From their web site:
“The Exhibitionist is a new journal focusing solely on the practice of exhibition making. The objective is to create a wider platform for the discussion of curatorial concerns, encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.
The journal is a publication made by curators for curators and understands itself as a site for critical debate in regards to the practice of exhibition making. The Exhibitionist will be published twice a year and will follow a strict editorial structure that revolves around the analysis and examination of past, present, and future exhibitions and other curatorial ideas. Under the title Curators’ Favorites each issue will present three texts for which three curators will write a personal essay about their favorite exhibition, contemporary or historic. This will be followed by an in-depth look at a historically important exhibition in the section Back in the Day. Assessments will comprise the core of the journal. Here four curators will focus on reviewing one significant contemporary exhibition from different points of view. Typologies opens up the debate around specific exhibition formats. The section Attitudes will feature a text by a member of the editorial board reflecting on the current state of exhibition making while Rear View invites a curator to reflect upon an exhibition s/he has recently curated. Every fourth issue a conversation about past contributions, the content and the form of the journal between some of the past contributors will offer a forum for self-reflexivity.”
‘Ireland. An Insiders View’ gives an impression of up-and-coming Irish photographic talent.
In the last few years unprecedented changes have come about in Ireland. The country has transformed itself into a modern, competitive and multi-faceted nation.
The cultural landscape of the country, in particular, has undergone important changes. Increased subsidies and the development of photography courses have brought forth a new generation of critical and informed graduates. These talented photographers play a key role in the investigation of contemporary questions within Irish culture. The works exhibited here reflect the wide range of issues in a phase of Ireland’s self-discovery.
Ireland [an insider’s view] presents a brief overview of emerging Irish photographic talent.
In recent years Ireland has undergone an unprecedented process of change. The country has developed from an inward-looking society into a modern, competitive, diverse and wealthy nation.
In particular the cultural landscape of the country has undergone significant changes. Increased funding for the arts and the emergence of photography degree programmes have created a new generation of critically informed photography graduates. The emerging Irish photographic talent is playing a key role in the investigation of contemporary issues within Irish culture.
The works selected here reflect a diversity of concerns as Ireland struggles to make sense of itself: the new generation of young ‘post-conflict’ northern Irish Diaspora: the effects of the ‘Celtic Tiger’ boom on the landscape; suburbanisation of the rural landscape; the hedonistic night life of the capital city. The images selected reflect a brief account of these insiders’ views.
The 12 artists are: Kim Cunningham, Tadhg Devlin, Kevin Fox, Ben Geoghegan, Angel Gonzalez, Louise Maher, Eoin O’Conaill, Mandy O’Neill, Fred O’Reilly, Anna Rackard, Darlene Shannon, Ruby Wallis.
Ireland [an insider’s view] is curated by Darragh Shanahan for the Gallery of Photography, Dublin.
This project is supported by Culture Ireland – promoting the arts abroad.
The artist Hans-Christian Schink opened in spring 2008 his own show room in Berlin, where he intends to invite other artists for guest exhibitions. Parallel to the big “Tropics”-Show in the Martin-Gropius-Bau he is now pleased to present DAVAO, new work by Ingar Krauss. Davao is situated in the very south of the Philippine Isles and is after Manila its second biggest city, but it is more a huge conglomerate of villages than a metropolis like Manila and is therefore dominated by agriculture and country life. Due to colonial history Spanish Catholizism and American lifestyle are belonging to the Philippine identity. But in particular the country people still live with animistic cults and the traditional pre-colonial mythology, which consists of a collection of magic figures and creatures lots of the Filipinos are still believing in, despite the strong Western influence. Ingar Krauss brought from Davao a series of portraits and animistic still lifes which he printed on outdated East-German photographic paper. He treated the prints then with oil colours, to give them a bit of a tropical sultriness.
Showroom Hans-Christian Schink
Heidestr. 46-52, Building 2, first floor
10557 Berlin, Germany
September 5 – October 25, 2008
Opening hours: Wed – Sat 2 – 6 pm