ORPHAN [ AS PART OF ARRANGEMENTS]

 Robert Mapplethorpe's two invites for  The Perfect Moment , which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures. 

Robert Mapplethorpe's two invites for The Perfect Moment, which opened at two spaces in 1988: Holly Solomon exhibited the commercially viable portraits and flowers, while the experimental space The Kitchen exhibited the sex pictures. 

 

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Invitation to the art community to submit images or handwritten letters to be included in a printed publication launched later this year. THE SUBMISSION WINDOW IS FROM 1ST JUNE — 1ST SEPTEMBER 2018.

The authors of selected images and letters will be randomly listed on the cover of the publication but not alongside their submissions. 

Before you submit keep in mind:

1. Take time to critically reflect on your selected images and handwritten letters. 
2. Submit high resolution images and high-quality-scanned handwritten letters. 
3. Alternatively post handwritten letters (postal address given on request)
4. No details regarding the date, medium, materials, dimensions, title is required. 
5. Acknowledgment of receipt of images and letters will be prompt, but notification regarding inclusion in the publication will be October 2018. 
6. 100 copies will be printed; every author of selected image or text will receive a copy, the rest will be distributed to interested parties. 
7. Date and location of book launch & screenings TBC. 

READ BELOW TO GET A BETTER SENSE OF THE ORIGINS AND AIMS OF THE PROJECT. 

 Gillian Wearing's  Self-Portrait at Three Years Old  (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask. 

Gillian Wearing's Self-Portrait at Three Years Old (2004) confronts the viewer with her adult gaze through the eyeholes of the toddler’s mask. 

 

ORPHAN is a project first conceived in 2011 as a callout to artists and others involved in the making and distribution of art in Ireland. Each submitted image would reveal some aspect of the art making or exhibition process that was ‘orphaned’ in the process of making things right, professional, perfect. Each image was to be displayed in a publication, anonymously. The project was not about promoting the artist or art institution, but to proffer a view at the extraneous behaviours of the artist, beyond professionalism and towards some kind of vulnerable, shameful, joyful or uncomfortable truth. 

Using psychoanalysis as a framework, something I have done in previous projects, like Deep-Seated (2016) and Madder Lake (2017), ORPHAN reaches out to artists nationally and internationally to reveal the deep-seated natures behind their work and life through the submission of images and/or handwritten letters. 

Selected images and letters (invited and open submission) will target the emotions and desires that undergirds art, artist and artistic life, but isn’t always shared or made explicit in the white-cube or public-sphere display of art. ORPHAN propagandises the privacy of the individual in an era when privacy is a false commodity.

These images will form a booklet and inspire orphaned splices of text that will offset the images in the booklet.

A screening of the selected images foregrounded against music followed by a post-mortem conversation will take place at the launch of the publication. 

SUBMISSIONS TO: naivedays@gmail.com ; postal address on request.