London based Irish artist Joseph Noonan-Ganley was commissioned to respond to the work of the Dutch curator Willem Sandberg. Sandberg was a typographer and director of the Stedelijk Museum (Amsterdam). A celebrated figure in his native Holland, he dedicated himself to working with artists, and establishing life long relationships with them. He was the first 'museum man' to introduce white paint to the walls of the gallery, he heroically saved the Stedelijk Collection during the perils of Nazi invasion and WW2, he used his skills in typography to fight in the resistance, and he took artistic direction from cab drivers. Anecdotes about Sandberg's life, drawn from memory, are montaged with Noonan-Ganley's own meandering investigations into the secret language of Elizabeth Tolbert.
Joseph Noonan-Ganley (b. Ireland, 1987) is an artist who makes work through spending elongated amounts of time with particular bodies of writing, such as the writing of the medieval heretics the Cathars or Elizabeth Tolbert’s 1988 study of Finnish Karelian lament songs. His exhibitions take the form of installations that span performance, sculpture, textiles, drawing and music. Recent exhibitions include Letters, King's College, London; hmn 3, The Prince Arthur, London; Recording at the North Wall, Recording, North Wall Arts Centre, Oxford; Something to be Scared of, Am London, London; In The Line of Beauty, Irish Museum of Modern Art, Dublin.
Joseph co-curated Scene 93 Omitted, by Frank Wasser, Xero, Cline and Coma, London, 2014 and Shady Dealings With Language: History Arises, Toast, Manchester, 2014. He edited Oh wicked flesh! published by the South London Gallery, 2013 and Idioglossia, an art writing glossary, published by Hato Press, London, 2012.