Becca Albee (International)
Litten Nystrom (Norway/Iceland)
Tamsin Snow (Ireland)
Niamh McCann (Ireland)
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)
Artlink [IRL] are seeking four Visual Artists to take part in paid artist residencies in Fort Dunree, Donegal, Ireland, in 2017. 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 results of which are shared with the local and wider communities by delighting, challenging and stimulating the audiences of Inishowen, County Donegal and beyond.
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 March to September 2017 for between two to four weeks at the discretion of the artist. 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:
1 x Vesteralen, Norway/East Iceland based Artist [NOR/ISL] €6500
1 x International Artist [INTL] €6500
2 x Irish Artists [IRL] €5000 each
The [NOR/ISL] residency is available to any professional artist living and working in either the region of Vesteralen, Norway or in East Iceland, and is supported by the Donegal County Council as part of the ongoing EDGES International Cultural Partnership, which includes Donegal County Council, Vesteralen Cultural Council (Norway) and Austurbrú/East Iceland Cultural Council. 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.
How to Apply
Please email email@example.com with a copy of:
Up to 10 images of your work and/or links to up to two video works (if applicable)
A brief residency proposal (max 500 words) outlining how you would engage with the local area, Artlink Studio artists and Artlink members during the residency.
Please state which strand you are applying for [NOR/ISL], [INTL] or [IRL].
State availability and preferred dates to undertake the residency.
The deadline for applications is 14th February 2017 at 4.30pm
This project is supported by the Arts Council Ireland Visual Arts Project Award 2017 and Donegal County Council.
Christine Mackey: Fortifying Beds
Christine Mackey employs diverse disciplines, subject matter and tactics in devising works that can generate different kinds of knowledge of place - their hidden histories and ecological formations. Using diverse graphic sources and quasi-scientific methods, her work explores the interactive potential of art as a research and pedagogical tool; its capacity for social and environmental change and as a way of organizing diverse knowledge systems for a ‘social’ model of practice coupled with diverse publics.
Fortify – alludes to the history of ‘fortification’ i.e. military forts and to ‘fortify (i.e. tonic) would allude to the properties of herbs to heal and strengthen the body – ‘bed’ relates to both a place of resting and a place for growing plants.
Dictionary definition: to make strong: as
a : to strengthen and secure (as a town) by forts or batteries
b : to give physical strength, courage, or endurance to <fortified by a hearty meal>
c : to add mental or moral strength to : encourage <fortified by prayer>
d : to add material to for strengthening or enriching <fortified milk>
The initial approach for this residency programme began as a series of research walks following the numerous pathways and trails man-made and ‘natural’ at Fort Dunree. These landscape lines or fissures proved to be important biodiversity spots teeming with wild plants and herbs.
Embarking on a series of collections of these plants led to an indebth reading of the healing properties specific to each plant. This discipline – ‘ethno botany’ explores the complex relationships between cultures and (uses of) plants focusing primarily on how plants are used, managed and perceived across human societies.
The first written account of ethno botany in Ireland (to the best of my knowledge) was by Michael Francis Moloney in 1919. He wrote about the evolution of medicine in Ireland in relation to the medicinal quality of land, and marine wildflowers beginning with the Pre-Christian or Druidic period.
Fundamental questions that arises from this inquiry is the debate between scientific reasoning and indigenous knowledge and the cultural variances in how plants are used, who has the right to use and own them and where these plants are ‘permitted’ to grow.
This approach considers the progression of my work in recent times, specifically around land use and community gardening, locational practice and the politics of seeds and food.
I am interested in ethno botany within the context of Fort Dunree because of the historical complexity of this manmade environment built as a site of fortification now physically dormant in terms of its original use, but overrun with botanical diversification. So this place carries not only a geo-morphology of political occupation but it also encompasses a new kind of occupation (one that conflates borders) the bio-morphology of flora and fauna. With this background in mind, I will re-develop one of the physical sites as a living herbarium. Rather then bringing in materials to construct this re-medial space, I will use found materials – from bricks to wood from metal to seeds (that I have begun collecting this September).
The garden will not be designed with a particular aesthetic in mind but will instead be dictated by the specific ‘healing’ properties for each plant. The initial layout for this space will also be based on a number of target practice boards that have been photographed. Utilizing the layout of these boards - the traces of the gun-shots will be used as markers for each of the plant beds.
During this time, I also discovered the work of botanist Henry Chister Hart (1847-1908) b. Dublin but lived most of his working life in Donegal - appointed High Sheriff in Donegal 1895. He was an amateur botanist and published The Flora of County Donegal in 1898. Working from his original imprint, I will utilize both Hart and Moloney’s publications to write a counter narrative of the site in relation to the plants. This work will be additional to the garden and will be developed as a number of permanent ‘sign boards’ displayed in the garden.
This Phase 2 will develop, with the provision of additional support in spring 2014, an outdoor garden space that will act as a unique ‘plein-air’ artist’s studio or ‘studio without walls’ to be facilitated by Artlink, which will initially illustrate the artist’s Phase 1 findings as a source of learning and information about the healing and strenghtening properties of the local naturally occurring resources, and be a stimulating environment within which over the coming years ecologically aware artists and activists will be commissioned by Artlink to develop further projects onsite.
The legacy of this project is to leave a space intact that has the potential to be developed in new and creative ways for the community of Dunree. It will be a garden both for contemplation and creative education as opposed to a site of agitation and destruction (without sounding too reductionist!).
Link to The Potting Shed - phase 2 of this project
Christine Mackey recently graduated with a practice-based PhD from the University of Ulster, Belfast in 2012 supported by a Vice Chancellor Research Scholarship (2007-10).
Past awards include The Arts Council of Ireland; Leitrim County Council; Culture Ireland; Open EV + A Limerick (2003); and the A.I.B Emerging Award (short-listed 2004).
She has participated on a number of national and international residency programmes including Cambridge Sustainable, UK (2013); Sideways, Belgium (2012); RIAA, Argentina (2009); Drawing Spaces, Lisbon, Portugal (2009); e-MobilArt: European Mobile Lab for Interactive Media Artists (2008-9); TRADE with lead artist Alfredo Jaar, Leitrim/Roscommon Co.Co. (2008) and IMMA (2004).
Recent solo exhibitions include Labour on … Draoicht Arts Centre (2013); SEED MATTER Limerick City Gallery of Art (2013); Living Fields The Leitrim Sculpture Centre (2012) and Seed Matter and Other Stories The Butler Gallery (2011). She has devised a range of public art commissions as publication including SEED MATTER (2013); A Year in the Field (2012) Fingal County Council; RIVERworks (2008) Sligo Councty Council; and TIDINGS from here to there (2006) Dublin City Council. She is currently developing new work for group exhibition at the Irish Museum of Modern Art, Dublin this coming autumn.
'My work explores ideas and perceptions relating to notions on the Artist, the Studio, and relationship with the Audience. Through process-based and context-specific methodologies, my work attempts to create discourse between the traditional academic and contemporary practices. Employing the use of video, drawing, and performative intervention, my work is concerned with methods of production and representation where my interest lays with how the viewer engages with or unravels the creative process.'
About A Line of Inquiry
In 1798, amid fears of a French invasion, there were rumours that a French fleet was on its way to Lough Swilly, Co.Donegal. Lord Cavan visited Dunree and fired a canon ball across the mouth of Lough Swilly as a measurement to test the defences. The shot hit Knockalla on the far side of the bay; as a result of this, he decided Dunree was suitable site as a fort, and this measurement resulted in Fort Dunree being built.
In response to this site as an abandoned military base, its history, and how it now functions as a place of cultural heritage, with its military museum & art gallery, John Beattie takes the role of artist as military operations manager, with his crew, and equipment (weapons). The Artist will be orchestrating an operation with his crew and aviation pilot, to fly a drone from the hilltop bunkers of Fort Dunree, through the abandoned military base, into the adjacent art gallery space, to land the drone onto a helipad, which will be located inside the art gallery. Once the drone has landed in the art gallery, it will then be programmed to execute a message (drawing) onto the helipad, using a scripted code, wireless computer software, and a customised device attached to the drone to draw a message. The results will be left on-sight for the viewer on entering the gallery.
This intervention, reflecting Lord Cavan's intentions, responds directly to the political/historical landscape of the site, while also the potential to reference recent events been deployed and debated: “There will be no boots on the ground” - Obama.
Born in 1980, John Beattie is from Co.Donegal and currently lives and works in Dublin. He has been artist in residence at Fire Station Artists' Studio, Dublin, 2006-2009; Royal Hibernian Academy, Dublin, 2010; Temple Bar Gallery & Studios, Dublin, 2011; and The Irish Museum of Modern Art, Dublin 2011. He has exhibited nationally and internationally with recent selected exhibitions including: 'An Artist, The Studio, and all the rest', solo show, The Royal Hibernian Academy, curated by Patrick Murphy, Dublin, 2012; 'Are We There Yet?', McGill Summer School, Donegal, curated by Fiona Mulholland, 2012; 'Long Drawn Out', Catalyst Arts Gallery, Belfast, 2013; 'The Artist Studio Series', The Process Room, The Irish Museum of Modern Art, Dublin, 2011; 'The Drawing Centre', Viewing Program, New York, 2011; 'The Artist Studio Series (If The Art...)', The Return Gallery, Goethe Institute, Dublin, 2010; 'Fragile', Le Carre Bonnat, Musee Bonnat, curated by Francois Loustau, France, 2009; 'LOOP Art Fair', Espai Ubu, curated by Keith Patrick & Maites Lores, Barcelona, 2008; 'Open Archive', ARGOS, Centre for Art & Media, curated by Katerina Gregos, Brussels, 2007. Awards include: Arts Council Projects Award, 2012; Arts Council Visual Artist Bursary, 2006, 2007, 2010; Donegal County Council Artist Bursary, 2005, 2006, 2013; Open EV+A Award, Limerick City Gallery of Art, 2005; Arts Humanities Research Board, 2003-2005.
A Line of Inquiry Exhibition
On 28th September 2013 phase one of the project by the artist John Beattie presents his preliminary work exploring the potential of how contemporary notions of drawing and mark-making can engage with the military domain of Fort Dunree. The project will conclude with a final exhibition on this site opening 16th November.
Conor McFeely is an artist living and working in Derry. His works have an emphasis on the manipulation of space and the idiosyncratic use of materials and media. He works with a wide range of processes including video, audio sculpture and photography. The contexts for these works have been varied and include references to literature, cinema, art history and social and political contexts amongst others.
The Weathermen project by Conor McFeely sees the artist develop a site-specific environment of found objects and new media installations, designed to conduct complex investigations into individual perception, themes and acts of subversion, and reaction to sudden dramatic change. The development of the Weathermen project on this site engages directly with Fort Dunree’s exposed headland position, its military history, and its richness in significant transformations.
The Weathermen project draws upon a number of sources including an interest in key countercultural figures from history. A central reference for this work is “the weathermen” a clandestine revolutionary organisation in the U.S.A. in the 60’s and 70’s for the violent overthrow of the US government and the establishment of a dictatorship of the proletariat. They famously aided the jailbreak and escape of Timothy Leary. Leary will be present in the work in the form of voice recordings and local weather conditions will manifest themselves through the use of passages from cult fiction works including the opening paragraphs from The Dark Cloud by Fred Hoyle and Musils’ Man without Qualities. These are used as points of entry into alternative narratives.
Formally this work is a series of sculptures incorporating short sequences of video and sound. These video and sound works are integrated with what is essentially a kind of set around which modified, constructed and found objects are organised. Materials found onsite have been integrated where possible with “ready-made” objects, constructions, video and audio works with the intention of reflecting a sense of site and location. The audio elements are a montage of composed and onsite ambient recordings, as well as voice recordings and computer generated sounds including the Leary interviews. The works are conceived with the intention of generating an activated spectatorship. Initial exploratory ideas here have been developed in the spirit of a merged or multidisciplinary practice.
A the blend of what might seem incongruous references to weather and “prevailing conditions” are layered to create unexpected resonances with the location or site where they are encountered.
Conor McFeely has exhibited widely both nationally and internationally. His exhibitions include
“Disclaimer”, Orchard Gallery Derry 1997, (solo)
“Ink Mathematics”, The Mappin Gallery, Sheffield (solo)
“Headfirst”, OBG Gallery Belfast 2003, (solo)
The British Art Show 5, Hayward Gallery London, touring Edinburgh, Southampton, Cardiff and Birmingham 2000-200
“Small Steps, The Elipse Gallery,Washington DC, 2001
“Something Else”, Contemporary Art from Ireland, touring Turku, Helsinki, Ouulu, Joensuu Finland, 2003
“Hidden Dips” MCAC Portadown 2005 (solo)
“Dogs Have No Religion” Czech Museum of Fine Art Prague, 2006.
He is a recipient of The Curated Visual Arts Award 2007 (curated by Mike Nelson) resulting in two major solo shows of new work called “The Case of the Midwife Toad (the unrepeatable experiment)” in The Douglas Hyde Gallery Dublin 2007 and at Void, Derry 2008, and “The Testing Rooms/Smashing Forms” a site specific audio and video installation at The Maze Prison 2008 In May 2010 he had a major one person exhibition at The Ormeau Baths gallery Belfast. In 2012 he completed an Artists International Residency at NKD Dale Norway and has three solo shows in 2012/13 showing cycles of the Weathermen projects at the 126 Gallery Galway, Franklin College Lugano Switzerland and The Golden Thread Gallery Belfast. He also is a member of the Void Gallery curatorial board.
Much of this work can be seen at www.mentalimage.org.uk
And your feet unable to find the ground
In this commissioned work,which was the first project in the Resistance and Rebellion project, Sara Greavu was asked to respond to Artlink's Fort Dunree site in relation to Wolfe Tone's capture there in 1798 and subsequent re-enactments of the event, notably that which was staged in Buncrana in 1948.
The work considers the revolutionary moment of 1798, setting it against the current economic climate of Ireland and Inishowen and the revolutionary possibilities of today. It explores the genre of reenactment, embracing the substitutions, distortions, displacements and inaccuracies inherent in the reenactment process; in the imposition of the present and imagined future upon the past.
Frederick Jameson, in the essay 'Historicism in The Shining' draws a parallel between the ghost story and the historical novel. << What is the [historical novel] if not an attempt to raise the dead, to stage a hallucinatory fantasmagoria in which the ghosts of a vanished past once again meet in a costumed revel, surprised by the mortal eye of the contemporary spectator-voyeur? >>
Here the re-enactor can be seen as a necromancer, raising the dead to divine the future. A collaboratiion with Moville Clothing company to produce the uniforms for the reenactment provided an opportunity to link these concerns with the work of one of the few remaining industries on the Inishowen peninsula.
As part of the project Sara delivered an outreach project Tangled Histories.
This project sees a themed group of artist’s residencies based at our dedicated artist studio on the site of Fort Dunree, an ex-military base on a headland in Inishowen - with artists making new work connected to the matrix of themes of resistance and rebellion prompted by this unique site. The project works with artists who between them represent the highest standards and a exceptionally broad range of approaches within contemporary practice.
The Artlink Residency Studio is in Dunree Fort: the site where Wolfe Tone was brought ashore in 1798 after capture, a military fort that has been developed here ever since. Fort Dunree, Dun Fhraoigh in Irish means, “Fort of the Heather” and indicates that this site has been an important military site down through history. The military context is set into stark contrast by the stunning natural beauty and abundant wildlife of the site. The site draws increasing numbers of visitors both national and international and these Artlink artist residencies explore how such a unique context can develop contemporary artists’ practices.
Alongside tapping into the history and thematics of Fort Dunree as potential, this programme of Artlink artist residencies is dedicated to using this unique context to continue to engage with our local communities by further developing our innovative programme of artist residencies within this rural setting.
This project began with a residency by Sara Graevu in 2012 and continues with the current exhibition.
Six Artists from Inishowen, Norway and East Iceland were invited to participate in an International Residency in Inishowen 2007. The title of the residency and exhibition was “Edge Centring” and invited artists explored themes based on the idea of art made on or about “edges” in a geographical and cultural sense.
Maria Mc Kinney - explored ideas around measurement of time and physical borders, using sculpture and installation.
Locky Morris - used the ‘Inishowen 100’ as a starting point to gather sounds and images for a work of multiple viewpoints, on the theme of escape.
East Icelandic Artists
Sandra Mjöll Jónsdóttir –created photographic images using darkroom processes such as pinhole and camera obscura.
Ōlöf Björk Bragadóittir – created large scale paintings and drawings using rich tones and stains of color.
Oili Puolitaival –combined cast concrete with drawings in dynamic new forms, to leave a lasting public art sculpture at Dunree
Ingrid Larssen – created sculptural forms using Hessian and hand stitching to create a 30 foot sculpture based on An Ghrianan Fort in Burt, Co Donegal.
All the artists created new work during the Residency based on proposals that were curated by Terre Duffy, Public Art Manager Donegal County Council and Adrian Kelly, Glebe Gallery curator, OPW, Churchill.