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About Michael Anthony Mc Loughlin

Michael McLoughlin is a visual artist from Dublin, Ireland who makes audiowork, drawings, sculptural objects, video and installation. His approach endeavors to present an outlet for dialogue/exchange and explores the physicality of places where, and...More

Michael McLoughlin is a visual artist from Dublin, Ireland who makes audiowork, drawings, sculptural objects, video and installation. His approach endeavors to present an outlet for dialogue/exchange and explores the physicality of places where, and the manner in which, people interact. Since the mid-1990's McLoughlin has consistently developed and presented new ways of making contemporary artworks insocial contexts. In recent years her has made site specific audio work in Limerick (Cumann:An Audio Map of Limerick, Limerick City Gallery of Art, 2016), Drogheda (Cumann, Drogheda Arts Centre 2016& Beyond the Pale, Highlanes 2016), in Dublin (Rest Here, UCD Sutherland School of Law 2017& Ocean Wonder, Resort Revelations, Portrane 2016) and is artist book of drawings , I am here because I know you will be too, was published by Dublin City Council in 2014. He in currently Artist in residence in Dáiocht Arts Centre (2017-2020). He was the inaugural Artist in Residence in University College Dublin, College of Sociol Science & Law in 2015, where he has since begun a critical social and intitutional analysis of ethics, art-making and knowledge production in the context of social practice.
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School of Sociology, University College Dublin
- Doctoral Candidate
- September 2016 to Present
This research proposes to address questions around social art practice specific to the relationship between the art institution that commissions an art project in a social context and the participants in that project, with respect to issues of ethics, aesthetics and assemblage. It is an area that has been given very little consideration and there is very little in writing relating to this aspect of social art practice. I believe that this has, in part, been avoided because this relationship is not part of the systems through which members of art organisations create their shared realities (Goffman 1969). The procedural system used to define intersubjectivities between artist, curator, art critic, audience member, art historians, commissioners, collectors etc and the art infrastructural systems that support them, have evolved as a closed hierarchical system. It defines itself through their mutually created ‘orderliness’ (Garfinkel 1967) and in the intersubjective action by and between members of that closed system.