Dr Maeve Connolly
My publications include two books, both published by Intellect. TV Museum: Contemporary Art and the Age of Television (2014) examines how television has been imagined, critiqued and memorialised by artists. The Place of Artists’ Cinema: Space, Site and Screen (2009) explores aspects of the cinematic turn in contemporary art since the 1990s.
|[Journal article] ‘Exhibiting the End: Curatorial Scenarios of Burial, Contamination and Extinction’, Journal of Curatorial Studies 7.1, 2018, 96-120.||2018|
|[Catalogue Essay] ‘Beholding Gravity’, SOLO: Mairead O’hEocha, Vicenza: AMC Collezione Coppola, 2018.||2018|
|[Catalogue Essay, published in English, and French and German translation] ‘Le méchanic du “maintenant”/Die Funktionsweise des Jetzt/The Mechanics of Now’, in Gerard Byrne: A Late Evening in the Future: Signal, Spectre, System, edited by Sven Anderson, Gerard Byrne and Peter Maybury, Vienna: Verlag für moderne Kunst, 2018, 33-38.||2018|
|[Journal article, online],‘Settlement, Shelter and Stowaway: From Location to Logistics’, SCB Journal, Screen City Biennial, Stavanger, 2017. http://journal.screencitybiennial.org/2017/11/01/maeve-connolly-article/||2017|
|[Book chapter, published in English and Polish translation] ‘The Place of Our Dreams: Lódź Film School and the Workshop of the Film Form’, Workshop of the Film Form, edited by Marika Kuźmicz and Łukasz Ronduda, Warsaw and Berlin: Fundacja Arton and Sternberg Press, 2017: 201-212.||2017|
|[Conference Reader, published in English and Korean translation], ‘Electronic Superhighway: Nam June Paik and the Infrastructure of Circulation’, NJP Reader #6: Reanimating Nam June Paik 8, edited by Jihoon Kim, Seoul: Nam June Paik Center, 2016: 141-150.||2016|
|[Book chapter] ‘Conceptualising the Cinematic in Contemporary Art’, in Extended Temporalities: Transient Visions in the Museum and in Art, edited by Alessandro Bordina, Vincenzo Estremo, Francesco Federici, Milan and Udine: Mimesis International, 2016: 73-86.||2016|
|[Catalogue Essay] ‘Permutations of the Prop’, Forms of Imagining: Additionals: Céline Condorelli, edited by Tessa Giblin and Emer Lynch, Dublin: Project Arts Centre, 2016, 4-11.||2016|
|(Book chapter, published in German translation) ‘Gillian Wearings delegierte Performer. Schauspieler, Trinker und soziale Körper’, in Ortsbestimmungen: Das Dokumentarische zwischen Kino und Kunst, edited by Eva Hohenberger and Katrin Mundt, Berlin: Vorwerk 8||2016|
|[Journal article] ‘Archiving Irish and British Artists’ Video: A Conversation between Maeve Connolly and REWIND researchers Stephen Partridge and Adam Lockhart’, MIRAJ 5.1&2, 2016, 204-215.||2015|
|[Catalogue essay] ‘Our Time of Teaching’, Olivia Plender: Rise Early, Be Industrious, edited by Remco de Blaaij, Gerrie van Noord and Olivia Plender, Arnolfini, Bristol, CCA Glasgow, MK Gallery, Milton Keynes, Walter Phillips Gallery, the Banff Centre, and Sternberg Press, Berlin, 2015: 58-73.||2015|
|(Book chapter) ‘Trailer Time: Cinematic Expectations and Contemporary Art’, Exhibiting the Moving Image: History Revisited, edited by François Bovier and Adeena Mey, Zurich: JRP Ringier. 130–153.||2015|
|(Book chapter), ‘The Museum as TV Producer: Televisual Form in Curating, Commissioning and Public Programming’, International Handbooks of Museum Studies: Volume 3: Museum Media, edited by Michelle Henning, Oxford: Wiley-Blackwell. 121–143||2015|
|(Catalogue essay) ‘Architectures of Improvement’, Primal Architecture, Dublin: Irish Museum of Modern Art: 10-12||2015|
|(Book) TV Museum: Contemporary Art and the Age of Television, Bristol and Chicago: Intellect Books||2014|
As part of my research, I frequently curate screenings of contemporary artists’ film and video, often working in collaboration with other programmers and curators.
|Being Infrastructural screening programme with works by Jeamin Cha, Mike Kelley, Heecheon Kim, Nathaniel Mellors, Rosalind Nashashibi, Lucy Raven and Dan Walwin, at Mother’s Tankstation Gallery, Dublin, 2 November – 16 December 2017.||2017|
|Infrastructural Objects, Screening of artists’ film and video at Bluecoat, Liverpool, October 28, 2015. Screening of films by Wendelien van Oldenborgh and Sarah Browne, (co-curated with Alice Butler) Irish Film Institute, Dublin||2015|
|Screening programmes titled ‘Broadcast Collaboration’ and ‘The Television Studio’, TV as Material, (co-curated with George Clark), Starr Auditorium, Tate Modern, London||2014|
|TV Museum – The Mini-Series, four-part programme of TV-themed lectures and screenings curated for the gallery at Project Arts Centre, Dublin, April-October||2014|
My research consists primarily of case study analyses of art and media cultures, economies, infrastructures and practices. Current research interests include infrastructural aesthetics in art; television as a commissioning and production context for art; comparative analysis of art and film/TV work practices (particularly in relation to cinematography and acting); comparative study of Irish and Scottish artists’ moving image. My research is disseminated via academic publications, curated public discussions and screenings.
- I am currently developing a new research project, which examines how artists have engaged with radical transformations in infrastructures and technologies of circulation, involving bodies, data and objects.
- I contributed (in 2011-2012) to the project Theory + History of Cinematographic Objects, led by Dr Volker Pantenburg, Bauhaus University Weimar.
- My PhD research project (2000-2004) at Dublin City University, titled An Archaeology of Irish Cinema: Ireland’s Subaltern, Migrant and Feminist Film Cultures (1973-87), was funded by a Government of Ireland Scholarship.
|‘Expanded Documentary and Embodied Infrastructure in Artists’ Film’, Void, Derry, 24 February 2018.||2018|
|‘Bodies, Limbs and Intermediary Entities in Sarah Browne’s Work’, NECS: European Network for Cinema and Media Studies, 2017 Conference, Université Sorbonne Nouvelle – Paris 3, 29 June 2017.||2017|
|‘Electronic Superhighway: Nam June Paik and the Infrastructure of Circulation’, Gift of Nam June Paik 8. Reanimating NJP: Nam June Paik’s Interfaces, Nam June Paik Center, Seoul, South Korea, 9 September 2016.||2016|
|‘Theorising Cinematography in Irish Cinema and Artists’ Film’, Irish cinema: the national and the international: symposium for Kevin Rockett, School of Drama, Film and Music, Trinity College Dublin, 20 May 2016.||2016|
|‘Art, Television and Invisible Internet Infrastructure’, Expanded Television, University of Cologne, Jan 14-15||2016|
|‘Mined and Mediated Bodies: Acting in Artists’ Film’, Artists’ Moving Image Practice in Britain: From 1990 to Today, Whitechapel Gallery, London, Nov 6-7||2015|
|‘Televisual Form, Media Infrastructure and the Museum as Repository’, Misfits: Time-Based Media and the Museum, Carnegie Museum of Art, Pittsburgh, October 22-24||2015|
|‘Smartphones, Sampling and Multi-tasking: Observing and Choreographing Women’s Work’, Console-ing Passions: Rebooting Feminism, Dublin, June 18-20||2015|
|‘Storage, Transport and Loss: Digital Technology and Artists’ Film’, Lunch Bytes Conference, organised by Goethe-Institut at Haus der Kulturen der Welt, Berlin, March 20-21||2015|
Awards + Achievements
|Spatial Arts and Visualisation Seed Fund award for ‘Visualization, media, digital humanities and preservation: Developing curation ready projects’. The proposal was led by Dr Amber Cushing, School of Information and Library Studies, UCD||2015|
|Research Fellowship, International Research Institute for Cultural Technologies and Media Philosophy, Bauhaus University Weimar, Germany||2011–2012|
|Irish Arts Council Project Award for publication project TV Museum||2011|
|Institute of Art, Design + Technology Innovation Seed Fund for The Place of Artists’ Cinema publication project||2007|
|Irish Arts Council Bursary for The Place of Artists’ Cinema publication project||2006|