Dr Tina Kinsella
Tina Kinsella is a Research Fellow at the Centre for Gender and Women’s Studies, Trinity College Dublin, and Fellow of the Graduate School of Creative Arts and Media (GradCAM), Technological University Dublin. She is Irish-PI on ‘Feminist Art Making Histories’ (@FamhResearch) which is one of 12 research projects funded by the UKRI Arts and Humanities Research Council and Irish Research Council’s flagship funding stream for collaborative research in the digital humanities, Collaboration in the Digital Humanities Research Grants Scheme. Professor Hilary Robinson (Loughborough University) is UK-PI on the FAMH project, Dr Amy Tobin (University of Cambridge) and Dr Elspeth Mitchell (University of Leeds) are Co-I‘s on the project. ‘Feminist Art Making Histories’ will collect, curate, and create an archive of oral histories and ephemera of the feminist art movement in the UK and Ireland from the 1970s onwards. It will make a tangible contribution to what is currently a hidden, yet shared, diverse cultural heritage between the UK and Ireland of feminist artists’ activism.
Tina’s research portfolio encompasses scholarly publications, cultural criticism and other creative works including collaborations with internationally renowned artists, Aideen Barry, Sarah Browne, Bracha L. Ettinger, Jesse Jones and Alice Maher. She has curated large-scale exhibitions including a joint exhibition of work by Aideen Barry and Alice Maher Fair is Foul & Foul is Fair (Katzen Center, Washington DC, 2019). Tina is globally recognised as an expert in the artistic practice and Matrixial Theory of the Israeli artist, psychoanalyst and philosopher, Bracha L. Ettinger (Marcel Duchamp Chair and Professor of Psychoanalysis and Art at The European Graduate School) who is regarded as one of the most radical thinkers in contemporary French feminist theory. She has presented keynote lectures and invited presentations at international venues such as the Danish Art Academy, the Elliott School of International Affairs, the New York University, the University of Alberta, the Université Dhillali Liabés de Sidi Bel Abbes and Goldsmiths, University of London, the Van Abbemuseum, Artangel at the Swedenborg Society, Irish Museum of Modern Art, Royal Hibernian Academy, Science Gallery, Douglas Hyde Gallery, Dublin City Gallery – The Hugh Lane, Dublin Fringe Festival, Project Arts Centre, The Complex and the Millennium Courts Art Centre. She acted as PhD External Examiner at KU Leuven, the University of Leeds, Central Queensland University and Dublin City University.
Tina has published widely in the fields of modern and contemporary art practice, visual culture, aesthetics, performance studies, philosophy, psychoanalysis, anthropology, maternal studies and legal studies. She is currently working on a monograph on contemporary female artists’ relationship to, and interrogation of, surrealism.
Tina has published widely in the fields of contemporary art practice, visual culture, aesthetics, performance studies, philosophy, psychoanalysis, anthropology and legal studies. She is currently working on a monograph on contemporary female artists’ relationship to, and interrogation of, surrealism.
|‘A Cord that is Never Done Away With: An Aesthetic Ontology of the Pre-Birth Scene with Francesca Woodman and Bracha L. Ettinger’. Maternal Structures in Art: Intergenerational Discussions on Motherhood and Creative Work (Elena Marchevska and Valerie Walkerdine eds). Oxford: Routledge||2020|
|‘The Artistic Practice of Micol Hebron: Provoking a Performative Heuristics of the Maternal Body’. Inappropriate Bodies: Art, Design and Maternity (Rachel Epp Buller and Charles Reeved eds). Ontario: Demeter Press||2019|
|‘O Children in God’s name slay not your mother!’. Tremble, Tremble / Tremate, Tremate (Jesse Jones and Ireland at Venice, 57th Venice Biennale). Mousse Publishing and Project Arts Centre||2017|
|‘In nome degli Dei, non uccidete la madre, o figli’. Tremble, Tremble / Tremate, Tremate (Jesse Jones and Ireland at Venice, 57th Venice Biennale). Mousse Publishing and Project Arts Centre||2017|
|‘Sundering the Spell of Visibility: Bracha L. Ettinger, Abstract-Becoming-Figural, Thought-Becoming-Form’. And My Heart Wound-Space (Griselda Pollock ed.). Leeds: Wild Pansy Press||2015|
|‘Colonising Kahlo: Frida Kahlo and the Transcultural Encounter’. Transcultural Encounters Amongst Women: Redrawing Boundaries in Hispanic and Lusophone Art, Literature and Film. Newcastle: Cambridge Scholars Publishing||2010|
|‘Legal Aesthetics in The Touching Contract: Memory, Exposure and Transformation’. Law, Culture and the Humanities Journal. Newbury Park: Sage||2020|
|‘Alice Maher’s Berry Dress’. Visual Artists Newsletter, Special Issue: ‘Four Decades of Irish Sculpture’.||2020|
|‘Representing Desire? Reconsidering Female Sexuality and Eroticism in Umbilical’. Performance Ireland Journal, Special Issue: ‘Gender, Sexuality and the City’. Carysfort Press||2018|
|‘Corporeal Matters: Tina Kinsella Interviews Alice Maher about her Touring Exhibition Vox Materia’. Visual Artists Newsletter||2018|
|‘Queering and Querying the Virgin: Sacred Iconography and Profane Iconoclasticism in the Art of Frida Kahlo’. Esthesis.||2018|
|‘Precarious Subjectivity and Affective Performativity in the Academic Precariat’. Irish Journal of Anthropology (20:1)||2017|
|‘Liquidities―Transactive Border Spaces and Threshold Structures (Between the Harbour and the Sea) [co-authored with Silvia Loeffler]. Performance Research Journal, Vol. 21, Issue 2: ‘On/At Sea’||2016|
|‘Will the Mistresses Tools Dismantle the Master’s House? Griselda Pollock on Creative Practices as Dissidence in the Feminist Century’. Commissioned blog post. Irish Museum of Modern Art,||2016|
|‘Sticky Mothers―From Crypt to Transcrypt: A Response to Dragan Kujundžic’s Frozen Time. Liquid Memories’. Interkulturalnost/Interculturality Journal||2015|
|‘Towards Thinking a Desideratum of Art. Critical Bastards, Volume VII||2012|
|‘James Hayes―Looking into the Light of Dark Matter’. Enclave Review, Vol. II (Autumn)||2011|
|‘The Banal and the Evident: Pornography, Technology and the Market’. The Trinity College Journal of Postgraduate Studies||2008, 2009, 2010|
|‘Gaping Mouth’d: On the Politics of the Body in the Work of Aideen Barry and Alice Maher’. Fair is Foul & Foul is Fair. Washington DC: American University Museum and Katzen Arts Center||2019|
|‘Living Theatre, Living Music’. Monir Shahroudy Farmanfarmaian’s Sunset Sunrise. Irish Museum of Modern Art||2018|
|‘Accessing Sublimatory Routes in the Inner Space of Painting: Iconography, Figurality and Symbology in the Art of BRACHA’. UB Anderson Gallery, New York||2018|
|‘THERE IS SO MUCH FOR YOU TO FEEL: Three Theses Towards a TTOP(ONT)OLOGY’, Denis McNulty’s TTOPOLOGY. VISUAL Carlow and Grazer Kunstverein, Ireland and Austria||2018|
|‘Does Every Psychotic Have to Reinvent the Project of Modernity for Herself?’. As Above, So Below―Portals, Visions, Spirits, Mystics. Irish Museum of Modern Art, Dublin||2017|
|‘MISERICORDIA― Making “Maternal Emotions” Manifest’. Patricia Cronin’s Shrine for Girls. The LAB – Dublin City Arts Office||2017|
|‘This is the fluid in which we meet … On Alice Maher’s Recent Drawings’. Alice Maher’s The Glorious Maids of the Charnel House. Kevin Kavanagh Gallery, Dublin||2016|
|‘Un(der)Cover on Sherkin Island’ [co-authored with Dr Lucy Dawe-Lane]. Uncover. Uillinn West Cork Arts Centre||2016|
|‘Painting the Feminine into Ontology: On the Recent Works of Bracha L. Ettinger’. Museo Leopoldo-Flores/Galeria Poliavalente, Mexico||2015|
|‘… you are only one thing amongst many, and whoever sees things that way heals his heart’. Ciara McMahon’s Liminality. NCAD Gallery, Dublin||2011|