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.
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
Redux - Symposium, Performing Documents
8 December 2012, Arnolfini, Bristol.
Performing Documents is a major collaborative research project which asks how we are dealing with the remains of Live Art today. Drawing on creative, curatorial and research strategies, this project stages a wide-reaching investigation into the problems and potential of performance and its documents. It will culminate in a large-scale conference and exhibition at Arnolfini arts centre.
For Redux, Coogan will be giving a presentation titled ‘Yellow once, Yellow twice, Yellow three times…oh lady!’ Coogan’s presentation will focus on her 2010 project Yellow-Reperformed. Taking a micro approach, Coogan looked to her solo live performance Yellow as the starting point for a re-performance project. This durational live performance was taken outside of the artist’s body and offered to five performers to remake. Coogan will present her journey of mining this embodied, improvisational, durational work. further details here
Performing Documents is a major collaborative research project which asks how we are dealing with the remains of Live Art today. Drawing on creative, curatorial and research strategies, this project stages a wide-reaching investigation into the problems and potential of performance and its documents. It will culminate in a large-scale conference and exhibition at Arnolfini arts centre.
For Redux, Coogan will be giving a presentation titled ‘Yellow once, Yellow twice, Yellow three times…oh lady!’ Coogan’s presentation will focus on her 2010 project Yellow-Reperformed. Taking a micro approach, Coogan looked to her solo live performance Yellow as the starting point for a re-performance project. This durational live performance was taken outside of the artist’s body and offered to five performers to remake. Coogan will present her journey of mining this embodied, improvisational, durational work. further details here
Alice Maher - Becoming - Artists Response | Amanda Coogan
Wednesday 21 November, 4.00pm, Lecture Room, IMMA at NCH
In the form of an illustrated presentation artist Amanda Coogan is invited to respond to selected works in this exhibition Alice Maher: Becoming which reflect themes of embodiment and performativity. In particular Coogan will discuss the role of the body in Maher’s practice, with ideas surrounding the artists’ body as material and experiential filter. Coogan will discuss the various ways in which change, transformation and gender stereotypes can be explored through a range of artistic media employed by Maher and on view in Becoming and illustrate those through Coogan's 2009 project, Snails, After Alice Maher.
click here for booking information
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....
REMNANT(S) - Ballina Arts Centre, Co. Mayo.
4 - 27 October 2012
Celebrating and concluding the REMNANT performance art symposium, REMNANT(S) explores the relationship between the process of documenting performance art and the performance itself. Does the document become a piece of art itself? And if so, does it remain an objective document or a subjective, expressive piece of art?
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.
