I have an article just out in the first volume of a new sculpture-focused magazine, Sculptorvox. The title of this first volume is Geometry of Nothing. The article ‘A Curiosity of Nothings: on the Not-there-ness of Andrew Kearney’s Sculptural Installations’ discusses Andrew Kearney‘s sculptural works, with a particular concentration on his installation at the Irish Cultural Centre, Paris in 2017:
Andrew Kearney, ‘Mechanism’, Centre Culturel Irlandais, Paris; 20 April to 18 June 2017.
The magazine is available from Sculptorvox.
‘threaded insert’ on Sun 24th September at Plymouth Athenaeum
I will perform a new work, ‘threaded insert’ as part of a group project Tears in Rain for Plymouth Art Weekender 2017 at Plymouth Athenaeum, on Sunday 24th September. Tears in Rain is a day-long event bringing together a range of practices by artists whose work uses live or performance elements, alongside participation, moving image and installation. The programme mixes durational and installed work with timed events and actions, and the Athenaeum Auditorium shapes and influences the work. The project includes new works and works adapted to suit this particular context with actions happening throughout the space, projections, a lecture, one-to-one interaction and improvised responses to the site. The artists in Tears in Rain are: Mo Bottomley / Katrina Brown / Mark Leahy / Steven Paige / Marcy Saude / Minou Tsambika
In ‘threaded insert’ I receive via headphones a series of instructions, for orientation, movement, speech, and other actions including spelling words, randomly selected from a database of short audio files. The content derives from guides and instructions for ‘proper’ speech, rules for social and public behaviour, and control or modification of the body. I will perform the work three times over the course of the event, starting from a different point in the building each time, mapping a different course and telling a different tale in response to the received instructions. The score is applicable to any site or any building, but is also specific in the spoken responses and movements it generates; ‘threaded insert’ could be anywhere, but when I am performing in the Athenaeum, the work will also bring attention to qualities and features of that particular space.
On March 15th I will present ‘after alert catchers: a report on an other (than) worded event’ at the Beyond Words conference 2017 at Plymouth University. The conference is the culmination of an AHRC funded research project that explored relations of arts to health and wellbeing.
My paper discusses the ‘alert catchers’ project by artists Gabby Hoad, Susie David and Megan Calver at Dawlish Warren Nature Reserve in 2016. I make connections between the artists’ practices and questions of networks, of scoring, and of naming. References are made to work by Donna Haraway, Bruno Latour, Jane Bennett and Kathleen Stewart.