Lampsy - the genius behind the I love lamp stickers around Dublin - was in touch to let me know about the new exhibition featuring themself, LadYLoKibeE and Lints in the All City Gallery - downstairs at All City Records on Crow Street in Temple Bar, Dublin - opening tonight.
The exhibition runs from March 21 to 28 from 12 to 6pm each day and you'll find them at the directions below:
Go to Dublin's Temple Bar Area. Over the Square, past Urban Outfitters, round the corner is Crow St. Walk up to Foggy Dew / Dame St end. Alternatively turn off Dame St and walk down - we're on the right hand side.
Last Sunday, Sinéad, Jen and I went to see the BODIES exhibition in Dublin's Ambassador Theatre. Opening weekend as it was, the place was packed, the queue for tickets long and the experience rushed. Given that, I came away with some learnings.
TICKETS:
If possible pre-book your tickets online. Again, it was opening weekend so crowds were probably higher, but the difference between the queue outside at 2pm and 2.15pm was actually a good twenty people. However, those with prebooked tickets can just walk right in.
We braved the queue and bought our tickets for a later time so could do the same. To give you an example, below is the queue outside on Sunday at 2pm, before they put up the barriers and formed multiple lines just an hour later.
BAGS AND CAMERAS:
Neither are allowed in. I was quite disappointed about the camera rule, given that photos could serve to only pique curiosity rather than repulse most people, but there you go. There is a free cloakroom where you can deposit your stuff. If it's busy, I'd recommend putting your coat in as well - it gets warm!
On a side note, I'd forgotten notebook and pen so scrawled down my impressions on the back of postcards with a borrowed biro. Therefore the below may be subject to inaccuracies as I try to decipher my almost illegible scribbles.
FIRST IMPRESSIONS:
Well, they've painted the Ambassador apparently, so the short walk down to the first room is not as foreboding as you might imagine. Signs are placed on the walls, reading:
The specimens in this Exhibition have been treated with the dignity and respect they so richly deserve
and
Why all this interest in the human body? The answer to this question seems quite clear to me. Your body is the one thing that you carry with you from the moment you are born until your very last breath.
Dr. Roy Glover is "Professor Emeritus of Anatomy and Cell Biology at the University of Michigan and the chief medical director of the University of Michigan Medical School Polymer Preservation Laboratory. He serves as Chief Medical Advisor and spokesman for BODIES... the exhibition". That's according to Google anyway.
In the various articles I've researched, a couple of things come up - how were the bodies acquired, what was done to them and if it's ethical.
'... dogged by controversy with suggestions that the exhibits were either executed Chinese prisoners or were people who had not given their consent to have their bodies shown after their death.
Dr Glover said: “We have practiced due diligence in obtaining the bodies. We work with a partner that we have the utmost amount of trust in – the Dalian Plastination Facility in Dalian, China.
“The person I work with it is a personal friend of mine. We have been in the same professional organisations for many years. He has sworn affidavits to the effect that the bodies were those who have died of natural causes.
“We have examined every one of the bodies who come into the show for any evidence of trauma or any kind of physical abuse.”'
All of the bodies were obtained through a credited medical university in the People's Republic of China. Asia possesses the largest and most highly competent group of dissectors in the world, and they are highly skilled in preparing the bodies for educational and scientific purposes. Currently, human specimens in medical schools in China, the United States and other countries throughout the world are donated or unidentified bodies.
Roy Glover, spokesman for BODIES... The Exhibition, says its cadavers -- all from China -- did not come from willing donors.
"They're unclaimed," Glover says. "We don't hide from it, we address it right up front."
So there you have it. They are bodies from China that may or may not have been willing participants in the project. Does that matter? Does it make a difference to your knowledge of the exhibition once inside? For me, not really, because far from being the 'ghoulish' and 'gruesome' spectacle the ever-reliably tabloid Indo claims it to be, the bodies are displayed in a museum or gallery exhibit format.
There's not much to be squeamish about and the Polymer Preservation process involved was by far much more of interest to me.
ROOM ONE: Entering the exhibition.
You walk down a hallway and into a big room with a lot of glass cases and "models" on display, and, in my case, a lot of people. I'm not a crowd person so before I joined the fray I spent a bit of time just observing. Though not of the Dublin exhibtion, of which there are few photos that I can find, the below should give you an indication.
On the walls around the exhibition are signs and projections. They both feed back into the educative theme behind the exhibition, telling you things like 'Compact bone tissue carries your weight' or how the projections are artists impressions of the cells and tissues in your body. 'More than 200 different kinds of cell and 75 trillion cells in total make up the body'; 'Fibroblast cells build and maintain cartilage, skin and bone' and so on.
The first few exhibits I crowded in to see were bones - knee joint cartilage, an elbow joint, the top of a skull, the sacrum and lower vertebrae. Interesting stuff indeed, though not really that awe-inspiring. As the crowds parted I got my first glimpse of a body, behind which a sign proclaimed
'The study of human anatomy has always operated on to see is to know.
This exhibition uses dissected human specimens to provide you with a visual textbook to your own body, offering you a profound insight into your body, its functions and its needs or health and longevity.'
THE BODIES:
This Dara Mac Dónaill/Irish Times photo of Dr Glover with one of the specimens should give you an idea of what you'll be seeing, far better than those on the website. They are as they're advertised - bodies without the skin, but showing everything (minus the blood) that's beneath.
One model shows muscle attachment and layering, showing the four muscle layers separated from their points of origin but connected to the points of insertion. One case held the muscles of the arm and leg, giving you the opportunity to see both limbs up close.
You can walk around most of the full figures. The one above (adapted from an Irish Times photo) shows a male figure, metal filling still in teeth, which purports to "illustrate the nearly countless number of tasks the brain executes from basic to highly complex actions".
Another fascinating exhibit was the seated figure with an exposed brain. The meningus gyrus and grey matter were apparently prominently visible, but the poignancy of the piece overlooking a case containing disected brains was quite something.
Again, each part in the case was labelled clearly and familiar parts from crime novels or CSI episodes became much more than "somewhere in the head".
ROOM TWO
Room two was dedicated to blood - the vessels, the muscles, the arteries and valves. Special dissections revealed blood vessels and specimens like the heart with coronal cut, the arteries of the kidneys and those of the stomach and thorax are, pardon the pun, very illuminating.
"Using a technique called corrosion casting, the blood vessels were first injected with a coloured polymer which hardened, The remaining body tissue was then chemically removed, revealing the delicate matrix that transports the blood."
The full body blood vessel map of a male body has to be seen to be believed.
ROOM THREE
"On average a pack of cigarettes shaves 3 hours and 40 minutes off your life. Leave your cigarettes in this gallery and stop smoking now".
Smokers beware - this is not a good room for you. Given that the first specimen in this example of smoker's lungs (I didn't embed it because it's quite gruesome), while it may not put many smokers off the habit, it's certainly a warning for the rest of us not to start, especially when compared to the model of the healthy lungs.
This room also went into the digestive functions, with a body displaying how the whole viscera, the vital organs of respiration, digestion, circulation and reproduction are all contained within the thoracic, abdominal and pelvic cavities.
There is also a specimen showing the distribution of fat on an overweight female, sectioned as she is, vertically, into four or five pieces.
EMBRYONIC AND FOETAL DEVELOPMENT
At this stage now I was tired. Tired of the crowds, of being hurried from exhibit to exhibit as more people crowded around to see the next in line. Hardly the organiser's fault but it was quite an assault on the stimuli. The sign outside this room read
Please pause a moment and consider if you wish to enter. All foetal and embryonic specimens perished in utero from complications during pregnancy as well as birth defects teat occurred during this time
I learned a couple of interesting facts in this room. One, that the sperm is the smallest cell, the female egg is the largest. Two, that the phrase "miracle of life" is indeed very apt and three that foetal development is an astounding process.
On one side of this small room, we see foetal bone development at 11, 13, 15 and 16 weeks due to a process involving Alizarin, a dye which binds to calcium to measure the stages of skeletal development. In others we get cross sections of foetuses in various stages.
I came out from there ready now to go, as awe inspiring as I found that particular section. On the steps outside was a young fella, possibly around 13 or 14 in floods of tears for some reason.
ROOM FOUR:
The last room was much bigger and contained interesting specimens of bodies in cross section, diseased or cancerous parts of the body and so on. I didn't linger though, I just popped into the very pricey gift shop (t-shirts €22, keyrings €5) and then headed out.
Before I left though, I spotted and wrote down the following from a sign, that quite probably should be at the start of the exhibit:
'We live in a world surrounded by technology, information and cement; fast paced living with little time for reflection.
When an illness is severe and our mortality comes into question, we may take this time to stop and ponder our existence. But cured, we are off again, not thinking about the extraordinary, complicated human beings we are.
Our bodies are indeed intricately more complex than all the computers and gadgetry that surrounds us today. Yet many of us do not really know what lies beneath our skins, how our bodies function, what they need to survive , what destroys them, revives them.
BODIES... the exhibition is an attempt to remedy this unfortunate set of circumstances. Take the knowledge gained from this exhibition, expand on it and use it to become an informed participant in your own healthcare. This involves more than improving your diet or beginning a long overdue exercise program.
It involves partnering with your doctor to understand what you - and your unique body - need to sustain a full and rewarding life.'
Taking all that into account, BODIES... The Exhibition is well worth seeing. The price is hefty at €20 and repeat visitors should be offered half price tickets. I think too there should also be "quiet hours", where, once the initial rush has died down, the organisers offer to let only a set amount of people in to see the exhibition and to take their time. Given it's booked for six months, this may become a reality.
You'll need to take one, maybe two hours to properly see the entire exhibition. We entered at 3pm and were out by 4.05pm but that was more due to the crowds and the heat. It sparked interesting conversation, but ultimately each of our experiences were personal, were unique and we all saw things the others didn't.
Would I recommend it? Yes, definitely. It left me with a high regard both for the human body and the healthcare professionals who deal with it. Reading all the recent articles regarding how right it is, the rights of those whose bodies are being used, of their families, the sourcing of the bodies and indeed the promotion of the show as an educational rather than a commercial experience, I still feel a sense of awe for the process, the intricacies involved, importantly the science behind it and most importantly the delicate but fascinating chance to see what's under the skin, in a human body, up close.
I uploaded two short videos from the BODIES The Exhibition website today. Take a look. Though American and obviously promotional, they'll perhaps give you a better idea than the Dublin website can:
The exhibition is open 10AM to 8PM Sunday to Thursday and 10AM to 10PM Friday and Saturday. You'll find more information on the website here.
All photos in this post are sourced from here and here unless otherwise stated.
A quick google search on Ben Dunne reveals a few things. Firstly he's a "business tycoon". Secondly, he believes in "real, better value" and thirdly he's opening an art gallery. In a recent interview he said:
"The Nora Dunne Gallery will be a friendly place, a place of quality.
"It will be a place where everybody will be welcome, where people will buy many, many pictures and get lots and lots of pleasure out of looking at those pictures."
I find art one of those tricky things to talk or write about. While I can appreciate the creativity, hard work and effort that goes into a piece, I have difficulty envisioning it hanging above the fire place. The price tag on most Irish art in galleries is also forbidding.
Take a quick walk at the top of Stephen's Green Shopping Centre to look at the art in their gallery. Here's a portrait of Bono for €3,700. Try a still life for €2,700. Even a simple watercolour of Connemara will set me back €570. All lovely pieces of art in their own right, but not right for me.
I've never bought a piece of art other than photographs. I've never been able to afford it or see it as an investment.
This, however is something that Dunne wants to change for people with his gallery. He told Ronald Quinlan :
"The whole way that people sell art or buy art in this country will be changed with the opening of the Nora Dunne Gallery. It will change an awful lot of the old ways of doing business in art.
People think because they spend big money on a picture, that it must be very good. The first thing they want to remember is that if they buy it from a gallery, 50 per cent of what they're paying at least is going to the gallery. In my case it's going to be 25 per cent maximum."
Certainly looking around the gallery yesterday highlighted just how he plans to bring this to life. Ably assisted by curator Karen Harper, one of the most genuinely friendly and enthusiastic people I've ever met, gathered in this gallery is a wide range of art at very reasonable and realistic prices.
From cityscapes to seascapes, photographs to stained glass, huge oil paintings to small portraits, Karen's choices represent a huge range of the best of Irish art. "I have a simple criteria" she tells me. "If I could do it myself, I wouldn't sell it here"
"Black suit lovers Red lips pout Perfect poise... Lashes flutter Red nails flash
Swinging hips the dance begins... Intimate strangers Perfect partners"
"We're not out to suit the 4% of art collectors", says Karen, "They're catered for. We want to provide the general public with art at affordable prices. I wouldn't choose anything for here that I couldn't see in somebody's home". Indeed, with almost 40 sales since they opened on October 14, it's difficult to argue with such a sentiment.
Comments in the guest book reflect the welcoming nature of the place: "The gallery is lovely. Very relaxing place. Great variety of pictures" writes Claire from Rathmines. "Great to have such a lovely gallery in the area - great art" is written by Shirley from Kimmage. "Well done, will be back again". "Very impressed will be back". "Well done, Ben Dunne." others add.
Even the ones that ask for a coffee shop will be catered to. "That's on the way", says Karen. "Ben thought it better we focus on one business first without worrying about two. But we have all the facilities in place. He's passionate about this place. He wants it to be right".
The coffee shop won't be the only addition. "We've got space upstairs for classes", Karen says, "There's been great interest already. Between felting, patchwork, jewellery, oil, pastels and life drawing, this place will be a hive of activity. The gallery itself can be rented out for occasions too".
Karen, herself a jewellery designer and experienced curator knows every artist exhibiting personally at this stage. "The application process is simple - we ask them to email in three images of their work including the sizes and the price they see it as selling for. If I like it, I take it from there. Ben has seen every piece of art in the gallery - so much so that he came in recently and told me one of the images on the website was upside-down. He's given some of his personal collection to the gallery also."
Indeed the artists themselves seem to have no elitism or snobbery attached to their work - they present it and themselves as simply as possible. Rather than the usual qualification and CV based biographies in some galleries, this gallery chooses to present the artists as they are, real people.
Ailve McCormack: "My Art work doesn't have a specific theme running through it. If I like something I paint it. I am not interested in recreating a scene from relity but more concerned with capturing a particular moment in time."
Gabriella Szazo:"I have never studied the art of drawing or painting, I don't think it is necessary to use studied methods at all. I hope my paintings speak for themselves"
Elsie Sheridan: "I am a self taught artist. Having loved to paint all my life, it was not until 2001, when I gave up working full time to concentrate on painting that I made real progress. I put a lot of effort into developing my own way of expressing my reaction to whatever visually stimulates me. I paint in a strong passionate style using paint liberally.
I see painting as a challenge to improve and grow as an artist. This challenge will take the rest of my life, but what a joy it is to be able to do the one thing I love to do. Paint."
As for the name - it's named after Ben's mother, herself an artist. When asked, Ben said
"It means that I'm going to stick at it, and I hopefully will make it successful. You don't name something after your late mother without it stirring up a certain amount of emotion and love, and a desire for it to be successful and stand for the standards that my mother had."
When asked to choose my favourite piece, I hesitate. My familiarity and respect for Sean's work points immediately to The Traveller (above), but Elsie Sheridan's work (and story) has grabbed me too. I find Vincent Keeling's work so impressive but would happily have Rick Mettler's Phoenix above the fireplace. There's so much choice, so much expression, it's so accessible and attractive that I find it difficult to choose a piece I don't like.
In the end I settle for Phillip Gray's I see the light. A massive canvas, it presents a stark landscape with two figures in the distance. The photo above does it no justice - as indeed the photos I've taken can't capture the gallery's real essence - I'd have happily looked at it for ages, something Karen admits she enjoys from the vantage of the reception desk where herself and the lovely Catherine Michael are ready to welcome people.
The gallery is having its official opening tonight, Saturday 29 November from 6 to 8pm. "Come experience the atmosphere for yourself" is the invitation. All are welcome, though the rumour that Bono will be there may not, in fact, be accurate. With this sort of place and welcome though, you'd never know who'll walk through the doors. I'll certainly be back, hopefully with a credit card.
The Nora Dunne Gallery is open Monday to Friday 11am to 7pm and Saturday 11am to 5pm. It's based on Kimmage Road West and you can see more of their art here and find their blog here.
Any of the things I write on this blog are my own opinions and should be treated as such. They are neither a reflection on or the opinion of the companies that I work with. I also do not write posts that have been paid for or requested by employers.
Given all that though, I still hope you enjoy them :)
