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STAGING THE ARTWORK
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@stagingtheartwork [↗]
SELECTED LINKS
What does the word curate mean to you? Introductory Essay by Mona Casey, 2011 [↗]
Q&A Mona Casey Interviews Joanne Tatham and Tom O’Sullivan, showing at Eastside Projects for Map Magazine, 2009 [↗]
RECENT
Schemarium, 2024 [→]
OTHER PROJECTS
Silent Stage, Lithuania, 2018
Salon, 2015
Slice Distribution - B42, 2012
The Space Between Surrounds our Desires, 2009
Merging Territories, 2008
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ARTICLE
This Frontier so Familiar so Strange, 2016
Staging the Artwork 2, 2015
Staging the Artwork, 2015
Article Off-site - 7 Disorderly Dramas, 2015
New Art Annuale, 2015
Until it Breaks, 2013
Diamond Armour, 2012
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COLONY
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MONA CASEY
Last Summer Green things were Greener (Sketch 2), 2024
Hypercoloration (Sketch 1), 2024
The Butterfly Effect, 2021
Backdrop Grounding the Spectacle, 2015
Misdemenours & Regurgitations
A whole lotta lemons
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CASEY & MCAREE
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Objects – Prague Quadrennial 2015
18th June 2015
Curator: Tomas Svoboda
Objects, was curated as part of the Prague Quadrennial 2015
18th – 23rd June 2015
Any questions as to the selection of objects on the plinth, is answered by the film, which shows us a range of theatre professionals, against a black background. Each is telling a story whilst holding and playing with a particular object. The narrative told by the custodian, is the history of the object, its significance in certain productions, how the object was found and variously the performing life of the thing, whether a poodle, a cat, a unicorn, an umbrella, a chair or flying pig. Some of the stories are read, others performed, but all speak to the significance and emotional connection to the thing, sometimes poignant and at other times humorous. The status of the thing its-self is in question. In its lifetime, it can operate as a ready-made, a thing already existing and looking for another kind of purpose, or its a prop within a production or an aide memoire to the telling of a story of the life of something else. The success of this exhibition is in the way we enter the space and firstly encounter the objects, as ready-made, the significance of which could be throwaway and multiple, until we then encounter the performers, quickly realising that these are not just any objects, but ultimately significant and of great value.