Blasphemy - Map of the Empire - Oonagh Young Gallery Jan/Feb 2010
Also at The Dock Carrick-on-Shannon 25th September - 27th November 2010

DAVID GODBOLD + FACTOTUM + NEVAN LEHART + PAUL MURNAGHAN + ROCKY ROAD TO DUBLIN
Curated by Mary Cremin & Oonagh Young

home contact



Map of the Empire - split screen Video loop 14:10 - 2010

The majority of the material in 'Map of the Empire' is gleaned from Murnaghan's utopian project 'Neocredo' (2008) where he travelled extensively in Europe posing a question through various media, 'if you had the opportunity to compose the opening line of a universal hymn, what would it be and how would you sing it'?

In 'Map of the Empire' Murnaghan has added random material from the same period and imposes opinion where once was objectivity. Liberties are taken and extracts from conversations in transit, in bars and outside of the project context (though within the same timeframe) are dropped into the mix. Partially obscured sentences claiming answers to ubiquitous questions, appear throughout the piece and voice/sound is transposed between visuals. Much of the content is not what it seems due to these juxtapositions and this multiplies the space for misinterpretation and supports the formation of random opinion.Where blasphemy may be truly present, is in the casual misrepresentation and disregard for stated beliefs through the overlaying of various unsolicited answers.

 




 

 

 

 

 

 

 

 



Video still 'Map of the Empire' - 2010

 

Gallery text

From 1 January 2010, blasphemy is a crime in Ireland punishable by a €25,000 fine. The law states that blasphemy is committed when a person “publishes or utters matter that is grossly abusive or insulting in relation to matters held sacred by any religion, thereby causing outrage among a substantial number of the adherents of that religion.”
This law has provided an extremely dangerous international precedent. The exact wording on blasphemous libel contained in this Defamation Act is being used by Pakistan to seek a “defamation of religion” law through the UN. Irish legislation is being used to legitimise the proposals of Pakistan and the OIC (Organisation of Islamic Conference) to establish defamation of religion as a principle of international law.
Ireland voted with all other EU countries against a resolution on “combating defamation of religion” at the UN last December. Explaining that vote, Irish Foreign Minister Micheál Martin said: “We believe that the concept of defamation of religion is not consistent with the promotion and protection of human rights. It can be used to justify arbitrary limitations on, or the denial of, freedom of expression. Indeed, Ireland considers that freedom of expression is a key and inherent element in the manifestation of freedom of thought and conscience and as such is complementary to freedom of religion or belief.”

“One man’s blasphemy is another man’s comedy classic,” the Irish Examiner editorial remarked. Is it that simple?

Images considered blasphemous have changed over the centuries. But the response has not. Eliciting extreme reactions from particular sections of society has resulted in much work being destroyed and many artists banished down through the ages. It is clear to see that images considered ‘blasphemous’ still stir very deep and dangerous emotions such as the The Jyllands-Posten Muhammad cartoons controversy in 2005. What makes an image Blasphemous? In what contexts are they considered sacrilegious or immoral? Is the introduction of this new legislation in Ireland an indication of a tolerant, pluralist and democratic society befitting of our times? The artists in this exhibition address the issue directly through their individual practices or have already confronted censorship of their work.

Mary Cremin & Oonagh Young