Ninety Nine Percent for Art (99%4ART)
Ninety Nine Percent for Art is a two person exhibition by Carol Anne Connolly (IRL) and Jim Ricks (US). The artists are producing new work in an array of contemporary media spanning from sculpture, video and painting to photographic works. Their interest lies in what they describe as ‘unintended monuments’. The title is drawn from protest movements and state sponsored public art policy, in doing so the artists hope to enshrine the unofficial, even accidental, signs of our times. The Galway Harbour Company has generously allowed the artists to use a large 4,000 square foot warehouse space located on the middle pier of the Galway Docks for this exhibition.
Ninety Nine Percent for Art investigates what are essentially undiscovered and unplanned memorials. A careful artistic selection process which groups symbolic markers ranging from the detritus of impromptu revolutionary celebrations to unfinished industrial sites creates a new discourse on the built environment. Ninety Nine Percent for Art rethinks the memorial in a time of economic and political upheaval using national and global examples and how they relate to each other. The artists begin a process of challenging conventional notions of monuments, as they ‘unearth’ unintentional and colloquial artifacts as the source material for their artworks. In this process they reference various structures or embellishments that speak of inextricably linked approaches and struggles.
Carol Anne's work is here.
For this new body of work, Ricks has ‘collected’ everyday fragments that work semiologically with greater global economic and political struggles relating to the Marxist understanding of imperialism. He has recreated these symbols, but strictly within the visual language of Minimalist artist and Art Workers Coalition organiser Carl Andre. As Andre's standing is tainted with speculation of foul play surrounding the death of Ana Mendieta's, his wife, so too are the artworks Ricks has created. In a period of capitalist economic collapse and increased violent upheaval globally, this can be seen as an additional subtext to the work's focus on marking or remembering this time through monumentalising.
Unrealised (Infinite Column (Constantin Brancusi))
Cairo (Spatial Specificity) I, Mexico City (Spatial Specificity) II, Mumbai (Spatial Specificity) III, Sao Paulo (Spatial Specificity) IV, Jakarta (Spatial Specificity) V, Lagos (Spatial Specificity) VI