A Dutch interior designer who made mats out of washed-up fishing ropes, while quarantined on Connemara’s Turbot island during Covid-19, is a participant in Ireland’s exhibition at this year’s Venice Biennale, which opens today (Friday, May 19).
Hanneke Frenkel’s sea mats and sacks were created from her beachcombing on the small island west of Clifden and south of Omey almost three years ago.
An abstraction of Sceilg Mhichíl (Skellig Michael) off the Kerry coast made from Galway sheep’s wool, and results of Mayo’s Clare Island Survey were also selected for the Ireland Pavilion’s theme, “In Search of Hy-Brasil”.
An abstraction of Sceilg Mhichíl (Skellig Michael) off the Kerry coast made from Galway sheep’s wool
Five architects - Peter Carroll, Peter Cody, Elizabeth Hatz, Mary Laheen and Joseph Mackey – curated “In Search of Hy-Brasil” for the International Art and Architecture Exhibition of La Biennale di Venezia.
The Irish entry is supported by Culture Ireland in partnership with the Arts Council.
Frenkel has described how she just began making the sea mats by accident, “Here I was on Turbot, I couldn’t go home because of Covid, and I didn’t know what else to do!”.
She and her husband Stefan bought a house on Turbot some years ago from former islander John O’Toole. The tiny island’s main claim to fame had been its sighting by trans-Atlantic aviators John Alcock and Arthur Whitten Brown before they crash-landed at Derrygimlagh bog in north Connemara on June 15th, 1919.
O’Toole and his family were among 60 islanders relocated to the mainland in 1978, four years after a currach capsize when three island fishermen drowned on their way home from watching the All-Ireland football final on television in Clifden.
The Irish pavilion’s curators said they were responding to the theme “The Laboratory of the Future” which was selected by Lesley Lokko, curator of the 2023 Venice Biennale.
They chose to interpret aspects of Irish offshore islands, also adopting Hy-Brasil as “the mythical Atlantic island that embodies the possibility for the re-imagination of the island of Ireland and its ocean territory”.
The five curators studied the island landscapes of Aran’s Inis Meáin, UNESCO World Heritage site Sceilg Mhicíl (Skellig Michael) and Cliara (Clare Island) through drawing, survey, film, sound, model, mapping, and story.
Their exhibition focuses on renewable energy, ethical food production and biodiversity, “capturing the islands’ sustainable methods of livelihood through drawing, models, film, sound, writing and language,”they state.
Large limestone slabs from Inis Meáin, Sceilg Mhichíl and Cliara and their related ocean floor are on display, along with various works celebrating “the use of local materials in innovative and unorthodox ways”.
These include a hung linen tapestry mapping the “extraordinary complexity and rich topography of Ireland’s maritime zone and beyond”; a sea of interpretive drawings “revealing aspects of unique living conditions on the islands”; a film and soundscape of Inis Meáin; and a graphite rendering of the ancient landmass of Pangaea.
The Irish pavilion will be opened this afternoon (Fri May 19) by Minister of State for Tourism, Culture and Arts Patrick O’Donovan.
Welcoming the Irish entry, Minister for Tourism, Culture and the Arts Catherine Martin recalled that the 2018 Venice Biennale was curated by Shelley McNamara and Yvonne Farrell of Grafton Architects.
She noted that Emmett Scanlon, Alice Clancy and Laurence Lord are assistants this year to overall curator Lesley Lokko.
“The Laboratory of the Future” is an exhibition of six parts, involving 89 participants, over half of whom are from Africa or the African diaspora, Lokko says.
After its presentation in Venice, “In Search of Hy-Brasil” will tour Ireland in 2024. The curators of the installation will also publish a book of essays and contribute to a film documentary.