Visiting Artists/Lecturers

Visiting Artists (List post 2005 is currently being updated):

Sam Aislie
Terry Atikinson

Joeseph Backstein
J.G Ballard
Claire Barclay
Pina Bausch
Jon Bewley
Kathrin Boehm
Paul Bradley
Ian Breakwell
Guy Brett
Pavel Buchler
Michael Buckland
Gerard Byrne
John Byrne

Anne Carlise
John Carson
Brain Catling
Derry CCA (Aileen Burns & Johan Lundh)
Gary Chapman
Stephen Cooper
Eileen Cooper
Paul Couillard
Peter Cresswell
Dorothy Cross
Pauline Cummins
Ken Currie
Simon Cutts

Anthony Davis
Richard Deacon
Richard Demarco
Malcom Dixon
Jorgen Dobloug
Willie Doherty
Morgan Doyle
Cian Donnelly
Mark Durdan
Jimmie Durham

Terry Eagleton
John Edwards
Roger Ely

J Fairleigh
Amanda Faulkner
Jamshid Fenderesky
Brian Fitzpatrick
Joan Fowler
Barbara Freeman
Ian Friend
Helen Frink
Judith Frost
Steve Furlonger

Rose Garrard
Laura Godfrey-Isaacs
David Goldenberg
Andy Goldsworthy
Anthony Gormley
Karen Graffeo
Terry Gravett
Paul Gregg
Susan Groce
Lucy Gunning

Adrian Hall
Ian Hamilton-Finlay
Seamus Harahan
Newton Harrison
Elina Hartzell
Edgar Heap-of-Birds
Fran Hegarty
Kevin Henderson
Lynn Hershaw
Nancy Hild
Susan Hiller
Tjibbe Hooghiemstra
Philip Hughes
Ronnie Hughes
Alexis Hunter
John Hutchinson
Ian Hutchinson

Rosemary Jack
Robert Janz
Neil Jeffries
Tom Jeramba

Vladyslaw Kazmierczak
Mike Kelly
Martin Krenn
Ken Kiff

Arno Kramer
Kerry Lapping
Chris Lawson
Richard Layzell
Chris Le Brun
David Leapman
Matt Lennon
Peter Lewis
Richard Long
Jean Luc-Vilmouth

Brain Maguire
Alice Maher
Silva Malagrino
Alison Marchant
Nicholas May
Tony Maas
Paul McCarthy
Bridgid McCleer
J C McCutcheon
Sue McDairmid
Jock McFadyen
Declan McGonagle
Rose McGreevy
Francis McKee
Bruce Mclean
Helen Meyer
Roland Miller
Hugh Mulholland
Craig Murray-Orr
Darren Murray

Philip Napier
David Nechak
Pete Nevin
John Nixon

Kevin O’Brien
Maurice OConnell
Morgan O’Hara
Alanna O’Kelly
Anne Ooms

Anamarie Pachenco
Nathalie Perrault
Jean-jacques Passera
Brian Perrin
Malcolm Poynter

Paul Quinn

Cherie Raciti
Paula Rego
Andrew Renton
Peter Richards
Tim Robinson
Nigel Rolfe
Bill Rolston
Ulrich Ruckriem

Anne Seagrave
Terry Setch
Dan Shipsides
David Shrigley
Rosemary Simmons
Ross Sinclair
Lance Smith
Sol Sneltvedt
Barbara Stevini
Andre Stitt
Slavak Sverakova
Tamas Szentjoby

Artur Tajber
Anne Tallentire
Napoleon Tiron
Valentin Torres
Guy Tortosa
David Tremlett
Suzanne Triester

Hans Ulrich-Obrist

Erica Van Horn
Gerald Vance
Bas Van-Tol
Antje Von Graevenitz

Vince Warapay
Marina Warner
Boyd Webb
Martin Wedge
Robert Welch
Lee Wenn
Richard Wentworth
Cathy Wilkes
Martha Wilson
Bill Woodrow

Veronica Zabel

6 Responses to Visiting Artists/Lecturers

  1. Pingback: Amazing list of Visiting Artists/Lecturers at MFA Belfast – history and future | MA Art in Public

  2. From Robert McDowell, Summerhall Edinburgh
    Dear Mfa Belfast,

    I am from Belfast – was at the art school 1970-71 (foundation) then Slade and Hamburg schools and worked with Beuys for 10 years and 30 years with Richard Demarco in Edinburgh . I own and manage Summerhall, Europe’s largest private arts centre. We mount about 150 art shows a year! Plus hundreds of performing arts and other events (over 400,000 visitors)
    See http://www.summerhall.co.uk
    and http://www.summerhall.tv
    Belfast Art School has for decades been one of the very best in UK and in Europe, but it is one of the least well-recognised. Out of it have spawned many formidable artist groups. Belfast artists have had hardly any exposure outside the province.
    I would like to do something to rectify this by over a number of years reserving quarterly slots for Northern Irish artists – the groups, and or singly, and or in other wider groupings.
    I’d be pleased to come and talk to students and give a formal talk too. I’ve done 1-3 day post-grad visiting artist ‘tutorials’ at Belfast in the past – no fee required.

    yours,
    Robert

    • maaip says:

      Hi Robert,
      Thanks for your comments. It’s great to hear your connection and observations from Edinburgh. We agree the MFA programme does amazing things and has a long and recent legacy to be very proud of. As you know we also have links to Bueys and Demarco too! We’re not so sure that Belfast artist have hardly any exposure outside of the province – we could name many many artists with significant profiles (Turner prize winners, nominees, Nissan Award recipients, Paul Hamlyn etc etc). Also it’s interesting to look at art schools around Ireland and beyond and see the amount of tutors who started their art careers via the MFA Belfast. I guess though it’s hard to classify a ‘Belfast’ or ‘Northern Irish’ artist – we tend to claim anyone who has come through the MFA in Belfast as having a valid Belfast association! Many, like myself, came here as a student from elsewhere but would certainly be more associated with Belfast than any other scene – but I would certainly claim to possess a profile which extends beyond Belfast / Northern Ireland. We certainly however agree that there is a need for emerging artists here to break out beyond in order to establish and sustain an international a practice whilst basing themselves here. So it’s great in that sense to hear your thoughts on developing opportunities for Belfast / NI artists. We be very happy to develop that conversation – perhaps email is the best way to proceed. Summerhill looks an exciting entity. Yours with best wishes, Dan and Mary, MFA Belfast.

  3. No wish to suggest Belfast artists and art school teachers have not had exposure outside the province – e.g. John Kindness to name but one of many – my point is that recognition of the strength of art practise – the whole picture and of groups not just individuals has not percolated into the current mindsets of London, New York etc. I brought Beuys to Belfast and a lot of N.irish artists to Dokumenta 6 and to London – but that was in ’70s – there has been aterrific amount of interesting work since then -but where is the big show or big book that extols all of that fully?

    • maaip says:

      Thanks again for your comments and support Robert,
      The 70’s certainly were a fertile time in Belfast and one that still resonates here now.

      There have been several significant exposures over the decades since then. A skimming survey would include: in the mid 90’s (cease fire days) we had a massive wave of interest from international curators chasing ‘conflict art’ and finding something else of more interest. From that many Belfast artists became further internationalised (Suzan Philipsz, Phil Collins, Colin Darke, Seamus Harahan, Sandra Johnson to name a couple). Then in the 2000’s the Northern Irish Pavilion at Venice was established – this ran for 6 years and then unfortunately fell foul of the economic crisis – A whole cohort of young artists featured in the first of these “The Nature of Things”and have since maintained international profile. Then there were the solo presentations of Willie Doherty (not that he needs more internationalisation!) and Susan MacWilliams. The Golden Thread Gallery Collective Histories of Northern Irish Art publication and exhibition series over the last 15 years – spanning pre war to today (published roughly every 2 years – each curated from different perspectives and generations) – this is very interesting but I would suggest its distribution reach is not as expansive as we’d and they’d like it to be. Then groups such as Bbeyond (inc. Alastair MacLennan), Catalyst Arts, Factotum and others all operate in ways which have decent international profiles. Also many NI artist featuring in Biennials and such like around the world including Manifesta, Documenta, Sao Paulo, Venice, Melbourne, Sydney, Riga, Prague, Berlin, Istanbul (off the top of my head). Thinking Long – Contemporary Art in Northern Ireland, by Liam Kelly was published in 1996….

      But I still agree there is a ceiling for many emerging artists which is tough to break through beyond the thriving artist run scene in Belfast – and we always encourage support structures to enable that – and there are several ongoing good initiatives, international exchanges, international curator study tours, outbound touring international exhibitions, visiting artists/curators etc.. One of the big difficulties in Northern Ireland is in finding funding for publications – it’s something that hasn’t been able to happen enough here – we’ve missed a properly funded international art gallery (now we have the MAC we hope things will change a little) that could fund publications on a regular basis. We’re certainly missing a ‘Thinking Long’ style publication of the period post 1996.

      But yes!!! we would be interested to hear more about Summerhall and extending our networks to support artists based in Northern Ireland.

      Get in touch via email if you have specific plans.

  4. The term “conflict art” leaves me worse than cold of course. When I created the Troubled Image Group in ’71 with maybe 30 artists including lot of teachers at the art college we knew that sensational imagery of violence was too easy and playing the media game. The works had to be far more complex to embrace the surreal context and about people and to counter the narrow-focus of media attention, the focus only on violence, which is like staring into a black hole.
    Paintings and drawings by children encompass the obvious best of all. A lot of artists, however, focused on the iconic images of ‘the troubles’ as per the media’s obsessions and consequently found themselves dialoguing with stuff that had nothing to say profoundly back – merely art translations of news pictures. My interest is in what shows profundity and helps to place the troubles fully in psycho-social context. I like works that include subjective creative reworking between artists and their work i.e. not simply cool conceptual statements playing games with words – rather whatever can move us to laugh and cry at same time – definitely not to patronise the idea of art + troubles. As mostly everyone in N.Ireland knows the violence was mischance and farce as well as appalling general and personal tragedies with untold effects, and also acutely surreal in a dada cubist expressionist poetic language. Big truth is most often found in paradox and irony. My most revered painter of the period is Denis McBride. John Kindness of course did the ironic humour best of all. A close pals of mine include Rainer Pagel, also Alistair McLennon. Then too, Joseph McWilliams and David Crone and others when at their most subtle and quite abstract – not interested in the murals or painterly treatments of bombs and bullets – and interested very much in all the younger artists who have felt obliged to treat unpalatable subject matter and try to do so as great art including performances and installations but not just to testify to their own bleeding heart sensitivities. Do you get the criteria I’m suggesting here?

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