Semester 2, The Wednesday Guest Lecture
Wednesday 26th January 2022, Willow Fisher
This Wednesday we were introduced to curator, art historian and artist Padraic E.Moore. Currently in Brussels he informed us of his artistic education and how this led him onto the path he is on in the present day. Studying Art History in the early 2000’s he revealed that he familiarised himself with his artistic peers, friending artists and began to curate self directed and organised exhibitions with the help of his friends. The Irish artist in 2014 managed to get a residency which he describes as being a pinnacle point in his life. Since then he has been travelling back and forth from Stockholm to Dublin and other areas in mainland Europe. I find his background interesting as it presents to us that his interest in curating and the state in which an artwork is shown developed early on. He's not only an artist, being a writer, art historian and curator enables him to have a wider, more dense understanding and knowledge of the art world around him. With this in mind I think it's engaging that he has this broader understanding, not only is he participating by producing art but hes also commissioning artworks from others, revealing a very strengthened relationship with the art world around him. He understands it, is involved in it, and understands what it wants/needs to develop further and be more inclusive.
Moore talked about visual material a lot in the session, commenting that a lot of useful thinking is generated from modernism and its functionalities and history. In particular the act of modernism and abstraction. Having studied this during his time as a art historian student his knowledge and perception on the period is extensive and broad. He describes that the experience he had, throughout his education and involvement with art around him has shaped his path and the way he works. This is significant to me as we are basically in a position he was in, in the early stages of his artistic career/education. As students we are frequently adjusting and creating work to relate and reflect the times we are living in and experiencing. So to hear from a guest artist that the interactions he had, decisions he made, and work he produced helped to shape him into the artistic person he is today holds a lot of value. After all these are crucial times for us, the work we make and art we look at formulates the ideas and ideologies we present to them. I like this little use of almost foreshadowing, influencing us as he once was when he was in our position. It's important to look at different artworks, from around the world, not just British art. Look at the artists, the works, the ideas, the perceptions, the lenses used to grasp an understanding of them. In a more complex manner, the context in which they are shown, how they are presented in an exhibition, the importance of a curator, who orchestrates the entire space. It all links together and is of high importance.
He gave an introduction to exhibiting and the art of curating introducing us to different exhibitions throughout art history that were pinnacle to development, each one different, individual in their conception and their outcome.
I felt drawn to the description of the Abstract Cabinet exhibition from 1927. This was due to the fundamentalists of the show, the work present invited the viewer to interact with them, rare in such a formal setting. The audience were encouraged to move artworks, furthermore manipulating them in this space and re-presenting them into a new context suiting them. The idea of the viewer tampering with the decisions made by the curator, and encouraged to do so intrigues me, because it's almost as if the member of the public is taking on the role of a curator, moving it, rewriting its narrative and place within the artistic space. He talks about it fondly, remarking that this exhibition (the Abstract Cabinet) looks to the departure of display and instead focuses on flexibility and chance. I like the idea of spontaneity the environment has as a whole.
Although this was an informative lecture it was different to what we are use to. For example normally we would have an artist who would talk about their practice, whereas this talked more about the fundamentality's of artmaking and the curating and exhibiting aspect. This is of high significance for us as we are producing and exhibiting work. However despite this I do just think it wasn't in ratio to information and interest. It was very fact driven and informative rather than personal and engaging. With this being said I found it difficult to draw inspiration to my own practice as he didn't really talk about his work more about the work he has curated, or even interesting.
A large part of my current practice is displaying my work, so I think I will refer to this lecture when I am discussing the presenting of my work. I want my work to be engaging so properly planning how I will display and present my work to others is my priority. So this I can draw influence from.
Overall this wasn't the most enjoyable in terms of engaging with us as it was quite straightforward and educational, the format of the session was very standard. Showing documents and images then talking over them. For me I find it more engaging to speak to us, show their own work, talk about the process. There was something just off about this session, as if he wanted to just get it done and over with.