News

Approaching Critical Mass

Jason Oakley, of VAN, takes a virtual walk-through of the main exhibitions spaces for Dublin Contemporary 2011: Terrible Beauty—Art, Crisis, Change & The Office of Non-Compliance, with the curators Jota Castro and Christian Viveros-Fauné.

13.05.11

Jason Oakley: Lets start with a brief overview of the main venues …

Christian Viveros-Fauné & Jota Castro: The main venue or venues for Dublin Contemporary 2011 will be sited at Earlsfort Terrace, across the street from our present offices and next to the National Concert Hall. There is a complex of buildings there where we will locate the largest part of the exhibition—this is, of course, in addition to the collaborations we are working on with important public galleries, like the Douglas Hyde and the RHA, and also the public realm projects we’re installing throughout the city. Earlsfort Terrace comprises a complex of buildings we have been referring to as the critical mass site. Leaving aside the socio-dynamic implications of the term—which are incidental—this so-called critical mass site essentially allows us to present a large-scale international exhibition in the middle of Dublin. It turns out that—from the perspective of available space—Dublin has long been biennial ready, even if it didn’t know it.

JO: What are the main things that interested you about this space? I’m thinking of the context of it being a space with a former use and identity, that’s lain dormant, un-developed and untouched by the boom years.

CVF / JC: One of the great things about what we’ve been calling the critical mass site—namely the former UCD Medical School, the Annex and associated buildings—is that this space or complex of spaces is both totally central and somehow unknown to the vast majority of folks in Dublin. It’s at once directly under everyone’s nose and largely unfamiliar, though there’s a history there that connects the building not only to UCD, but also to an architectural school that was there previously. Also, Earlsfort Terrace is where one of the ROSC shows happened—ROSC ’80. This fact also provides a history for us to tap into in terms of the space’s importance to the development of Irish Contemporary Art. Lastly, these buildings allow us to engage Dublin from the vantage point of large-scale spaces that we can put our own stamp or character on, and that are not standard issue, conventional white cubes.
JO: How much of interest or significant is the legacy of ROSC for you?

CVF / JC: This is of great importance to us. ROSC had a great deal of influence on Irish contemporary art—we’re constantly hearing about how important those shows were to people. We certainly want Dublin Contemporary 2011 to be talked about in a similar way in the near future. Aside from putting on a good show, part of our mission is to possibly put on an entertaining, influential show that will hopefully deepen and expand artistic horizons here in Dublin.

JO: Have you matched artists – or types of work, to specific spaces within the venues yet?

CVF / JC: We’re working on that and certainly expect to be further articulating and detailing the space in terms of specific works and projects. We want to encourage complementariness as much as confrontation among artworks, especially as the architecture of the space in question essentially allows for a series of mini-solo exhibitions scattered throughout three of the building’s floors.
JO: How many artists will the venues house?

CVF / JC: As many as 70. One thing I can tell you, is that we are not suffering from a shortage of space.
JO: In terms of the fit-out of the spaces, do you have an architect appointed; and have they had any particular ideas, thoughts, and responses to the sites?

CVF / JC: Gordon Ryan is our architect. He’s a remarkably bright and perceptive young architect with whom we have a very natural rapport. Our general response to the site is to want to preserve a significant amount of its character and past, which really is quite rich and amazing. Rather than giving the space a more institutional turn—by which we mean, cladding its often gorgeous imperfections within the trappings of a conventional museum building (perfect floors, walls and spot lighting)—what we’re looking to do is to make the space totally exhibition ready, while holding onto its uniqueness. There are white cubes from here to Timbuktu, but not so many spaces like Earlsfort Terrace. Like the Grey Partridge, Earlsfort Terrace should be a protected species.
JO: So there is an emphasis on ‘found space’ and presenting the works in quite evocative contexts, that are unmistakably of Dublin, rather than trying to create neutral and generic white cube spaces?

CVF / JC: Yes, it would be correct to say that—in some very important instances. It’s equally important to note that there are significant individual works that will of course require more build out. Where that is the case, we certainly wouldn’t expect the art to suffer because of some curatorial blind spot of ours.

JO: In terms of the office of non-compliance – was the former academic / education use of the Earlsfort building especially interesting to you?

CVF / JC: Sure. It’s really hard not to be literally inspired by the place. When Jota and I saw the lecture halls—with their old-time auditorium structure and graffiti carved into the wooden desks—we of course knew that one of them would have to be turned into the Office of Non-Compliance. We’re really looking forward to spending a lot of time there.
JO: In terms of access to the show, what are the opening hours of the show going to be; and will there be late night openings?

CVF / JC: Dublin Contemporary 2011 will be open 7 days a week. Each week on selected days, the exhibition will be open late to give visitors a chance to soak up the exhibition and experience after hours programming, which we are presently developing
JO: What are you plans for signage and branding of the various sites and venues – subtle and viral; or bold and unmissable?

CVF / JC: Honestly, the general tenor of what we’re doing runs far more to the bold than to the subtle. In terms of specifics for graphics and signage, it is going to be simple, effective design that will be neither shy nor obnoxious.
JO: Do you envisage Dublin Contemporary to be experienced primarily by walking the city – or using other transport means?

CVF / JC: The vast majority of the exhibition will be walkable. We are totally cognizant of the fact that Dublin is very much a walking-city and we want to underscore that special experience. In effect, visitors will be able to see most of Dublin Contemporary 2011 without having to travel great distances, which is great. Additionally, as part of our education programme, there will be a series of specially designed walks and tours throughout the various venues that will emphasize the rich history of the city. Lastly, I should mention that we are also looking to develop a bespoke travel ticket with our transportation partners. This would provide the visitor with even more added value and also make seeing the show much easier still for the public.

This article first appeared in the May - June Issue of Visual Artists’ News Sheet.