Introduction / A/Political

In 2017, a/political and Rua Red, Dublin, announced a major partnership through a series of exhibitions that will see many of the contemporary art world’s foremost socially and politically engaged artists respond to the unique context of South Dublin County. Situated in Tallaght, County Dublin, Rua Red serves a dynamic, multicultural and predominantly young population; an important and necessary space to draw out dialogues between artists and the local communities, many of whom are unlikely to encounter these works in another context.


07.10.2017 – 02.12.2017
For the inaugural exhibition of the a/political and Rua Red partnership, HOW TO SAY IT THE WAY IT IS! displayed selected works from the a/political collection; curated by the pioneering performance artist Franko B. At a time when history is eating itself, bloated off war and genocide, we look towards its nuclear death. HOW TO SAY IT THE WAY IT IS! provided an alternative narrative to the current political status quo – one of timeless defiance, resistance and disorder – from some of the most influential socially and
politically engaged contemporary artists


09.02.2018 – 06.04.2018
For the second instalment of the partnership between a/political and Rua Red, Andrei Molodkin (b.Russia, 1966-) presented ‘Fallout Pattern’, an exhibition that featured twelve cartographic drawings; leaked government reports and unseen sketches for a proposal on Red Square, Moscow. The source of the drawings originated from a set of Wikileaks documents detailing the impact of a US nuclear missile strike on Russia, and the resulting nuclear fallout pattern and projected destruction. These documents spurred on the aggressive modernisation of Russia’s military forces, being described as a “new generation” army by Vladimir Putin in December 2017.


27.04.2018 – 23.06.2018
For the third instalment of the partnership between a/political and Rua Red, Democracia premiered their expansive anti-capitalist operatic-work ORDER. The tripartite film was projected onto three screens in the centre of the gallery whilst the accompanying installation – artefacts, documentation and photographs gathered from each act – lined the walls. Working with Black Power groups in Houston, a children’s choir in Dublin and unsuspecting members of the economic and cultural elite in London, the operatic-film presented in its three acts dramaticized analogues of our reality through carefully engineered interventions in public and private spaces.

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