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Curator Megs Morley.

One-to-one Mentoring Opportunity with Curator Megs Morley

Posted: 26 November, 2015

Curator and artist Megs Morley will give one-to-one critical feedback and practical support to artists and curators on their practice, how to present themselves or their project proposals. This includes an initial one hour meeting between artist and curator at Fire Station Artists’ Studios in January 2016 and an additional follow up studio visit/meeting at the end of March 2016. Open to all artists and curators who are actively practising or interested in taking a new direction.

Session dates: Wednesday 20th & Thursday 21st January, 2016

Closing date for applications: Monday 7th December 2015

Price: €40

Applications dealt with on a first come first served basis.

Payment must be received to guarantee booking.

How to apply:

We will only accept online applications. Go to: www.firestation.ie/skills

Online applications will open on Monday 9th November 2015

Your application should include:

A statement clearly explaining what you would like to get feedback on (maximum 500 words)

CV (maximum 3 pages)

Artist statement and/or project proposal (maximum 500 words)

Documentation (maximum 6 images, clear image list with year, materials, context etc.)

Weblinks for showreels (e.g. Vimeo, YouTube)

Please state which date is your preference and we will try to accommodate you.

For further information, email: artadmin@firestation.ie

Tel: 01 806 9010.

Website: www.firestation.ie

Megs Morley Biography

Megs Morley is an independent curator and moving image artist whose projects primarily deal with how social and political situations are represented in art, and with strategies of artistic resistance that include self-organisation, intervention and collectivism. Most recently she was the Curator in Residence for Galway City (2014) where she developed a year-long public research programme ‘The Para Institution’, (www.parainstitution.ie) and in 2015 she curated the Galway Plastik Festival of artists moving image, entitled ‘A State within a State’ featuring Harun Farocki, Duncan Campbell, The Museum of Non-Participation, Lawrence Abu Hamden, Rabih Mroué and many more.

Morley was the curator of ‘After the Fall’; the 2011 Tulca Contemporary Art Festival where she developed a city-wide international exhibition and programme including over 40 national and international artists spanning over 8 exhibition venues, new commissions, residencies, talks, live events, screenings, performances and professional workshops that queried artists responses to the overlapping contexts of economic collapse and social and political upheaval, by interrogating received forms of knowledge, imagery and power and by challenging the politics of representation, commemoration, historiography, narrative construction, identity and memory formation in a world after the fall.

In 2012 Morley developed “Lines of Sight” – an exhibition of 12 moving image artists including Artur Zmijewski, Yael Bartana, Roee Rosen, and Avi Mograbi – during a residency in the Israeli Digital Art Centre’s Digital Moving Image Archive in Tel Aviv, Israel, for EVA International 2012 curated by Annie Fletcher. ‘Lines of Sight’ focused on artists that utilise the documentary form, in an attempt to expose the relationship between the camera’s role in mediating social conflict, political situations, traumatic memory, history and knowledge.

Previously, Megs worked as public arts officer for Galway City Council (2008-2010) where she commissioned a series of significant multi-disciplinary and participatory public art projects across Galway City. In addition she is the curator of the Artist-led Archive, a project documenting over 80 Irish artist-initiatives from the 70s’ to the present (www.theartistledarchive.com) and is an advisor to the 126 Gallery, and to the National Visual Arts Library in Dublin. She lectures on the Curatorial module in the Huston School of Film & Digital Media NUIG and is curating the first solo exhibition in Ireland of the US artist Amie Siegel in TBG&S in 2016.


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