David Flood

Papers and talks

• Paper Title: ‘Coded Space: Digital Visual Representations and the (Re)Making of Urban Publics’.
  Coordinates Conference VI:​ Art, Aesthetics and the Philosophy of Everyday Life.
  University of Presov, Slovakia.
  November 11th – 13th 2020
• Paper Title: ‘The Image of Urban Space in the Age of Financialisation’.
  Intersections of finance and society.
  City, University of London.
  December 12th – 13th 2019
• Paper Title: ‘Migrations of capital and the topographies of urban space’
  Understanding Migration in Nordic and Baltic Countries
  Nordic Summer University, Nordic Culture Point, Kaisaniemenkatu 9, Helsinki, Finland.
  March 10th – 12th 2019
• ‘A Place Like All Others – Picturing Global Capital in Urban Space’.
  Radical Relevances Conference 2018.
  Aalto University, School of Arts, Design and Architecture, Helsinki, Finland.
  April 25th – 27th
• ‘A Place Like All Others – Picturing Global Capital in Urban Space’.
  Helsinki PhotoMedia: Reconsidering the ‘Post-truth Condition’: Epistemologies of the photographic image.
  Aalto University, School of Arts, Design and Architecture, Helsinki, Finland.
  March 26th – 28th 2018
• ‘The Irish Identity in Albert Kahn’s Photographic Archives’.
  Helsinki University, Unioninkatu 38, Department of World Cultures.
  March 2015
• ‘Photographic advertising in the neoliberal city’.
  Media City: Spectacular/Ordinary/Contested.
  Helsinki Collegium for Advanced Studies, Fabianinkatu 24.
  15-17 May 2013
• ‘The Ideology of Corporate Photography’.
  Helsinki PhotoMedia: Images in Circulation.
  Aalto University, School of Arts, Design and Architecture, Helsinki, Finland
  March 28th – 30th 2012

Other publications

• F-Stop Magazine, Issue 47, 2011
• BLOW Photographic Magazine, Issue 02, 2011

• 2015, Recipient, IADT Postgraduate Scholarship, Dublin, Ireland.
• 2010, IPPA  IADT Student Award, Dublin, Ireland

Solo exhibitions

• 2018 A Place Like All Others Luova.fi Gallery, Suvilahdenkatu 10A, Helsinki.
• 2018 A Place Like All Others CHQ, Liffey Gallery, Custom House Quay, Dublin 1.
• 2015 The Crystal Palace Embassy of Ireland Finland Erottajankatu 7A, 00130 Helsinki
• 2012 The Cage’s Keeper – The Unknown Citizen As part of the ‘A Room’ series curated by Egle Oddo Magito, Kaasutehtaankatu 1, 00540 Helsinki

Group exhibitions

• 2015, Echos An exhibition by the Helsinki International Artists’ Association, CAISA, Helsinki
• 2014, SummArt Visual Artists’ Group Tovi Popup Shop Lasipalatsi, Mannerheimintie 22-24, Helsinki, Finland.
• 2013, Reflections Helsinki International Artists’ Association, Stoa Gallery, Helsinki, Finland.
• 2012, Speak to Me/Puhu minulle Helsinki International Artists’ Association Kanneltalo, Helsinki, Finland
• 2012, Project 30 – Emerging views of Ireland Gallery of Photography Meeting House Square, Temple Bar, Dublin 2, Ireland
• 2011, MadArt Gallery’s FOUR FLOORS as part of PhotoIreland Festival 56 Lower Gardener St, Dublin 1, Ireland.
• 2011, Solstice as part of Cork Midsummer Festival The Old FÁS Building, Sullivan’s Quay, Cork, Ireland.
• 2009, RUA RED Summer Show, RUA RED South Dublin Arts Centre, Tallaght, Ireland.

• A Place Like All Others (2015-2018)
  Addresses the representation of urban space within the context of globalised economies and increased capital flows between nations. Drawing on ethnographic practices, interviews taken from the field-sites – the Docklands in Dublin and Pasila in Helsinki – were combined with still and moving images to investigate how new urban spaces are framed through images and controlled by the camera. The work examines how visual techniques are deployed in the processes of making urban spaces more globalised.

• The Unknown Citizen (2012)
  ‘The Unknown Citizen’ was a response to ‘A Room’ series commissioned and curated by Egle Oddo. The triptych is influenced by Goethe’s Faust and how philosopher Marshall Berman responded to Goethe’s work in his book ‘All That is Solid Melts Into Air’. Berman argues that Faust can be seen as an allegory for the state of the modern world and in particular the final act which pictures Faust within a boundless construction site. The final work is presented in a similar style to religious triptychs to explicitly link how the corporation, as a private entity, has replaced the church as the dominant institute of our time.

• The Cage’s Keeper (2009-2010)
  Based on continuing research and personal experience, the images in ‘The Cage’s Keeper’ series represent the corporation as a legally defined entity, an individual attempting to create and control facets of the modern experience. Each image represents elements of modern and historical methods employed by the corporation to accumulate and control knowledge while creating empirical realities for us to live in. The character in the images works endlessly in order to maintain the cage for every individual, however, it should be noted that this “cage is not a prison; it merely furnishes a race of nullities with the emptiness they crave and need.” (Max Weber)

• The Crystal Palace (2008-2009)
  The project documents changing urban landscape of Dublin towards the end of the ‘Celtic Tiger’. The price of capitalism is a continuous expansion that never seems to abate. If the expansion stops capitalism malfunctions. The project investigates the constant development and redevelopment of the landscape in the name of growth. The notion of ‘growth’ is important to capitalism as if it is not present it is followed by recession. This notion is pushed into the forefront of one’s mind through the ever changing urban and suburban landscapes. Our progress can therefore be seen as cultivating itself not on reality but on fantasy, mirages and dreams that are an inherent part of capitalist society.