Angelika Höger (DE) is a german artist from Bielefeld in the Black Forest, Germany who was on resident at The Guesthouse in collaboration with the library in October 2014. Höger works in kinetic sculpture and installation, often with found domestic objects; a practice she calls ‘Housewife Engineering’. Over an introductory drink Myself and Angelika had been discussing our ideal reading space and I brought her to a favourite cafe of mine in Cork, The Webworkhouse (www.webworkhouse.com). Most commonly frequented by travellers and local students, the Webworkhouse cafe provides a constant background hum of indiscernible foreign chatter that I find conducive to a good read. Angelika had expressed an interest in working with The LFTT library as an installation which I was of course interested in, as one of the primary reasons for the ‘new build’ of the shelving system would be to make the structure more malleable as building material. This initial intervention (although modest) instantly made visible further possibilities for alternative functions of the libraries modular architecture. The LFTT ‘Internet Cafe’ included cafe style seating; the photocopy station and lounge area; an international maps wall (to provide orientation) and the internet space itself – two pcs, which in place of streaming the information superhighway which is the world wide web were screening Angelika’s two part video work ‘Laufzeitanalyse’ in which one snail and a group of snails traverse a hamster wheel at a speed barely perceptible to the human eye, foraging on a piece of garden lettuce. Humourous, playful, and visually-philosophically succinct, this work was in keeping with subverting the expected function of the environment and its materials.
Angelika Hoger ‘Laufzeitanalyse’ (Videoloop ca. 1 hour, part one and part two) (2008)
“This two videoloops show a breadboard construction. In part one a snail is creeping in a hamsterwheel covered with salad leafs to make it more comfortable for her. The snail is moving very slowly but constantly for nearly one hour. You can hardly see the wheel moving. Of course the snail stays always in the lower section of the turning wheel. The cross-tie of the wheel is turning slowly around, reminding a bit of a clock hand. In part two nine snails are creeping inside the same hamsterwheel. One goes left, one right, one starts to creep upwards, another stucks at the ground … The wheel is moving even more slow, sometimes it doesn´t move at all, sometimes it turns to the other direction. I used to show part one and part two at the same time side by side or on top of each other. A nice chance to watch the potentialization of slowness”
Previously a resident at The Guesthouse, Polish artist Aga Tamiola later became involved in ‘Scale Factor’ after borrowing two books from the library on leaving; ‘Fishers of Men’ by Maxence van der Meersch and ‘Man’s Place in The Universe: A Study of the Results of Scientific Research in Relation to the Unity or Plurality of Worlds’ by Alfred R. Wallace. ‘Scale Factor’ was an exhibition of small works which travelled from Poland to The Guesthouse Cork for September 2014, curated by Tomasz Madajczak, Bartosz Nowak (Poland); Sharon McCarthy and Helen Horgan for the LFTT Library (Cork). The work as shown was collaboration between Tamiola and The LFTT who interpreted the artists instructions for install from two to three dimensions within certain parameters.
Born and raised in Stargard, Poland, Aga Tamiola is a multimedia artist living and working out of Berlin and London. Her geographical and linguistic misplacement led her to focus on a visual reflection on the aspects of loss, identity and belonging in the context of globalisation and new technologies. Aga’s nomadic approach to explore mutability of matter manifests itself in sculptural assemblages fusing materials and processes.
In her most recent series, Vanishing Voices, Aga reflected on the relationship between thought, language, geography and culture by conducting a series of nonfigurative experiments highlighting similarities and differences among the languages of the Arctic Circle.
This multimedia series was the beginning of material exploration for Aga. While observing stages of dying languages, she developed an audio-visual language to depict the linguistic processes involved. She applied a variety of materials spanning from textile, plaster and plastic to metal and glass. At this stage she discovered the human body from a sculptural perspective, which coincided with an awareness of the sculptural qualities of sound waves. This led to the human voice coming to the forefront of her installations, sound pieces and performances.
A very important part of Aga’s practice is collaboration. She looks for spaces to explore her own ideas in dialogue and experiments with others. In 2013, she co-founded the sonic arts collective Random Order. In 2014, she started questioning the breakthrough discoveries of neuroscience through sonic storytelling, performances, screenings and object making in the audio-visual project,Emergency Kit for Neuroskeptics.
‘Haiku House’ was a collaborative interdisciplinary event looking at the Haiku form, which took place at The Guesthouse in July 2014 as part of The Avant Festival. Cork based visual artist and curator Róisín Foley and Helen Horgan of The LFTT worked together for the event. Haiku’s were written by Helen Horgan using the texts from the library. Foley responded to these texts with delicate poetic sculptural interventions. For more or Róisíns work see http://roisinfoley.wordpress.com/
In June 2014 the painter Bernhard Gaul sent a letter to The LFTT requesting to work with book 1515 (Poussin by Walter Friedlaender) from his studio in Corgreaghy, Co. Monaghan. Often using an existing painting as a foil to work against, Gaul describes painting as a ‘social praxis’ and ‘poetic experience; a process of finding positions in response to external parameters’. Gaul originally studied theatre, film and media and first came to painting in 1991 with a study of the centre piece of Uccello’s ‘Battle of San Romano’, in which segments of a reproduction were copied onto 99 wooden blocks and later assembled as a fragmented painting. In contrast with the immediacy of theatre Gaul describes a dissatisfaction with the traditional forms of communicating through painting, ‘displaying artefacts only in set-ups that have more connotation of retail than direct exchange’ and says he is ‘still looking for a form of engagement that could combine that direct interaction of the theatre with the form of reflection and expression that I pursue with painting’. It was the process of documenting the method of exchange and reflection that sparked his interest in The LFTT Library. Gaul set up the self-publishing online platform bgx:mag.com in 2007 as a way of providing a public space which could be used to expose works in progress as well as publishing articles of his own and by others which otherwise might not be easily available. www.bgxmag.com
In May 2013 Mick O’Shea and Irene Murphy performed live in The LFTT Library at Highlanes Gallery as part of the exhibition ‘Things in Translation: The Legs Foundation’. Mick and Irene regularly perform as part of sound-art and performance collective Strange Attractor. They are both instrumental in the experimental sound-art scene which Cork city has become renowned for, which also includes Danny McCarthy David Stalling and Anthony Kelly and others. https://www.facebook.com/StrangeAttractorIreland