Americana: Future Rural | The Dock

Images: 1: Farm (Pryor, Oklahoma) 2015. John Gerrard. 3D Simulation. 2Farm (Pryor Oklahoma) & Growth Finish Unit (near Arkansas) 2008. Installation view at Witte de With, Rotterdam. Images courtesy the artist & Thomas Dane Gallery, London. 3: The Black Hornet, 2014.M12 Studio. HD film.  4: Tumbleweed, 2015. Kim Shively. HD film. 5: The Last Day Diary, 2014. Brian Duggan. HD film.


 

Americana: Future Rural

Curated by Linda Shevlin

Preview: 6pm, 24th March

Continues until 30th April

The Dock, Carrick-on-Shannon, Co. Leitrim.

 

Presenting work by both Irish and American artists with publications by M12 Studios, USA.

Americana: Future Rural is an important exhibition which has been developed from time Linda has spent on residency with M12 Studio, Colorado (USA) and is driven by her interests in rural representation in international contexts. The subject of the exhibition comes from the increasing desire for an expanded view of land use and the commoditisation of rural space, the loss of wilderness and notions of displacement and replacement. The exhibition provides a perspective on the past, present and future manifestations of Rural.

Linda Shevlin’s long links to The Dock extend back to 2005-2008, when she was artist in residence. More recently Linda has been curator in residence with Roscommon Arts Centre/Roscommon Arts Office, supported by the Arts Council. Linda’s curatorial projects emphasise the idea that the visual is an assimilatory process continuously at work in the construction of cultural, political, personal, and national identities. Her interests are in histories, and their intersection with the present, and in how traditions in art can be revealed through research in archaeology, history, technology and ethnography.

 

Brian Duggan lives and works in Dublin. Usually working from extensive research the artist navigates unusual cracks and problems within particular structural frameworks, taking both personal testimony, throw away comments and official documents to build and explore overlooked situations.

The Last Day Diary, featuring John Hurt, is a film inspired by a specific historical relic from the Johnson County War in 1882 Wyoming; a hand written letter found on the body of Nathan D. Champion who was falsely accused by a wealthy Wyoming cattleman’s association he was the first person murdered by a band of hit men hired by the cattlemen. The film is a powerful but contemplative film which draws on the pressures between those with land and those without. The Last Day Diary expands on Duggan’s larger body of work which is influenced by themes in the film Heaven’s Gate (1980) a film based on A.S. Mercer’s 1894 book Banditti of the Plains. The book, which was banned in Wyoming due to political embarassment, is an eye-witness account of local small homesteader immigrant groups who were harrassed into abandoning their plots of land to earlier, polictically connected settlers having manipulated cattle grazing rights.

 

 

John Gerrard is an Irish artist, working in Dublin and Vienna, best known for digital simulations displayed using Real-time computer graphics. Many of Gerrard’s surreal works have featured geographically isolated industrial facilities that are a hidden part of the global production network, a by-product of consumption and data driven contemporary life. Indeed, Farm (Pryor Creek, Oklahoma), 2015 is a portrait within the virtual of a Google data center in Oklahoma.

After being denied access to Google’s data farm in Pryor Creek Oklahoma, Gerrard hired a helicopter to produce a detailed survey of this significant site, a pointed reminder that information and data is being farmed and this architectural form is a physical manifestation of modern society’s social and private information. At a time when crop prices continue to fall, squeezing smallholder farmers out of business, these data farms represent a potentiality around future land usage. Farm (Pryor Creek Oklahoma) is being presented along with Grow Finish Unit (near Elkhart, Kansas) where the similarities between the architectural space of the data farm bears a startling resemblance to the vernacular architecture of the livestock facilities in Gerrard’s earlier work.

John Gerrard is represented by the Thomas Dane Gallery, London.

 

Kim Shively is a filmmaker based in Denver, Colorado. Her work leans towards the strange, the haunting, the beautiful and the damned and is currently in the post-production stages of a documentary short about the 1961 film “The Misfits”.

Kim Shively will be presenting a film installation “Tumbleweed”. Over the last century, the tumbleweed has embodied the roaming frontier spirit of the American West, it has been romanticized and many times objectified, reinforcing our pastoral dreams of the country. But today an ecological war has ensued in the high plains region, a battle fought by farmers against a brazen and bold plant staking claim in fields across Colorado. Tumbleweed, a four part documentary film, explores the past and current day history of the Russian Thistle and Kochia plant—both, commonly known as tumbleweeds in their dried out form. These perennials are extremely adaptable and thrive in all weather conditions, making them indestructible and capable of choking out food systems across the United States. Filmed near Last Chance, Cheyenne Wells, and Burlington, Colorado, the series divides into four seasons exposing the tumbleweed life cycle in these rural locales. Shively, known for the idyllic and reticent qualities of her films looks through a bucolic lens, giving us a story of one dried up plant pushing its way through the rural landscape.

 

M12 Studio is known for groundbreaking and award-winning creative projects that explore the aesthetics of rural cultures and landscapes. M12 is an interdisciplinary group based in Colorado on the American High Plains that create context-based art works, research projects, and education programs. Working in the fields of art and design, they favour projects that are centered in rural areas and which can be developed through dialogical and collaborative approaches. Their projects explore community identity and the value of often under-represented rural communities and their surrounding landscapes.  They strive to be stewards of effective local and global creative problem solving, and a community resource for evolutionary thinking and innovative communication.

Links:

http://www.johngerrard.net/

http://www.brianduggan.net/bd/home.html

http://m12studio.org/

About

Info

Biography

Linda Shevlin is a visual artist and curator based in Co. Roscommon, Ireland. Her projects look at the complexities of modernity’s effects on land and the socio-cultural landscape of her environment. Her recent work has drawn attention to the role that certain historical/mythological tropes and characteristics have played in popular culture. Using exhibitions, film, and installations she creates situations that explore the borders of fact, fiction and reality.

She has been the recipient of the Arts Council of Ireland’s Visual Arts Curatorial Residency award for three consecutive years from 2013-2016.  In 2014 she produced a series of events and exhibitions in County Roscommon including a newly commissioned work by Sean Lynch; The Workers, a retrospective of the Art@Work project, featuring Michelle Browne, Gareth Kennedy and Elaine Reynolds and The Workers symposium with contributions from Grizedale Arts and others. In 2015 she is developing a series of situations that will challenge the conventions of working in traditional gallery contexts. The regional visual art programme will take a nomadic approach to making and exhibiting that will involve working with non-arts spaces around the County including museums and parks. Ultimately reflecting on the importance of rural visual art spaces as discursive sites for non-instrumental forms of thought and action.

In 2012 she was awarded one of two inaugural residencies under the Spark Project funded through Leitrim Arts Office & Enterprise Board in partnership with the Arts Council of Ireland. The work produced through this residency was exhibited at The LAB, Dublin in 2014. Other recent exhibitions include Crystal Palace, Breezeblock, Sydney (2014); LOCAL, The Dock, Leitrim (2014); Supernature, Galway Arts Centre (2013); Tulca Festival, Galway, curated by Megs Morley (2011); Circadian, Leitrim Sculpture Centre (2010); Social Capital, curated by Claire McAree, The Dock, Co. Leitrim (2009) and Crave, Cross Gallery, Dublin (2008).

Recent screenings of her films include Camper, TRUCK Space, Calgary, Canada (2013); Interchange, CEFA, Philadelphia, USA (2012); Surface Shorts, Surface Gallery, Nottingham, UK (2011) and Falling Awake Patna Museum, India (2010).

In 2009 Linda completed an MA in Visual Arts Practices through IADT and in 2010, was appointed to the Board of Directors of Visual Artists Ireland. In 2015 she will take up the role of Chairperson of the Board.

Curatorial Statement

My curatorial concerns centre around the production and dissemination of work in rural contexts, how artists make and present work and the support mechanisms that enable its production and also it’s migration beyond the environs in which it was created. Favouring projects that can be developed through dialogical and collaborative approaches, my projects explore community identity, focusing on marginalised or under-represented rural communities.

My interest lies in lesser-known aspects of history, their intersection with the present and how conceptual traditions in art can be unpicked through research in archaeology, history and ethnography. By presenting the work of artists who bring into play memory, hearsay, oral and archival history so as to construct new readings of the past, my curatorial projects aims to lay emphasis on the idea that the visual is an assimilatory process continuously at work in the construction of cultural, political, personal, and national identities.

C.V.

Qualifications

2008

Masters in Visual Arts Practice (Honours)

Dun Laoghaire Institute of Art, Design & Technology

1996

Advanced Diploma Fine Art (Honours)

Dublin Institute of Technology, Mountjoy Square, D1

Recent Shows/Screenings

2014

The Crystal Palace

Breezeblock, Sydney

LOCAL

The Dock, Leitrim

Supernature

The LAB, Dublin

2013

Supernature

Screening with TRUCK, Calgary, Canada

Supernature

Galway Arts Centre

Supernature

Higher Bridges Gallery, Enniskillen

Solo Shows

2014

Supernature

The LAB, Dublin

2013

Supernature

Galway Arts Centre

 2010

Circadian

Leitrim Sculpture Centre, Leitrim

(in collaboration with Padraig Cunningham)

Relics & Ruins

The Hammond Gallery, Glengarriff, Co. Cork

2008

Crave            

The Cross Gallery, 59 Francis Street, Dublin 8

2007

The Burning Fields             

The Hammond Gallery, Glengarriff, Co. Cork

2005

Replace             

The Hammond Gallery

2004

Someplace Else            

Hallward Gallery, 65 Merrion Square, Dublin 2

2002

Terra Firma             

Triskel Arts Centre, Tobin St. Cork

2001

Solo x5              

The Model, Sligo

Selected Group Shows

 2011

Tulca / After the Fall

Curated by Megs Morley

Galway Arts Centre

Interchange

Centre for Emerging Artists

Philadelphia, USA

2010

alter / native project at the Boyle Arts Festival

Roscommon

2009

Notions of Capital (curated by Claire McAree)

With Aideen Barry and Carol Anne Connolly

2008

The Cross Gallery at ART08         

The RDS, Dublin

White Noise

Studio six, Temple Bar Galleries & Studios

2007

Convergence              

(Group show of resident artists + Bill Viola,

Hughie O’Donoghue, Caroline Patten & Stephen Kelly)

The Dock, Carrick-on-Shannon, Co. Leitrim

2005

A Moment in Time            

Temple Bar Galleries, Dublin

Stoney Batter Studio New Works          

Custom House Gallery, Westport, Mayo

2004

Full Circle             

Temple Bar Galleries, Temple Bar, Dublin

2003

Ground              

Galway Arts Centre, Dominick St,

Galway & Marketplace Arts Centre, Armagh

50/50

Temple Bar Galleries, Temple Bar, Dublin

2002

R.H.A. Annual Exhibition           

R.H.A. Gallagher Gallery, Ely Place, Dublin

Curatorial Projects

2014

Curator in Residence, Roscommon Arts Centre

Exhibiting artists include: Michelle Browne, Vanessa Donozo Lopez, Gareth Kennedy, Sean Lynch, Alice Lyons, Orla Mc Hardy, Eamon O’Kane, Sean Rafferty and Elaine Reynolds.

2010

Sacred Exhibition and Seminar

Enniskillen

alter / native at The Shambles

Boyle Arts Festival

Roscommon

Minutiae

Suki Chan (UK) and Oisin Byrne (IRL)

Roscommon Arts Centre

Awards & Residencies

2014

Visual Arts Curator in Residence Scheme

Awarded by Arts Council of Ireland

2012

Recipient of Spark Residency at The Organic Centre, Rossinver

Supported by Leitrim Arts Office & Leitrim Enterprise Board

Art@Work Residency

Awarded by Roscommon County Arts Office

2010

Capital Grant*

Arts Council of Ireland

Individual Artists Bursary

Roscommon Arts Office

Small Festivals Bursary (for alter / native 2010)

Roscommon Arts Office

2008

Artist in Residence 2005 – 2008

The Dock Art Centre, Carrick-on-Shannon, Co. Leitrim

Individual Artists Bursary

Roscommon Arts Office

2001

Arts Council of Ireland Artist’s Bursary

Collections

Office of Public Works, AXA Insurance, De Vere White,

Private Collections in Ireland, The U.K., Europe and The U.S.A.

Publications /Texts

2014

Supernature: Converging at the ‘soft edges’ of science, nature and the visual arts

by Joanne Laws

2013

Art @Work 2012

Published by Roscommon County Arts Office

2009

Reimagining the Hierarchy of Monuments

Building Material. Architect Association of Ireland Journal, issue 19

2008

Crave

Published in association with The Cross Gallery, Dublin & Roscommon County Council

 Other

 Appointed to Board of Directors Visual Artists Ireland

The all -Ireland representative body for professional

visual artists in 2010.

*Awarded for application on behalf of the alter / native project

 

 

 

 

Contact

Linda Shevlin
Tivanagh School
Cloonloo
Boyle
Co. Roscommon
Ireland
 
linda@lindashevlin.com
+353 86 605 2571
+353  71 966 4606