Create Collaborative Arts Networking Day 30 November, 2015

Speaker Biographies

Dave Beech is Professor of Art at Valand Academy, University of Gothenburg. He is an artist in the collective Freee (with Andy Hewitt and Mel Jordan), as well as a writer and curator. His work had been exhibited at the Istanbul Biennial and the Liverpool Biennial as well as BAK, Utrecht, Wysing Arts, Cambridge, SMART Project Space, Amsterdam, the ICA, London, Centro Cultural, Montehermoso, Vitoria, Spain, the Collective Gallery, Edinburgh, International Project Space, Birmingham, and 1000000mph Gallery, London. He is the author of Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics, Brill 2015. He has written widely on the politics of art, including The Philistine Controversy (Verso, 2002, co-authored with John Roberts) and Art and Text (Blackdog Books, 2011). He is a founding co-editor of the journal Art and the Public Sphere (Intellect Publishing, from 2011). He also curated the exhibition We Are Grammar at the Pratt Institute, New York 2011 (co-curator Paul O’Neill) and edited a special edition of Third Text ("Art, Politics, Resistance?", Vol 16, Issue 4, No 6).

Caroline Cowley is Fingal County Council’s Public Art Co-ordinator. Since her appointment in 2005, Caroline has commissioned a number of Public Art Projects featuring some of Irelands’ most prolific contemporary artists . In 2012 she co-programmed along with Valerie Connor the Fingal Section of the Commissions + Symposium, which included, profiles and site visits with the artists commissioned in Fingal and a line-up of international speakers, from TAAK, Amsterdam, Nouveau Commandataires, France, and consonni, Spain, the outcomes of which will be launched in a new Publication Local Authority on the conditions and practices of public art production in Europe.
She holds an BA in History of Art,from Trinity College Dublin,MA in Arts Management & Cultural Policy from University College Dublin and an MA in Visual Arts Practices from IADT. She is currently holds the position of chair on the Board of Pallas Studios/Projects.

Catriona Crowe is Head of Special Projects at the National Archives of Ireland and Manager of the Irish Census Online Project. A Chairperson of the SAOL Project rehabilitation initiative, of the Inner City Renewal Group and the Irish Theatre Institute, Catriona is also a member of the Royal Irish Academy. Alongside her contributions as Honorary President to the Irish Labour History Society, she is an editor of Documents on Irish Foreign Policy and the editor of Dublin 1911.

Martin Drury is Strategic Development Director of the Arts Council. Since 1979 he has worked in a wide variety of key positions in the arts. He has been variously Ireland’s first regional Arts Education Officer (Sligo / Leitrim); Artistic Director of TEAM theatre-in-education company; Education and Dance Officer of the Arts Council; author of The Dublin Arts Report; script editor for Druid Theatre; and Associate Director of the Abbey Theatre. He is perhaps best known as Founder of The Ark, A Cultural Centre for Children. He spent four years project-managing the creation of the award-winning building and a further five as its first director. As a theatre director, his CV includes more than twenty productions for the Abbey, Druid, Opera Theatre Company, Second Age, The Ark and TEAM. As an independent consultant, he has undertaken numerous research, advocacy, and strategic development contracts for a wide range of clients in the fields of culture, education, health and local government. He has published extensively in the fields of arts policy and arts education and has taught and lectured widely both at home and abroad. He is a former board member of EU NET ART and of the Ireland Funds, and a former Honorary Fellow of UCD’s Department of Psychology.

For the past three years he has led a range of policy and strategy processes in the Arts Council, including the establishment of the Strategic Development Department; the conducting of the Strategic Review (2014) including its report Inspiring Prospects; and the development of the ten-year Arts Council strategy Making Great Art Work (2015). He leaves the Arts Council at year end to pursue particular professional interests.

Patrick Fox is Director of Heart of Glass, a new arts commissioning organisation based in the Northwest of England with a focus on place, people and context specific commissioning. Since taking up this position less than 18 months ago, Patrick has worked with a wide range of local, national and international artists on ambitious and dynamic collaborative arts projects. The organisation is supported through Arts Council England's Creative People and Places initiative, a 35 million pound investment in the field of social practice. Patrick is the former executive Director of Create, Ireland’s national development agency for collaborative arts, and during his tenure was the architect of the Collaborative Arts Partnership Programme - a Creative Europe funded initiative investigating and experimenting within the field of collaborative arts. Patrick is interested in dialogical and open-ended approaches to the artistic process and growing international trends in this field. He is interested in expanding critical discourse and the infrastructures around collaborative arts, including the development of new models of arts education. He is also the former Head of Collaborations at FACT Liverpool (Foundation for Art and Creative Technology), leading the acclaimed tenantspin project as part of his portfolio. He holds a BSc in Multimedia and a Masters in Cultural Leadership, and is a Board member of Axisweb the UK’s contemporary art radar. He has commissioned leading contemporary artists internationally, and has initiated various International partnerships and networks exploring collaborative arts practice.

Professor T. Melih Görgün, born in 1962, lives and works in Istanbul and Sinop as an independent curator and artist, working on cultural studies, performances and city and art. He works as a curator on research based and participative references, and interdisciplinary projects. He is Professor at the Mimar Sinan University of Fine Arts in Istanbul. He is also the founder and Artistic Director of the International Sinop Biennial, Sinopale, founding member of European Cultural Association, and one of the founders of the art portal europist.net and Sinop Sustainable Development Association. He has been working as the co-curator of Siemens Art (Istanbul) since 2007, and was an Advisory Board Member of Istanbul 2010 European Capital of Culture. He is a coordinator of the international cooperation project “City and Art” which is realized with several art academies including art academies from Turkey and Europe.

Alistair Hudson was appointed as Director of Middlesbrough Institute of Contemporary Art in October 2014. For the last decade he was Deputy Director of Grizedale Arts in the Lake District, which gained critical acclaim for its radical approaches to working with artists and communities, based on the idea that art should be useful and not just an object of contemplation. Key projects in this time include Romantic Detachment, PS1/MoMA, New York; Happystacking, China, Instituto Mechanicos, Sao Paulo Bienal, the development of the Coniston Mechanics Institute, Cumbria and Confessions of the Imperfect: 1848 – 1989 – Now at the Van Abbe Museum, Eindhoven. He was educated at Goldsmiths’ College (1988 – 1991) and has previously worked at the Anthony d’Offay Gallery London (1994-2000) and The Government Art Collection (2000-04) where, as Projects Curator, he devised a public art strategy for the new Home Office building with Liam Gillick. He is co-director of the Asociación de Arte Útil with Tania Bruguera and a jury member for the 2015 Turner Prize

Matteo Lucchetti, born in 1984, lives and works in Brussels. He is an art historian, independ-ent curator, and critic. He holds an MA in Visual Arts and Curatorial Studies with a thesis enti-tled Enacting a Community, about the relationship between collaborative artistic practices and the idea of community. His main curatorial projects include: Don’t Embarrass the Bureau (Lund Konsthall, Lund, 2014); Enacting Populism in its Mediascape (AIR and Extra City, Ant-werpen, – Kadist Foundation, Paris, 2011-2012); Practicing Memory – in a time of an all-encompassing present (Cittadellarte – Fondazione Pistoletto, Biella, 2010). Matteo is curator, along with Judith Wielander, of the Visible Award. The Visible Award is the first European award for socially engaged artistic practices in a global context. Visible brings to light and gives strength to artistic actions which have a real capacity to experiment and produce vi-sions that can have impact on the social and cultural imagination of our contemporary world. A public jury format was trialled for the 2013 Award at the Van Abbemuseum in Eindhoven, and has been further developed to seek public engagement with the assessment of existing artistic projects that are operating at the crossroads of art and other fields of society, culminating in the 2015 Visible Award - Temporary Parliament at the grand Council Chamber of Liverpool Town Hall, hosted by Tate Liverpool. Matteo is also one of 36 curators judging the Visible Award which is in its third edition, and in 2015 takes a step further in its aim to research, support and offer a discursive and productive platform to innovative artistic projects that are able to become visible also in fields other than the artistic ones.

Laurie Peake is a curator specializing in the development of large-scale, long-term projects with artists in collaboration with communities and is currently Director of Super Slow Way, one of ACE’s Creative People and Places programmes. She came to Super Slow Way last year after working with Metabolic Studio on land and water use investigations in Los Angeles and the Intermountain West, helping deliver an ambitious project on the LA River. Whilst in Los Angeles, Laurie also led the first year MFA (Masters in Fine Art) in Public Practice at Otis College of Art and Design, a world-renowned post-graduate programme in socially engaged practice founded by artist Suzanne Lacy. From 2004 to November 2013, Laurie was Director of Projects and Programmes at Liverpool Biennial where she helped to establish strategic public/private partnerships to deliver temporary and permanent commissions with UK and international artists in public spaces across Merseyside. Projects such as Antony Gormley’s Another Place on Crosby Beach, Jaume Plensa’s Dream on the former Sutton Manor colliery in St Helens and Jeanne Van Heeswijk’s 2Up2Down were notable for the breadth and depth of their social engagement and transformative effects. She came to the Biennial from Alsop Architects where she worked on a host of regeneration projects across the North of England. In the 1980s Laurie was one of a small team that set up Tate Liverpool, often cited as the UK's first regeneration project to use culture as its driving force. She went on to manage a dynamic programme at Camden Arts Centre, London, much of which involved artists working in public spaces. Subsequently at Arts Council England, North West, she continued to maintain her focus on public programming and innovative engagement strategies. She holds a BA and MA in Art History from the Courtauld Institute of Art, London.

Benjamin Perchet joined Dublin Dance Festival in August 2015. He will lead the Festival as Director for the 2016, 2017, 2018 and 2019 editions. Prior to his appointment at DDF,, he was the Deputy Programme Manager and Artistic Advisor for two major French institutions in Lyon: Maison de la Danse (since 2004) and Biennale de la Danse (since 2008). In these roles he embraced dance in all its forms, being loyal to the most important choreographers of the 20th century and highlighting young creators, while developing the international profile of both institutions. He has been an Aerowaves Partner/Presenter since 2012 and a board member of European Dancehouse Network (EDN) since 2009.

Helen O Donoghue is Senior Curator and Head of Education & Community Programmes, Irish Museum of Modern Art, since 1991 where she leads a team to devise initiatives for both formal and informal learning engaging with all aspects of the museum: creating access to and engagement with art and artists through the Residency Programme, freelance Artists, with artists in the Collection on the National Programme and those exhibiting in temporary exhibitions at the Museum. Initially she graduated in Fine Art and subsequently was awarded a MLitt. from the Faculty of Education at the National College of Art and Design, Dublin. Curatorial projects include: Once is too Much 1994-2004 and E.gress 2015. Recent texts and publications include- Borderlines: David Jacques’ Garden text on artist’s residency in primary school: in 100 Flowers to Bloom: Fire Station Artists’ Studios, 2007; Chapter on -Visual Arts as a Resource to issues of Social Justice for Teachers Resource in collaboration with Amnesty International Ireland’s, Voice Our Concern programme, 2010; Art, Artists and the Public: pedagogical models for engagement with art and artists in a museum context in Art Education and Contemporary Culture, editor Gary Granville, Intellect 2012; Essay for catalogue to accompany the exhibition Invocation by artist Bernie Masterson exhibited in RUA RED in November 2014; two texts Education in the Visual Arts and Participatory Arts, Art and Architecture of Ireland/Volume V, RIA/Yale, 2014.

 

Tolka Nights Artists

Sven Anderson is an artist working between Ireland and the US since 2001. Anderson’s work explores the act of listening within diverse architectural, physical, social, and emotional contexts. His practice is a discursive platform that operates through artistic intervention, academic publication, participatory processes, and interactive design. His public art project MAP: Manual for Acoustic Planning and Urban Sound Design with Dublin City Council received the European Soundscape Award issued by the European Environmental Agency in 2014. Within this project he is completing two public sound installations – Glass House for Smithfield Plaza and Continuous Drift for Meeting House Square – in early 2015.

John D’Arcy is a composer based in Belfast at the Sonic Arts Research Centre. His work explores the relationship of voice, text and place – taking in a wide variety of formats including performance, installation, radio documentary and mobile apps. Recent projects include Belfast City Choir, an improvising singing ensemble open to vocalists of all abilities. John also works with young people, teaching audio recording and computer music to early-teens and undergraduate students. John has performed and exhibited work at Belfast Festival; International Samuel Beckett Festival, Enniskillen; and Sounds Alive Festival, Dublin; as well as broadcast on BBC Radio Ulster and London’s Resonance FM.

Matt Green is a lecturer, researcher and site-specific sound artist who holds a Phd in Sonic Arts. Matt’s previous practice includes Resounding Rivers (2010), which was commissioned by Belfast City Council and PLACE, Belfast and explored Belfast’s buried waterways via six concurrent sound installations housed externally throughout the city. In Hear, Out There: Madrid (2008) was a mobile sound work that addressed a culturally impoverished site in Madrid known as AZCA. For this work, Matt and his collaborators received a Spanish Ministry of Culture ‘Culturas 2008’ award. For each of Matt’s installations and mobile works, including those mentioned, the practices of soundscape composition and field recording, the aural equivalent of photography and documentary, have been of importance.

Jennie Guy is an artist and curator based in Dublin, Ireland. Her practice embraces visual, textual, performance, and event-based output, initiating both formal and informal collaborations and participative environments. These situations act as mirrors that destabilize the intent of both the creator and the observer, complicating notions of self, community, and the rituals surrounding artistic production, seeking new modes of observation and response. Recent projects include Before the Flood for Tolka Nights, two commissioned works for Tulca 2014 and Mobile Art School. She is currently evolving Art School, a project that focuses on exploring new modes of (art) education in collaboration with forward thinking schools, partners and with a range of exciting artists such as Rhona Byrne, Stephen Brandes, Elaine Leader, Sarah Pierce and many more.

Conan McIvor is a filmmaker and video artist, his diverse practice spans from experimental film and video art to ‘moving image’ design for installation, theatre and performance. Exhibition highlights include: ‘Royal Ulster Academy Annual Exhibition’ (Ulster Museum, 2014); Open University’s public art commission ‘Luminous, Curious, Journey’ (Belfast City Hall, 2013); ‘Denizen’ (Belfast Exposed, 2014) and ‘Arrivals’, (Ormeau Baths Gallery, 2010). Conan was awarded the Visual Artists Ireland & Digital Arts Studio Residency Award in 2013. Conan’s work concentrates on the metaphysics of the human condition exploring spirituality, relationships, the corporeal and the unfolding of consciousness with an ever-present undercurrent of the ethereal.

Stuart Sloan makes video art-inspired documentaries and documentary-inspired video art. Moving to the USA in 2010, Stuart edited and co-produced the PBS Alzheimer’s documentary You’re Looking At Me Like I Live Here and I Don’t and also edited Collapse, a fiction feature film concerning the San Francisco Ballet with Cannes and Sundance-winning Director Rob Nilsson. Stuart then edited All Ears, a documentary about instrumental hip-hop in Los Angeles, which premiered at SXSW in 2013. Now once more residing in Northern Ireland, he has recently completed Towers of Belfast, a personal documentary about his hometown, which premiered at the 2014 Belfast Film Festival. He is currently editing an experimental documentary about the river Foyle in Derry, as well as producing a video project on migrants in Belfast and running Second Chance Cinema.

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