We have been inundated with high quality, inspirational proposals and the selection panel are working through them presently. We expect the Residency [IRL] to be selected the end of March and we are still awaiting a date for the Residency [INTL] and Residency [NOR].
As artists ourselves we understand that this is frustrating but we are also mindful of the amount of time and effort that has been put into the proposals and we feel that in order to give each applicant sufficient time to be assessed we need to extend the timescales.
As soon as we know, applicants will be the first to know.
We are deeply grateful to you all for your time and effort and outstanding work.
With greatest respect
RESIDENCY OPEN CALL
Location: Artlink, Fort Dunree, Donegal, Ireland
Duration: 2 - 4 Weeks, April to December 2019
Artist Fee: €6500/5000
Artlink are seeking four Visual Artists to take part in paid artist residencies in Fort Dunree, Donegal, Ireland, in 2019. Applications are open to professional visual artists working in any discipline.
Artlink was formed in 1992 and is the longest established professional art organisation in Inishowen, Co. Donegal. Artlink office, studio and workshop spaces are based at the historical and picturesque location of Fort Dunree Military Museum, Donegal.
Artlink is an artist-led organisation, run by a team of professional artists working from onsite studios in Dunree. Artlink’s Mission is to link artists to the community and the community to art by devising and delivering innovative art projects resulting in exhibitions, public art and community projects. Artlink seeks to captivate the imagination of the public through participatory, educational and outreach programmes. It invests in National and International emerging and professional artists by creating opportunities for artists to develop their creativity and art practice.
The four artist residencies are open to professional Visual Artists working in any discipline including but not limited to: sculpture, photography, painting, installation, and video.
Residencies are expected to take place from April to December 2019 for between two to four weeks. During the residency artists are expected to develop new work or new ideas based on the unique site, and engage with local artists and Artlink members. This engagement could be through presenting artist talks, workshops, demonstrations or other events.
Artists will be paid a residency fee of €6500/5000 for undertaking the residency. The residency fee covers all flights, accommodation, transport, materials, living expenses and artist's fee. The selected artists are responsible for arranging their own accommodation and travel arrangements and managing their budget as appropriate.
There are four residency positions available. The residencies and the associated fees are allocated as follows:
The [NOR] residency is available to any professional artist living and working in Vesterålen, Norway and is supported by the Donegal County Council as part of an ongoing partnership. The [INTL] residency is available to any artist living and working outside the island of Ireland, and the [IRL] Residencies are open to any artists living and working on the island of Ireland including NI.
Mary Cremin- Void Gallery
Sara Greavu - CCA Derry~Londonderry
Shelly McDonnell - Visual Artists Ireland
Steven Lewis - Artlink Ltd Board
How to Apply
Please email email@example.com with 1 .pdf file to include:
The deadline for applications is 14th February 2019 at 4.30pm
Due to the large volume of applicants we are unable to enter into correspondence, selected artists will be announced in March 2019 on our website www.artlink.ie
Frequently Asked Questions
Can we apply as a duo/collaborative group?
Yes but the fee will be shared between you
Where can I stay?
There are lots of options locally. We can work this out with selected artists.
I am from Northern Ireland can I apply?
Yes, artists living and working on the island of Ireland apply for Residency IRL
I am an Irish artist living abroad, can I apply?
Yes you can apply for Residency INTL
I am a Norwegian artist not living and working in Verstralen, can I apply?
Yes, you can apply for Residency INTL
Can I send anything other than 1 .pdf
Should I hire a car?
We are in a remote location. There is some public transport. Transport options will be discussed with selected artists
Can I send you an email with a question?
Yes, but we might not have time to answer
Is the studio wheelchair accessible?
The studio is located on the ground floor. There are two steps but we have a temporary ramp for access.
This project is supported by the Arts Council Ireland Visual Arts, Arts Grant Award 2019 and Donegal County Council.
Anaïs Tondeur, a visual artist based in Paris, was artist-in-residence at Artlink from the 12th till the 30th of August 2018. She is a graduate of Central Saint Martin's School and the Royal College of Art, London. Her art practice has included collaborations with anthropologists, philosophers, oceanographers and geophysicists and explores the interface between sense and science, fact and fiction. Her work dissolves the boundary between art and science, creating a mysterious and lyrical journey which traces absence, memory and loss.
Through installations, drawings, early photographic techniques and digital processes, her work carries a sense of history, time and perception. Her use of 19th century processes is a nod to an age when the scientist was also an inventor, an artist, or an explorer.
Her practice is anchored in an investigation of fiction as a transformative tool - “Fiction gives us the power to participate in the construction of other possible futures,” says Tondeur, “to build or project ourselves, to test and embody other models in response to ecological crisis.”
She has undertaken residencies at institutions such as CERN, Université Pierre et Marie Curie, and the Hydrodynamics Laboratory at the Ecole Polytechnique. Although her work emerges from within a scientific tradition of research and experimentation, running throughout her practice is a critique of the time-honoured technique of empirical observation. She questions the limits of what we can see with our eyes, pushing at the boundaries of scientific knowledge.
In 2014 she invented an island, later known as Nuuk - the Greenlandic term for ‘promontory’ or ‘headland’. Over a period of two years she worked with philosophers, physicists, oceanographers and geologists, researching this fictional place, using it as a springboard to reflect on the Anthropocene, the term coined for the new geological epoch, when the impacts of our civilisation on the earth and its ecosystems have outstripped our understanding of them. Through an image making process combining digital and analogue techniques, she unveiled the brief history of humanity’s interaction with Nuuk: from a serendipitous encounter in the early 18th century by a French naval officer to its rediscovery in 1948 by a Nordic nation. Yet none of the expeditions succeeded in surveying the island in its entirety because a deep fog covered Nuuk. She was struck by the similarities between Dunree and what she imagined to exist on Nuuk and hopes to use the residency at Fort Dunree to explore what was behind the fog.
Artlink’s 2018 residency programme kicks off with Donegal born artist and founder member of Artlink Aileen Barr, who was in residence at Fort Dunree from the 9th to the 27th of August. As preparations for her arrival - we installed a ceramic kiln, which is available for use by Artlink member artists and also for workshops with the local community.
Aileen studied Craft Design at the National College of Art and Design, Dublin, specializing in Ceramics and has been creating handmade tile projects for the public arena for the past 22 years. As well as establishing Artlink (with Marie Barrett and Lisa Spillane), she lead a number of community based Public Art projects in Donegal through Artist in Residence in Schools projects and Artist in the Community projects before emigrating to the United States in 2002.
Since relocating to San Francisco she has completed several large scale public art projects. As a teaching artist she developed a pilot programme at the Oakland Museum of California in Art and Literacy with immigrant families. In 2003 she was commissioned by the San Francisco Arts Commission to design a public art project for a community centre in the West Portal area of the city and in the summer of 2005 she completed her second large scale public art work, the Tiled Step project at 16th Avenue, also in San Francisco. This was a collaborative project with US artist Colette Crutcher and was commissioned by the local community. She collaborated again with Colette Crutcher in 2013 on the ‘Hidden Garden Steps’ project.
Community engagement has always been part of Aileen’s working process and can take various forms, from community consultations to hands on collaborations. Her recent artwork broadly reflects the natural environment in an urban context. Thematic interests include flora, fauna and cultural history.
During her residency she proposed to create artwork in response to the natural environment of Dunree, engaging Artlink members in a series of hands on workshops. This took the form of an artist talk and presentation of public artworks created in the last 12 years with a discussion on ways of engaging the community. The workshops included exploring clay and tile using text, print and relief carving.
The first of these workshops took place on Friday 17th of August at Fort Dunree.
What better site than a military camp to “raise questions about the political and ideological underpinnings of architecture and social spaces?” as stated by Tamsin Snow whose practice includes projects developing both physical and digital immersive environments. Snow utilises installation, virtual reality sequences and CGI animations to examine the legacies of modernist architecture and design.
Fort Dunree is a military fort or bastion formed of a network of barracks and bunkers set on a remote headland in rural County Donegal facing out onto the North Atlantic. Tamsin proposed “an enquiry into the historic architecture of Fort Dunree and the notion of the Fort or Bastion and the legacies of such models in modernist architecture”. Modernist architecture is driven by a totalizing dynamic, accentuating the tendency of modern capitalism to integrate and rationalize everything it encompasses - with tropes such as the homogenization of space as an extension of a rational order. Le Corbusier’s concept of a dwelling as ‘a machine for living’ within the overarching modernist project may be understood within such extension.
It can be argued that Snow’s work brings this spatial rationalization into contrast with two variants of the uncanny: that of an architectural uncanny, and that of the uncanny valley.
The rationalized order of military architecture - bastion, tunnel, blockhouse, bunker, pillbox, observation post -sits as an example of military engineering against the natural headland of Fort Dunree. Le Corbusier wrote that “Nature presents itself to us as a chaos; the vault of the heavens, the shapes of lakes and seas, the outlines of hills. The actual scene which lies before our eyes, with its kaleidoscopic fragments and its vague distances, is a confusion”.
The rational, the designed, the constructed set amidst nature as chaos can seem to detach the rationalized order of military architecture from its broader social-political programme of control and power relations, and it could be argued that modernist architecture when encountered in such a detached context is experienced as ‘uncanny’ or as an alien form. The architectural uncanny may be described as the encounter with an artificial structure that is perceived as alien to the natural context in which it is set against. It may signify the repression of a broader social-political programme of control and power relations and the emergence of an ideological blind-spot.
Likewise, in the notion of the uncanny valley, there is a sense of estrangement. In 1970, Japanese roboticist Masahiro Mori coined the term ‘uncanny valley’ to describe our slight revulsion toward artificial entities(robots, or more recently digital virtual representations) that appear endowed with human attributes. There is likewise a sense of estrangement in the virtual spaces of digital architectural 3D modelling in which the artist engages and creates her work: the sensation of being both engaged in the virtual space yet not feeling fully present, of being both present and absent in the same instant are linked to the uncanniness of an encounter with a spectrum of varying degrees of reality.
Tamsin engaged with these forms and research themes within her Fort Dunree residency – which carries the promise of much to encounter.
TAMSIN SNOW lives and works in Dublin and London. She completed a BA in Fine Art at Goldsmiths University, London (2008) and an MA in Sculpture at the Royal College of Art, London (2012). Upcoming exhibitions include Cross Sections, Curated byBasak Senova, Kunsthalle Exnergasse, Vienna (2018) and Showroom, Block 336, London (2018). Recent exhibitions include Dead Rubber, UEL Project space, London; Dazed X Confused Emerging Artist Award, Royal Academy, London (2015); Lobby Part I & II, Oonagh Young Gallery, Dublin (2015) and Pavilion, Store, London and was the recipient of the HIAP/ TBG+S Residency Exchange 2017.
Text by Declan Sheehan, Independent Curator and part of selection panel for the 2017 residency programme.
Le Corbusier, The City of Tomorrow and its Planning, Dover Publications (New York), 1987, translated from French original Urbanisme, Editions Crès & Cie (Paris), 1925, p.18; 1st English publication Payson & Clarke, New York 1929.
What is the history of a particular site? Is it within the written records, the published accounts? Is it in the vernacular, verbal histories of its communities, the histories of its individuals? The artifacts and architecture of its past and present?
The projects of the artist Becca Albee have been generated by a curiosity about tracing a history, whether that bedrawn from a personal archive or in the public sphere, looking for a tall tale to examine, or a cultural movement, or a particular aesthetic, or a collection of personal artifacts. Her practice uses physical materials as the means with which to research stories, by mining for artifacts, whether those physical materials be old photographic negatives from a family, or newspapers, or published books, orthe personal items carried in pockets or purses. Albee investigates the mechanisms of history by using such material as the original subject material for an art practice, through processes such as photographing the material, then scanning,printing, and rephotographing, staging setups in the studio. These photographs are either the springboard for the project or become part of the final work, recreating artifacts to reconstruct stories.
This process is at once both blind and guided, led by the encounters, the directions, wayward and forward, that the research practice uncovers,aprocess of recreating artifactsin which the artist looks to the visual, social, and political implications of these original materials and to the references they can have when re-contextualized.
As an example, her recent series of prints Radical Feminist Therapy (2016), was inspired by her encounter with a book, Radical Feminist Therapy: Working in the Context of Violence by Bonnie Burstow, which she had read in undergraduate school.The work saw a process of the artist scanning each page of the book that she had annotated by hand – each page in which she had underlined passages and made handwritten notations -and then removing from the scans the printed text, leaving only her handwritten marks, collapsing the scanned pages of each of the fifteen chapters into fifteen single pages, producing a series of fifteen final individual prints - so deconstructing the original treatise while creating an inscrutable visual archive of her earlier thinking.
This means of thinking about materials and of making work does several things. Primarily, it deconstructs the hierarchiesof objective and subjective, and positions as central to the artist’s work the challenge of the intersubjective, the notion of knowing the subjective experience of an other and of expressing the subjective experience of a self- a notion described as quale or qualia - a quality or property as perceived or experienced by a person, e.g. ‘in a different world, I could have the qualia of ‘red’ when looking at the sky (but would continue to label it as ‘blue’)’. Secondly,it positions her practice as somewhere between the individualartistic freedom of Paul Klee’s taking a line for a walkand the collective radical potential of the dériveof Guy Debord. In this, Albee’s stated method is a powerful approach to adoptto a particular site and its written records, its artifacts and its vernacular histories.
The technique of the dérive is well known as a critical concept in the theories of the Situationist International, as an unplanned journey through a landscape(in the case of the Situationist International, usually urban) or as a rapid passage through varied ambiencesin which participants let themselves be guided by disorientation into negating their everyday relations and everydayconditioning drawn by the attractions of the terrain and the encounters they find there.
The relationship of an art practice to the commitment of an artist’s residency can de understood as the gradual progress of theorientationof the practice to a new environment: beyond this, Albee’s practice also holds the promise of encountering Fort Dunree with this force of a parallel disorientation.
BECCA ALBEE's work includes photography, sculpture, video, and performance. She received her MFA from the University of North Carolina at Chapel Hill, a BA from The Evergreen State College in Olympia, Washington, and attended Skowhegan School of Painting and Sculpture. Her work has recently been written about in Artforum, Aperture, The New York Times, and Bomb. Recent residencies and fellowships include: Yaddo, Irish Museum of Modern Art, and MacDowell Colony. She is currently an Associate Professor of Art at The City College of New York, CUNY.
Text by Declan Sheehan, Independent Curator and part of selection panel for the 2017 residency programme.
There is a dynamic and potent sense of the paradox in the artist residency of Niamh McCann in the breathtaking and remote landscape of Artlink in Fort Dunree. The artist has said:
I think of myself largely as a landscape artist – of the constructed landscape, the stuff we make, the stuff we consume.
With the rural landscape itself commonly conceived of as unfabricated or unconstructed, that idea here of the constructed landscape is particularly striking. It prompts notions not only of how the artist understands the world, but also of how the artist engages in her own practice with a process akin to a kind of construction or assemblage - a term commonly read in the history of visual arts as referring to a form of art that is made by assembling disparate physical elements (perhaps most easily understood as a 3D version of collage).In fact, in a contemporary sense, the notion of assemblage can be usefully extended to be more than a methodology for a single artwork, and be considered as a way of thinking about a whole exhibition, with each element of the exhibition functioning as one physical element assembled by the artist and acting as a combined work or selection of works with a certain affect. Curator Mary Cremin wrote this of Niamh McCann:
The notion of artist as nomads, collecting cultural artifacts and gathering them together to create an imaginative landscape is an undercurrent in her work.
In a contemporary art context, the proximity here of the terms nomad(ism) and assemblage could also act as a reference to the complex notion of assemblage theory. This theoretical model developed by philosophers Gilles Deleuze, Felix Guattari, and Manuel De Landa is an analysis of the interaction of forces in society and culture, which looks at the whole as a combination of interrelated component parts, and how this whole, now acting as a collective, generates specific complex behaviors and qualities that were not present within any of the individual parts. These are emergent properties, the characteristics that a part gains when it becomes part of a bigger system, the characteristics parts gain when they are combined to act as a whole which is more a sum of its parts, which has functions and qualities that diverge from those of the constituent parts.
The artist has spoken of her art practice constantly engaging with the notion of a specific circular narrative, the circular relationship between the shaping of our environment and having it shape us in return - a notion which perhaps when extended to her practice can situate the context, the artwork, the viewer, the audience all working together to generate emergent properties, an affect that is bigger than the sum of its parts and that diverges from those of the constituent parts. This process of making new properties is generated very much from an art practice as a maker. Across many projects, the artist has made individually defined sculptural objects, paintings, drawings that function independently but which also function within the overall construction of an exhibition as a kind of sculptural poetry, in a dynamic relationship between the audience, the object and its mode of display specific to that context, an exploration of the position of the viewer when confronted with the act of looking at, and relating to, objects within specific contexts.
The primary context of Artlink Fort Dunree as a site is of course the historic resonance of the location and the beauty of the surrounding habitat. As a decommissioned historic military fort, the site contains what the artist could describe as the visual debris of history – that artist has written of her interest in how certain visual debris survives and continues to evolve even when separated from initiating ideology. The Fort Dunree site sees the display of redundant military equipment and infrastructure, the symbolic language of nation and military in the visual culture and design of the location. The artist has proposed to work with the histories, stories and resonances within both these historical and natural landscapes by engaging with them through a precise and defined visual language - Vexillological design, the symbolic language of flag-making. In a process of onsite studio research and practice, and invited workshops, the artist will explore the Fort Dunree archives and museum, the local folklore and indigenous landscape, to compile a potential list of symbols for use on a flag which should be both functional and beautiful:
a functioning object, to represent and state intent within the local community, a flag to join, not divide(which)would exist as standalone artwork, capable of being sited and integrated into the fabric of and function of the location.
As a final gesture, here once again is a striking example of the paradoxical in the flag engaged with at its apogee and functioning with distinctive emergent properties generated from its diverse constituent parts:
The flag represents a living country and is itself considered a living thing.
(United States Code, Title 4, Chapter 1, Part 8j.)
Niamh McCann is an Irish artist living and working in Dublin. A graduate of Chelsea College of Art & Design, London, She has exhibited extensively in Europe, Ireland and in the USA. Recent solo exhibitions include La Perruque (Protest Song) at MAC Belfast (2016) and Just Left of Copernicus in Visual Carlow (2016).
Text by Declan Sheehan, Independent Curator and part of selection panel for the 2017 residency programme.
Litten Nystrøm www.littennystrom.com
In her proposal for the artist’s residency at Fort Dunree, Litten Nystrøm writes of a temporal landscape and that term has proven to be exceptionally rich and complex. As a term temporal landscape captures features of time created by human-imposed systems such as the ‘working day’, the ‘weekend’, domestic time or work time, private time or public time. Temporal landscape captures how we encounter and describe more abstract notions of time such as the cyclical time of the return of the seasons and day/night or the linear time of past/present/future. Within the term temporal landscape there is the argument that time is intrinsically spatial, while space is intrinsically temporal.This complexity is visible at Fort Dunree where one sense of time is encountered in the enduring landscape, its natural history as a sea-cliff hilltop peninsula – the “Fort of the Heather” as it original Irish name ’Dun Fraoigh’ states; and a further sense of time is encountered within the dereliction of an abandoned military barracks and decommissioned weapons onsite.
Litten Nystrøm's residency proposal also speaks of exploring how Fort Dunree as a site is remembered and experienced through mind and body and how the senses and memory defines and re-creates a place over and over again. That conjoining for the artist of time, repetition and the body is important here. The mind and body onsite at Fort Dunree engages with the notion of cyclical time made apparent in the natural history of the landscape such as the sun rising daily, the tides, the seasons, and this repetition of the same again after time has passed through its certain cardinal points. An experience of being within these environs would engage with some over arching sense of order or time or system of time in the recognition of such repetitions and the encounter with the passing of moments cyclically.
The notion of time’s arrow, of entropy, is also apparent at Fort Dunree. The ruins and the remnants onsite, the abandoned military barracks and the decommissioned weapons, function as signs of a now redundant past and a sense of time that is not cyclical but in which there is neglect, decay, and gradual collapse. The term ‘disjecta’ had initially come to mind for this kind of detritus of ruins and abandoned spaces that remain in Fort Dunree. In fact, ‘disjecta’ should not function as a standalone word (I know the word as the title of Samuel Beckett’s collection of unpublished writings) and the full correct term is disjecta membra, Latin for “scattered fragments” or scattered limbs, members, or remains. The term refers to surviving shards of ancient Greek pottery, or ancient fragments of ancient poetry, manuscripts, and other literary or cultural objects, including even fragments of ancient pottery. Thinking of that notion of disjecta membra at the Fort Dunree site is useful as it foregrounds the theme of how the mark-making of a prior time-period and its images and signs are made visible at a later time-period through an encounter with ruins, remnants and fragments.
The artist’s residency will use a technique in her Fort Dunree residency which engages directly in the reproduction and re-creation of mark-making, a technique which she has adopted across her practice: by the use of a simple reproduction technique of a hectograph, developing drawings into a series of artists books.
The hectographic or "gelatin" duplicator is a 19th century invention which involves duplicates being made by a simple process of writing or making marks with a special ink on a sheet of paper, then pressing that sheet of paper upon the hectograph – a flat gelatin sheet – which takes the inked markings from any image pressed upon it. The hectogaph then transfers that image onto any additional sheets which are pressed upon it. As an early duplicating method the hectograph was especially useful as it was very portable, able to be erased and re-used, with ‘Hecto’ meaning one hundred and so suggesting that the method could at best make roughly a hundred copies. A 19th century advertisement selling the kit of ingredients to make a hectograph had the striking strap line Every Man His Own Printer. The method was used by Russian Futurist and German Expressionist artists experimenting with printing methods and making artist’s books in the early 20th century, and it was widely used as a samizdat technique by Russian revolutionaries of the period. Orwell writes in Keep the Aspidistra Flying (1936) of how in his schoolboy years he encountered an unofficial monthly paper called the Bolshevik, duplicated with a jelly graph. Even Lenin’s correspondence features passages which demanded that certain speeches and records of events should be duplicated by hectograph and distributed. A contemporary resonance with this history is notable here, in the context of Litten Nystrøm using the medium of the hectograph as a technique for making artist’s book. Key activist artists of recent years such as Lucy Lippard have discussed how the artist’s book as the medium can still function for artists as a tool of independent activist thought, can act as an alternative space for artists with a high degree of artistic autonomy, can act as a means to engage with a broader audience –by being portable, relatively permanent and by letting the reader or viewer play a much greater role through being able to interact with the art object directly. Litten Nystrøm will in fact push even further this sense of engagement for the reader or viewer by inviting them to be a participant, by offering workshops in the techniques of hectographic print-making and artist’s books to all onsite at Fort Dunree.
The process of resesearching the notion of a temporal landscape and artists books as a medium has uncovered the concept of the chronotope, the Russian critic Mikhail Bakhtin’s term which unites the two categories of space and time(chronotope meaning literally ‘time-place’). The chronotope is a recognition of the specific fusions of time, space, and emotion which as a matrix govern all narratives, which define genre and generic distinctions - so that a chronotope of the road would function in the ‘genre’ of any and all road stories from Don Quixote to Lolita, to On the Road. Indeed, the artist’s residency itself could perhaps be understood as a particularly dynamic narrative pattern or genre of artistic practice. Litten Nystrøm has described her residency at Fort Dunree as exploring the notion of entering unfamiliar territories- and Artlink’s interaction with its artist residencies has developed a character and distinction for Fort Dunree as an unfamiliar territory– situating Fort Dunree as a dynamic in-between space somewhere far from the neutrality of anonymising white cube galleries of cities and developing a diverse and vibrant artists’ practice in a radically unfamiliar site.
Litten Nystrøm is from Aarhus, Denmark and since 2011 has been living and working in Seyoisfjörour, Iceland. She has exhibited widely in Scandinavia, as well as managing an artist’s residency program in east Iceland and working on art projects in rural areas as part of artists group RoShamBo.
Text by Declan Sheehan, Independent Curator and part of selection panel for the 2017 residency programme.
We would like to say a huge thank you to every artist that applied to our open call. There was an overwhelming response and we were inundated with a huge diversity of proposals for the artist residencies. The selection panel, Maolisa Boyle (Curator) Declan Sheehan (Curator), Siobhan Mooney (Visual artists Ireland) and Martha McCulloch (Artlink board member) took the time to look at each application, whilst it was a delight to see such a variety of contemporary artists works, it made it extremely difficult to decide on who to select. Finally the decisions have been made and we are pleased to announce that the winning selected artists are:
Becca Albee (International)
Litten Nystrom (Norway/Iceland)
Tamsin Snow (Ireland)
Niamh McCann (Ireland)