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    <lastmod>2020-05-08</lastmod>
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      <image:title>News - Home from Home, On-Line Initiative at the Glucksman, UCC, Cork, May 2020</image:title>
    </image:image>
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  <url>
    <loc>https://www.amandarice.org/news/goingawaytv-live-the-retreat</loc>
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    <lastmod>2020-03-06</lastmod>
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      <image:title>News - GoingAway.Tv - Live: The Retreat - 5th March 2020</image:title>
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  <url>
    <loc>https://www.amandarice.org/news/2016/2/22/alveolar-glottis-balex</loc>
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    <lastmod>2020-03-15</lastmod>
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      <image:title>News - Going Away TV @ The Wrong Biennale</image:title>
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  <url>
    <loc>https://www.amandarice.org/news/6-x-6-project-artists-moving-image-works-editionnbspn-16-november-2019</loc>
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    <lastmod>2020-04-02</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1585837949579-9G73ZBJN5QDMAPTUDFMX/6x6.jpg</image:loc>
      <image:title>News - 6 X 6 Project: Artists' Moving Image Works — Edition&amp;nbsp;Nº 16, November 2019</image:title>
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  <url>
    <loc>https://www.amandarice.org/news/2016/2/22/plosive-morphological-syntax-f8gsz</loc>
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    <lastmod>2020-02-01</lastmod>
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      <image:title>News - Review - Corridor 8</image:title>
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  <url>
    <loc>https://www.amandarice.org/news/artworks-2019</loc>
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    <lastmod>2020-03-15</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1584291237460-EFXGUYJDVUCF5O4V2T9O/VISAmandaRice058.jpg</image:loc>
      <image:title>News - Winner of the Hotron-Eigse Graduate Prize ARTWORKS 2019 at VISUAL</image:title>
    </image:image>
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  <url>
    <loc>https://www.amandarice.org/news/artworks-2019-dearly-beloved-at-visual-centre-for-contemporary-art</loc>
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    <lastmod>2020-03-15</lastmod>
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      <image:title>News - ARTWORKS 2019: Dearly Beloved at VISUAL Centre for Contemporary Art</image:title>
    </image:image>
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  <url>
    <loc>https://www.amandarice.org/news/right-to-host-6-characters-in-search-for-a-host-architectural-association-london-01-30-june-2019</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-04-02</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1585835006571-7CVU68XM48RUKP1SNDWW/6+Characters+.jpg</image:loc>
      <image:title>News - Right to Host: 6 Characters in Search for a Host, Architectural Association, London 17th May - 30th June 2019</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/news/outpost-open-film-selected-by-stuart-whipps</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-04-02</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1584631442170-ITUZ229H62S1ETWK6YKS/openfilm1.jpg</image:loc>
      <image:title>News - Outpost Open Film selected by Stuart Whipps</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/news/slade-graduate-degree-show-07-17-june-2018</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-04-02</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1585840372311-GEMSBIL0V20CY5UX1ILU/Sladesml.jpg</image:loc>
      <image:title>News - Slade Graduate Degree Show, 07 - 17 June 2018</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/news/panel-discussions-the-visual-artists-ireland-get-together-june-2018</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2020-04-02</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1585842153553-1UZ38THFTMNYIG93ZHX7/VAI_Get_Together_2018.png</image:loc>
      <image:title>News - Panel discussion @ The VAI Get Together, Irish Museum of Modern Art</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/projects</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2025-09-18</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1580568326144-A34VHXK3WMXXDRDT1MTC/Screen+Shot+2020-01-31+at+16.10.10.png</image:loc>
      <image:title>Projects - Notes on the (Microscopical) Character of Krakatoa (2015/16)</image:title>
      <image:caption>HD Video Stills, Duration 3. 52.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1580398942215-K1CQIJ4PPNN1J7TSHKL7/10707-original-Rice__The_Luminous_Pit_.jpg</image:loc>
      <image:title>Projects - The Luminous Pit (2017)</image:title>
      <image:caption>HD Projection Mapped Video, Duration 3.56, Plywood Box, White Cotton, Topsoil and Sound. Exhibited as past of the UCL Slade Interim Show, September 2017.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1584278428175-DL9VUGWKH8QQJWRNAD8Y/Firstimage.jpg</image:loc>
      <image:title>Projects - Death in Geological Time @ Slade MA Degree Show (2018)</image:title>
      <image:caption>HD Video, Steel Scaffolding, Rear Projection Fabric, Graphite Dust, Steel Square Bar, Jesmonite, Glass Wax, Spotlights and Sound. Photos by Mark Long Death in Geological Time is a short, experimental film work which touches upon themes of death, time and authenticity relative to the current geological epoch, the Anthropocene. The film is set at a manufacturer which utilizes high pressure, high temperature technologies (HPTP) as means of producing gem-grade synthetic diamonds from the cremated ashes of human remains. Narrated by ‘the company’s managing director’, the process and product itself is illustrated as a unique means of memorialising a deceased loved one – as a diamond. The work takes the form of a pseudo advertisement, or a slow and languid geological horror which reveals industrial ingenuity at its most absurd. The material substance of the film - the dust of the human - is subjected to the diamond press; an act which not only bypasses the ‘natural’ temporality of geological time, but also bypasses the subject’s ‘natural’ progression towards the fossil record. The messy, viscous, reality of bodily corporeality is absent in both the subject and object of the work. Instead it is eradicated, processed and reified in the most coveted of stones, humanity preserved in the most desirable of lithic forms. Despite the works more humorous undertones, the silent horror of the Anthropocene narrative seeps through the quieter sequences of chrome laboratory surfaces; the subtext of which not only addresses this proposed epoch’s geological narrative. One of speculative human-constructed layers of geological detritus, whether it be the lowly micro-plastic, the glutinous fatberg or in this case, the heady excess of gemstone manufacture. The allegory of a diamond conjured from human substance extends beyond the artificial and future geological sediments of the Anthropocene, but additionally evokes the anthropocentricity of a more widespread sentiment of the denial our own species extinction and immortality in parallel with the current worldwide denigration of ecological environments.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1580671803242-86CDJ99BW82I5LTMW0W4/Site.jpg</image:loc>
      <image:title>Projects - Site Where a Future Never Took Place (2015)</image:title>
      <image:caption>HD Video Stills, Duration 12.22 (2015-Present) The Site Where a Future Never Took Place is a body of work which discusses Western Hats Ltd., a textile and hat manufacturer that operated between 1942 and 1981 in the West of Ireland. This was an industry that emerged during the formative years of the Irish State, just over twenty years after the 1916 rising. In an effort to establish Ireland’s future as a prosperous postcolonial country, then-Minister for Trade and Employment Sean Lemass and Senator John McEllin visited Europe as part of a trade-seeking mission in 1937. They visited France and Belgium one year prior to Kristallnacht and the eventual outbreak of World War II, and convinced a number of Jewish-led textile industries to liquidate their assets and move operations to Ireland, a country of relative safety and neutrality. Three industries in the West of Ireland were established in this manner. Jewish experts were offered positions in the form of ‘technical roles’ that would inevitably guarantee their safety during the war years, granting them exile in the country of Ireland. Ireland’s refugee policy at that time was poor compared with neighbouring England. A mere sixty families were offered exile in Ireland and approximately half of those people were linked to the textile and hat-making factories. Through varied research methods, Rice seeks to determine whether the means by which these industries were established were philanthropic in nature or an opportunistic undertaking that capitalized upon a volatile situation in Europe. The Site Where a Future Never Took Place focuses on the derelict site that once housed this industry, the dilapidated factory building and extracted bricks are all that remains of this little-known aspect of Irish history.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1684615539097-UL84IJM5FLYPLYXQP8OB/Screenshot+2023-05-20+at+21.42.24.png</image:loc>
      <image:title>Projects</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1705939637833-JVZI6UN5RN1V3IL4PAA2/image-asset.jpeg</image:loc>
      <image:title>Projects - No One Can Ever Embargo the Sun (2020)</image:title>
      <image:caption>HD Video Still, Chapter 3: Land, 06:16 (2020) This three-part film moving image work takes the form of a research essay which explores geological materials such as silver and salt, and their subsequent integration as part of thermal solar energy systems and the geophysical spaces they themselves inhabit. The work thinks through both material histories and sunlight as something which is both entangled and interconnected, personal and political. Green energy systems, and in the case of solar energy, is sold to us as immaterial and renewable; but it’s technics are grounded in the extractive and geophysical, de-territorialized and disseminated. The work moves between personal mediations on light and geology, and thinks about sunlight as an elemental, omnipresent and global experience, one which pervades bodies – both human and non-human; also as a global commodity, one which has been subject to the laws of capital and extraction. ‘No One Can Ever Embargo the Sun: Light, Silver and Land’ by Amanda Rice is the fourth project in the new screening programme ‘Dialogue Model: I can’t hear myself without you listening’ for M8 Space, Aalto University, Helsinki, Finland, curated by Edel O’ Reilly.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/1705700916318-7EJBMYWHA9M90IOLYU7N/image.jpg</image:loc>
      <image:title>Projects - The Flesh of Language (2023)</image:title>
      <image:caption>HD Video with sound, The Flesh of Language, Runtime 16 Minutes (2023) The Flesh of Language is research film which examines an expanded notion of archive in the age of ecological precarity. The work draws connections between three disparate subjects and looks at parapsychologist Konstantin Raudive’s 1960s investigation of anomalous voice-like sounds found on tape recordings, thought to be spirit messages and also known as electronic voice phenomena. The second is a 1985 experiment by zoologist Andrew Kitchener aimed at providing an anatomical explanation as to whether the extinct Irish Elk, Megaloceros Giganteus, used its antlers in battle, a critical question in evolutionary biology. The third involves inputs on the practicalities of media conservation. The film uses alternative forms of knowledge, such as the choreographic, to establish crossovers between human and nonhuman bodies. It investigates an expanded notion of the archive focused on material (de)composition through themes of extinction, preservation and resurrection. Production Credits: Director: Amanda Rice Producer: Edel O’ Reilly Movement Direction: Richard Pye Movement Performers: Nina Davies, Ananya Jaidev, Lesya Tyminska, Richard Pye Soundtrack: Graeme Arnfield Cinematography: Felix Schmilinsky, Kevin Hughes, Jo Pester Voiceover: Louise Cordery Music: Alberto Garbelli (Ghibli) Filmed on location: National Museum of Ireland Collections Resource Centre, Cardinal Broadcast, AV transfers UK, FOLD. Special thanks to: Nigel Monaghan and Patrick Roycroft, National Musuem of Ireland, aemi, Miguel Amado, and Askeaton Contemporary Arts. Funded by an Arts Council of Ireland Project Award</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/about-cv</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-08-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e31dc3e0e8b454f3b231bab/ecb666c5-4e4c-42bf-8e29-3b008e81b790/JPEG+ac-funding-visual-arts-ke-rgb-black+copy.jpg</image:loc>
      <image:title>Amanda Rice</image:title>
    </image:image>
  </url>
  <url>
    <loc>https://www.amandarice.org/contact</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-03-15</lastmod>
  </url>
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