Comóradh 10 mbliana ag Músaem Cathrach na Gaillimhe - 10th Anniversary at Galway City Museum
Comóradh 10 mbliana ag Músaem Cathrach na Gaillimhe
<Téacs Gaeilge>
10th Anniversary at Galway City Museum
Ceardlann na gCroisbhealach 1998-2008
Ceardlann na gCroisbhealach is a contemporary visual art project located in the Donegal Gaeltachta region. It was established in September 1998 and therefore shares this ten year anniversary celebration with Ealaín na Gaeltacht. Since then the Ceardlann has continually contributed to the professional arts infrastructure in County Donegal. Over this period the project has organise and present an artistically stimulating, challenging and high quality participation based annual programme of contemporary visual art exhibitions thereby providing valuable opportunities and support for artists to make and exhibit their work. In more recent years, the Ceardlann has developed an outreach programme in order to access, engage and nurture a broader audience such as areas of South Donegal and Tory Island. The Ceardlann believes it is important that this engagement respects each community’s specific context. Ceardlann na gCroisbhealach has a special interest in commissioning contemporary work that draws on traditional cultural sources. This therefore informs selected themes for community engagement; this is reflected in projects such as ‘Ceilp’ in Falcarragh, ‘Sea-nós Nua’ on Tory Island. Currently, poet Nuala Ní Dhomhnaill and artist Bernadette Cotter have been commissioned to develop the ‘Dinnsheanchas’ project with members of the Glencolmcille/Teelin/Kilcar community.
Bernadette Cotter 2006-2008
Fundamental to Cotter’s practice is a repetitive and meditative rhythm; collecting, gathering, disassembling, reassembling and constructed rhythmic routines. Firstly, this provides a firm framework for her to work within but more importantly it propagates and nurtures the spiritual dimension that is crucial to this artist. Unlike many institutional religions, the female in Cotter’s spiritual perspective is strong, active and has a meaningful role. Having completed their ritualistic journey, her exhibitions are presented as harmonious offerings or ‘communions’.
Tá rithim machnamhach arís agus arís eile bunúsach do shaothar Cotter: ag bailiú, ag cruinniú, ag baint as a chéile, ag cur le chéile le cois gnáthaimh rithimeacha struchtúrtha. Sa chéad áit, cuireann sé seo ar fáil creat láidir dá cuid oibre laistigh den toise spioradálta sin atá ríthábachtach don ealaíontóir seo agus, níos tábháchtaí arís, a leathnaíonn agus a chothaíonn an toise sin. De réir peirspictíocht Cotter, tá an bhean láidir, gníomhach agus tá ról tábhachtach aici, dearcadh nach bhfuil ag teacht le formhór na gcreideamh institiúideach. Nuair amháin atá a n-aistear deasghnáthach ag ceann scríbe, cuirtear a cuid taispeántas i láthair mar ofrálacha comhchuí nó ‘comaoineacha’. Tá saothair choimisiniúnaithe curtha i gcrích ag Cotter i dtíortha éagsúla, gach uair ag leathnú a peirspictíocht uilíoch chomhaontachta. Sa deireadh thiar thall, is é sin atá mar bhonn agus thaca le saothar an ealaíontóra seo – an braistint de chómhuintearas pobail, éagsúlacht, comhoibriú agus teacht le chéile.
"Silent Carriers" 2006
Over a hundred mass cards, given to our family when our mother died in 1999, are formed into little boats. These paper boats are placed on a low surface and all face towards the sea, as if travelling to some unseen and unknown destination. A female figure stands facing the boats. She is wearing a white hooded coat with many words of sympathy sewn onto it "is olc liom do bhris", "sorry for your trouble", "comhbhron".
"Still Life" 2008
A female figure, shrouded in veils of dark fabric stands motionless while facing out to sea. In her upturned hands she holds a ball of red thread entwined with sewing needles. Some of the needles are broken. Did they break as she stitched? Is this her heart, exposed, for all to see? Surrounding her are long sewing needles. These are wrapped with black thread. Are they a dangerous, black rain, an omen, or are they somehow protecting her?
John McHugh - November 2006
These sculptures refer directly to the surrounding landscape, environment and the recent history of Dooagh village Achill Island from the 1920’s - 1970’s and to the history and legacy of Achill Island, it’s culture, heritage and identity.
The sculptures are assembled in a 3 piece vertical composition, using found fragments of various objects and materials from the village environs. Irregular shards of rubble and concrete masonry are recovered from demolished houses and built structures, including the village pier. These fragments are available as the housing stock in the village, originally built largely between the early 1900’s up to the 1960’s, is being replaced. They are used to form rugged bases on which bog deal pedestal elements are attached, on top of which are placed found fragments of farm machinery, implements and other discarded objects.
The bog deal is collected from the surrounding cut away bog lands, the remains of a now almost redundant system of fuel harvest and subsistence farming. They are also a tangible link to the ancient inhabited landscape of the island. The sculptures are mounted on found factory tables from St Coleman’s Knitting factory, an important social and economic centre which operated in the village from the 1910’s to the 1970’s. These tables were made in the village by local carpenters.
Avoiding over emotion or nostalgia yet employing a rigorous formal aesthetic, these sculptures are monuments to the Island’s past whilst the process of making the works looks as much the future.
Ceilp – June 2002
Is é ‘Ceilp’ an toradh a bhí ar chomhfhiontar idir an t-ealaíontóir Barbara Freeman agus na ceoltóirí Aisling De Chléir, Nina Watrelot, Leanne Nic Lochlainn agus Máire Nic Íomhair - mic léinn atá ag staidéar le Ceoltóir/Foinn Chonallacha. Is ealaíontóir iomráiteach í Barbara atá ina cónaí agus ag saothrú a beatha i mBéal Feirste. Thaispeáin sí a cuid saothar go leitheadach ar fud na hÉireann agus thar lear. Roimhe seo, bhí sí rannpháirteach i gcomhfhiontair leis na ceoltóirí Paul Wilson agus Michael Alcorn. Sa choimisiún seo, thapaigh sí leis an suíomh chomh maith leis an comhthéacs cultúrtha lena mbaineann sé. Déanann Barbara agus na ceoltóirí fiosrú agus tuairisciú ar thuras na ceilpe, ó dhoimhneacht na farraige, á tabhairt i dtír agus á cur thar lear.
“Thapaigh mé an deis a chur Ceardlann na gCroisbhealach agus Ceoltóir/Foinn Chonallacha os mo chomhair mar gur rud difriúil ar fad a bhí ann. Bhí suíomh ar leith i gceist le cois go raibh modh oibre coitianta ann a bhí bunaithe ar théama agus ar mhodhanna rannpháirteacha. Fosta, d'fhéadfadh struchtúr comhchoiteanta a bheith ag baint leis. Suíomh: de bhrí go bhfuil sé tábhachtach dáimh a bheith ag an ealantóir le suíomhanna agus áiteacha atá fíor, chomh maith leis an stair atá ag baint leo. Ní péintéireacht de thaobh tíre atá anseo ach cineál de mhicri-thírdhreach den bhitheolaíocht, den fharraige agus de na cóstaí.
Níl fáth ar bith nach bhféadfadh tuairimí cosúil le téarmaí mar 'ard-', 'teicneolaíocht' agus 'traidisiúnta ' a bheith beo i gcuideachta a chéile. Tá obair digiteach thar a bheith cosúil le hobair cheardaíochta, rud a chiallaíonn go bhfuil comhordú láimhe/súl//uirlise de dhíth. Bhí iontas orm nuair a dúradh liom go raibh an 'Nádúr' fite fuaite le mo shaothar arís, i ndiaidh blianta fada i ndearmad.” Barbara Freeman
Chum na ceoltóirí ceol úr atá bunaithe ar cheol shaibhir traidisiúnta na hÉireann. Chomh maith leis sin, bhain an t-ealaíontóir agus na ceoltóirí araon úsáid as an teicneolaíocht is nua-aimseartha chun fuaim agus foirm a thabhairt dá ndearcadh, rud a chuireann eispéareas cultúrtha atá úrnua agus comhaimseartha os ár gcomhair. Ar an tséala sin, tugann ‘Ceilp’ léargas ar leith dúinn ar ár gceantar, ar ár n-oidhreacht chomhaimseartha agus ar ár dtaithí chultúrtha atá ag borradh i dtólamh..
Taispeánann‘Ceilp’ na torthaí anamúla inspreagtha gur féidir a thabhairt chun cinn nuair a déantar imeascadh comhoibritheach idir cineálacha éagsúla ealaíon. Bhí trí aidhm i gceist: i dtús báire, deis annamh a chur ar fáil d'ealaíontóir agus do cheoltóirí oibriú i gcomhar le chéile go nuálach. Sa dara háit, tá sé ar intinn againn go mbeadh an tionscnamh píolótach seo mar pháirt de shraith bhliantúil a thabharfas le chéile an ceol traidisiúnta, an ceol nuachumtha, na hamharc-ealaíona agus teicneolaíocht radhairc agus fuaime an cheoil. Tá aird an tionscnaimh seo dírithe ar léiriúchán agus ar thaispeántas na n-ealaíon a chur chun cinn sa Ghaeltacht ar bhealach atá spéisiúil spreagtha trí mheán na Gaeilge. Rachaidh an deis seo, agus a mhacasamhail, chun sochair mhóir cumais do na rannpháirtithe agus don lucht féachána/éisteachta.. Do na rannpháirtithe, is léir go bhfuil comhionannas fiúntais sa phróiseas ó thaobh an toradh de, sé sin an taispeántas, mar go gcothaíonn an phróiseas an fhorbairt atáthar a dhéanamh ar fhoirmeacha úrnua. Tá sé fíorthábachtach go dtabharfaí gríosadh agus uchtach do léiriúcháin chomhaimseartha ar mhaithe le déanamh cinnte go mairfidh cuisle an chultúir Ghaelaigh agus na Gaeilge.
‘Ceilp’ is the result of collaborations between artist Barbara Freeman and musicians Ashling De Chléir, Nina Watrelot, Leanne McLaughlin and Mary McKeever studying at Ceoltoir, Foinn Chonallacha. Barbara, an experienced and established practitioner, lives and works in Belfast. She has exhibited extensively, nationally and internationally and has previously collaborated with musicians Paul Wilson and Michael Alcorn. In this commission she has embraced both the location and its cultural context.
“I jumped at the opportunity provided by Ceardlann na gCroisbhealach and Ceoltóir/Foinn Chonallacha because it was different again. It offered the chance of a specific location, and a common working method based upon a shared theme, shared procedures and the possibility of a shared structure. A location: because it is important to relate to actual situations and real places, and their history. In no way is this landscape painting, but a kind of micro-landscape of biology, sea and coastlines.
There is no reason why ‘advanced’ technology and ‘traditional’ themes should not co-exist happily. Digital working is intensely craft-like and requires exceptional eye/hand/tool coordination. I was surprised to be told that the notion of ‘Nature’ had entered my work, after many years absence.” Barbara Freeman
Both Barbara and the musicians explore and chart a journey: the passage of kelp, from the depths of the sea, up onto the land and beyond. The musicians have composed new music which drawn on rich Irish traditional music roots. Reflecting an original and contemporary cultural experience, once again, both the artist and the musicians have utilised state-of-the-art technology to give sound and form to their perspectives. ‘Ceilp’ is indicative then of our location, contemporary heritage and our burgeoning cultural experience.
‘Ceilp’ demonstrates the inspiring and stimulating results of working collaboratively between art forms. The aims were threefold: firstly to provide a rare opportunity for a visual artist and musicians to work innovatively and collaboratively. Secondly, we intend this pilot project to be one of an annual series that brings traditional Irish music, newly composed music, visual arts and visual and music technology together. This project directs itself to the development of arts productions and presentations in the Gaeltacht in an alternative and exciting way through the medium of Irish. This opportunity, and others like them, holds great potency both for the participants and the audience. For the participants it is clear that the process holds equal value to the end product, the exhibition. The process nurtures the development of new and original forms. Encouraging original and contemporary productions is an unquantifiable component to ensuring the continuing life-blood of Irish culture and its language.
Trasnú – December 2003
Tá comhoibriú páirtíochta idir ealaíontóirí ag éirí níos coitianta sna dearcealaíona ach de ghnáth is páirtíochtaí iad idir ealaíontóirí a bhíonn ag obair sa disciplín céanna, leithéidí Gilbert & George i Londain agus Walker & Walker i mBaile Átha Cliath mar shampla. D'eascair an saothar atá sa taispeántas seo ó chomhoibriú de chineál eile, comhoibriú trasdisiciplín, a chiallaigh gur aimsigh na healaíontóirí macallaí agus comhfhreagrachtaí dá gcuid saothair féin i saothar an duine eile. Ní hibrid a bhí siad ag iarraidh a chruthú ach rud éigin a léireodh eolas agus tuiscint ar chleachtas an duine eile. Tá dlúth-aird agus ómós dá chéile le tabhairt faoi deara sa dá chnuasach seo. Dá gcuirfeadh muid i gcomparáid le cúrsaí ceoil iad, cuir i gcás, ní cumadóir agus liriceoir a bheadh i gceist againn go bunúsach ach péire ceoltóirí snagcheoil a bhfuil blianta caite acu ag seinm i gcuideachta a chéile. Tá siad i dtiúin le chéile; aithníonn siad gnéithe díobh féin sa duine eile agus tá siad stuama go leor le faill anála a thabhairt dá chéile: an comhoibriú is fearr.
Tá sé soiléir gurb ealaíontóir í Maria Simonds-Gooding a úsáideann tírdhreach mar ábhar. Ach ní tírdhreachadóir í sa bhrí fhollasach a bhaineann muid as an fhocal sin. Sa chéad áit, ní péintéireacht amháin a dhéanann sí. Is déantóir priontaí agus dealbhadóir í fosta agus nochtann na cáilíochtaí sin go léir ina cuid saothar. Sa dara háit, is de bharr na nithe a fhágann sí ar lár is minice a thig sainmhiniú a dhéanamh ar a saothar seachas na nithe a chuireann sí isteach ann. Fágtar formhór na maisiúchán coitianta tírdhreacha ar lár ar fad, ina measc na rudaí a nascann é le scíth agus le bealaí taitneamhachta agus soilís. Ní chruthaíonn sí íomhánna idileacha de shaol na tuaithe.
Ní chruthaíonn Cathal, file liriceach, íomhánna idileacha ach an oiread. Cé go bhfuil mórán dá shaothar fite fuaite le mothúchán tírdhreacha, níl maoithneachas déanta air riamh. Tá tuiscint in a shaothar i gcónaí ar neamhchinnteacht agus ar na srianta atá ag baint le tionacht dhaonna ar thalamh, ar stair an fhéidearthacht dhaonna atá i dtaisce - b'fhéidir i ngan fhios - sna comharthaí a fhanann agus a théann in éag de réir a chéile. Mar sin féin, in ainneoin na mothúchán nach bhfuil curtha in iúl agus na cosáin nach ndeachthas, tá geallúint de chéadfaíochas chothaitheach ann i dtólamh, geallúint a thagann chun solais i ndathanna agus in uigeacht an domhain a bhfuil taithí againn air, fiú mura n-aithníonn muid é corruair. Scríobhann Cathal le peann, chan go meicniúil i dtanaíocht scáileán ríomhaire agus braitear go bhfuil tábhacht ag baint leis an ghníomh fhisiceach sin, go bhfuil sé chomh deimhin fíor le gearradh spáide sa talamh agus leis na marcanna in íomhánna dealbhacha Mharia a mhúsclaíonn seanchuimhní.
Léiríonn a saothar domhan ina bhfuil smacht scanraitheach nó ina bhfuil saoirse iontach - ag brath ar do dhearcadh féin. I gcás Chathail, is cinnte go bhfuil an tuiscint - nó an t-athaimsiú - ar an cheangal bhunúsach leis an talamh agus leis an áit ina bhunchúis fhuascailteach. In ionad a bheith faoi chuing ag an am atá thart nó, fiú amháin, cúl ar fad a thabhairt di siocair na teorainneacha praiticiúla a bhí i bhfeidhm inti, chuireann a chuid saothair ar fáil athléamh dlúth ar chruas samhalta. Féadtar gur anseo a ghlacann sé chuige agus a mhionléiríonn sé an céadfaíochas dúchasach atá in íomhanna Mharia.
Ar dhóigh, is é sin an mhistéir atá i gcroílár chuid íomhanna Mharia: an tslí ina mb'fhéidir go bhfuil muid, i ndiaidh an iomláin, ar ár sáimhín só i ndomhan atá, de réir cosúlachta, doicheallach díobhálach, agus a bhféadfadh a áilleacht iontach sciorradh tharainn go fáilí, siocair, ar ndóigh, nach ar mhaithe le haon bhrí shócúlach ádhúil chuspóireach a thabhairt dúinne go speisialta atá an áilleacht sin. Déanann na caoirigh ionadaíocht dúinn, iad fliuch báite agus cuachta le chéile i mbanrach sléibhe ar lorg foscaidh ón ghaoth agus ón fhearthainn. Féadann muid trua a bheith againn dóibh ach, mar a chuireann Maria agus Cathal i gcuimhne dúinn go séimh, ní dhéanann siad ach léargas a chaitheamh ar ár staid féin.
Collaborative artistic partnerships are increasingly common in the visual arts, although usually in terms of artists who work within a shared discipline. The work in this exhibition grew out of a different kind of collaboration, a cross-disciplinary collaboration, one that had to do with each artist finding echoes and correspondences in what the other was making. The aim was not to produce a hybrid, but to create something that is informed by and mindful of the other's practice. There is a close, respectful regard between these bodies of work. To draw a musical analogy: it is not so much a case of composer and lyricist, more a couple of jazz musicians who have worked together for many years. They are alert to each other, recognise aspects of themselves in each other, and are tactful enough to allow each other breathing space: the best kind of collaboration.
Maria Simonds-Gooding is not a landscape painter in the obvious sense of the term. For one thing, she is not simply a painter. She is also a printmaker and a sculptor, and all these qualities come into play in what she does. For another thing, her work is more often than not defined by what is left out rather than by what is put in. Most of the conventional trappings of landscape are dispensed with, including the things that link it to leisure, amenity, and indulgence. She doesn't make images of pastoral idylls.
Cathal, a lyric poet, doesn't do idylls either. While much of his work is steeped in a sense of landscape, it is never sentimentalised. There is an abiding awareness of the precariousness and limitations of human tenure on the land, of the histories of human potential contained and perhaps unrealised in the traces that remain and fade. Yet for all the feelings unexpressed, the paths not taken, the promise of a nutritive sensuality is always there, reflected in the colours and textures of a familiar if sometimes unrecognised world. Cathal writes in long-hand, not mechanically on the depthless space of a computer screen, and there is a feeling that the physicality of the act is important, as definite and real as cutting into the soil, as the marks evoked in Maria's sculptural images.
Depending on your point of view, her works describe a world of frightening containment or extraordinary freedom. There is no question but that, for Cathal, an awareness of - or the rediscovery of - the underlying, elemental connection with the land and with the place is a liberating factor. Rather than being curtailed by a sense of the past, rather than, you might even say, rejecting that past on the basis of practical limitations that operated within it, his work offers a close re-reading of apparent harshness. It could be that here he picks up on and elaborates on the inherent sensuality of Maria's images……..
People surrender themselves reluctantly to the land and find reciprocation, find that they belong there. In a way that is the mystery at the heart of Maria's images: how we might after all be at home in a world that seems on the face of it malignly inhospitable, the staggering beauty of which could well pass us by. Because, after all, that beauty is not particularly for us in any comfortingly, providential, teleological sense. The drenched sheep huddled into a fold in the hill-side against the wind and the rain stand in for us. We may pity them but, as Maria and Cathal alike gently remind us, they reflect our own condition.
Taken from an essay by Aidan Dunne
Sean-nós Nua September 2006 - July 2007
Ceardlann na Rogarí September 2007 – July 2008
Background
Ceardlann na gCroisbhealach with support from Lillis Ó’Laoire embarked on a creative outreach project during 2006/07 with all 13 students that were attending the secondary school, Pobail Scoil Colmcille, Tory Island. Obviously, accessing any such opportunities is very limited for these students due to their geographical location. ‘Pushing the creative boundaries’ and ‘initiating innovation’ has become the trade mark of the Ceardlann’s work in this arena and Sean-nós Nua was yet another of these productions. The project Sean-nós Nua focused on contemporising established Sean-nós traditions using creative technology. However, the Ceardlann took great care to ensure that the island ‘way of life’, its traditions and art forms were not adversely affected as a result of our engagement.
Ethos behind Sean-nós Nua Project
The island has a rich reservoir of folklore and a distinctive, indeed unique, proud cultural heritage. Ceardlann na gCroisbhealach devised a project that would tap into and explore, in a contemporary way, the particularly rich cultural vein that is Sean-nós.
The traditional musical form, Sean-nós which means ‘Old way’, has particular expressions that are unique to certain areas throughout Ireland, such as Connemara, Tory etc. The chain of transmission or ‘learning’ this art is of particular significance; it is literally passed on by children observing old performers – a ‘listening on the knee’. The setting, the audience and the ’moment’ are also key elements. It is a finely tuned and delicate cultural jewel. This fascinating art form still exists on Tory and performances can be savoured at its annual Sean-nós festival.
Multi-disciplinary Working, Painting and Music
Strand 1 of the project began in September 2006 with the Ceardlann presenting art workshops to all 13 students in their school which explored basic art theory. Trips to the Irish Museum of Modern Art and the Hugh Lane Gallery, Dublin, were included in this section. The aims were to introduce the students to contemporary art and contemporary art practices, broaden their experience of creative expression and to begin developing each student’s own visual expression. Examples of this work were exhibited during the Sean-nós Nua Festival on Tory.
Strand 2 began after Xmas with a tour of the facilities at the Nerve Centre, Derry and a presentation of examples of work they have developed with other communities. A team of tutors from the Nerve Centre with skills in a range of creative technologies provided training to the young islanders in the techniques of sound recording and digital film-making. The students learned skills in sophisticated multimedia software such as ‘garageband’ and ‘protools’ and then went about sourcing and recording examples of Tory Sean-nós from members of their community. They then fed these recordings into their Applemacs and mixed and re-configured them into a form that appealed to them. Hence, Sean-nós Nua - ‘The old way new’.
Sean-nós Nua Festival 13th – 15th July 2007
Over the years many visiting artists, anthropologists, ethnologists, musicians, botanists, folklorists and generally people interested in Tory’s culture uniqueness have ‘observed’, ‘discussed’, ‘written’, ‘exhibited’ their take on Tory and the Ceardlann earnestly wished to avoid this methodology. To encourage the students in their endeavours the Ceardlann devised a week-end festival to celebrate their project, and so the ‘Sean-nós Nua’ Festival was coordinated, delivered and promoted as part of the annual Earagail Arts Festival.
The students publicly present their very own CD titled ‘Buille Bhalor’ (Balor’s Thump or Balor’s Beat) on the opening night. Further more we screened a DVD that documented the history of Tory Sean-nós and the project process which was scripted and narrated by Lillis Ó’Laoire and produced by The Nerve Centre. Both these products are available for you to view. All the main events included in the festival programme were generated by the islanders themselves, apart from Liam O’Maonlaí and the Scottish band ‘Face the West’ who have been invited as a supportive gesture. The aim was to highlight Tory islands own creative expression. To the Ceardlann this is a most important ethos, that this festival and these events are not transplant items from the mainland simply located on Tory, they are of and by the islanders themselves. The festival was such a success and a great hit amongst the Islanders that an Island festival team was established supported by the Ceardlann. This year the new annual ‘Féile Soilsí Thoraí’ was born and again promoted as part of the Earagail Arts Festival.
The Present
Ceardlann na gCroisbhealach has continued its outreach engagement on Tory Island and in September 2007 began a new project with young unemployed Islanders. This project focused on creative technology training, again with the support of the Nerve Centre Derry. Over the academic year participants learnt animation skills, computer skills, music technology, graphic design, website design and visual and audio recording skills. As a result of this training the young Islanders were able to formally open ‘Ceardlann na Rogaraí’ (The Rogues Workshop) which is a fully functioning animation suite as well as screening their first animation film at the ‘Féile Soilsí Thoraí’. An Island ‘Archive’ and website were also launched. This Ceardlann outreach activity is ongoing with the further aim of establishing creative cultural industry owned and run by the Islanders.