Homeland 2022 Master (AW2)

Homeland 2022
‘Through Light and Shade’
Black Mill, Damer House Gallery,
Damer House Gallery and Castle,
Castle Street, Roscrea, Co. Tipperary.
23/09/2022 to 04/10/2022
www.damerhousegallery.com
Facebook Damer House Gallery
Therry Rudin, Silverbarn,
Ballybritt, Roscrea, E53XW71.
Email: homeland.projection@gmail.com
Barcelona Loop Festival, City Screening
Alalimón Galerie, Mèxic 19, Local Z 08004 Barcelona.
10/11/2022 to 21/12/2022
www.alalimon.org
The Source Arts Centre, Cathedral St,
Townparks, Thurles, Co. Tipperary, E41 A4E8.
March 2023
www.thesourceartscentre.ie

Homeland 2022, ‘Through Light and Shade’
Black Mill, Damer House Gallery, Damer House Gallery
and Castle, Castle Street, Roscrea, Co. Tipperary.
23/09/2022 to 04/10/2022
www.damerhousegallery.com
Facebook Damer House Gallery
Therry Rudin, Silverbarn, Ballybritt, Roscrea, E53XW71.
Email: homeland.projection@gmail.com
Barcelona Loop Festival, City Screening, Alalimón Galerie,
Mèxic 19, Local Z 08004 Barcelona.
10/11/2022 to 21/12/2022
www.alalimon.org
The Source Arts Centre, Cathedral St,
Townparks, Thurles, Co. Tipperary, E41 A4E8.
March 2023
www.thesourceartscentre.ie
Artists participation
Irish selected Artists:
Sarah Edmondson, Eduard Fulop, Stephen Gunning, Niamh McGuinne,
Mark Kent, Thaís Muniz, Patricia Hurl/Therry Rudin.
Selected Barcelona Loop 2021 Artists:
Claudio Correa, Francesca Llopis, Elisabet Mabres, Ramon Villegas.
The Irish and Barcelona Loop selected Artist, is curated by Therry Rudin,
pre-selected by Patricia Hurl, Kate Walsh and Jennie Doherty. Final
selection Àngels Garcia, Natalia Foguet independent curator Barcelona and
Rebeca Mendez, Co-Director Alalimón Galeria with Lindsay J Sedgwick,
award winning screen writer/writer and illustrator Dublin, in collaboration
with Loop Festival Barcelona 2022 and Damer House gallery Roscrea,
Co Tipperary.

Homeland 2022
‘Through Light and Shade’
‘Homeland’ takes place every year in Damer House Gallery. This Year’s Homeland
screening is taking place in the beautiful historical building Black Mill, in Roscrea Town
whilst Damer House is being renovated.
The Homeland video selection in Silverbarn Studios, Co. Tipperary in collaboration with
Damer House Gallery, is dedicated exclusively to video art and film. This is the first time
we are celebrating the premier of ‘Through Light and Shade’ Homeland 2022 with Ireland’s
Culture Night ’22.
Mission Statement
The Homeland film/video selection is dedicated exclusively to video art and film.
This annual event aims with to bring together professionals in all fields in the sector,
filmmakers, performance art, writers, directors and producers within a space within
international association. Homeland has become a national benchmark event, an
active platform for the diffusion, creation and management of video art for fans and
professionals.
We continue this year Homeland City Screening with Alalimón Galería Barcelona,
and thankful, the directors of the Alalimón Gallery, Isabel Lázaro/Rebeca Méndez for
facilitating the program Homeland. We further establish our relationship with the
Alalimón Galeria.
We are thanking Brendan Maher for his participation to the present the Homeland
Screening 2022 ‘Through Light and Shade’ in March 2023 in the Source Arts Centre,
Thurles.
This year selected artists are Claudio Correa, Francesca Llopis, Elisabet Mabres,
Ramon Villega, Sarah Edmondson, Eduard Fulop, Stephen Gunning, Niamh McGuinne,
Mark Kent, Thaís Muniz, Patricia Hurl/Therry Rudin.
Curator/Artist
Therry Rudin
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Damer House Gallery
and Homeland
Video art is something which has been neglected in Ireland until recent years. This is
somewhat surprising, given Ireland’s international reputation in film and animation.
Video art however has not been a major feature of the Irish arts scene, particularly outside
the main cities and with some exceptions, has largely been regarded as a niche area.
Homeland has played a significant role in changing this. Since its inception in 2013, the
annual exhibition has showcased in Ireland at Damer House Gallery, in Roscrea,
Co. Tipperary. Established by artists Therry Rudin and Patricia Hurl, Homeland is devoted
exclusively to video art and film. Damer House Gallery has also been instrumental in
providing a dedicated venue to exhibit artists working in this field and submissions to the
open call has been increasing year on year.
Each year Homeland provides a theme for the open call. In previous years, themes have
included ‘Dog Days’ (2021), ‘Borderline’ (2020), ‘On Changing your Mind’, (2019) ‘Of
Memory’ (2018), ‘Blackbird Singing in the Dead of Night’ (2017), and this year’s theme
‘Through Light and Shade’. This gives enormous scope to submitting artists. Such a format
is very suited to video art, where a discernible narrative is not important and adherence to
the normal conventions of cinematic entertainment is not necessary.
Now a national benchmark event, Homeland provides a platform for the creation and
diffusion of the genre in Ireland. The exhibition provides an opportunity for established
and emerging artists to show their work in Ireland and since 2013 internationally, when
Homeland began a collaboration with the LOOP video and film festival in Barcelona.
This is something which continues to the present day. Following the launch in Damer
House Gallery, the exhibition goes to Barcelona each November as part of this important
international festival, bringing the work of the artists involved to a wider audience.
While Therry Rudin and Patricia Hurl who founded Damer House Gallery have stepped
down as directors of the board to concentrate on their own practice, the collaboration
between the gallery and Homeland continues and will remain a significant aspect of the
annual calendar. Future plans include seminars/workshops associated with Homeland and
we also intend to bring the exhibition to other galleries in Ireland in association with Damer
House Gallery.
Kate Walsh
Board Director
Damer House Gallery
August 2022
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Homeland 2022
An introduction
For the past nine years, Homelands has lived up to its name and its remit, welcoming
original film and video artworks from all over the world, each of them exploring the nature
of home and community, what it means to have or not have a home ‘land’ but also what it
means to be human.
This year artists also had the theme of ‘Through Light and Shade’ to respond to – and
what a wealth of projects, of issues and ideas, styles and voices came forth! Judging any
creative competition is tricky – and so we are given criteria with which we are bound to
assess the final shortlist to make it as transparent and fair a process as possible. They are:
artistic quality, overall impact/script, directing, cinematography, original sound
and editing.
The isolation wrought by the pandemic was visible in many of the entries, achieved
through highly original computer-realised imagery, distorted, layered, glaring and
interwoven as well as live performance and sometimes a stylized mix of the two.
To give you a flavour of what Homeland 2022 has to offer:
In live action we had absurdism meets metaphor in the emotional slow release from hope
and courage to despair, resignation, acceptance perhaps, as a woman bales out a boat in a
field from Ellen Rose. At the other end, we had a mind, even a life unravelling from Therry
Rudin and Patricia Hurl, in a room with a table filled with blue glass, and Thaís Muniz
evocative performer-led exploration of what it means to be an immigrant in Ireland.
Then we had the sumptuous underwater fable from Rayleen Clancy, the bone-bare shadow
play from Mark Kent and the layered interplay of images suggesting both community and
isolation from Eduard Fulop. We had puppets and ponds, snails and psychedelic, speed
and stillness – every piece seeking to stimulate and awaken the senses. Because life, after
all, is often interesting, sometimes difficult and occasionally strange – especially when
viewed ‘Through Light and Shade’.
Lindsay J Sedgwick
24th August, 2022
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Sarah Edmondson – Visual
Kieran Sheridan – Audio
Title of Film: An Balún Bán
Length and Year: 3’42” (2020-23)
Artist Statement, Project
An Balún Bán is an homage to the 1950s fantasy short film Le Balloon Rouge. It is a
celebration of the creative collaborations, conversations and sense of community between
artists and within art spaces in Dublin. It highlights the importance of these working
relationships and friendships. The backdrop is Dublin’s north inner city, a quickly changing
landscape in which artists lose their place as it becomes gentrified. The characters move in
and out of shadows, interact with buildings and architectural features and pass back and
forth balloons in a cyborgesque fashion, conscious of their impending doom.
The visual artist includes symbols and iconography from the ongoing themes she explores
in her practice including her concerns about the commercialisation of the space race and
the pursuit of knowledge as a decoy for colonisation. The audio for An Balún Bán, designed
by Kieran Sheridan, blends field recordings, synthesisers, textural audio processing and
recurring rhythmical themes displaced throughout, each idea/theme influencing the
next. All in the impulse reaction to the visuals created by Sarah Edmondson. This film was
created with the support of The Darkroom, Dublin.
Credits
Director and Editor – Sarah Edmondson, Sound Designer/Composer – Kieran Sheridan
Performer – Chloe Brenan, Technical Support – Mella Travers, Founder/CEO/Art Director,
The Darkroom.
About the artist
Sarah Edmondson is a research-based, multi-disciplinary artist working in Dublin. Her work
is informed by her dual role as an artist and art educator in society. She is, thus, interested
in the evolution of knowledge and the impact photography and cinema have on our
understanding of the universe. Her practice is founded in the new media and disciplines of
the Fluxus artists and inspired by contemporary artists such as Hito Steyerl and Natascha
Sadr Haghighian. Recent exhibitions include Gormworm, Tapir Gallery, Berlin and [Hu]
Manned Mission, Lumen Crypt, London.
Kieran Sheridan is a sound designer/composer/audio-visual artist/photographer based in
Dublin. He is also one half of the music video series Chromatic. A multi-instrumentalist
and quite visually driven too, he pulls inspiration from the musicality in all sounds in the
world around him. Under the moniker Pink Letter, Sheridan released the immersive audiovisual
piece Movements. His photographic work was recently published in the photo book
series Monømania #5 in Japan and selected by The Darkroom for the upcoming Change
exhibition/book curated by Mella Travers.
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Eduard Fulop
Title of Film: Gray Area
Length and Year: 3’09” (2018-2022)
Artist Statement, Project
Grey Area is my mental play ground.
Everything comes together in the conceptual borders of the Grey Area animation. It is
the birthplace of innovation and imagination in our minds. It is the space between the
conscious and the unconscious mind. In this case, new perceived information and old
memories work in tandem, are compared, analysed, and brought together, creating a
temporary, one-of-a-kind surrealistic world, before they settle into the prism of rationality
and logic and are given meaning, making sense of the surrounding stimuli that activated
the process from the beginning. The animation takes us through several micro stages of
the thinking process, from processing information, categorising it, selecting it, taking it
through emotional filters, memorising or omitting some of the contextual information,
or simply being detoured by another external or internal stimulus, completely changing
the inner mental scenery. Thus influencing the outer one. All these things happen
almost instantly, which is absolutely impressive. In both cases we will find informational
syncope. Both are influenced by apperception and the dynamic of the communication,
social, emotional stage of the individual. Simply added and understood that we take
what we want and like, and we remember what we can(‘t). The [can(‘t)] will stand for
erroneous information, its not that we are willingly lying, it’s just a process. I described this
phenomenon as “a palimpsest phenomenon” overlapping, over imposing new information
on to old one. Thus said, creating a collage, illogical for these short moments, but which
work out as connectors for a complex scheme.
Credits
Eduard Fulop
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Stephen Gunning
Title of Film: In Shadows
Length and Year: Duration 6’20” (2016)
Artist Statement, Project
A photographic, sound exploration, filmed in Essaouira, Morocco during the Gnaoua
Music Festival.
The photos are set to a soundtrack, constructed from field recordings in form the
surrounding area.
The film employs a long take using a fixed high-angle camera, records the movement of
shoppers; they pass through a time-lapse, slow fades to emerge and disappear as mere
shadows.
When stallholders light their lamps, a bright yellow glow suffuses the whole picture.
Creating an atmosphere that captures changes in natural light and subtle shifts in
movement. Stark light and deep shadow are visual strategies I explore to describe the
transition from day to dusk.
About the artist
Stephen Gunning is a Dublin based audio visual artist. A large proportion of his work has
dealt with the changing rhythms of cities and the human interactions within, which are
recurring themes in his video work.
In the past, he has created audio-visual installations in unusual places that tend to resonate
on a social and a psychological level. Certain works have employed the language of
documentary filmmaking but within that he has tried to take a highly visual and poetic
approach.
He continues to explore new work through international residencies.
Some selected exhibitions include:
Optica, Festival Audiovisuel de Paris www.opticafestival.com.
Rencontres Internationales, Paris/Berlin.
Tulca Galway and EV+A Limerick City Gallery.
Mothers Tankstation, Dublin.
The Lab, Dublin and Context Gallery, Derry.
Upcoming projects include: ZKU Center for Art and Urbanistics, Berlin.
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Niamh McGuinne
Title of Film: Secretion
Length and Year: 3’58” digital transfer to 16mm film (2021)
Artist Statement, Project
Positing a moment of flux where identity and form can undergo a shift is the theme of
this short film, incorporating sculptural installation, wearables and performance. The film
alludes to an engineered environment in which the subject undergoes a physical and/or
imaginative metamorphosis.
Inspired by the self-healing capability of snails and their hermaphroditic character the
protagonist collects their mucus to fashion a cape. The much sought-after secretion is
highly prized for its restorative qualities enabling the snail to repair cracks in its fragile
armour and is increasingly being harvested to treat damaged human skin, membrane and
tissue. While faith is fundamental to protect its transformative power, the act of hand
sewing the protective shell is in itself a form of trial, a test of dedication. Considered abject
by some, a desire to become snail-like is to defy sexual categorisation and to acknowledge
the importance of self-determination.
While human to snail transferrals are the subject of fantasy, the energy required as catalyst
to make the leap is garnered from Wilhelm Reich’s experiments in the 1950s and the
enclosures reference his Orgone Accumulator. Playing with scale, the snails charge the
accumulator which transfers this biological energy to its occupant providing the potential
for an activated experience.
Credits
A film by Niamh McGuinne, additional audio by AceTone Studio.
About the artist
My practice in visual art combines print, sculpture and film. I create interactive
installations, inhabitable or often wearable, whose function is not initially clear. Within
this ambiguity there is a suggestion of refuge from the unknown and invisible overload
of the everyday world, where we are bombarded with signs, signals and information.
The embodiment of psychological experience and the nature of somatic response is an
underlying theme in my work, addressing issues concerning how the body absorbs, holds
and disguises illness. A background in fine art conservation also informs my approach
whereby mechanisms of deterioration acting on/in the artefact mirror this assimilated
trauma and notions of perfection intermingle with questions regarding deviance,
acceptance and distorted perception. In part influenced by the immersive nature of this
background, I present an invitation to participate – either physically or imaginatively.
Niamh McGuinne lives and works in Dublin. She graduated from NCAD with an MFA in
Fine Art, 2020.
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Mark Kent
Title of Film: cold room
Length and Year: 6’23” (2022)
Artist Statement, Project
The film takes place in a digitally constructed world using objects that have been scanned
and then manipulated to match the contents of the home of a 100-year- old man after his
home was opened up 20-years after his passing.
This becomes a stage set, an everyplace for our exploration of the past playing itself
out and a chance to encounter old ghosts. There is only an index of voids remaining
either manifest as unintended documents or false narratives. I try to force the ghost of
these places out to set up a possible encounter between these worlds, a stage for these
encounters of remembering and unbodied experience to play out.
These attempts at generating encounter is repeated over and over again; sometimes as
alternate versions, a mirror world in which to look and look again, to be certain to look
around and see the thing unknown.
This film is from a series of historical reconstructions of my home town between the end of
the famine and the start of the civil war.
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Thaís Muniz
Title of Film: Darling, Don’t Turn Your Back On Me
Length and Year: 7’49” (2021)
Artist Statement, Project
I am an interdisciplinary artist and designer interested in the Afro-diasporic connections,
identity, belonging, migration and displacement. My art practices emerge from the need
to shatter the status quo when it comes to the representation of Black bodies, to empower
and rescue identities & histories, build bridges and open conversations. I use textiles,
storytelling, interactive performances, audio-visuals, workshops and urban interventions
to share narratives from an anti-colonial perspective – connecting people and uplifting
histories. A form of ‘Culture in Action’, the participatory element of my practice is key,
through intimate practices with public exchange.
Since 2012 I have pioneered research on turbans and headwraps in Afro-Atlantic culture
and its place in art, politics and aesthetics, by creating Turbante-se, a movement and
platform that follows the mystery and beauty of turbans and headwraps in the
Afro-Atlantic diaspora. The movement explores traditions, meanings and usage of
these wearables as a tool and a connecting object. I’ve been working to empower
Black communities from all over the world with an array of practices and actions.
I’m Dublin-based since 2014, and my aim is to engage in interaction and dialogue –
propelling progressive narratives with a clear focus on those ignored or misrepresented
by art.
Credits
Direction, concept, text, video-performance and installation RHA Gallery, Dublin, 2021.
Text with notes from: Lino Bento, Nikki Moore, Jean-Pierre Ntezilyayo.
Photograph Director and Editor: Cristiane Schmidt.
Voices: Lino Bento, Kevin Raheem, Ellen Ballard, Maholin Navarro, Nikki Moore,
Reeta Cherie, Larissa Nascimento, Cintia Augusta, Priscila Altivo, Jean-Pierre Ntezilyayo,
Maria Mirza, Tatiana Santos, Zaïre, Pontso Mabuza, Vitor Hugo Silvestre, Thaís Muniz.
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Patricia Hurl/Therry Rudin
Title of Film: the moon is set in motion and the golden plated stars appear
Length and Year: 7’58” (2022)
Artist Statement, Project
A film work that looks back on life, love and unfulfilled dreams. It is in many ways a
contemplation on the inevitability of dead.
The film received the Award ‘Best Creative’ Halicarnassus Film Festival, Bodrum, Turkey,
Session 22’.
Credits
Director/Cinematographic Therry Rudin, Performance Patricia Hurl.
We thank you Tyrone Guthrie Arts Centre for allowing to film at the Residence and for the
Arts Council Ireland, Agility Award.
About the Artist
Patricia Hurl & Therry Rudin’s work spans the disciplines of painting, multimedia and
collaborative art practice. They were both full members of Temple Bar Gallery and Studios
for a number of years and then moved to Silver Barn Studios, Co. Tipperary. Patricia Hurl
was a lecturer in Fine Art in DIT. Therry Rudin was a lecturer in Fine Art in IADT, Dún
Laoghaire. Patricia Hurl and Therry Rudin are in collaboration for the past thirty years.
In recent years their practice has developed into performance/Video.
Patricia Hurl and Therry Rudin started a non-profit Gallery in the Heritage Centre,
Roscrea, Co. Tipperary in 2013. They curated numerous artists with over eight years,
many from as far away as Australia, USA, Mexico, Barcelona, Holland. They ran Print and
Drawing workshops and also ran a very successful Active Retirement program. They also
collaborated with the local N.S. ‘Scoil Muire’ and developed Film/Video workshops. The
short Film/Video program ‘Homeland’ began in 2013. They were invited to collaborate with
the International Film Festival ‘LOOP” Barcelona. The Gallery is now run by the Board of
Directors.
Both are members of Na Cailleacha since 2019. Na Cailleacha is a collective of five visual
artists, one jazz musician and a curator/writer.
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Claudio Correa Vassallo
Title of Film: Disolvencia (Courtesy LAB36)
Length and Year: 2’49’’ (2021)
Artist Statement, Project
‘Disolvencia’, appeal with an ironic gesture to the relationship that is intertwined between
the sport ecstasy, the reduction of the celebrity to its idealized image and the criticism of
mass culture in our contemporary society. Effervescent tablets on which the faces of iconic
football characters have been engraved – legends such as Lionel Messi, Diego Armando
Maradona, Gerard Piqué or Cristiano Ronaldo – are dissolved in water and simulate the
sound emanating from the frenzy of the public who shouts in unison a goal or the victory
of their team to slowly melt into the whole.
These tablets are contrasted by a medal of the winged goddess of victory Nike that echoes
with the military decorations given during the Chilean dictatorship to civilians and military
with the legend of “Mission Accomplished” as recognition for performing “distinguished
services”. In this case, the medal rewards the athletes chosen for their ability to maintain
that idealized figure at every moment of their crusade in front of the acid gaze of the
scrupulous spectator.
Credits
Directed by Claudio Correa, Santiago, Chile, 2021.
About the artist
My work has been presented in renowned museums and galleries, mainly in Latin
America, Europe and the United States, such as, the VIII Havana Biennial, Cuba (2003);
Back Yard, Americas Society, NY (2003); Shanghai Biennial, N11 Project, China, (2004);
Resistance, Fall and Madness, ACC Galerie, Weimar, Germany (2006); Era07 REGIÓN:
Fricciones y Ficciones, Blanes Museum, Montevideo, Uruguay, curatorship by Gerardo
Mosquera (2007); Ni pena ni miedo, MEIAC Museo Extremeño e Iberoamericano de Arte
Contemporáneo, Badajoz, Spain (2011); De naturaleza violenta, FLORA ars+natura, Bogotá,
Colombia, curatorship by José Roca (2013); Otros relatos, Centro de Arte Contemporáneo
La Consevera, Ceutí, Spain, curatorship by Fernando Castro Flórez (2015); Bellos Jueves,
National Museum of Fine Arts, Buenos Aires, Argentina, (2015); and, Libertad, Igualdad,
Fatalidad, solo exhibition, National Museum of Fine Arts, Santiago, Chile (2016), among
others. In my career I have received the Fondart: National Fund of Culture and Arts,
Chilean Government (CL, 1998, 2000, 2002, 2006, 2013, 2015, 2016, 2018); the Flora
Ars Natura Residency (Co, 2013), Third Place at the Bienal de las Fronteras, Tamaulipas
(Mexico, 2015); The Pollock-Krasner Foundation Grant (NY, 2015); a solo exhibition at the
National Museum of Fine Arts in Santiago, Chile (CL, 2016) and an Artistic Residence in
Hangar and Fabra i Coats, Barcelona (ES, 2018-2021).
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Elisabet Mabres
Title of Film: See & to be seen
Length and Year: 9’ (2017)
Artist Statement, Project
A masked woman shows herself amid the density of the most populated part of Hong
Kong. She interacts with whoever dares to look at her. Some pretend not to see her, some
can sense her, someone gets scared or rejects her…The mask has become old, making it
seem less artificial.
Protected by facial latex, the woman exhibits herself. Both in the streets and indoors, both
day and night. The interference of meeting the ‘cage dwellers’ perturbs her to the point of
yielding to domination and captivity.
She manages to escape towards the new green territories of the unknown Hong Kong,
searching through traces of abandoned lives. It is now she who rummages with her eyes.
And the found objects, from ancestral China, reveal to her the need to carry other actions
in Shanghai.
Nothing ends, everything goes on…Elisabet Mabres.
Credits
Idea, Direction, Editing: Elisabet Mabres
Attendant: Ramon Antich
About the artist
Elisabet Mabres lives and works in Barcelona.
Graduated in Fine Arts, in the specialty of painting, she has freely experimented with all
graphic and three-dimensional resources, being in the installation and the sculpture where
she began to use the image and the text. With more than thirty years of international and
national exhibitions, it is in the last twelve years that Mabres has focused exclusively on
photography and video, transcending her plastic origins.
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Francesca Llopis
Title of Film: White Tears
Length and Year: 8’10” (2018)
Artist Statement, Project
The artist explores the house of La Ricarda (or Casa Gomis, designed by Antoni
Bonet Castellana) as a kind of contemporary ruin, an oasis of beauty and culture in an
environment devoured by the noise and pollution of the planes from the nearby airport.
In honour of its history as a refugee for avant-garde music in the 1960s and 70s, Llopis
celebrates a dance that is both exorcism and carnal union, featuring music by composer
Barbara Held. Between mystery and humour; dreams and melancholy, the artist explores,
with love, the walls, gardens, lattices and furniture of this fascinating work of architecture
and landscape. Something akin to nymphs, like shadows, seeds or rivers of ink, embrace
and merge with architecture; drawing it, tracing it, interpreting it. In this way, the house is
once again inhabited and reveals its quality as a poetic artifact, showing that nature and
artifice can coexist with meaning and joy.
Credits
Directing/Edit: Francesca Llopis, Sound: Barbara Held.
About the artist
Frascesca Llopis creative universe developed from the early 1980s through different techniques
and formats, from painting and design to installation, photography and video art. Born in
Barcelona where she lives. She enrolled at Escola Eina to study painting and the poetics of
space. 1981: 1st artist residency in Palatz Culturi in Warsaw where the foreseeable coup d’etat
transforms her pictorial world. This was the turning point where the “journey” became a
central element in her artistic process. 1988: residency in the Académia di Roma and l’Écolle
des Beaux Arts de Nimes. Arnau Puig defines her painting as “semanticized constructivism”.
1989: 6.8.89 Tiananment was 1rst intervention in the public space of Hospitalet in Barcelona,
where she dug a ditch as a tribute to the Chinese students, with the collaboration of sound
artist Barbara Held. 1999: Mal.laltes D’amor in Lübeck (Germany). 2002: 2 Habitacions Amb
Vistes, a social portrait of Barcelona. 2004: ETC, a reflection on the absence of women artists
in the history of art. 2015: Noseden Biennale, Japan, with the video installation Memòria Per
Un Iceberg as an archaeologist of the future and the installation Llibre De Llàgrimes (book
of tears). 2016: SakaiArtePorto, Japan, performance Traction Action. Llum! In the Montjuïc
Castle in Barcelona, Spain. 2018: Insektament Errants, gallery J. Naranjo. “Ajardina’t”, Picasso
Museum BIGDRAW and “Mediterranean Garden” (video monograph) at the Lumen gallery in
Kyoto. 2019: LLUMbarcelona festival, video installation “and you, what would you put under the
focus? 2020: Infiltrada at the Calders Bookshop, Barcelona and installs all his workbooks. 2021:
Dins Per Dins, MNAC (National Museum Catalan Art) she was part of ARTICS magazine and
between 1996-2020 she publishes the artist books Embolic Magnífic, Duc Una Ciutat Al Cap,
Duc Un Cuc Al Cap, Gotescauen, Secrets, Infiltrada, Etc.
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Ramon Villegas
Title of Film: Una dona jove (A young woman)
Length and Year: 10’ (2022)
Artist Statement, Project
Right at the beginning of a stage creation process, Júlia Guimerà (actress) loses her father.
Inevitably, this will influence the project that feeds on the autobiographical fact and where
the stage and audiovisual world will complement and feed back.
Off Mother: “Ordinary reality has become very intense. We are really in a moment of
transition: we are going to give rise to the birth of another film.”
Credits
Direction and editing: Ramon Villegas Guix
Actress: Júlia Guimerà Cestero
With the participation of:
Lourdes Cestero, Claudia Cavaller, Ferran Surriba, Daniel Mallorquín, M nica Campillo.
Theatrical play team
Costume design: Laura García
Lighting and space design: Xevi Oró
Video recording: Xef Vila
About the artist
Ramon Villegas is from Manlleu (Catalunya). He has trained in the field of performing arts
as an actor and creator, he has worked in different television, theater and cinematographic
projects and with his own creations as “MMM+KBFP” (winner of the Call for support for
the creation of the Festival Festus 2009) or “Hombre Bala Unplugged” (with the support of
the VIC project of the Theater Institute in 2014).
He has directed the play “WASABI” by Mar Serra and collaborated on projects with
the visual artist Nora Ancarola at La Capella (Barcelona) and at the Lo Pati Art Center
(Amposta).
His video piece “MORT (DEATH)” has been selected by different festivals.
Currently, he is presenting the double project (theatrical and cinematographic) “Una dona
jove (A young woman)”.
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Thanks to
Patricia Hurl, for her extraordinary encouragement to have Homeland selected and
screened, Directors of the Alalimón Gallery, Isabel Lázaro / Rebeca Méndez, and
Emilio Alvarez (Director of Loop Festival Barcelona), City Screening, Àngels Garcia &
Natalia Foguet independent curators for their commitment to select the Irish Homeland
projection for the last years, Laura Arensburg (City Screen 2022 Coordinator), for her
patience and support of Homeland. LAB 36 for allowing us to have the film ‘Disolvencia’,
Barbara Henkes, the yearly editing of Homeland, on all the proposed projections.
Brendan Maher - Artistic Director, The Source Arts Centre, in supporting the projection in
the Source Arts Centre next year 2023. Lindsay J Sedgwick for selecting Homeland and
the great essay in this year catalogue. The advisers board of Homeland, Kate Walsh and
Jennie Doherty and Patricia Hurl. The Board of Directors, Damer House Gallery
Mary Hoctor, Jock Nichol, Kate Walsh, Nathan Campion and Roberta Notto in continuing
endlessly to support the project. Also would like to thank the artists participating in
City Screen 2022, Loop Festival Barcelona and Alan Bennis, for his Design. This year
in particular we would like to thank Josephine Donnellan Permission Office OPW for
allowing to use the beautiful building Black Mill and Kevin Lyons (OPW) to add to the
successful screening of Homeland.
A very special thank you to Melanie Scott, Arts Office, County Tipperary.
Damer
House
Gallery
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