda. Um, you know, the low ceilings and the curved walls you have a sense of an enclosed, comfortable, protected, um, environment. As a gendered body, as a disabled body, I feel quite confident and at ease in the space of a museum. 

The opportunity to collaborate with the Guggenheim to invite poets that I've long respected, deaf poets' writing in English in conversation with deaf poets who are signing and making poems in ASL. That is not a thing that I encounter as somebody who moves in both worlds pretty fluently. To arrive in a place that has, has, you know, thought about you prior to your arrival. I think that's rare. that's not compulsory. It's not given. 

I think there's a good argument for having American Sign Language or any sign language as a kind of visual art. It's hard to say whether or not we as a public are really prepared to, like, encounter the thing without guidance or support. And so I've been thinking a lot about the question of access and, and who requires it. I think we're learning. I'm, I'm excited about what we're learning.

Initiative Website

Meet 2024 Guggenheim Poet-in-Residence Meg Day

Art for everyone. Exciting exhibitions, inspiring events and extraordinary collections, all housed in a spectacular Norman Foster building.

New Perspectives Episode 2 Claire Hynes

Sainsbury Centre

Recent comments

Heidi Harrington

Related tracks