KIERAN LYONS. BA (Bath) MFA (Yale)  PhD (Wales)

email. k.lyons@1649.ndo.co.uk

Qualifications

2007     PhD by thesis. University of Wales, Newport. UK

1971     MFA Sculpture. School of Art & Architecture. Yale University. USA

1968     BA (CNAA) Sculpture. Bath Academy of Art. UK

CAREER SYNOPSIS

Originally trained as a sculptor, Kieran Lyons has also worked as an interactive artist with installations presented between 1997-2008, most recently with No More Play(2008) Tax and Swerve (2002 & 2003) Going (2001) and Assigning Handlers to a Shadow (2000).  Further information and images from these works are included below  on this web page. His return to drawing practice after the doctoral period reflects the preoccupation of his thesis topic Conscripting the ‘Jura-Paris road’: military themes in the work of Marcel Duchamp (August 2007), supervised by Professor Roy Ascott at CAiiA (University of Wales) and advised by Professor Linda Dalrymple Henderson (University of Texas). Supervision was continued by Prof. Michael Punt (University of Plymouth) and completed with Robert Pepperell (Reader in Fine Art University of Wales Institute Cardiff). The examination was conducted by Gavin Parkinson (Department of Art History, Oxford University) and Jennifer Mundy (Head of Collections Research Tate Gallery.)

The thesis considered the implications of militarism in France and its influence on Marcel Duchamp; this theme surfaces, most clearly, in Duchamp’s text The Jura-Paris road of 1912 but appears periodically, as a discernible preoccupation in the forty years between 1905 and 1945. This subject has also been the topic of papers and journal articles: notably for Tate Gallery Research, (2006) and Technoetic Arts (2009). Kieran Lyons’ current drawing project is based on written communications from Duchamp’s brother, Jacques Villon, written in the trenches between 1914 – 1918. The drawings he will make from these communications exploit the slippage, between the misalignment of mental intention and motor ability that rendered these letters virtually illegible, turning them into graphic visual statements.

Research Interests

Theory/ Publishing, Practice/ Exhibition: Research continues themes addressed in the PhD. The developing themes will continue to link associated ideas related to Duchamp’s practice, for instance his theory of infra-mince, his experiments with language and chance, as well as links with early 20th century philosophy that develops an understanding of topology and phenomenology. Needless to say this practical work will reflect the themes outlined above and will eventually develop into trans-disciplinary installations, drawings and texts for public exhibition and publication.

Academic Experience

Academic and technical staff  team management: notably in the authorship, development and delivery of BA and MA/MFA programmes.

Curriculum Development BA and MA/ MFA: setting and establishing trans-disciplinary approach for students to develop interrelated skills and methodologies in fabrication, electronics, multimedia, video, painting and drawing.

Moderation and External Examination Duties: currently at MA and BA levels, Canterbury (University College of the Creative Arts) and Dublin (National College of Art and Design). The role of Moderator at the Lorenzo de’ Medici (Art Institute of Florence) entailed the supervision of the transition to BA Hons status in a franchise from the University of Wales.

Theory Provision: Supervision of written submissions. Supervision and development of MA thesis writing. Supervision and programme authorship of BA Hons Level theory, provision and dissertation.

Memberships and Groups

Research Fellow: Transtech, University of Plymouth

WIRAD (Wales Institute for Research in Art and Design)

ECPR: European Centre for Photographic Research. (2007 – 2008) ECPR is a leading research centre concentrating on elements of contemporary photographic practice; contributing member/ presenter.

MetaTech Research. (2003 – 2006) MetaTech is a research forum for trans-disciplinary practice.

CAiiA: Centre for the Advanced Inquiry into Interactive Art. (1998 – 2004) Research candidate.

56 Group Wales (1986 – 1999), exhibiting member.

2B Butler’s Wharf Performance Collective (1976 – 1979); steering committee. exhibiting member .

Practice Skills

Practicing artist with a broad range of trans-disciplinary skills and a long career of exhibition in modes of sculpture, performance, installation, photography and drawing.

Academic Duties

Programme Leader /Senior Lecturer at University of Wales Newport. School of Art Media and Design. Responsibilities for curriculum authorship and development in:

BA Hons. Fine Art. (Programme Leadership)

MA Art. (Programme Leadership)

PhD Supervision.

Professional Activities

External Examiner: National College of Art and Design, Dublin: Fine Art Media 2007-2010

External Examiner: University of the Creative Arts, Canterbury, U.K: MA Fine Art 2008 – 20012

External Moderator: Lorenzo de’ Medici School: The Art Institute of Florence (Italy) for validation by University of Wales 2008 – 2013

External Moderator: Fine Art BA Hons. Hereford College of the Arts

Key Publications

2010     ‘Sinuous Curves’ . Ffloc: examining practice as research. pp53-60. University of Wales, Newport.

2009     ‘Fat and Failure: Marcel Duchamp’s Military Imagination’. Technoetic Arts. Vol  7.1 pp 31-48. Intellect.

2006     ‘Military Avoidance: Marcel Duchamp and the “Jura-Paris Road.” Tate Research. Tate Papers. Spring 2006. ISSN1753-9854.                             http://www.tate.org.uk/research/tateresearch/tatepapers/06spring/

Key Installation Works and Exhibitions

2011     Dream Ship Sinks: a retrospective. Riverfront Art Centre (Ship and Main Galleries) Newport.            (forthcoming)

2010     Rail Settlement Plan. (drawing series) shown at ‘Here (and) Now’. Newport Museum and Art Gallery.

2007     No More Play. Ffloc/ Flock Research  Gallery. University of Wales, Newport. UK.

2001     A470: Tax and Swerve 2.’ Ffotagallery/ Chapter Arts Centre. Cardiff. Oriel Mostyn, Llandudno UK.

1998     Assigning Handlers to a Shadow. Interactive installation. At ‘Consciousness           Reframed 3’. University of Wales, Newport UK.

1997     Tree in Winter. Interactive installation. At ‘Consciousness Reframed 2’. University of Wales,            Newport UK.

Key Conference Papers

2011     Andy Warhol and the Death in time of Marcel Duchamp. John Hansard Gallery, University of            Southampton. (forthcoming)

2008     Spatial Uncertainty and Military Avoidance: Duchamp, direct and indirect strategies. Universität Für    Angewandte Kunst Wien

2003 Spatial Uncertainty and Military Avoidance. Duchamp and the Jura-Paris Road.

Society for Literature and Science. 17th Annual Conference. U-Texas at Austin.

Book Reviews

2010     The MIT Press. Leonardo On-Line: Leonardo Reviews:

Biro. Matthew. 2009. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis/    London. University of  Minnesota Press.

http://www.leonardo.info/reviews/feb2010/lyons_biro.php

2009     The MIT Press. Leonardo On-Line: Leonardo Reviews:

Goodyear. A. C & McManus. J. 2009. Inventing Marcel Duchamp: The Dynamics of Portraiture.         Cambridge (Mass). MIT Press.

http://www.leonardo.info/reviews/aug2009/lyons_inventing.html

2007     The MIT Press. Leonardo On-Line: Leonardo Reviews:

Demos. T. J. 2007. The Exiles of Marcel Duchamp. Cambridge (Mass). MIT Press.

http://www.leonardo.info/reviews/oct2007/exiles_lyons.html

2001     The MIT Press. Leonardo On-Line: Leonardo Reviews:

Ramirez . J. A. 1998. Duchamp, Love and Death, Even. London. Reaktion Books.

http://lea.mit.edu/reviews/nov2001/bk_DUCHAMP_lyons.html

Monographs

CURNOW, W. 2009. ‘Kieran Lyons: Welder’s Weakness’. In. Reading Room: A journal of art and culture. Auckland Art Gallery Toi o Tãmaki’s  E.H McCormick Research Library. Auckland NZ pp. 164-171

Publications

2001     LYONS, K.  2001. Permeable Membranes: the geography of division. In Digital Creativity: Crossing    the Border, pp 207-210, editors Shaw and McKay. The Glasgow             School of Art Press. ISBN 0 901904          82 1.

2001        LYONS, K. 2001. ‘Assigning Handlers to a Shadow [01]’. In  Reframing Consciousness: Art mind and technology, pp 220-222, ed. Ascott. Exeter. Intellect.

1998     LYONS, K. Exhibition Review In ReView /7.  South West Arts Nick Stewart – Reflective Surface.

1993     LYONS, K. In Ffotofactions, editors Coppock and Cameron. Ffotogallery.

1976     LYONS, K.  New Art: Some recent New Zealand sculpture and post-object art. (unpaginated) Editors   Jim Allen and Wystan Curnow. Heinemann (NZ).

Conference Papers

2011     Andy Warhol and the Death in time of Marcel Duchamp. John Hansard Gallery, Unversity of             Southampton. (pending)

2010     Andy Warhol and the Death in time of Marcel Duchamp. In ‘Every Real Moment: Time in the art of Andy Warhol’ ECPR Symposium. University of Wales, Newport.

2008     Spatial Uncertainty and Military Avoidance: Duchamp, direct and indirect strategies

Consciousness Reframed 9: Being Syncretic. Universität Für Angewandte Kunst Wien

2004     Strategies for Withdrawal: Duchamp, 1914 and the ‘Box of 1914’.

Society for Literature and Science. 4th European Conference. University Paris 8.

2003 Spatial Uncertainty and Military Avoidance. Duchamp and the Jura-Paris Road.

Society for Literature and Science. 17th Annual Conference. U-Texas at Austin.

2003 Military avoidance in 1912. Duchamp and the Jura-Paris Road. Consciousness Reframed 5 2000. Newport. CAiiA-STAR

2003     Territoriality: mental structures and military music 1905-1914. Nomadic Transitions. Hochschule fuer Gestalt und Kunst, Zurich.

2003     Military Avoidance in 1912: Duchamp and the Jura-Paris Road. University of Wales Newport.

2002     Communicating telephonically: philosophical zombies 1912 – 1914. BEAP. Perth,  Australia.

2001     Permeable Membranes: the geography of division. Glasgow School of Art.

2000     The Jura-Paris Road Revisited Consciousness Reframed 3 2000. University of Wales Newport. CAiiA-STAR.

2000     Fluctuating and Staggering; the shared consciousness of the Jura-Paris Road

Tucson 2000. Towards a Science of Consciousness. U of Arizona, Tucson.

1999     Audiences and Users and Assigning Assumptions ISEA Saõ Paulo. Brazil.

1998     Assigning Handlers to a Shadow. Consciousness Reframed 98. CAiiA-STAR

1997        Beyond the Pale. Consciousness Reframed 1  1997. University of Wales Newport. CAiiA.

Published Multimedia

1996     Losing the Battle. In ‘Silver to Silicon.’ CD-Rom, eds Dewdney/Lister. London. Artec.

Selected Installations

2007     No More Play.                              Ffloc Research  Gallery. University of Wales,                                                                              Newport. UK.

2001     A470: Tax and Swerve 2. ‘A470.’ Ffotagallery/ Chapter Arts Centre. Cardiff. UK.

2001     A470: Tax and Swerve1. ‘A470.’ Mostyn Art Centre. Llandudno. UK.

1998        Afon/ River Going Mostyn Art Centre. Llandudno. UK.

1998     Assigning Handlers to a Shadow. Interactive installation, electronic/ multimedia control system. At ‘Consciousness Reframed. University of Wales, Newport UK.

1997     Beyond the Pale. ‘Consciousness Reframed 97’. CAiiA. University of Wales, Newport. Interactive installation, electronic/ multimedia control system.

1997     Tree in Winter. ‘Fusion Launch’. University of Wales, Newport.  Interactive installation, electronic/ multimedia control system.

1995     Shadow, Valley, Death. ‘Digital Express’. f.stop/Media Station. Bath. Interactive installation, electronic/ multimedia control system.

1994     Welsh Water Authority. At ‘ffotoFACTIONS’. Oriel Gallery, Newtown.

1993     Welsh Water Authority. At ‘ffotoFACTIONS’. Glynn Vivian Gallery, Swansea.

1993     Welsh Water Authority. At ‘ffotoFACTIONS’. Ffotogallery. Cardiff. Installation, water bottles, light boxes.

1991     Gone Skiing. At ‘Barrage,  Ffotogallery. Cardiff. UK. Installation, 3 x 35mm slide projector dissolve unit.

1986     Collaborations in Network Projects Collaboration with M. Punt in Roy Ascott’s textual work of distributed authorship. Venice Biennale, Venice.

1986     Dressing a Dying Musketeer. Camerawork. London. UK

1983     La Plissure du Texte. Collaboration with M. Punt in Roy Ascott’s textual work of distributed authorship. ‘Electra 83’, Musée d’Art Moderne de la ville de Paris. France.

Selected Drawings/Installations with 56 Group Wales

1999     Howard Gardens Gallery, Cardiff. UK.

1998     Worcester City Art Gallery. UK.

1997     Turner House Gallery, Cardiff. UK.

1995     Old Library. Cardiff. UK

1994     Royal West of England Gallery, Bristol. UK.

1992     Clwydd Arts Centre, Clwydd. UK.

1992     Rhondda Heritage Centre. South Wales. UK.

1991     A Touring Exhibition. British Council, Bratislava, Karlovy, Brno. Former Czechoslovakia.

1990     Chepstow Museum and Art Gallery

1989     Glynn Vivian Gallery, Swansea. UK. An exhibition selected by David Briers.

1989     Old Library, Cardiff. Swiss Cottage Library, London. UK.

1988     Mostyn Arts Centre. Llandudno. UK.

1987     Worcester City Art Gallery. UK.

1986     Fishguard Arts Centre, Fishguard. UK

1986     Viriamu Jones Gallery. University College, Cardiff. UK.

Group Exhibitions

1994     Silver to Silicon. Watershed Media Centre. Bristol. UK.

1994     Silver to Silicon. Focalpoint Gallery. Southend-on-Sea. UK.

1988     Fragments of False Houses Richard Pomeroy Gallery, London. UK.

1988     Monumental Works.St George’s Church, Bloomsbury, London. UK

1987     A System of Support. Kettle’s Yard Gallery, Cambridge. UK

1985     Blinding with Science. Camerawork. London

1985     Paper Bag Show. Camerawork. London. UK

Solo Performance Works

1992     Friday 13th: Improved Art and Technology. GCHE, Newport.

1986     Dressing a Dying Musketeer. ‘Illuminations.’ Camerawork. London.

1982     The Mark of McCartney. The Basement. Newcastle.

1981     Dream Ship Sinks. Acme Gallery London

1981     Sink the Dream Ship. The Basement, Newcastle.

1980     Peace at the Palace (at 4 a.m). The Basement. Newcastle.

1978     Cross-Purpose. Serpentine Summer Show. Serpentine Gallery, London.

1978     Lying in the Lecture. Northern Ireland Arts Council Gallery, Belfast.

1978     My Middle Wicket. Project Arts Centre. Dublin.

1978     Three Tales 3. Project Arts Centre. Dublin.

1977     Three Tales 2. Ayton Basement, Newcastle.

1977     Three Tales 1. 2B Butler’s Wharf. London

1977     Monkey’s Malic Mainstay. Ulster Polytechnic, Belfast.

1976     Wine and Milk. 2B Butler’s Wharf. London

1976     To Be at the Centre. 2B Butler’s Wharf. London

1976     Welder’s Weakness. Site-specific work in association with Barry Lett Gallery, Auckland. NZ.

1975     Spring from the Cross and Superimpression 02. In ‘4 Men in a Boat.’ City Art Gallery, Auckland. NZ

1974 Superimpression 01. Elam School of Art. University of Auckland. Auckland. NZ

1973     Kerikeri Township Performances. Northland NZ.

Published Exhibition Interviews and Reviews

1999        PUNT. M. Interview Skrien Magazine. No 231.

1994     Kaleidoscope Interview, BBC Radio 4 Silver to Silicon.

1992     Kaleidoscope Interview, BBC Radio 4 B A R R A G E

1992     Primetime HTV, B A R R A G E

1992     Guardian Review, B A R R A G E

1981     VAIZEY. M. Studio International

1980     GREY. K, Aspects Magazine

1976     KEITH, H. ‘Power in Deceptive Simplicity’. New Zealand Herald. Exhibition review of   ‘Welder’s Weakness’ in association with Barry Lett Galleries, Auckland, New Zealand.