Dissolving Histories follows the acclaimed Collective Histories of Northern Irish Art series, which was conceived to explore the unreliable nature of history. While Dissolving Histories refers to this series, its purpose is to actively investigate the notion of history itself.
Co-curated by Mary Cremin and Peter Richards, the four artists presented use video, sculpture, found materials, and installation to create a dialogue between their work. The distinct qualities of each artist bleed into one another on encounter, creating ‘zones’ rather than spaces in which to explore our changing reality. Working to highlight the experience of the entire exhibition as a whole, different elements converge to provoke questions relating to exhibition making, encounter, and representation.
Al Sabah, Puthod, Hanna and Calvin are individually interested in contemporary consumerism, materiality and futuristic landscape. The exhibition considers today’s lifestyle, informed by our consumption of material goods. There is a glut, an overspill, and a crowding of ideologies reflecting each artist’s interpretation of our changing everyday reality. Michael Hanna’s piece explores the ideas of utopian communities and ways of living. The work uses as its starting point the utopian publication Looking Backward by Edward Bellamy; at the time of writing in 1888 the western world was going through a similar moment when the disparity within society and world politics was in crisis.
Stuart Calvin’s work focuses on new age ideologies, his sculptural works are reminiscent of the symbols and connections that inhabit both the real and mystical landscape. The philosophical inquiry in his work explores our propensity and need to seek spiritual fulfilment in times of chaos.
Bassam Al Sabah creates surreal animated landscapes through his multi-media installations that move from the physical to the mythological. His works are influenced by Japanese anime that use hyper surreal imagery embedded in the ideas of fantasy. Al Sabah deconstructs this language by referencing war imagery to reflect the experience of countries divided by war.
Liliane Puthod in contrast highlights our fetishisation of consumer culture; neon lights, the hum and glow of a fridge, reference our consumer culture and the fabrication of desire through everyday objects.
This grouping of artists came about through studio visits and an idea of creating an exhibition that reflects our current moment, the artists areas of research compound that while we face the current political and global crisis our response and reaction reflects the complexity of our time and our means of translating this reality into artists practice.
Golden Thread Gallery,
84-94 Great Patrick St,