2022

Gemma Tipton (Irish Times) reviews 'Living Canvas' at Wilton Park. Europe’s largest dedicated art screen has popped up in Dublin. What’s going on?

Clare Langan’s River, on the screens at Wilton Park in Dublin, shows water shot in extreme close-up and extreme slow motion, which becomes hypnotic.

Clare Langan’s River, on the screens at Wilton Park in Dublin, shows water shot in extreme close-up and extreme slow motion, which becomes hypnotic.

"Maybe it’s the cranes, but I’m thinking of Blade Runner: those vertiginous cityscapes where vast screens present a glittering array of faces, all enticements to desire. It’s no surprise to find that director Ridley Scott cut his filmmaking teeth in advertising. At its best, advertising creates hugely memorable images, but commerce always wants its cut.

So, when I first came across the huge digital screen showing contemporary art at Wilton Park in Dublin, my first thought was: what are they selling? We are so used to everything having a commercial imperative that without one, Living Canvas seems like an outlier. That’s because the screen is solely dedicated to art, and is the first of its kind at this scale in Europe. It is also the second only in the world, the other being at the M+ museum in Hong Kong."....

Read full article here: A very big space for art at Wilton Park (irishtimes.com)


2021

Christmas in Confidence: Barbara Polla (Switzerland), December 23, 2021

Flight from the City: A mother and daughter swim. I've watched this video by Clare Langan, with the mysterious title, hundreds of times. I love this work for many reasons: its hypnotic magnetism, the quality of the images, the link to the music, its extreme softness, the slowness, the water of course - the water from which we come, the water that constitutes us, crosses us, the amniotic water… and above all, I love it  for the trust forged between the two women, a mother and a child, one imagines. One human being's absolute trust in another human being is a rare and beautiful reality. The total letting go of the child in this liquid space-time, dreamlike, on the body of the woman, guided by her, carried by her, held, let go, eyes closed, eyes in the eyes too, for a moment, until the adult gently separates from the child, throwing her into the world, once again.

It is this magical trust that the child has for the mother that allows it to definitively appropriate this feeling: then, trust in the other becomes self-confidence. The respect that emanates from the adult, the attention paid to the child, the physical tenderness, are transformed into respect and tenderness that the then grown-up child will be able to give other humans. I like this work because the apparent absence of narration is actually nourished by a psychological depth, even philosophical, a reflection on existence, on the future of the child, the disappearance of previous generations, the promise of other generations, on transmission.

Transmitting trust, in this Christmas 2021, is more important than ever, it seems to me, don’t you think so? The video is currently running in a loop in the gallery, until January 31st, 2022. Do not hesitate to come and be inspired by this wonder, come with your children – and until then, to you who read me, thank you – and let us all offer, in this vigil of gifts, one to the other, an extra confidence.­

   

2015 

Aidan Dunne: Visual Art round-up: Worlds on the brink and cosmic explorations (irishtimes.com)


2014

Island Odyssey, Art and Context by Joan FowlerBrendan-Earley_Gravitational-Waves’_Joan-Fowler_Art-and-Context_March-2014_©All-rights-reserved.pdf (motherstankstation.com)