by Sara Muthi
PLATFORM’s mission is, well, just that. To create a platform for young, early career artists. Through an exhibition of diverse practices, a series of performances also accompany this showcase of Ireland’s best and brightest up and comers. The multidisciplinary practices that encompass PLATFORM range from painting, sculpture, video, audio, drawing and, of course, performance. The performances are of particular interest. While one can never know what to expect from a performance, an enjoyable musical experience that bridges community, pop culture and complex relationships between temporality and presentness would be low on my list of expectations.
A theme that seems to be coming up more and more within performance events is an overlap of performance art and the performing arts. While two very separate fields, the showcasing of the two forms is entirely appropriate in the dynamic lack of boundaries of creative practice PLATFORM champions. Cian Coady & Mia DiChairo perform Disrupting the Flow, a dance work made in a site-specific manner. Performed within meticulously marked floor lines, the presence of contemporary dance in a contemporary art gallery comments on the decreasing boundaries of creative practice in all fields. Beginning with this work, PLATFORM sets itself up as a melting pot that seamlessly curated diverse practices in a condensed, concentrated, rich yet appropriate overview of the preoccupations of a new generation of artists.
Working across fields of painting, drawing and performance, Mark Buckeridge’s performances are heavily influences by his background in music. What I will take the liberty of calling the “All I Want to do is Cry” song performed live by Buckeridge, (which repeated for days in the minds of listeners), is part of his Concert Series. This series is of interest due to its ‘pop concert’ nature that is performed within contemporary art galleries as opposed to stages of any kind. A work such as this bridges the gap between pop culture and sometimes seemingly in-accessible art works that people not knee-deep in art theory think they may not understand. By veiling complex ideas of temporality, affect and communal understanding in an widely understood situation of the pop concert, Buckeridge tears down boundaries through vulnerable and relatable lyrics. This is also achieved through the voice in the work of Robbie Blake and the Tonnta vocal ensemble.
Wearing earplugs and eye masks, each of three Tonnta vocalists takes a space away from one another. Standing still, like a ringing sculpture each performer is in a state of semi-isolation as they sing a personally chosen song. This personal aspect incorporated into the performance allows Blake to explore the auto-biographical as material for performance. As each performer quietly belts out their vocal song, notes from each voice get caught in crossfire in a most joyous harmony that strikes at least once every minute. The vibrations of each voice do not bounce off microphones or concert hall walls, but off other artworks that surround the performers. This intangible relationship that the performance shared with the static art objects further nips away at the ever expanding field of art that PLATFORM artists are encouraging. These intense, personal moments of song from each performer empower each of them, as does the assumptive autobiographical lyric of Buckeridge “all I want to do is cry, want to do is cry, all I want to do is cry, want to do is cry” (x 10).
There is something to be said about using one’s own life as material for work. This cannot ring more true than for the work of Emma Brennan. Brennan had continually been using her grandmother’s bread recipe in her performances, creating bread onsite for the public. However, this has developed into a fascination with the material of dough, which is now the subject of her video triptych in this exhibition. Exhaustingly moving a mound of dough from one end of the screen to the other, Brennan labours with dough equivalent to her own body weight across this space. Exploring viewer-performer relationships along with investigations into the value of the intangible self, her video work makes important comments on the representations of performance in light of everyday technologies.
PLATFORM creates ample opportunities for emerging artists to exhibit, grow and consider their practice in light of their peers. Spaces for fresh creative freedom, in which things may be tried and tested in a critical context such as this are few and far between. This makes PLATFORM’s success in bridging gaps between contemporary life, culture and experimental arts practice all the more important in today’s contemporary art climate.
PLATFORM’18 opened on the 21st of February in the Draíocht, Blanchardstown with performances by Robbie Blake, Mark Buckeridge, Cian Coady & Mia DiChairo. Exhibiting artists include Ella Bertilsson & Ulla Juske, Emma Brennan, Mark Buckeridge, Gum Collective (Aaron Smyth, Alex de Roeck, Aimee Gallagher, Ciara O’Brien, Ciaran Gallen, Sadbh O’Brien, Sofya Mikhaylova, Stephen Lau); Lisa Freeman, Louis Haugh, Landing Collective (Aliina Lindroos & Moran Been-noon); Eve O’Callaghan. Curated by Sharon Murphy, the exhibition runs until 31st March. Photography by Misha Beglin.