As part of the exhibition CIRCULATION curated by Paul McAree for Blackchurch Print Studio
I am inviting audience to contribute to an homage to John Cage and his work 4′ 33” in the form of a silent, performative reading.
What goes around comes around! @ 2pm, Thur. 15 Aug. @ Monster Truck Gallery, Temple Bar.
This event is part of the A&E walking tour led by Paul McAree
1pm @ Flood Gallery, James Joyce St, Dublin 1. All are welcome!
For this piece I’ve been working with the text SILENCE, Lectures and Writings by John Cage (1973), using the I Ching to generate an archive of random quotes. Recent work springs from an interest in chance and Buddhist ideas of interconnectedness and intersubjectivity. Exploring these ideas I am drawn to John Cage’s use of chance procedures and instructional scores, which allowed performers to be independent yet part of open-ended, multi-faceted performance events.
I am interested in the way that ideas both political and artistic create ripples of influence and collective movement. Using the Japanese Enso circle as a metaphor the circle is often incomplete, the space between the beginning and the end of the circle removes the idea of an inside and an outside. There is permeability. You might also make the analogy that the artwork like the circle is incomplete without the audiences presence with it. To function someone must come from outside the artwork to give the work meaning. In a creative and social sense ideas circulate and live because we are permeable to them and give them momentum.
CIRCULATION is an exhibition inviting responses to the themes of production, distribution, and display. The exhibition expresses an interest in works which demonstrate an economy of means, using easily available and cheap means of production – leaflets, photocopies, posters, printmaking, flyers, collage – as well as historical practices of printmaking.
‘Circulation’ features both invited and open submission artists, and makes explicit the diverse artistic responses to open calls, as well as the hierarchies at play within the selection process. No artist has been excluded from the exhibition, even if it is the actual proposal itself that is displayed. The exhibition is accompanied by a print-to-order publication, funded solely by the submission fees, becoming a tangible outcome that will stand beyond the exhibition.
Monica Flynn 