The Hunting Box Party 2003-11
The Hunting Box Party was initiated in 2003 with a photographic and video documentation project. In 2005 the idea for The Hunting Box Party was born, and was exhibited in Ireland, Austria, Hungary and Australia and will be exhibited as part of 'Change' in 2021 at the Emmanuel Walderdorff Gallery in Molsberg, Germany. Other exhibitions include 'Magaslesek' (Hochsitze – Raised Hides) at the Knoll Gallery, Budapest, Hungary 2011, 'Buffer Zone' at The Armoury Gallery, Sydney Olympic Park, Australia 2011, 'Hochsitze' (Raised Hides) at the Knoll Gallery Vienna, Austria 2010, 'C2' at the Crawford Art Gallery, Cork 2005 and 'ArtTrail' Cork 2003, all of which are documented here.

The Hunting Box Party consists of a fake political party for hunting boxes, the hunting boxes are the members and the candidates of the party. Working strategies included photography, display cases, greeting cards, badges,  wall paintings and video.

In this work I was interested in how our relationship with nature is a construct of identification with historic cultural traditions, such as painting, and how these traditions have created the idea of nature as landscape. The distancing these ‘Hunting Boxes’ represent reduces nature to an object of desire. This is expressed through issues of observation and hunting, hunting in this case for something, which is unobtainable, a connection with nature.

Hochsitze ~ hunt (raised) hide / hunting box expresses a particular relationship with nature, which is romantic and depraved at the same time. Romantic in the sense that these ‘Hochsitze’ are designed to hold one or two people, for a period of time out in the woods, you sit and watch nature through a small window, high above the ground. The fact that you then shoot at the animals is a further expression of that romantic relationship, through a desire to obtain something, to control and own it.
 
The Hunting Box Party is designed to undermine the idea of the ‘object of art' and introduce a political movement as a context for the making of artwork. Exploring how the mechanics of politics has informed my work. Here the objects are reduced to the status of paraphernalia, their meaning becomes obscured, mixed up with what is suggested they represent.
 
The placement of this paraphernalia in a case where it can only be observed and not accessed, mirrors the inaccessibility of nature from the hunting box.

These hunting boxes where documented in 2003 at Wiepersdorf in Germany and was made possible through a ‘Fellowship Stipendiatin der Stiftung Kulturfonds’ residency at Kunstlerhaus Schloss Wiepersdorf, Wiepersdorf, Germany and a Culture Ireland award 2003. The development and production of the work was made possibe through bursary grants from the Arts Council of Ireland 2004 & 2005, and an Arts Council of Ireland Residency award 2002.

Sarah Iremonger 2011

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Raised Hides / Knoll Gallery, Budapest, Hungary 2011

With the participation of international artists this exhibition of Raised Hides focuses on the connection of several topic-related questions. Primarily created for hunting purposes, these special architectural developments became a symbol of nature and civilization, still marking the human intervention therefore recalling environmental problems as well. Made of varying raw materials, the special – sometimes bizarre – equipments, raised hides are the proof of individual creativity and inventiveness.
 
Society as a power structure is visualized in the work of the Irish artist Sarah Iremonger what consists of an installation and a site-specific wall painting. The Hunting Box Party refers to an imagined political party who’s members are strictly raised hides. The installation recalls the theoretical and functional meaning of these architectural realizations; besides, through representing each "party member“ on a stylish badge it creates a political connection.
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Buffer Zone / Sydney Olympic Park, Australia 2011

Another type of buffer zone is represented in Sarah Iremonger’s video film stills, Hochsitze/Hunting Boxes. They are symbolic of the particular paradoxical relationship to nature in hunting, where a love of nature is conflated with its slaughter. The hunter sitting above nature, observing, is intent on destruction.

Buffer Zone