dublin

Shane Cullen

114 Sheriff Street

“We the participants in the multi-party negotiations, believe that the agreement we have negotiated offers a truly historic opportunity for a new beginning.” The optimism of this opening sentence to the 11,500-word Good Friday/Belfast Agreement, reached in 1998 after protracted negotiations between the various parties in the Northern Irish conflict, has been belied by the pact’s fraught subsequent history. For the latest in an ongoing series of monumental sculptures carrying historically resonant texts, Shane Cullen had the entirety of this text industrially etched onto fifty-five panels of ten-foot-high, four-foot-wide heavy-duty polyurethane board. While the mechanical nature of this working process contrasts with his previous works, which were painstakingly executed by hand over a long period, The Agreement, 2002, formally recalls his Fragments sur les institututions républicaines IV,

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the May 2003 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.