John Byrne is Co-Director of Static Gallery and Programme Leader of the BA (Hons) Fine Art Course at Liverpool School of Art and Design.
Over the last fifteen years Byrne has published internationally on issues of art, technology and popular culture. As Co-Director of Static Gallery Byrne has collaborated on the production and curation of ‘Press-Corps’ (Gwangju Biennial 2006), ‘You’ll Never Walk Alone’ (an installation by Frederic Pradeau) 2006, Exit Cork 2007, ‘The Inevitable Show (reproducing fame): Damien Hirst, Michael Riedel, Static’ (Glucksman Gallery Cork) 2008, ‘Noodle Bar’ (Seoul/Liverpool) 2008 and ‘Terminal Convention’ (Cork) 2011.
Amongst Byrne’s written articles are ‘Cybersublime?: Representing the Unrepresentable in Digital Art and Politics’ (Third Text Reader on Art Culture and Theory) 2002/2007, ‘The Yes Men: Art and the Culture of Corporate Capital’ (in ‘Keep it Slick: Infiltrating Capitalism with the Yes Men) 2009, ‘Critical Autonomy: “Inside Out and Outside In” (The Autonomy Project Newspaper 1 ‘Positioning’) 2010 and ‘Closing the Gap Between Art and Life: Digital Art as Discursive Framework’ (in ‘Emerging Digital Spaces in Contemporary Society: Properties of Technology) 2011.
Byrne is also on the Editorial Board of the Autonomy Poject alongside Charles Esche, Annie Fletcher, Steven ten Thije and Clare Butcher (‘The Autonomy Porject’ is an ongoing collaboration between Van Abbe Musuem NL, The Dutch Art Institute, NL, Filter – Hamburg/Detroit, DE/USA, Grizedale Arts, UK, Lectoraat Kunst en Publiek Ruimte, NL, Onderzoekschool Kunstgeschiedenis & Platform Moderne Kunst, NL, Onomatopee, NL and tUniversity of Hildersheim, NL) Byrne is also a contributor to Grizedale Arts ‘John Ruskin Memorial Blog’ on www.grizedale.org
Mary Conlon is a curator based in Limerick City. She read literature at University College Dublin and Universidad de Sevilla (1996-2001) and studied Visual Art Practice at Dún Laoghaire Institute of Art, Design & Technology (2002-2006). From 2007-2009, she was Gallery Manager at Green On Red Gallery and from 2009-2011 she was the Shinnors Research Scholar at Limerick City Gallery of Art. In 2011 through the Creative Limerick initiative, she founded the cultural resource centre Ormston House where she is Artistic Director. She is curator of the Six Memos project, drawing on the writings of Italo Calvino, which also forms the basis of her practice-led PhD in Curatorial Aesthetics and Creative Curatorship at Limerick School of Art & Design. She is a member of the Italian curatorial network vessel and on the Board of Directors of eva International.
Anna Dezeuze was a student at the Courtauld Institute of Art and a Research Fellow at the University of Manchester and at the Smithsonian American Art Museum in Washington before becoming Lecturer in Art History at the Ecole Supérieure d’Art et de Design Marseille-Méditerranée in Marseilles. Her research interests include spectator participation, precariousness, dematerialization and the everyday in art since the 1960s. In addition to curating, with David Lomas, the 2009 travelling exhibition Subversive Spaces: Surrealism and Contemporary Art, she has published essays, articles and two edited books: The ‘Do-it-Yourself’ Artwork: Participation from Fluxus to New Media (Manchester University Press, 2010) and Found Sculpture and Photography from Surrealism and Contemporary Art (with Julia Kelly, Ashgate, 2013). The provisional title of her current book project is Almost Nothing: Precariousness in Art since the 1960s.
Damien Duffy leads Void Art School, an initiative that he began as a resident Artist in Void in 2006. The education programme delivers studio based learning in Contemporary Art practice that matches that of tertiary level education to a range of individuals from A level students up to graduate.
He is a member of Void’s curating committee, having curated Dan Hays, Cathy Wilkes, Naimh Mc Cann and Mat Collishaw, as well as several Void Art School exhibitions namely ‘Burn The Gaze’ and ‘Lacan can…’ and ‘We have won’.
He was awarded the ACNI Artist in Education Award 2003 and a further three awards Individual Arts bursaries from ACNI.
Other education projects include the Free Tutorials Project organized by All Horizons Club in 1999 www.theusesofliteracy.com
Graduating from Goldsmiths and living in London he worked on several Artist run initiatives as well as exhibiting in London and Europe during the 1990s. He has lived in Derry since 2002.
He was a regular contributor to Irish Contemporary Art publication Circa magazine from 2002.
Recent exhibitions include The Brawl in Philly, Void, Mneme War, Project Space at The Modern Institute.
Caoimhín Mac Giolla Léith
Caoimhín Mac Giolla Léith is a critic and curator who teaches in the School of Irish, Celtic Studies, Irish Folklore and Linguistics at University College Dublin. In addition to his writings on literature in the Irish language he is a contributor to Afterall, Artforum, Frieze, Parkett and Tate Etc. Among the numerous monographic texts he has published are recent essays on the work of Gerard Byrne, Ida Ekblad, Douglas Gordon, Anj Smith, Pádraig Timoney, James Welling and John Stezaker. He has curated exhibitions in Dublin, London, Amsterdam and New York and was a juror for the 2005 Turner Prize.
Recently appointed Artistic Director of Tate Liverpool, Francesco Manacorda has previously been Director of Artissima, Turin and curator at Barbican Art Gallery, London. His freelance practice has included curating Subcontinent: The Indian Subcontinent in Contemporary Art, Fondazione Sandretto Re Rebaudengo, Turin (2006) and national pavilions at the 52nd Venice Biennale (Tobias Putrih, Slovenian Pavilion, 2007 and Francis Upritchard, New Zealand Pavilion, 2009). Manacorda is also currently a visiting lecturer in exhibition history and critical theory in the Curating Contemporary Art department at the Royal College of Art, London. He has written extensively for Domus, Flash Art Italia, Flash Art International, Frieze, Metropolis M, Piktogram, Untitled, and Art Review
Seamus Nolan has worked on a number of Public art projects and gallery shows in Ireland and abroad, recent work includes “10th president” in Templebar Gallery and Studios Dublin, ‘The Trades Club Revival’ which saw an immersion in the club culture of Sligo for more than 2 years (an off-site work commissioned by The Model and partnered with CREATE 2010 – 2011). The attempted hijack of a Ryan air flight for St Patrick’s day (Flight NM7104, for Terminal Convention in association with NSF and STATIC Liverpool 2011). A refusal to participate in Dublin Contemporary 2011 and an attempt to sell the derelict house of Barbara Luderowski the founder and co-director of The Mattress Factory, Pittsburgh. Other works include ‘Every action’ for Newtopia, the State of Human Rights, Mechelen Belgium 2012, Corrib Gas Project Arts Centre, Project Arts Centre September 2009, ‘If art could save your life’ Drogheda Arts Centre 2009 and ‘Hotel Ballymun’ commissioned by Breaking Ground Ballymun 2007.
Aislinn O’Donnell is Lecturer in Philosophy of Education at Mary Immaculate College (University of Limerick). She has taught in the University of Dundee, University College Dublin, the National College of Art and Design, St Patrick’s College (DCU) and has also developed a series of projects in informal education, introducing philosophy to people who are recovering from drug use and who have experienced imprisonment. She is also Associate Fellow with GradCAM. Her recent research in philosophy is centred on a series of philosophical meditations on shame, failure and active-passivity. Her research in philosophy of education involves re-imagining research, with particular reference to teaching philosophy in prison, the ways in which thinking can be conceptualised in philosophy of education, and a critical analysis of skills discourses. She was co-convener of a series of events called “The Impossible Conversation” organised in response to Jonathan Cummins’ exhibition “When I leave these landings” for which she generated a series of pamphlets and texts. She also wrote a series of reviews for Exit Limerick. Recently published and forthcoming articles include “Beyond Sexuality: Of Love, Failure and Revolutions” in Deleuze and Sex (2011), “Thinking-in-Concert” in Ethics and Education, vol.7, no.3 2012, “Transformative Education” in New Educational Horizons in Contemporary Ireland (2012), “Irigaray – Review Essay” in International Journal of Philosophical Studies, “ “Unpredictability, Transformation, and the Pedagogical Encounter: Reflections on ‘What Is Effective’ in Education” Forthcoming in Educational Theory, vol. 63, no. 3, “Shame is revolutionary” Forthcoming in Deleuze and Sex (2014) and a collaborative piece “Philosophy and the prison” Forthcoming in Philosophy Imprisoned.
Mark O’Kelly lives and works in Dublin and Limerick. He is a lecturer in Fine Art at Limerick School of Art and Design. He is a graduate of the Slade School of Fine Art (1992) and of the National College of Art and Design, Dublin (1990). Exhibiting paintings, vitrines and installations, his work is the outcome of a practice of image research that explores the space between the photographic document and the cosmetic image. The studio based painting practice at the core of this work has provided the foundation for a series of specifically conceived installations addressing theories of representation, reproduction and quotation.
Previous exhibitions include, Periodical Review 2, Pallas Projects, Dublin, 2012/13. After the future, EVA International Biennale, Limerick, 2012. Last, Douglas Hyde Gallery, Dublin, 2012. Transitive Relationships, Limerick City Gallery of Art 2012. Figure of 8, Kevin Kavanagh Gallery Dublin 2011, (solo). Leaders and Followers, Temple Bar Gallery Dublin 2010, (solo) Cinema Impero, Occupy Space, Limerick 2010, (solo). Unconscious, The Black Mariah, Cork, 2009, ( solo). Mark O’Kelly, Kevin Kavanagh Gallery, 2008, (solo). Selective Knowledge, ITYS, National Bank of Greece Cultural Foundation, Eynard Mansion, Athens 2008. Mark O’Kelly and Stephen Loughman, Galway Arts Centre, 2008. Presence, Limerick City Gallery of Art, 2007. New Territories; Cityscapes, ARCO Madrid, 2006,Other Visions: Representation in Contemporary Irish Painting and Photography, Purdy Hicks, London 2006, In Fashion, Limerick City Gallery of Art, 2005, (solo).
His work is in collections that include the Irish Museum of Modern Art, the OPW and in the collection of the Arts Council of Ireland.
Fred Pradeau is an artist and Professor of Sculpture at Marseille School of Art: ESBAM (Ecole Supérieure des Beaux-Arts de Marseille)
Solo shows include L like Hell, Laure Genillard Gallery, London, England (2009), Olympiastadion, Galerie MB prospects, Berlin, Germany (2008), Denim, Galerie Philippe Pannetier, Nîmes (2008), Local technique, Module, Palais de Tokyo, Paris (2007), Pop and Corn, Galerie ColletPark, Paris (2008), You’ll Never Walk Alone, Static Gallery, Liverpool (2006), half barbarous/half civilized, Galerie Raucci & Santamaria, Naples (2005), L’homme qui rétrécit, Galerie Corentin Hamel, Paris (2004), IKEA, Galerie Corentin Hamel, Paris (2002) and Casting pour un western, Cycle ‘Même si c’est la nuit’, Galerie du Triangle, Bordeaux- Commissariat Olivier Bardin (1995).
Paul Sullivan is an architect and is the founder and director of Static Gallery, Liverpool.
Static is concerned with the processes of creative production, exchange and trade and the structures that support these processes within the local and global economy. Static are often commissioned to undertake art, architecture, academic and critical writing projects whilst at the same time being the commissioning agents, producers and curators for small to large scale art, architecture, publication, symposium and music events.
Static’s HQ in Liverpool consists of a large 6000 sq ft gallery/multi-use space (that houses exhibitions, symposiums/debates, music gigs and film/photo shoots), a coffee bar and kitchen and ten studio/production spaces for artists, architects, film-makers, graphic designers, creative practitioners and an International Residency programme.
Pádraig Timoney was born in Derry in 1968. He has lived in London, Liverpool and Naples and is currently based in New York. He graduated in 1991 with a BA in Fine Art from Goldsmiths College, London. His solo exhibitions have been at Galleria Raucci/Santamaria, Naples (1994, 1997, 2005, 2007, 2009, 2012); The Modern Institute, Glasgow (2004, 2008, 2012); Andrew Kreps Gallery, New York (2007, 2010); Galerie Xavier Hufkens, Brussels (2007, 2010); Galerie Almine Rech, Paris (2008); Void, Derry (2006); Castlefield Gallery, Manchester (2003); 38 Langham Street, London (2003); Bluecoat Gallery, Liverpool (2002); Douglas Hyde Gallery, Dublin (2002); The Suburban, Chicago (2000); Galerie Analix, Geneva (1997); Laure Genillard Gallery, London (1993, 1997); Orchard Gallery, Derry (1996); Goldsmiths Gallery, London (1992); Milch, London (1992).
Katherine Waugh is a writer, filmmaker and curator. She co-directed the award winning The Art of Time, a film on the complex temporalities in contemporary art, film and architecture, which has shown internationally in galleries and Film Festivals in New York, Paris, the ICA and most recently in the Irish Museum of Modern Art. Recent projects include a symposium she curated and moderated for the AV International Arts Festival 2012 in Newcastle based on its theme As Slow As Possible (after John Cage) and a series of films programmed in conjunction with IMMA’s Time Out of Mind exhibition. A film installation project A Laboratory of Perpetual Flux, was curated by Annie Fletcher of the Van Abbemuseum Holland for eva International 2012. In February 2013 she co-presented ‘Unfolding Aspen’ at the Whitechapel Gallery London (with artist Mary Ruth Walsh); a conceptual mapping with film, audio and text of Aspen 5&6 by Brian O’Doherty 1968. Most recently she curated a discussion on Art and Writing The Question Itself with Sylvere Lotringer and invited art writers in the South London Gallery in May and a symposium with Lotringer Once Upon a Time in the West at 126 Gallery Galway with additional workshops on the Aran Islands on art, film and writing from the periphery. She also curated a programme of films for The Cosmic Artisan exhibition at Siegfried Contemporary London. She has written essays for artists books and catalogues nationally and internationally.
Eyal Weizman is an architect, Professor of Visual Cultures and director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2011 he also directs the European Research Council funded project, Forensic Architecture – on the place of architecture in international humanitarian law. Since 2007 he is a founding member of the architectural collective DAAR in Beit Sahour/Palestine.
Weizman has been a professor of architecture at the Academy of Fine Arts in Vienna and has also taught at the Bartlett (UCL) in London at the Stadel School in Frankfurt and is a Professeur invité at the École des hautes études en sciences sociales (EHESS) in Paris. He lectured, curated and organised conferences in many institutions worldwide. His books include Mengele’s Skull (with Thomas Keenan at Sterenberg Press 2012), Forensic Architecture (dOCUMENTA13 notebook, 2012), The Least of all Possible Evils (Nottetempo 2009, Verso 2011), Hollow Land (Verso, 2007), A Civilian Occupation (Verso, 2003), the series Territories 1,2 and 3, Yellow Rhythms and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Inflexions and Cabinet where he has edited a special issue on forensics (issue 43, 2011). He has worked with a variety of NGOs world wide and was member of B’Tselem board of directors. He is currently on the advisory boards of the Institue of Contemporary Arts (ICA) in London, the Human Rights Project at Bard in NY, and of other academic and cultural institutions.
Weizman is the recipient of the James Stirling Memorial Lecture Prize for 2006-2007, a co-recipient of the 2010 Prince Claus Prize for Architecture (for DAAR) and was invited to deliver the Rusty Bernstein, Paul Hirst, Nelson Mandela, Mansour Armaly and the Edward Said Memorial Lectures amongst others. He studied architecture at the Architectural Association in London and completed his PhD at the London Consortium/Birkbeck College.
Stephen Wright is an art writer and professor of the practice of theory at the European School of Visual Arts (www.eesi.eu) in France. Over the past decade, his research has examined the ongoing usological turn in art-related practice, focusing on the shift from modernist categories of autonomy to an art premised on usership rather than spectatorship. More recently, his writing has contributed to the growing body of extradisciplinary research on contemporary escapology, theorizing practices deliberately avoiding ideological, institutional and performative capture by the conceptual architecture inherited from modernity. This line of enquiry challenges the assumption that art be understood as either ontology or as event, raising the prospect of an art without objecthood, authorship or spectatorship, that is, of a “coefficient of art” deliberately withdrawn from the event horizon. His texts may be found on the collective blog n.e.w.s. www.northeastwestsouth.net.
George Yúdice writes and researches on art and cultural topics. His current project is on a post-Rancierean aesthetics, drawing on new forms of circulation in cultural networks. He is the author of Cultural Policy (with Toby Miller, Sage, 2002); The Expediency of Culture: Uses of Culture in the Global Era (Duke University Press, 2003); Nuevas tecnologías, música y experiencia (Barcelona: Gedisa, 2007); Culturas emergentes en el mundo hispano de Estados Unidos, (Madrid: Fundación Alternativas, 2009). He heads the Department of Modern Languages and Literatures and Latin American Studies at the University of Miami and directs Miami Observatory on Communication and Creative Industries.