december 1. – 29. 2012 / rachael n. parsons, australia → web
november 6. – 27. 2012 / Jackie Edwards, ireland → web
september 23. – november 4. 2012 / samuel walsh, ireland → web
august 19. – september 16. 2012 / kimberly dark, usa → web
august 1. – 15. 2012 / Kylie Benjamin, uk → web
july 15. – 29. 2012 / Milos Djordjevic, serbia → web
july 1. – 14. 2012 / ana sladetic, croatia (→ web) & Miran Šabić, croatia (→ web)
june 23. – 31. 2012 / Sinead Curran, ireland → web
june 8. – 22. 2012 / Ann Bartges, usa → web + Jesse Potts, usa → web
may 31. - june 6. 2012 / timothy c. kerr, usa → web
may 2. - 16. 2012 / dave loder, uk → web
april 10. – may 1. 2012 / fiona galvin delaney, ireland
march 1. – 30. 2012 / luc vanderfelde, belgium → web
february 15. – 29. 2012 / Françoise Bérot with innuit siniswichi, France → web
february 1. – 15. 2012 / eoghan magowan, ireland → web
january 11. – 31. 2012 / Lea Vendelbo Petersen, Denmark → web
january 02. – 09. 2012 / Emily Smith, USA → web
december 5. – 11. 2011 / IVÁN FERNÁNDEZ-DÁVILA OCAMPO, peru → web
november 18. – december 2. 2011 / Mariela Nestora, greece → web
november 1. – 15. 2011 / Ian-John Coughlan, ireland → web
Ian-John Coughlan lives and works as an artist, currently based in Dublin. His work has been exhibited both in Ireland and internationally and has been purchased for the Irish State Art Collection. He graduated from National College of Art & Design, Dublin, in 2005 with a Master’s Degree in Fine Art. He works in various media, using video, photography, performance and works on paper. His work is concerned primarily with the tradition of the Erasure and the concepts of additive subtraction and state-change.
I arrived late at I-A-M, Berlin, having gotten the wrong S-Bahn from the airport. Tired and hungry, and a little flustered, I was warmly welcomed by co-founder Stefan. After I caught my breath, Stefan helped me to settle in with a quick tour of the facilities available to me. A comfortable bed, kitchenette, shower and toilet facilities granted me comfortable sleep and dining experiences. The large furnished exhibition/work space, complete with wi-fi, ensured I had plenty of room for inspiration and whatever work I chose to pursue during my time there. I-A-M is a minimal, yet more than adequate setup located in Wedding, located minutes away from a Lidl supermarket, a local launderette and the Nauener Platz U-Bahn. Transportation about the city of Berlin has always been easy, thanks to a perfect public transport system. But, for health conscious times, I-A-M supplied me with a bicycle enabling a more complete view of the city during travel. The city of Berlin is the most welcoming city I have ever experienced, in terms of both the arts and general friendliness. It is a wonderful place to pursue art making and viewing with it's numerous galleries and spaces. The I-A-M is an ideal base-camp from which to participate.
The Berlin attitude to graffiti seems to be one of complete tolerance. Public spaces and the exterior of residences about Kreuzberg and Mitte are often altered beyond their original appearance by local graffiti artists. Tags, slogans and portraits abound. There appears to be virtually no effort made to obscure these additions and the city people carry on without paying much mind. This has always fascinated me.
I come from a city where, though graffiti artists are plentiful, the practice is readily considered a crime. In a residential area, it is quickly painted over or sanded away. Likewise, in business and retail areas. The only instances where graffiti in Dublin has any lifespan is when it is located in back alleys or if it is of a subtle, almost subliminal, nature.
The Circleculture Gallery at Gipstrasse, Mitte, has a history of representing graffiti artists who have mainstreamed by making work on canvas for the purpose of sale. Their clients are mostly well-known artists who are still in the process of engaging directly with the city. While visiting, I ask an attendant why is Berlin so tolerant of all its graffiti. Given its source of income and clients, the staff member is understandably defensive regarding my inquiry, which might possibly be received as a criticism of policy or insult to the city itself.
Maybe it is a respect for the artist, he answers bluntly.
I ask him to elaborate upon this and he seems reluctant at first, until I reveal my vocation and the reasoning behind my questions. He visibly brightens and we introduce ourselves. I compare the disparate attitudes of our cities and my own interventions with public space. Leonardo, as it turns out, is a regular visitor to Dublin and I feel caught out at having painted such an Orwellian view of my city. We briefly discuss the issue of respect and graffiti, but we do not delve as deep as I would like. Perhaps for Leonardo, as may be the case for the vast number of citizens, it is simply not an issue.
I meditate on this attitude myself and believe the of permissiveness may be born of a reaction to the notion of censorship. For the German people, in particular the people of Berlin, the idea of repression and the prohibition of expression may hearken back to a darker period in their country’s history. This is an association they are coming to terms with, not by creating distance, but by a direct defiance of outdated and intolerable ideals.
If this is so, what does it mean when a foreign agent introduces a process of erasure into the equation?
The resulting images are shared with the property owners or occupants and their reactions collated as part of the process.
(Ian-John Coughlan / 16/11/11)
october 20. – 27. 2011 / Harry Walsh Foreman, ireland
I paint to communicate to others how I see – not what I see. The natural and persistent need to communicate, to relate, to understand and be understood by others is what draws me to paint life around me. My expressive figurations and cityscapes are the allegorical road map of my inner dialogue with real and invented subjects.
october 11. – 18. 2011 / Pavlína Lörinczová, Czech Republic → web
During my residence I have done a work in urban space. I realized series of stencils dislocated over the city.
I chose places often enough marked with an already existing street art pieces or simply tags. Pesonally, I feel always very excited encountering pictures and signs in streets, it makes me think about the meaning and spring of these voiceless messages.
I titled my work "Öffentliche Führungen" / "Guided tours"/ and I eked out this device with different pictural signs. I pointed out places in the map and took a photo. I completed the concept with an intimate opening at I-A-M gallery.
It was important for me not to be working alone, but have a possibility to be accompagnied by my man and daughter. We could spend time together walking round the city and sojourn the i-a-m studio.
september 1. – 8. 2011 / sabina romanin, italy
I started as an engraver, ranging from traditional techniques to xylography and serigraphy. Recently I have extended my field of research into textile by experimenting artist's books, visual poetry, installations and performances, and by cooperating with designers. And portrait-making is the core of my work because a portrait is the interface between the self and the world.
august 13. – 30. 2011 / pas - performance art studies, germany → web
for performance art studies #20 guest lecturers Danuta Milewska und Artur Mackowiak will be hosted at the institute. One or the other courses are offered to pas participants here as well. final presentations will be hosted by grimmuseum on august 26.+27. at 7pm each day.
august 4. – 11. 2011 / maika knoblich & jaco bouwer, amsterdam
Maika Knoblich was born in 1986 in the Ore Mountains of East Germany and grew up in the flat landscape of the lower rhine region.
In 2010 she graduated from the Institute for Applied Theatre Studies in Giessen. Since then she is part of the DasArts /Master of Theatre program in Amsterdam.
Her work touches on the concept of identity constructions and is questioning time and spacial boundaries in performance art by challenging the formats of durational and site specific performance. → web
jaco bouwer: i am a theatre director and maker from south africa. currently i am finishing a masters program at DasArts. lately i am interested in black holes and reflecting on childhood rooms. (re)inventing spacial metaphors by looking at the concept of home as an entity and to shed light on the surface and the underneath, the inside and the outside. exploring connection between home, camera obscura, black box, theatre in the idea of building sight. building sites to observe and reveal light. → web
july 5. – august 2. 2011 / renata stein, new york → web
I am a mixed media artist working with fragments and the detritus of everyday life. One of my overall concerns is tikkun olam which is Hebrew for "mending the world."
While in Berlin, I would like to create a series of small sculptural objects made out of natural materials that explore the relationship between culture and the natural world.
june 30. – july 4. 2011 / jens + jana steingässer, germany → web
