An exhibition of painting told through the lens of film. Gorey School of Art. 28 JULY — 5 AUGUST, 2017.
This year’s PERIPHERIES focuses on Irish contemporary painting told through the lens of film. Extended from four to nine days, PERIPHERIES 2017 will bring together 14 Irish painters on the ground floor of Gorey School of Art (GSA). In the buildup and over the course of the nine consecutive days of the exhibition, GSA will be activated by film screenings, artist talks, online texts and one rotation of paintings midway through the exhibition.
Titled ‘Soul-Beating’, the curator of the exhibition James Merrigan retraces an exhibition he co-curated with Robert Armstrong at Dublin’s Temple Bar Gallery & Studios in 2012 titled ‘Making Familiar. ‘Soul-Beating’ similarly offers a chance to experience peer painting practices side-by-side and revelations on the processes and ‘lived’ stories that define their working methods.” However, the title ‘Soul-Beating’ draws from a deeper psychological and critical well.
BELA LUGOSI. DRACULA. 1931. In David Reed's essay 'Soul—Beating'— a phrase used to describe an artist's difficulty changing method—the painter uses Bela Lugosi's 'Dracula' at the moment of exposure in the mirrored surface of a cigarette case [a screen] to explore being human and painting's immortality in the face of its perceived death by technology.
‘Soul-Beating’ is a phrase taken from the biographically intimate essay of the same name by the American painter David Reed, who had the strange aspiration to be a “bedroom painter”. Reed heard the phrase from his college mentor Milton Resnick, whom he studied with at the New York Studio School in the 1960s: “It was a phrase that Resnick used to describe the method and difficulties of an artist changing his or her work”.
To confront such ‘Soul-Beating’ questions a series of public conversations with painters and filmmakers will take place in a custom-made seating area decked out with televisions and reading material in the exhibition setting. The seating area will also be used to display a series of filmed conversations with Irish painters and to invite visitors to the exhibition to stay a while and think and feel with the paintings.
Drawing once again from Reed’s ‘Soul-Beating’ essay where he describes escaping art school to a New York theatre to see Sergio Leone’s For a Few Dollars More with the iconic American painter Philip Guston, For a Few Dollars More (1965) and The Last Picture Show (1971) will be screened on the main street of Gorey town; while more contemporary films dealing with painters and painting will be screened on the first floor of Gorey School of Art.
Notes  More information on the curated exhibition ‘Making Familiar’ at Temple Bar Gallery & Studios: [http://www.templebargallery.com/gallery/exhibition/making-familiar]; [http://makingfamiliar.blogspot.ie/]  David Reed, 'Soul-Beating', Art Journal: [http://artjournal.collegeart.org/?p=59]