All rooms are equipped with an overhead projector
Rooms C, D, E, F, G and H (H only on Saturday): slide projector (framed slides, carrousel. There are extra carrousels available to set up your presentation in advance)
Rooms C, D, M, N, O, U and Committee Room 2: beamer to connect your laptop. You have to bring you own laptop. (If you want to use your Apple notebook, please contact us, as it may be incompatible.)
Rooms C, T and U: VCR
Programme
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Memory and Resistance: Triúr Ban and the Re-Membering of the Female Body
| 'Triúr Ban' (“Three Women”) is a collaborative project developed in Ireland in 1995 by the photographer Amelia Stein, the dancer and choreographer Cindy Cummings, and the poet Nuala Ní Dhomhnaill; three artists who want to “express and explore their response to life in contemporary Ireland” reacting against the continuous use of the female body as literal and symbolic territory where society’s power struggles are inscribed. After all, this artistic collaboration began in a key moment in Irish women’s history when Irish society was constantly being shaken by a series of events that focused the whole country’s attention on the treatment and situation of women and, specifically, on the extreme control of women’s bodies in Ireland (the debates over the referenda on abortion and divorce, the X-case, the “Kerry babies case”, Ann Lovett’s death…). Through the photographs and poems that constitute Triúr Ban Cummings, Ní Dhomhnaill and Stein seek to provide their personal responses to those present events while at the same time attempting to give voice to the silences of the past by “revisiting” an inherited repertoire of images and narratives of women in Ireland. In their pieces the female body functions as a text that bears the memories of Irish women’s past and present, it emerges as a testimony of women’s silenced experiences of oppression and also as a site of resistance against patriarchal exploitation. In this way Triúr Ban transgresses a historical silence in Ireland: the silence of the female body neglected in the official his-story of the nation. This subversive work of art articulates unverbalised experiences of women who, through their individual and collective memories, re-member an alternative her-story deconstructing and exposing patriarchal constructions of femininity (and in particular of Irish femininity), and inscribing a multiplicity of female identities and experiences that belong to complex, plural and corporeal female subjects.
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