Robert Wilson’s acclaimed work The Life and Death of Marina Abramović plays at the Armory, NYC.
At the intersection of theater, opera and visual art, this reimagining of performance artist Marina Abramović’s extraordinary life and work features Abramović, who plays herself as well as her imposing mother; world-renowned actor Willem Dafoe; singer Antony, performing original music and songs created for this ‘quasi opera.’ and excerpts of Coogan's works (Yellow and Medea), performed by herself.
The Armory on Park
13-22 December 2013
At the intersection of theater, opera and visual art, this reimagining of performance artist Marina Abramović’s extraordinary life and work features Abramović, who plays herself as well as her imposing mother; world-renowned actor Willem Dafoe; singer Antony, performing original music and songs created for this ‘quasi opera.’ and excerpts of Coogan's works (Yellow and Medea), performed by herself.
The Armory on Park
13-22 December 2013
13 WOMEN, live performance
13 WOMEN
Announcing a new moving image work
made in collaboration with Paddy Cahill
with sound composition by Mike Glennon.
A timelapse video appropriated from a 12 hour live performance
at the Hugh Lane Gallery of Art, Dublin, 2013
it can be viewed at
https://vimeo.com/79687463
24 Hours in the Museum
A New Artwork, 2013
24 hours in the Museum is a collaborative project derived from the live performance, The Passing. A 24 hour performance at the Linde Family Wing for Contemporary Art at the Museum of Fine Arts, Boston. The live performance took place from 7pm on the 17th September to 7pm on the 18th September 2011. 24 hours in the Museum it made of the stories of a series of encounters observed during this 24 hour live performance and is described in 24 pages; one page for each hour.
24 hours in the Museum is a collaborative project derived from the live performance, The Passing. A 24 hour performance at the Linde Family Wing for Contemporary Art at the Museum of Fine Arts, Boston. The live performance took place from 7pm on the 17th September to 7pm on the 18th September 2011. 24 hours in the Museum it made of the stories of a series of encounters observed during this 24 hour live performance and is described in 24 pages; one page for each hour.
Impromtu in A flat, Insel Hombrich
Sunday 1 September
Live Performance, (performance in progress)
3.00pm - 4.00pm
Raketenstation Hombroich, Neuss, Germany
www.inselhombroich.de
COEXIST
A group show curated by Eamonn Maxwell
at the Kevin Kavanagh Gallery.
Including drawing by Coogan
of Robert Wilson re-appropriation of her
2001 live performance, Medea.
www.kevinkavanagh.ie
at the Kevin Kavanagh Gallery.
Including drawing by Coogan
of Robert Wilson re-appropriation of her
2001 live performance, Medea.
www.kevinkavanagh.ie
Irish Stamps Contemporary Art Collection
On Thursday 25 April An Post, the Irish Postal service, will launch a series of stamps celebrating contemporary art including The Fall, Dublin, 2009
An Post Collections
The Fall, 2009
Huffington Post
Thank you to the lovely Huffington Post,
Irish Artists: Celebrating St. Patrick's Day With Our 5 Favorite Irish Aesthetes
they link to video footage of Yellow in Artists Space, New York, in some great company too.
Irish Artists: Celebrating St. Patrick's Day With Our 5 Favorite Irish Aesthetes
they link to video footage of Yellow in Artists Space, New York, in some great company too.
Cycling with Amanda
On a windy morning, I went for a cycle with Paddy Cahill and Philip De Roos to Bull Island.
We had a chat, I was nearly blown off the bike. They made a very beautiful film. Cycling with Amanda
Check out their website too www.cyclingwith.com
COMPASS
6-28 October 2012
COMPASS Beacon Art Project presents an exhibition of four new commissions at three heritage sites in rural Lincolnshire: Woolsthorpe Manor; Grimsthorpe Castle and Ayscoughfee Hall. International artists Jordan Baseman, Amanda Coogan, Jem Finer and Bethan Huws have drawn on the particularities of Lincolnshire to create new artworks.
Dublin based Amanda Coogan is already in Lincolnshire working with seven emerging artists at Ayscoughfee Hall. When COMPASS begins on 6 October, the site-specific durational performances will continue to develop as part of COMPASS and be showcased at Ayscoughfee Hall.
Coogan is at the forefront of some of the most exciting and prolific durational performances to date. She has studied at a multitude of art institutions, including Hochschule für Bildende Kunste, Germany, under the self-acclaimed “grandmother of performance art,” Marina Abramović.
Her practice involves communicating ideas through longitudinal performance. Her work often begins with her own body and challenges the expectations of discernible context, such as head banging to Beethoven’s Ode to Joy, and signing the lyrics to Gill Scott-Heron’s ‘The Revolution will not be Televised.
Coogan has exhibited work in Europe and America. In 2008 she performed Yellow for 6 days at the Artists Space Gallery, New York and in 2009 she made her seminal durational performance, The Fall, over 17 days at the Whitworth Gallery, Manchester for the Manchester International Festival’s acclaimed exhibition Marina Abramovic Presents....
Dublin based Amanda Coogan is already in Lincolnshire working with seven emerging artists at Ayscoughfee Hall. When COMPASS begins on 6 October, the site-specific durational performances will continue to develop as part of COMPASS and be showcased at Ayscoughfee Hall.
Coogan is at the forefront of some of the most exciting and prolific durational performances to date. She has studied at a multitude of art institutions, including Hochschule für Bildende Kunste, Germany, under the self-acclaimed “grandmother of performance art,” Marina Abramović.
Her practice involves communicating ideas through longitudinal performance. Her work often begins with her own body and challenges the expectations of discernible context, such as head banging to Beethoven’s Ode to Joy, and signing the lyrics to Gill Scott-Heron’s ‘The Revolution will not be Televised.
Coogan has exhibited work in Europe and America. In 2008 she performed Yellow for 6 days at the Artists Space Gallery, New York and in 2009 she made her seminal durational performance, The Fall, over 17 days at the Whitworth Gallery, Manchester for the Manchester International Festival’s acclaimed exhibition Marina Abramovic Presents....
Yellow, An ArtFilm
http://yellowthefilm.wordpress.com/
Buried deep in the market area off Dublin's Capel Street, almost underground, is the historic Irish abbey, St. Mary’s. Here, in this hallowed space, six women dressed in yellow come, one by one and night after night, to wash and re-wash the long garment they are wearing. With effusive liquid emerging between their legs the action sits on a vertiginous axis between orgasmic and shameful. The ritual of repeatedly submerging and scrubbing the fabric they wear becomes an act of cleansing and rebirth, their raw knuckles scraping, increasingly violently, against the fabric. The grunts and groans of their efforts become haunting sounds echoing throughout the chamber. Their bodies twist and contort, becoming harbingers of an almost talismanic energy; an energy that can be felt like breath on your face, an energy that collectively becomes a triumph of the spirit. This film of that event has as its premise that to endure is to live and finally to triumph. It engages with the shamanist ritual of healing. These six extraordinary performances filmed in a series of epic single takes is an Irish film unlike any other you'll see this year. Amanda Coogan and Paddy Cahill's film presents concurrently on a single canvas the six performances, unfolding over four hours, following the durational nature of the original performances.
Yellow is a collision between Live Performance Art and Film. How do you explore Live Performance Art with Film? Cahill and Coogan have, for the past number of years, worked together recording Live Performances from the Visual Arts. (Seven Steps for the Irish Museum of Modern Art and Accumulator for VISUAL Centre for Contemporary Art). It is out of these experiences they began to explore methods of doing justice to what they see as fundemental elements of Live Performance; duration, and the evolution of the physical experience of the performer. To this end Cahill constructed a rig for his camera that allowed freedom of movement with the camera and to record each four hour live performance in one take. Cahill became the seventh performer in the project, reacting to the live performance in an, immediate, embodied way.
Buried deep in the market area off Dublin's Capel Street, almost underground, is the historic Irish abbey, St. Mary’s. Here, in this hallowed space, six women dressed in yellow come, one by one and night after night, to wash and re-wash the long garment they are wearing. With effusive liquid emerging between their legs the action sits on a vertiginous axis between orgasmic and shameful. The ritual of repeatedly submerging and scrubbing the fabric they wear becomes an act of cleansing and rebirth, their raw knuckles scraping, increasingly violently, against the fabric. The grunts and groans of their efforts become haunting sounds echoing throughout the chamber. Their bodies twist and contort, becoming harbingers of an almost talismanic energy; an energy that can be felt like breath on your face, an energy that collectively becomes a triumph of the spirit. This film of that event has as its premise that to endure is to live and finally to triumph. It engages with the shamanist ritual of healing. These six extraordinary performances filmed in a series of epic single takes is an Irish film unlike any other you'll see this year. Amanda Coogan and Paddy Cahill's film presents concurrently on a single canvas the six performances, unfolding over four hours, following the durational nature of the original performances.
Yellow is a collision between Live Performance Art and Film. How do you explore Live Performance Art with Film? Cahill and Coogan have, for the past number of years, worked together recording Live Performances from the Visual Arts. (Seven Steps for the Irish Museum of Modern Art and Accumulator for VISUAL Centre for Contemporary Art). It is out of these experiences they began to explore methods of doing justice to what they see as fundemental elements of Live Performance; duration, and the evolution of the physical experience of the performer. To this end Cahill constructed a rig for his camera that allowed freedom of movement with the camera and to record each four hour live performance in one take. Cahill became the seventh performer in the project, reacting to the live performance in an, immediate, embodied way.
