Image courtesy Margaret Brown.

Using installation and performance Sarah Hurl constructed a fictional Private Detective service available for hire.

Image courtesy Margaret Brown.

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Readings on the journey included excerpts from The Red Notebook by Paul Auster, The Bridge of San Luis Ray by Thornton Wilder, The Tesseract by Alex Garland and A Great Bear Pamphlet by George Brecht. Image courtesy Margaret Brown.

In her site-specific work for The Ranelagh Pleasure Gardens Jennie Guy created a persona for the gardens entitled 'Melancholy Park'. Audience members listened to the work via mp3 players whilst they walked through the gardens. Image courtesy Margaret Brown.

Image courtesy Margaret Brown.

Beth O'Halloran's work involved a re-purposed garden shed situated on the Ranelagh triangle. Inside was a place for discussing the concept of home. Image courtesy Margaret Brown.

Image courtesy Margaret Brown.

James Ó hAodha: observing and being observed. 'Coming to Terms' was a site-specific piece on Ranelagh High Street. Image courtesy Andreas Kindler.

Image courtesy Andreas Kindler.

Michelle Browne: Luastube attempted to highlight our desire to maintain personal space in the public sphere. To see video of original 2007 click on image.

Image courtesy Margaret Brown.

Anne Hendrick. Image courtesy Margaret Brown.

Pause,
Kate Maher, Sarah Hurl, Jennie Guy, Beth O’Halloran, Anne Hendrick, James Ó hAodha, Michelle Browne and Ian O’Neill
Ranelagh Arts Festival, Ranelagh, Dublin 6,
September 2010

Multiple site project in Ranelagh contained within one piece of work by Kate Maher the work of seven other artists. The work by Maher was a hybrid between treasure hunt, performance and tour and contained activities and interactions located at nineteen different points in Ranelagh. At several of these points other artists Sarah Hurl, Jennie Guy, Beth O’Halloran, Anne Hendrick, James Ó hAodha, Michelle Browne and Ian O’Neill had created a combination of interactive and site-specific pieces. The audience member firstly chose from one of three envelopes and from there began the process of their engagement with the work which they experienced as a journey. Each audience member experienced between four and six ‘points’ on their ‘journey’, the specifics of which were determined by the choices they made.

Reflecting the duality of the intention in the work to simultaneously illustrate and create the possibilities that exist around us at any one time the audience member also alternates between the dual states of having to make choices and to surrendering to the unknowability of what is going to happen next. Moments of delay, of pause, were deliberately inserted in to the journey so that anticipation and a consideration of their own role in the work could manifest.

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Within this project a new moving image work by critic and artist Jessica Foley was commissioned in an attempt to experiment with modes of critique and documentation in response to ephemeral practices.

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Many kind and generous people helped on this project. They included Deirdre Mullins, Irene Breen, Joan Healy, Enagh Farrell, Tara Blaise, Ruane MacEoin, Nathan Fagan Guimond, Claudio Procida, Kathleen Moore, Lisa Martin, Cherry Murphy, Claire Byrne, Sarah Rossney, Niamh Leonard, Emma Morrissey Murphy, Howard, Kitty Rogers, Laura Byrne, Juliette Gash, Martin Power, Paul Gillick, Aideen Sweeney and Melanie Holcombe.

Pause was kindly sponsored by Hayes Solicitors and Meteor.