'...the lives we live' 2015 - 2020

More documents

Recommendations

Info

‘…the lives we live’Grangegorman PublicArt 2013–2021Prof Ciarán BensonChair, Public Art Working GroupIn my experience, a beckoning image is a welcome guide when settingout on a new venture. And so it was when I was asked to help form and chair the PublicArt Working Group (PAWG) for the Grangegorman Development Agency in late2013. This invitation coincided with the, then recent, publication of Derek Mahon’sNew Collected Poems in 2011. I was particularly taken with his very last poem, thereflectively expansive Dreams of a Summer Night 1 which ends, in an air of perhapssurprised gratitude, with the words ‘…the lives we live’. This summative phrase seemedjust right for the task ahead. So many lives, so many kinds of life, so much sadnessand, latterly, such hope and renewal have marked the district of Grangegorman thathere was a particularly fertile ground for artistic imaginations.Bradóg Regional Youth Service perform Pauline Brennan’s ‘You Out There Change It’in multiple languages, Culture Night 2015. Photo: Lori Keeve
‘…THE LIVES WE LIVE’ GRANGEGORMAN PUBLIC ART12–13As we began to unroll ‘…the lives we live’ project I was again looking for animage of what it was we wanted to do. A young Albanian boy supplied it, though inadvertently.At our public launch, Bradóg Youth Service performed. Pauline Brennan hadwritten a poem about addiction, You Out There Change It. Nine young ‘new’ Irish, eachwith their own native language, stood in a line and together simultaneously recited thepoem, but each in their own native language. As one young Albanian man finished helooked alarmed as each of the others continued speaking. Why? He, not unreasonably,shared a belief that each language will say the same thing in the same duration of time.His language, however, and to his own surprise, stopped earlier than the others and hewas visibly left with nothing more to say. He had noticed something highly significantfor the first time. If there can be large differences in ways of saying the same thing,what rich differences might we expect in ways of speaking differently of similar things?There is so much to say, and so many ways to say it, in the lives we live.In a major urban development on an historic site, such as the GrangegormanDevelopment, there is indeed much to say. ‘…the lives we live’ has been aboutenabling genuinely important things to be said and shown. The challenge has beento enable that saying and showing, performing and imaging, engaging and reflecting,without being unduly prescriptive. This meant constructing partnerships betweenthose who could authentically speak of lives led in the vicinity of Grangegorman andartists of various kinds who could shape what might be said, or remembered, intocompelling and original expressions. In brief, this meant enabling artists and localcitizens to animate the experiences of those who live, and once lived, in the vicinityof Grangegorman.In a sense, ‘…the lives we live’ has been a natural experiment in two parts.The first concerned particular local community aspirations and preoccupations. Thesecond forged larger-scale, artist-led engagements with specific sites within theoverall campus design. So far Public Art Working Group (PAWG) has commissionedfour major site-specific art works. From its strategic position, Garrett Phelan’s joyful,fully-functional THE GOLDEN BANDSTAND – Sculpture will serve the whole campus.Alexandra Carr’s richly complex Solaris Nexum will grace TU Dublin’s new CentralQuad with its celebratory explorations of science, sun and light. Walker and Walkers’Endless Play will enhance the public spaces of the West Quad. For the HSE ResidentialCare Neighbourhood, Fergus Martin The Blue of the Sky, The Green of the Grass, TheRed of a Rose is working to enliven the experience of those coming to live in theseinterconnected homes by making richly colourful works, with blues, greens and redsreferencing sky, grass and roses. This will complement the already completed worksby Oisín Byrne Long Live The Weeds and The Wilderness Yet and Joy Gerrard Dusk/Dawn in the HSE’s Phoenix Care Centre.PAWG has also funded 27 community projects. The aim in this latterstrand has been to explore themes of local interest that arise in dialogue with theartists who responded to, and engaged with, our various calls. Consistent themesemerged, symptomatic perhaps of the early communal dynamics which can arisewhen transforming an historic urban setting like Grangegorman – with its own darkhistories – into a vibrant, optimistic new urban quarter.The works and events that emerged from this strand of PAWG’s workharmonised well with the injunction of the Finnish-American architect, Eliel Saarinen,who, in 1950, advised:‘Always design a thing by considering it inits next larger context – a chair in a room, room in ahouse, a house in an environment, an environment ina city plan.’ 2
Page 1 and 2: ‘…the lives we live’ Grangego
Page 4 and 5: Grangegorman site, c.1940s, courtes
Page 7 and 8: The Grangegorman Development Agency
Page 9 and 10: Contents10A note to the readerJenny
Page 11 and 12: 142Home on the GrangeEmmett Scanlon
Page 13: A NOTE TO THE READER 10-11tions are
Page 17 and 18: ‘…THE LIVES WE LIVE’ GRANGEGO
Page 19 and 20: 16-17Making it:Cities UnderCo-Const
Page 21 and 22: MAKING IT: CITIES UNDER CO- CONSTRU
Page 23 and 24: MAKING IT: CITIES UNDER CO-CONSTRUC
Page 25 and 26: SOME NEW LIFE FOR THIS OLD TOWN 22-
Page 27 and 28: A MASTERPLAN FOR THE 21ST CENTURY 2
Page 29 and 30: CARING AT GRANGEGORMAN: PAST, PRESE
Page 31: CARING AT GRANGEGORMAN: PAST, PRESE
Page 34 and 35: The conscious refusal to uncover th
Page 36 and 37: Justine McDonnell, Breaking The Rul
Page 38 and 39: In the 21st century,what does it ta
Page 40 and 41: brought together in an integrated a
Page 43 and 44: 40-41ThePossibility ofan ArchiveAla
Page 45 and 46: THE POSSIBILITY OF AN ARCHIVE 42-43
Page 47: THE POSSIBILITY OF AN ARCHIVE 44-45
Page 52 and 53: Production in collaborationwith Kev
Page 54 and 55: A rendering of Solaris Nexum as see
Page 56 and 57: Heat in the void. Vulcan’s golden
Page 58 and 59: intelligently live in harmonywith i
Page 60 and 61: Walker & Walker, Endless Play, 2020
Page 62 and 63: Édouard Manet, Music in the Tuiler
Page 64 and 65:
Artist support: CConsultEngineering
Page 66 and 67:
Fergus Martin, Sky, 2016, acrylic o
Page 68 and 69:
The new HSE Residential Care Neighb
Page 70 and 71:
Colour studies notebooks for painti
Page 72 and 73:
Joy Gerrard, Dusk/Dawn, 2014, handb
Page 74 and 75:
Joy GerrardDusk/DawnThe primary aim
Page 76 and 77:
Oisín ByrneLong live the weeds and
Page 78 and 79:
The Life of Loans:On the Politics o
Page 80 and 81:
The Primary Care CentreTo coincide
Page 82 and 83:
Mary Burke, Equilibrium, 2003, oil
Page 84 and 85:
Julie Merriman CompilerVIII, 2016,
Page 87 and 88:
84-85StoriesBetween Us -‘Fill the
Page 89 and 90:
STORIES BETWEEN US 86-87O’Loughli
Page 91 and 92:
STORIES BETWEEN US 88-89long-term p
Page 93 and 94:
TU DUBLIN SCHOOL OF CREATIVE ARTS 9
Page 95:
Kevin Smith, Love in TechnicolourTU
Page 98 and 99:
An exhibition of refugee artists wo
Page 100 and 101:
Hichem, Blindfolded, 2019, oil on c
Page 102 and 103:
Trish McAdam, 2020, Asylum Woman’
Page 104 and 105:
I watched seagulls for hours; natur
Page 106 and 107:
International Film Festivalin the L
Page 108 and 109:
I See Birds Flying Over the White H
Page 110 and 111:
Reading, Writing, PerformanceThe Ae
Page 112 and 113:
Crocosmia × croscosmiiflora corm f
Page 114 and 115:
Senior Infants, D7 Educate Together
Page 116 and 117:
project with individualsseeking asy
Page 118 and 119:
GrangegormanLuke McManusLocal resid
Page 120 and 121:
But even now, it seems strange that
Page 123 and 124:
120-121What DoesHe Need?To Be Frank
Page 125 and 126:
WHAT DOES HE NEED? 122-123specific
Page 127 and 128:
WHAT DOES HE NEED? 124-125explore h
Page 129 and 130:
126-127Wear a Bonnet- Living ArtIns
Page 131 and 132:
WEAR A BONNET - LIVING ART INSTALLA
Page 133 and 134:
130-131RobertIncarcerationAltarsBer
Page 135 and 136:
INCARCERATION ALTARS 132-133PaulCon
Page 137 and 138:
INCARCERATION ALTARS 134-135Exhibit
Page 139 and 140:
136-137TheMasterplanJennie GuyJohn
Page 141 and 142:
THE MASTERPLAN 138-139Students, sch
Page 143 and 144:
THE MASTERPLAN 140-141She writes sc
Page 145 and 146:
142-143House Visit 4Home OnThe Gran
Page 147 and 148:
HOME ON THE GRANGE 144-145ContextHo
Page 149 and 150:
HOME ON THE GRANGE 146-147relations
Page 151 and 152:
148-149GrownHomeClare Anne O’Keef
Page 153 and 154:
GROWN HOME 150-151Make a Salad#ston
Page 155:
GROWN HOME 152-153BiographiesClare
Page 158 and 159:
A Green Prescription for North Cent
Page 160 and 161:
Bí Urban Bee Stewardship Workshop
Page 162 and 163:
A full house for the one-off cabare
Page 164 and 165:
Over the course of last year, 2016,
Page 166 and 167:
Australia, the USA, Europeand China
Page 168 and 169:
Courageous Women, a film that reima
Page 170 and 171:
City of Dublin WinterSolstice Festi
Page 172 and 173:
A Creative Celebrationof the Centen
Page 174 and 175:
Breaking Downthe WallsThis project
Page 176 and 177:
Goldenbridge Day Nursery, St. Vince
Page 178 and 179:
BiographiesMaree Hensey is a visual
Page 180 and 181:
TU Dublin BA (Hons) Early Childhood
Page 183 and 184:
180-181The GlassGardenBrianCreganPh
Page 185 and 186:
THE GLASS GARDEN 182-183Some of the
Page 187 and 188:
THE GLASS GARDEN 184-185a youth cen
Page 189 and 190:
186-187One HourArchiveLouisHaughPat
Page 191 and 192:
ONE HOUR ARCHIVE 188-189Marie, knit
Page 193 and 194:
ONE HOUR ARCHIVE 190-191
Page 195 and 196:
192-193GrangegormanDrawingsDorothyS
Page 197 and 198:
GRANGEGORMAN DRAWINGS 194-195Contex
Page 199 and 200:
Dorothy Smith, Underneath, 2020, 56
Page 201 and 202:
DRAWN TOGETHER 198-199plattenbaustu
Page 203 and 204:
INDEX 200-201Mok, Judith 160-163Moy
Page 205 and 206:
ACKNOWLEDGEMENTS 202-203Selection P
Page 207 and 208:
CROCOSMIA × CLODAGH EMOE 2-3
show all

'...the lives we live' 2015 - 2020

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?