About Aodán
Aodán is a painter, poet, writer, ex:gardener/tattooist, he has delivered babies warm in the dark and wrapped the dead in white hospital cotton. He is a co-editor at Veer Books. His PhD is on Action as Articulation of the Contemporary Poem though physicality and doubt are the site of meaning and the stance respectively where the action operates. His way into collaboration was as part of London Under Construction LUC and of Cuislí. His current practice is improvised performance/writing/drawing as a finding out. He has three books, Shuddered and ISing from VEER Books and Small Increments from BeirBua Press and online chapbook LllOoVvee, Smithereens Press.
He grew up in the mountains, moved to the city, lives by the sea. @redochretattoo on instagram, @redochre1 on twitter
An ‘unfriendly’ critic commented on Degas that he was ‘continually uncertain about proportions’. ‘Nothing’, Degas replied, could better describe his ‘state of mind while drawing’. Uncertainty is the active state necessary for a performance to remain in action.
My current practice is improvisational Performance Writing/Drawing making particular use of body tracings, text sequences, drawing and writing as investigative potentials. The improvised performance allows for the unknown to be the active state which negotiates the potentials available in any present without the ego imposing itself. A central tenet of my work comes from Charles Olson referring to the work of Herman Melville saying “that man is ‘folded in (..) a thing among things, which I shall call his physicality.’”Lyotard says ‘Tonkunst can make the walls of Jericho fall, the walls of our body’, and concludes: ‘we(who, we?) are due to the donation of the event’ as ‘being-now’. The donation of the event is the here and now and we, the who we meet each moment of experience in experience. The performance must actively engage in the ‘now’, an investigation, listening with all the various forces of any temporal moment available. I have become particularly interested in those emergent forms that resist imposition, that stare back, those forms that remain. To quote Cy Twombly: ‘action must continually bear out the realization of existence.’[1] It is the parameters and trajectory of this ‘continually’ bearing out that is key to the resistant forms I hope for and it is in and through the body that acts of writing and drawing allow the availability of the resistant and defiant present.
[1] Kirk Varnedoe, ‘Inscriptions in Arcadia 1994’, in Writings on Cy Twombly, ed. by Nicola Del Roscio (Munich: Schirmer/Mosel, 2002), p. 206. This translation was published in “Inscriptions in Arcadia,” in Cy Twombly: A Retrospective, exh. cat. (New York: The Museum of Modern Art, Sept. 25, 1994-Jan. 10, 1995), pp. 9-64. No translator is listed. I am taking it that Varnedoe is the translator from the original “Documenti di una nuova figurazione: Toti Scialoja, Gastone Novelli, Pierre Alechinsky, Achille Perilli, Cy Twombly,” L’Esperienza moderna, no. 2 (August-September 1957), p. 32.
Dr Aodán (aidan) McCardle. CV
Charles Olson referring to the work of Herman Melville says “that man is ‘folded in (..) a thing among things, which I shall call his physicality.’” and Jean-François Lyotard said ‘that we (who, we?) are due to the donation of the event’.
I use improvisation and collaboration as a way of recognizing being at the heart of things, not being outside measuring or judging. My introduction to this was as part of LUC an ‘anti-performance collective’ of between five and seven poets from different disciplines who worked together to deliver performances based on site specific and contextually related work but without either rehearsal or more than cursory knowledge of what each would do. This came out of obvious precursors like Dada and Surrealism but more locally out of a common experience of the Writers Forum readings of Bob Cobbing. We used anything and everything to make these performances from just the body to instruments, found materials, vehicles, space and time. From this I found my way into a PhD which considered the materials of language and writing and reading that were mostly ignored for example in the poetry of Maggie O’Sullivan where sound came to the fore as an arbiter of meaning I argued that meaning itself might be found in the reciprocal sounding of the voice box of the listener, neither a semantic nor a metaphoric site.
In 2011 after having moved to Ireland I found that the poetry I was interested in had very few if any spaces so along with my Drawing and Painting Practice my work moved into the gallery. My first main performance here Abair: ainmnigh glór Ciall 2011, An Gailearaí, Gweedore, took the gallery’s call as a starting point, a consideration of the Gaeltacht in the contemporary Art World. For me there had to be a demand for speaking and for listening, and as an artist and poet for writing and drawing. These materials became the conduit for meaning and the performance became not a display of a particular idea or concept but a live investigation of both the environment and of my own relation to it. Over a period of a year I produced different versions of this performance including as performance talk in academic venues, as a subject of research itself within online platforms blogs etc.
The use of language projected onto walls and sound atmospheres which expanded vocal, aural and oral experiences of Irish carried into my work a year later where the projection of language onto the body itself became a site of meaning. In After Claire After Crannach, The Idea Generation Gallery, London the viewer had to stand in front of a projector and by looking in a mirror they could read the language off their own body. I realized that for many people this made the language personal both prescriptively and as internalized dialogue.
For Purgatory, Béal Festival, Smock Alley Theatre, Dublin I was commissioned to perform my earlier work from An Gailearaí and produce a new work based on the TV Operas and Electronic compositions of Robert Ashley. The festival itself was a consideration of New Music, contemporary uses of sound and theatre. It became a culmination of the uses of projection and sound atmospheres mixed with live writing after which I sought ways to produce more focused interrogations of materials within performances and in particular uses of the body.
In Cabaret ‘Forbid Me My Love’ Triskel's Black Mariah gallery, Cork, the act of writing on the body as tattoo was a response to issues of censorship where power, political and social power, had become the definitive assertion of meaning and language. Language aimed at the body or spoken from the body was contested at the barrier of the skin.
By ‘My Hands are Sore’ Visions-V_Ideas, Performances, Beton7, Pidnas 7, Athens, Greece, I had reduced the materials to charcoal, the walls or ground of the space and the body in action. The act of writing was drawing and the body as an instrument of writing was dance. The body of the worker as instrument, historically recorded in paintings and as vocalisation on the streets protesting social conditions.
My work with Cuislí focused on ‘Structuring Structures’ those aspects of the modern condition which channeled not only our movement in physical space but in cyber space, curtailing and directing our views and our view of the world. The other artists came from quite different backgrounds but the collaboration had to be at the level where it became difficult to discern the edge of anyone’s participation.
In the mean time I have been writing poetry that interrogates the idea of live writing and then considering ways in which this can be presented on the page. IS ing published by Veer Books in 2011 is a representation on the page of annotated poetry from recordings of live performances. The original texts are from notebooks I keep of the everyday and the readings were improvised from them as way of catching some other story than that which the mind is immediately aware of. My next book, coming from Veer Books are two poems used as scores for performance work. The form on the page demands that some poems or parts of poems be read while other parts want to be heard and it also wrestles with the idea that some words can neither be heard nor read. Their meaning is erased by context or by being usurped.
My Current projects are twofold, the first reinvests in Painting and Drawing my attention to performance and vice versa as an extension of my PhD research considering ‘experience’ in Twombly’s terms as our most intimate form of commonality. The paintings and drawings are a residue of these performances rather than simply an object of desire.
The second is an extension of my Drawing show at Artlink Fort Dunree in Oct Nov 22. I am bringing a slower form of attention from Hard Ground Etching and Collagraphy to bear on the throw away object. As with the drawing show I began with small and intimate drawings and then developed them as they changed scale to make the human being the smaller object. Similarly I began here with small developmental etchings exploring technique and material and I will work towards a large etching that the human frame might hide in.
Yours, aodán McCardle
Objective: Synopsis of Work and Experience
Research Interests
Performancewriting, Collaboration, Improvisation, as Critical and Creative resistance to “Structuring Structures’ and the language of the ‘Spectacle’. Contemporary Poetry/Poetics as Intermedialities, The Interdisciplinary, Fine Arts: Performance, Painting, Sculpture, Experimental and Avant-garde Music, Modernism/Post-Modernism, Irish Literature
Charles Olson referring to the work of Herman Melville says “that man is ‘folded in (..) a thing among things, which I shall call his physicality.’” and Jean-François Lyotard said ‘that we (who, we?) are due to the donation of the event’.
Improvisation and Collaboration initially considered as methodologies and techniques become the nature of negotiating the morphing language and social controls of the 21st century. The truth uncontainable is perceived in the lim’nality, coming and going, between differing states of writing, drawing and communicating with others.
My research places to the fore the contested state of the ego as primary judge of value. By using improvisation and collaboration as both lens on and conduit to a subject one must relinquish control over the subject. As such research may be lead and designed by the other potential influences of a subject’s atmosphere. My work as part of the group Cuislí specifically into ‘Structuring Structures’ investigates and researches those aspect of 21st century life which would lay claim to our social, public and personal spaces, which would seek to control our relations, knowledge and gaze whether through gender, cultural or economic inequalities. My research into the practice of improvised performance and collaborative writing and art turns that lens inward during process and delivery.
Co. Editor Veer Books
When we began Veer Books there were only a couple of small presses in Britain interested in Innovative and Experimental poetry and they were publishing only a few books per year. We produced books in full colour, in formats that suited the publication, we recorded poets performances and initiated conferences and workshops to discuss their work. There are now dozens of small presses dedicated to this work. As co-editor at Veer Books we have published over 100 books of poetry, critical theory and translation and organized readings and festivals for other small presses connecting communities of writers with wider communities such as our Non-Normative Book Fair at T-Chances in 2018. We helped small presses from all around Britain to come to London to talk, sell books, and promote different aspects and styles of publishing and we did this in conjunction with a community group setting in East London which would otherwise have little exposure to this work or writing. It was very successful and we will be developing it further for next year.
Education
2003-2016 Birkbeck College, University of London, Mallet Street
PhD ‘Action and the Articulations of the Contemporary Poem’ 2016
My thesis traces how the notions of action and physicality as articulations of the poem as posited by Charles Olson have been developed by later writers. Crucially this development is traced in the stance of the writer, emerging strongly in the work of Melville and running through Whitman and William Carlos Williams. Eric Mottram’s consideration of Open Field Poetry in London in the early 1970s becomes a focal point for this tradition influencing a generation of British poets. I approach articulation as meaning in the eye, the ear, the palm, and in the physicality of speaking and listening. My examples are poets such as Barry MacSweeney, Ulli Freer and Maggie O’Sullivan but I show that these potentials are already vital in the gaze inherent in Frank O’Hara’s poetry of the early 1960s.
Some of this has been published already by Rodopi, as considerations of intermediality when for example reading O’Hara’s poems alongside the process and critique of Cy Twombly’s work and future research would further examine the connections and validation Olson found in Melville and Cage in Thoreau with a view to considering the relevance of their stance for this current century.
1998-2002 Birkbeck College, University of London, Mallet Street
B A Hons. English
Modernism, Post Modernism, The Faeirie Queene, Metaphysical Poetry from Dante to Eliot, Tragedy, Olde English: An Introduction to Anglo-Saxon Literature and Culture, Renaissance Philosophy and Verse, Medieval Lyric, Seeing and Imagining: Byron and Keats as Romantic Poets, Extended Project: ‘Vital Action as Compositional Principal in Frank O’Hara’s Lunch Poems’.
1988-1990 University of Ulster, Belfast, N. Ireland.
B A Hons. Design
Studied Fundamental Theory and Practice of Design across Product, Furniture, Environmental, Fashion, Graphics, Film and Advertising.
Publications
Published:
Small Increments, Beir Bua Press 2023
‘50 Dreams of Wolves’ in becoming-Feral, a print + digital publication creatively exploring the relations between humans/other-animals. Objet-a Creative Studio Glasgow. University of Wisconsin-Madison and Royal Conservatoire of Scotland. 2021
Current Critical writing: Title: Jeff Hilson’s Organ Music Poems.
Edited Collection: Hilson Hilson
Crater Press Ed. Richard Parker, 2020
: ‘We Have To Ask: 5 Freedoms of Movement.
Edited Collection: A Line of Tiny Zeros in the Fabric: Essays on the Poetry of Maurice Scully.
Shearsman Books Ltd. Ed. Ken Keating 2019
‘Brother Wolf-The Odes-Colonel B: A body of Vocalities’, VLAK 5:Contemporary Poetics and The Arts, May 2015
Relational Designs in Literature and the Arts: Page and Stage, Canvas and Screen(Internationale Forschungen zur Allgemeinen & Vergleichenden Literaturwissenschaft) Editions Rodopi B.V. (10 Oct 2012)
A consideration of the gaze and actions of the poet Frank O’Hara as read through the Paintings and processes of Cy Twombly
Chapbook LllOoVvee from Smithereens Press 2013 https://ia600108.us.archive.org/31/items/LllOovVeeAodanMcCardle/LllOovVee%20-%20Aodan%20McCardle.pdf
Runamok: http://runamokpress.blogspot.com/ . ‘Way in’ to the kinetics of dance available in Maurice Scully’s Sonata.
IS ing, Veer Books 2011, transcriptions of improvised performance writing from 2007-2011.http://www.bbk.ac.uk/cprc/publications/Veer_Publications/Veer038
SHUDDERED, Veer Books 2009, http://www.bbk.ac.uk/cprc/publications/Veer_Publications/Veer024
‘Visuality: The Visual Condition; an Other Articulacy of Knowing’ in The Salt Companion to Lee Harwood, Ed. by Robert Sheppard, Salt Publishing 2007.
www.bbk.ac.uk/readings : ‘Lack of Control As A Condition Of And In The Poem’(Issue 4)
www.bbk.ac.uk/readings : ‘Accessing The Before in Ulli Freer’s Burner 3’ (Issue 3)
Reception. 2004 A contemporary consideration of the act of translation. A collaboration between contemporary Chilean and London based poets collective LUC.
LUC#1 and LUC#2 2003-2004. Performance materials archived.
‘a-a-a-a-a’ Birkbeck workshop poetry chap book. 2003
Journal and Mag Publications
Stoney Thursday Book ‘What is the Angle of truth’ and ‘This is not a plum’
Abridged ‘Axis; so polished and yet’
Keywordspod RTE1 ‘Distance is’
Erotoplasty ‘Incongruous ofness’
Pamenar Press ‘The sense of place’
Wretched Strangers ‘This other’
Channel Mag ‘Mac Tíre’ and ‘I go down to the sea’ and ‘50 Dreams of Wolves’
Selcouth Station ‘The Telephone’
The Stinging Fly ‘In the beginning’ and ‘all the small things’
Smithereens Press ‘LlllOoooOveee’ and ‘this running blood’
Colony ‘nothing poem’
Lumin Journal ‘removal from the touch of things’
The Learned Pig ‘Almost like almost’
Gorse ‘To the State of’ ‘Them they those’ ‘Your Voice is no longer’ ‘you are going’
Datableed ‘I saw a shameful shuffling’ and ‘give a bird’
Ropes ‘conation/vers’, ‘Independence’ and ‘The Sun came up anyway’
Litmus Publishing ‘How does a word breathe’ and ‘what can be extracted to enable a true line’
Esc ‘3 forms the impossibility of thinking of you’
Splinter ‘Synaesthesia 2’
Zone One first ‘omb’ page, knotted ‘errorist’ page and Large text ‘omb’
Orra ‘for those who would oppress’
Pennydreadful ‘umanity’
Conference Papers
Papers delivered:
SFRA (Science Fiction Research Association Conference ‘Systems and Knowledge’ at The University of Liverpool, ‘TRUTH: The disruption of Corporate and Sopciopolitical Systems in the poetry of Stephen Mooney. June 28-30 2016
Environmental Utterance, Performance Centre University of Falmouth, ‘abair: arespeaksay’ as investigation of and as environment,, 1st Sept 2012.
‘Dancing With Fire: Technology, Performance, Objects, Environments’. The Arts and Technology Research Lab, Trinity College, 23 May 2012, ‘Improvisation and Performance in the investigation of Environment.’ A consideration of the processes and encounters during the making of “abair” for Ciall 2011.
Derelictions of Duty: Textual Topographies and Performance, Panel Discussion, Department of Performance Studies, NYU, 2 Oct 2011.
Innovation in Irish Poetry Conference, University College Cork, 12 July 2011,’Confronting the Changes: Stephen Mooney and Maurice Scully’.
Poetry in Process Conference, Mater Dei Institute of Education, Irish Centre for Poetry Studies, 18 June 2011 ‘Abair: Recovering the Improvised Space through Empirical Documentations’
Relational Forms Conference; Oporto, Portugal, 25-27 Nov 10: ‘Into the stride of the hand’. Roland Barthes’ response to Cy Twombly read against the walking of Frank O’Hara established only in words.
Cosmopoetics Conference; Durham, 8-10 Sept. 10: “ Dance in the non-spaces which simultaneously reflects upon and makes possible the reconsideration of poetic or generative force.” In the poetry of Ulli Freer, rather than words or language, action, physical action, movement, becomes constitutional, an activity driven by and in the poem.
Fractured Images Conference; Lancaster, 12 June 10: Language as action in the work of Maggie O’Sullivan encompasses the experience of the visual or sensory and denies the habitual return to dominance of the word as a singularly semantic purveyor of meaning.
Improvisation and Collaborative
Performance and Research
This is only a small sample of performances and readings and talks
Sep/Oct 2023
‘Souls’ Derry Print Workshop Members Exhibition UV Arts Bishop St. Derry, Northern Ireland
Improvisation and Collaboration used in Etching practice. Subject, Medium and Artist having equal potential in influencing the outcome. Variable Edition Collagraph 880x675 framed.
12th Oct 2023
Workshop and Reading Creative Archives Symposium Museum of Literature Ireland MOLI
Take part in Christodoulos Makris’s workshop then attend symposium on use of poetry in archives and commemoration. I was showing examples of improvisation and collaboration during workshop and reading/performing work made during the day.
Sep/Oct 2023
Independence UCD Special Collections Poetry As Commemoration Galway City Museum
Poem chosen by UCD Special Collections as part of Poetry Jukebox Installation at Galway City Museum for two months including Performance with other selected poets at the Museum on 22nd Sep for Culture Night.
26th March 2023
Small Increments Books Upstairs Dublin
Launch and Performance from my book Small Increments from BeirBua Press alongside launch of new Book from Veer Books by Christodoulos Makris.
Dec 2022
Seal Song Kirkos Ensemble Unit 44 Stoneybatter Dublin
Improvised performance reading writing drawing reconsidering the alphabet alongside field recordings of seal song.
Oct-Nov 2022
Emerging Forms Artlink Fort Dunree Residency as Exhibition
An exhibition of Drawings in charcoal and ink using improvisation as a form of attention to the mundane and the impossible. The objects are all at the end of their initial life, thrown away or obsolete. Objects so simple or so complicated that they defy the act of drawing. I made a residency out of an exhibition opportunity and the drawings were made in the space during the 6 weeks of the exhibition. Each object developed the drawing style used to form attention to it.
Sep 2022
The Monster at the Heart of the Event Horizon Embodied Health and Medicalized Bodies University of Surrey
Performance Talk considering the use of the body as ‘folded in’ to any context in order to de-centre the human ego and knowledge as arbiters of taste and worth. Considerations of how in an increasingly fractured society we can achieve empathy and collaboration.
July 2022
The Point of Perspective. ArtlinkFort Dunree Curated by 126 Gallery Board are Meabh Noonan, Mary McGraw, Liz Curran, Lindsay Merlihan and Sona Smedkova
Improvised Drawing and Body Trace
The problematics of one point perspective
the perspective of one point problematics
the point of one problematic perspective
the problematic perspective of one
May 2022
A Pound of Feathers curated by Wild Swans; Ireland, Spain, Puerto Rico
Exhibition: Films and Installation of Material Residue and Research in Regional Cultural Centre throughout May and early June.
Jan 2022
Performance writing and drawing Make N Mend Irish Hospice Foundation Donegal
Series of arts events run nationwide in conjunction with The Irish Hospice Foundation. In North Donegal these are curated by Martha McCullough and Rebecca Strain. I use Performance Writing and Drawing and improvisation as a mode of exploring difficult or sensitive issues around Loss and grief.
Aug and Sep 2021
‘Truth Fact’ A Pound of Feathers curated by Wild Swans; Ireland, Spain, Puerto Rico
Improvised and Collaborative Performance Art/Writing responding to theme ‘A Pound of Feathers’. A collaborative conversation over a period of time considering the theme and considering performance itself which generated and moulded individual performances. Films shown in RCC on Culture Night Sep21 and full exhibition and performances scheduled for RCC May 2022
21 June 2021
All The Small Things The Stinging Fly Soho Radio Rough Trade Books
: https://sohoradiolondon.com/profile/rough-trade-books/.
April 2021
Artists Q&A Artblab Curators series
in response to short film for ‘Spaces’ and statement of poetics.
https://www.instagram.com/p/CNaoTzwlWjE/
March-September 2020
‘Spaces’ Forgotten Places curated by Wild Swans Fanad Ireland and Girona Spain
Exhibition, Artists talks and Online documentation at RCC letterkenny.
Improvised Performance Art/Writing responding to theme ‘Forgotten Places’ in conjuction with other artists in a series of meetings and performances considering the spaces and places forgotten or forbidden during the Covid 19 pandemic. Promoting Performance Art in remote locations. https://regionalculturalcentre.com/forgottenplaces/
1st May 2020
Poetry Ireland Poetry Month Lake of Eyes Poetry Reading Hosted By Jeremy Howard
Zoom readings from Emily S Cooper, Aodán McCardle and Denise Blake
26 April 2020
‘Distance is’ Keywords Pod Rte Radio 1 Extra:New normal Culture Zoe Comyns
http://newnormalculture.com/2020/04/27/01-distance/
27 Nov 2019
‘In The Beginning’ The Stinging Fly Winter 2019-20 Dublin Art Book Fair
Temple Bar Gallery and Studios
August 2019
‘In Time Beyond Time’ BBeyond Roe Valley Arts Centre
Improvised performance in the community. An intervention within the social and shopping area of the town. Opening the public space.
August 2019
‘no one can see themselves as they are’ Identity Artlink Curator Emma Zukovic
Improvised Performance Writing/Drawing considering the illusion of identity as any sort of singular or easily encompassable concept. Reconsidering the self portrait.
July 2019
‘Voicing The Bridge’ BBeyond Clady, Border Performance
Collaboration with Void Gallery, Earagailll Arts Festival and Finnish Embassy
Improvisation and Performance with the group BBeyond
18 April 2019
Radical ReThink-Conversations in Contemporary Art Practice RCC Donegal
Conversation between Host Bernadette Hopkins, Aodán McCardle and Eve Olney on practices of Collaboration, Research and Group Engagement within Contemporary Art and Society
18 Feb 2019
‘This Other’ Wretched Strangers readings Maynooth University
Borders Movement Homes: An anthology of poems that travels as readings to highlight the status of immigrants and their needs. The writers have all been immigrants at one time.
Ágnes Lehóczky and J.T. Welsh Eds. Boilerhouse Press 2018, UEA Publishing Project Ltd.
August 2018
The Everyday: FearLoveFear Artlink Members Show Curator Rita McMahon
It is now understood that we genetically inherit the experiences of our predecessors as a bodily memory, fear may be as trustworthy as love. The contingency is within the action of doing.
June 2018
‘Please Open The Door Behind You’ Cuislí K-Fest, Killorglin, Kerry
The Gallery Space as Studio Space, thinking and working, is it art? Outreach, Workshop, studio, the audience becomes part of a live writing/drawing performance https://youtu.be/qNAnx_OPqM4
Ongoing ‘Structuring Structures’ Series: Research into how we might write ourselves into thinking through and out of those structures bent upon dominating our private and public gaze.
August 2017
Manifold Artlink Members Show 2017 Curator Stephan Roche
Self Portrait as Performance using Benjamin’s essay Art in the Age of Mechanical Reproduction as literal base and Medium. The individual in the age of reproduction.
July 2017
‘We Are All I Know Is There’ Cuislí Artlink Fort Dunree
Residency where a performance is developed over the course of one week using the resistance inherent in actions of collaboration to explore ‘Structuring Structures’ series on social and ethical controls.
June 2017
‘Three People in a Room at a Table’ in conversation with Allana O’Kelly Cuislí The Damer House Gallery
Full day PerformanceWriting, collaboration with Áilbhe Hines and Bernadette Hopkins. Investigation within the ‘Structuring Structures’ series using Improvisation and Collaboration as dynamic extensions of the collective mind.
March 2017
Mountains To Sea Book Festival Poetry Now: Gorse Reading
http://gorse.ie/poetry-nowmountains-to-sea/
Dec 2016
Activist Screen Print The Human Rights Festival 2016 CCA Derry Group Exhibition
Screen Prints based on the use of this medium as an activist tool in the 20th century in conjunction with CCA Derry and The Derry Print Workshop
Nov 2016
‘Your Name is No More’ NoJuryNoPrize Artlink Fort Dunree
Performance Writing, Body Trace
July –Aug 2016
“The Invisible Red Line” Artlink Fort Dunree Members Show ‘Inside/Outside’
Collaboration with Áilbhe Hines and Bernadette Hopkins. Performancewriting, Bodytracing, Markmaking, Vocalisation, live Art
https://www.youtube.com/watch?v=fy0OlAX7D9U
Sept 2016
‘Folded Into Present Things’ Centre for Performance Philosophy, University of Surrey
Aodán McCardle and Stephen Mooney, collaboration, Improvised performance talk, tattoo, philosophy as conversation and performance as routine.
July 2016
‘Buried Deeds’ Hyde Bridge Gallery, Sligo
Collaboratiuon with Áilbhe Hines and Bernadette Hopkins. Performancewriting, Bodytracing, Markmaking, Vocalisation, live Art
https://www.youtube.com/watch?v=ZoiG9A9vVzM residue from performance
https://www.youtube.com/watch?v=H7Xb4yUXd-4 extract Form edit
28-30 June 2016
‘Systems and Knowledge’ SFRA (Science Fiction Research Association Conference The University of Liverpool
‘TRUTH: The disruption of Corporate and Sopciopolitical Systems in the poetry of Stephen Mooney.
June 2016
Phonica 3 Jack Nealons (165 Capel Street, Dublin 1)
Improvised performance and drawing considering the laughter of Dan Higgs and reading as a doubtful articulation.
http://yesbutisitpoetry.blogspot.com/p/phonica.html
Nov 7th 2015
‘Stay Human’ Stay Human Balor Theatre, Ballybofey, Donegal
collaboration with Áilbhe Hines, Performance, Vocalisation, Bodywriting. Response to oppositions contrived in human interaction. Event for Médicins Sans Frontières and Irish Refugee council.
14th Oct-4th Nov 2015
‘Administration of Occupation’ NoJuryNoPrize Artlink Fort Dunree, Donegal
Collaboration with Áilbhe Hines and Bernadette Hopkins. Performancewriting, Bodytracing, Markmaking, Vocalisation, live Art. Response to the structuring aspects of social and political administration .
13th -23rdJuly2015
‘Is there a word for that’ Mark1 Artlink Fort Dunree, Inishowen, Donegal
Improvised Performancewriting, Bodytracing. responding to curators’ theme ‘the act of choosing’
29th June 2015
‘but the distance between’ 5 Cavendish Row Olivier Cornet Gallery, Dublin
Improvised Performancewriting, Reading and Bodytracing, Live Art, response to historical presence of gallery space 5 Cavendish row
May-June 2015
‘My Hands are Sore’ Visions-V_Ideas, Performances Beton7, Pidnas 7, Athens, Greece
Bodytracing, Improvised Performancewriting, Installation. Live Art
Sep 2014
Yes but are we enemies Enemies Project Verbal Arts Derry and Irish Poetry Centre Dublin curated by Steven J Fowler
Aodán McCardle and Áilbhe Hines Collaborative Improvised Performance: Bodytracing and Writing
Nov-Dec 2014
‘Say Citizen: 3rd May’ NoJuryNoPrize Artlink Fort Dunree, Donegal
Improvised Performance: Bodytracing and Writing, Live Art
July 2013
Cabaret ‘Forbid Me My Love’ Triskel's Black Mariah gallery, Cork Improvised PerformanceWriting, Concrete and Sound poetry and Reading http://vimeo.com/70083484
May - June 2013
'Níl' 'After Narcissus' Fringe Arts Bath- Other Words, Bath, England
Improvised PerformanceWriting and Installation.
Feb 2013
Project Space ‘Níl’ ‘abair’. Catalyst Arts, Belfast, Northern Ireland Residency: Improvised Performance : TalkWriting : Projection and Soundscape http://vimeo.com/59366573
Nov 2012
Purgatory Béal Festival, Smock Alley Theatre, Dublin Improvised Performance : TalkWriting : Projection and Soundscape considering the work of Robert Ashley http://vimeo.com/53759724
Nov 2012
‘Níl’ ‘abair’ Béal Festival, Smock Alley Theatre, Dublin Improvised Performance : TalkWriting : Projection and Soundscape http://vimeo.com/53763804
May 2012
All we thinking pierce Vlak3 Launch PolyPly London
This film was produced as a reading of a collage/construction poem. It includes the poem 'consider it' which was included by UpStart in the visual verbal art campaign they waged during the electioneering in the run up to the elections in Ireland in 2011.
Nov 2011
After Claire After Crannach The Idea Generation Gallery, London PerformanceWriting/Projection/Video.
Oct 2011
Improvisations on IS ing
6 Oct Brown University Rhode Island, 4 Oct Bard College AoH NY, 3 Oct Unnameable Books, Brooklyn, 2 Oct NYU New York
Improvised performances using Body, Voice, Projected Film and Text.
June 2011
IS ing Festina Lente III, Paris, France
Improvised Performance reading http://vimeo.com/26470478
April 2011
Abair: ainmnigh glór Ciall 2011 An Gailearaí, Gweedore, Donegal Improvisation PerformanceWriting and Installation
https://verysmallkitchen.com/2011/06/
https://verysmallkitchen.com/2011/06/17/vsk-project-aodan-mccardle-abair-anarcheology2/
http://verysmallkitchen.com/2011/06/12/vsk-project-aodan-mccardle-abair-anarcheology1/
http://verysmallkitchen.com/2011/06/17/vsk-project-aodan-mccardle-abair-anarcheology2/
https://vimeo.com/25988906 score for ‘abair,’ video Poem.
2006-07
Tellsong Voiceworks Guildhall School of Music and Wigmore Hall, London
Collaboration with composers, musicians and singers
https://openbracket.files.wordpress.com/2007/03/voiceworks_flyer_lowres.pdf http://www.bbk.ac.uk/arts/research/contemporary-poetics-research-centre/events/past-events/2011-12-events-1
2004-05
London Under Construction: Anti-Performance Collective
Horse Hospital 2005 Russell Sq. London
The Klinker 18th Nov 2004 Englefield Rd London
Eton Mission Club 1st Nov 2004 Hackney Wick London
Taxigallery Easter 2004 Cambridge
Group improvisations and Collaboration, Political, Social and Site Specific Interventions
Bursaries
2017
Donegal County Council Arts Grant
‘Three People in a Room at a Table’ in conversation with Allana O’Kelly Cuislí The Damer House Gallery
2022
Agility Award for Literature
1 book of poetry (Small Increments Due out 2023 with Beir Bua Press limerick)
1 book of short hybrid writing in the process of writing.
Brief Biog:
Aodán’s current practice is improvised performance/writing/drawing. His PhD is on ‘Action as Articulation of the Contemporary Poem’ though physicality and doubt are the site of meaning and the stance respectively where the action operates. He opened the Performance Month at Beton7, Athens 2015, and the Performance Philosophy Centre Uni. of Surrey Sep 2016. He was a member of the anti-performance group LUC, London Under Construction and the Collaborative/Improvisational Performance group Cuislí.
Two books, Shuddered and ISing from VEER, online chapbook LllOoVvee, Smithereens Press. Recent publications in Wretched Strangers, Erotoplasty and Smithereens Literary Magazine #1 and The Stinging Fly. Current Critical writing: Title: Jeff Hilson’s Organ Music Poems. Edited Collection: Hilson Hilson, Crater Press Ed. Richard Parker. New Book Forbid me my Love and LllOovVeeee from Veer Books autumn 2022.