Table Games

Table Games (2021) is a 7 hour 1 minute film, which is the result of a live edited performance that was live streamed on the 17th of April 2021 at 7pm. 

The work was created at a time in which liveness increasingly occurred in the online realm due to the restrictions in place due to Covid. Table Games materialises the conditions of its production -, the limitations, and restrictions in place at this time were the framework in which it came to exist. During the streamed performance the two artists live edited the four camera recordings over the course of seven hours. The live edit created an additional limitation, there would be no second edit thus accepting, the contingency of liveness.

In Table Games six characters sit around a table playing poker. They are playing for real money which the winner receives at the end of the performance. Each player has been given a score of gestures, sentences and actions that they activate over the course of the game. Although the performance is staged, the money has created a true motive, there is now something at stake. How does each player operate within their assigned score?

The length of the work grants the viewer a separate experience depending on the time of their visit, dropping into the performance at moments where it seems nothing happens, something is about to happen or perhaps something does happen. Time begins to disintegrate as hands of poker are repetitively dealt. As the evening progresses, the line between scripted performance, ad hoc improvisation and the personal motives and actions of the players become blurred. As the performance progresses the rules, structures and scores that the artists devised begin to fray and only the structure and rules of poker remain constant.

The performance is translated to screen through a combination of 360 degree tracking shots, birds eye overviews and two tightly framed handheld cameras, which capture the facial expressions, movements and conversations over the course of the seven hours. Cinematic props, soft lighting, costume, music and backdrop draw on the aesthetics of cinema, television and theatre simultaneously. The tempo and rhythm of the editing moves between different registers – long circular tracking shots; quickly edited, tightly framed sequences; shot reverse shot conversations and static overviews draw on a range of moving image vernaculars in a work that shifts between cinema, television, theatre and live stream.

This is the second iteration of Table Games as an exhibition. In this expanded installation the original live edited video stream is reassessed and the question of what constitutes the work is posed. Now that the liveness and contingency – which were integral to the original performance – are no longer present, is the legacy of the work a seven-hour one minute film, or is it documentation of an event? This question is posed and preliminarily explored in this exhibition at St. Luke’s where supporting structures, cables, unedited footage and large-scale projection, photo documentation, clocks and rough diagrams are present in an exhibition which attempts to deal with the legacy of the live event.

 Running time: 421min 03sec

Eva George Richardson McCrea (1990) | Lives and works in Frankfurt and Dublin. Recent and upcoming exhibitions include The German School, Goethe Institute, Dublin (2022); Filmmuseum Frankfurt (2022); FONDA, Leipzig (2021) with Nina Nadig; Women and the Machine, VISUAL Carlow, (2021) with Michelle Doyle and Coilin O’Connell; Riddles of the Stones, CCA, Glasgow, UK (2020), Made Ground, Green on Red Gallery, Dublin (2019) with Frank Sweeny. Screenings include Agitation Co-op Film Screenings, Temple Bar Galleries and Studios, Dublin, Ireland (2021); Irish Film Institute, Visual Carlow, 65th Cork International Film Festival, as part of AEMI Signals and Circuits (2020, 2021). She is supported by the Arts Council of Ireland and a student at the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main. 

Nina Nadig (b.1991, Langenhagen, Germany) lives and works in Frankfurt, Germany. Her work engages with performance, film and imagemaking. Currently she is studying Fine Art at the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main in the film class. Recent and upcoming exhibitions include The German School, Goethe Institute, Dublin (2022), Filmmuseum Frankfurt (2022), Better be careful, Joane, Frankfurt (2021), Table Games, FONDA, Leipzig with Eva George, Moving Plants, Palmengarten, Frankfurt (2020), Fast vlt. Sogar auch, AEdT, Düsseldorf (2019). She is currently being funded by the Maincampus Stipendium Frankfurt and the Kulturamt Frankfurt.

This exhibition is supported by the Arts Council of Ireland.

Can you hear me Damo?

Can you hear me Damo? is the first solo show from Cork-based artist Anne-May Tabb and is curated by Alison O’Shea.

Normally, an artist would take the written ‘Artist Statement’ as an opportunity to fancifully reveal hidden truths, meanings and intention behind the work, all the while struggling to translate their visual ideas into words. Instead, let’s not over complicate it – the work is simply about the everyday – something which the title of this exhibition encompasses wonderfully.

Can you hear me Damo? albeit a confusing phrase to 99% of viewers, is a sentence that has played a massive part in the artist’s life since the first lockdown. Anne-May has religiously played Zoom bingo every Thursday night in the hopes of winning big! She has come away with a few extra quid but more importantly she has found inspiration for her solo show. This phrase comes up traditionally as bingo is JUST about to begin, when players start to panic their Zoom mic will betray them at the most vital of times. Without fail you’ll hear a shout ‘Can you hear me Damo?’ which will always be met by a good natured ‘Don’t worry, don’t worry, I’ll hear you when you have a check*’

*Check = Bingo (for those non-accustomed to bingo lingo)

This reference to the everyday sets the tone for the exhibition. Anne-May explores aspects of the everyday, relying on spontaneity, humour and connections which are found in the seemingly mundane. Whether it’s obvious or not, the work relates to knocked-over pints, pigeons of the city and flatpack furniture of IKEA with subtle references to Cork throughout. The accessibility of the work is important to Anne-May as she enjoys seeing the viewer make connections to their own everyday lives through her work. In other words, don’t worry if you don’t ‘get it’, the work doesn’t take itself too seriously and just like the people of Cork it’s up for a bit of craic!

The objects used are either found objects or cheap and cheerful necessities. Anne-May makes a point to reuse and manipulate material and repurpose it as art, shining a light on the ‘normal’. The work is susceptible to what she can find and the ideas she can generate from it making her art process quick-paced and playful.

The show opened on February 1st in St Peter’s Vision Centre, North Main Street and ran until February 14th. As part of the show Anne-May Tabb and Alison O’Shea were in discussion with artist and curator Ciara Rodgers as part of the Faoin Spéir programme presented at the Living Commons, Wandesford Quay, Cork.

Supported by the Arts Council of Ireland.

As part of this exhibition we spent 2 weeks in one of the National Sculpture Factory’s project spaces.

There is also a limited edition 2 colour, hand finished risograph available.

a passive house part iii

a passive house part iii a talk by artist Dori O’Connell

Her work for ‘a passive house’ is what ever is happening in the average suburban garden, such as drying the clothes or digging tiny plots.

a passive house part ii

a passive house part ii a conversation with artists Lily and Ali O’Shea

This research stems from a research process which began between Ali and Lily O’Shea during a collective burnout. For this research we began to emphasise the importance of downtime and doing nothing. In our research we have found the expectation on creative pursuit to be pressurised with an expectancy of a flexible body.

This talk hoped to underline sustainable practice models within creative pursuit which may allow one to regain some agency over one’s time. We seek to resist any pressure of pace and reject and reject the expectations in the current system, instead we seek to promote everyday tasks as artistic pursuit and by calling them so, every outcome is an outcome.

This was the first in a series of events stemming from a publication produced in 2020 entitled a passive house with artists Fiona Kelly, Dori O’Connell, Mary O’Leary and Lily O’Shea. This series was a continuation and sharing of the research produced in this publication and hosted in the DIY community space of Rebel Reads, Cork.

This series was funded by the Arts Council of Ireland.

a passive house part i

a passive house part i with artist Mary O’Leary at Rebel Reads Cork

Mary created a menu based on slowness and care, each element of the menu practices these in their creation; pickling, fermenting, brining and drying.

These practices allow for the food to passively transform into different tastes and experiences, slowly and at their own pace.

This was the first in a series of events stemming from a publication produced in 2020 entitled a passive house with artists Fiona Kelly, Dori O’Connell, Mary O’Leary and Lily O’Shea. This series was a continuation and sharing of the research produced in this publication and hosted in the DIY community space of Rebel Reads, Cork.

This series was funded by the Arts Council of Ireland.

slow puncture

a solo exhibition by Lily O’Shea

I dreamt that I was cycling on official business for three days. Suddenly I felt the saddle getting hard and lumpy underneath me. I got down and felt the tyres, but they were unexceptionable and fully pumped. Then I thought my head was giving me a nervous outbreak from too much overwork. I went into a private house where there was a qualified doctor and he examined me completely and told me what the trouble was. I had a slow puncture

The Third Policeman, Flann O’Brien

A slow puncture is a small hole in a vehicle’s tyre which causes air to escape gradually. It can go unnoticed for a prolonged period of time and could possibly reduce road control in harsh weather conditions.

This exhibition deals with the issue of sustaining an art practice while experiencing burn out. The work is based on the occurrence of a slow puncture and its potential to drain one’s creative abilities. It explores the performance of productivity and the impact of equating self-worth to efficiency. This has resulted in a series of reflections which examine the urge to appear productive while burning out – each element of the exhibition representing pockets of time, or proof of production.

Slow Puncture is curated by Cork-based curator and visual artist Alison O’Shea (b. 1996).

17th September – 2nd October 2021

The Lord Mayor’s Pavillion, supported by Sample Studios: 17th September – 2nd October 2021, Wed – Sat, 11am – 4pm

a passive house

Fiona Kelly, Dori O’Connell, Mary O’Leary and Lily O’Shea, research and publication initiated by Ali O’Shea, Cork, Ireland 2020

This publication is the first iteration from a passive house. A passive house is a house which is truly energy efficient, a sustainable and comfortable structure. The passive house here has acted as a methodology, a structure to learn from and engage with. This publication presents a series of archival material from within a house – a house which is striving to become a passive house – the goal of energy efficiency is still present but for the occupants rather than the structure. This visual research stemmed from the early months of the Covid19 pandemic lockdown and retreat indoors. The house became the centre of many practitioner’s view, the pressures to create during so-called downtime emerged. The At Home Artist Residency programme mentioned in the beginning of this piece was created as a response to these pressures. The lockdown here is reimagined as a continuous artist-in-residence programme and as a result all activity within the passive house became inherently creative, whether this be watching endless television, cooking, gardening or cleaning. The production of this research has simultaneously been a search for a sustainable practice but also an ever-present pressure to create an output to validate the pursuit of a practice. Each occupant has generously responded to these thoughts, utilising materials such as time, dust and food.


An installation created by artist Siuán Ní Dhochartaigh

relaxation* looks at translating personal material into the products of professional pursuits. Passive art practices as well as “productive relaxation” are explored here in order to interrogate the demands placed on workers, and the role of creative practice and labour. The colouring book translates material from passive experience (dreams, childhood memory and ingenerate folk narratives) into an active exercise in storytelling. The colouring book requires its audience to both read and make, further blurring boundaries between consumption and production. A lazy art presentation speculates around an insular looping practice using repetition and rotation. The guided meditation uses critical material surrounding the function of the studio, workplace or worker as a starting point. This pacifying audio piece encourages us to relax and locate a productive calm which exists outside of the usual sites of production, however this in-between time and space has similar problematic themes such as demands of endless growth, ego depletion, and alienation.

Siuán Ní Dhochartaigh is an artist based in Glasgow, Scotland. Her practice deals with the personal, often fictionalising its critical-historical importance. After graduating from the National College of Art and Design, Dublin, Ireland in 2017, her work has been displayed in the Pearse Museum and the RHA in Dublin. She has undertaken an interdisciplinary residency in Hospitalfield, Arbroath, Scotland. Her research regarding Irish as an art language and speculative tech reviews around the role of the service-based economy in art have been published in Circa Art Magazine. She is currently undertaking a Master’s in Art Writing at the Glasgow School of Art.

Running from the 18th – 23rd of March
Curated by Ali O’Shea in association with the MLitt Curatorial Practice at Glasgow School of Art/University of Glasgow and wasps_ studios

over or under

Over or Under

Sculptural intervention by Dominique Rivard
Written work and performance by Molly O’Leary
Curated by Joe Henry, Cecelia Graham and Ali O’Shea

Anderston’s Bridge to Nowhere was the catalyst for the project- a once incomplete bridge that terminated in mid air. We were interested in exploring these unfinished projects within the city, symbols of misled optimism in urban planning leaving the city in limbo. Now complete the bridge has been renamed The Bridge to Everywhere, yet there still remains fragments of these incomplete spaces, possible links never connected.

Dominique Rivard’s The Ladder to Everywhere contemplates the Bridge to Everywhere and the seemingly endless possibilities that are offered, only to be rendered unattainable. The sculptural intervention that highlights the liminal space of the site whilst offering a symbolic tool for bridging the gap that the construction of the motorway system caused.

Molly O’Leary’s performance a definitely tidy appearance reflects the construction of the in-between space that Rivard’s sculptural intervention wishes to reconnect using the language of the archetypal planner, sourced in part from the motorway archive at The Mitchell Library. O’Leary’s exploration of this language intends to underscore its absurdity when removed from its intended arrangements.

The intervention takes place on the Anderston-Argyle footbridge on a fragment.

The public intervention will took place on Tuesday 5th November, 2019