Tonight celebrate Culture Night and those who make it.
I was privileged to know, and have some of my work translated by, the magnificent Irish scholar, priest, poet, publisher and sage Pádraig O Fiannachta. His cultural breath still breathes on this great land of ours and its influence gives life throughout the cultural world.
The text below is a translation from our 2006 work ‘Letting Go of That which you most Ardently Desire’ an artwork that dealt with the issue of armed struggle in Irish history and our recent decommissioning process.
An tAthair O Fiannachta passed away in July of this year into the mythical.
Ní fheicimíd a leithéid arís ann
The Grip That Binds Us
As human beings we are constantly trying to deal and come to terms with internalised trauma. Being unable or unwilling to resolve certain issues, we cling even tighter to them and, though we yearn for peace and rest and progress, we can’t seem to let go of that which threatens to destroy us.
What is it like to walk away from conflict, to put your weapons beyond use? To dwell upon all the years committed to the never ending cycle of fright, fight, flight. Resentment, hatred, fury and denial all form part of the energy field that has dominated us human beings for thousands of years.
Along with the hardware, these emotions need to be deactivated if the grip that has bound us for generations to armed conflict is to be loosened finally and permanently.
Letting go is always a process of loss, a process of grieving. The dawning realisation that you cannot retake what you’ve reconciled to let go of. And the final, slow acceptance that it is no longer of service to you anyway.
The grip that binds us is a reflective process which offers participants a chance to engage with the emotional dynamics that underlie letting go and the emergence of something new.
© Gerard Mannix Flynn
Bímid, mar dhaoine daonna, de shíor ar gor ar chréachtaí inmheánaithe, agus ag iarraidh bheith réidh leo. Toisc nach féidir linn, nó nach toil linn, fadhbanna áirithe a réiteach, is daingne fós ár ngreim orthu; cé go mbímid ag tnúth le síocháin, le suaimhneas agus le dul chun cinn, ní bhíonn ar ár gcumas, de réir dealraimh, scaradh leis an rud seo a bhíonn á bhagairt sinn a scrios.
Conas a mhothaíonn sé cúl a thabhairt le coimhlint, d’airm a chur ó mhaith?
Bheith ag cuimhneamh gan stad ar na blianta gan áireamh gafa ag sceon agus comhrac, tóir agus teitheamh, teitheamh agus tóir.
Tá fuath agus fíoch, fearg agus faltanas i réim i ngarraí treafa polaitíochta Éireann leis na cianta cairbreacha.
Ní hiad na hairm chogaidh amháin atá le cur ó mhaith agus le scrios ach freisin na mothúcháin úd go léir a nasc sinn, glúin ar ghlúin, le cogaíocht an ghunna – táid le scaoileadh go deo faoi dheireadh thiar thall.
Is geall le cailliúint, le caoineadh, i gcónaí rud a scaoileadh uait. Tuigeann tú de réir a chéile nach féidir leat greim a fháil go deo arís ar an rud ar ar réitigh tú scaradh leis. Glacann tú leis de réir a chéile nach aon tairbhe duit é cibé scéal é.
An glas-snaidhm a cheanglaíonn sinn, is próiséas meabhrach é a thugann caoi dóibh siúd a bhíonn páirteach ann dul i ngleic leis na fórsaí mothaithe is bonn don scaoileadh ar shiúl agus do shaolú na nua-bhreithe.
© Gerard Mannix Flynn
Aistriúcháin – Fr. Pádraig Ó Fiannachta
Claremorris Open Exhibition is, in my opinion, one of the best run shows in the country. Artists interested in submitting work please see the website below. It is now possible to send in entries online. Its always worth traveling West in September to experience COE.
COE ’14 will run from 21st September to 12th October Entry forms are now available to download from our website www.coearts.org
It is also possible to enter on-line this year.
Closing date for receipt of entries is Friday, 13th June.
COE ’14 Curator is Michelle Cotton, senior curator at Firstsite in Colchester. A graduate of English at King’s College London and the History of Art MA at the Courtauld Institute of Art, London.
Michelle Cotton has curated over 30 exhibitions and film screenings including projects at Kettles Yard, Cambridge; Tate Britain, Tate Modern, London; Tate St Ives, Whitechapel Gallery, London and Neuer Berliner Kunstverein including solo exhibitions by Michel Auder, Henning Bohl, Wolfgang Breuer, Christodoulos Panayiotou, Paul Sietsema and Stephen Sutcliffe.
She has published numerous reviews, essays and articles and is the author of the recently published Design Research Unit 1942 – 72 (Koenig Books, 2011). Michelle was awarded the Curatorial Bursary at Cubitt, London in 2009. She has been part of the panel for New Acquisitions at LUX (2006–2008) and a Specialist Advisor to the Scottish Arts Council (2006–2010). She is a member of the Acquisitions Committee for the collection at the FRAC Champagne-Ardenne, Reims and a selector for the Contemporary Art Society’s Annual Award for Museum’s 2012.