Phone: +353 (0)1 636 4339
Phone: +353 (0)1 636 4339
My current research project explores: ‘The Memory Image: Intermedial Aesthetics and the Moving Image’. ‘The Memory Image’ encompasses a monograph, screening events and a practice-based project.
My PhD thesis, titled ‘Past/Present: Temporal Modes in Artists’ Moving Image, 1995-2005’ addresses the significance of an intermedial moment as the centenary of cinema coincides with the impact of digital technologies in the mid 1990s.
Previous projects include solo exhibitions at Limerick City Gallery of Art, Kevin Kavanagh Gallery, Hallward Gallery, Dublin and selected group exhibitions include ‘EVA International Biennial’, Limerick, ‘C2’, Crawford Municipal Art Gallery, Cork, ‘126 Presents’, Galway Arts Centre, Galway, Green on Red gallery, Dublin, Purdy Hicks gallery, London, ‘Foreign Affairs’, Europäische Kunstakademie, Trier, Delfina Projects, London, ‘Germinations: European Biennial’, Magasin, Grenoble.
Awards include: fellowship Virginia Centre for the Creative Arts, Virginia, USA, residency Tyrone Guthrie Centre, Co. Monaghan, Royal Over-Seas League Award, London, EVA Open Awards (1999, 1995) and Arts Council Bursaries (2003, 1994).
Public talks include: Irish Museum of Modern Art, Limerick City Gallery, Hugh Lane Gallery and Douglas Hyde Gallery.
Speaker: No Longer Peripheral, aemi moving image event, November 2019, TCD
Talk on Roee Rosen’s Exorcisms, Bealtaine Festival, Project Arts Centre, May 2019
‘The Memory-Image’, screening and discussion with Mark Leckey, curated in collaboration with aemi and the Irish Film Institute, January 2019
Moderator: ‘Subject to Weathering’, screening curated by Michelle Deignan, The MexIndex, Temple Bar Gallery & Studios, October, 2018
‘Memory, Forgetting and the Moving Image, Caterina Albano (2016)’, Moving Image Review & Art Journal · Volume 8 · Numbers 1-2, Intellect Ltd, Volume 8, September 2019 pp.168-175 MIRAJ 8.1-2.
‘Mediatised Memories in Mark Leckey’s Dream English Kid 1964 – 1999 AD (2015)’ in Moving Image Review Journal Special Issue 6.1/6.2: 50 Years of British Artists’ Moving Image, ed. by Benjamin Cook and Lucy Reynolds, 2017
‘Steve McQueen: The Go–Between’ in Screening the Past, Issue 38, Dec., 2013, peer- reviewed journal of screen history, theory & criticism, La Trobe University, Melbourne, Australia.
‘Documentary Fiction in Pierre Huyghe’s Streamside Day Follies’ in Extended Temporalities:
Transient Visions in the Museum and in Art ed. by Alessandro Bordina, Vincenzo Estremo
and Francesco Federici, (Milan: Mimesis International, 2016), pp. 149-165.
Forthcoming: ‘Memory and Intermediality in Artists’ Moving Image’, in the Experimental Film and Artists’ Moving Image series, co-edited by Kim Knowles and Jonathan Walley, Palgrave Macmillan
‘The Echo-Chamber: The Return of the Avant-Garde in Moving Image Art of the 1990s and 2000s’, Troubling Time conference, University of Manchester, June 2017
‘Documentary Fiction in Contemporary Art’, Visible Evidence 21, New Delhi, 2014
‘Steve McQueen’, White Cube/Dark Cube Symposium, Canterbury Christ Church University, Kent, 2014
Irish Screen Studies Seminar, Trinity College, Dublin, 2014
XI MAGIS Gorizia International Film Studies Spring School, Udine and Gorizia, Italy, 2013
Arts Council New Media Conference, Dublin Castle, 2008
Sarah Durcan was appointed MFA Co-ordinator, School of Fine Art, NCAD in 2000.
Before that she was a lecturer in the School of Fine Art and the School of Visual Culture, NCAD, 1998-2000.
She has been an External Examiner for the MA Fine Art at Limerick Institute of Technology and the BA Fine Art at GMIT, Galway.