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    <loc>https://www.barbaraknezevic.com/thelastthingonearth</loc>
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    <lastmod>2016-11-07</lastmod>
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      <image:title>The Last Thing on Earth</image:title>
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      <image:title>The Last Thing on Earth - The Last Thing on Earth, 2016</image:title>
      <image:caption>Carrara marble, split suede leather hide, clear acrylic Perspex, hand-lathed bronze bars, Chroma green photographic backdrop, photographic stands, tripods, bull clips, clamps, gloss C-type print, redhead halogen light, high impact packaging foam, wooden archeological find rulers, plastic archeological find rulers, archeological ranging poles, plastic archeological find numbers, mirrors, iPad, fibre-based photographic paper photograms, museum stanchions, yellow bungee cord, spotlight and tecton light sequence, Dulux ‘Red Stallion 2’ acrylic emulsion. Voice of the canon by Olwen Fouéré  </image:caption>
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  <url>
    <loc>https://www.barbaraknezevic.com/exquisitetemposector</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2023-06-23</lastmod>
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      <image:title>Exquisite tempo sector</image:title>
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      <image:title>Exquisite tempo sector - Exquisite tempo sector, 2016</image:title>
      <image:caption>Solo exhibition at Temple Bar Gallery and Studios acrylic Perspex, air, ash, auto-poles, bark, beech, blue alabaster, bottled water, cedarwood oil, clamps, cotton candle wick, cypress oil, digital image, earthenware clay, electric light, electrical cords, elm, Fuji crystal archive photographic paper, glaze, Ilford resin-coated photographic paper, Irish sea water, LED television, ‘live surface’ patinated bronze, Monstera deliciosa, polyurethane foam, rapeseed oil, sandalwood oil, soil, soya wax, spikenard oil, terracotta clay, tripods, vetiver oil. This is a list of the materials present in Barbara Knezevic’s Exquisite tempo sector. The exhibition is an omnivorous selection of things acting together to call to mind a film set, a photographic shoot, retail and museum displays and other stagings of stuff in the world.  These items are arranged with attention to, though not always respecting museological conventions that make visible the hierarchies of value in material culture. The force of time is central to this exhibition; the influence of human, material, geological and ecological duration is present throughout. Candle sculptures flicker and ooze and seawater and other liquids evaporate silently. The stems of Monstera deliciosa, the quintessential house-plant, gradually unfurl to reveal tender, pale green leaves that gradually become darker and tougher. These plants count out their own metronomic beat, an inbuilt and primordial rhythm dictated by the influence of light, heat and moisture. Some materials are known only by their absence, present as chemical apparitions in a photogram, characterized as versions of themselves in photographic C-type prints or digitally on an LED screen. At times, this display invites a relaxation into the seduction of viewing, an immersion in affect. It is felt in the warm glow of candlelight, in the scent of woody, earthy essential oils, the quasi-healing power of salt lamps and the rustic, matte surfaces of hand-built ceramics. A refusal to this way of being with artworks is provided by the reflective surfaces of clear acrylic plinths and offered by the slick surfaces of high-gloss photographs. The presence of tripods and other ancillary photographic apparatus in the display insist on an awareness of the act of viewing and being with things, and the durational nature of an artistic exhibition. This exhibition is about the exposure of artworks and matter; to light, viewing, time, human activity and to each other. It is a reflection on the life span of things, and what remains when they seem to be gone.</image:caption>
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    <loc>https://www.barbaraknezevic.com/pleasure-scapes</loc>
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    <lastmod>2023-06-29</lastmod>
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    <loc>https://www.barbaraknezevic.com/deep-time-empaths</loc>
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    <lastmod>2023-06-23</lastmod>
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      <image:title>Deep Time Empaths - Deep Time Empaths, 2022</image:title>
      <image:caption>Commissioned and curated by Temple Bar Gallery and Studios offsite Barbara Knežević’s large sculpture, Deep time empaths, uses the material language and colour palette of construction sites to create an empathetic and affective response to materials usually considered secondary, detritus, or junk. A scaffold is assembled into a large skeletal frame, it holds everything together. Materials, such as resin, tarpaulin, steel, plastic, cord, clay, concrete and pallets are put into contact with soothing handmade elements. Surfaces are decorated through sewing, cording, knotting. Limbs adorned with ceramic armour. Safety harnesses are strung beside resin moulded sculptures. Their jelly-like translucency evokes the remnants of fleshy innards, or perhaps, prophetic of fossilised plastics conceivable in our future geology. A vibrant tarpaulin hangs as a scenographic backdrop. Its centre a hole that mirrors the building’s overhead beams. It manifests the atmosphere of a staging. Cloaked in beauty. Battered and glimmering, Deep time empaths appears as a makeshift animal-hybrid sculpture, an anthropomorphic creature occupying this space. Knežević’s methods of combining the hand made and hand constructed with materials that are often easily discarded nurtures a sense of care. It places such materials back in the proximity of touch, transformation and attention. It speaks to their mineral and vegetal origins and the inherent complexities bound up in the exploitation of the earth. Through the language of sculpture and her engagement with these materials, Knežević questions our behaviours in instrumentalising them – liberally taking them from the ground and discarding them as though they are disposable. Deep time empaths calls for a different sort of engagement with materials. One that is embodied and experienced in the space. It asks for a deeper consideration of materials, their origins, futures and pasts that we often overlook. An affective and emotional engagement with these materials is opened for audiences, in a site-responsive sculpture that strives to bring attention to the possibility of reconsidering the relation we have with materials and their ecological politics in particular. This politics of care and the empathy for materials takes on a resonant note in the context of a new commercial building in the centre of Dublin. - Cliodhna Shaffrey</image:caption>
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    <lastmod>2023-06-27</lastmod>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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