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
In August 2013 violinist and performance artist Katherine Atkinson was invited to respond to The LFTT exhibition Things In Translation: The Legs Foundation at Highlanes Gallery. She decided to stem her performance quite literally from the individual works themselves, enacting an intimate one-one-one engagement with the textures and forms they evoked. It was quite ‘spellbinding’!
Katherine’s work is inspired by physical theatre, using strong visual images as part of the performance. When performing the violin becomes an extension of her physical self, another part of her body as well as an extension of her voice. Inspired by physical theatre, Atkinson uses strong visual images as part of her performance, often responding to specific architectures and environments in an exploration of the boundaries between public and private space.
Katherine says of her practice “I am interested in testing performance concepts in public spaces. I am fascinated by the ways in which audiences respond to public performances, and I have researched this in both my performance work and through academic research.
The encountering of visceral experiences through the physical, sensory and emotional archaeology of an edifice is an inspiring premise. I am interested in looking at the envelope of a building, thinking about the site, ruminating over its purpose, imagining who’s been there before, and sensing who’s there now. It is fascinating to contemplate how a space may change over time, or even in a moment. Wrapped within a site, it is exciting to imagine how the space could be transformed through music and movement by responding to surfaces and textures, floors and ceilings, nooks and corners, light, dark and all shades in between, constructing a physical audio-active foundation for the building.” Read More
After its initial introduction The LFTT Library returned to The Highlanes Gallery, Drogheda in May 2013 for its first commissioned exhibition ‘Things in Translation: The Legs Foundation’ in supported by the Drogheda arts Festival, Louth County Council and Highlanes Gallery. The exhibition was co-curated by Aoife Ruane, director of Highlanes Gallery and Helen Horgan of The LFTT Library. Eight artists were invited to make new work in response to items from the Library collection; Vivienne Byrne, Aoife Desmond, Danyel Ferrari, Jessica Foley, Helen Horgan, Aine Ivers, Susan MacWilliam and Meadhbh O’Connor. The show remained in the gallery from May 5th until August 27th 2013. During this time a programme of lectures, events and performances took place in the gallery. Local ballad band Rapscallion played on the opening night. See related posts for more. Read More
After Completion was a ritual performance devised by artist Monica Flynn in response to content from the LFTT Library and was held at Highlanes Gallery Drogheda on October 5th, while The Library was on residency there. In the artists words…
“After Completion involved 9 performers in a ritual action exploring our innate instinct to bear together. The piece was developed in response to my interest in accounts of mysticism within the LFTT Library. My thanks to artist Helen Horgan and Aoife Ruane and staff at the Highlanes Gallery for the opportunity to realise this work and to my fellow performers: Irene Bagnall; Catherine Barragry; Vivienne Byrne; Jessica Foley; Joan Healy; Aoife McKeon; Deirdre Morrissey and Grainne Rafferty. Read More
On Friday the 5th of October we held a talk in The Library about the projects history so far. The talk was very well attended and there was a lot of questions from the audience. It was one of the first times I became aware of how much the project could mean to the public. In casual conversation with other art practioners there was often the belief that I may have taken on something potentially useless and/or antiquated. The response from the public began to show a very real interest in the heritage of the collection. Sometimes this concern for preservation went to the extreme and there was expressions to the effect that the books might better be kept in a more stable and controlled environment, away from the touches of (artists and the publics) grubby hands. Of course with a traveling library this isn’t possible, or probably even necessary. The librarian at Dublins Marshes Library (the countries oldest) told me she encourages the public to handle their ancient tomes without gloves, bare handed, since the older books (pre 1900’s) are actually made of sturdier stuff than those made by contemporary processes. In any case, nothing, not even a library, lasts forever.