The Centre For Dying On Stage
Autumn Residency programme at Cow House Studios
10 October – 20 November 2016
Participating artists: Jessica Foley, Marjorie Potiron & Lisa Hoffmann, Steven Randall, and The Artist and Himself at 29 (TAH29)
Associate artists: Orla Barry, Aurélien Froment, Dennis McNulty, Isabel Nolan, and Dick Walsh.
The Centre For Dying On Stage #3 was presented by Cow House Studios with the support of Wexford County Council and Wexford Arts Centre. This residency was developed in collaboration with Kate Strain, curator-in-residence at Cow House Studios for 2016. This initiative was supported by the Arts Council of Ireland’s Visual Arts Curator Residency Scheme.
The five artists were at Cow House Studios from 10 October – 20 November 2016 with the collective aim of producing an exhibition in the form of a play that was realised at Wexford Arts Centre, on 12 November 2016.
Jessica Foley is an artist and researcher, often working through writing and collaboration. Through her practice she actively engages collaboratively with people, material and stories to support dialogic situations and enactments. Since 2010 Foley has been working with engineering researchers at CONNECT, Trinity College Dublin. Throughout her PhD research she has been developing an open-ended choreographic process to support thinking, imagination, and creative experimentation within techno-scientific research contexts. She also works closely with words as material, generating short stories, essays, experimental fiction, and texts for performance and film.
Jessica Foley, Elsie’s Counter, 2013, The Highlanes Gallery, Drogheda, Ireland
Marjorie Potiron and Lisa Hoffmann are a collaborative duo, working together since meeting in 2013. They find mutual ground through a shared consideration of philosophy, politics and poetry, inducing interrogative forms that align with existentialist and situationist thought. Questioning the every-day and observing society, they highlight anomalies through elements as diverse as exaggeration, the supernatural, détournement, the absurd… Their practice integrates mediums such as performance and installation, resembling a kind of film, as they become ever more persistent in their obsessive commitment to incorporating elements of reality in their work. Recent projects have been hosted by: The Artist Ambassador Convention (UK), EXPO Milano 2015 (IT), le BBB centre d’art (FR), Kunstfest Weimar (DE), Museum of Odessa Modern Art (UA)
Marjorie Potiron & Lisa Hoffmann, Ceci n´est pas (un objet) – exhibition in four episodes, Toulouse, 2014
Steven Randall is an interdisciplinary artist working with sculpture, photography and installation to examine the relationship between consumer, commodity, and transformation. Within a culture of feverish consumption and retinal impatience, he often employs a meticulously manufactured realism to recreate “fast” objects by the slowest means possible. Randall’s work has been included in various exhibitions around the United States. He is also the recipient of numerous awards including the Toby Devin Lewis Fellowship Award, a Sculpture Fellowship through the Virginia Commission for the Arts and a Visiting Artist Grant through the Institute for Electronic Arts.
Steven Randall, The Curiosity of Con, Petrified Breath, and an Accident known as Blue, 2016
The Artist and Himself at 29 (TAH29) is a transhistorical genome and hyper-object which operates and co-activates humour and retroactive-irony as a way to approach the site of change and agency in the present. The artist, Alex Mirutziu is part of this collective alongside his twenty-nine-year-old-self. TAH29 is informed by a museological activity of the artist as the most unartistic of anything in existence as he, the artist is continually standing in for and filling some other body; an observation which only Keats could have made in a letter to Richard Woodhouse. The collective’s gravitational pull comes from phenomenology of presence and from the notion of a reality without presence developed by Graham Harman.
The Artist and Himself at 29, Time’s Own Insult, 2014