Photo-documentation Ella Owusu

Why Poolside?

In March 2020, our access to TU Dublin City Campus at Grangegorman ended as a measure to stop the spread of COVID-19. Working online, we re-focussed our energies to unpack current debates, in arts and media contexts, about the role of curation in photography now. 

 

Before we left the campus we had contacted three potential exhibition spaces with a view to producing our own exhibition at the end of the academic year. We had received the good news that our exhibition proposal had been accepted by The Space run by Phizzfest and located in a unit in Phibsboro Shopping Centre. Of course, they also closed due to the pandemic.

 

Early in the module, we had discovered that when the shopping centre site was first planned the developers had bought a site opposite to also build a swimming pool. But by 1969, when the shopping centre opened, the swimming pool had been dropped. There is still no pool, but the opening of The Space by Phizzfest has made room for the arts by creating an independent cultural space that is visible, accessible and affordable. 

 

We are grateful for Brian McMahon's research on the Phibsboro Shopping Centre published in Totally Dublin. We learned more about the centre's architecture from the Forgotten Frontier zine featuring photography by Breffni Hall. Then, coming full circle, the cottages demolished to make way for the shopping centre can be seen in the National Photographic Archive's Eason Collection ca.1900-39. 

 

The future development of the shopping centre has been contentious for many years. Not since 1969 has there been such a major development in the area as that overseen by the Grangegorman Development Agency that has given rise to the new TU Dublin City Campus. We will complete our studies in the new East Quad in 2021. We hope we can re-engage with The Space, our neighbours in Phibsboro, when we can be together again.

 

Essential poolside reads

 

Click or tap on anyone's name to see where we started our reading:

Aimee Rose,  Andrew Nally,  Arman Duzel,  Brian O'Connell,  Darragh Kerrigan,  Ella Owusu,  Grace Scully,  Hannah Cosgrove,  Isabel Mullarney,  Jordan Hearns,  Mary Furlong,  Michael Croghan,  Nour Sulaiman,  Órfhlaith Whelan,  Sarah McKernan,  Valdis Alijevs, Zoë Ardiff

Aimee Rose

  • Hagoort, E. (2016). ‘Pertaining Asymmetry’, in Beatrice von Bismarck, Benjamin Meyer-Krahmer (eds.) Hospitality: hosting relations in exhibitions - cultures of the curatorial. Berlin: Sternberg Press. 

  • Lowry, S (2018). ‘Curating with the internet’ in Buckley, B and Comomos, J. (eds.) A Companion to Curation. Oxford: Wiley Blackwell. 

Andrew Nally

  • Rastenberger, A-K. (2018). ‘Why exhibit? Affective spectatorship and the gaze from somewhere’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Drucker, J. (2014). ‘Interface and interpretation’ in Graphesis: visual forms of knowledge production. Cambridge: Harvard University Press. 

Arman Duzel

  • Schrijver, E. (2019). ‘In love with the copy: visual arts’ in Copy this book: an artist's guide to copyright. Eindhoven: Onomatopee. 

  • Schrijver, E. (2019). ‘No known restrictions: the public domain’ in Copy this book: an artist's guide to copyright. Eindhoven: Onomatopee. 

Brian O'Connell

  • Argyropoulou, G. (2018). ‘Where do we find each other: artistic and curatorial strategies in transitional times’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Stefan, O. and Gheorge, C. (2013). ‘Social curating and its public: curators from eastern Europe and their practices’. Oncurating.org, 18. 

Darragh Kerrigan

  • Tellgren, A. (2018). ‘Exhibiting a collection of photography’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • O’Neill, P. (2016). ‘Curating as a medium of artistic practice’ in The culture of curating and the curating of culture(s). Cambridge: MIT Press. 

Ella Owusu

  • Rastenberger, A-K. (2018). ‘What’s been viewed?’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Floyd, K. M. (2019). ‘Exhibition views: towards a typology of the installation shot’. Revista de Historia da Arte: The Exhibition: Histories, Practices, Policies, 14. 

Grace Scully

  • Schrijver, E. (2019). ‘Some copies are better than others: copying and ethics’ in Copy this book: an artist's guide to copyright. Eindhoven: Onomatopee. 

  • Rastenberger, A-K. (2018). ‘What’s been viewed?, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Hannah Cosgrove

  • Drucker, J. (2014). ‘Interface and interpretation’ in Graphesis: visual forms of knowledge production. Cambridge: Harvard University Press. 

  • Pijarski, K. (2018). ‘How to deal with liquidity’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Isabel Mullarney

  • Drucker, J. (2014). ‘Interface and interpretation’ in Graphesis: visual forms of knowledge production. Cambridge: Harvard University Press. 

  • Rastenberger, A-K. (2018). ‘In conversation with Bettina Leidl on photography institutions and sustainability’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Jordan Kearns

  • Sonderegger, R. (2016). ‘Curatorial hospitality?’ in Beatrice von Bismarck, Benjamin Meyer-Krahmer (eds.) Hospitality: hosting relations in exhibitions - cultures of the curatorial. Berlin: Sternberg Press. 

  • Willumeit, L. (2018). ‘Why not...gather together?!’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Mary Furlong

  • Schrijver, E. (2019). ‘People have rights too: personalities’ in Copy this book: an artist's guide to copyright. Eindhoven: Onomatopee. 

  • Knoppers, K. (2018) ‘Mining the archives, excavating identities’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Michael Croghan

  • Drucker, J. (2014). ‘Interface and interpretation’ in Graphesis: visual forms of knowledge production. Cambridge: Harvard University Press. 

  • Degiorgis, N. (2018). ‘Books as spaces within spaces’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Nour Sulaiman

  • Smitshuijzen, E. (2007). ‘Creating visual design: legibility and readability’ in Signage design manual. Baden: Lars Muller Publishers. 

  • Smitshuijzen, E. (2007). ‘Creating visual design: typography and typefaces’ in Signage design manual. Baden: Lars Muller Publishers. 

Órfhlaith Whelan

  • Powers, D. (2018). ‘This. Reader: trending topics and the curation of information’ in Jeremy Morris, W. and Murray, S. (eds), Appified: culture in the age of apps. Ann Arbor: University of Michigan Press. 

  • Rainio, T. (2018). ‘Interfaces for artistic thinking: redefining visual and spatial metaphors in a post-digital condition’ in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

Sarah McKernan

  • Rastenberger, A-K. (2018). ‘Why exhibit? Affective spectatorship and the gaze from somewhere’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Schrijver, E. (2019). ‘A copy of reality: photographs’ in Copy this book: an artist's guide to copyright. Eindhoven: Onomatopee. 

Valdis Alijevs

  • Ostlind, N. (2018). ‘Framed or unframed?: how the question of photography as art has shapd exhibtion practice in contemporary photography’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Smitshuijzen, E. (2007). ‘Appendix II ADA sight requirments’ in Signage design manual. Baden: Lars Muller Publishers. 

Zoë Ardiff

  • Pijarski, K. (2018). ‘On photography’s liquidity, or, (new) spaces for (new publics)’, in Rastenberger, A.K. and Sikking, I. (eds.) Why Exhibit? Positions on exhibiting photographies. Amsterdam: Fw Books. 

  • Ludovico, A. (2018). Post-Digital Print, The Mutation of Publishing since 1894. Eindhoven: Onomatopee. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Desk research Mary Furlong

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