Visual Artists' News Sheet May – June 2011

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Visual Artists' News Sheet May – June 2011 Powered By Docstoc
					call for proposals

dublin city public art programme

strand 2
interaction with the city
further information & the brief for strand 2
interview with ruairí ó cuív, public art manager, about the programme

                                                       Published by Visual Artists ireland Ealaíontóirí Radharcacha Éire

                                                                                                                           issue 3 May – June 2011

                                                                                                                                                     News Sheet
                                                                                                                                                     The Visual Artists’
Calling all Writers ...

City Limits
Dublin City Council arts Office / Visual artists ireland Visual Art Writing Award

Dublin City arts OffiCe & Visual artists irelanD invite submissions for City liMits a
Visual art Writing award. City liMits has been devised as a developmental opportunity for
writers, as part of Dublin City Council arts Office and Visual artists ireland's commitment to
encouraging and supporting critical dialogue around contemporary visual arts practices.

submissions for City liMits should comprise of detailed, but brief, (500 words max) proposals
/ abstracts for a thematic article dealing with visual arts practices, issues and ideas relating to the
context of Dublin City, accompanied by an up to date CV and three examples of previous visual
arts writing.

suggested themes include: Dublin City as a site for making, discourse, engagement; Dublin City
as a material and inspiration; the challenges and benefits of the Dublin context for the visual arts;
along with specific focuses on forms of organistion and practice on the part of Dublin's visual
artists and institutions.

the winning submission will receive from Dublin City Council arts Office in total an honorarium of
€800 – comprising a €500 commission to write for the Dublin Contemporary edition of the Visual
artists news sheet (that will be distributed at DC2011) and a €300 commission to write a short
essay as part of the lab's 2011 / 2012 programme

application closing date: friday 23 June 2011

applications should be addressed to:
City liMits, Dublin City Council arts Office, foley st, Dublin 1, ireland

City liMits is supported by Dublin City Council arts Office, the lab & Vai's Professional Development training programmes.
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Join Visual Artists Ireland today

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listings / news / resources / training / advocacy / opportunities / information

     Invitation to Exhibit
     The Alley Arts Centre, Strabane, invites applications for
     exhibitions to be programmed within our gallery space.

     Selection will be based on a consideration of an artist’s CV,
     exhibition proposal and 6 – 12 examples of previous work
     (which can be submitted in hard copy, slide or CD format).

     To receive an information pack including gallery dimensions,
     programme schedule and terms & conditions please contact:

     Ms Victoria Ross
     Alley Arts & Conference Centre
     C0. Tyrone
     BT82 8EF
     Northern Ireland

     Tel: +44 (0) 2871884760

     Deadline for receipt of submissions: Friday 17 June 2011
4                                                                                                                                                                  The Visual Artists’ News sheet                                             May – June 2011

Introduction                                                                                                                           Contents
                                                                                                                                       1. Cover Image. Sean Lynch 'Me Jewel & Darlin' installation view, O'Connell Street, Dublin.
Welcome to the May / June edition of the Visual Artists News Sheet.
                                                                                                                                           (featuring a reproduction of Harry Clarke's The Last Hour of the Night 1922)
                                                                                                                                       5. Roundup. Recent exhibitions and projects of note.
This issue features an exclusive walk-through of the main exhibition spaces for ‘Dublin Contemporary
                                                                                                                                       5. Column. Mark Fisher. In Defence of Genius.
2011: Terrible Beauty—Art, Crisis, Change & The Office of Non-Compliance’, with the curators Jota Castro
and Christian Viveros-Fauné. VAI are media partners for Dublin Contemporary; and further coverage of the                               6. Column. Emily Mark-FitzGerald. All Change.
show will feature in upcoming editions.                                                                                                7. Column. Jonathan Carroll. Bretzels & Beer.
      A new regular columnist joins us in this issue, Emily Mark FitzGerald, whose first column for us                                 10. News. The latest developments in the arts sector.
considers the period of profound transition that Ireland’s cultural landscape now finds itself in. Emily is a                          11. Regional Profile. Visual arts resources and activity in Donegal
lecturer on the MA programme in Arts Management and Cultural Policy, at University College Dublin; and                                 15. Profile. Approaching Critical Mass. Jason Oakley takes a virtual walk-through of the main exhibition
is board member of the Irish Museums Association. Readers may already be familiar with her blog spot                                       spaces for Dublin Contemporary 2011 with the curators Jota Castro and Christian Viveros-Fauné. offers information and opinion on a broad range of arts and cultural management                                  16. Profile. Good from Bad. Ciara Peters profiles the aims and achievements of Creative Limerick
related issues.                                                                                                                        17. Art in Public. Everyday Friction. Sean Lynch discusses his project Me Jewel & Darlin’
      Earlier this year Ormeau Baths Gallery and Visual Artists Ireland ran a critical writing competition,                            18. Introducing: Critique. Critical Critique. Later this year The VAN will launch a new reviews section
that was divised to encourage, support and promote critical discussion on the visual arts. Alissa Kleist’                                  entitled 'Critique'. By way of introduction, we present the winning entry of the recent OBG / VAI
winning entry is presented on page 18. The development of discourse and criticism is an ongoing concern                                    critical writing competition.
of Visual Artists Ireland, related future projects include another writing competition, this time devised in                           19. Profile. Gifting Shock. Tonya McMullan discusses her project 'Give & Take' that featured a
partnership with Dublin City Council Arts Office (see the notice page 2 for details).
                                                                                                                                           collaborative process involVing 10 artists from Scotland, Northern Ireland and the USA
      In addition, starting with our September / October edition of the Visual Artists News Sheet, we will
                                                                                                                                       20. Art in Public. Unabashedly Instrumental. Jason Oakley reports on – The ethics of collaboration within
begin running a regular review section, entitled CRITIQUE, which will comprise of six reviews, published
                                                                                                                                           socially engaged arts practice – a seminar devised by The Fire Station Artists’ Studios, Dublin and
in each edition of the VAN – adding up to 36 reviews annually. Our reviews will be commissioned to reflect
                                                                                                                                           hosted by The National College of Art and Design (11 March 2011).
upon and critique a diversity contemporary Irish visual arts practice – in terms of media, generation and
                                                                                                                                       21. Profile. Lost in Leitrim. Joanne Laws reports on The Leitrim Sculpture Centre 's recent exhibition
      Visual Artists Ireland recently wrote to Minister Jimmy Deenihan; Minister of Arts, Heritage and                                     entitled ‘Commons’
the Gaeltacht and Minster Joan Burton; Minister for Social Protection. The letters covered: the Tax                                    22. Profile. Manhattan Microscope. Ben Crothers and Rebecca Gilbert (1) Discuss their curation of Golden
Exemption Ceiling and a balancing of payments that was dropped from the Finance Bill when                                                  Thread Gallery's showing at the 2011 edition of Scope art fair in New York (2 – 6 March 2011)
amendments were stopped at the end of the last Dáil; the realities of Social Welfare and the professional                              23. Opportunities. All the lastest grants, awards, exhibition calls and commissions.
visual artist; Cultural Sector Staffing Deficits & Cultural Workers Unemployment levels; the legislating                               27. Career Development. Ongoing & Roundabout. Ailbhe ni Bhriain tells the story-so-far of her career as
of the Drôite de suite and forthcoming obligation for the heirs of artists. As well as this, the letter also                               a professional visual artist.
introduced VAI's idea for developing a Cultural Sector Partnership – a forum that will allow cultural                                  28. Regional Contacts. Visual Artists Ireland's regional contacts report from the field.
organisations work closely with the Department in the development of cultural strategies and forming                                   29. Profile. In & Out of Place. Paul Murnaghan introduces Place, a new contemporary visual arts venue in
policies for government. Information on all this has been forwarded to the National Campaign for the                                       Gorey, Co. Wexford
Arts (                                                                                                                    30. Conference. Buzz Phrases & Brainstorms. Sara Baume reports on ‘MOOT VII: Inno-vision – Art,
      In late April Visual Artists Ireland was out and about, our CEO Noel Kelly was on the road travelling                                Creativity, Education and Innovation’ an event held at The Butler Gallery, Kilkenny on 4 February.
to Limerick, Galway, Sligo and Letterkenny, Enniskillen, and Belfast. Further details can be found on the VAI                          31. Discussion. Powerpoints & Brass Tacks. Curt Riegelnegg reports on “What Do You Stand For?” a forum
websites new blog section ( VAI’s all-Ireland reach, of course also
                                                                                                                                           for independent and alternative visual arts spaces, held at The National College of Art and Design,
includes our professional development workshops, headed up by Monica Flynn, that we are constantly
                                                                                                                                           Dublin on 12 March.
delivering around the country; along with the sterling work undertaken by our regional contacts – Aideen
Barry, Laura Graham and Damien Duffy in, around and beyond Galway, Derry, and Belfast.                                                Production
       In this edition of the Visual Artists News Sheet our features report on and profile visual arts activities                     Editor: Jason Oakley; Layout: Jason Oakley; News: Damien McGlynn; Roundup: Siobhan Mooney.
and issues from Donegal, Dublin, Kilkenny, Leitrim, Belfast, Limerick, Gorey; as well as Irish artists projects                       Opportunities: Damien McGlynn / Siobhan Mooney ; Proofing: Anne Henrichson; Invoicing: Bernadette
in the USA.                                                                                                                           Beecher.

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The Visual Artists’ News sheet                                    May – June 2011                                                                                                                                                                                             5


Mark Fisher
                                                                                              Roundup                                                   upon the documentation and
                                                                                                                                                        consumption of reality and how it is
                                                                                                                                                        intrinsically linked with and conducted

in Defence of Genius                                                                          Strange attractor                                         via online platforms. The five artists in
                                                                                                                                                        this show use the Internet in their
                                                                                                                                                        everyday lives and, by extension, in their
                                                                                                                                                        art. This mode of art making can be seen
                                                                                                                                                        as a development from the last decade’s
                                                                                                                                                        move in focus from art producer to
                                                                                                                                                        consumer, and the transmission to a                        Ceal Floyer 'Things' Installation view, Project, Dublin.

                                                                                                                                                        hybrid producer / consumer model".
                                                                                                                                                                                                                   Project Arts Centre, Dublin recently
                                                                                              'Strange Attractor' at the Crawford Gallery, Cork
                                                                                                                                                                                                                   presented Ceal Floyer’s exhibition
ONe of the many things that might surprise the unprepared reader of Fanged                                                                                                                                         ‘Things’ (10 March – 23 April). The
                                                                                                                                                        WhiSper concrete
Noumena, the recently published collection of writings by Nick Land, is its defence of        The collaborative sound art exhibition                                                                               installation comprised a series of
the concept of genius. Genius, a certain prevailing wisdom maintains, is an idea to           ‘Strange Attractor’ was recently on                                                                                  identical white plinths, with built in
which only the unsophisticated grant any credence; it depends on an obsolete idea             show at The Crawford Art Gallery, Cork                                                                               speakers playing a sound work. As the
of the individual creator; it presupposes an unsustainable set of value judgements.           (20 Nov 2010 – 30 April 2011).                                                                                       press release noted, “Floyer’s plinths
Land was one of the greatest theorists of the last 20 years, but his refusal of this                 The exhibitions initiators and                                                                                stood empty with the objects and items
hackneyed reasoning perhaps goes some way to accounting for the fact that his work            participants were                Anthony Kelly,                                                                      replaced by a simple aural representation
has, up until recently, been known only to relatively few people.                             Danny McCarthy, Irene Murphy, Mick                                                                                   of what may have stood there – Floyer
                                                                                              O’Shea and David Stalling – along with                                                                               isolated the word “thing” from a range of
In university philosophy departments in the Anglo-American world, so called                   various        invited         guests.       ‘Strange                                                                pop songs, assembling a multi-channel
Continental Philosophy has always been a marginal pursuit, but it offered a                   Attractor’, featured a monthly series of                  Mairead O'hEocha House with Miniature Round Tower          playback of dissonant edits that ping and
comfortable enough career structure for those willing to mind their manners and               durational sound performances, with                       Oil on board 40 x 49 cm 2008.
                                                                                                                                                                                                                   chime all over the room”.
                                                                                              invited guest artists – which culminated                  The title of Mairead O’hEocha’s                                                   
respect its institutional protocols. Land wasn’t – he scorned the high priests of
                                                                                              in a gallery based exhibition in April                    exhibition of paintings ‘Whisper
continentalism – Hegel, Husserl and Heidegger; and unearthed a more feral
                                                                                              2011.                                                     Concrete’ at the Butler Gallery, Kilkenny                  Blue
philosophical genealogy, which passed from a brilliantly renegade reading of Kant,
                                                                                              As the press release noted “throughout                    (19 March – 1 May), referenced concrete
through Schopenhauer, Nietzsche, Bataille and Deleuze and Guattari.
                                                                                                                                                        structures that are designed to absorb
                                                                                              these ventures the artists worked both
                                                                                                                                                        traffic noise. As the press release for the
                                                                                              collaboratively and individually using
It is not as if Land was the first theorist to engage with these thinkers; on the contrary,                                                             show noted, the artists subject is “castles,
                                                                                              improvisational sound performance,
in the 90s, when Land was a lecturer in philosophy at Warwick University, the                                                                           fields, garages and housing estates in the
                                                                                              experimentation with technology,
academy was bristling with ‘readings’ of Nietzsche and Bataille, and the turgid                                                                         semi-rural South-East of Ireland” and
                                                                                              combined media and random and
Deleuze industry that now dominates so much of the art / theory world was well                                                                          that “she understands ‘local’ to be an
                                                                                              improvised drawing and structural                         increasingly abstract term and creates
underway. What was unique about Land was his instinctive and total aversion to the
                                                                                              forms to explore creative possibilities                   images that convey human feelings of
domestication process, which comes as second nature to many academics. Implicit
                                                                                              resulting in an experience that offered                   longing and belonging.”
in Land’s approach was the conviction that the only proper response to the likes of
                                                                                              multiple points of entry for the                                                 
Nietzsche or Bataille was to produce something that started from where they left
off.                                                                                                                 BroWne at the laB                                          Oisin Byrne – work from 'Three Colours – Blue'

                                                                                                                                                                                                                   The exhibition ‘Three Colours - Blue’ was
This was a matter of style and tone as much as theoretical content. A bracingly               edge of the Skin
                                                                                                                                                                                                                   held in SOMA Contemporary, Waterford
sardonic passage in Land’s essay Spirit and Teeth identified the traits of the enemy.
                                                                                                                                                                                                                   (10 March – 2 April) featured the work of
“There is no discernible urgency here,” Land wrote of Derrida. “Instead there is the
                                                                                                                                                                                                                   John Brady, Hannah Breslin, Oisin Byrne,
now familiar rhetoric of close reading; the simultaneous performance and
                                                                                                                                                                                                                   Susan Connolly,                Rachael Corcoran,
prescription of painstaking care, deliberation, conscientiousness and reverential
                                                                                                                                                                                                                   Michael Durand, Mary Kelly, Cassie Kirby,
textual devotion. A certain intricately interstitial discussion of spirit unfolds, at a                                                                                                                            Aoife Kirwan, Ruth Lyons, Kevin Mooney
languorous pace, inspired by uninterrogated principles of decency and justice.”                                                                          Michelle Browne Border Border (from 'Transitopia') 2006
                                                                                                                                                                                                                   and Mary-Ruth Walsh. As the press
What a witheringly precise characterisation of so many of the default tendencies in           Cecily Brennan Unstrung, 16mm / video, 2007
                                                                                                                                                                                                                   release noted the show was first in a
                                                                                                                                                        ‘Out on the sea was a boat full of people
post-structuralist orthodoxy.                                                                                                                           singing and other stories’ Michelle                        series of exhibitions investigating the
                                                                                              ‘At the edge of the skin’ Cecily Brennan’s                Browne’s show The Lab, Dublin (3 March                     Primary Colours and their acquired
The pathology that Land identifies here, though, is not specific to continental               exhibition at Mermaid Arts Centre in                      – 9 April) revisited a series of public                    meanings – “Blue is calming. It can be
philosophy; this “reverential textual devotion”, with its “uninterrogated principles of       Wicklow (17 Feb – 19 March) focused                       performance works made by the artist                       strong and steadfast, or light and friendly.
decency and justice” has infested much of the discourse around art, and this has              on the artists video work. As the press                   over the last four years, presenting                       This formed the exhibition’s context, to
inevitably had a paralysing effect on many of the artists who are exposed to it. Post-        release commented, the works in the                       interviews with witness to these events.                   provide an overarching setting for the
structuralism’s pious cult of indeterminacy mandates a retreat into equivocation and          show          spanned            “the        abstract     As the press release outlined, Browne                      works, all of which include or are
vacillation, into work that makes a virtue of its refusal to have any designs on its          manipulation of materials in a quasi-                     was interested to see “how the memory
                                                                                                                                                                                                                   produced in blue”.
                                                                                              scientific        idiom         to     the      naked     of these events lives on to the present”.                                   
                                                                                              vulnerability of the human body and                             Previously on show was 'Secret or
                                                                                                                                                        Lie? (Product Service Company)’ a project                  BroadcaSt ShoWS
Land’s revisiting of the concept of genius offered a way out of this libidinal impasse.       the human psyche in a series of stark,
                                                                                              performative pieces”                                      by Ciara Scanlan (3 March – 1 April). As
Land argued that Kant, Schopenhauer and Nietzsche’s work opposed the genius to                                           the press release noted “For two weeks in
the “wretched individual”. “It is no doubt comforting to speak of ‘the genius’ as if                             
                                                                                                                                                        March the public was invited to offload
impersonal creative energy were commensurable with the order of autonomous                                                                              their lies and secrets to the Product
individuality governed by reason,“ Land wrote in his essay Art as Insurrection, “but          offline                                                   Service Company office / drop off point
such chatter is, in the end, absurd. Genius is nothing like a character trait, it does not                                                              at the LAB or via twitter and email".
belong to a psychological lexicon; far more appropriate is the language of seismic                                                                                                  Toine Horvers Light selfportraits: Poznan 2007
upheaval, inundation, disease, the onslaught of raw energy from without. One ‘is’ a                                                                                
genius only in the sense that one ‘is’ a syphilitic, in the sense that ‘one’ is violently                                                                                                                          ‘Body / Builder’ Rebecca Andrews’ show
problematized by a ferocious exteriority. One returns to the subject of which genius                                                                    a place BetWeen                                            at the Broadcast Gallery at DIT, Dublin
has been predicated to find it charred and devastated beyond recognition.” The                                                                          Fiona Mulholland’s recent exhibition ‘A                    presented (7 – 9 April) video and
genius, then, is more like a lightning conductor, than a psycho-biographical subject                                                                    Place Between’ was held in The Sycamore,                   photographic works documenting a
– a channel through which the intensities of a radically depersonalized “energetic            'Offline' installation view TBG&S, Dublin                 Dublin (4 March – 10 April). The show                      female competitive body-builder. As the
unconscious” can flow.                                                                                                                                  featured photographic works, which                         press release outlines “Body / Builder
                                                                                              Temple Bar Gallery, Dublin is now
                                                                                                                                                        documented North Belfast. As the press                     features selected photographs of Rene
                                                                                              showing ‘Offline’ (7 Apr – 14 May), a
“In the last half of the twentieth century,” philosopher Iain Hamilton Grant wrote in                                                                   release noted, the artist work was                         Campbell. They were shot in studio
                                                                                              show curated by Rayne Booth, featuring
his endorsement for Fanged Noumena, “academics talked endlessly about the outside,                                                                      “primarily concerned with examining                        giving Andrews greater control over the
                                                                                              works by Aleksandra Domanovic´, Joel
but no-one went there.” It’s long past time that artists and theorists find a way to                                                                    fragments of everyday life, often                          display and representation of Campbell’s
                                                                                              Holmberg, Parker Ito, Eilis McDonald
make contact once again with this outside, this “ferocious exteriority“.                                                                                exploring the dreams and realities of                      competition-ready figure. Andrew’s
                                                                                              and Jonathan Rafman. As the press
                                                                                                                                                        modern living”.                                            show was curated by Alistair Farmer,
                                                                                              release explains, the exhibition “reflects
                                                                                                                                                                                                                   Amy Bindon, Brian Cregan, Caroline
6                                                                                                                                                              The Visual Artists’ News sheet                                                    May – June 2011

COLUMN                                                                                       ROUNDUP

                                                                                             McNally, Emma Ray, Joseph Carr, Katie                      dark lightS continued                                     Northern Ireland and the Republic of
Emily Mark-FitzGerald                                                                        O’Neill, Lyndsey Putt, Steph Gallagher                                                                               Ireland and how these can be visualised
All Change                                                                                   and Steven Maybury.                                                                                                  and defined. The exhibiting artists were
                                                                                                    Previously the venue presented a                                                                              – Olivia Johnson Murphy, Kim Doherty,
                                                                                             performance and talk by The Dutch                                                                                    Celia Richard, J. Keith Donnelly, Carmel
All is changed, changed utterly – or soon will be. There’s no doubt we’ve entered a
                                                                                             artist Toine Horvers (31 Mar), an artist in                                                                          O’Callaghan, Yvonne Cullivan, Christine
period of profound transition in Ireland’s cultural landscape. The recent reshuffle of
                                                                                             residence at The Red Stables Studios,                                                                                Mackey, Tom Hyde, Sylvia Grace Borda,
ministerial portfolios following the general election saw Kerry TD Jimmy Deenihan
appointed Minister for the Arts, Heritage and Gaeltacht Affairs. The reconfiguration         Dublin. As the press release outlined                                                                                Harriet Browne, Gerard O’Reilly, Sally
of the Department from its most recent form (of Culture, Tourism and Sport) has yet          “Toine works with language in both                         James L Hayes. Invite image for 'Dark Lights Continued'
                                                                                                                                                                                                                  O’Dowd, Siobhan Harton, and Bernard
to be felt in real terms and will not begin to settle until May. Whilst the narrowing of     written and spoken form. He uses                                                                                     McCabe.
nomenclature from ‘culture’ to ‘arts’ may or may not prove significant, the removal of       language to disseminate other realities                    Irish artist James L Hayes recently
tourism from the portfolio signals a more important shift at the Cabinet table (with         for it to become a gesture in space and                    exhibited at the Good Children Gallery,
Leo Varadkar taking over as Minister for Transport, Tourism and Sport). Minster              time”.                                                     New Orleans (12 Feb – 5 Mar). The
Deenihan will control a department with far less economic clout and most likely a                                          show, entitled ‘Dark lights continued…’
drastically reduced remit, particularly in light of the devastating 47% budget cuts to                                                                  was funded and supported by Culture
the Heritage Council in December 2010.                                                                                                                  Irelands ‘Imagine Ireland’ programme
                                                                                             Smith at pallaS
      Nevertheless, a place at the Cabinet table for the Arts has been retained, and                                                                    in conjunction with both the University
Deenihan is the first minister in many moons with a clear interest and commitment
                                                                                                                                                        of New Orleans and Louisiana State
to the arts. Author of Fine Gael’s pre-election arts policy (the most developed of all the
                                                                                                                                                        University. The exhibition featured
political parties), Deenihan’s participation in the National Campaign for the Arts’
                                                                                                                                                        installation, video, audio and sculptural
hustings in February demonstrated a willingness to work productively with the
                                                                                                                                                        works; as the press release noted
cultural community (retreating, for example, from his suggestion to merge Culture
Ireland and the Arts Council after a strong negative response from practitioners.) The                                                                  “through his use of the familiar everyday
translation of Fine Gael’s programme for government into concrete policy objectives                                                                     object Hayes’ work often evokes the
and funding streams will be an important and vital development for the new                                                                              uncanny, or creates an atmosphere of
Department: with so many elements in play at the moment, it’s vital for anyone with                                                                     psychological unease. Everyday objects
an interest in the direction of national arts policy to make their views known to                                                                       are made strange and the materiality of
elected representatives. Further to this, the National Campaign for the Arts is urging                                                                  the objects displayed is not as it seems”.
arts groups to meet with local TDs on a coordinated day in late May (check http://                                                                                      for details). Given the crippling cuts recently imposed by the Arts
Council England that will wipe out large numbers of cultural organisations, efforts by                                                                                                                            Geraldine Jackman I had a Dream
                                                                                                                                                        BlueWall ShoWS
the NCFA and Culture Ireland (amongst others) in foregrounding the significance of
                                                                                                                                                                                                                  The South Tipperary Arts Centre,
the arts in Ireland have been hugely important, and must be supported.
                                                                                                                                                                                                                  Clonmel recently held ‘Roots’ a
      Leadership transitions at our largest cultural institutions are likewise coming        John Smith The Black Tower 1985 - 87 video stills.
                                                                                                                                                                                                                  collection of work by Geraldine Jackman
thick and fast: following Fionnuala Croke’s appointment as new Director of the
                                                                                             Pallas Projects, Dublin inaugurated their                                                                            (26 Feb – 9 April). The exhibition
Chester Beatty Library, a gap has opened at the National Gallery for Head Curator and,
                                                                                             new Dominick Street gallery space, with                                                                              featured a series of mixed media
most significantly, Director, as Raymond Keaveney steps down this year following 22
                                                                                             ‘The World Seems a Long Way Away’ an                                                                                 artworks and was inspired by, and
years at its helm. Pat Wallace will be retiring shortly as Director of the National
Museum, Enrique Juncosa’s contract as Director of IMMA concludes this year, and the          exhibition of works by conceptual                                                                                    focused on, places encumbered with
search is underway for a new Director of the National Concert Hall. The post for             filmmaker John Smith (2 March – 2                                                                                    dereliction and features of the material
Director of the Arts Council has been recently advertised, and applications for its          April). This was Smith’s first solo                                                                                  environment. As Jackman put it “the
fifteen key arts adviser positions (tasked with making funding recommendations               exhibition in Ireland. The show                                                                                      objects and photographs from which I
across all artforms) closed in mid-April. By next year, seven of the 11 Directors sitting    presented a survey of Smiths works,                                                                                  work suggest a vanished period,
                                                                                                                                                        Rita Duffy – work shown at the Bluewall Gallery
on the Council of National Cultural Institutions will constitute new appointees, an          from the 1970s to the present. As the                                                                                nostalgia, a moment that is now gone. I
astonishing level of turnover.                                                               press release noted, a common thread                                                                                 am attracted to the elusive and
      What will this mean for the arts in Ireland? I have great optimism that our            running through the artists works is                                                                                 mysterious nature of these objects, the
national institutions will be refreshed with the forthcoming infusion of new                                                                                                                                      deeply rooted emotional resonance
                                                                                             “the impossibility of truly knowing his
leadership; for too long several of our major cultural venues have been saddled with
                                                                                             shifting subjects, the streets, houses and                                                                           inherent in these pieces.”
antiquated management practices and lack of vision, despite sustained and growing                                                                                                                                                      
                                                                                             people that are portrayed over decades
public appetite for cultural engagement. Indeed figures from the DTCS in February
showed a 7% increase in visitor numbers to exhibitions and events nationwide in              of filming and editing, and the impetus                                                                              Something / nothing
2010 (more than 3.5 million visitors in total): consider that visitor figures for the        contained therein”.
much-loved, newly-reopened and relatively tiny Museum of Natural History from
April-Dec 2010 equalled just over 250,000 – nearly equivalent to the footfall at the
                                                                                             de Blacam & meagher
National Museum at Collins Barracks for the entire year. Culture Night has expanded                                                                     Bernard McCabe – work shown at the Bluewall Gallery
exponentially, and despite challenging economic conditions, cultural entrepreneurs
and artists have proven resilient and resourceful.                                                                                                      Bluewall Gallery, Cavan recently
      Across the border and the water we’ve witnessed higher education (particularly                                                                    exhibited ‘Severance’, a collection of
in the arts and humanities) suffer severe funding losses; the disproportionate impact                                                                   paintings by artist Rita Duffy (2 – 30                    John Jones - invite for 'Waiting for Something / Waiting
                                                                                                                                                                                                                  for Nothing. Joinery, Dublin.
on institutions responsible for creative training and arts education is shocking and                                                                    April). The works in the show were
                                                                                                                                                                                                                  John Jones’ exhibition ‘Waiting for
must be resisted at all costs in our own society. If recent Irish university support for                                                                inspired by the artist’s short residency in
                                                                                                                                                                                                                  Something/ Waiting for Nothing’ took
the arts has been lacklustre to date, new alliances between UCD and NCAD, TCD’s                                                                         Tromso, Norway. Commenting on
                                                                                                                                                                                                                  place at The Joinery, Dublin (2 – 7
appointment of a Cultural Coordinator and its innovative Long Room Hub project,                                                                         Duffy’s work, the press release notes
                                                                                                                                                                                                                  March). The show brought together a
UL’s commitment to the performing arts and DIT and IADT’s flourishing programmes             De Blacam and Meagher publicity image.                     “Her sustained interest in myths and
                                                                                                                                                                                                                  number of drawings from an ongoing
supporting cultural entrepreneurship/innovation are encouraging signs of investment                                                                     legends was nourished by the spell in
into Ireland’s cultural future. Yet this cautious optimism should not be mistaken for        Dublin City Gallery The Hugh Lane                                                                                    series (2008 – Present), that as the press
                                                                                                                                                        Norway and she has been invited back
complacency: Irish universities remain grossly under-resourced, though their                 recently hosted de Blacam and Meagher                                                                                release notes is “directly and indirectly
                                                                                                                                                        to do a longer residency in the Nordic
contribution to our cultural and social ecology will be essential to economic                architects’ exhibition that was originally                                                                           influenced by the recent upsets of the
                                                                                                                                                        Artists Centre in Dalsasen. The imagery
recovery.                                                                                    presented          at      the      2010        Venice                                                               global downturn and the bank bailouts,
                                                                                                                                                        travels into the space of dark fairy tales,
      What will be required in the coming months to sustain positive change will be          Architecture Biennale (3 March – 3                                                                                   while also dealing with issues ranging
                                                                                                                                                        psychological territory, laden with
the courage to appoint cultural leadership with new perspectives and energy                  April). The architects’ Venice show was                                                                              from religion, war, animal cruelty and
                                                                                                                                                        strange narratives. She is fascinated by
(hopefully from beyond Ireland itself in many cases) and a continued unity of effort         commissioned by the Irish Architecture                                                                               globalization”.
                                                                                                                                                        the similarities in Nordic and Irish                                                  
and voice amongst the diverse sectors of the arts. To paraphrase Theo Dorgan’s recent
                                                                                             Foundation and curated by Tom de Paor,                     stories and revel in the human dramas
address to the graduates of UCC, one that I see deeply resonant amongst my own
                                                                                             Peter Maybury, Alice Casey and Cian                        of fear and courage.”
students and amongst those who believe in the central place of the arts in a civil                                                                                                                                life ViVidly liVed
                                                                                             Deegan. A short film by Ruán Magan                                Previously on show in the venue
society: we must embrace solidarity, and hope.                                                                                                                                                                    Monstertruck Gallery and Studios
                                                                                             about the installation of the exhibition                   was ‘Seeing and Being in the Landscape’
                                                                                                                                                                                                                  (MTG&S) and The Royal Hibernian
                                                          Dr Emily Mark-FitzGerald           in Venice, entitled dBMgallo was screen                    which (Feb 26 – March 26) showcased
                                                                                                                                                                                                                  Academy (RHA) in association with
                                             School of Art History & Cultural Policy         as part of the exhibition at the gallery.                  the work of 14 artists. The works in the
                                                                                                                                                                                                                  Inish Turk Beg presented ‘Life Vividly
                                                          University College Dublin                                                                     show sharing a concern for the rural and
                                                                                                                                                                                         Lived (Part 2)’. The exhibition showcased
                                                                                                                                                        post-industrial landscapes between
                                                                                                                                                                                                                  seven artists’ responses to the spectacular
The Visual Artists’ News sheet                                                      May – June 2011                                                                                                                                                                                                       7

 ROUNDUP                                                                                                                                                                              COLUMN

 private island of Inish Turk Beg in                      funamBuliSm                                                   city location of the same name – the                          Jonathan Carroll
 Ireland, after a week long residency                     ‘Funambulism’ was a touring exhibition                        intersection of Washington Street and
 there in September 2010. The artists                     curated by Anne Hendrick and Ciara                            Grand Parade in Cork City. As the press                       Bretzels & Beer
 were selected by both the Royal                          O’Hara, presenting the work of two                            release put it “rather than coming
 Hibernian Academy and Monster Truck                      emerging artists – Laura Green and                            together because of a shared common
 and kindly hosted by Nadim Sadek,                        Elizabeth Tubergen.                                           artistic purpose, this collection of artists
 Chief Islander. The Artists who took                              The exhibition took place at                         were brought together by chance – the
 part were: Nick Miller, Nina Tanis, Ruth                 Monster Truck Gallery, Dublin (11 – 22                        chance of working in close proximity to
 E. Lyons, Eilis O’Connell, Michelle                      Feb). ‘Funambulism’ is the art of tight                       each other”.
 Considine, David Farrell and Shoichi                     rope walking, and as the press release
 Sakurai                                                  noted “for the artists the title represents
                                                                                                                        trockel & fay at rha                                          ThIs year marks the 50th anniversary of the Goethe Institut in Ireland. In that time
                            the       balancing          act      between          all
                                                                                                                                                                                      the Goethe has supported countless events in theatre, film, music and the visual arts.
                                                          participants in this project, the artists,
 Work from the life room                                                                                                                                                              There are many cultural highlights from these 50 years of bringing German culture
                                                          curators and artist-led spaces,
                                                                                                                                                                                      to the attention of the Irish public. Just looking through the archive names and
                                                                                                                                                         events such as Jürgen Habermas (1994, 2011), Günter Grass (1991), Karlheinz
                                                                                                                                                                                      Stockhausen (1991) Anselm Kiefer (1990) and of course Joesph Beuys’ visit of 1974
                                                                                                                                                                                      stand out. More recently we had the Thomas’, Demand, Ruff and Scheibitz, all shown
                                                          it iS, Still                                                                                                                at IMMA. There are many special events such as the Rosemarie Trockel touring
                                                                                                                                                                                      exhibition in the RHA and the much anticipated conference in May (6 – 7)
                                                                                                                                                                                      Contemporary German-Irish cultural relations in a European perspective: Exploring
                                                                                                                                                                                      issues in cultural policy and practice. This is a co-presentation with the Centre for
                                                                                                                                                                                      Irish-German Studies, University of Limerick and the Goethe. Issues such as prospects
                                                                                                                        Brian Fay, Valentino decayed film stock Beyond the Rocks
                                                                                                                        1922, 2010, Pencil on Paper, 29.7 cm x 21 cm.                 of cultural work in times of economic crisis and the autonomy of support for the arts
                                                                                                                        Image: courtesy of the artist.
                                                                                                                                                                                      will be on the agenda. This conference is very timely and an apt way to consider the
                                                                                                                                                                                      importance of the Goethe (with a budget of €278 million worldwide) to cultural
                                                                                                                                                                                      activity in Ireland .Free to attend it offers anyone the opportunity of rubbing
                                                                                                                                                                                      shoulders with Doris Pack the MEP who chairs the Committee on Culture and
                                                                                                                                                                                      Education of the European Parliament.
                                                                                                                                                                                             In a time when money is too tight to mention, it is noticeable the amount of
                                                          Clare Samuel work from the series It is, Still (2009) 30x30
                                                          and 25x30 c-prints                                                                                                          Irish artists now routinely showing abroad. It is obvious that opportunities elsewhere
                                                                                                                                                                                      must be sought in order to have any chance of maintaining a career as a visual artist.
                                                          Context Gallery, Derry, presented Clare
                                                                                                                        Rosemarie Trockel, Siesta, 2000, Acrylic and pencil on
                                                                                                                                                                                      The Goethe Institut has best demonstrated how an organisation can offer the all
                                                          Samuel’s exhibition of still and moving                       paper, 53.5 x 75.6 cm, Photo: Bernhard Schaub, Copyright
                                                                                                                        VG Bild-Kunst, Bonn                                           important finance and practical support to their artists who wish to show in another
                                                          image works ‘It is, Still’ by Clare Samuel                    The Royal Hibernian Academy, Dublin
James Hanley Johnny graphite on paper 18" x 10"                                                                                                                                       country. Speak to any curator and they will have no hesitation in including a German
                                                          (10 Mar – 16 April). The exhibition                           recently hosted an exhibition of work
 James Hanley RHA’s exhibition ‘One                                                                                                                                                   artist in an exhibition, secure in the knowledge that funding should not be a problem.
                                                          presented a body of work created in                           by the German artist Rosemary Trockel
 Day – Work from the Life Room’ at                                                                                                                                                    Why else would we have had so many big name German artists chosen to be
                                                          2009 that exploring the subject of                            (17 March – 25 April). The show which
 Solomon Fine Art, Dublin brought                                                                                                                                                     exhibited in Ireland. Understandable too why so many artists choose to live and work
                                                          portraiture.                                                  was presented in conjunction with the
 together approximately 70 nudes and                                                                                                                                                  in Germany (mainly Berlin) such as Tacita Dean (who also recently showed in
                                                                   As the press release notes, the                      Goethe-Institut, Dublin and the Institut
 figure studies on paper and canvas, each                                                                                                                                             Ireland).
                                                          works “silent choreography of subtle                          für Auslandsbeziehungun, Stuttgart,
 one having been completed in a single                                                                                                                                                       Cecily Brennan is a good example of the transformative affect time spent in
                                                          gestures and poses, can be seen as an                         presented works on paper, short films
 sitting of just a few hours duration.                                                                                                                                                Germany can have. She is now spending time in Berlin and has re-invigorated her
       As the press release stated “Hanley                attempt at interaction with the spectator,                    and wall-hanging pieces.                                      work, showing in Berlin and then Wales and simultaneously in Mermaid Arts Centre
 has always been one of the driving                       or part of an interior dialogue with the                             On show at the RHA Ashford                             Bray, while also inviting Berlin Gallery MMX (sponsored again by the Goethe) over to
 forces behind the revival of the life room               self”.                                                        Gallery was Brian Fay’s ‘Broken Images                        Wicklow to present an artist’s screening. This is cultural exchange in as it should be.
 at the Royal Hibernian Academy and                                                   or When Does Posterity Begin?’. The                                  To further advance the possibilities of a cultural exchange, The Goethe has
 over the past 10 years or so has organised                                                                             exhibition featured drawings based on                         recently collaborated with Temple Bar Galleries and Studios and the City of Frankfurt
 and participated in the regular RHA
                                                          let’S See What happenS                                        hand tracings of distressed film stock                        in offering a residency in the respective cities to Irish and German based artists. The
 Thursday life drawing sessions. Working
                                                                                                                        from early silent cinema, old master                          first such exchange has just been completed with Irish artist Stephen Gunning
 in the life room is something that
                                                                                                                        paintings             and          contemporary               spending three months in the Kulturbunker in Frankfurt and Turkish born artists
 appeals by its very nature to James’
                                                                                                                        conservation x-rays.                                          Özlem Gunyol and Mustafa Kunt working in TBG&S. Although this kind of exchange
 sense of tradition and continuity”.
                                                                                                                               Commenting on the work, the                            is not new with TBG&S also being involved in an exchange with Helsinki (HIAP),
                                                                                                                        artist has noted “The ongoing intention                       more of these properly funded residencies for Irish artists are a must for the future.
                                                                                                                        of my work is to register and map the                                My main interest in the Goethe is through my involvement in The Return
                                                                                                                        effect time has on the materials and                          Gallery. I am one of three curators who programme the gallery. I have enjoyed
 mini print exhiBition
                                                                                                                        supports of early film and iconic                             inviting a number of younger German artists to Dublin for the first time thus
 Lorg Print Makers presented the annual
                                                                                                                        paintings”.                                                   allowing me to keep in touch with the German arts system. The multifaceted system
 ‘Galway International Mini Print
                                                                                                                                                                                      favored by the Germans is the envy of many other countries. Their mix of cultural
 Exhibition’ at the Galway City Museum                    Promitional image 'Lets see what Happens'
                                                                                                                                                                                      centres, Kunstvereins, Kunsthalles, Museums and Galleries and very well funded
 (5 – 26 Feb). The exhibition showcased
                                                                                                                        on at gac                                                     regional art centres (providing extremely generous arts bursaries to artists who have
 small scale print works selected from a                   ‘Let’s See What Happens’ at 126, Galway
                                                                                                                                                                                      lived for a certain time in that region) allow for a huge volume and variety of
 range of Irish and International                         consisted of a hub of events, taking
                                                                                                                                                                                      exhibitions and work to be produced in any one year.
 printmakers. The artists featured in the                 place over four days (9 – 12 March). The
                                                                                                                                                                                             This may explain why, looking at the recent figures for the Goethe Institut in
 show were Aisling Bradley (Ireland),                     show hosted a range of events and
                                                                                                                                                                                      Ireland you have 111 events with 291,000 visitors, evidence of a considerable amount
 Lukkasz        Cywicki        (Poland),          Chris   happenings. Commenting on the event,
                                                                                                                                                                                      of activity. As a curator you are spoiled for choice for who to bring over. But
 Davis(Britain), Killian Dunne(Ireland),                  the board of 126 saw the show as                               Publicity image from the Grúpat collective's ‘You/Protect’
                                                                                                                         show at Galway Arts Centre.
                                                                                                                                                                                      importantly the Goethe is very conscious that we have a cultural exchange, and
 Tina Gaffey (Ireland), Joan Gleeson                      exploring “new possibilities for the
                                                                                                                                                                                      therefore it also provides the opportunity for Irish artists to exhibit in The Return and
 (Ireland), Terry Gravett (Britain),Aoife                 gallery and stepping beyond the usual                         Sandra Ann Vita Minchin’s solo
                                                                                                                                                                                      has commissioned many site specific works for the gallery.
 Layton(Ireland),                                  Mo     comfort zones”                                                exhibition ‘Are all the Roses blue and the
                                                                                                                                                                                             The Goethe of course also funds outside the capital and will be involved in both
 Levy(Ireland),            Jennifer McCauley                                                        Violence red?’ was recently presented by
                                                                                                                                                                                      the Harun Farocki exhibition Soft Montages and Omer Fast’s The Tunnel in The Model,
 (Ireland), Antonia O’ Mahony (New                                                                                      Galway Arts Centre (11 March – 23
                                                                                                                                                                                      Niland Sligo later this year. Meanwhile I will be inviting Berlin based artist Judith
 Zealand), Hilda Paz Levozah(Argentina),                  SingerS corner                                                April). As the press release noted her
                                                                                                                                                                                      Raum to produce a solo show in The Return to coincide with the May conference, all
 Graciela Silvera (Argentina), Aine                       ‘Singers Corner’ a group show at the                          installation,           photographic                and
                                                                                                                                                                                      are as usual welcome to the opening which uniquely offers the best bretzels with
 Scannell (Ireland), Sandra Starkey                       Lavit Gallery, Cork (15 Mar – 2 April)                        performance based works addressed
                                                                                                                                                                                      your beer.
 Simon (Australia), Pires Godinho Jussara                                                                               “subconscious fears, responding to her
                                                          featured six artists – Patrick Cashin, Sam
 Tereinha (Brazil), Kouki Tsuritani                                                                                     personal experiences of illness and                           Note
                                                          Curtin, Aoife Layton, Cora Murphy,                                                                                          1.           I should point out that the Goethe is an NGO and a registered charity that raises much of its own
 (Japan) and Cleo Wilkinson (Australia).                                                                                making reference to the martyred,                                          income through its language courses and sponsorship. This importantly allows it to act independently                                  Jennifer O’ Connor and Brian Smyth.
                                                                                                                                                                                                   from the government.
                                                          The show took its name from the Cork                          executed and tortured body. Her
8                                                                                                                                                                                              The Visual Artists’ News sheet                                                    May – June 2011


combination of controversial and                           point of view, not the political. So in all                   foreSt year                                                   Office (4 March). In making the quilt,                     emerald iSle
striking imagery through various media                     cases, I tried to show the people involved                    ‘A Year in the Forest’ Anna O’ Hara’s                         four generations of women Travellers                       ‘Impressionen von der Grünen Insel –
convey        a    thought-provoking               and     and to evoke some state of mind that                          exhibition at the Red Stables Studios,                        teamed up with an artist to make a quilt                   Impression of the Emerald Isle’ was on
stimulating body of work, which                            they were representing in the photo. I                        Dublin (6 – 12 March) was presented in                        that tells their life stories. Members of                  show at the Gemäldegalerie Dachau in
                                                           avoided taking sides or showing bias. I                       association with The Tree Council of                          the Derry Travellers support Group at                      Bavaria, Germany 22 Oct 2010 – 13
challenged the viewer to confront their
                                                           think the photos speak for themselves                         Ireland, as part of National Tree Week                        Ballyarnett Travellers Centre, worked                      March 2011. The exhibition comprises a
own bodily and psychological fears”.
                                                           and tell their own extraordinary story.”                                                                                    with multimedia artist Delaine Le Bas
       Also on show was ‘You/Protect’ (11                                                                                and the UN Year of Forest. O’Hara’s show                                                                                 survey of late nineteenth and early
                                                           The second suite comprises of 18 photo-                                                                                     and local textile designer Tina Mc
March – 23 April) a group show                                                                                           featured paintings of Irish trees,                                                                                       twentieth        century       Irish      painting,
                                                           etchings made in 1979 from photographs                                                                                      Laughlin to produce a hand-sewn piece.
exhibition showcasing work by members                                                                                    woodlands and forests. The press release                                                                                 bringing together works from the
                                                                                                                                                                                       Commenting on the project Delaine Le
                                                           taken in 1972.                                                noted “ranging from wide treescapes to                                                                                   collections of the Crawford Gallery, Cork
of the Grúpat collective – who operate                                                                                                                                                 Bas, as an English Romany, found she
                                                                Other current shows at IMMA                              studies of individual trees and the                                                                                      The Dublin City Gallery The Hugh Lane
under the pseudonyms Freya Birren,                                                                                                                                                     had a lot in common with the women
                                                           include ‘Anima Mundi’ an exhibition of                        flowers on the forest floor, these                                                                                       and Limerick City Gallery of Art.
Turf Boon, The Dowager Marchylove,                                                                                                                                                     she met; ‘we wanted to tell their stories
                                                           30 abstract paintings by Taaffe (23 March                     paintings catch the light filtering
and      The       Parks      Service.         Jennifer                                                                                                                                and produce a piece that reflected that…
                                                           – 12 June) and ‘Old Master Prints: The                                                                                                                                                 at the Joinery
                                                                                                                         through the wonderful variety of our                          they talked a lot about the prejudice
Walshe. Grúpat is a project by Irish artist
                                                           Madden Arnholz Collection’ (23 Mar –                          native trees and plantings”.
Jennifer Walshe.                                                                                                                                                                       they face and how this makes them feel
                                                           12 June), curated by Janet and John                                                       
                                                                                                                                                            about themselves, it’s unusual for work
                                                           Banville.                                                                                                                   like this to come from inside their

                                                                                                                         michael fortune                                               community but all the women enjoyed
on at imma
                                                                                                                                                                                       taking part”.’ The completed Quilt went
                                                           changeaBle limitS
                                                                                                                                                                                       on show in the City of Culture Office to
                                                                                                                                                                                       mark 100 years of international Women’s
                                                                                                                                                                                       Day and was on display for the week.
                                                                                                                                                                                       The project is part of a wider initiative by
                                                                                                                                                                                       the Derry Travellers Support Group and
                                                                                                                                                                                       Context Gallery.

                                                                                                                                                                                       Syrian artiStS talking
                                                           Neil Carroll 'Changeable Limits' work in progress.
                                                                                                                         Installation view – Michael Fortune exhibition at The Peer,
                                                           Ormond Studios, Dublin presented                              Hoxton, London.

                                                           ‘Changeable Limits’ a solo exhibition by                      Works by Irish artists Michael Fortune
                                                                                                                                                                                                                                                   Diane Sabenacio Nititham and Holly Pereira
                                                           Neil Carroll, curated by Sinead Reilly                        were recently exhibited at The Peer in                                                                                    Tea For Tat, HP & DSN, 30x40cm

                                                           (Sat 12 – Sun 13 March). Carroll was a                        Hoxton Street, London (9 Feb – 2 April).
                                                           participant in the Ormond Studios                             Fortune’s exhibition featured a selection
Frida Kahlo Self-Portrait with Monkeys, 1943                                                                                                                                           Brian Kennedy & Victor Sloan 'Syrian Artists Talking'
Oil on Canvas                                              Graduate Programme, a platform for                            of single and multi-channel video works,
The eagerly-awaited exhibition of the                      graduate artists to develop their practice.                   which were produced over the last five                        Brian Kennedy and Victor Sloan’s video
work of the celebrated Mexican artists                                                                                   years. As the press release noted “this                       installation ‘Syrian Artists Talking’ was
                                                           Selected graduate from IADT, NCAD,
                                                                                                                         was the first time that these works were                      shown at the Naughton Gallery at
Frida Kahlo and Diego Rivera is now on                     DIT and Crawford were offered a month
                                                                                                                         shown together outside of Ireland and                         Queens, Belfast (5 – 9 March). The work
show at Irish Museum of Modern Art                         long residency culminating in solo
                                                                                                                         was the most comprehensive exhibition                         drew on interviews conducted by the                        Foley & McDonald – work from 'Alchemical Reserve'
(IMMA) (6 April – 26 June). ‘Frida Kahlo                   shows at the venue. Carroll’s exhibition                                                                                    Sloan and Kennedy during a trip to Syria
and Diego Rivera: Masterpieces of the                                                                                    of the artist’s work in the UK to date”.
                                                           featured a 360 degree panoramic wall                                                                in November 2010, when they                                ‘Ornamental. Oriental.’ An exhibition by
Jacques and Natasha Gelman Collection’                     painting, which as the press release                                                                                                                                                   Diane Sabenacio Nititham and Holly
                                                                                                                                                                                       interviewed artists and curators about a
features, as the press release outlines
                                                           noted explored issues of “de/construction                     loVe SongS                                                    diverse range of topics such as feminism,                  Pereira was presented at The Joinery,
“many of the artists’ most iconic
                                                           by combining the age-old technique of                                                                                       censorship and Facebook.                                   Dublin (9 – 16 March). The show featured
paintings and offers a rich insight into                                                                                                                                                                    
                                                           mural painting with the signature                                                                                                                                                      collaborative         mixed-media             works,
the work and lives of the two central
                                                           rectilinear forms of modern architecture                                                                                                                                               including photography, painting and
figures of Mexican Modernism” The                                                                                                                                                      eVeryday tenSion
                                                           in an effort to expand the boundaries of                                                                                                                                               illustration. As the press release noted
show includes lithographs, drawings,
                                                           a room into a distant past and far-off                                                                                                                                                 “both Nititham and Pereira live in Ireland
collages and a page from Kahlo’s diary,
                                                           future:.                                                                                                                                                                               and are of Asian descent; and the work
alongside photographs of the artists by                             
some of the most renowned                                                                                                                                                                                                                         explores the notion of identity through
photographers of the day. Prints by                                                                                                                                                                                                               self-presentation and reception. The
                                                           utopia ltd
Kahlo’s father, Guillermo Kahlo, and a                                                                                                                                                                                                            exhibition also questioned the gendering
film by the Japanese artist Yasumasa                                                                                                                                                                                                              of the Orient through the artists’
Morimura are also being shown.                                                                                                                                                                                                                    perspectives”.
      Also currently on view is ‘Mindful                                                                                                                                                                                                                The following show was ‘Alchemical
Media: Works from the 1970s’ an                                                                                                                                                                                                                   Reserve’ which featured work by Jessica
                                                                                                                                                                                       Deirdre Mc Kenna Looking for Venus, 2010
exhibition of works donated to the Irish                                                                                                                                                                                                          Foley and Siobhán McDonald in The
Museum of Modern Art by Dublin-born                                                                                                                                                                                                               Joinery, Dublin (23 – 28 March).
artist Les Levine, is currently on show at                 Pil & Galia Kollectiv Co-Operative Explanatory Capabilities
                                                                                                                          Aoife Desmond – invite for 'Love Songs'
the museum (23 March – 12 June). The                       in Organizational Design and Personnel Management.
                                                                                                                         Aoife Desmond presented ‘Love Songs’                                                                                          
                                                           2010 DVD, 23 min.
show features two portfolios of etchings                   ‘Utopia Ltd’ a group exhibition held a the                    at here studio in Broadstone Studios
and photographic works mixing text                         Wexford Arts Centre featured the work                         Project Space, Dublin (24 – 27 March).                                                                                   WindoWSill
and image. As the press release outlines,                  of Blaise Drummond, Brendan Earley, Pil                       The event included a studio sale and an
the themes of the works relate to Levines                  Galia Kollectiv, David Mabb, Lizi Sánchez                     exhibition          of     drawing          works        –
“belief that social and political problems                 and Mary-Ruth Walsh (12 Feb – 12                              predominantly nature studies of plants                        Nicky Keogh The Making of a film about blue bottles
are valid concerns for art”. Collectively                                                                                                                                              photo: Catharine Roberts
                                                           March). The shows curator, David Mabb                         and birds – made between 2005 and                             The Golden Thread Gallery, Belfast
the bodies of work are entitled ‘The
                                                           and Mary Ruth Walsh described the                             2008 by the artist. It was held at                            presented ‘Disconnected: everyday
Troubles: An Artist’s Document of Ulster,
                                                           show as exploring “the relationship                           Broadstone Studios Project Space, Dublin                      tension’ (25 Feb – 16 April). The
1972’. The first group of works comprises
                                                           between            utopian            ideas          and      (24 – 27 March) .                                             exhibition featured works by Maurice
of 80 cibachrome photographs, forming                                                                                                      
                                                           commodification” and explained that                                                                                         Doherty, Colm Clarke, Deirdre McKenna,                     Locky Morris 'WIndowsill'
part of a series of works for which the
                                                           “the works in Utopia Ltd. represent                                                                                         Claire Morgan, Brendan O’Neill, Nicholas
artist coined the terms ‘media sculpture’                                                                                our life our Way                                                                                                         As part of its ongoing lightbox
                                                           modernist architecture and design in its                                                                                    Keogh and Lorraine Burrell. The works
and ‘media art’. Speaking of these works                                                                                 In Recognition of International Women’s                       in the show were described as exploring                    commission series, The Context Gallery,
Levine has noted “it deals with every                      various          mutations              within           a
                                                                                                                         Day Centenary 1911–2011 Context                               “a range of observations and strategies                    Derry is presenting ‘Windowsill’ by
aspect of the situation. It goes into                      spectacularised, commodified consumer
                                                                                                                         Gallery, Derry and Derry Travellers                           engaged with rethinking superficial                        Locky Morris. The lightboxes are
Catholic homes, Protestant homes,                          society”.
                                                                                       Support Group launched the ‘Our Life                          assumptions and contemporary                               mounted directly outside the gallery,
churches, funerals, explosions... My                                                                                     Our Way’ quilt at The City of Culture                         shortcuts”.                                                and are accessible to the public both
approach was to take it from the human                                                                                                                                                                            
The Visual Artists’ News sheet                                                     May – June 2011                                                                                                                                                                 9


during and outside of regular gallery                                                                                                                             threat to reSale right                             cRiTicism NoW
                                                           moViNG imAGe
hours. Commenting on his work Morris                                                                              arthouSe, StradBally, co laoiS.                 The    Irish   Visual     Artists     Rights       In conjunction with the launch of the
states “In 2008 I started photographing                                                                           Arthouse Studios, Stradbally opened on          Organisation (IVARO) highlights a threat           LAB Essays 2008 – 2011, the LAB, Dublin
the ‘remains’ on the windowsill nearest                                                                           21 March 2011, with three artists selected      to the Artists Resale Right.                       is presenting a seminar on art criticism
                                                                                                                  for the venues residency programme –                  Whenever an artists’ work is resold          and writing on 26 May 2011. The event
the chair that I sit on at home. Capturing
                                                                                                                  are Laois based Karen Hendy, Kerry based        on the Irish art market, the Artists Resale        aims to explore, tease out and expose
these fragments of the story hovering on
                                                                                                                  Laura Fitzgerald and Kildare based Vera         Right entitles them to a small share in            current thinking around art criticism.
the same plane as my nose became as
                                                                                                                  Mc Evoy. Arthouse also hosts a resident         the proceeds. The right is due to be               Key questions will include – What are
much a part of my daily routine as my
                                                                                                                  Craft worker, the first being Laois based       extended to the heirs of Irish artists from        the subtleties between review, descriptive
daily routine. There were certainly
                                                                                                                  Goldsmith Helena Malone.                        1 January 2012. From then on, the                  text and criticism? How do the
plenty to choose from and making any
                                                           Joe Ryan The Ark 2009                                       Facilities at Arthouse include a           families and heirs of recently deceased            presentation and context (wall panels,
choice was difficult. In the end though I
                                                                                                                  community library, artists’ studios and         artists will be able to exercise this right.       book, newspaper, pamphlet, catalogue,
settled for this group were I played with
                                                                                                                  living accommodation, an exhibition             The    Irish   Visual     Artists     Rights       online essay, etc.) of this kind of writing
the black-out blinds and the cameras’
                                                                                                                  gallery, an equipped music rehearsal            Organisation (IVARO) is the only                   affect its nature and purpose? Through
auto function for the light box treatment.
                                                                                                                  space, a kiln, and a garden space with a        collecting society in Ireland which                panel discussions, artist/critic interviews
This forms part of an ongoing project,
                                                                                                                  commissioned Percent for Art wall               manages the Resale Right on behalf of its          and a keynote address by London based
making       works      triggered         by      my
                                                                                                                  mounted artwork. The complex will be            members.                                           writer David Berridge, the seminar will
immediate            environment                 and                                                              available for use by local community                  In France, where heirs have long
                                                           Linda Monks Sylvanienders 2010                                                                                                                            also explore what constitutes criticism,
circumstances, governed in part at least,                                                                         groups. The development, costing in             benefited from the Resale Right, this              looking at alternative elements such as
by chance”.                                                The Empress Gallery, Belfast presented
                                                                                                                  excess of €1.2million, commenced early          modest assistance to the families of               performance, interview, and exhibition.
                                                           'Contemporary Art and the Moving                       in 2010 has been assisted with funding          deceased artists is currently under attack         For further information and bookings
                                                           Image' (3 April) a once off screening                  from the Department of Tourism,                 by the French art market who want to               contact
                                                           event of a range of moving image work                  Culture and Sport Access 11 scheme.             see the right dispensed with or at least                                   
                                                           by Irish and international artists. The                Construction work was completed in              limited to living artists. France has the
‘Pomeranians and other conversation
                                                           event featured video art, short films,                 December 2010.                                  third largest art market in the world.             caf & neW BelfaSt merge
pieces’ is the current exhibition on show
                                                           animations, video documentation of                          The Arthouse studios represent an          Any change to the Resale Right in France           When The Arts Council of Northern
at The Hunt Museum, Limerick (17 Feb
                                                           performances and installations by Maria                important resource to add to the strong         will effect artists in every EU member             Ireland’s (ACNI) ASOP programme
–13 May). The show features 19 works
                                                           Araka, Alan Bulfin, Dwayne Butcher, Pat                Arts Programme and strategies already           state and would threaten the introduction          (annual core funding) opened last year,
from the permanent collection of the
                                                           Byrne, Melissa Doran, Cathal Duane,                    present in the County, under the                of the right for heirs in Ireland. The             ACNI made clear that it would be
Limerick City Gallery, spanning a broad
                                                           Michael Hanna, Eimhin Hawes, Phil                      direction of Laois County Council. The          French artists collecting society, ADAGP,          prioritising service delivery organisations
time period from the late eighteenth to
                                                           Hession, Michael Higgins, Amelia                       initiative will be of real value to the         have produced a video explaining the               over umbrella groups. The threat of a
the early twenty first century. As the
                                                           Hitchcock, Jacqueline Holt, Ciaran                     ongoing     Arts      Programme,        the     situation and defending the right. (see –          complete loss of funding and subsequent
press release notes “a deliberately eclectic
                                                           Hussey, Jenny Keane, Lemeh 42, Miguel                  community and the visual arts and                                    closure of the Community Arts Forum
mix is presented to give some idea of the
                                                           Martin, Séamus McCormack, Laura                        design sector in Ireland. It will also          ADAGP#videoId=xh5xtq) Information                  (CAF) was a real and imminent
variety and scope that characterises the
                                                           McMorrow,          Linda         Monks,    Shana       represent an important pathway for              on the situation in Ireland is available           possibility. At that point, the board of
LCGA collection”.
                               Moulton, Molly O'Dwyer, Joe Ryan, and                  artists from outside Ireland to make a          on the Advocacy section of the IVARO               the CAF decided to explore the possibility
                                                           James Ward.                                            valuable contribution to widening and           website:                  of saving services through a merger.
hoW capital moVeS                                                                                                 deepening public experiences and direct                                                                 New Belfast Community Arts
                                                                                                                  involvement in the arts. The combination        holland at proJect                                 Initiative, an organisation that initially
                                                                                                                  of craftsworkers and artists using the          Project Arts Centre have announced that            developed from CAF 11 years ago, agreed
                                                                                                                  Arthouse Studios will be lively and             Susan Holland has been appointed as                to partner this development and
                                                                                                                  exciting. Every support and assistance          the 2011 Assistant Curator of Visual               co-operatively develop a merger process.
                                                                                                                  will be given to artists and craftspeople       Arts. Holland has been based in Limerick           The maintenance of services to the
                                                                                                                  through mentoring, programming and              as an independent curatorial practitioner.         community arts sector was the primary
                                                                                                                  exhibition opportunities.                       She graduated from LSAD in 2010 with               objective of both organisations. The
Kennedy Browne 'How Capital Moves'                                                                                     Under the percent for art scheme a         an MFA by Research in Curatorial                   resulting merger-plan aims to combine
                                                            Get into The Roundup                                                                                  Practices. She is on the Board of Directors
                                                                                                                  stainless steel relief wall piece has been                                                         the strengths of CAF’s advocacy,
                                                                                                                  created by Wicklow based artist James           of Occupy Space, a gallery and project
                                                            ■ Simply e-mail text and images for                                                                                                                      lobbying, training and information
                                                                                                                  Hayes for the garden wall in the                space in Limerick.
                                                                  the roundup to the editor                                                                                                                          services with New Belfast’s multi-
                                                                                                                  courtyard area of the studios. A fully                Holland's recent curated exhibitions
                                                                  (                                                                                                                          disciplinary workshop programmes and
                                                                                                                                                                  include 'Amharc Fhine Gall: the cloud' at
                                                                                                                  equipped professional rehearsal space                                                              build on the legacy of both.
                                                                                                                                                                  Draiocht and 'Noughties but Nice: 21st
                                                                                                                  for musicians will open at the Arthouse                                                                 This plan was applied for through
                                                            ■ Your text details / press release                                                                   Century Irish Art', co-curated with Mike
                                                                                                                  also and enquiries can be made to the                                                              the ASOP programme and ACNI have
                                                                  should include: venue name,                                                                     Fitzpatrick which toured to LCGA,
Kennedy Browne 'How Capital Moves'                                                                                Laois Arts Office to book rehearsal time                                                           indicated their support through this
                                                                  location, dates and a brief                                               VISUAL, Solstice and RCC Letterkenny
                                                                  description of the work / event.                                                                      Holland worked as Curatorial                 week’s funding announcement. This
Limerick City Gallery of Art recently
                                                                                                                                                                  Fellow under the Shinnors Scholarship              newly    merged      organisation        will
showed ‘How Capital Moves’ by Kennedy                                                                             Van archiVe online
                                                            ■     Inclusion is not guaranteed, but                                                                programme and as Curator Audience                  maintain and strengthen community
Browne (25 March – 6 May). The                                                                                    Visual Artists Ireland has launched an
                                                                  we aim to give everyone a fair                                                                  and Access at Limerick City Gallery of             arts provision across Northern Ireland
exhibition, curated by Annette Moloney                                                                            online archive of back issues of the
                                                                  chance.                                                                                         Art from 2006 – 2009. Other recent                 and explore and forge new partnerships
was originally commissioned for the                                                                               Visual Artist's Newsheet, available to
                                                                                                                                                                  projects include 'A Limerick Minute                locally, nationally and internationally.
2010 Lódz´ Biennale, in Poland (2010). As                                                                         researchers and to the general public
                                                            ■ Our criteria is primarily to                        through our website.                            'with Christina Gangos and LCEN                         But unfortunately there is a price to
the press release outlines, the show was
                                                                  ensure that the roundup                              As the most extensive repository of        supported by CREATE 2011.                          be paid. Valued members of staff will
“partly a response to a computer factory
                                                                  section has a good regional                                                                           At her new post Holland will be              now face redundancy. This has been
relocating to Lódz´ from Limerick,                                                                                news, events and commentary on the
                                                                  spread and represents a                                                                         supporting the growth and daily                    unavoidable and is a deeply regretted
Ireland. Kennedy Browne, with respect                                                                             visual arts in Ireland, VAI is now
                                                                  diversity of forms of practice,                                                                 operations of the visual arts programme            consequence of this process. The stark
to the critical and conceptual use of                                                                             providing access to this published
                                                                  from a range of artists at all                                                                  of Project Arts Centre. She will work              alternative was the loss of all services
fiction within this work, has replaced all                                                                        information through a searchable online
                                                                  stages in their careers.                                                                        closely with the Curator of Visual Arts,           and staff. In light of the difficulties and
references to the actual name of this                                                                             archive. Through this web resource,
                                                                                                                                                                  playing an integral role in the shaping            challenges of this transition, CAF and
multinational with the pseudonym The                                                                              users will be able to read, browse, and
                                                            ■ Priority is given to events taking                                                                  and managing of the communications                 New Belfast will be sharing this learning
Company. Kennedy Browne have crafted                                                                              search the extensive amount of
                                                                                                                                                                  of an internationally followed visual              through a series of seminars and
                                                                  place within Ireland, but do let                information that VAI publishes on an
narratives of redundancy and precarity                                                                                                                            arts programme.
                                                                  us know if you are taking part                  annual basis.         The project is a                                                             publications later in the year.
in order to examine the insecure nature                                                                                                                                 Holland was selected from a very
                                                                  in a significant international                  continuation of VAI’s strategy to make                                                                  Further information about the
of employment within early 21st century                                                                                                                           strong field of candidates, and we look
                                                                  event.                                          as much information about the visual                                                               merger process will be released in the
capitalism”.                                                                                                                                                      forward to welcoming her to Dublin and
                                                                                                                  arts available to both the general public                                                          coming months.
                                                                                                                                                                  to Project Arts Centre. She will begin her                                    
                                                                             and to researchers.                             placement on 4 April 2011.
10                                                                                                                                                           The Visual Artists’ News sheet                                       May – June 2011


artS miniSter in killarney                      Irish artists’ documentation is a welcome        new commissions and mini-solo shows                riSe, BelfaSt                                    niland, galWay
Newly appointed Minister for Arts,              addition to the collection at NIVAL. The         held throughout Dublin. The city’s                 Work has started on the biggest public           Engage Art Studios is launched a new
Heritage and Gaeltacht Affairs Jimmy            Artist-led Archive is unique among the           landscape will give geographical shape             artwork ever commissioned in Northern            exhibition project beginning April to
Deenihan TD, visited his Department’s           Special Collections in that it is both a         to the exhibition, especially as one of the        Ireland. When completed, Rise will               December of this year. With the generous
offices in Killarney for a series of            reference resource and an ongoing                main purposes of Dublin Contemporary               tower 37.5 metres – or 123 feet – above          assistance of Oliver Niland, his family
meetings and events yesterday, 14 March         artist’s project. The ALA has been               2011 is to interrogate the nexus of                the city’s Broadway roundabout.                  and the Arts Council, Engage is
2011. Minister Deenihan started the day         designed to facilitate public access and         culture and society that makes cities like                Construction of the sculpture – by        transforming a disused, ground level
by meeting with key representatives of          to stimulate further contribution to this        Dublin the centre of dynamic growth as             the Nottingham artist Wolfgang Buttress          ‘slack space’ on lower Merchant’s Road,
the arts, culture and heritage community        growing collection. NIVAL is delighted           well as systemic breakdown.                        – will take around 12 weeks, and is              Galway city centre into The Niland
in County Kerry, to discuss their plans         to provide a home to the ALA and                                expected to be completed at the end of           Gallery.
for an arts and culture development plan        encourages all interested parties to visit                                                          June. Work will be undertaken in such a                The new gallery space will provide
for Kerry. He later officially opened an        this important collection.”                      firSt thurSdayS, duBlin                            way as to keep traffic disruption to a           a much needed venue for Galway’s
exhibition of artworks from the Great                                                            Temple Bar Cultural Trust have                     minimum, although there may be                   burgeoning        youthful       visual    arts
Southern       Art   Collection     at   the    dc2011 – initial liSt of artiStS                 announced a joint-initiative with a                occasional lane closures at off peak             community. The Niland Gallery is a non-
Departments offices in Killarney.               Dublin Contemporary has announced                number of galleries called ‘First                  times.                                           commercial        space      that   promotes
      Addressing guests at the opening,         an initial list of participating artists for     Thursdays Dublin’.                                        Rise is made up of two globes, cast       innovative contemporary artworks and
Minister Deenihan said “we have a               their inaugural event, taking place later              Inspired by First Thursdays carried          in silver and white steel, symbolizing           events. It is run on a voluntary basis, be
wonderful,      creative    and    cultural     this year. The participating artists             out in London, First Thursdays Dublin is           the rising of the sun and new hope for           administered by Engage and will be
reputation and history and I am                 include: (Please note: this list is not final.   the name given to gallery spaces opening           Belfast’s future. Rise will appear to rest       open on Fridays and Saturdays from
delighted that we are able to showcase          Current as of March 3, 2011): Nina               their doors after hours and offering an            on a bed of reeds – a reference to the           12pm – 5pm.
celebrated artworks to a much wider             Berman (USA), Tania Bruguera (CUB),              extra chance to see art, culture and               natural heritage of the neighbouring                   Future exhibitions include projects
audience here in Killarney. There are           The Bruce High Quality Foundation                events in a number of venues between 6             Bog Meadows. There will be lights at the         by Engage Studio Members, a curatorial
over 20 artworks in the exhibition from         (USA), Fernando Bryce (PER), Chen                – 8pm on the first Thursday of every               end of each ‘reed’ reflecting on the two         project by Limerick’s award winning
notable artists including Daniel O’Neill,       Chieh-Jen (TW), James Coleman (IRL),             month.                                             globes.                                          Mary Conlon and events during the
Cecil King, Arthur Armstrong and Norah          Dexter Dalwood (GBR), Wang Du (CHN),                   The following galleries are now                     Over the past few months, the twin        Galway       Arts        Festival. For    more
McGuinness to name just a few, which            Omer Fast (ISR), Goldiechiari (ITA),             part of First Thursdays Dublin, with               globes have been manufactured and                information contact: engageartstudios@
are part of the Great Southern Art              Patrick Hamilton (CHI), Jim Lambie               Exchange Dublin; Project Arts Centre ;             part-assembled at the M Hasson and     
Collection on loan from the Crawford            (GBR), Richard Mosse (IRL), Brian                Clyne Gallery ; Exchange Dublin ;                  Sons Ltd steelworks in Rasharkin. The
Art Gallery in Cork. This is my first visit     O’Doherty (IRL), Niamh O’Malley (IRL),           Gallery of Photography ; Graphic Studio            actual construction of the globes will           alliance francaiSe aWard
as Minister for Arts to the Killarney           Superflex (DEN), Lisa Yuskavage (USA).           Gallery ; Monster Truck Gallery &                  begin in around two weeks’ time, when            Cork artist, Roseanne Lynch won the 1st
offices of the Department, and is a great               Dublin Contemporary is a new             Studios ; NGG / No Grants Gallery 7.               the massive artwork will start to take           Alliance Francaise Photography Award
opportunity for me to meet with staff           large-scale visual art exhibition which          Project Arts Centre ; Temple Bar Gallery           shape on the city’s skyline.                     recently in Dublin. The announcement
working here and to engage with key             will take place in Dublin from September         and Studios                                               When completed, Rise will be              of this prestigious prize was made at the
members of the arts community from              6 until October 31. It is one of the most                                                           visible to the 65,000 people who use the         opening of an exhibition of the four
the region. We all share a common               ambitious exhibitions ever staged in             What reSidencieS                                   M1 and Westlink daily, as well as from           finalists work at the Alliance Francaise
purpose – that of supporting, promoting         Ireland— which describes itseld as "a            The Waterford Healing Arts Trust, based            the air by more than 2.5m passengers             gallery by the Director Claire Bourgeois.
and fostering all forms of creativity.          citywide effort that puts Dublin on the          at Waterford Regional Hospital (WRH),              travelling in and out of George Best City        The judges included the photographer
Having this great space brought to life         map as an international art destination.         has announced Maria McKinney as its                Airport every year. For those who cannot         Anthony Haughey and the Director of
with works from the Great Southern Art          Taking place every five years, Dublin            Artist in Residence for 2011. McKinney             wait until it is completed to see what it        the Gallery of Photography, Tanya
Collection is a great creative use of a         Contemporary will create a platform              will be based in the WHAT Centre for               looks like, a model is currently on display      Kiang.
public building. I hope this exhibition         that will become a much-anticipated              Arts in Health from April to October this          in the nearby Park Centre. A time-lapse                Roseanne will receive flights to
will be the start of a great future of          part of the calendar of leading                  year. The residency programme enables              camera also is recording the construction,       Paris for a 2 week residency at the Centre
promoting art in public places and              contemporary art exhibitions around              artists to forge closer links with the             and updated images will be posted on a           Culturel Irlandais, a €600 grant from the
making art as accessible as possible to         the world while boldly charting its own          hospital community through direct                  regular basis at         Ireland Fund of France, a course at the
the widest audience – we have to                creative course".                                engagement of patients in creative                 rise                                             Alliance Francaise to brush up on her
remember that art is not exclusive it is                The title and theme of Dublin            projects.                                                                                           French before she goes and a one-to-one
for all.”                                       Contemporary 2011 is ‘Terrible Beauty—                 During the residency, McKinney               reSale eVaSion in italy                          tutorial with Vermillion Design. A
                                                Art, Crisis, Change & The Office of Non-         will explore the use of pastimes within            Italian Police and SIAE (Italian Society of      residency at the Centre Culturel Irlandais
artiSt–led archiVe at niVal                     Compliance’. Taken from William Butler           the distinct setting of the hospital. She          Authors and Publishers) have uncovered           in Paris is a very valuable part of many
The Artist-led Archive (ALA), an                Yeat’s famous poem Easter, 1916, the             plans to engage with the patient                   a significant evasion of the artists resale      famous Irish artists’ resumes and will
on-going project and touring exhibition         exhibition’s title borrows from the Irish        population and use the physical                    right by a high profile gallery with             allow the artist dedicated time to
by artist and curator Megs Morley has           writer’s seminal response to turn-of-the-        remnants of their solitary activities,             venues in a number of Italian                    immerse herself in her work.
been housed in the National Irish Visual        century political events in Ireland to site      items such as puzzles, newspapers,                 cities. According to information released              Rosanne Lynch is an exhibiting
Arts Library (NIVAL) as part the library’s      art’s underused potential for commenting         magazines, knitting, smoking (or                   by SIAE earlier this week, the amount of         artist, a member of the Backwater Artists
Special Collections.                            symbolically on the world’s societal,            quitting aids), to make drawings,                  resale royalties evaded is considered to         Group and photography lecturer at the
      The ALA takes a specific focus on         cultural and economic triumphs and               paintings, collages and small scale                be in the region of €500,000. The resale         Crawford College of Art & Design in
materials relating to artist-led initiatives,   ills.                                            sculpture. The outcome will be a body of           right entitles visual artists to a royalty       Cork. The other finalists in the exhibition
self-organistaion and collectives in the                The second part of the exhibition’s      visually intricate works that explore the          payment whenever their works are                 are Joby Hickey, Doreen Kennedy and
visual arts in Ireland from the early           title underscores Dublin Contemporary            patients’ experience of distraction within         resold on the art market, with certain           Jean Luc Morales. The exhibition
seventies to the present and houses             2011’s emphasis on art that captures the         the    confines      of    the      hospital       conditions (which vary from country to           continues in Alliance Francaise, 1
                                                                                                                                                    country).      Among the artists whose
extensive and diverse materials including       spirit of the present time, while                environment.                                                                                        Kildare St., Dublin 2 until the 11 May.
                                                                                                                                                    works were resold without payment of
early recordings and documentation              introducing the exhibition’s chief                                                                             You can see Roseanne Lynch’s work at
                                                                                                                                                    the resale right are Joan Mirò, Piero
relating to over 75 initiatives. Displayed      organizational engine: The Office of                                                                                                       
                                                                                                                                                    Manzoni, Carlo Carrà, Alberto Savinio,
in handmade archive boxes and a                 Non-Compliance. Headed up by Dublin              neW aoSdÁna memBerS
                                                                                                                                                    Tancredi, Pierre Alechinsky, Mimmo
purpose-designed modular shelving               Contemporary 2011 Lead Curators Jota             The    Arts   Council      has     sent     its
                                                                                                                                                    Rotella, and Georges Mathiu.
system, the ALA is now freely accessible        Castro and Christian Viveros-Fauné, The          congratulations to the five artists who
                                                                                                                                                           The Irish Visual Artists Rights
to researchers 5 days a week through            Office of Non-Compliance will function           were today elected as members of
                                                                                                                                                    Organisation (IVARO) collects resale
NIVAL in the NCAD library. NIVAL is a           as a collaborative agency within Dublin          Aosdána, the affiliation of creative artists
                                                                                                                                                    royalties in Ireland on behalf of it’s
public resource and membership of               Contemporary         2011,     establishing      in Ireland. John Arden, Joseph O’Connor,
                                                                                                                                                    members. Commenting on the case
NCAD library is not required to access          creative solutions for real or symbolic          John Tuomey, Corban Walker and
                                                                                                                                                    Resale Right Manager, Alex Davis, stated
the ALA or any of the NIVAL                     problems that stretch the bounds of the          Daphne Wright were elected as members
                                                                                                                                                    that the case should serve as a warning
collections.                                    conventional art experience. With works          at the Aosdána General Assembly in the
                                                                                                                                                    to galleries and other art dealers in
      Commenting on ALA's move to               by more than 60 Irish and international          Royal College of Surgeons.
                                                                                                                                                    Ireland that are not compliant with the
NIVAL, Donna Romano of NIVAL                    artists coming from the five continents,                     
                                                                                                                                                    Irish resale right regulations.
commented: “This valuable archive of            Dublin Contemporary 2011 will present
The Visual Artists’ News sheet                                             May – June 2011                                                                                                                                                                       11


Visual Arts Resources & Activity: Donegal
The Bigger Picture                                                                                                             An Active Hub

Locky Morris Polestar Port Roundabout, Letterkenny 2006

DONegAl County Council has been known for its                            Looking back there have been many highlights
brave, varied and flexible approach to commissioning                including the commissioning of PoleStar by Locky          Eamon O'Kane 'The House and the Tree' installation view, Regional Cultural Centre, Letterkenny.

public art – and commissions have been both                         Morris which was a complicated commission from            The experience of my youth in Co. Donegal has                                 re-enactment, which took place on the same day,
temporary and permanent, big and small.                             and engineering perspective and one that was not          played a huge role in my life and artwork. The home                           that of a hunt that James II led (James II was the last
Commissions have been drawn from a range of arts                    loved from the start but now has become a much            I grew up in is a house steeped in history and it has                         king to hunt in the New Forest in the late 17th
disciplines including visual arts, the performing                   treasured iconic landmark for Letterkenny. The            maintained a key position in my art practice. In fact                         Century). This re-enactment film was shown at
arts, community arts, literature, architecture,                     commissioning of the Oatfield Sweet Factory               it could be argued that I have always made work                               ArtSway in the New Forest. The exhibition came
landscape architecture, photography, applied craft,                 projects in 2008 / 09 which included The Sweet            related to this house and to the relationship between                         back to Ireland last autumn and for my solo show
pyrotechnics, light projection film/animation and                   Fantastic by Redmoon Spectacle Company Chicago            landscape, architecture and history. The starting                             `
                                                                                                                                                                                                            The Twentieth Of April Sixteen Eighty Nine´ at the
music.                                                              and Abigail O Brien’s Temperance photography              point for a recent body of work was the fact that                             Crawford Municipal gallery in Cork.
       New, original artwork, created specifically for              residency, was significant because the resultant          King James II stopped off at the house en route to                                   My family home also houses art studios and a
the local context has always been encouraged with                   works were so imaginative – but also for the fact         the siege of Derry in 1689. The King was welcomed                             long established gallery where my siblings and I
some of the commissions have involved active                        that this was the first time that the National Roads      by then owner of the house, who had a dining table                            (two of whom, David and Matthew, are also artists)
community participation in the making of the                        Authority had allowed us to commission a non-             laid under the canopy of a sycamore tree. Later, as                           use the invaluable base both for the production,
artwork.        The      public       art     website,    http://   permanent work.                                           the monarch’s forces retreated and laid waste to                              storage and dissemination of artwork. It has become offers a comprehensive                              When we began Lovely Weather in 2007, it was         houses in the surrounding area, James spared                                  an exceptionally active hub with international and
documentation of all our commissions to date and                    our most ambitious Public Art Project. Specifically       Cavanacor House because he had enjoyed its                                    national shipments arriving and departing on a
has details of works in progress.                                   looking at and exploring climate change from the          hospitality.                                                                  regular basis. This solid base has proved invaluable
       Donegal County Council recognises that a                     artist’s    perspective,   after     an   international         In 2007 I began preparing work for a solo                               to me as an artist as it allows me a unique freedom
generic or formulaic approach to commissioning                      competition, we commissioned five international           exhibition at the newly built RCC in Letterkenny.                             to realize major large-scale projects and the
will not serve every project, therefore a varied and                artists to work in residence in Donegal specifically      '´ The House And The Tree´ included a reconstruction                          opportunity to present them to many audiences.
flexible approach to commissioning based on                         on climate change. The project partners were the          of an original part of my parent’s house; this part                                  Collaboration, both within the county, cross
residencies, context specific commissioning and                     Regional Cultural Centre and Leonardo OLATS               was demolished half a century ago. This                                       border and nationally has always been the strength
research and development have been encouraged.                      (France).                                                 reconstruction housed a film depicting derelict                               of the art scene in Donegal. A recent example of this
Commissioning public art does not mean merely                            This was ground breaking and memorable and           vernacular architecture around the county; these                              was the very successful collaboration between
providing the public with the most obvious and                      culminated in an amazing exhibition and conference        ruined buildings were a result of the migration of                            Artlink in Buncrana and Cavanacor Gallery. The
fixed solution, for this would preclude the possibility             although the conference was poorly attended. The          communities.           The film was augmented with                            first Irish solo exhibition of world-renowned Czech
of truly innovative art. It involves a process of                   Public Art Programme is still busy and still keen to                                  ´
                                                                                                                              archive audio recordings of Sean-fhocail´.                                    animator Jan Svankmajer provided the backdrop to
dialogue and expanding horizons in the sense that                   raise the bar and break ground. Working in                      The sycamore tree, which the King dined                                 a stop motion animation workshop for students
people cannot express a desire for that which they                  partnership has been a key component and strength         under, had been hit by lightning in 1999. The cut up                          from the Northwest Institute of Technology and
have not yet experienced.                                           of the Public Art Programme over the years. We are        fragments of the tree formed the centrepiece of the                           culminated in their films being previewed at The
       However the fear of controversy has too often                currently working on a large-scale commission             show along with a large wall drawing of the tree                              Foyle Film Festival, Derry. It goes to prove that
been an inhibiting factor in the commissioning                      focusing on children and play, commissioning a            itself.                                                                       hugely ambitious projects can be realised even with
process. The pressure to play it safe, to do what has               bespoke play-space for the little fishing village of            It was a great experience building the                                  limited resources.
been done before or not to rock the boat can seem                   Killybegs in West Donegal. This is a architectural        installation in the fantastic first floor gallery at the                             I took up the position of Professor of Visual Art
overwhelming and can impact negatively on the                       commission with a budget in the region of €100,000        centre. The Cultural Centre is a tremendous resource                          at The National Academy of the Arts in Bergen,
vision and ambition of a project. Donegal County                    and we are delighted to be partnering with the Irish      for the county.                                                               Norway in January and I am currently based here
Council believe that an effective public artwork                    Architecture Foundation on the realisation of this.             The project then received support from Culture                          and In Odense, Denmark (where I also have a large
does not patronise or placate its public and the                    Donegal is also currently in the process of securing      Ireland and The Arts Council of England and has                               studio and storage complex) making work for
instantly popular option must be balanced against                   funds for the most ambitious project to date in the       developed as it has been shown throughout the UK.                             numerous international exhibitions.
the desire to ‘raise the bar’ and the demands of                    realisation of a national sculpture park – details on     In Bristol I worked with a local carpenter to                                        I recently was shortlisted for a major public art
enduring quality, creativity, professionalism and                   this will be announced in Autumn 2011.                    transform the sycamore tree into a seventeenth-                               commission in County Donegal and am greatly
value for money. Donegal County Council are proud                        I am proud of what the Public Art Office of          century style table and chairs, similar to those used                         enjoying preparing my stage two submission for the
of their truly integrated and comprehensive Cultural                Donegal County Council has achieved over its 21           by James II.                                                                  project. Should I be successful in the commission I
Services Sector and the long standing Public Art                    years and I am proud to be part of a local authority            Using the 17th century-style furniture                                  look forward to spending a lot of time at home
Programme of Donegal County Council is integral                     that values art and culture where, even in recession,     produced in Bristol, I directed the staging of a                              developing the work. I also plan to spend time this
to this service. In 2007, we established a Public Art               it sees the bigger picture. For further information       re-enactment (by the English Civil War Society) of                            summer developing new works for solo shows at
Agency to allow us to share the expertise and                       please contact Ms. Terre Duffy, Public Art Manager        the meal James II had under the sycamore tree in                              RARE Gallery in New York and The Neues Museum:
support other recipients of the Per Cent for Art                    on                            Ireland. This took place at two sites in the New                              Staatliches Museum für Kunst und Design in
Scheme to deliver excellent projects. The Public Art                                                                          Forest on the 19th of April almost 320 years to the                           Nürnberg, Germany.
Programme comes of age this year with a 21st                                                                   Terre Duffy,   day of the actual event. The furniture was installed
Birthday Exhibition and the launch of the new plan                                                     Public Art Manager,    in the gallery space with the video documentation                                                                   Eamon O’Kane
in Autumn 2011.                                                                                Donegal County Council         of the re-enactment. This was connected to another
12                                                                                                                                                                               The Visual Artists’ News sheet                                                          May – June 2011

Advantages and Contradictions                                                                                                              An Tearmann / The Sanctuary

                                                                                                                                           Body Response System as dance/music improvisation tool. ‘FreePlay’ (silloutte section), Crypt Christ Church, Dublin November 2010. BRS: Maria Coleman,
                                                                                                                                           Processed Saxophone: Seán Óg, Contemporary Dance: Niamh Condron.

                                                                                                                                           Ag lorg ait breá suaimhne fá choinne neád a ullmhú                                  Music is a large part of my creative output,
Sarah Lewtas. Them (detail). Installation at . Centre Cultural Irlandese, Paris.   Sarah Lewtas                                            agus clann a thógáil a bhí muid nuair a chuamar go                            writing in English and Irish, for the bands Fracas
                                                                                                                                           Dún na nGall sé bliain ó shín. (We were looking for                           and now Wee Small Gods. Donegal exposure has
                                                                                                                                           a nice peaceful place to build a nest and rear a                              happened through RnaG’s ‘Ronán Beo’, ‘Oiche
                                                                                                                                           family when we moved here six years ago). With                                Craicáilte’ and slots at the Balor as well as the
                                                                                                                                           our nest feathered now, and a wee fledging in our                             opening of last year’s Earagail Arts Festival. Since
                                                                                                                                           midst, we perch on a remote outcrop, looking out to                           moving to the northwest, The Balor has been a first
                                                                                                                                           sea. The views daily confirm it was a good move,                              point of contact in the Donegal arts landscape. As
                                                                                                                                           even if the wind might blow you back in the door                              well as a platform for original music, it hosted a
                                                                                                                                           on a bad day.                                                                 ‘play-test’ with the BRS and provided teaching work
                                                                                                                                                 To compound the seclusion, I’ve been                                    on a cross-border film project.
                                                                                                                                           monkishly researching a PhD since 2006. This                                        Coinciding with moving here I’ve started a
Invite image for ' Easter Weeds' exhibition Artworks, Letterkenny                  Sarah Lewta's studio.
                                                                                                                                           advances the raft of technical skills I gained on the                         PhD and a family, and with these occupying my
I live and work here Dunlewey, an isolated and                                      friends, and I’ve exhibited through these friends.
                                                                                                                                           wonderful Music and Media Technology masters in                               attention, it has been difficult to get a wider sense
beautiful location on a hill overlooking Loch na                                           There’s also been an increase in good quality
                                                                                                                                           Trinity College Dublin, and marries them to my                                of the county’s art scene. Donegal is huge and
Cuing. I came to live here with my partner Ian                                      exhibition spaces with the opening of the Regional
                                                                                                                                           visual art training from Limerick School of Art and                           disperse and the topography imposes challenges as
Gordon, also an artist and our family at the end of                                 Culture Centre in Letterkenny and locally An                                                                                         to how any such ‘scene’ might develop. The annual
                                                                                                                                           Design. My PhD study is entitled ‘Body Responsive
1979. Previously, we lived in London – where we                                     Gailearai – plus the long-running Cosán Glas                                                                                         Earagail Arts and various outreach projects
                                                                                                                                           Media Environments’ and I’m based at the Dublin
met as art students. The house is a traditional stone                               sculpture trail; and the Glebe Gallery with its                                                                                      (through Balor DCA, An Grianán, Artlink etc.)
                                                                                                                                           Institute of Technology. The practical output has
built cottage and my studio is a converted cowshed                                  annual open submission for local artists . All this                                                                                  bring a range of arts through my local area at
                                                                                                                                           been the gradual evolution of a multimedia tool I
attached to the main building by a lean-to                                          and more, despite the ongoing job losses and                                                                                         intervals, but otherwise you have to take to the
                                                                                                                                           call the Body Response System or BRS. An interface
conservatory .                                                                      general funding cuts. There is however a palpable                                                                                    road.
                                                                                                                                           that registers steps and gestures, it allows people to
        I’m currently working on illustrations for a                                sense of anxiety and stress around the practical                                                                                           In the Rosses and Gweedore, the sea and
                                                                                                                                           launch or process musical notes, samples, live
children’s story in Irish by Cathal Úi Séarcaigh. This                              running and development of all the above                                                                                             mountains wind the road round the long way, and
                                                                                                                                           visuals or videos for instant playback through
isn’t my usual practice, but he invited me and I liked                              mentioned.                                                                                                                           houses look scattered randomly, with population
                                                                                                                                           moving their bodies in free space. In development I
the tale, which is based in the locality. I’ve settled on                                  There are smaller and simpler options. In                                                                                     ‘centres’ few and far between. The area’s beauty
                                                                                                                                           ‘play-tested’ the system with various users to inform
a style somewhere between studio Gibli and Hergé’s                                  April I have a small exhibition in Letterkenny                                                                                       undoubtedly attracts ‘creative-types’ but in the
                                                                                                                                           improvements. Since April last year I have been
Adventures of Tintin; and it seems to hold the                                      entitled ‘Easter Weeds’, comprising work from a                                                                                      Dungloe area for example, there is a distinct lack of
                                                                                                                                           venturing out to experiment with it in different art
landscape and figures together convincingly.                                        residency in Georgia two years ago. The venue is a                                                                                   arts infrastructure that might gather them. Forty
        I work in any medium with a bias towards                                    shop space and framing business opposite An                                                                                          minutes drive away in Gaoth Dobhair the Páirc
                                                                                                                                                 Creating opportunities for playful physical
three-dimensional work and using anything from                                      Grianan Theatre, run by Seamus Quinn called Art                                                                                      Gnó hosts Cló Ceardlann and now Áislann with its
                                                                                                                                           engagement is my main interest. Recent activity
                                                                                                                                                                                                                         upcoming Gaeltacht-focused ‘Ciall’ exhibition.
clay or plaster to fabric or found materials, I also use                            Works. There have been several shows here over         has included a dance / music improvisation as part
                                                                                                                                                                                                                         Dedicated arts centres, with purpose built auditoria
film and photography, printing, bookbinding                                         the last two years with special collaborations for     of Project Brand New, and my FreePlay event at the
                                                                                                                                                                                                                         are ‘i bhfád a shiúil’, however. The Balor is a
etcetera.                                                                           Culture Night with film reels projected onto the       DIT Broadcast Gallery and Christchurch Cathedral
                                                                                                                                                                                                                         50-minute drive and both the RCC and An Grianán
        I suppose I qualify as a recluse and enjoy my                               shop window and seating out on the street. The         Crypt – both in Dublin. FreePlay won the inaugural
                                                                                                                                                                                                                         are over an hour away, sited together on Port Rd.,
isolated environment, working for the most part on                                  main body of the work is a series of botanical         arts@DIT award. In these presentations the BRS
                                                                                                                                                                                                                         Letterkenny. The Abbey Centre, Ballyshannon,
my own. There are disadvantages to this way of                                      drawings done over a two-week period in April          gave the dancer’s movements a musical presence,
                                                                                                                                                                                                                         where I’ve conducted my most recent Donegal-
working and contradictions. While the peace and                                     2009 of the weeds growing on a hill opposite the       in a two-way musical exchange. The collaborators
                                                                                                                                                                                                                         based work, involved a three hour round trip, so
privacy allows me to concentrate and work without                                   apartment in Tbilisi where I stayed They seemed        were Seán Óg, Niamh Condron and Emma Martin.
                                                                                                                                                                                                                         perhaps its time to get busy at a more local level!
interruption, I do at the end of the day want to draw                               to embody the fragile atmosphere of Easter week,             In Donegal, I have joined forces with drama-
                                                                                                                                                                                                                               Impressive new community centres in my
attention to myself and my work. I still don’t feel                                 overlaid by the oppressive threat of Russian           educationalist Kate Brown to form Súgradh Arts &
                                                                                                                                                                                                                         area offer grassroots resources, and freelancing
                                                                                                                                           Media. Our debut, The Magic Paintbrush, involved
I’ve fully resolved this dilemma – although there                                   invasion with tanks rumoured to be stationed a                                                                                       artists are already making their way. The
                                                                                                                                           play-based improvisational workshops with
have been great changes in the art scene here over                                  few kilometres away. This is the first time they’ve                                                                                  community-based beginnings of arts bases like the
                                                                                                                                           children, that helped release their inner ‘performer’’
the years and opportunities have presented                                          been exhibited in Ireland, I’m making a short film                                                                                   Balor, Artlink, and the Guth Gafa and Tory film-
                                                                                                                                           for a subsequent peer-to-peer show. The BRS set a
themselves for exhibitions and residencies, which                                   to be shown alongside them.                                                                                                          fests, prove that ‘if you build it, people will come’.
                                                                                                                                           bias for physical activity in the workshops and later
allow for interaction and dialogue.                                                        Another recently opened gallery is the                                                                                        BanrIonacht, an installation show and
                                                                                                                                           functioned as an interactive stage; and the lines
        One of the major changes locally is the Cló                                 Harbour Gallery in Dunfanaghy, another small                                                                                         multidisciplinary art event organised in St. Mary’s
                                                                                                                                           between ‘players’ and ‘audience’ were actively
print workshop, with its programme for artist                                       exhibition space mainly dealing in paintings and                                                                                     Cathedral Limerick in 1999, has given me ample
                                                                                                                                           blurred throughout. County Arts Officer Traolach
residencies and practical workshops not just in                                     run by Brent Nokes, a painter himself. There’s also                                                                                  experience in DIY arts organisation, so with my
                                                                                                                                           Ó Fionnán supported this first run as part of the
printing but general art practice; with a new                                       an artists’ studio and gallery in Creeslough, The                                                                                    PhD nearing completion, I’ll soon ‘take to the
                                                                                                                                           Bluestacks Festival between Ardara and
purpose built exhibition space about to open. This                                  Faymore Gallery shared by my partner Ian Gordon,                                                                                     frontier’, and I have reason to believe that a
has brought artists into the area from all over the                                 a landscape painter and conceptual artist, (yes                                                                                      pioneering spirit can put you in good stead up
                                                                                                                                                 Tá ceangail specialta idir ceol agus an teanga
world and created opportunities for the exchange                                    those two things really can coexist) and Kerstin       sa cheantair ina bhfuil mé, agus is maith an rúd seo,
                                                                                                                                                                                                                                                              Maria Coleman
of ideas and travel between participating countries.                                Gronval a ceramic artist and painter. So typical       toisc go bhfuil an dhá rud tabhachtach dom i mo
As a result of this, I’ve been able to travel and                                   recession stuff, smaller and less risky but still      chuid oibire. (There’s a special tie between music
exhibit in Wiemar, Paris, Modena and Tbilisi over                                   something’s happening.                                 and the Irish language in the area I live in, and this
the last few years. Some of the artists who took part                                                                                      is a good thing since the two are important to me in
in their programmes have become my personal                                                                              Sarah Lewtas      my work.
The Visual Artists’ News sheet                                                          May – June 2011                                                                                                                                                            13


Regional Cultural Centre Letterkenny                                                                                                       The Stories Buildings Tell

                                                                                                                                           Grianan of Aileach Fort, Burt. Photo: Joseph Gallagher     Tuath na Mara, Private House. Photo: MacGabhann Architects

'Painting in the Noughties' Installation view. Regional Cultural Centre, Letterkenny.

TheRe has been a vibrant visual arts scene in                                     shows include ‘Modernism, Activism, Bauhaus,
County Donegal in recent decades, founded on the                                  Constructivist Tendencies in Hungary 1910 – 1930’
influence of Derek Hill and the Tory Island painters;                             (2009), with the National Galleries Hungary, and
the proximity of Derry and the Orchard Gallery;                                   ‘Noughties But Nice’ (2010), an Arts Council funded
and the presence of an art department at Letterkenny                              touring exhibition with Limerick City Gallery of         St Michaels Church, Creeslough 1971 by Liam McCormick.     Tower Slieve League. Photo: Peter McGroary
IT (no longer in existence). The sector is characterised                          Art, Visual Carlow and Solstice Navan.                   Photo: Steve Cadman

by a strong network of publicly funded visual arts                                      The RCC has also programmed key socially                                                                            There are three main elements to the initiative.
venues and projects, commercial / non-funded                                      engaged exhibitions – such as ‘The Sweet Fantastic’      ”There’s a name for every stone about here sir,            I am curating an exhibition featuring important
galleries and a fluctuating group of resident and                                 (2009), Redmoon Chicago and three local primary          and a story too.”                                          historic and contemporary buildings in Donegal to
visiting artists. The OPW operated Glebe Gallery                                  schools; 'Landscape and Memory' (2010), Ann                                                                         raise awareness of built heritage in public mind (11
goes from strength and has an exceptional                                         Quinn and three cross-border older peoples’ groups;                     (Manus in A Gentle Island by Brian Friel)   May – 1 June). This will be shown in the Atrium
programme from May to October each year, An                                       ‘North 55 Borderland’ (2010) and ‘National                                                                          Gallery at the Balor Arts Centre, Ballybofey. The
Gailearí has just opened a wonderful new gallery in                               Travellers Retrospective Exhibition 1985 – 2010’         I studied English and History of Art and Architecture      exhibition includes photography and architects’
the Aisleann Centre, Gweedore, and Artlink                                        (2010), in partnership with Blue Drum. Exhibitions       in UCD (BA Hons1998) and continued on to study             panels. Liam McCormick’s renowned Donegal
Buncrana holds innovative exhibitions at Fort                                     featuring the work of local artists – include 'ID        American Literature at UCD (MA Hons1999)                   Churches at Glenties, Desertegney, Burt and
Dunree. Cavanacor Gallery Lifford continues its                                   Imaging Donegal' with five leading Donegal artist /      specialising in African American Art and Literature.       Creeslough will be represented courtesy of The
impressive exhibition programme, Ross Gallery has                                 photographers (in partnership with Public Art) and       Since graduating I availed of every opportunity to         Irish Architectural Archive. Featured architects
opened in Letterkenny and Made Made photography                                   solo shows by Eamon O’Kane, Paul Rooney, Daniel          engage in collaborative arts practice. I have been         include; McCullough Mulvin Architects,
gallery, Mountcharles is an important addition to                                 McGarrigle and Jane Talbot.                              writing on art and architecture for 12 years and           MacGabhann Architects, Caroline Dickson
the county. There have been a number of significant                                     The exhibition programme has received              when possible manage projects in this field. In 2007       Architects, ARD Ciaran Mackel Architects, Paul
developments since VAN last featured Donegal in                                   considerable positive national media coverage.           I coordinated and delivered the ‘Two Minds: Art            Doherty Architects, Dedalus Architecture, Keys
2005, chief among these is the opening of the new                                 The Irish Times listed the Vasarely exhibition as        and Architecture’ project in Northern Ireland              and Monaghan Architects, P4McGArchitecture,
Regional Cultural Centre (RCC) in Letterkenny in                                  one of five visual arts highlights in Ireland in 2008,
                                                                                                                                           funded by the Royal Society of Ulster Architects,          Coady Partnership and Grafton Architects. It will
July 2007.                                                                        saying that it was “an imaginative and audacious
                                                                                                                                           Arts and Business and ACNI. In 2008 this was               be held in the Atrium Gallery at Balor Arts Centre
      Donegal County Council’s RCC is a multi-                                    project” and the same paper selected the RCC as
                                                                                                                                           followed by ‘Building our Children’s’ Futures,’ that       from 11 May – 1 June2011.
disciplinary arts centre with the main emphasis on                                one of the Irish visual art highlights of the entire
                                                                                                                                           combined architecture, visual art and education in               A series of creative and storytelling workshops
visual arts. It is a continuation of the former                                   decade, saying that it “is an amazing resource for
                                                                                                                                           its outreach programme. This I delivered on behalf         are being delivered at the Central Library, and the
Letterkenny Arts Centre (opened 1995) into a new                                  the county, and has pursued an ambitious
                                                                                                                                           of PLACE in Belfast.                                       Balor Arts Centre by storyteller Joe Brennan. It is
premises. The RCC has an exceptional 250m2 first                                  exhibition and education programme.”
                                                                                                                                                  Now in 2011, ‘The Stories Buildings Tell’ is a      also hoped that an evening of storytelling and
floor main gallery, with ceiling level natural light,                                   The current show ‘Destination Donegal’
screed floor and gallery lighting. The building also                              continues to 7 May. It is a spectacular art and social   project I have devised and curated in partnership          reminiscing will be held for older people as part of
has a ground floor gallery, ground floor and first                                history exhibition specially commissioned by the         with Donegal County Council, Donegal County                the Bealtainne Festival in conjunction with the
floor foyer galleries and workshops that can be used                              RCC and funded by Peace 3 on the experiences of          Library and Donegal County Museum, which has               Regional Cultural Centre and Donegal County
as galleries as required.                                                         immigrants to County Donegal from various                been Funded by the Arts Council / An Chomhairle            Council.
      The RCC and LAC have an impressive track                                    countries around the world and continues to 7            Ealaíon and the Department of the Environment,                   Workshops in schools are being delivered by
record in commissioning and organising art                                        May. It is followed by ‘Altered Images’, the Arts        Heritage and Local Government through its                  myself exploring architecture and stories in
exhibitions designed to engage with local audiences.                              Council funded touring exhibition from IMMA              Engaging with Architecture Scheme.                         Donegal through using photographs of important
A significant number of the exhibitions have been                                 and Mayo and South Tipperary County Councils                    The project, which has been running since           buildings in Donegal and children’s books
curated by John M Cunningham, who commenced                                       from 17 May – 26 June. The official opening will be      January and continues until July this year, highlights     exploring buildings as a theme. During April, these
a three-year leave of absence to take up a new post                               held on Friday 13 May 6.30 pm, and everyone is           the importance of memories, language and stories           schools workshops will be delivered to Ballyraine
in Australia in January this year. The RCC has                                    welcome. Accessible, interactive and inclusive in        in the perception of buildings and architecture in         NS, Letterkenny, Gaelscoil na gCeithre Maistri,
organised an extensive exhibition programme that                                  ethos, the exhibition aims to stimulate engagement       our collective consciousness. It further broadens          Donegal Town and St Mary’s National School,
has featured a number of world-class international                                with the visual arts for the general public and          my interest in collaborative arts practice and is          Stranorlar.
exhibitions. A number of these have been curated                                  particularly for disabled people. It includes work       designed to raise awareness of historic and                      An interpretative workshop will also be given
in partnership with the Glebe Galley Churchill, the                               by seven of Ireland’s leading artists – Amanda           contemporary architecture in Donegal through an            by architect Eamonn Monaghan, Keys and
RCC’s main partner in the annual exhibition                                       Coogan, Abigail O’Brien, Caroline McCarthy,              exhibition, seminar, workshops in schools and              Monaghan in conjunction with the exhibition to
programme to coincide with the Earagail Arts                                      Daphne Wright, Alice Maher, Thomas Brezing and           storytelling in libraries. The project’s aim is to         explore various elements of interest. There will be
Festival. Major exhibitions commissioned and                                      David Creedon.
                                                                                                                                           introduce architecture to the public in a unique           a public tour of Donegal County Museum.
curated by the RCC include – the opening show                                           The main RCC show this summer, as part of
                                                                                                                                           way via multidisciplinary practices including                    Finally there will be a seminar to discuss the
‘Painting in the Noughties, 21st Century Abstract                                 an extensive Earagail Arts Festival exhibitions
                                                                                                                                           literature, storytelling, visual arts and photography.     historic and contemporary architecture of Donegal.
Art from Britain and Ireland’ (2007), ‘The Victor                                 programme, is Locky Morris ‘this then’, a mini
                                                                                                                                           It is intended to raise awareness of architecture in       Topics to be discussed include literature’s influence
Vasarely Retrospective’ (2008), that travelled to                                 retrospective of the work of the Derry based artist,
                                                                                                                                           children (primarily 9 –11 age group) and adults and        on the built environment and Donegal’s vernacular
Paris, Aix-en-Provence and Pecs Hungary, ‘James                                   combining iconic 1980’s pieces with more recent
                                                                                                                                           draws attention to its importance within our               history, how buildings reflect societal needs and
Fitzgerald’ (2008), in partnership with the Platsburg                             work. This is an extended version of the exhibition
Foundation USA. ‘Temperance, Abigail O’Brien’                                     shown in the Golden Thread Belfast in 2010 that          environment, as part of our history and identity.          the power of ancient landscape in determining
(2009), part of the Oatfield Project, and subsequently                            received positive reviews in Art Monthly and                    The thematic focus of this initiative is centred    contemporary design. This takes place on Thursday
shown in Germany and the RHA Gallery Dublin,                                      Artforum. It will run at the RCC from 9 July to 24       on County Donegal, which is regarded worldwide             12 May, 2011 in the Auditorium of the Balor Arts
and ‘Lovely Weather’ (2110) featuring five                                        September. See            as a place of stunning scenery and rich heritage.          Centre, Ballybofey, Co. Donegal.
international artists / teams on the subject of                                   for further information.                                 Located on the western seaboard of Ireland, the
climate change, were both organised in partnership                                                         Sean Hannigan, Director         county has varied landscape features, including                                               Marianne O’Kane Boal
with the DCC Public Art Programme and funded                                                     Donegal Regional Cultural Centre          over 400 km of coastline, wide mountainous areas
through the per cert for art scheme. Other major                                                                                           and rolling lowlands.
14                                        The Visual Artists’ News sheet                                             May – June 2011                                       The Visual Artists’ News sheet                             May – June 2011

                                                                                                                                                 Visual Artists Ireland
Cló Ceardlann Na Gnoc
                                                                                                                                                 PROFESSIONAL DEVELOPMENT
                                                                                                                                                 TRAINING PROGRAMME
                                                                                                                                                 sePTembeR – DeCembeR 2011
                                                                                                                                                 Details of this Autumn / Winter programme available in August 2011 check our e-bulletin and the

                                                                      Cló studios and living archive buildings.
                                                                                                                                                 VAI web site for details. Booking and payment facilities will be available online.
Print studio at Cló

                                                                            Another key project is Ur (meaning ‘fresh’ or
                                                                      ‘new’, refering also to the ancient city in central                        Visual Artists Ireland operates a wide range of professional development and education events
                                                                      Asia), in which 14 artists from the Gaeltacht were                         throughout the year including workshops, peer discussion groups and seminars. The delivery of
                                                                      invited to make new work, which was shown                                  this programme is greatly supported by our relationship with local and international visual art
                                                                      eventually at the Irish Cultural Centre in Paris.                          professionals and partner organisations throughout the island of Ireland.
                                                                      (2006) This project is being developed as a key
                                                                      element of Samkura which Clo initiated recently
                                                                                                                                                 VAI works in partnership with Local Authorities, visual arts venues and others, combining
                                                                      with the support of the EACEA.
                                                                            Other projects we initiated and which we are                         resources to support the professional development of visual artists at regional level. We are open
                                                                      trying to keep in place are scholarships for artists to                    and interested in responding to artists groups and other visual art organisations interested in
                                                                      attend the workshop or to travel abroad to artist in                       partnering on provision of this programme.
'Ur 'exhibtion at the Irish Cultural Centre Paris.
                                                                      residence facilities in Georgia (Tbilisi) and Portugal
Cló is a professionally managed not-for-profit                        (Benfeita). These include Malartu (with scotland),
                                                                                                                                                 contact: Monica Flynn, Education Officer
company that acts as a local, regional and national                   Trasnu (Georgia) and The Madghie Hughie Eoghan
resource for the creation and production of art.                                                                                                 Visual Artists Ireland. 37 Nth, Great George’s St, Dublin 1
Clo’s primary activities are to – ensure that artists                       Clo is happiest working in a network and we                          T: 01 872 2296 E:
have access to affordable, safe, high quality facilities              have links with organisations that include An                    
for making their work; provide practical training in                  Chrannog, the Irish language cultural centre in                  
the skills of print-making in all media including                     Gweedore, The Frankie Kennedy winter school and                            Twitter: VisArtsIreland
lithography, etching and digital media; initiate                      the Templebar Trust, Dublin, all of which encourage
artistic and cultural projects at local, regional,                    inter-disciplinary activities, linking contemporary
national and international level                                      and traditional music with visual and performance
      The last two years have been the most                           art.
pressurised in the company’s history, we have                               From this year Clo are working in partnership
designed, financed and built – over the period since                  with An Culturlann, Tomas O Fiach, the Irish
the downturn – an art centre which extends our                        language cultural centre on the Falls road in Belfast,
existing workshop and which includes an                               which, like Clo, is completing work to a new
exhibition and performance space, artists’ studios,                   building and arts centre. This link is particularly
as well as an extensive new workshop area. The                        significamt as it reconnects us with our starting
artist in residence house and a ‘living archive’ are in               point and at a crucial point in our development.
                                                                            Samkura is a trans-European art and culture
a separate building adjacent to the workshop at
                                                                      exchange. Samkura (Gaelic, shamróg, Greek, Trifili,
Min an Lea and have existed since 2006.
                                                                      Portuguese, Trevo, Armenian, Siri-siri,) is the name
      In spite of close to zero cash flow since the
                                                                      for a small earth covering plant, which has a leaf,
crash, we have had huge moral support from
                                                                      composed of a stem and three interconnected
MacDonald Vagge architects, everyone who works
                                                                      leaflets. The name in its Georgian language form
at Cló, all of the artists and workshop participants,
                                                                      suggests the image of ìthree ears connected
as well as our funders, Udaras na Gaeltachta and the
                                                                      together.î Samkura visualises a cultural
Department of Tourism, Sport and Culture, the
                                                                      constellation of Gaelic, Greek and Portuguese
result of which is that by this summer (June, 2011)
                                                                      represented by the three leaves or ëearsí, whose
we will be able to open our new building and clear                    stem is represented by Georgia and Armenia.
our debts – in time for the Cló International summer                  Samkura uses contemporary art as a language of
school.                                                               cross-cultural communication.
      Fotini Kariotaki (Greece) Inge Dunnebier                              The project is realised through a residential
(Germany), lead this years school under the auspices                  artists exchange programme, a trans-national
of Samkura (see below) along with Donegal artists,                    Forum, workshops, an Exhibition and publication.
Aoife McGarigle, John Doohan and Heidi Nyguen                         The project coordinator Cló (Ireland) works with
      In terms of my own experience of living and                     the Junta de Freguesia, Benfieta (Portugal) to
working as an artist in the region, looking back over                 provide the support structure for the making of art
12 years, I have had an incredibly positive experience                works in rural and environmentally unique
of living and working in Co. Donegal, since                           landscapes in Ireland and Portugal. In addition Cló
migrating to Gortahork from Belfast with Oona                         also collaborations with The State Museum of
Hyland in 1998 (1) . Both of us have managed through                  Contemporary Art Thessalonika to support the
thick and thin to combine making Art with and                         professional development of SAMKURA through
step by step development of the company we                            sponsoring an international forum in Armenia
founded in 1999 to the point where it is now a fully                  and Georgia that will provide the framework for
fledged and independent arts organisation within a                    the exhibition, documentation and publication of
national and international context.                                   the project.
      Clo projects have included Tearmann – which                                                                               Ian Joyce
was a 4 year artists carreer development programme
which lead to a Diploma in Arts Practise from the                     (1) Ian Joyce founded Cló Ceardlann na gCnoc Teoranta with Oona
                                                                      Hyland in 1999 and directed the project until recently. He is now lead
Acadamh, the gaelic language mediated annex of
                                                                      artist of Samkura, a trans-european co-operation project supported by
NUIG (Unversity College Galway) which is based                        the EACEA with partners in Greece, Portugal, Armenia and Georgia. His
                                                                      latest publication “A t-Am Marfach ina Mairimid” Arlen House illustrates
on the former Industrial estate in Gweedore. (Parc                    a new colllection of poems by Cathal O’Searcaigh. His video work for
Gno). A total of 36 artists participated in the                       Stray Birds, (150th anniversary of Rabindranath Tagore) with Gabriel
                                                                      Rosenstock, Derek Ball, Doiminic Mac Giolla Bhride and Cathal
programme, who now compose a core group of                            O’Searcaigh will be premiered at the Letterkenny Arts Centre on the 14
artists who use the workshop on a regular basis.                      May.
The Visual Artists’ News sheet                                       May – June 2011                                                                                                                                                   15


 Approaching Critical Mass

                                                                                                                                                            JO: In terms of the fit-out of the spaces, do you have an architect
                                                                                                                                                            appointed; and have they had any particular ideas, thoughts,
                                                                                                                                                            and responses to the sites?

                                                                                                                                                            CVF / JC: Gordon Ryan is our architect. He’s a remarkably bright and
                                                                                                                                                            perceptive young architect with whom we have a very natural rapport.
                                                                                                                                                            Our general response to the site is to want to preserve a significant
                                                                                                                                                            amount of its character and past, which really is quite rich and
                                                                                                                                                            amazing. Rather than giving the space a more institutional turn—by
                                                                                                                                                            which we mean, cladding its often gorgeous imperfections within the
                                                                                                                                                            trappings of a conventional museum building (perfect floors, walls and
                                                                                                                                                            spot lighting)—what we’re looking to do is to make the space totally
                                                                                                                                                            exhibition ready, while holding onto its uniqueness. There are white
                                                                                                                                                            cubes from here to Timbuktu, but not so many spaces like Earlsfort
                                                                                                                                                            Terrace. Like the Grey Partridge, Earlsfort Terrace should be a protected

                                                                                                                                                            JO: So there is an emphasis on ‘found space’ and presenting the
                                                                                                                                                            works in quite evocative contexts, that are unmistakably of
                                                                                                                                                            Dublin, rather than trying to create neutral and generic white
                                                                                                                                                            cube spaces?

                                                                                                                                                            CVF / JC: Yes, it would be correct to say that—in some very important
                                                                                                                                                            instances. It’s equally important to note that there are significant
                                                                                                                                                            individual works that will of course require more build out. Where that
                                                                                                                                                            is the case, we certainly wouldn’t expect the art to suffer because of
                                                                                                                                                            some curatorial blind spot of ours.

                                                                                                                                                            JO: In terms of the office of non-compliance – was the former
                                                                                                                                                            academic / education use of the Earlsfort building especially
                                                                                                                                                            interesting to you?

                                                                                                                                                            CVF / JC: Sure. It’s really hard not to be literally inspired by the place.
                                                                                                                                                            When Jota and I saw the lecture halls -with their old-time auditorium
                                                                                                                                                            structure and graffiti carved into the wooden desks—we of course
                                                                                                                                                            knew that one of them would have to be turned into the Office of Non-
                                                                                                                                                            Compliance. We’re really looking forward to spending a lot of time
Earlsfort Terrace – interior view of DC2011 'Critical Mass' venue.
Jason Oakley: Let’s start with a brief overview of the main                    in terms of the space’s importance to the development of Irish
                                                                                                                                                            JO: In terms of access to the show, what are the opening hours
venues …                                                                       Contemporary Art. Lastly, these buildings allow us to engage Dublin
                                                                                                                                                            going to be; and will there be late night openings?
                                                                               from the vantage point of large-scale spaces that we can put our own
Christian Viveros-Fauné & Jota Castro: The main venue or venues for            stamp or character on, and that are not standard issue, conventional
                                                                                                                                                            CVF / JC: Dublin Contemporary 2011 will be open seven days a week.
Dublin Contemporary 2011 will be sited at Earlsfort Terrace, across the        white cubes.
                                                                                                                                                            Each week on selected days, the exhibition will be open late to give
street from our present offices and next to the National Concert Hall.
                                                                                                                                                            visitors a chance to soak up the exhibition and experience after hours
There is a complex of buildings there where we will locate the largest         JO: How much of interest or significant is the legacy of ROSC
                                                                                                                                                            programming, which we are presently developing
part of the exhibition—this is, of course, in addition to the collaborations   for you?
we are working on with important public galleries, like the Douglas
                                                                                                                                                            JO: What are your plans for signage and branding of the various
Hyde and the RHA, and also the public realm projects we’re installing          CVF / JC: This is of great importance to us. ROSC had a great deal of
                                                                                                                                                            sites and venues – subtle and viral; or bold and unmissable?
throughout the city. Earlsfort Terrace comprises a complex of buildings        influence on Irish contemporary art—we’re constantly hearing about
we have been referring to as the critical mass site. Leaving aside the         how important those shows were to people. We certainly want Dublin
                                                                                                                                                            CVF / JC: Honestly, the general tenor of what we’re doing runs far more
socio-dynamic implications of the term—which are incidental—this               Contemporary 2011 to be talked about in a similar way in the near
                                                                                                                                                            to the bold than to the subtle. In terms of specifics for graphics and
so-called critical mass site essentially allows us to present a large-scale    future. Aside from putting on a good show, part of our mission is to
                                                                                                                                                            signage, it is going to be simple, effective design that will be neither shy
international exhibition in the middle of Dublin. It turns out that—           possibly put on an entertaining, influential show that will hopefully
                                                                                                                                                            nor obnoxious.
from the perspective of available space—Dublin has long been biennial          deepen and expand artistic horizons here in Dublin.
ready, even if it didn’t know it.
                                                                                                                                                            JO: Do you envisage Dublin Contemporary to be experienced
                                                                               JO: Have you matched artists – or types of work, to specific
                                                                                                                                                            primarily by walking the city – or using other transport means?
JO: What are the main things that interested you about this                    spaces within the venues yet?
space? I’m thinking of the context of it being a space with a
                                                                                                                                                            CVF / JC: The vast majority of the exhibition will be walkable. We are
former use and identity that lay dormant, un-developed and                     CVF / JC: We’re working on that and certainly expect to be further
                                                                                                                                                            totally cognisant of the fact that Dublin is very much a walking-city
untouched by the boom years.                                                   articulating and detailing the space in terms of specific works and
                                                                                                                                                            and we want to underscore that special experience. In effect, visitors
                                                                               projects. We want to encourage complementariness as much as
                                                                                                                                                            will be able to see most of Dublin Contemporary 2011 without having
CVF / JC: One of the great things about what we’ve been calling the            confrontation among artworks, especially as the architecture of the
                                                                                                                                                            to travel great distances, which is great. Additionally, as part of our
critical mass site—namely the former UCD Medical School, the Annex             space in question essentially allows for a series of mini-solo exhibitions
                                                                                                                                                            education programme, there will be a series of specially designed walks
and associated buildings—is that this space or complex of spaces is            scattered throughout three of the building’s floors.
                                                                                                                                                            and tours throughout the various venues that will emphasize the rich
both totally central and somehow unknown to the vast majority of
                                                                                                                                                            history of the city. Lastly, I should mention that we are also looking to
folks in Dublin. It’s at once directly under everyone’s nose and largely       JO: How many artists will the venues house?
                                                                                                                                                            develop a bespoke travel ticket with our transportation partners. This
unfamiliar, though there’s a history there that connects the building
                                                                                                                                                            would provide the visitor with even more added value and also make
not only to UCD, but also to an architectural school that was there            CVF / JC: As many as 70. One thing I can tell you is that we are not
                                                                                                                                                            seeing the show much easier still for the public.
previously. Also, Earlsfort Terrace is where one of the ROSC shows             suffering from a shortage of space.
happened—ROSC ’80. This fact also provides a history for us to tap into
16                                                                                                                                                  The Visual Artists’ News sheet                                    May – June 2011


Good from Bad
                                                                                                                                                             numerous exhibitions and are part of the annual Culture Night events.
                                                                                                                                                             The most recent event added to the programme was a series of artist
                                                                                                                                                             talks in association with the Limerick School of Art and Design. The
CIARA PETERS PROFILES THE AIMS AND ACHIEVEMENTS OF CREATIVE LIMERICK                                                                                         artists included visual artist John Beattie and Nevan Lehart. The artists
                                                                                                                                                             are invited to give a talk in Faber Studios and then give tutorials in
                                                                                                                                                             LSAD the next day. This encourages critical thinking.
                                                                                                                                                                 Raggle Taggle Consortium (4) on Henry Street has also progressed
                                                                                                                                                             in the same vein as Faber Studios. RTC is both a studio and gallery, and
                                                                                                                                                             acts as a forum for artists and recent graduates. Since 2009 it has
                                                                                                                                                             merged from a studio to a project space. Because resources are finite,
                                                                                                                                                             the spaces are fluid as opposed to being exclusive to members. Projects
                                                                                                                                                             take precedence over general ongoing work so artists with pressing
                                                                                                                                                             deadlines will be given priority. However, the space is available again
                                                                                                                                                             once the project is finished.
                                                                                                                                                                    RTC has hosted a multitude of events. RTC’s first community
                                                                                                                                                             event was as part of 'C: Inside', where the public and artists took part in
                                                                                                                                                             a 24-hour drawing marathon. In March they hosted a very successful
                                                                                                                                                             photography exhibition in conjunction with the Youth Advocate
                                                                                                                                                             Programme Ireland. Last year they curated and hung an exhibition of
 Wickham Street Studios                                                                                                                                      third-year’s painting from LSAD, this year they will curate the print
                                                                                                                                                             department’s third-year exhibition. This type of versatility is what
                                                                                                                                                             keeps studios and galleries like RTC fresh and innovative. And the
                                                                                                                                                             turnaround of project space helps to inspire other artists in the studio.
                                                                                                                                                             “You get to see and respond to other people’s ideas. You spur each other
                                                                                                                                                             on which keeps the creative juices flowing,” noted Alan Crowley of
                                                                                                                                                             Raggle Taggle Consortium.
                                                                                                                                                                  The most recent additions to the Creative Limerick initiative are
                                                                                                                                                             Like Studios and Jean Ryan’s gallery, both situated on Thomas Street (5).
                                                                                                                                                             Jean Ryan an artist, art teacher and writer. He was given the Thomas
                                                                                                                                                             Street space by Creative Limerick in 2011. The gallery has a glass facade
                                                                                                                                                             and is on a busy street junction which draws attention to the vibrant
                                                                                                                                                             art work -which is a far cry from the look of the vacant building before
                                                                                                                                                             it was given to the artist. For Ryan “Creative Limerick is a positive way
                                                                                                                                                             to deal with these difficult times,”
Faber Studios                                                                  Occupy Space                                                                         Like Studios is a working partnership between Steve Maher and
IT is two years since Creative Limerick launched its ‘Connect to the                The first group to be offered a space in 2009 was Wickham Street         Michael O’Brien who are both Graduate BAs in Sculpture and Combined
Grid’ initiative in Limerick to fill vacant shop spaces in the city centre     Studios. Director at Wickham Street Studios Ramon Kassam had                  Media from Limerick School of Art and Design. A soon to be graduate
while creating spaces for artists. The questions now are, how successful       finished his MA in Dublin and had returned to Limerick where he put           of LSAD Shane Harrington has already secured a position in Like
has it been since it was launched; what are its pressing developments;         an ad in VAI for artists to share a house as a studio space. This artist      Studios commencing this May. Like Studios intends to function as a
and has it deviated from its original aim since it was established?            collective became known as Wickham Street Studios.                            studio but wants to make it more open to the public, and are currently
      Limerick has a reputation for being a creative hub and, of late,              They were offered the gallery space now known as Occupy Space(2)         deciding on a loose programme for the coming months. Commenting
artists are beginning to amalgamate into artist-led groups and studios         on Thomas Street in 2009. It was initially set up by the 12 members of        on the support of the Creative Limerick Initiative, Maher comments, “It
– the most recent of these being Jean Ryan Hakizimana’s gallery and            Wickham Street Studios and ran by them until May of last year. It has         has given me the place to hone my skills as an artist and a professional.
Like Studios. Although Limerick has very successful commercial                 since branched out into an entity of its own. They received a grant from      I have made some great connections through it,” and furthermore “a
galleries in the city such as the Limerick City Gallery of Art and the         Limerick City Council in 2010 and a grant from the Arts Council of            surprising amount of people have been able to make headway for
Belltable Arts Centre there was a need for studio based, artist-led            Ireland in 2011 – due to its increasing success. It is the only space as      themselves through this process and there is the potential for what has
groups. At the start, Creative Limerick had four studio spaces and some        part of Creative Limerick to receive a grant.                                 been created to be self sustaining,”
window displays. The city now boasts eight studio spaces, window                    Occupy Space, which comprises two vast galleries and a work area                The project has taken on new dimensions since its foundation
displays and a constant array of exhibitions around the city, which            has blossomed since it was set up two years ago. It has hosted over 25        two years ago. The most recent development with Creative Limerick
leads to positive press for all involved.                                      diverse projects and exhibitions from emerging and established artists        has been the introduction of pop up shows. These rotating exhibitions
      However, before this initiative was employed, Limerick artists           – both national and international. It hosts seminars, artist talks, and the   take place in vacant buildings around the city. An example of this
took it in to their own hands to fulfil the demand for such spaces and         'Videogram Limerick' night, as well as live performances and film             recently happened in Ormston House in a vacant building on Patrick
galleries. It was clear that there was a need for this market in Limerick,     screenings. The glass front to the two gallery spaces faces out on to         Street in Limerick in a launch of an exhibition called ‘Cracked’ by third
and artists were already being self sufficient by setting up their own         Thomas Street, which provokes curiosity from passers-by and from              and fourth year ceramic students from LSAD. It is hoped that these pop
studios, such as Contact Studios and Limerick Printmakers. However, it         people who would not usually enter a gallery. In this aspect, it is           up shows will be fully incorporated into the scheme. Although
is costly to set up a self-sufficient studio and gallery. And with so many     reaching out to a wider audience. Occupy Space now runs an online             Creative Limerick was an initiative born out of the need to fill vacant
unoccupied buildings in the city due to the current economic climate,          publication called Occupy Paper which runs in conjunction with the            spaces due to the recession, it is helping to make the best of a bad
could they not be put to good use by graduates?                                exhibitions.                                                                  situation while creating a platform for artists.
      This is where the beauty of Creative Limerick comes in. Creative              According to Emmet Kierans of Occupy Space there is a certain                 Interested graduates can apply to Creative Limerick through
Limerick was established to address a challenge that had been inflicted        advantage to being part of an artist lead group. “It gets a conversation      Project Manager Maria Croke at Limerick City Council (6). Applicants
by the economic downfall – that of vacant buildings. As Maria Croke,           going about contemporary art that wasn’t here in Limerick before: it          can email or can contact Maria
Project Manager with Creative Limerick puts it: “This initiative was set       gets a debate going about contemporary art; what it should be and             Croke directly on 061 407325 or via email on
up to get us thinking creatively about how we could use our creative           what it can be. That’s something that was missing here in Limerick, but       All quotes were sourced from conversations with: Maria Croke of
capital, graduates and professionals in order to help us tackle the issue      I think that it has filled that void,”.                                       Creative Limerick; Emmet Kierans of Occupy Space; Clive Moloney
of vacancy in the city centre. The initiative is constantly evolving and            Clive Moloney of Faber Studios on Catherine Street also feels
                                                                                                                         (3)                                 and Maire Connole of Faber Studios; Alan Crowley of Raggle Taggle
both the creative artists and landlords are informing this evolution                                                                                         Consortium; Stephen Maher of Like Studios and Jean Ryan of Jean Ryan
                                                                               that Creative Limerick has helped artists by responding to the demand
through their input and involvement, this is very welcome as it shows                                                                                        Gallery.
                                                                               for space – “I suppose we all would have left if we didn’t have the
that the scheme is engaging all participants. Creative Limerick attracts                                                                                                                                                  Ciara Peters
                                                                               studios”. The space is more necessary when it is object based, as it is in
people to the city by providing active occupation of vacant units
                                                                               Faber Studios. This helps to keep an artist based in Limerick as opposed
thereby engaging the public in a wide range of artistic endeavour that                                                                                       Notes
                                                                               to moving further a field to find work.                                       (1) All quotes from conversations with the author.
perhaps they may not have had the opportunity to engage with
                                                                                    Faber Studios was set up in 2009 and acts as a studio and gallery        (2)
previously” (1).                                                                                                                                             (3)
                                                                               which promotes and facilitates sculpture. As Moloney explains “Faber          (4)
      The space can be used to establish a start up business for artists, to                                                                                 (5)
                                                                               Studios acts as a platform for critical analysis for contemporary art         (6)
showcase their work or to use the space as a workshop. Initially, artists
                                                                               practice”. There has been a turnaround of members since its inception,
were only offered a two-month stint in the space when Creative
                                                                               with five current members. Maire Connole and two new graduates
Limerick was set up, however eight studio and gallery spaces are now
                                                                               from Limerick School of Art and Design- Aaran Lawless and Brian O’
thriving in the city. This was an unseen development in the initiative,
                                                                               Shea have since joined the artist lead group. Faber Studios have hosted
but a welcome one at that.
The Visual Artists’ News sheet                                               May – June 2011                                                                                                                                                                             17


Sean Lynch 'Me Jewel & Darlin' installation view, O'Connell Street, Dublin                                                                                             Detail showing the reproduction of Harry Clarke's The Last Hour of the Night 1922

Everyday Friction                                                                                                                                                     programme. Following a conversation with Isobel Harbison, a curator
                                                                                                                                                                      living in London, I co-ordinated the appearance of The Last Hour of the
                                                                                                                                                                      Night on O’Connell Street to coincide with the opening on January 27
SEAN LYNCH DISCUSSES HIS PROJECT 'ME JEWEL & DARLIN’                                                                                                                  of ‘The Geneva Window,’ the exhibition she had curated for The Lab
                                                                                                                                                                      based on Clarke’s work of the same name.
I lived in Dublin in 2008, while I was participating in part IMMA’s artist             its very nature, is a very extensive and multi-layered topic.
                                                                                                                                                                            Since the original pen and ink drawing of The Last Hour of the Night
residency programme. I had never really had the opportunity to be                            One of my favourite haunts in Dublin is the Irish Architectural
                                                                                                                                                                      is today lost, a version was reproduced to the same size as the original,
involved with the art scene there, and I had a great time working in the               Archive on Merrion Square. One day, when looking through a
                                                                                                                                                                      framed and placed within the display case. A lighting system illuminates
city over seven months. During the course of my residency I decided it                 publication from 1922 called Dublin of the Future – a proposal for the
                                                                                                                                                                      the print each evening from dusk. In its siting, the print is intended to
would be interesting to explore some histories about the city and make                 redevelopment of the city – I came across a reproduction of a drawing
                                                                                                                                                                      make direct reference to its immediate locale. For example, in the
an artwork that would reflect this process.                                            by Harry Clarke. Entitled The Last Hour of the Night, Clarke’s biographer
                                                                                                                                                                      bottom left corner of Clarke’s work, he rendered the GPO in flames. In
      The resulting project, entitled Views of Dublin, was exhibited at the            Nicola Gordon Bowe best describes it: "The Last Hour of the Night is one
                                                                                                                                                                      its position on O’Connell Street, one can see this image, while in the
Gallery of Photography later that year and was based upon a series of                  of the stranger expressions of his imagination. A bald, emaciated
                                                                                                                                                                      shadow of the GPO itself. There is no label or explanatory text inside
inter-related events in the city in 1965. John Le Carre’s cold war thriller            creature swathed in translucent strands of hair-like drapery stoops
                                                                                                                                                                      the case; instead I wanted Clarke’s work to exist as part of the city,
The Spy Who Came in from the Cold was produced as a film in that year,                 commandingly in the centre of the picture, cloven toes emerging from
                                                                                                                                                                      without having to justify its presence in the form of an authoritarian
and a replica of the Berlin Wall and Checkpoint Charlie was constructed                stubbly shins, and spindly hands extended on either side. On the left is
                                                                                                                                                                      museological approach.
in Smithfield Market as part of the film’s set. Actor Richard Burton and               a montage of Dublin’s finest buildings, all casualties of the Troubles –
                                                                                                                                                                            As many people will remember, the location of Me Jewel and
his wife Elizabeth Taylor stayed at the Gresham Hotel for ten weeks,                   the Four Courts, above it the Custom House and, on, top, the General
                                                                                                                                                                      Darlin’ on O’Connell Street is where Eamon O’Doherty’s Anna Livia
attracting much attention. Recollections of these events are today still               Post Office, all encased in flames. On the right of the figure a row of
                                                                                                                                                                      sculpture was placed. Very soon after its appearance there in 1988, it
heard around the city, and the Wall replica is often recalled as an                    Dublin Georgian town houses stands, fallen into the decay typical of
                                                                                                                                                                      was christened with the nickname ‘The Floozie in the Jacuzzi.’ The
unusual oddity of Dublin architecture.                                                 the twentieth-century state of so many of these once proud dwellings.
                                                                                                                                                                      sculpture was removed in 2000 after Dublin City Council decided that
      My research focused on the aftermath of the Wall’s removal. After                Beneath the houses two policeman watch as children play on the street
                                                                                                                                                                      its upkeep was too labour-intensive: removing cigarette butts and bus
the production of the film, Bart Cummins, a local scrap dealer,                        and weary-looking figures pass by. Above, in the top right hand corner
                                                                                                                                                                      tickets from its fountain, while having to watch soap powder being
purchased the set in its entirety. He re-erected a watchtower in front of              a blazing star in the jet-black sky perhaps heralds some new hope for
                                                                                                                                                                      added to its waters to see it bubble. In placing another artwork there 11
his yard in Inchicore and appeared on national television as the man                   the city".
                                                                                                                                                                      years later, I became aware of the day-to-day usage of my work, and how
with the best-known replica of the Wall. He gradually sold it off in                         Impressed, I made a photocopy of the page and it stayed on my
                                                                                                                                                                      people might interact with it in what would be perceived as a negative
sections. Some of the material was recycled to rebuild Saint                           desk in Banff, Canada for several months during a residency there in
                                                                                                                                                                      manner. As ever with public commissions, concerns of vandalism are
Christopher’s School, the first Travellers’ school in Ireland. Situated in             2009. It began to act as a visual apparition of the flux and disorder of the
Cherry Orchard at the western edge of Dublin, the school was organised                 past and potential futures of Dublin, an allegory for an urban form that
                                                                                                                                                                            Yet, public space is not about consensus, but contestation:
and run independently of the Department of Education by civil rights                   is disorganised but recognisable, shifting and uncertain.
                                                                                                                                                                      complete resolution of an artwork is always challenged by everyday
activist Grattan Puxon.                                                                      A plan was gradually formulated: a display case located in the
                                                                                                                                                                      friction and usage. With these considerations in mind, I composed an
      The artwork I produced considered the prevailing politics and                    centre of O’Connell Street, that could exist as a place for documents
                                                                                                                                                                      essay that appears on the project’s website that details public reaction
economics of Dublin of the time – via this transformation from film set                such as Clarke’s drawing to be presented. Such a device would make
                                                                                                                                                                      to a series of monuments and artworks in Dublin from 1862 onwards.
to makeshift school; along with the day-to-day realities of the Traveller              reference to the many monuments that are present on the street, but
                                                                                                                                                                      Much of this research was completed by looking through the newspaper
community agitating for civil rights in 1960s Ireland. A sixteen page                  instead of commemorating a famous person, time or deed, it would
                                                                                                                                                                      archives at the National Library and at the National Irish Visual Arts
publication was produced and freely distributed, a public talk with                    consider more incidental moments and objects through an exhibition
                                                                                                                                                                      Library at NCAD, and features information on the Crampton Memorial,
Puxon occurred, and a gallery presentation featured a collection of                    programme onsite. It would soak up these minor histories and, very
                                                                                                                                                                      Marta Minujin’s James Joyce Tower, and Richard Serra’s Sean’s Spiral,
images cut out of newspapers of that time and enlarged as digital                      subjectively, breathe them back out again.
                                                                                                                                                                      amongst others.
prints, framed as documentary residue of these events.                                       The title for the project, Me Jewel & Darlin,’ a kind of affectionate
                                                                                                                                                                            In early April, documentation of a performance by Danny
      The process of unearthing, assembling and distributing all this                  slang used in the city, was adopted from Eamonn McThomais’ book of
                                                                                                                                                                      McCarthy on O’Connell Bridge in 1982 involving a hundred whiskey
information became an important journey for my practice – specifically                 the same name. I enjoyed thinking about the dichotomy of documents
                                                                                                                                                                      bottles floating in the River Liffey appeared inside the case, and more
in how to understand the complexities of urbanity and Dublin in                        as monuments, and monuments as documents, a notion that Foucault
                                                                                                                                                                      displays are planned over the case’s lifetime, with further contextual
particular. The artwork’s reception led to an invitation from Dublin                   talks about in The Archaeology of Knowledge (1), and began plans in
                                                                                                                                                                      information, interviews and essays to be posted on the website www.
City Council to make a public artwork for the city in late 2008.                       summer 2010 to enact a realisation of these ideas.
      Following this invitation, I worked closely with Ruairi O Cuiv, the                    The case was fabricated by metalworker Neil McKenzie, who I’ve
city’s public art officer, to see what might be possible within what was               worked very closely with on a previous project about the DeLorean car
                                                                                                                                                                                                                                                           Sean Lynch
a completely open brief. Potential ideas were developed, assessed and                  company in Belfast. Together, we decided to make the case from the                                                                             
shelved over a two-year period. There was no deadline for the production               same grade of stainless steel used in the Spire nearby. Neil worked with
of the piece, and every time I visited the city, I’d do another bit of                 assistance from Bushy Park Ironworks in Tallaght. Ruairi O Cuiv sought         Note
                                                                                                                                                                      (1) Michel Foucault. The Archaeology of Knowledge. First published in 1969, English edition 1972
research and fieldwork, and add my findings to what I had already                      permissions, permits, insurances and electricity for the case. Structural      Routledge. Now available as a ‘Routledge Classic.’
found. I attempted to set a broad remit for myself to produce a piece                  engineers were consulted. A website was planned, that would
that continued my interests into the materiality of the city, which, by                disseminate some of the research material relevant to the exhibition
18                                                                                                                                                                                             The Visual Artists’ News sheet                                                       May – June 2011


Phillip Napier Ballad Number I, 1991/92. Courtesy of the artist/ Ormeau Baths Gallery, Belfast

Phillip Napier Visual Amenity I (Terror), 2010. and Visual Amenity II (Erebus), 2011.             Phillip Napier Captain Francis Crozier – One Exhibit Museum, 2009. Photo: Courtesy of the artist/ Ormeau Baths Gallery, Belfast
Courtesy the artist / OBG

Critical Critique
                                                                                                                                                                                                           of one these instruments, which has been mechanically automated.
                                                                                                                                                                                                                 In view of the nautical nature of the work downstairs, this space
                                                                                                                                                                                                           feels like being on a container ship mid-ocean – as creaking sighs and
                                                                                                                                                                                                           a melancholy whine of the wind fill the gallery. The accordion in
                                                                                                                                                                                                           Ballad 1 is attached to an image of a smiling Bobby Sands, a populist
PRESENT THE WINNING ENTRY OF THE OBG / VAI CRITICAL WRITING COMPETITION.                                                                                                                                   image plucked straight from a newspaper. Constructed out of wooden
                                                                                                                                                                                                           nails, you can only make out his likeness from afar, but there is a small
AlIssA Kleist is the winner of the 2011 Ormeau Baths Gallery and                                       On the back wall of the gallery looms a large-format photographic
                                                                                                                                                                                                           plaque to help you out. An electrical cable runs from the battery of the
Visual Artists Ireland Critical Writing Competition 2011. The OBG /                              image of a huge container ship – the Maersk Derince. Unlike, HMS
                                                                                                                                                                                                           sleek car to the accordion attached to Ballad I. Is it an English machine
VAI Critical Writing Compitition invited writers to submit reviews of                            Terror, an 18th century vessel commanded by Captain Crozier and
                                                                                                                                                                                                           powering or offering a laboured life-support mechanism for ongoing
Phillip Napier's exhibition 'Expecting the Terror' at the Ormeau Baths                           famous for its doomed attempt to explore the North West Passage (one
                                                                                                                                                                                                           revolutionary resistance?
Gallery.                                                                                         of the key reference points of Napier’s show) – this ship won’t get
                                                                                                                                                                                                                 Although made during a time of a ‘legacy of terror’, Ballad I and
      The competition was devised to encourage, support and promote                              marooned in any ice. Besides the advances in navigational and ship
                                                                                                                                                                                                           Ballad II are re-contextualised in this exhibition in today’s (arguably)
critical discussion on the visual arts. In addition to publication in this                       building technology opening up the seas, global warming is
                                                                                                                                                                                                           post-conflict situation. Turning around from Ballad I you can see the
edition of The VAN, Kleist has been awarded a £300 prize by the                                  diminishing what was once an impassable ice tundra.
                                                                                                                                                                                                           silent Ballad II, a motionless accordion affixed, with the image of
Ormeau Baths Gallery. The development of discourse and criticism is                                    Pointedly, the image shows Maersk Derince illuminated by the
                                                                                                                                                                                                           Antonio Gramsci, the Italian Marxist theorist, renowned for his theory
an ongoing concern of Visual Artists Ireland, the OBG / VAI compitition                          setting sun. A set of car taillights attached to the image, seem
                                                                                                                                                                                                           of cultural hegemony – that the ruling classes maintain and fortify
was ran as part of our professional development programme.                                       perplexing at first. But glowing beautifully, and irresistibly, they serve
                                                                                                                                                                                                           their position through cultural as much as economic and social power.
      Future VAI projects in this field, include a writing compitition                           to underline a sense of a farewell to Western supremacy on the seas.
                                                                                                                                                                                                           Originally inspired by Napier’s time spent at the English School in
devised in partnership with Dublin City Council Arts Office, details of                                Napier is interested in shifts of power in the past, present and
                                                                                                                                                                                                           Rome in 1991, Ballad II’s depiction of Gramsci and its analogy with the
which can be found in the notice on page 2. In addition, starting with                           future. In the here and now, power is moving east, everything will soon
                                                                                                                                                                                                           other works in the show is so loaded, and meshes so hermetically with
our September / October edition of the Visual Artists News Sheet, we                             be made in China –all the containers on the high seas, their contents
                                                                                                                                                                                                           the issues Napier has raised in this exhibition, that unfolding those
will begin running a regular review section, entitled CRITIQUE.,                                 and indeed the cargo ships carrying them. And artworks too – Napier
                                                                                                                                                                                                           layers of meaning could fill up a whole publication, let alone this
which will comprise of six reviews, published in each edition of the                             has fabricated two scaled up model forklift trucks from Chinese
VAN – adding up to 36 reviews annually. The reviews will be                                      plywood – entitled Visual Amenity 1 (Terror) 2010 and Visual Amenity 2
                                                                                                                                                                                                                 Napier places great emphasis on his position as an educator, in a
commissioned to reflect upon and critique a diversity contemporary                               (Rebus) 2011 – and installed in them in the upstairs space at OBG.
                                                                                                                                                                                                           literal and artistic sense – he is head of Sculpture at the National
Irish visual arts practice.                                                                            Crudely constructed, these giants still have sawdust lingering in
                                                                                                                                                                                                           College of Arts and Design in Dublin; and in his practice he sees the
                                                                                                 the edges of their plywood surfaces. In terms of form and shape they
                                                                                                                                                                                                           artists role as that of an enabler. Napier feels this is a rich, interesting,
                                                                                                 represent the real thing; at the same time they are utterly useless,
                                                                                                                                                                                                           fertile time for an artist attempting to re-enable culture. After all, if we
                                                                                                 valueless. This is pivotal in Napier’s work, the way we look at things,
                                                                                                                                                                                                           are all part of this capitalist-realist culture, and consumption is a
                                                                                                 the heavily pre-established value system ingrained in us through
Philip Napier                                                                                    living in a consumerist ‘capitalist-realist’ society.
                                                                                                                                                                                                           language we are all familiar with, perhaps the role of the artist is to
                                                                                                                                                                                                           find ways to create culture out of consumption?
expecting the Terror                                                                                   Napier has riddled the show with symbols; visual amenities,
                                                                                                                                                                                                                 The video installation Sovereign recounts the loss of identity and
Ormeau Baths Gallery, Belfast                                                                    ‘things’, a language we can all understand; a vernacular of consumption
                                                                                                                                                                                                           culture that took place when Irish towns and villages were re-named
                                                                                                 – because we are all consumers. The exhibition is filled to the brim
4 February – 19 March 2011                                                                       both metaphorically and physically. Indeed, it seems that perhaps the
                                                                                                                                                                                                           under British rule. Their original Gaelic names were replaced with
                                                                                                                                                                                                           crude phonetic English translations. This eradicated the original
                                                                                                 gallery space is too small to hold all this meaning.
                                                                                                                                                                                                           meanings, which were imbued with a sense of geographical or
                                                                                                       Napier admits it was “a bloody difficult space” (1) to work in as an
The first things I notice upon entering the Ormeau Baths Gallery to                                                                                                                                        historical significance. Napier feels that “we had been dislocated from
                                                                                                 artist. In places the show feels a little crowded, the dual monitors of a
see the exhibition ‘Expecting the Terror’ by Northern Irish artist Philip                                                                                                                                  our own landscape”(3).
                                                                                                 work called Sovereign (1995) pressed up against a screen, competing for
Napier, are an overpowering smell of cheap washing-up liquid and an                                                                                                                                              Sovereign thus illustrates the powerful effect of re-investing
                                                                                                 space with the bear on a rickshaw and the wall-length container ship
authentic-looking bicycle rickshaw – which is carrying a freezer; on                                                                                                                                       meaning in culture, and overall it is with an awareness of this power
top which is perched a model sailing ship, with masts and rigging;                                                                                                                                         that Napier has created and curated the works in his show. He states, “I
                                                                                                       Yet there exists a fascinating dialogue between the pieces, which
with a dead polar bear in the driver’s seat. It’s an intriguing set of                                                                                                                                     am not interested in static meaning”(4) In ‘Expecting the Terror’ he
                                                                                                 constantly changes. By the time you reach the top galleries you already
propositions.                                                                                                                                                                                              seems to play effortlessly with our perception of value. The works in
                                                                                                 begin to reconsider the meaning of what you’ve just seen in the ones
     A text on the rickshaw declares, in a funfair font, that this is the                                                                                                                                  can either be read as individual allegories or as adding up to a grand
                                                                                                 below. Deciphering all this meaning is not easy. The latter is important;
“Captain Francis Crozier one exhibit museum”. Maybe it is an                                                                                                                                               narrative addressing (at the very least) globalisation, consumption,
                                                                                                 that we do some of the work ourselves. As Napier states, it’s not about
invitation. But I’m hesitant to come too close. The fluorescent lines on                                                                                                                                   international trade, emigration and ecology. This is an exhibition
                                                                                                 the ‘I’ve got it now!’ moment”. (2)
the floor around the piece push me in a different direction. In the                                                                                                                                        loaded with layers; that is political in every sense of the word; both a
                                                                                                       ‘Expecting The Terror’ also enigmatically re-introduces Ballad I
universal language of symbols, these markings would usually mean                                                                                                                                           treat and a trial – and better still, it is bloody hard work.
                                                                                                 and Ballad II, two works by Napier made some 20 years ago mid-
danger, do not enter; stay out; forbidden territory. Maybe they act as a                         Troubles. Before we enter the gallery housing these works, we get a                                                                                                                   Alissa Kleist
particular warning against the bear, which comes alive from time to                              glimpse of the polished dark enamel of a classic British 1980’s                                           Notes 1. In conversation with Director of IMMA Declan McGonagle, Ormeau Baths Gallery, 10th of
time, sprayed with artificial snow (hence the smell). Every day between                          executive saloon car, to be more precise, a Jaguar Sovereign 4.2 – which                                  February 2011 2. Ibid. 3. Ibid. 4. Ibid
1pm and 2pm someone climbs into its hide and cycles around the                                   is parked in the middle of the room. Ballad 1 and Ballad 2 both utilise
gallery on that rickshaw – something that is at once terrible and                                accordions, and the room is filled with the strange laboured breathing
The Visual Artists’ News sheet                                                           May – June 2011                                                                                                                                                                                    19


                                                                                                                                                                                          – to which she replied ‘too dark’ and continued on to the next
                                                                                                                                                                                          option. Alexa instructed Dietmar to make a mix tape – something he
                                                                                                                                                                                          admitted he had never done in his life before. He then went onto
                                                                                                                                                                                          constructing a life size figure wrapped completely in the brown tape
                                                                                                                                                                                          from five cassette tapes respectively entitled Sessions Presents Summertime
                                                                                                                                                                                          Gold/ Mike + The Mechanics/ Praise and Worship: The Highest Place/ Jimmy
                                                                                                                                                                                          Ponder; Down Here On the Ground / Yes; Fragile/ Third World/ Hold On to
                                                                                                                                                                                          Love; Keith Jarrett. Organ, Hymns, Spheres. This work perfectly
                                                                                                                                                                                          complimented the fascination Alexa has in her own practice of music
                                                                                                                                                                                          paraphernalia and fetishisation.
                                                                                                                                                                                                The results were mixed. Some artists admitted they were totally
                                                                                                                                                                                          uninspired by their given instructions – and found it painful to find a
                                                                                                                                                                                          common ground for exploration. Others drew great inspiration from
                                                                                                                                                                                          the task – and some (including myself) seemed to follow the instructions
                                                                                                                                                                                          they set rather than those they received. These realisations only became
                                                                                                                                                                                          evident at the artists talks when visitors asked questions about the
                                                                                                                                                                                          process. In the middle of the project, we all found it difficult to articulate
                                                                                                                                                                                          what was going on and hard to imagine how the show would turn out
                                                                                                                                                                                          visually. In hindsight each artists interpretation, deviation and discipline
                                                                                                                                                                                          showed how each individuals approach differed and allowed another
                                                                                                                                                                                          layer to be revealed in the project.
                                                                                                                                                                                                The collaborative installation process and resulting show, became
                                                                                                                                                                                          a rich and engaging experience in itself – with unforeseen twists and
                                                                                                                                                                                          turns occurring at the last minute. With so many artists involved; and
                                                                                                                                                                                          the scale of their work being large, we set about arranging the exhibition
                                                                                                                                                                                          to make the best use of the height of the ceiling and in between spaces.
                                                                                                                                                                                          This strategy of arrangement was required to respond to Andrews
                                                                                                                                                                                          instruction for Paulina, her resulting work – had to face East at the time
                                                                                                                                                                                          of exhibition. With so many constraints and considerations to take on
                                                                                                                                                                                          board – aside from our attempt to make the show work visually – we
                                                                                                                                                                                          had a daunting task before us. Ultimately we found a compromise, a
                                                                                                                                                                                          word key to the entire project.
                                                                                                                                                                                                Personally, in my view one of the most rewarding exchanges was
                                                                                                                                                                                          between Acitore and Anne who each took a generous approach. They
                                                                                                                                                                                          set about developing the project and eventually installing the work
                                                                                                                                                                                          together when they met for the first time at the LCCM. Anne’s mission
                                                                                                                                                                                          was to create an ‘Interactive Location Based Mobile Game Challenge’
Collaborative Installation of 'Give and Take' at Lost Coast Culture Machine, Fort Bragg, Northern California. February 2011. Photo: Tonya McMullan                                        for the public. The project is ongoing and comprises of a virtual
                                                                                                                                                                                          application about re-imaging the local community and environment.
                                                                                                                                                                                          Anne used the public exhibition as a data gathering exercise – allowing

Gifting Shock
                                                                                                                                                                                          visitors to suggest what content they would like to see in the game. The
                                                                                                                                                                                          Fort Bragg local authority has since expressed their interest in supporting
                                                                                                                                                                                          the project.
                                                                                                                                                                                                Acitore received a huge wall chart mind map via post from Anne
PROCESS INVOLVING 10 ARTISTS FROM SCOTLAND, NORTHERN IRELAND AND THE USA                                                                                                                  – hundreds of words and statements connected to one another. Acitore
                                                                                                                                                                                          choose a single speech bubble from the mind map “animal human
JusT over a year ago in Barcelona, I spent two weeks with the                                              models and theory surrounding public authoring within collaborative            hybrid” – and created a wall-based chart again engaging with visitors to
California based artist Anne Beck (1), when our residencies in the city                                    practices. The other artist involved was Belfast based Michael Hart –          contribute to the chart by drawing their own hybrid animals and
overlapped. Anne’s practice has frequently involved book-making and                                        who was also familiar with collaboration, and comes from a                     attempting to make sense of the statement. Each of their projects shared
mail art projects. She had recently moved to Fort Bragg, a small town                                      printmaking background. In 2010 I worked with Michael on the                   a sense of being part of a larger work and a surveying procedure that
50 miles north of San Francisco and spoke idealistically of setting up a                                   ‘Printwin’ project organised by The Belfast Print Workshop (6), which          asked the audience to evaluate their ownership and creative potential.
contemporary gallery.                                                                                      matched printmakers with other artists unfamiliar with print in an                   ‘The Give and Take’ project is continuing, drawing on the fertile
      A few months after leaving Barcelona I received a surprise email                                     attempt to introduce the medium to a new audience.                             exchanges set up between the participating artists and the public. We
asking for proposals for exhibitions, from the Lost Coast Culture                                                Anne coordinated the California side of things approaching               all have resolved to regroup in Belfast and have decided on a course of
Machine (2) an artist-run culture space, papermaking facility and shop                                     Andrew Venell (7), Christine Kesler (8), Dietmar Krumrey (9) and Presley       action for ‘Give and Take: Part II” at PSsquared Belfast. Each artist will
in Fort Bragg, Northern California, focusing on interdisciplinary and                                      Martin (10) with the idea, a brief discussion amongst the artists led to the   work individually (none expressing strong desire to repeat the laboured
sustainable creative practice. I thought of Anne immediately; but                                          matchmaking. Andrew is a multimedia artist whose work incorporates             exchanges of Part I) taking the concept of give and take and using one
also another contact of mine, Paulina Sandberg (3) an artist based in                                      new media, collage, video, interactive narrative, sculpture and                of the strengths of the Lost Coast Culture Machine show – the
Edinburgh, Scotland with whom I had set up Echo (4) an artist-led                                          performance to highlight the absurdities and anxieties of as he                interactive element. Artists will give something to the gallery and
initiative.                                                                                                describes – our heavily mediated life. Christine uses paint, drawing           invite visitors to take, Presley will send daily texts into the galleries
      I moved from Edinburgh to Belfast in 2009, and Paulina and                                           collage and found materials – for ‘Give and Take’ at PSsquared,                scrolling display unit, we will host a transatlantic word association
myself set up Echo in 2007. Echo has realised a number of projects                                         Christine asked for street debris to be posted to her for re-purposing.        game setting up a Skype link with Lost Coast Culture Machine
locally and internationally exhibiting in hotel bedrooms, office blocks                                    Dietmar’s practice encompasses mixed media looking at language                 Breeding another element into the project which I hope will gain
along with art galleries engaging in open and participatory work. Since                                    communication and personal articulation. Presley uses found                    momentum and develop further.
I had re-located to Belfast Paulina and I chatted and idly brainstormed                                    materials; and his work, mostly sculpture-based has an underlying                    Many of the artists involved were not familiar with collaborative
remotely through internet and postal services – sending one another                                        obsessive and meticulous quality.                                              or participatory practices and so this way of working was a venture into
suggestions of films to watch, opportunities and artists to look up.                                             ‘Give and Take’ in some respects was a gift exchange. Walter             new territories. The artists were paired together with a purposeful push
      It seemed for me a logical progression to develop a project with                                     Benjamin, in the chapter entitled Fancy Goods in his 1928 publication          to create frictions between their methodologies, practice and
these two friends the far side of the Atlantic Ocean and the Irish Sea. I                                  One-Way Street remarked that “Gifts must affect the receiver to the            personalities. Overall ‘Give and Take’ was by its very design a controlled
approached Anne and Paulina with the idea of rounding up five artists                                      point of shock.”(11). And indeed when the ten ‘Give and Take’ artists          experiment – exploring how individuals respond to an enforced task
– forcefully marrying pairs of artist and providing a framework for                                        swapped sets of gifted directions given to them by a complete stranger         and exhibiting how a conglomerate of ideas/inputs can creatively
artists to swap instructions and make new work based on these                                              on the other side of the world; the hope was that these would shake            addresses the role of influence/authorship.
correspondences.                                                                                           and shock us all out of our holding patterns and translate into a fresh
                                                                                                                                                                                                                                                                Tonya McMullan (12)
      The project was titled ‘Give and Take’ was supported through the                                     approach to art making.                                                        Notes
                                                                                                                                                                                          1. Anne Beck
Arts Council for Northern Ireland Travel Award. Given the reciprocal                                             On the 8 June 2010 the pairs of artists were introduced virtually        2. Lost Coast Culture Machine
nature of the project myself Anne and Paulina agreed it should come                                        and a deadline of 19 July 2010 12 noon GMT was set for the swap, the           3. Paulina Sandberg
                                                                                                                                                                                          4. Echo
full circle landing back in Belfast. PSsquared accepted our proposal to                                    deadline was in place to ensure artists did not give instructions              5. Embassy Gallery
host ‘Give and Take: Part II’.                                                                             influenced by those they received. From there artists went ahead and           6. Belfast Print Workshop
                                                                                                                                                                                          7. Andrew Venell
      In discussions with Paulina we agreed which artists could be                                         followed the instructions for the next seven months – some seemed to           8. Christine Kesler
involved by drawing from our recent experiences – Paulina selecting                                        get an easy ride – Presley and Michael for example both offered one            9. Dietmar Krumrey
                                                                                                                                                                                          10. Presley Martin
Alexa Hare, Edinburgh based and a co director of the Embassy Gallery                                       another the same task – to go for a walk.                                      11. Walter Benjamin In One-Way Street and Other Writings (1978). Fancy Goods, One-Way Street (1928)
(5) in Edinburgh. I approached Acitore Artizone, an artist familiar with                                         A couple of artists choose to ignore completely some of the tasks        12. Tonya McMullan
collaborative practice; who in 2006 had begun researching emergent                                         – I asked Christine Kesler to consider the “weaknesses in her vicinity”
20                                                                                                                                                    The Visual Artists' News sheet                                                           May – June 2011


                                                                                                                                                               would no doubt enjoy and appreciate the seminar as a ‘social studio’
                                                                                                                                                               situation in itself, O’Brien did acknowledge the provocative nature of
                                                                                                                                                               this work, along with Zmijewski’s eloquence about his practice in his
                                                                                Artur Zmjewski Two Monuments (2009) Video Still                                writings.
                                                                                                                                                                     Of course, participation and collaboration shouldn’t necessarily
                                                                                                                                                               be regarded as somehow virtuous or desirable in themselves, they
                                                                                                                                                               represented a wide spectrum of possible levels of coercion. David Beech
                                                                                                                                                               typified the art world’s current obsession with socially engaged work;
                                                                                                                                                               as an unthinking entreaty for “better, deeper, stronger and more”;
                                                                                                                                                               seemingly ignorant of the fact that monstrous events require
                                                                                                                                                               participation and collaboration as much as virtuous ones. Beech wryly
                                                                                                                                                               noted that totalitarian states are far more ‘participatory’, than liberal
                                                                                                                                                               democracies. Echoing Zmijewski’s concern about ethics clouding
                                                                                                                                                               objectivity, Beech argued for a shift from a concern about the rights of
                                                                                                                                                               the individual; to a more collective ethics of emancipation. As he put it,
Artur Zmjewski Two Monuments (2009) Video Still                                                                                                                the liberal notion of the sovereignty of the individual, often did so at
                                                                                                                                                               the expense of the first person plural.
                                                                                                                                                                     Jesse Jones saw the emphasis placed on the viewer as co-author of
                                                                                                                                                               meanings in Zmijewski’s work as crucial. Jones saw both the artist and
                                                                                                                                                               viewer as complicit as both producers and transgressors of ethics. Jones
                                                                                                                                                               stressed how his work deliberately undercuts any expectations of

 Unabashedly Instrumental                                                                                                                                      arriving at a catharsis or resolution. For Jones, Zmijewski’s frustration
                                                                                                                                                               of this process raised productive problems for the spectator, making us
                                                                                                                                                               consider and account to our ethical understanding about what might
 JASON OAKLEY REPORTS ON – THE ETHICS OF COLLABORATION WITHIN SOCIALLY ENGAGED ARTS                                                                            be the fairness or truth of what was being represented.
 PRACTICE – A SEMINAR DEVISED BY THE FIRE STATION ARTISTS’ STUDIOS, DUBLIN AND HOSTED BY                                                                             As the commissioner of Two Monuments Liz Burns was able to
                                                                                                                                                               provide further background information on the project. She explained
 THE NATIONAL COLLEGE OF ART AND DESIGN (11 MARCH 2011).                                                                                                       that the participants were paid for their time; and encouraged to treat
                                                                                                                                                               their role in the project as a job. As well as this it was made clear to the
 AesTheTICs, ethics, participation, collaboration, authorship and               detachment of anthropology, rather than working from a position of             participants that they would have no role in editing the final work.
 power dynamics – whenever art with political aims or some kind of              having a supposedly ‘ethical’ agenda, based on attempting to right             O’Brien found it problematic that the participants were paid – and
 social or community remit is being discussed, this heady brew of               wrongs and so on.                                                              wondered exactly what their job description was? Jones and Beech
 concepts is brought to the boil. The most frequent outcome is a                      Burns drew particular attention to Zmijewski’s essay/manifesto           were in agreement that at the very least this offered a critique to the
 simmering divergence of opinions around these ideas; along with                The Applied Social Arts (1), in which the artist calls on art to abandon its   prevailing ethos of ‘soft-capitalism’ whereby so much labour goes
 anxious hand-wringing about what should, could and can be done, to             self-depreciating acceptance of its ‘autonomous’ position; and instead         unrecognised and un-rewarded, in a culture of increasing
 address the ‘problem’ of highly educated professional artists trying to        actively pursue a role alongside other reality shapers such as science,        volunteerism.
 speak for the disenfranchised and underprivileged groups who are               politics and even organised religion. Zmijewski outlines in the text,                Beech conceded that it was possible to look at Two Monuments, and
 usually the subjects of such projects. What can also percolate is a sense      that in order to achieve this goal, art practices should be re-configured      say that Zmijewski had failed to address huge social inequalities.
 of shame and guilt about how the supposedly ‘empowered’ art world is           as types of algorithms. That is, rationally planned procedures devised         However, his view was that ultimately the power imbalances and
 inconsequential in the face of actual social problems. And so, despite         and carried out – just as they are in mathematics, computing and other         ethical dilemmas in the film should be seen as simply reflecting those
 frequently claiming the contrary, contemporary art often has to resign         related scientific disciplines – in order to achieve specific goals.           that exist in the world. Jones likewise argued that Two Monuments was
 itself to its autonomy – cut off from, ignored and often derided by                  This might provoke a sharp intake of breath in some readers. Yes,        a fiction, a construction; and whatever was lacking in the ethics of the
 society at large.                                                              indeed, Zmijewski’s work suggests that art should become more                  film could only be fixed in lived experience.
       This messy and curdled situation was addressed by a seminar on           instrumentalised; and endeavour to be very clear about its modes of                  This seminar offered a thorough exploration of the ethics of
 the work of the Polish artist Artur Zmijewski entitled The ethics of           operation. It’s only by doing so, Zmijewski argues, that society’s             Zmijewski’s processes. But what of the aesthetics? Zmijewski’s videos
 collaboration within socially engaged arts practice. The event took place on   categorisation of the artist – as he puts it as “… an idiot savant of sorts;   have a deliberately ‘anti-aesthetic’ look – they employ pretty standard,
 Friday 11 March and was devised by The Fire Station Artists’ Studios,          someone with interesting and important things to say, but no idea how          journalistic, utilitarian TV news camera work and editing techniques;
 Dublin and was hosted by NCAD. In 2008 The Fire Station Artists’               these things came to them or what use to put them to” – can be resisted        attention is focused on content, not form. This stance in itself might
 Studios commissioned Zmijewski to develop a project in Dublin; and             and countered (2).                                                             have been interesting to explore, particularly with two filmmakers on
 the result was a video work entitled Two Monuments (2009). At the end                Unabashed instrumentalism is very apparent in Two Monuments.             the panel – Jesse Jones and Dr Aine O’Brien. For example, Jones’ work,
 of last year, this work and another Zmijewski piece, the 20 screen video       Zmijewski’s starting point for this work was a specific invitation in          while equally as ideologically engaged as Zmijewski’s, utilises a well
 work Democracies (2009) were shown at the RHA (19 Nov – 22 Dec                 2008 from the Fire Station to address the changing nature of Polish-           crafted cinematic approach, employing professional production crews,
 2010).                                                                         Irish relations and the labour market. At this time the previously             soundtracks, costumes, locations, casts of actors and other performers
       Artur Zmijewski’s work stages and records what are often ethically       booming Irish economy was beginning its decline; and immigrant                 etc. It might have been fascinating to compare such a differing – yet
 troubling scenarios. He describes his model of working as a ‘social            workforces, from Poland and other Eastern European countries, were             nonetheless political – approach with Zmijewski’s work.
 studio’ process, whereby social situations supply the materials and            feeling the impact. Zmijewski set about contriving a ‘social studio’                 Nonetheless, a strong conclusion to the discussion could be
 content for the fabrication of his works. The results often make for           situation, whereby these issues – and indeed tensions – could be               drawn from David Beech’s declaration that ultimately, the issue of
 uncomfortable viewing. His video work 80064 (2004) documented the              encouraged to arise. Over a series of visits to Dublin in 2008 and 2009        authorship in Zmijewski’s social studio model of practice, was
 artist persuading an elderly Auschwitz survivor to have their now              Zmijewski invited Polish and Irish unemployed men and women to                 something of a red herring. As Beech put it “culling authors changes
 faded concentration camp tattoo restored. While the sardonically               take part in a series of workshops, where they were given the perhaps          nothing, saying everyone is an author changes everything”.
 titled Democracies (2008) presents footage of a head spinning variety of       slightly cynical brief to working together to construct their own                    In his essay Uncompensated Trauma: On Art, Technique and Division
 demonstrations, counter demonstrations and other forms of political            workers’ monuments. Two Monuments comprises edited documentation               in the publication produced by the Fire Station to accompany Two
 activism, representing every ideological hue – including a protest             of this fraught process; and shows unemployed Irish and Polish men             Monuments, Beech observed that “… there is a rift in the social relations
 against the Israeli occupation in the West bank, a Loyalist parade in          making one sculpture, while unemployed Irish and Polish women                  of the work. And it is not a failing. What is clear in Artur Zmijewski’s
 Belfast, a re-enactment of the Warsaw Uprising, the funeral of an              make another. As Liz Burns wrote of the project “while both groups             work is that the universality of the spectator has dissolved, its hegemony
 extreme right wing leader in Austria, and a crowd of German and                complete their tasks, and make sculpture promoting equality and                dissipated in a world – and an art world – characterised by dissensus,
 Turkish football fans.                                                         co-operation between their respective countries, the meta-language             conflict, antagonism and trauma.” (4) In short, any of the issues we
       The event at NCAD took the form of a panel discussion and a              within the film suggests a certain inability to communicate and                might have as viewers with Zmijewski’s practice – be they aesthetic or
 screening of Two Monuments. The panellists were Dave Beech (UK                 articulate” (3).                                                               ethical – can ultimately be read as an urgent call for an end to passive
 writer / artist), Dr Aine O’Brien (Director of the Forum on Migration &              As a filmmaker herself, Dr Aine O’Brien declared an interest in          spectatorship, and a shift to real action and engagement in the
 Communications FOMACS) and Jesse Jones (artist). The chair was Liz             exploring the complexities and contradictions of social documentary            complexities of the world.
 Burns (Development Manager, Fire Station Artists’ Studios) who set the         methods, but expressed doubts about how affective Zmijewski’s works                                                                         Jason Oakley
 basic co-ordinates of the discussion, citing Claire Bishop’s 2006              were in this regard. O’Brien’s presentation posed some pointed
 Artforum article The Social Turn: Collaboration and its Discontents as         questions. What was to be gained by the separation of aesthetics and           1. This text first published in 2007 in the left-wing Polish journal Kyytka Polityczna, is reproduced in
 identifying how contemporary art practices, are increasingly judged in         ethics in this discussion? Why the defensiveness about the authorship          an English translation the publication of the same name, produced by the Fire Station Artists’
                                                                                                                                                               Studios to accompany Zmijewski’s Two Monuments project.
 terms of how 'ethical' or participatory they are; rather than by thier         and crafting of these works by the artist?                                     2 From The Applied Social Arts, re-published in English in The Applied Social Arts: Artur Zmijewski. Fire
 aesthetic qualities - be they formal or conceptual.                                  O’Brien saw Two Monuments as a missed opportunity for both               Station Artists’ Studios 2010. The publication can be purchased through
       Liz Burns explained how Zmijewski’s practice sought to side step         unpacking the power relationships between Zmijewski and the Irish              3. Liz Burns Introduction. The Applied Social Arts: Artur Zmijewski. Fire Station Artists’ Studios 2010.
 a lot of the conventional baggage associated with ethics and notions of        and Polish workers; as well as an exploration of the artist’s methodology      4. Dave Beech Uncompensated Trauma: On Art, Technique and Division. The Applied Social Arts: Artur
                                                                                                                                                               Zmijewski. Fire Station Artists’ Studios 2010.
 participation in socially engaged practice. Burns pointed to the               and motives. In her view, the levels of participation in the work were
 influence of Professor Grzegorz Kowalski, under whom the artist had            low; and O’Brien wondered if the participants had any involvement in
 studied at Warsaw Art Academy (1990 – 1995). Kowalski’s classes                the editing of the film. In her view the work lacked a real sense of
 stressed a non-judgemental curiosity, akin to the impartial scientific         anthropological engagement. However, speculating that the artist
The Visual Artists' News sheet                                                  May – June 2011                                                                                                                                                                               21


Sarah Browne Lebensreform in Leitrim. Installation view at 'Commons'                         Fiona Woods Is this Common Installation view 'Commons'                          Bryonie Reid Inclined to Wander (Part 2) Installation view 'Commons'

Lost in Leitrim
                                                                                                                                                                                  Amidst the textual content, Browne’s book presented a range of
                                                                                                                                                                            fascinating visual material, including existing historical images, as well
                                                                                                                                                                            as the artist’s own photographs, that document shifting approaches to
                                                                                                                                                                            architecture and land usage. For example, images of ghost estates were
                                                                                                                                                                            juxtaposed with unconventional self-build housing projects.
They hang the man and flog the woman                                                         Turkey (7). As Rhyzom have stated one of their key aims is to create           Underpinning all the imagery is a persistent reference to collective
That steal the goose from off the common,                                                    platforms for “all contributors … to disseminate small amounts of              action, resonating in images of buildings which were once hubs of
But let the greater villain loose                                                            material from other contributors in their own locality”(8).                    communal recreation, and also evident in land art projects, as well as in
That steals the common from the goose.                                                             In many ways, Wood’s globalised approach to distribution, of             the act of protest. A subversive humour also runs through Lebensreform
                                                                                             course stresses the local and the everyday. Getting her work fly-posted        in Leitrim. Illustrations from a 1930’s German Encyclopaedia provide
                                                         English folk poem, circa 1764 (1)   across the world, allows her work to address the passer-by, posing the         the classification of the accoutrements associated with alternative
                                                                                             question ‘do we have this in common?’ in the broadest of geographical          lifestyles, such as dogs and beards; while the index clusters together
I have been reading a lot lately about the terms common, commons and                         and social senses.                                                             topics such as “Caravan, Cheese, Chernobyl, Cinemobile, Cloud
commonage. In general usage, these terms refer to resources or spaces,                             Bryonie Reid’s work Inclined to Wander (Part 2), consisted of            appreciation society”.
which are collectively owned or shared. Historically the ‘commons’ is                        snippets of projected texts, drawn from written accounts of a number of              The findings and offerings of these three artists could be regarded
synonymous with debates about land ownership – public vs private. The                        walks through rural sites, on Coillte owned lands, in north Leitrim.           as a form of ‘commonage’ in itself, devised from individual practice-
political thinkers Michael Hardt and Antonio Negri (2) have given the                        Reid’s contribution to the Rhyzom project was informed by her work as          based projects as well as the networked processes facilitated by Rhyzom.
term more of a philosophical currency and resonance – the preface of                         a cultural geographer. Inclined to Wander explored the concept of rural        According to Hardt and Negri’s ideas in Multitudes, ‘common’ is less
their 2004 text Multitudes: War and Democracy in the age of the Empire,                      psychogeography (9), and in a wider ethnographic sense, considered how         about the ownership of material goods; the term’s meaning broadens out
(New York: Penguin Press, 2004) is entitled Life in Common. Here in                          identity is formed via cultural association with imaginings of place.          to include entities such as intellectual commonage, soft knowledge
Ireland, the economic boom divided common lands for private                                  Reid’s work brought to mind the Situationalist ‘dérive’, which Guy             production, and all kinds of localised co-operative structures. As they
consumption – post-bust many are now considering new ways to                                 Debord defined as “a drift; a technique of rapid passage through varied        put it, “the common we share, in fact, is not so much discovered as it is
re-engage with what we have in ‘common’ – both what connects us to                           ambiances” (10). Written in a prose, which is vivid and quite poetic, Reid’s   produced” (11). With this notion mind, I asked Browne, Reid and Woods
the land and to each other.                                                                  narration oscillated between physical description and internal dialogue.       about their thoughts on the role of the ‘artist-researcher’.
      Between 1 – 25 February 2011 the Leitrim Sculpture Centre                              She described and named an array of plant life, outlining a botanical                Sarah Browne’s response considered the perceived hierarchies of
presented the exhibition ‘Commons’, which consisted of posters,                              landscape that can only be Irish. Her account of one walk concluded            knowledge, which especially emerge out of discourse surrounding arts-
projected images and texts, displayed in, or otherwise visible from the                      with a description of her finding an empty hazelnut shell, with no trace       based inter-disciplinary research. As she put it, “I’m quite ambivalent
window spaces of the venue. The show was the culmination of the work                         of a hazel tree. In Celtic mythology, Hazel was traditionally the plant of     about the notion of the ‘artist researcher’ as it implies that; a) not all
of a group of artist-researchers brought together in the LSC – Sarah                         knowledge, its nuts representing all wisdom, enclosed within a                 artists are researchers (in my opinion whether you’re making paintings
Browne, Bryonie Reid and Fiona Woods, who had previously worked in                           protective shell.                                                              or explicit ‘research projects’ there is a serious and rigorous investigation
association with PS2, Belfast (3), and Rhyzom – a collaborative research                           Reid’s journey through the landscape, down forestry roads which          underway); b) the artist researcher produces a ‘special’ kind of knowledge
network funded by the European Commission (4). PS Squared’s Rhyzom                           lead to ruined houses, provoked her to think of the Irish cottage as an        that is subject to a ‘special’ kind of analysis. Whether that is true or not,
project had comprised an ethnographic exploration of land, culture and                       enduring symbol of ‘Irishness’. Historically, the political promotion of       I’m never thoroughly convinced by disciplinary arguments. I think they
place, addressing thematic content such as conflict and contested spaces;                    nationalism placed emphasis on the ‘family’ in defining the Irish nation       often create unhelpful, competitive kinds of divisions that aren’t
cultural production in small border towns; and the concept of ‘rural’ as                     as rural, self-sufficient, moral and wholesome. In observing the way the       reconcilable with the position of genuine attempts at inter-
more than just a counter-part for the urban.                                                 Coillte plantations have impinged upon the domestic, Reid considered           disciplinarity.”
      ‘Commons’ was an exhibition designed to be experienced from the                        the shift in political priorities and economic power relations, which                Bryonie Reid stressed the idea that mutual exchange which occurs
outside; looking in. As such, ‘Commons’ also invited viewers to reflect                      have impacted so dramatically on the cultural landscape of this terrain.       when a “tentative, experimental bridge is formed between theory and
upon the context of Manorhamilton’s streetscape – dated, yet somehow                         This process, she imagined was “akin to the state swallowing itself ”.         practice”. Reid felt that such theoretical research could strengthen the
resilient – located in the centre of a farming community, amidst small                             Sarah Browne’s work for ‘Commons’ comprised of an installation           visual and “bring intellectual rigour” to the artist’s conceptual framework.
family run businesses. The window became a display space for public                          of copies of her book Lebensreform in Leitrim. The publication was the         Secondly, Reid stressed the importance of enabling the circulation of
information, whilst providing a conceptual threshold between the                             result of a body of research developed during a residency in Leitrim           theoretical research to non-academic audiences via the creative
bustling exterior, and the spacious, white interior – vacant, apart from a                   Sculpture Centre in 2009. Lebensreform was a historical German life            process.
structure displaying copies of Sarah Browne’s publication Lebensreform                       reform movement, which promoted a ‘back-to-nature’ lifestyle. Browne’s               As a good concluding note, Fiona Woods considered knowledge
in Leitrim. As darkness fell, the images projected onto the window                           publication made tentative links between this historical movement,             production as something quite political, effectively tying up ‘commons’
become luminous, attracting curiosity from drivers and pedestrians as                        and the influx of migrants to the Northwest of Ireland, with emphasis          related issues. Woods stated that “... anyone who has looked at the
they passed.                                                                                 on escapist ideologies.                                                        knowledge economy can see that it is a contemporary form of ‘enclosure’,
      For ‘Commons’ Fiona Woods presented work from her ongoing                                    Lebensreform in Leitrim compiled assorted narratives, personal           a way of creating new forms of ‘property’ from which to extract profit.
Common? Project – which was developed as part of her research during                         accounts, poetry and transcripted conversations, which consider the            My artistic practice is research in the sense that it is a form of open-ended
another Rhyzom project – Collection of Minds #1 (5). Employing a kind of                     impact and legacy of migrants to the Leitrim area – specifically those         inquiry, where failure rather than success is the likely, and perhaps more
mock DIY, zine aesthetic, she produced a series of posters depicting                         people seeking an alternative lifestyle. Leitrim, it seems, became “more       desirable, outcome, where failure, rather than success, is seen as a node
animal / human hybrid figures and signage posing questions such as “Is                       like an idea than a place” – a sentiment echoed by novelist DBC Pierre         for the emergence of possible change.”
this common?” Conceptually the works occupy a similar territory to                           (aka Peter Finlay) when he describes Leitrim as “your own personal                                                                             Joanne Laws
that of the work of Dermot Seymour or Janet Mullarney – Woods’                               Tibet, but with more lakes and craic, and no oppression”.                      Notes
animals act as metaphors for the human condition, bearing witness to                               The book describes how those who settled brought with them               1. Cited in Reclaiming the Commons, David Bollier, Boston Review, 2003
                                                                                                                                                                            2. Michael Hardt and Antonio Negri Multitudes: War and Democracy in the age of the Empire, (New
our current Irish predicament. Goats and frogs become symbols of                             skills and an ethos for self-sufficiency; many of the personal stories         York: Penguin Press, 2004), see preface – Life in Common, pp 6-18
consumption and evolution, promoting a reflection on human excess,                           articulated in the book indicate an initial curiosity, and a gradual           3. PS²= Paragon Studios / project space, is an artist collective and studio space in Belfast.
                                                                                                                                                                            There is a core group of members, as well as associate members who work with the group on
and the ecological mismanagement of natural resources.                                       integration of this knowledge and lifestyle into the existing                  specific projects.
      In the window of the Leitrim Sculpture centre, Woods projected                         communities. Ulrich Kocher’s insightful contribution Immigrants:               4. Trans-Local-Art: Cultural practices within and across provides an overview of framework of the
                                                                                                                                                                            Rhyzom research network.
photographic documentation of her posters being placed in various                            Entrepreneurs of the Future offers an illuminating account of the ‘informal    5. Collection of Minds #1 took place May 2009-October 2010.
locations around the world, from Doonbeg, Co. Clare, to Stockholm,                           labour’ that immigrants bring to a particular area. While architect  
Paris to Japan – the text on each poster was translated into the                             Dominic Stevens attests to the fact that “the whole eco-thing has been         7. Previous sites of engagement include bike shelters in Galway during the Tulca festival (6th – 21st
appropriate language. The window setting echoed Woods’ commitment                            really important to Leitrim”. Michael Harding’s pages in the book –            November 2010).
to creating an interface in her work “between the lifeworld and the                          Modern Moment – chronicle the impact of the migrant population in              9. Psychogeography was a concept developed by the Lettrist International movement, which
institutional site of art” (6).                                                              shaping a new identity for Leitrim, as “an artistic province. A rural          explored the idea of urbanwandering, defined by Guy Debord (1931 – 1994) in 1955
                                                                                                                                                                            10. Situationist theorist Guy Debord defined the dérive as “a mode of experimental behaviour linked
      Some of the international poster distribution documented in her                        bohemia”. Harding also noted how, in light of now defunct development          to the conditions of urban society: a technique of rapid passage through varied ambiances.”
LSC windows project, was facilitated by members of the Rhyzom                                mania that swept the country, Leitrim’s eclectic inhabitants became            11. Michael Hardt and Antonio Negri, p15. Multitudes: War and Democracy in the age of the Empire,
                                                                                                                                                                            (New York: Penguin Press, 2004)
network, for example, Ece Sariyuz put up posters for Woods in her native                     “the window dressing for speculators”.
22                                                                                                                                                  The Visual Artists’ News sheet                                                      May – June 2011


                                                                                                                                                            complete. The VIPs poured in from 3pm, and it was fascinating (and in
                                                                                                                                                            some cases, ‘interesting’) to experience the New York art crowd. We
                                                                                                                                                            received an extremely positive response from the audience, all of
                                                                                                                                                            whom seemed keen to know more about Golden Thread Gallery and
                                                                                                                                                            the artists’ works.
                                                                                                                                                                  The works we chose to exhibit were unframed; a carefully
                                                                                                                                                            considered decision which allowed for the works to be transported
                                                                                                                                                            easily as luggage, rather than being shipped in advance. Again, cost was
                                                                                                                                                            a factor here, as we were working with a limited budget, but fortunately
                                                                                                                                                            Allan’s works were still unframed when we selected them, and Sara
                                                                                                                                                            made a new set of unmounted prints for us to take. For the video works,
                                                                                                                                                            we sourced video monitors and DVD players through a New York rental
                                                                                                                                                            company prior to travel, which were delivered directly to our booth at
                                                                                                                                                            SCOPE. We brought all tools with us, as we were unsure of how
Golden Thread Gallery booth, SCOPE New York 2011. Photo: Rebecca Gilbert
                                                                                                                                                            convenient it would be to purchase them whilst in New York. And in
                                                                                                                                                            terms of insurance, Golden Thread holds a museum insurance policy,

Manhattan Microscope                                                                                                                                        which covers works nail to nail, including the overseas transportation
                                                                                                                                                            of artworks.
                                                                                                                                                                  With a successful first day complete, we grabbed a quick bite to eat
BEN CROTHERS AND REBECCA GILBERT (1) DISCUSS THEIR CURATION OF GOLDEN THREAD GALLERY’S                                                                      before heading east to The Blind Barber. The SCOPE team had organised
SHOWING AT THE 2011 EDITION OF SCOPE ART FAIR IN NEW YORK (2 – 6 MARCH 2011)                                                                                an evening for exhibitors and VIPs to unwind after the opening at this
                                                                                                                                                            barbershop come bar, and it was a great opportunity for us to meet the
OveR the past 18 months, Golden Thread Gallery has benefited from                   Building on Sara Greavu’s extremely successful showing at London        other exhibitors and people involved in the New York art scene.
the Arts Council of Northern Ireland’s Creative Industries Fund,              Art Fair in January 2011, we selected her video work Hybrid Halloween               Unlike London Art Fair, at which Golden Thread Gallery has
through which the gallery has facilitated the professional development        to bring with us to New York, accompanied by a related series of              exhibited successfully for the last five years, SCOPE had a very ‘projects’
of a select group of artists. During this time, Golden Thread has             photographic prints which continues the video’s narrative. Sara was           style atmosphere, with a variety of performances and intriguing
participated in art fairs including London Art Fair and SCOPE New             born in Bluffton, Ohio, but moved to Northern Ireland in 1991 to study        installations, one of which was a large walk-in fridge from which you
York. The opportunity for the venue to exhibit at the 2011 SCOPE NY (2        Peace and Conflict Studies, before completing her MFA and PhD at the          were able to take beverages throughout the day. The same gallery
– 6 March 2011), the gallery’s second consecutive showing at the event,       University of Ulster. Sara is a founder of VOID, the artist-led               exhibited another interactive work, an extremely tiny bar which
marked the completion of the Creative Industries project.                     contemporary art space in Derry, and themes explored in her practice          people were squeezing into for free pints of beer.
      We (Ben Crothers and Rebecca Gilbert) got the chance to curate          include the carnival and the carnivalesque, alternative or aberrant                 The official opening party was held on Thursday evening at Angel
the gallery’s participation at SCOPE NY as part of our internships at         temporality, poly-vocality and hybrid or bricolage art forms. After           Orensanz, a disused (and New York’s oldest) synagogue, at which VIPs
Golden Thread, which are designed to be mutually beneficial and are           exhibiting Hybrid Halloween in a well-received solo show in Golden            and exhibitors were again able to socialise. With entertainment from
tailored to each individual. Our interests lay in curation and artist         Thread Gallery’s Project Space last September, we felt it was time to         Gang Gang Dance and a variety of dancers performing gymnastics
representation, which incorporates an element of sales activity. After        expose an international audience to Sara’s fascinating practice.              whilst hanging above the crowd, the evening provided another great
our involvement with the Golden Threads representation at the                        So after a few questionable in-flight meals, and some severe           opportunity to meet and interact with the New York art scene, and
London Art Fair (2010 and 2011) and SCOPE NY (2010), we were given            turbulence (both of which do not mix!), we arrived at Newark Airport          broaden our network on an international level.
the 2011 SCOPE fair as an opportunity to implement the skills we had          ready to truly begin our adventure. Newark is certainly no New York,                The remainder of the week played out smoothly, with the fair
developed during our time working with the gallery. It was the first          but the Manhattan skyline visible from the airport made us all the more       opening from noon to 8pm each day. The crowd was steady for the
opportunity for us to curate, organise, install and work at an art fair       impatient as we waited in the long customs queue.                             duration of the fair, becoming particularly busy at the weekend. Allan
without other members of gallery staff.                                             Eventually we collected our luggage, retrieved our ski bag and set      Hughes’s Jane+Fonda, a series of 13 drawings derived from web-sourced
      Golden Thread’s participation at SCOPE was funded through both          off to locate the shuttle bus to Grand Central Station. The first evening     thumbnails of Jane Fonda, proved particularly popular, and a selection
the original fund and money generated throughout the project as a             was to be spent at a hotel, as our accommodation in Queens wasn’t             of the drawings found new homes with collectors in New York and
result of the sale of artworks. SCOPE’s support also made the project         available for our first night. The hotel was luxurious, so much so that       California.
achievable. After seeing Golden Thread’s exhibit at London Art Fair in        we couldn’t resist enquiring the cost of rooms for the remainder of the             Rather than both of us spending full days at SCOPE, we alternated
January, SCOPE’s Director – Mollie White – was extremely keen to have         week. Fully booked, which is probably for the best, as it would have          our time at the booth so that we could take advantage of New York’s
the gallery participate once again and offered discounted rates. Golden       exceeded both our budgets! With Times Square only a matter of blocks          most exciting week for lovers of contemporary art. We visited three of
Thread also received generous ACNI support for our project in the form        away we ventured there for a good meal and some classic photo                 the city’s other main art fairs - The Armory Show, VOLTA NY, and
of the use of Arts Council apartment in Queens. Due to the high cost of       opportunities. We have both been to New York before, but the city that        Independent - in addition to Manhattan musts the Museum of Modern
accommodation in New York, our trip would otherwise have been                 never sleeps doesn’t ever seem to lose its appeal, with the bright lights     Art and the Guggenheim. It was certainly a great time to be in the
financially unviable.                                                         of Time Square as dazzling as always.                                         city!
      Our adventure began on a Monday, as we nervously checked-in                   2011 marked SCOPE New York’s s first year in its new West Side                The week seemed to fly past, and before long we were taking down
two rather large suitcases, and one ski bag. Curiously, the woman             location, swapping a large pavilion at the Lincoln Centre for an              the works, which we had hung just a few days earlier. The fair was a
checking us onto our New York flight asked us if we were going there          expansive disused warehouse at Pier 40, temporarily renovated to              great success for Golden Thread Gallery, and as we arranged collection
skiing – last time we checked there were no snowy mountains in                house booths for over sixty art galleries from around the world. Tuesday      for the works sold during the week, we repacked our trusty ski bag with
downtown Manhattan! Instead, our ski bag housed artworks for display          was our only day to install at SCOPE, so we headed there early in the         the remainder of the works to be taken back to Belfast. Everyone was
at SCOPE, the largest and most global art fair in the world, at which         morning to begin. We arrived in the midst of much construction work           hard at work dismantling, boxing, and wrapping at every booth, but we
Golden Thread Gallery would be exhibiting.                                    (the ‘entrance’ was currently a loading bay a good 6ft from ground            managed to get everything organised quickly, which allowed us a well-
      In selecting artists to bring to SCOPE this year, we looked to two of   level), and it seemed quite unlikely that everything would be in place        earned break to enjoy our final night in Manhattan.
the gallery’s most exciting emerging artists, Sara Greavu and Allan           and ready for the public by the following afternoon.                                With everything packed and ready for travelling home, we took
Hughes. The gallery has worked closely with Allan and Sara for the last             Alexis Hubshman, the president of SCOPE, introduced himself             some time the following day for some last minute shopping before
18 months as part of the Creative Industries professional development         and the rest of the team before we set to work with our pins, bulldog         making our way to Grand Central to begin our journey home.
scheme with four other emerging talents – Lisa Byrne, Victoria J. Dean,       clips, and nails at the ready. Our choice of works resulted in a relatively         After a couple of days to recover from what had been an exhausting
Phil Hession and Keith Winter – whose work was exhibited by Golden            straightforward installation – apart from the sporadic power cuts,            yet thoroughly enjoyable trip, we were both back in the gallery
Thread at SCOPE NY 2010. With both artists recently receiving PhDs            which were resolved quickly and often! – we left on Tuesday evening           following up with the various contacts we met at the fair - press,
from the University of Ulster, Allan and Sara’s practices are hugely          very pleased with our booth and looking forward to what we hoped              curators and collectors from around the world. It really was fantastic to
different both aesthetically and thematically, but are also strikingly        would be a very successful week.                                              see such a positive reaction to the gallery and the works of Allan and
complementary, making them the ideal candidates for our two-person                  Now that everything was installed at our booth, we embarked on          Sara, and the opportunity to profile Golden Thread Gallery and all of
showcase.                                                                     the next adventure of the day; locating the Arts Council apartment.           the artists whom it represents on an international level was an amazing
      Allan Hughes is currently based at Orchid Studios, Belfast, and is      After a short taxi ride to Queens (and not-so-short taxi journey around       and unforgettable experience for us both. Let’s hope that Golden
the recent recipient of an ACNI Major Artist Award. His video                 several one way streets), we - and our relieved cab driver – found the        Thread Gallery has the same opportunity again next year, and that
installation work explores the production of remediated histories             apartment. After hearing mixed reviews about it we were full of               other galleries from the region are encouraged to follow suit.
through the deconstruction of post-production processes, and his              apprehension and nerves as we unlocked the door. It didn’t quite
works usually proceed from research into the sites, documents and             possess the luxury of the previous evening’s accommodation, but it                                                              Ben Crothers & Rebecca Gilbert
apparatus of recorded and remediated histories. His installations have        certainly wasn’t as bad as some of the stories we heard before leaving.
touched on many subjects including Jane Fonda’s Radio Hanoi                   We picked up some cleaning supplies en route, just in case, and gave the      Note
                                                                                                                                                            1. Ben Crothers and Rebecca Gilbert are interns at Golden Thread Gallery, Belfast. Rebecca Gilbert
Broadcasts, the decommissioned British Army listening post at Black           apartment a quick clean before retiring for the night in anticipation of      began at the gallery in January 2009 before moving to Edinburgh to complete her Masters degree
Mountain in Belfast, the recording of Patty Hearst’s S.L.A. Communiqués       SCOPE’s opening on Wednesday.                                                 in Contemporary Art Theory, after which she returned to Belfast to resume her internship. Ben
                                                                                                                                                            Crothers joined the team in September 2009 after completing his MA in Art History and Film
and the erased portions of Richard Nixon’s Watergate Tapes. 2010 saw                After being stuck in traffic on the Brooklyn Bridge for quite some      Theory at the University of Essex. The two have worked alongside one another on a variety of
Allan’s work included in Rencontres Internationales at the Centre             time, we arrived at SCOPE in time for a last minute clean up, and to          projects during their time at the gallery, the most recent being SCOPE New York. This art fair
                                                                                                                                                            provided the opportunity for both interns to organise and implement a project on an
Georges Pompidou in Paris, Matt Roberts Gallery in London, and KYU            switch on our video works before the mid-afternoon opening. It still          international scale, through which they have been able to expand their network and develop their
in Taiwan, and we hoped for SCOPE to begin another successful year for        seemed unlikely that the rest of the fair would be ready, but it was clear    careers in the Arts.

his practice.                                                                 everyone was rushing about with the intent of making sure it was
The Visual Artists' News sheet                                      May – June 2011                                                                                                                                                          23

Opportunities                                                                    5:30pm, Thursday 5 May 2011.          sessions and studio residencies.          working artists in the Galway             painting Studio Sought
                                                                                 The deadline for Round 2 of the       Cake is situated in what is               area. The unique studio space is          Artist seeking painting studio to
COMPETITIONS                           JOB VACANCIES                             2011 Medium Term Planning             referred to locally as the Old            on the top floors of the old              rent within Dublin city centre,
COMPETITIONS                           JOB VACANCIES                             strand of the scheme, primarily       Band Hall or the Presbyterian             Cathedral Building on the corner          willing to share with other artists.
                                                                                 intended to contribute towards        Soldiers’ Institute. It is centrally      of Middle and Abbeygate Streets.          Weekend and evening access
craftitecture                          Seeking criticS                           the costs of tours planned to be      located in the Curragh Camp,              Orbital Membership is a non-              essential.
The Crafts Council of Ireland and      The Visual Artists News Sheet is          on the road during the period         Kildare, opposite the Post Office.        studio arrangement that allows            email
the Irish Architecture Foundation      launching a reviews section –             July – December 2012, will occur      Own transport is required. All            for the use of our fully outfitted
in association with the Electric       entitled CRITIQUE – later this            in October 2011 (exact date to be     internships are unpaid posts.             (video and design among other
Picnic, Greencrafts and Cultivate      year; and would like to hear from         notified). Application forms and      Telephone                                 things) computer lab, the office,         duBlin 12
are delighted to announce a new        prospective writers, who would            guidelines will be available          086 390 5216                              access to digital and standard            Two spaces available. One is a
competition: ‘CRAFTITECTURE            be interested and available to            shortly.                              email                                     equipment for checkout, a profile         shared photography shoot studio
– A Pavilion for Electric Picnic’      serve on a panel of reviewers.            Web                                   hello@cakecontemporaryarts.               on our website, inclusion in open         with a waiting/changing area
The competition will realise the       CRITIQUE will comprise of six                      com                                       studios events and participation          and facilities. E25 per week.The
design and build of a re-usable        reviews, published in each                Deadlines                             Web                                       in shows and events at Engage’s           second is a shared office/artist
temporary structure at Electric        edition of the VAN – adding up to         5 May and October 2011                www.cakecontemporaryarts.                 nearby gallery and project space,         studio, fully furnished and with
Picnic 2011, the annual arts-and-      36 reviews annually.                                                            com                                       the Niland Gallery, throughout            good light. Also with facilities.
music festival held in Stradbally,     The reviews will be commissioned          dcc gallery technician                                                          the year . Orbital Members are            €50 per week.Internet available.
Co. Laois. The Pavilion will house     to reflect upon and critique a            Dublin City Arts Office is            imoca internS                             also automatically placed on the          Building alarmed and monitored
small intimate events during           diversity contemporary Irish              currently seeking enthusiastic,       The      Irish        Museum        of    waiting list for studio spaces.           by camera. Very secure and
Electric Picnic and through its        visual arts practice – in terms of        motivated and skilled individuals     Contemporary Art [IMOCA] is               Orbital Membership cost E60               comfortable. Canteen, toilets,
creation raise awareness of, and       media,       generation            and    to join their Gallery Technicians     now accepting applications for            quarterly       and     requires     a    parking etc. Many exciting small
demonstrate the links between,         geography.                                2011-2012.                            internships       for    2011/2012.       deposit. Apply for an Orbital             enterprises and artists already in
architecture and craft.                CRITIQUE will strive to represent         Dublin City Council will consider     Interested candidates can apply           Studio Membership by emailing             situ.
Joint submissions are invited          a range of work from artists at           applications from experienced         online at:        up to 10 medium sized images, a           Address
from Architects and Craftsperson       various stages in their careers,          gallery technicians. However, as      wordpress/education/imoca-                current CV and letter of intent.          Dublin 12, just of the Naas Rd
teams and must represent equal         showing in venues across the              demand for technician work            20112012-call-for-internship/             Engage advertises annually for            Telephone
input into the design and              country and making visual                 varies throughout the year there      Our internship programme offers           submissions from professional             0877615196
development of the pavilion.           artworks of all kinds.                    is no guarantee or definite offer     participants an unparalleled              working artists. A peer-based             email
The competition forms part of a        CRITIQUE       will     reflect     the   of work.                              opportunity to experience and             selection committee will review 
dynamic programme of events to         broader aims of The Visual                Deadline                              engage in all aspects of a                the applications.
celebrate Year of Craft, 2011 on       Artists News Sheet to be relevant         5pm on Friday 22 April 2011           grassroots initiative in a very real      email                                     galWay
the island of Ireland, which           to the broad spectrum of visual           Address                               and involved fashion; from the                    Two units suitable for artists
marks the 40th anniversary of          artists working in all disciplines.       Gallery Technicians, Dublin City      directors to technicians, all of                                                    available in Galway city centre.
the Crafts Council of Ireland          Interested     writers       should       Council Arts Office, THE LAB,         our small staff are extremely             inchicore                                 Reasonable rent.
(CCoI).                                download the detailed briefing            Foley Street, Dublin 1. (No email     hands-on and participate in               Affordable spaces at Jamestown            Telephone
Web                                    notes here before emailing                applicants accepted)                  making IMOCA function. This               studios. Several studio spaces are        Bernard: 086 1506650         expressions of interest and               Telephone                             allows internship candidates to           now      available      to    rent   at
Deadline                               samples of their written work to          +353(0)1 222 7843                     participate in all aspects of             Jamestown studios Inchicore,              dundalk
Thursday 12 May 2011 at 12             Jason Oakley, editor of the Visual                                              running a non-governmental                Dublin 8. The rent of these               Artist’s studio space available in
noon.                                  Artists News Sheet.                       WorkShop tutorS                       organization:                   Daily     purpose built artist’s studios            Bridge Street Studios, Dundalk,
                                       closing date                              I am looking for one sculptor,        administrative,               clerical,   have been averaged out at E20             Co.Louth. The space is in an old 4
picture WorkS                          Friday 6 May 2011                         one print maker, and one painter      accounting & legal duties ; Grant         per week for two people sharing           story, stone grain store. We have
This is the 3rd year of the Picture    email                                     (all    experienced,      teaching    and sponsorship research and              (E160 pm) this rate includes              central heating, 16cubic ft
Works annual art competition.          Contact:           experience a distinct advantage,)     application ;           Marketing,        private and secure parking,               electric kiln, a slab roller,
The competition is open to all                                                   to design and run two consecutive     promotions and Public Relations;          secure         lockup        premises,    computer&printer,               wifi
and is free to enter. 1st prize is a   ac touring Scheme                         Saturday morning practical (2 x       Contextual art-field research,            communal kitchen, communal                broadband,       website,     phone,
cheque for E500 as well as a City      As    part   of       the   ongoing       2.5 hour) workshops each in           curation         and     exhibition       social area and 16GB broadband            gallery space, class/workshop
Card campaign worth over               implementation of its Touring             Dublin 2, from September. Total       planning ; Artist liaising and            connection. In the interest of            space and very reasonable rent.
E9,000 and and i-Site campaign         Policy, the Arts Council is further       of 5 hours work per tutor. Fee 250    support ; Project management              cultivating        an        energetic    The studios have 24 hour access,
worth over E16,000.                    developing a scheme to support            euro. Please send workshop            and execution ; Technical and             atmosphere in the studios, it is          kitchen      facilities   and    free
City Cards are the free postcards      the touring and dissemination of          outline for the 5 hours, samples      trade skills                              hoped that the artists would              parking.      We    hold     regular
you see in cafes and bars across       work in a broad range of                  of your work, CV and cover letter     Internships can be designed               utilise the space for 30 hours per        exhibitions. Short term lease
Ireland. We have 300 racks and         artforms.                                 to:                                   around a specific set of practices        week or more.           86 Jamestown      considered.
the winner will get 50,000             Following on from the 2010                email                                 or duties for a specified duration,       Road, Inchicore, Dublin 8                 Deadline
postcards of their winning image       scheme, which offered c. E1m in            or attached to a specific project         contact                                   Ongoing
printed and distributed across         support of tours taking place                                                   for which that the intern will act        Aishling                                  Telephone
Ireland. i-Sites are A1 poster sites   throughout 2011, the initiative is        internShip at cake                    as an assistant project coordinator       email                                     042 9351217 / 087 7464730
in pub across Ireland and we           now being extended. Each year,            Cake Contemporary Arts is             from start to finish.                           email
have 1000 of them. The prize will      commencing             in         2011,   seeking    applications     for   a   Web                                       Telephone                       
provide great exposure to the          applications will be received on          number of upcoming internships.                   086 3961524                               Web
winning artist.                        two deadlines falling in April/           This will provide experience in       wordpress/education/imoca-                Web                             
Second prize will be chosen from       May and October. Building on              the        following        fields;   20112012-call-for-internship/   
a shortlist of 11 runners-up. The      the audience focused approach             administration, including clerical                                                                                        exhiBition Space, kilkenny
images will be put online and the      that characterises the Touring            and     accounting,     marketing,    STUDIOS/SPACES
                                                                                                                       STUDIOS / SPACES                          Seeking duBlin Studio                     Meubles Cafe, located at Meubles
public will vote for their             Policy, the expanded scheme is            promotions and public relations,                                                Seeking a studio space from early         in      Kilkenny    has     available
favourite. The winner will also        designed to support genuine               artist liaising and technical         engage                                    May onwards, for at least a year.         exhibition space for durations of
receive a City Card campaign of        collaboration between those               support and exhibition and            Engage Art Studios has put out            Dublin city centre, preferably            up to 3 months for visual artists
50,000 postcards as well as an         who produce work and wish to              programme management. Cake            an    open     call     for    Orbital    Dublin 2, 4, 6, or 8. Willing to          (all media considered) to display
i-Site campaign of their winning       tour and the presenting venue or          is dedicated to providing a           Membership applications.                  share. Maximum rent per month             their work. Our cafe is extremely
images.                                local promoter.                           platform and open forum for           Engage Art Studios is an artist-          is E200. Broadband preferable             popular locally, while we draw a
Only one entry per person is           The deadline for Round 1 of the           contemporary artists. It supports     run studio space in Galway city           but not essential. Flexible on            customer base from around the
permitted.                             2011 Medium Term Planning                 professional artists practicing in    centre. Founded in 2004, Engage           studio size.                              country who require high quality
Deadline                               strand of the scheme, primarily           the area of Visual Arts, Film, Live   supports contemporary artists in          email                                     furniture and interiors.
21 June 2011, 12 noon.                 intended to contribute towards            Art, New Media Art and Literature     a professional environment.                      Interested artists should contact
Web                                    the costs of tours planned to be          through a variety of initiatives,     Engage provides an atmosphere                                                       Sally Aughney or Emily Miller                on the road during the period             including a year round exhibition     of    creativity,       production,                                                 for       more        information.
                                       August 2011 – June 2012, is               programme,       peer     critique    inspiration and opportunity for
24                                                                                                                                                                      The Visual Artists’ News sheet                                       May – June 2011


Telephone                                festival. There is no fee to propose           categories,          Artwork            &    will produce DVD catalogue                 through its doors.
056 7722034                              a project for the festival, however            Photography,              Poetry      and    (each     participants      will     be    The Blackbird Gallery invites           Via firenze, Bray
email                                    work must be critical and                      Fiction. Winners and finalists are           provided by 1 copy) and will               two emerging artists each year to       Calling all artists working in any
emilymiller@okeeffesgroup.               propositional.                                 published in the Aesthetica                  ensure the security during                 participate in its annual Arts          and all materials, media, styles,
com                                      Deadline                                       Creative Works Annual. Winners               exhibition period. Participants            Festival show. This year Valerie        genres, themes and concepts to
Web                                      for first call: 5 May 2011                     of each category receive £500                will take care on transportation           Walshe owner and curator of the         submit proposals for our 2011                 contact                                        prize       money         plus       other   of the pieces both sides.                  gallery has decided to make an          exhibition            programme.
Deadline                                 Deepa and Trenton                              prizes. Entry to the Creative                The results of the jury will be            open submission to all Irish            Submissions are welcome from
Open                                     Web                                            Works Competition is £10. The                announced on 15 July 2011                  based artists. The artists chosen       new and emerging artists as well
                                                     entry fee allows the submission              (answer will be sent to you by             will be exhibited alongside some        as established artists. There will
enniSkerry                               email                                          of 2 images, 2 poems or 2 short              e-mail). The selected artworks             of the very best artists in the         be a non-returnable submission
Opportunity          for      artists/   c o o r d i n a t o r s @                      stories.                                     will have to be sent to the Textile        country.                                fee of E10 per submission. If
craftspersons to share studio/                           More guidelines on               how to      Guild office by 15 August 2011.            If you are an emerging artist and       selected to exhibit there will be a
workshop/exhibition space over                                                          submit can be found online at                Web                                        would like to apply please send a       charge of E50 per week, this fee
existing gallery in the picturesque      print Biennale 2011                                                      CV, artist’s statement and a            will go towards PR, marketing,
village of Enniskerry. Light filled      The 2011 Print Awards is an open               submission_guide.htm                                                                    selection of images to info@            the catalogue and invitations.
space with belfast sink ideal for        submission prize for British and               Deadline                                      IRELAND
                                                                                                                                     IRELAND                                          We take 20% commission on
running small painting/craft             international printmakers which                21 August 2011                                                                          Web                                     work sold during the exhibition.
based workshops. Would also              encourages a broad spectrum of                                                              Body & Soul                                   The gallery is located in a well
suit collective or group of artists      artists to gain exposure and                   kaunaS textile Biennial                      Calling all artists – Creative                                                     established jewellers on the Main
looking for exhibition space.            exhibit with other leading artists             Venue:           Kaunas       “Žalgiris”     festival proposals wanted for              market place artS                       Street in Bray.
Telephone                                in their field. The 2011 Print                 arena Period: 15 September – 4               Body & Soul.                               Submissions are invited from            email
086 6500757                              Awards is the centrepiece of the               December 2011 (official opening              The art and creativity flourishing         artists for exhibitions for the
Web                                      2011        International             Print    will be held during Biennial                 within Body & Soul grows from              venue’s gallery and its foyer walls                   Biennale.                                      openings’          week) Organiser:          strength to strength each year.            with dates available from January       dSnt muSic & artS
                                         The 2011 Print Awards are open                 Textile Artists’ Guild, gallery              We invite you to create in a way           2012    onwards.      Submissions       DSNT Music & Arts Festival, 16
INTERNATIONAL                            to all artists whose work                      “BALTA”,          director:        Jolanta   that encourages people to look,            should consist of: artist’s CV,         July 2011 – Call for artists
                                         encounters print. Works in any                 Šmidtienė:                   www.tdg.        listen, explore and interact. It’s         exhibition proposal [max 200            DSNT Music & Arts Festival
aeSthetica                               medium will be considered and                  lt. Dissemination: through all               time to pour our dreams and                words], samples of work on CD           (formerly       Belfast     Electronic
The 2011 Aesthetica Creative             is not restricted to 2 or 3                    channels of biennial promotion,              aspirations into exciting projects,        [max 10 images], details regarding      Festival) are looking for visual &
Works Competition is now open            dimensional works.                             pages in common biennial                     to both inspire and be inspired.           medium, size and technical              performance artists to participate
for entries. Aesthetica Magazine         A panel of eminent artists,                    catalogue and separate DVD                   Be they big or small, simple or            requirements, current contact           and create work at our festival,
is      inviting     all      artists,   printmakers and curators will                  catalogue. Lab: During exhibition            complex, cosmic or comical,                details, SAE for return of              we have a limited enough budget
photographers, writers and poets         select approximately 40 artists to             period several workshops will be             organic or electronic – we look            materials. Submissions for solo         but I’m very keen to hear peoples’
to submit their work into the            exhibit across major venues in                 held       for    local    community         forward to your proposals with             and        groups     exhibitions       ideas and suggestions and will be
Creative Works Competition.              Newcastle                 Gateshead.           people.                                      bated breath, as do the people             welcomed. All submissions will          very flexible in trying to facilitate
Now in its fourth year, the              Exhibitions of the selected works              The biennial partner – The                   who spend their weekend in awe             be assessed by a selection panel.       anything that will fit well with
competition is dedicated to              will be shown at the Hatton                    Textile Artists’ Guild – is                  of your work!                              Details of the Market Place             the festival.
celebrating and championing              Gallery, Laing Art Gallery and                 announcing           the      call     for   Last years proposals included              Gallery (including floorplan) can       The line-up for this festival will
creative    talent     across     the    Northern         Print         from     17     participation at the project                 giant kaleidoscopes, hanging               be downloaded from www.                 be a lot more diverse than the
disciplines and welcomes entries         September to 19 November                       Experiments with Light: Art Lab.             moss pods, a stunning Goddess                      last time and it would great to
from poets and writers as well as        2011.                                          The brand new Kaunas arena’                  sculpture, beautiful gardens,              Further      enquiries    to     Jill   expand the creative/visual aspect
artists working in any medium,           Artists are asked to submit a                  media centre will become the                 creative willow fencing, a giant           McEneaney, The Market Place             to reflect a wide spectrum of
including sculpture, textiles,           current CV, Artist’s statement                 place for international exhibition           elk complete with his own                  Gallery, Market Street, Armagh          different visual/performances
photography, ceramics, paint,            and a maximum of 10 images.                    which exhibits will be installed             knitted jumper, video and sound            BT61 7BW.                               through out the day. One of the
digital art and more.                    Entry fee is GBP25 or E30.                     in the darkness and lightened by             installations, a surreal house of          Telephone                               ideas is to set up a wall of visual
The Competition has three                Deadline                                       black light bulbs which spotlight            lost toys, a 100 metre long                028 3752 1820                           pieces in one of the areas with
categories,        Artwork         &     6 June 2011                                    luminescent details of the art               serpent     made     from          CD’s    email                                   30+     television        screens   all
Photography,         Poetry      and     email                                          pieces and thus enrich the                   suspended in the tree tops, giant          j i l l . m c e n e a n e y @           showing different video pieces,
Fiction. Winners and finalists are       w w w. p a r k e r h a r r i s . c o . u k /   aesthetic experiences of the                 lanterns and more. So, whatever                     through out the day, this is just
published in the Aesthetica              competition/international-print-               visitors by mystical effects and             your idea; whether it be hanging,          closing Date                            one of the suggestions though
Creative Works Annual. Winners           awards                                         unexpected approaches. Since                 planted or floating we would like          Friday 17 June 2011                     we are keen on hearing any other
of each category receive £500            Telephone                                      2006 several editions of Black               to hear from you. Please apply                                                     ideas and very open minded in
prize      money      plus      other    +44 (0)1372 462 190                            Light exhibition, organised by               online using the application               BelfaSt photo feStiVal                  trying to make them happen.
prizes. Entry to the Creative            contact                                        the Textile Artists’ Guild, were             process in the Get Involved                We are now accepting entries for        Another thing we’re considering
Works Competition is £10. The            Parker Harris                                  held in Lithuania, Germany,                  section of our website.                    the Belfast Photo Festival’s 2011       is doing an hour of short films,
entry fee allows the submission          email                                          Poland, Belarus, Czech Republic,             Address                                    Open Submission Exhibition.             playing in the Mandela hall itself.
of 2 images, 2 poems or 2 short                         and all of them became known                 Body & Soul Festival, Ballinlough          The submission theme is left            All these are just suggestions
stories.                                                                                as most visited exhibitions of the           Castle, Co. Westmeath                      open and being keen to support          though and we would be keen on
Deadline                                 aeSthetica                                     venues.                                      Telephone                                  all disciplines of photographic         people doing installations and
31 August 2011                           The 2011 Aesthetica Creative                   Conditions for participation:                0851476244                                 practice, we encourage entries          will try to facilitate these as
Web                                      Works Competition is now open                  Proposed artworks (wall or space             Web                                        from professionals, students and        much as possible and as much as              for entries. Aesthetica Magazine               pieces, objects, etc) should be                             amateurs.                               the venue will let us.
submission_guide.htm                     is      inviting         all      artists,     made using luminescent treads,               email                                      Alongside opportunities to gain         The festival itself will take place
                                         photographers, writers and poets               materials or dyes, which reflect                           significant exposure in both            in the Students Union in Queens
not a gateWay                            to submit their work into the                  the black lighting.                                                                     Belfast and Derry City, many of         with a current total of 5 areas,
This Is Not A Gateway is an              Creative Works Competition.                    Please send the proposals to                 BlackBird gallery                          those selected to exhibit will be       with different music in each
independent organisation that            Now in its fourth year, the                    Textile Artists’ Guild team by 1             Call for submissions for the               awarded a published book of             room covering what we hope to
brings together critically engaged       competition is dedicated to                    July       2011     by      e-mail      to   Kilkenny Arts Festival 2011                their work, courtesy of the photo       be a complete spectrum of music.
individuals interested in ideas          celebrating and championing                                show at the Blackbird Gallery.             book company Blurb. Entry fee           We’re working on an acoustic
related to cities, including visual      creative      talent      across       the     Download the application form                The     Blackbird    Gallery         is    for submissions: £7 per body of         area out in the smoking area as
artists.   They      are     seeking     disciplines and welcomes entries               here.                                        considered one of the best                 work (2 – 6 images)                     well but we’re still to get the go
submissions for its 4th annual           from poets and writers as well as              The organizer will provide                   galleries in the country having            For full details and terms &            ahead for this so at this point we
festival (23 – 25 September 2011,        artists working in any medium,                 equipment and technical help                 had the very best of Irish and             conditions, visit the festival          have 5 spaces to work with.
London). Proposals are welcome           including sculpture, textiles,                 installing          and          through     international artists such as              Website                                 We’re keen on trying to expose
from anybody whose point of              photography, ceramics, paint,                  exhibition,        will      work      on    Dorthy Cross, Louis Le Brocquy,              people to a wide variety of
reference is ‘the city’. There is no     digital art and more.                          exhibition          promotion           in   Patrick    Scott    and      Hughie        Deadline                                different creative disciplines as
fee to propose a project for the         The Competition has three                      Lithuanian and European media,               O’Donoghue for example pass                1 June 2011                             we think that it’s good for people
The Visual Artists' News sheet                                   May – June 2011                                                                                                                                                         25


that wouldn’t be your average        Anniversary of the Crafts Council      two days at Dublin Castle and               and student initiatives.                   contact                              landScape imageS
gallery attendee to experience a     of Ireland and will be celebrated      the Crafts Council of Ireland are           Fee: E150 Earlybird: E110 –                Ciara Timlin                         Trevor Geoghegan Landscape
diverse       range   of   art   &   through a diverse range of             honoured that President Mary                (available only before 31 May              Telephone                            images      at      Newtownbarry
performances.                        dynamic events to showcase the         McAleese Patron for Year of Craft           2011)                                      01 6612558                           House Newtownbarry          House,
If anyone has any ideas or           very best of craft made on the         2011, has confirmed that she will           Web                                        email                                Bunclody,        Enniscorthy,   Co.
suggestions and would like to get    island of Ireland.                     address conference delegates.                              Wexford 21 – 23 May 2011, 10am
involved creatively or just help     We would like to invite all craft      This         conference        follows      paradox/?page_id=224nference               Web                                  – 4pm.
out                                  workers both living and working        immediately from the European                                                         A drawing and painting course
email                                in Co Clare or from Co Clare to        General Assembly of the World               huStingS BelfaSt                                                                of 3 days on location at                     take part in this exhibition. The      Crafts Council, also being held in          Creativity,     Culture         &    the   courSeS at cló, donegal              Newtownbarry House working
Web                                  exhibition will be independently       Dublin Castle on the day before             Economy Tuesday 19 April 2011,             Cló Ceardlann in Letterkenny         from the landscape in various        curated. All craft forms will be       (8 June 2011).                              9:30am – 12:00pm The Baby                  have a range of courses available    media. The course aims to study
                                     considered.                            Keynote        speakers        include      Grand, Grand Opera House,                  over the coming months. For full     the     landscape     beyond    the
Block t                              The initial submission should          Edmund         De      Waal,        world   Belfast                                    details on courses, including        picturesque to the fundamental
Block T are launching their          include an artist’s statement          renowned potter and author of               Audiences NI, Arts & Business              prices, and to book a place, see     shape and format ot the land
gallery space this April and are     about the proposed work, and 2         ‘The Hare With Amber Eyes’ and              and Voluntary Arts Ireland are             contact details below.               itself. The Group will be brought
currently seeking submissions        high res. Images of work to be         Leonardo Bonanni, who teaches               hosting a hustings event to                16 & 20 April 2011 – Etching         to a new location each day to
from individual artists or groups    selected. This is open to emerging     the ‘Future Craft’ programme at             provide the culture, arts and              Club Open Days 9 & 10 July 2011      study from various motifs and
for their 2011 Spring/Summer         and established craft/applied art      MIT, and is a world leader in               creative industries sector with            - Photo-Etching with Aoife Mc        sites. The practice of information
Exhibition            Programme.     artists. In anticipation of a large    sustainable design of products              the opportunity to question MLA            Garrigle 11 – 15 July 2011 –         gathering via the sketchbook,
Successful proposals will be         number of entries a short-listing      and     supply         chains.       The    candidates from across the                 Children’s Summer School with        notebook, camera and memory,
invited to rent the space. The       of entries will apply.       If you    accompanying              conference        political spectrum on the subject          John Doohan 16 & 17 July 2011        for use in the studio at a later
rent of the space is subsidised by   require return of images please        programme             will     present      of their manifestos.                       - Stone Lithography with Aoife       date will be explored. All students
Block T in order to keep the space   submit S.A.E.                          exhibitions of work across                  Chair: Marie-Louise Muir Guest             Mc Garrigle 23 & 24 July 2011 –      will be taught to work in a logical
as affordable as possible. Those     closing date                           Dublin by Irish and European                Speaker: Declan McGonagle                  Landscape Painting with Heidi        manner, taking the work step by
who are interested are asked to      6 May 2011                             makers and will include a range             The event is open to organisations         Nguyen 1 – 5 August 2011 –           step, keeping control of their
send in a full, detailed proposal,   Address                                of cultural activities for visiting         and individuals involved in                Children’s Art Workshop with         ideas until a painting has been
bio and statement, along with        Sinead Cahill, Glór, Causeway          delegates. Early Bird Rate: E30             culture,      arts   and        creative   Fotini Kariotaki 5 – 7 August        brought to a conclusion. The use
images or video of work,             Link, Ennis, Co. Clare                 (First 40 people). Standard Rate:           industries in Northern Ireland             2011 – Photo Workshop with           of studios both in drawing and in
preferred date and exhibition        email                                  E60 Register online here.                   and will provide the sector with           Ingo Dunnebier 5 – 7 August          painting will be explained. The
length. Submissions should be                                                                    an      opportunity        to       meet   2011 – In and Outdoor Art with       aim of the course will be for
sent to Grace or Ben                                                        european forum                              candidates who are seeking to              Fotini Kariotaki 13 & 14 August      students to both learn from the
email                                                                       PARADOX the Fine Art European               represent them and get the                 2011 - Art with Fotini Kariotaki     landscape and enjoy it for its            CONFERENCE / LECTURES/
                                     CONFERENCES                            Forum is pleased to announce                chance to hear them set out why            &    Photography      with   Ingo    own sake and to complete a
Please write ’Submissions Spring/    TALKS
                                     TALKS     / LECTURES                   the           third          Biennial       they deserve to be voted in.               Dunnebier                            number of finished works.
Summer 2011 in the subject box.                                             Conference ‘Outside In – The                Confirmed to attend the event so           Telephone                            Cost: €225 with lunch
Web                                                                         Permeable Art School’ 9 & 10                far are: Declan O’Loan (SDLP),             +353 (0) 74 91 62800                 Telephone                        health & illneSS                       September 2011                              Barry McElduff (Sinn Fein),                email                                053 93 76383/ 087 1227846
                                     The National Centre for Arts and       Hosted by CIT Crawford College              Stephen Farry (Alliance) and      www.         Web
dunamaiSe artS centre                Health are hosting a major             of     Art     &      Design        Cork,   Mark Finlay (UUP)                                     
The Dunamaise Arts Centre            international conference, to be        Ireland Keynote Speaker: Lewis              If you have a question you would                                                email
invites submissions from artists     held on 15 & 16 June 2011 at the       Biggs, Director of the Liverpool            like to put to the panel please            huWS maSterclaSS           
for     its    open    submission    Royal    Irish    Academy.       The   Biennial                                    forward it to us in advance. We            ‘Works, Intent and Purpose’ with
exhibition, ‘Level’, running 17      conference, entitled Narratives        ‘Outside In – The Permeable Art             aim to ensure as many popular              Bethan Huws (UK) 20 & 21 May         ma art in puBlic
June – 30 July 2011. Artists         of Health and Illness across the       School’ aims to explore whether             questions as possible are included         2011 Firestation Artists Studios,    The MA Art in Public has evolved
working in all mediums are           Lifespan is among the celebratory      the contemporary Art School                 in the Chair’s briefing. If your           Dublin.                              from current complex concerns
invited to submit work for           academic       activities   of   the   remains an institution that                 question is not covered, there             “Piss off I’m a fountain!” (Word     for the role of art / artists in a
selection by guest curator           Tercentenary Celebrations of the       reaches out and influences the              will also be a period for open             2003) an abusive notice board        changing society. Whilst the MA
Bernadette Madden. Applications,     Trinity College Dublin Medical         cultural landscape that surrounds           questions at the end of the                proclaims in white plastic letters   focuses on a wide set of contexts,
including artist’s CV, CD with       School and is sponsored by the         it and the effectiveness of the             session. Follow #artshustingsni            on a black background. Are these     it is based in and responds to
image(s) and hardcopy images of      Meath Foundation.                      reciprocity by which society                for news and updates.                      offensive words, words of an         Belfast, where engaged art
proposed work (& a stamped           This     major       international     infiltrates and influences the Art          To book your place at the event            offended ornament that may           practices have been developed in
addressed envelope if return of      conference will celebrate the          School. The conference will be              or register your questions please          have been mistaken as a urinal?      various “contested spaces” for
materials is required) should be     vitality of the arts and health        organised around 4 discussion               contact Karen                              Or are they an angry reaction of a   many years.
posted to the address below.         programme at AMNCH and                 strands.                                    Spaces are limited and will be             readymade that has not been          The programme seeks to develop
Address                              beyond, as well as featuring           Discipline Discussion Groups 1.             allocated on a first come, first           identified correctly? These texts    testing modes of working that
Level Open Submission, The           experts on medical humanities          The Art School Gallery: the role            served basis.                              are typical of Bethan Huws’s         are     dialogic,    participatory,
Dunamaise Arts Centre, Church        and arts therapies. One of the         of the college run gallery. 2.              email                                      questioning in her polysemantic      interventionist or collaborative
Street, Portlaoise, Co Laois         highlights of the conference is        Academy/City/Artist:                 post                language pictures.Huws takes         in intention and structure.
Deadline                             the first public performance of        graduation, what is the art                 or                                         the approach of an ethnologist       Throughout the programme
5pm, Friday 6 May 2011               Ian Wilson’s new work, which he        school’s responsibility and role            Telephone                                  tracing the origin and identity of   students will work with formal /
Telephone                            composed as part of an Arts            in enabling their graduates to              02890 436480                               the readymade. Over the past 20      informal external partners and
353 (0)57 8663355                    Council funded residency in the        develop a sustainable cultural                                                         years she has worked with            be expected to develop self
Web                                  stroke service at AMNCH.               environment? What’s the benefit                                                        watercolour, drawings, wall          initiated, innovative practice
                                                                                                                        COURSES / TRAINING                     Web                                    of staying in the city where you            COURSES/WORKSHOPS                      /   texts, installation, sculpture and   based approaches.
email                                   studied? 3. Does Fine Art need a            TRAINING                                   film to comment on her own           The programme is run over 3                                                          Facelift?: If Fine Art is no longer                                                    personal memories and cultural       semesters – a period of 18 months
                                     craft conference                       at the centre of Art Education              rha maSter claSSeS                         identity. Bethan Huws lives and      including a summer break.
co clare craft WorkerS               The Crafts Council of Ireland          what is it like to be at the                RHA Master Classes – last                  works in Paris and Berlin.           Web
Glór and Clare Arts Office           hosts the Year of Craft 2011           periphery.         What        is     the   remaining spaces Last spaces               Course fee: E90 (lunch included)     http://masterartinpublic.
together are celebrating the Year    Public     Conference        “Craft    educational              consequent         remaining on our upcoming                  email                      
of Craft with an exhibition of       Conscious: Re-shaping global           response? 4. Art School as Broker:          master classes. Brian Bourke                   Deadline
Clare Craft to take place at Glór    futures in the innovation age”,        The Art School facilitating                 HRHA, 3 – 6 May 2011. Mixed                Telephone                            Ongoing (The next round of
during the month of July 2011.       taking place in Dublin Castle on       commissions. Case studies/best              media master class working from            01 8069010                           applicants will be interviewed in
The Crafts Council of Ireland        9 June 2011.                           practice exploring links and                life. Cost E375.                           Web                                  April 2011)
and Craft Northern Ireland have      The conference will address            relationships         with     industry     Stephen McKenna PPRHA, 16 –      
designated 2011 as Year of Craft     issues, opportunities and themes       albeit in kind, live projects, slack        18 May 2011. Still-life painting
as the year marks the 40th           of common concern over the             spaces and pop-ups, internships             master class. Cost E300.
                                                                                                                                                        The Visual Artists' News sheet                                           May – June 2011


ma artS & heritage                      FUNDING              /AWARDS         /   RDS Taylor Art Award €5,000 RDS       providing a transdisciplinary            email                                          BREAKING OPPS ...
Applications are open for the            FUNDING/ AWARDS
                                        BURSARIES                                James White Award for Drawing         platform for the presentation of
MA      in   Arts      &     Heritage   BURSARIES                                €3,300 RDS Printmaking Award          research and practice in areas           Web
Management,           at    Waterford                                            €3,300 R.C. Lewis-Crosby Award        such as acoustic ecology, sensory                            the future – open call
Institute of Technology. This is a      rdS craftS competition                   for Painting €3,000 Freyer Award      anthropology,         sonic      arts,                                                  Submissions are sought from
one-year programme run over             The     RDS      National       Crafts   €1,500 Peter       O’Kane     Solo    musicology, technology studies           RESIDENCIES
                                                                                                                                                                RESIDENCIES                                    final year and postgraduate art
three semesters.                        Competition have announced               Exhibition at Cavanacor Gallery       and philosophy. The journal                                                             students for the next issue of The
closing date                            the call for entries for this year’s     Deadline                              seeks to balance its content             Seacourt print WorkShop                        Fold; which will explore the
10 June 2011                            competition. The competition is          17 June 2011                          between       scholarly    writing,      Seacourt Print Workshop seeks                  theme of ‘The Future’.
email                                   one     of    the    largest    crafts   contact                               accounts of creative practice, and       an       artist        demonstrating           Submissions can be visual                        competitions in Europe that              Ms Sarah Ross                         an active engagement with                knowledge and understanding of                 documentation of artworks,
Web                                     brings an international panel of         Web                                   current research topics in audio         non      toxic      approaches           to    written responses, drawings,                  judges to Ireland to adjudicate a                 culture.                                 printmaking and at least 2 years               photography or digital images.
                                        20 category competition. It              Telephone                             Deadline                                 professional             printmaking           Successful submissions will be
oil painting WorkShopS,                 boasts a prize fund of E28,400           +353 (0) 1 240 7255                   For Abstracts 15 May 2011 for            experience, for a 12-week Artist               included in the next edition of
Revival of the Sligo School of          and is open to all craft workers         email                                 Full Paper Submissions 20                Residency which can commence                   The Fold alongside invited artists
Landscape        Painting      Master   and     designers        in    Ireland                           August 2011                              by agreement from July 2011.                   work.
Classes in Drawing & Painting. A        including           students      and                                          Web                                      Artist fee of GBP3000 paid in                  The Fold is an occasional
Plein Air Painting workshop in          apprentices. It is also open to          artS council touring                      instalments. This residency is                 publication that gathers artists
oil & acrylic painting techniques       Irish craft workers based abroad.        As    part    of   the    ongoing     email                                    funded by North Down Borough                   together on the ‘space of the
with artist Neal Greig. Located in      Entrants can also enter the RDS          implementation of its Touring           Council.                                       page’ to consider a particular
the scenic surroundings of Coney        Student Art Awards should they           Policy, the Arts Council is further                                            Application            forms           and     issue of theme.
Island in Sligo Bay. Learn new          meet the terms and conditions of         developing a scheme to support        artiSt in the community                  information available from:                    The publication will be circulated
drawing and painting techniques         the Awards.                              the touring and dissemination of      Managed by Create, the national          Web                                            this autumn as part of an
from a professional artist Neal         Entry fee:          €15 per entry        work in a broad range of              development           agency      for    w w w. s e a c o u r t - n i . o r g . u k /   exhibition / event that will take
Greig (Max 6).                          (Maximum of three entries per            artforms.                             collaborative arts.                      Residency.htm                                  place in Dun Laoghaire.
Workshop Dates:                         category. An entry is defined as         Following on from the 2010            Twice yearly, the Arts Council           email                                           Submissions should be sent on
April 29 – 2 May Drawing &              one piece of work or a matching          scheme, which offered c. E1m in       offers grants to enable artists and                       CD (images should be no smaller
Painting     Workshop 3         Days    set.) E10 students and apprentices       support of tours taking place         communities of place/or interest         Telephone                                      than 5-6mb in file size or larger
(residential)                           (Written evidence of status is           throughout 2011, the initiative is    to work collaboratively on arts           +44 (0) 28 91460595                           and saved as 300 dpi CMYK
May 27 – 30 Drawing & Painting          required by 16 May.)                     now being extended. Each year,        projects. The scheme covers all          Deadline                                       files).
Workshop 3 Days (residential)           Deadlines                                commencing           in      2011,    art forms –architecture, circus,         4pm, 20 May 2011                               Written submissions should be
June 3 – 6 Drawing & Painting           stage one: 16 May 2011 at 5pm /          applications will be received on      street art and spectacle, dance,                                                        up to 500 words max and saved
Workshop 3 Days (residential)           stage two: 23 & 24 June                  two deadlines falling in April/       film, literature (Irish and English      arterra portugal                               as Microsoft word files
Sept 2 – 5 Drawing & Painting           Telephone                                May and October. Building on          language), music, opera, theatre,        ARTErra is a hosting place for                 A hard copy of each entry (eg.
Workshop 3 Days (residential)           +353 (0)1 240 7255                       the audience focused approach         visual arts and traditional arts.        artistic creation projects. Here               thumbnails of images, prints out
contact                                 Web                                      that characterises the Touring        The projects can take place in a         you find a inspirer and quiet                  of text) with captions, artist
Neal Greig                                            Policy, the expanded scheme is        diverse range of social and              place, with a comfortable house,               names and contact details) needs
Telephone                               Address                                  designed to support genuine           community contexts eg arts and           work places suitable for distinct              to be included with entry.
087 620 7967/ 087 6421482/              Ms Sarah Ross, Arts, RDS                 collaboration between those           health; arts in prisons; arts and        artistic     disciplines         and      a    Entries should be sent to the
003534788788                            Foundation             Department,       who produce work and wish to          older people; arts and cultural          personalized attendance for each               address below and include name
email                                   Ballsbridge, Dublin 4                    tour and the presenting venue or      diversity.                               project.                                       email address and telephone                  email                                    local promoter.                       Phase        One,     Research     &     If you are seeking a place to                  number.
Web                                                         The deadline for Round 1 of the       Development, is open to artists          develop your artistic project,                 closing date                                                                2011 Medium Term Planning             who wish to research and                 please contact us. We are                      Thurs 30 June 30th
                                        rdS Student art aWardS                   strand of the scheme, primarily       develop a project in a community         accepting          proposals           for     Address
cead ncad                               The 2011 RDS Student Art                 intended to contribute towards        context.                                 applications until September                   The Fold, C/O The Blackchurch
The National College of Art and         Awards prize fund of E16,100 is          the costs of tours planned to be      Maximum time frame is 3                  2011                                           Studio Temple Bar Dublin 2
Design provides an extensive            comprised of the awards and              on the road during the period         months. The maximum amount               The application process is quite               Web
range of part-time courses              prizes listed below. Each award          August 2011 – June 2012, is           awarded in Phase One is €1,000.          simple, if you send the following    
including non-credit and award          has specific terms and conditions        5:30pm, Thursday 5 May 2011.          Phase        One,     Research     &     information: - Brief description
bearing         courses      offering   which must be complied with.             The deadline for Round 2 of the       Development/Mentoring is open            of the project to be undertaken at
progression.                            Entries to the RDS Student Art           2011 Medium Term Planning             to artists who wish to develop a         ARTERRA (including title (if                   WATCH OUT!
The 2011 Summer Course                  Awards will be judged by a panel         strand of the scheme, primarily       community based project and              applicable), objectives, needs and
brochure is now available to            formed by an RDS nominated               intended to contribute towards        who have identified an artist            expectations for the residence,
view and download from the              judge; a National Gallery of             the costs of tours planned to be      mentor they want to work with            work        methodologies              and
                                                                                                                                                                                                               We strongly advise
college website. Short summer           Ireland nominated judge and a            on the road during the period         during       the    research     and     availability           to      informal        readers to verify all
courses being offered for 2011          Royal        Hibernian        Academy    July – December 2012, will occur      development           phase.     The     presentations); -           Curriculum         details to their own
include: Portfolio Preparation,         nominated judge.                         in October 2011 (exact date to be     maximum award is €1500,which             Vitae and portfolio; - Ideal dates
                                                                                                                                                                                                               satisfaction before
Painting Practice, Drawing /            Entries to the RDS Student Art           notified).                            includes €500 fee payable to the         and residence time duration; -
Painting / Looking, Colour              Awards must adhere to the entry          For additional information on         mentor.                                  Logistic needs (number of                      forwarding art work,
Theory Workshop, Drawing and            requirements outlined in the             these     developments       please   Phase Two, Project Realisation, is       bedrooms, number of residents,                 slides or monies etc.
Research         in        Notebooks,   terms and conditions of the              consult           open to communities of interest          food,         etc) -         Technical
Introduction to Watercolour,            competition. Please note that the        Application forms and guidelines      or place (or their representative        requirements (need for tools and/
Etching and Dry Point Technique,        deadline for entry is 17 June.           will be available shortly.            organisations), for a project of         or technical material/equipment,
Photography, Printed Textiles,          Entrants can submit up to two                                                  between 6 weeks and 5 months             resources, etc).
Jewellery and Stone Setting,            entries in the RDS Student Art           interference online                   with a maximum award of                  Deadline                                       DON’T FORGET
Jewellery Casting, Stained Glass        Awards and if eligible entrants          Interference has launched a call      €5000, and/or         a project of       15 May 2011
and Ceramics.                           can also be submitted to the RDS         for papers for its second issue, A    between 6 months and 9 months            Web
Places are assigned on a first          National Crafts Competition.             Sonic Geography: Rethinking           with a maximum award of         / arterra-
                                                                                                                                                                                                               Do look at the
come first served basis.                Entrants should ensure that all          Auditory Spatial Practice, to go      €10,000.                                              advertisments in this
Deadline                                details are accurate on the online       online in Winter 2011.                Deadlines                                email                                          VAN, also check our
24 June 2011                            application form and that the            Interference is a biannual online     5pm Monday 14 March 2011 and   
                                                                                                                                                                                                               web site & subscribe
Web                                     online payment of the E10 entry          journal in association with the       5pm Monday 27 June (CEAD link)                 fee is processed. Collection and         Graduate School of Creative Arts      contact
                                                                                                                                                                                                               to our e-bulletin for
                                        drop-off of entries will be              and Media (Gradcam). It is an         Katherine Atkinson                                                                      further opportunities.
                                        outlined on the website in the           open access forum on the role of      Telephone
                                        coming weeks.                            sound in cultural practices,          01-4736600
The Visual Artists' News sheet                                                 May – June 2011                                                                                                                                                    27


Ongoing & Roundabout
                                                                                                                                                                        the latter doesn’t always signal the beginning of a successful career -
                                                                                                                                                                        sometimes a practice does not survive this level of scrutiny at such an
                                                                                                                                                                        early point. For me, many of the opportunities were slow-burners, but
                                                                                                                                                                        there’s no denying I gained a lot from the high profile of the student
 AILBHE NI BHRIAIN TELLS THE STORY-SO-FAR OF HER CAREER AS A PROFESSIONAL VISUAL ARTIST.                                                                                shows.

                                                                                                                                                                        Post-MA, I continued to make and reflect on my work, and began, after
                                                                                                                                                                        a time and almost despite myself, to formulate this understanding into
                                                                                                                                                                        a PhD topic. I was wary of going the PhD route; I have seen PhD
                                                                                                                                                                        students theorise their practice of all its magic and strangeness, and feel
                                                                                                                                                                        that art in this context too often winds up as the tool to illustrate rather
                                                                                                                                                                        than generate thinking. But in Kingston University, where I began my
                                                                                                                                                                        PhD in 2005, there was an understanding of art-making as an inherently
                                                                                                                                                                        critical process, and a sense of art’s ability to operate independently as
                                                                                                                                                                        a research form. There were great people behind this – Louis Nixon,
                                                                                                                                                                        Katy McLeod, Elizabeth Price; and an approach, which was rigorous
                                                                                                                                                                        and loose, confident and curious. I was funded by the University for my
                                                                                                                                                                        full three years, and thus had an extended period of concentrating
                                                                                                                                                                        solely on my work.

                                                                                                                                                                              I stayed in London originally in order to be at the centre of all-
                                                                                                                                                                        things-artistic, but at some point realised that every professional
                                                                                                                                                                        opportunity was arriving into my life via email I figured it was time to
                                                                                                                                                                        go to cheaper, more survival-friendly places and moved first to Glasgow
                                                                                                                                                                        and later to Cork, where I completed my PhD in 2008. Determined not
                                                                                                                                                                        to lose my practice to academia, I exhibited a lot during this period;
                                                                                                                                                                        this external activity formed an important part of my research, and a
                                                                                                                                                                        solo exhibition on The Butler Gallery eventually became part of my
Ailbhe ni Bhriain Great Good Places (Video Still). Courtesy Domobaal, London
                                                                                                                                                                        final PhD submission.

                                                                                                                                                                        A common piece of advice to artists is to choose exhibitions carefully,
                                                                                                                                                                        yet in my experience it’s also good to stay open. Some great opportunities
                                                                                                                                                                        emerge from humble sources – for me, an exhibition in the Reina Sofia
                                                                                                                                                                        Museum arose from a small independently organised event in Madrid
                                                                                                                                                                        (I got an email from an architecture student and took a chance). In
                                                                                                                                                                        general I put a lot of work into applications and have found open
                                                                                                                                                                        submission exhibitions a great way to get work out there. Again, I think
                                                                                                                                                                        keeping a broad remit is good – my video work has featured in
Ailbhe ni Bhriain Great Good Places (Video Still). Courtesy Domobaal, London             Ailbhe ni Bhriain Great Good Places (Video Still). Courtesy Domobaal, London   drawing, print and painting exhibitions and, if anything, most
I recall reading an article (somewhere) in which John Baldessari said (to                push to produce my first body of independent work.) My second                  rejections have come from the media quarter. Being curated in
someone) that approximately one percent of art school graduates go on                    exhibition was a group show in Paris, organised through the                    unexpected ways can reveal whole new possibilities in your work.
making work after college – and of that percent only one percent make                    Blackchurch Print Studio in Temple bar. Alas, there was rain in France,              A benefit of video is that multiple copies of the same piece can be
a living from their work. I am sure his calculations were about as                       there was a leak in the roof, and another body of work failed to make it       shipped cheaply and shown simultaneously, but there can also be a
formal as my referencing of them, but, applied to my own (committed,                     home. (The positive: insurance money, which helped fund my MA in               lack of control over how a piece is shown. I am now very specific about
talented) year groups through college, the figures still manage an                       the Royal College of Art.)                                                     installation requirements, and where possible will supply the
around-about-rightness.                                                                        My movements between 2001 – 2002 went something like: Cork-              equipment myself. The Cork Film Centre has played a huge role in my
      Of Baldessari’s percentiles, I belong to the former: I do not make a               Dublin-New York-Dublin-Donegal-Dordogne-Dublin-Belfast-Galway-                 professional development, providing equipment to make, test and
living from my work. I work chiefly in video and video is tricky. A                      London. This hopscotching was grounded by a few key things. I joined           exhibit work.
benefit of this uncommercial niche is not having to store unsold                         the Blackchurch Print Studio, an amazing resource that in my case                    My experience of exhibiting has been very varied: sometimes I am
bubble-wrapped works under beds and in other people’s garages. You                       provided access to an identity as an artist as much as to practical            flown to openings; sometimes I don’t get sent an invite. Sometimes I
could also say it gives the luxury of being a purist, removing the                       facilities. I also took part in a mentoring programme with Nigel Rolfe         receive a fee for each screening of a work; sometimes the equipment I
pressure to shape work towards a buying audience. The downsides are                      through the Cork Film Centre. This provided enough intellectual                send is not returned. Since 2007 I have been represented by domobaal,
obvious enough: lack of money; need to do other things to get money                      fodder and practical help to really engage me in video practice.               a London based gallery, and so have happily been able to share or hand
to make work; lack of time to make work because of doing other things                          The move to video felt a natural progression from my earlier print       over a lot of this professional negotiation.
to get money to make work etc. But for the majority of artists                           based installations, but it was primarily a practical decision: video
(aforementioned 99%) this is nothing new. I state it just to signal that,                provided an economic way of working, both in terms of space and                noW...
for me, career development means simply supporting the continued                         finances, and for a two year period the camcorder functioned as tool,          At the moment I am working towards a solo exhibition at domobaal
production of work, and is an ongoing and often roundabout process.                      sketchbook and studio in my practice. My application for MA study              later this year; I also have a full time job and a 10 month old baby, so the
      My professional development, according to my official profile,                     was an almost purely video-based portfolio.                                    work happens at lunchtimes, nap-times and at odd hours of the
appears pretty straightforward: a neat series of steps from BA to MA to                                                                                                 morning. But it does happen. I received an Arts Council Bursary last
PhD, to part time lecturing to full time lecturing, interspersed with                    ma...                                                                          summer and so have a budget for the very first time; budgets are
exhibitions which, if attended, would make a nice tour of Europe. This                   My first foray into postgraduate study was an MPhil in text and image          extraordinary things and I am excited about the new video pieces. My
neatness is of course misleading – the numerous jobs in restaurants,                     studies in Trinity College in 2001. I was genuinely interested in the          studio is in my home and this is how I’ve operated, by choice, for years.
bars, primary schools, secondary schools, grammar schools, golf clubs,                   course, but became alarmed at a world in which making had no place,            I am very disciplined, vigilant even, about making work - probably that
community groups, special need centres, graphic design centres,                          and left one month into the first semester. I began an MA in the Royal         post-BA fear of never making work again still lurks.
clothes shops, prints shops etc, all having been erased. While I will                    College of Art the following September. Choosing to study in the UK                  Building a career around making art is a pretty awkward
focus here on the major stepping stones, it’s worth remembering this                     was financially difficult, but the model of the RCA appealed to me – a         proposition. ‘Professionalism’ is increasingly taught in undergraduate
alternative CV as an important part of the picture.                                      solely postgraduate and solely art and design college, with a genuinely        art education, which I think is worthy but problematic – with artist’s
                                                                                         international student profile. It is also a two year course and operates a     statements and applications preceding artwork in cart before horse /
Ba and aftermath ...                                                                     pass-fail system in studio assessment; this time and freedom from              does: what-it-says-on-the-tin manner. (When it works, art should
I studied Fine Art Print in the Crawford College of Art & Design from                    percentage-tags, to my mind, allows for the risk-taking intrinsic to good      surely surprise its maker.) Still, I’m not sure I can suggest better survival
1996 to 2000. I loved the course, loved the college and emerged, aged                    art.                                                                           techniques. My own experience boils down to: keep making work; take
21, terrified that I might never make work again. My first exhibition                         I loved the RCA, though possibly my main education came from              every opportunity to exhibit seriously; pay attention to the ‘Wrong
post BA was a group show, which took place in Athenry. There were                        untimetabled activities - a creative writing workshop, evening film            Way Turn Back’ signals, however flaky it makes you appear; and keep
some prominent artists involved and the show was due to travel to                        screenings, an alarming amount of time spent in the college bar. The           making work.
London, Paris, New York. It didn’t even make it to the end of its Athenry                college offers a high level of exposure for students: for some, the final                                                               Ailbhe ni Bhriain
run, the curator turning out to be a curator / gambler; my work                          MA show will still pass almost unnoticed, while for others it will act as
disappeared, alongside all notions of being launched. (The positive: the                 a catapult into intense critical attention. It’s worth remembering that
28                                                                                                                                                                           The Visual Artists’ News sheet                                                          May – June 2011


Regional Perspectives                                                                                                                                                                        Whether prompted by these uncertain times or not, into this
                                                                                                                                                                                      melting pot comes something anew, the stirrings of a lobby group for
                                                                                                                                                                                      the visual arts sector. There is no doubt that the visual arts can suffer
Reports from Visual Artists Ireland's Regional Contacts                                                                                                                               when put in the same pot as performing arts – but there is also the
                                                                                                                                                                                      possibility of learning from other organisations and forums. And it is
West of ireland Aideen Barry                                                 details via the site, giving your studio location then this will come up                                 exactly this kind of idea, that has been conceived and initiated by
                                                                             on the app. Not only that but you can input a website link, an email                                     Pauline Hadaway of Belfast Exposed and Peter Richards of the Golden
The Connect 'App' for Artists                                                contact and Google map directions to find you all into your account                                      Thread Gallery – which aims to bringing together interested parties to
                                                                                .                                                                                                     discuss the potential benefits of setting up a gallery forum as a
I often find myself working with organisations, or companies in an                  Potentially, this tool could be a fantastic resource to visiting                                  platform for advocacy, a place for collaboration and the exchange of
advisory role. This is partly because the visual arts need a spokesperson    curators who would like to find out more about artistic production in                                    ideas. The interest groups represented at the meetings so far have been
to alert big business, chambers of commerce and local authorities, and       a particular area of the country. Or artists who have just moved to a                                    fairly wide, which suggests that the forum might tend towards
so on; about needs and provisions for the cultural industries. Certainly     particular city or urban space, the potentially of this tool is enormous.                                developing ideas around strategic issues and it may well develop into
my role as Western Contact for VAI has its advantages, in that I can         If you do not have an iPhone, you can also access and create an account                                  a very effective voice.
pool on people’s direct experiences, concerns and frustrations in order      on the website which houses all the data for the app, so you too are not                                                                                                                 Laura Graham
to inform organisations of gaps in provision, or advice policy               dependent on having to purchase a 3G device in order to benefit from
development. One of many complaints and concerns I hear quite                having your data about your business, service, or skill included on the
regularly from my peers is the inability to connect to or find out           app.                                                                                                     Northwest Damien Duffy
information on services available to visual artists and cultural                    The issue of spam or false data may also be a concern but the app
practitioners up and down the country. So when I was asked by                is being tailored to eliminate any unorthodox entries due to its tight                                   Spectacle vs. Art
Gaynor Seville (Mayo County Council Public Art Officer) to come on           regulation. The app will also include unusual resource links too, such
board with Mayo County Council’s ‘Landmark’ public art programme,            an architect firms, engineers, and fabricators, especially organisations                                 As the summer begins the dynamics and machinations of what will
to help co-ordinate the education and outreach element of the                that have worked and have a reputation of working with artists. And                                      make of Derry / Londonderry a City of Culture have begun to
programme, I wanted to make good use of this opportunity to tackle           finally, this tool may be used by cross-cultural practitioners such as                                   germinate. An air of urgency has taken hold as organisations work to
the disenfranchisement of the arts community in the North West.              musicians, theatre and literary artist as a means of sharing information                                 meet a very short deadline for funds as a 10 million investment is
     Thus the ‘Connect’ programme was born. This programme will              on resources (4).                                                                                        announced for the city.
complement ‘Landmark’ which takes place in the Lough Lannagh                                                                                                                                A portion of this funding is given over to project funding for the
                                                                                                                                                               Aideen Barry
village area of Castlebar, in October 2011. Connect will encompass a                                                                                                                  development of cultural community infrastructure, relating to venues,
                                                                             Notes                                                                                                    which are used for cultural events or cultural purposes. 1.5 million of
series of talks, presentations and tours by participating artists of the
                                                                             1. For further information on the Panel Judging for Public Art Commissions Workshop, check out           this is allocated to the provision of a new ’demountable’ venue that
‘Landmark’ programme. But it will also reach resident artists of the         the Mayo County Council Arts Office Website or please email or myself
                                                                                                                                                       will host the Brit awards and other such large-scale public audience
North West with certain professional practice projects such as a             2. You will be able to download the app from the iTunes website, it is also hoped that future            events. The spend of 1.5 million on a ‘demountable venue’ that is
workshop on ‘Panel Judging for Public Art Commissions’. For this             models will be made available for android phones.
                                                                             3. For data protection issues, you do not have to include all your data into the app; you can just       essentially a temporary structure has raised eyebrows in the arts
particular workshop, 30 fictional proposals have been created for a          have a link to your site for example.                                                                    community. Especially when none of this 10 million was allocated to
                                                                             4. Information on the launch of the app will be made available to Visual Artists Ireland’s e-bulletin,
hypothetical public art commission; participants of the programme                                                                                                                     capital projects in the city.
                                                                             and through Mayo Council Council Arts Officer over the next coming months. For further
are invited to adjudicate the proposals, using the criteria set out by the   information please email me                                                              Against this much vaunted investment, the issue of actual
commissioners. This is a unique programme for artists and cultural                                                                                                                    programming is now bearing down. And organisations that have
practitioners alike to see the very workings of a judging panel and to                                                                                                                offered ideas in the bid document appear to be somewhat in the dark
see for themselves how decisions on proposals are arrived upon. Often        Antrim & Beyond Laura Graham
                                                                                                                                                                                      regarding their participation in these headlining events. Concerns
the process is viewed from the outside in somewhat a cynical manner                                                                                                                   have been expressed –in terms of planning this programming, which
– “they always pick the same person / work / medium”. The opportunity        A Ground Swell of Opinion                                                                                needs to be addressed immediately in terms of logistics.
to demystify this process could be enormously beneficial to both artist                                                                                                                     Within the economic model there is recognition of the need to
and organisation alike. This workshop will be run in May 2011 and            If social networking hasn’t already proved its worth in most galleries                                   provide spectacles that will serve as an attractors to draw the public
possibly again later on in the year (1).                                     attendance figures, it has certainly proved its effectiveness in helping                                 into the region and bring about the economic benefits from increased
     A unique tool that we are also devising for ‘Connect’ is the            change political minds and allowing the public’s voice to be heard in                                    visitor numbers. However there is the perceived separation between
                                                                             the recent Fair Deal for the Arts Campaign run by the Arts Council in                                    what serves as spectacle and what serves as art that is critically engaged.
Connect App. This is going to be a ‘Golden Pages meets Facebook’ app
                                                                             the UK. On the back of this and the increased budget announced by                                        Various public consultations have taken place to date; and these have
designed for the visual arts, to support the needs and knowledge
                                                                             ACNI Chairman Rosemary Kelly mid March, there have been audible                                          been seen as having only played lip service to issues among those who
sharing of artists in Ireland. The App is scheduled to go live at the end
                                                                                                                                                                                      are actively engaged in the arts as a whole (1).
of the summer and will offer artists the opportunity to download to          sighs of relief breathed by arts organisations in Belfast. The campaign
                                                                                                                                                                                            Against this backdrop of a threatened instrumentalisation of
their iPhones (2).                                                           was set up in response to threatened cuts and to garner reaction from
                                                                                                                                                                                      ‘culture’ that is inherent to delivery of ‘city of culture’ type events, the
     The role of the app is to connect artists and practitioners to each     the general public. The response was strong, cohesive and positive and
                                                                                                                                                                                      Context Gallery are initiating a public conversation that will focus on
other and to specific resources. For example: if you are an artist who       gave resounding support to the arts.
                                                                                                                                                                                      how this inflects upon the field of contemporary art. With guest
lives in north Leitrim and you need to find a fabricator in Cork City,              An interesting and enlightening comment reported on the ACNI                                      speakers Annie Fletcher (Van Abbemuseum, Eindhoven), Wayne
the app will be able to hone in your search results to find these            website and attributed to Minister Wilson speaks volumes of a rather                                     Baerwaldt (Illingworth Kerr Gallery, Calgary), Colin Darke (Independent
resources for you. The interesting thing about this new tool is that it      simplistic, yet possibly true, view of many people’s perceptions of                                      artist, Belfast) this event aims to begin serious engagement with how
utilises user generated data. The whole application is dependent on          visual art, “Many people think of the arts as simply a picture hanging                                   artists and artist-led organisations might deploy strategies in practice
users uploading their data to a website, which in turn will disseminate      on a wall, but it involves a lot of employment potential – especially                                    and curation that engage critically with the instrumentalisation of art,
the alerts, to you iPhone or third generation device. The app will also      tourist potential – in Northern Ireland”. There is little doubt that art                                 and its further commodification as a tool in economic planning.
have the unique ability to alert local artists to local talks and events     serves a far greater purpose than just that, but for whatever reason,                                          A similar form of scrutiny is also applicable to the Biennale type
organised by City and County Councils, artist led spaces, arts centres       there has been a reprieve and it is to be welcomed.                                                      events that are now a global phenomena – which is a pertinent issue
etc – all through their existing RSS Feeds.                                         Although some may think of visual art in such a limited manner,                                   as Manifesta may potentially reside in the North in 2014, shared across
                                                                             there is evidence of growing appreciation of contemporary art and                                        the region between Belfast and Derry. Biennales are seen as instruments
     A lot of people may be concerned that this app will only be for
                                                                                                                                                                                      for economic and social change, providing a landmark event that links
iPhone users, but the main aim of this new tool is to acknowledge that       increased sophistication of audiences returning time and again to
                                                                                                                                                                                      otherwise peripheral sites to the centrality of the international Art
we receive date and information in new ways and in new structures.           publicly funded galleries. But it is a chicken and an egg situation – the
                                                                                                                                                                                      market and the transnational ideas economy.
Over the next five years we will all more than likely be receiving           general public can’t show their interest unless there are actual
                                                                                                                                                                                            Perhaps this opening conversation might begin a series of
information via various iPhone-like devices; and it is hoped that this       challenging art events to attend – and that needs good funding.                                          discussions and a process of reflexivity and strategy that serves to
new proposed tool or resource will capitalise on these knowledge-                   Thankfully, the increased awareness of the importance of the                                      scrutinize the econometric modelling of art as ‘culture’ as a central
sharing systems. It has also to be acknowledged that the device is           visual arts sector and the negative effect likely to be wrought in the                                   theme in 2013 and beyond.
aimed at supporting connections between artists and organisation             future by possible budget cuts is being capitalized on. This ground                                            The Department of Culture Media and Sport now refers to
that may be spread out through real distance but not through digital         swell of opinion – that visual arts are important and should be                                          museums and art centres as “centres for social change”. Given the
distance. One of my key hopes for such at tool is that it could be used      encouraged despite the severe economic downturn – may allow for a                                        current economic climate and public reception of unjust cuts in all
by groups of people based in rural spaces to connect to each other and       paradigm shift in thinking in the long run.                                                              areas, those centres just might actually realise the government’s ‘own
to enable them to communicate with each other in a much freer way,                  The Arts Council has given fair warning of a slightly bleaker                                     goal’ and realise a genuine process of social change.
narrowing the distance that very often inhibit conversation or critical      future. As Rosemary Kelly said “we don’t underestimate the scale of the                                                                                              Damien Duffy
discourse on their practice and possibly creating firm connections,          challenges ahead for the sector, as the money available will drop in the                                 Note
groups and collective.                                                       following years and there remains a pressing need for arts organisation’s                                (1) In respect to the emphasis placed by visiting expertise in forming partnerships and links in the
                                                                                                                                                                                      City of Culture stakes, they might note that Baghdad will also be a Capital of Culture in 2013 as a part
     Hypothetically a visitor to a particular area could download the        to look for further efficiencies”. So the better than expected arts budget                               of the initiative with UNESCO and the Arab League.
app to their phone and put in a search for “artists studios based in         this year is probably the calm before the storm and the warnings are
Cavan” into the search engine. If you as a user have entered your            ringing loud and clear.
The Visual Artists' News sheet                                             May – June 2011                                                                                                                                                                                           29


In & Out of Place
                                                                                                                                                                                   allows a regular audience; and during the summer months this is
                                                                                                                                                                                   greatly expanded. Realistically, the majority of visitors are not there to
                                                                                                                                                                                   see art and are in some ways, ‘tricked’ into the experience. This may or
                                                                                                                                                                                   may not add to the suspicion with which some people view
PAUL MURNAGHAN INTRODUCES PLACE, A NEW CONTEMPORARY ART VENUE IN GOREY, CO. WExFORD                                                                                                contemporary art practice. Even the least ‘art savvy’ are no longer
                                                                                                                                                                                   surprised by art outside of a gallery context – but there is a fine line to
                                                                                                                                                                                   be walked here.
                                                                                                                                                                                        Exhibitions at Place have varied between the modes of inclusive /
                                                                                                                                                                                   interactive; and the ‘you may find it helpful to read the text’. An early
                                                                                                                                                                                   exhibition, ‘When I have given you all that I can,’ (15 Oct –15 Nov
                                                                                                                                                                                   2009) invited all comers to curate the space by browsing and projecting
                                                                                                                                                                                   selections from an immense back catalogue of art films, video works
                                                                                                                                                                                   and recorded talks. These works could be viewed both inside and
                                                                                                                                                                                   outside of the shop. The exhibition utilised Ubuweb’s ‘Deleuzian’
                                                                                                                                                                                   model of thinking – by being an active part of their rhizomatically (4)
                                                                                                                                                                                   expanding project.
                                                                                                                                                                                        On the surface, this approach contrasted with the very first
                                                                                                                                                                                   exhibition, which made it known that works may require some
                                                                                                                                                                                   engagement on behalf of the audience. ‘There must be Something
                                                                                                                                                                                   Inside’ (1 – 29 July 2009), was a very minimalist, conceptual piece,
                                                                                     Magnhild Opdøl. 'Mobius Circle,' Brass and taxidermy bird. Installation view. Place, Gorey.   which seemed to convey to most of the audience that the gallery was in
                                                                                                                                                                                   fact empty. The opening night took the traditional form of a wine
                                                                                                                                                                                   reception and short speeches from local dignitaries but in general the
                                                                                                                                                                                   reaction was one of mystification, amusement, apathy, anger and
                                                                                                                                                                                   casual vandalisation of the artwork. Few people read the text displayed
                                                                                                                                                                                   on the gallery wall or the essay by Dr Tim Brennan dispersed around
                                                                                                                                                                                   the space, fittingly entitled, A small polemic (5).
                                                                                                                                                                                        Over the course of the exhibition there was a subtle, but interesting,
                                                                                                                                                                                   reaction. Some audience members came back to find out ‘what was
                                                                                                                                                                                   really going on’, there was the return of an apologetic ‘vandal’ who had
                                                                                                                                                                                   been so incensed that he felt it his duty to destroy the work. People both
                                                                                                                                                                                   outside and inside of the local arts community actively questioned the
                                                                                                                                                                                   reasoning and validity of the exhibition.
                                                                                                                                                                                        I find this reaction more common outside of major cities.
                                                                                                                                                                                   Individuals will confront a curator or artist as to the thinking behind
‘When I have given you all that I can’. Installation view. Place, Gorey.              'Savoir Faire 212', The Good Hatchery. Installation view. Place, Gorey.
                                                                                                                                                                                   an exhibition. It can be both exhilarating and frustrating – but it is a
When walking down the high street of Gorey in County Wexford, you                    Ideas of commodification, value, labour and the position of the artist                        truly engaged dialogue. Place is seeking a difficult, integrated autonomy
can visit numerous 2Euro shops that have proliferated as a result of our             within the economic process are considered but the difference here is                         within a not-altogether-suitable environment. If we purport to ask
current economic status. Each of these shops exhibits photography,                   that, Place is not a temporary installation. Place is a functioning                           questions through the position and form of exhibition, it is only right
sculpture – even kinetic forms, usually situated towards the back of the             device that supports the artist’s practice, it is born out of necessity and                   that we get answers and further questions not in accord with our
space. Generally, framed works are in a sort of salon hang, depicting                its commercial activities fully support its exhibition programme.                             personal incentives.
religious or cultural iconography. There are foreign indigenous art                        I still have a large 1970s swan lamp that I diligently haggled from                          With the first two exhibitions, it was necessary to blur my
forms and glittering backlit waterfalls. Their main intent is to generate            Martha Rosler. When I got it home, it took me a long time to get it                           position as artist / curator whilst attempting to find a curatorial
income. People like them. They may be ironic or kitsch, but coupled                  working properly as it required some very specific parts. It still makes                      position and a supportable mechanisms. Later works such as ‘Savoir
with the sale of countless household goods, these mass-produced                      an oddly pleasing humming sound. Suffice to say, that a melding of                            Faire 212’ by The Good Hatchery (12 Feb – 13 March 2010) or ‘Duino’
artworks help to keep these spaces open and financially viable.                      financial exchange and art practice may not always result in a                                by Ella Burke (15 Oct – 13 Nov 2010), comprised of singular
Something that many Irish arts spaces are finding extremely difficult                perfectly working unit but it may allow a new model, with different                           installations employing solid forms and ethereal substance such as
to do.                                                                               attributes, to evolve.                                                                        air and steam. These works used a particular language to articulate
      Just around the corner on John Street is another shop, called                        Place describes itself on website as “a direct response to the lack                     their diverse thinking in relation to ideas of necessity, mortality and
‘Place’. The aesthetic is a sort of funky-retro-chic, it sells women’s               of visual art spaces in North Wexford and while considering the                               the storage and distribution of energy.
fashion and accessories, alongside curiosities, books, art magazines,                current economic climate and its rural context, Place has devised an                               Mortality dovetails well with the current work on show from
shoes and artists’ sidelines (the stuff that artists generate alongside              experimental model fusing both contemporary art practice with self-                           Magnhild Opdøl (18 Feb 2011 onwards), which crosses several
their practice). It is a much smaller space than the 2Euro shop, but then            sustaining strategies. It aims to generate an income through the                              disciplines, including drawing, taxidermy, sculpture, video and
its turnover is not as high. Part of the problem is directly linked to the           commercial vehicle of a separate ‘shop’ space to aid the non-                                 installation. Opdøl’s beautifully obsessive renderings of dead animals
use of potentially profitable space as a contemporary art gallery /                  commercial development of an ongoing exploration of ideas, modes                              and faux-cartoon birds are in fact the first drawings exhibited at Place.
project space / studio. This activity brings in no revenue. In fact it               and projects. Its intention is to support contemporary art in Gorey                           They help construct a dialogue between the more recognizable forms
seriously detracts from profits by adding artist’s fees, transport,                  and to provide a space to promote and nurture the evolution of new                            of art and other less ‘traditional’ methods.
accommodation and printing to the overall general costs. So why is it                practices”.                                                                                        There are several ideas on the agenda for 2011, including a
there?                                                                                     At this point I should declare an interest, as I have been involved                     proposed collaboration with the Gorey Arts School. We will be
      The answer is directly linked to the venues artistic director Juliana          in Place from its inception; and I have programmed and curated its                            working to develop projects integrated within local activities and not
Walters, who lives just outside of Gorey and who has had a previous                  exhibitions to date. I met Walters whilst taking an MA in Visual                              necessarily sited at Place. We are hoping to take advantage of vacant
career in fashion. Walters has combined her knowledge of fashion                     Culture, in Dublin in 2005 – 2006. This particular MA was strongly                            spaces, as was done with the nighttime projections for Opdøl’s
buying and aesthetic with her art practice, in an attempt to create a                orientated towards interdisciplinary dialogue. It included a mix of                           exhibition, ‘Mobius Circle’. The possibility of expanding Place has also
symbiotic structure that supports contemporary art practice in the                   writers, curators and art practitioners that were passionate about                            been muted but how this can be achieved whilst still retaining core
region; and offers an experimental gallery model that exists as an                   ideas surrounding the use of space and modes of exhibition. At the                            ideals such as reasonable artist’s fees and self-sufficiency has yet to be
artwork in itself.                                                                   time, Nicolous Bourriaud’s relational aesthetics and / or Marc Augé’s                         defined. We may need to consult with the 2Euro folk.
      Over the past 20 months Place has functioned as a studio, a project            writing on non-places (2) informed much of our discussion. In 2007, I
space and as a contemporary art gallery. At one stage the entire shop                invited Walters to be part of the exhibition, ‘Synesthesia Sat’ (3) which                                                            Paul Murnaghan is an artist and curator
was uprooted and fully reconstructed at Wexford Arts Centre.                         led to further discussion around rural isolation, modes of exhibition                                                                                                      
‘Symbiote’ (12 Feb – 13 March 2010) was an interactive and operational               and the difficulty of supporting a contemporary art practice. Much of
installation running in parallel with the vacated shop space in Gorey,               this dialogue fed into the construction of the Place model.                                   1. The ‘Monumental Garage Sale’ was a multimedia installation and performance by Martha Rosler
which reverted to being a working studio. It was an attempt at                             Though Gorey may not seem like a vibrant art hub, it is far from                        held in the Art Gallery of the University of California, San Diego in 1973. Elements of the work were
                                                                                                                                                                                   reinstituted by the artist at The Project Arts Centre in 2004.
questioning the current climate and pressure placed on the arts by                   bereft of art history or establishments. A recent conversation with                           2. Non-places: Introduction to an Anthropology of Supermodernity by Marc Auge. Verso, London &
commercial demands. ‘Symbiote’ also went some way towards                            Eamonn Carter (former Head of the Gorey Arts School) informed me                              New York, 1995.
                                                                                                                                                                                   3. ‘Synesthesia Sat’ took place in August of 2007 at Birr Vintage Week & Arts Festival. The project
articulating the form that Place has taken with a sort of Russian doll               of a rich past of avant-garde exhibitions during the 1970s. There is                          consisted of a group of nineteen Irish and International artists dispersed throughout the historical
principal: shop inside of art, inside of shop, inside of art.                        Cow House Studios in nearby Enniscorthy and a little further on, The                          buildings of Birr.
                                                                                                                                                                                   4 UbuWeb (www. is a web-based educational resource for avant-garde material available
      Place can be seen as an artwork, in a similar way to Martha Rosler’s           Wexford Arts Centre. The Gorey School recently partnered with the                             on the internet, founded in 1996 by poet Kenneth Goldsmith. Gilles Deleuze and Felix Guattari use
‘Monumental Garage Sale’(1)event held at the Project, Dublin in 2004.                NCAD to offer a Masters in Fine Art. So Place slots well into this small                      the term “rhizome” and “rhizomatic” to describe theory and research that allows for multiple, non-
                                                                                                                                                                                   hierarchical entry and exit points in data representation and interpretation.
As with Rosler, Walters fills the role of vendor, woman and mother                   – but expanding – network.                                                                    5 Dr Tim Brennan was Artistic Director at Arthouse in Temple Bar, Dublin when (the pre-Turner Prize
selling items personally researched (often from young designers in                         Places attempts to engage with the local population without                             winner) Martin Creed’s work was first shown in Ireland in 2000. ‘There must be something inside’,
                                                                                                                                                                                   plagiarized or replicated one of Creed’s works.
Paris markets), and occasionally bargaining and chatting with visitors.              diluting conceptual content or forms of exhibition. The ‘shop’ format
The Visual Artists’ News sheet                                       May – June 2011                                                                                                                                                            30


 Buzz Phrases & Brainstorms                                                                                                                                           closer to home and that this would eventually bring about an end to
                                                                                                                                                                      piracy. The MOOT literature tells me that “the initiative is now part of
                                                                                                                                                                      the programme of Government for Ireland and set to begin
 SARA BAUME REPORTS ON ‘MOOT VII: INNO-VISION – ART, CREATIVITY, EDUCATION AND INNOVATION’                                                                            implementation”.
                                                                                                                                                                            Leyden was speaking from experience when he mentioned that –
 AN EVENT HELD AT THE BUTLER GALLERY, KILKENNY ON 4 FEBRUARY.                                                                                                         at a public service level – you do yourself no favours by bringing up the
                                                                                                                                                                      arts. This is because it is considered a ‘handout culture’ and a drain on
AT one point during the afternoon’s opening PowerPoint presentation,                    humanising creativity’ and ‘birth of ideas to action’, her central
                                                                                                                                                                      resources sorely needed elsewhere. Many of his opinions on “the state
Finbarr Bradley fleetingly quoted Joyce. Beneath the subheading                         arguments were essentially the same. Craft believes in the fundamental
                                                                                                                                                                      of the creative industries in Ireland and their over-reliance on state
‘Culture-Based Creativity’ and as an endorsement to his central argument,               value of those activities of society – such as art – which are more
                                                                                                                                                                      funding” made a lot of discomfiting sense. Bleak as this may seem,
Bradley had bulleted-pointed ‘James Joyce - two thinks at a time’.                      marginal and less practically functional. She believes it is now more
                                                                                                                                                                      Leyden maintains optimism through his belief that this reliance can be
      The afternoon in question was Friday February 4 and Bradley’s                     important than ever that the marginal be employed to challenge
                                                                                                                                                                      overcome by concentrating on ways in which to transform the arts into
presentation was as part of ‘MOOT VII: ‘INNO-VISION’ - Art, Creativity,                 traditional models of education.
                                                                                                                                                                      an industry in itself, by locating and exploiting its money-making
Education and Innovation’ – a seminar jointly organised by Niamh Finn                         Craft is passionate about the benefits of digital technology and
of Kilkenny County Council’s Arts Office in collaboration with Jean                     frustrated that not enough resources are being made available for it to
                                                                                                                                                                            Leyden can certainly talk the talk, but the whole idea of any genre
Tormey of the Butler Gallery.                                                           realise its full potential as a teaching tool. Long gone are the days of my
                                                                                                                                                                      of the arts being approached solely as a business for the purposes of
      Bradley, a former professor in DCU, NUI Maynooth and UCD and                      own formative education in rural Ireland, of a single school-computer
                                                                                                                                                                      generating revenue sits uncomfortably with my notions of artistic
co-author of Capitalising on Culture, Competing on Difference was acting as             so clunky and elaborate that it required its own computer-trolley to
chairman of the proceedings. His central argument was that the time                     travel between classrooms. I was intrigued but also a little taken aback
                                                                                                                                                                            Such was the structure of the day’s events that sceptics like me
has come for the arts to take a role in rejuvenating the dwindling Irish                by Craft’s praise for online social networks. She put forward the
                                                                                                                                                                      were repeatedly given the opportunity to voice their reservations and
economy – to break away from old, formulaic and exhausted ways of                       argument that, if used properly, social networking could help to make
                                                                                                                                                                      to make suggestions based on their own personal stories. Following a
thinking and of doing things in favour of a more intuitive and                          learning more playful and creatively demanding and that this would
                                                                                                                                                                      Q&A session with the whole panel, the audience was broken down into
experimental approach. He referred to the era that we are living in as an               empower the otherwise timid or halting child to live vicariously in a
                                                                                                                                                                      a number of smaller groups for a bout of ‘break out sessions’. Each
‘imagination age.’ “People now want meaning in their lives”, he                         virtual space, and as a result, to flourish in the real world.
                                                                                                                                                                      group was assigned an invited speaker and each topic of discussion was
explained, and as a society, it’s time for us to draw on our ‘intangible                      But whatever the method by which it is achieved, it is hard to
                                                                                                                                                                      structured around a particular question that the speaker had felt was of
resources’ in order to find a way forward.                                              dispute that creative flare nurtured early in life produces adults who are
                                                                                                                                                                      pivotal importance to their respective presentation. It wasn’t a format I
      I mention the Joyce quote because it made me wonder what one of                   better equipped to innovate beyond the obvious when economic times
                                                                                                                                                                      had ever come across at seminar events before, but it seemed to work
Ireland’s most historically influential artists would have thought of                   get tough, as the second half of the afternoon’s presentations were about
                                                                                                                                                                      well – encouraging shy but sharp individuals to voice their opinions
Bradley‘s PowerPoint presentation – had he somehow been able to travel                  to prove.
                                                                                                                                                                      and ideas where otherwise they would have been inclined to keep
through time to Butler House on Kilkenny’s Patrick Street, to a 21st                          The third invited speaker was Paul Young, CEO and Co-Founder of
                                                                                                                                                                      quiet. After a short period, the entire audience reconvened and MOOT
century afternoon in spring. I wondered what Joyce would have made of                   Cartoon Saloon and Producer of animated feature The Secret of Kells,
                                                                                                                                                                      VII was rounded up with a summary of points formulated by each
the bullet-pointed subheadings such as ‘Sustainable Competitive                         which was nominated for Best Animated Feature at the 2009 Academy
Advantage’ and ‘Culture Based Innovation’, of the tabulated assessment                  Awards. At first he seemed a strange addition to the bunch, but as his
                                                                                                                                                                            In the days following my excursion to Kilkenny, Niamh Finn
of ‘Industrial Mind’ versus ‘Imaginative Mind,’ of the circled and                      presentation unfolded – tracing the humble beginnings of Cartoon
                                                                                                                                                                      forwarded me a very thorough questionnaire designed to help MOOT’s
arrowed diagrams denoting things such as meaning, wisdom,                               Saloon right through to its night at the Oscars – it became apparent that
                                                                                                                                                                      organisers to assess their seventh event so as to determine how best to
transformation, inspiration. I pictured him rolling his eyes behind his                 the story was intended as a case study of sorts.
                                                                                                                                                                      tackle future MOOTs. As I filled it in, because I was finding it difficult to
signature spectacles and arguing that these things of the soul are not for                    When Young first started out it was with no experience whatsoever
                                                                                                                                                                      draw fixed conclusions from the day’s discussions, I hoped that it
systemising. And yet, it’s not for Joyce to judge exactly – Joyce who died              in the world of business, but instead of being discouraged by this, he
                                                                                                                                                                      would also be of some help to me in making a start on this article.
70 years ago and left behind a very different Ireland to the one that faces             discovered ways of working it to his advantage. Young joked that some
                                                                                                                                                                      While I found each presentation individually engaging – peppered
us today.                                                                               of his success could probably be attributed to the wearing of an unusual
                                                                                                                                                                      with good ideas and with possibilities – it was a whole other challenge
      MOOT is an ongoing series of discussion events, the previous six of               hat, but the wider point was that it is possible to adopt colourful tactics
                                                                                                                                                                      to discern concrete solutions through the buzz-phrases and brainstorms.
which have ranged across subjects of cultural interest from architecture                when approaching the grey business sector – that there are ways in
                                                                                                                                                                      If anything, the organiser’s questionnaire left me chasing even more
to film to environmental sustainability. The Ireland that faces us today,               which to brand even oneself in order to stand out. As part of his
                                                                                                                                                                      loose ends.
Bradley’s so-called ‘imagination age’, sprung to mind repeatedly                        presentation, Young showed artwork from a new feature in development
                                                                                                                                                                            Then, about a week after my attendance at MOOT VII, in the run-
throughout the course of the afternoon. Perhaps this had something to                   – Song of the Sea – proof that Cartoon Saloon continues to thrive as a
                                                                                                                                                                      up to the 25 February General Election, the VAI circulated the results of
do with the event taking place during the frantic campaign for elections                creative Irish business while at the same time holding true to its
                                                                                                                                                                      a different questionnaire – this one given to the main political parties
to the country’s 31st Dail. Bearing in mind the organisers stated objective             founding principles, to its freedom of imagination.
                                                                                                                                                                      on their policies with regard to the visual arts. All of the responses were
to address ‘Ireland’s cultural and economic future’ the timing of MOOT                        Neil Leyden is another example of someone who started out down
                                                                                                                                                                      identically vague and united by an undercurrent of resignation to the
VII was particularly appropriate. The previous six events had all been                  a strictly creative career path before being lured into the shiny-shoed
                                                                                                                                                                      inevitability of the arts being something of a lost cause – a necessary
designed with an eye on the topical and structured in as open and all-                  and smart-suited world of commercial practice. On his website, he
                                                                                                                                                                      and unavoidable casualty of budget cuts and belt-tightening to come. It
inclusive a format as possible. The seventh was the first, as the press                 describes himself as a ‘scriptwriter, ideas junkie, reluctant entrepreneur
                                                                                                                                                                      painted a picture of some contrast to Bradley’s burgeoning ‘imagination
release tells me, “dealing with how arts, creativity and education link to              and relentless optimist.’
                                                                                                                                                                      age’ that I had heard described in Kilkenny a week earlier – more a case
innovation and the business sector”. Proceedings began with short,                            Early last year, Leyden was crowned winner of 'Your Country Your
                                                                                                                                                                      of, to quote not Joyce but another of our most influential artists,
snazzy presentations by each of four invited speakers, followed by Q&A,                 Call' – a national competition launched by the President as an exercise
                                                                                                                                                                      “Romantic Ireland’s dead and gone”. Yet if nothing else, it is to be hoped
tea-break and then a series of ‘break out sessions’.                                    in potential job creation. He won with his proposal “to create an
                                                                                                                                                                      that the current political climate of renewal will encourage imaginative
      The second PowerPoint presentation of the afternoon was given by                  International Content Services Centre to make Ireland the global
                                                                                                                                                                      approaches to marketing the arts sector whilst at the same time
Anna Craft, a professor at the University of Exeter and the Open                        gateway for digital content between the US and Europe”. Content, for
                                                                                                                                                                      maintaining an environment, which facilitates artistic integrity.
University and author of Creativity and Education Futures? Craft was                    those like me who did not already know, is the term used to describe
speaking from an overseas perspective on the systems of primary and                     pretty much any information that is being distributed online – books,
                                                                                                                                                                                                                                     Sara Baume
secondary schooling in the UK, but nonetheless most of her points were                  games, music, films, magazines, etc. What the success of Leyden’s
of equal relevance to this country. Although she proved a stellar                       International Content Services Centre could mean for practising Irish
opponent for Bradley in the buzz-phrase stakes – with her ‘wise                         artists of all genres is that their own creative content would be stored

                                               iRiSh BRonze
                                               Kilmainham Art Foundry Ltd                     T/A   iRiSh BRonze

                                                               for sculptors seeking the perfect cast

                                               telephone:                    Willie malone 01 4542032.

                                               Death of CuChulainn. oliver Sheppard Rha (1865 – 1941).
                                               Oliver Sheppard sculpted this exquisite world-renowned piece In 1911/12. The original
                                               work in plaster was exhibited at the RHA in 1914. Purchased by the State in 1935, the
                                               work was cast in bronze (commissioned by Eamon de Valera to commemorate the
                                               twentieth anniversary of the 1916 Rising) and placed in the GPO Dublin.
                                               Commissioned by The Office of Public Works in June 2002, the second Cuchulainn
                                               was cast in bronze at Griffith College Dublin by Willie Malone. This picture shows the
                                               new work on permanent exhibition at the Custom House, Dublin.
31                                                                                                                                                The Visual Artists’ News sheet                                                          May – June 2011


Powerpoints & Brass Tacks
AlTeRNATIve art spaces arise and proliferate for a number of reasons,        staged as a festival in 2004 at Project Arts Centre. Fresh from his own        than the first half of the forum, began with a brief summary of various
in a variety of locations and times. It’s easy to point to budget            election campaign for Dublin South East, he spoke of “transparency as          contributions delivered thus far. Halsall remarked on the choice of
tightening and capital shortfalls as key factors in artists’ interests in    a fundamental arm of democracy”, and advocated the deliberate                  venue, colleges / universities being an anomalous creature in the
self-organised initiatives. And certainly, a subdued economy tends to        creation of a community to support a burgeoning idea. Grace McEvoy             menagerie of institutional spaces. However, Halsall stressed the value
motivate creative exploitation of once-untapped resources. Artists           of Block T, Dublin, by way of charting progress and productivity,              of the lack of ‘ownership’ of the college space, and, by extension, its
concern with intricacies and quirks of funding and realising a project       enumerated her space’s expended resources, from litres of paint to             place as a sort of neutral zone.
aren’t limited to the lean times though. Dissatisfaction with the            belly dancers.                                                                       The bulk of the subsequent conversation was between those with
existing institutions, or an urgent need capture and nurture a fleeting            Clare Feeley, whose day job is with the Serpentine Gallery, spoke        a vested interest in the survival and optimization of alternative
idea, can be more than enough to get things underway.                        about her work with Ruth E Lyons on the project Mercedes Fire, a               projects.
      The 20 independent spaces and projects represented at ‘What Do         weeklong educational road trip for artists (profiled in the March / April            Sam Keogh stuck with a now familiar vocabulary, framing
You Stand For?’ a forum discussion on alternatives to the ordinary art       2011 edition Visual Artists’ News Sheet). Being very much ensconced            questions of a given project’s nature as “resistive or productive” and
space – held on 12 March at The National College of Art & Design,            in the established gallery system, Feeley still placed vehement                calling attention to the various understandings of the ‘value’ of
Dublin – were similar in scope, but diverse in mandate. Dr. Francis          emphasis on the importance of art meeting the public “beyond the               spaces. The undergraduate-run Basic Space emphasized simple
Halsall of NCAD introduced the afternoon with a brief outline of the         pale”. Her attenuated thesis reached its crux with the literary device of      priorities – like the freedom to take risks. Vaari Claffey, re-asserting
origins and intentions of the seminar. He remarked that the session          an island, as a threshold space for gleaning new understandings via a          that even the most independent projects don’t evolve in a vacuum,
had been devised largely in response to the emergence of alternative         sort of monastic removal from the common bustle.                               iterated the importance of understanding the institutional and
spaces in Ireland, which he characterized as a ‘site of potential’.                Sam Keogh displayed the fruits of a short-term, intensive model          pedagogical models that develop around alternative spaces, along well
      The event included a series of five-minute presentations from a        in the form of his Radical Love project, a three-day, two-night creative-      as their relations to the ‘old guard’ institutions.
selection of projects (1); followed by discussion involving all of the       communal boot camp, meant to promote an almost romantically                          A few acute questions arose – like, in relation to settling in semi-
participants and audience members. Potential, and its hopeful                optimistic agenda of uninhibited exchange. His future ambitions for            abandoned sections of recession hit towns and cities, “whether it was
activation into something collaborative and energetic, did indeed            project, he noted, surpassed the “tidy temporal pocket” and a second,          necessarily a good thing to inhabit a ghost town”? When the discourse
emerge as a major theme in the discussion, alongside a general desire        more informed version of Radical Love is in the pipeline.                      tapered to address some of these more esoteric questions, the discussion
to explore alternative means; but also considerations of unconventional            Carl Giffney broke the form slightly when speaking about the             become impressively lucid and, somewhat ironically, rather
conceptions of the political and social.                                     Good Hatchery, which he co-founded and directs with Ruth E Lyons.              professional. The assembled participants, after all, represented a
      Following Halsall’s introduction, the microphone was passed to         Giffney asserted that the Good Hatchery, an artist-led, pragmatically          considerable experience quotient.
Vaari Claffey, who, as chair of the session, spoke first about her           communal residency and project outpost quartered in a revamped                       That said, curator Kate Strain of the Workhouse Test voiced a
personal experience in the facilitation of experimental spaces like the      19th century stone building in east Offaly, responded not to recession         mild frustration – which was shared by me, but evidently not all in the
Return Gallery at the Goethe-Institut (2.), Dublin and the Graceland’s       but to the “Celtic Tiger”. This belied a greater arc of possible positions     room – with what had seemed to become a reflexive language of
project in Leitrim (3), along with her hopes for the future. After a few     that ‘being alternative’ might inhabit. In Giffney’s case is was one           nebulous subversion. Strain called for a more committed and specific
words of support and encouragement for alternative ventures, she             declining alignment with, but not necessarily standing in opposition           ideological statements. She challenged the afternoon’s participants to
promptly attended to more weighty and pragmatic issues. After                to, the regular gallery and museum circuits. One could extrapolate             explain why exactly were they were so resolutely eschewing
having taken a few moments to sketch out her own bonafides, she              from Giffney’s point that alternative spaces act as a provisional              commercialism and the greater gallery network? By extension, one
focused on the work of individuals she saw as important in terms of          corollary to the pre-existing arts landscape – without necessarily             could ask what might be the endgame outside of a perfunctory
recent developments in imaginative modes of curating in Ireland –            calling for a march on the citadel.                                            political identification and the pursuit of outsider status for its own
such as Sarah Pierce (4) and Mark Garry (5). Claffey noted the importance          Not that those who did explicitly situate themselves against the         sake?
of considering the life-span new spaces and initiatives – a concern that     more entrenched socio-political current were necessarily lacking in                  Time was called, with theses question hanging unaddressed – but
would recur later in the discussion, in the broader sense of considering     polemical rigor. Fiona Halloran, speaking on behalf of the Provisional         Dr. Halsall offered, due to the many dialogical loose ends and the
issues of ‘sustainability’.                                                  University (6), a largely web-based egalitarian proposition, read from a       unwieldy girth of the day’s topic, to continue the conversation
      The presentations which followed, each offer a comprehensive           carefully worded prepared statement, using concrete Marxist language           through e-mail. Hopefully it can progress, and a clearly robust passion
‘nuts & bolts’ run-through of nationwide art spaces that had been built,     in defence of her position. She noted the inherent fallacy in equating         might lead to greater cogency and consensus in the future. Given the
bequeathed, and finagled to end up in the hands of artists and curators,     public and private interests, and declared her group’s aversion to the         degree of potential that Halsall had mentioned, which was palpable in
mostly young, who felt that they had something new to add.                   “capitalist fantasy of a creative economy”. Succinct and coherent in           the room, it’s worth keeping an ear to the ground.
      In the course of that line-up, there was a multitude of                their manifesto (and a manifesto it was), the representatives of the
communicative approaches, including a sort of Abbott-and-Costello            University would later bring a challenging clarity to the forum.                                                                                            Curt Riegelnegg
routine (that still managed to be quite informative); a vaguely relevant          Additional speakers included founders and directors of Ormond
martial-arts metaphor; and, naturally, a lot of slides. The format was       Studios, the Joinery, Paper Visual Art, PhotoIreland, Exchange, Monster        1. The full list of participants: Annette Molloney, Dylan Haskins, Soma, Ormond Studios, Block T,
painstakingly democratic – with as much time, and no particular              Truck, and several others. Some synopsized their activity in the art           Provisonal University, Clare Feeley,126 Gallery, Occupy Space, TransColonia, The Joinery, The
                                                                                                                                                            Workhouse Test, Paper Visual Art, The Good Hatchery, Faber Studios, PhotoIreland, Exchange,
ordering paid to firmly established collectives, as to fledgling, remotely   scene thus far, and some, conscious of the presence of fellow sufferers,       Radical Love, Basic Space, Monster Truck.
located labours-of-love. And everyone was given ample time to say            commiserated about the hardships of building an independent project            2.
their piece, provided they were efficient.                                   out of nothing. They’d earned the right, each space or other enterprise        4.
      Dylan Haskins spoke about his experiences in promotion of punk         having, to some degree, grown into its own.
music in the Dublin area and subsequent advancement of DIY culture,               The discussion segment, which had a somewhat lower attendance
                                                                                                                                                                                                                        EM Tu Th
                                                                                                                                                                                                                             rs NT

                                                       art students & graduates WHAT is youR NexT sTeP?
                                                                                                                                                                                                                       M i s wi

                                                                                                                                                                                                                           BE DE
                                                                                                                                                                                                                         VA rEE

                                                       the visual artists ireland student pack HAS THE ANSWERS

                                                       THe VisuAl ARTisTs iRelAND: sTuDeNT PAcK has been put together for the benefit of visual and applied arts students and
                                                       recent graduates making the transition into professional practice in Ireland.

                                                       The Visual Artists Ireland: Student Pack covers a wide range of topics and features a range of detailed texts and articles including:
                                                       The Business of Art; Artist profiles; top tips for students; Career Development; Copyright; Careers Paths; Postgraduate Education;
                                                       Training & Scholarships; Exhibiting with Galleries; Applying for Awards, Bursaries & Grants

                                                       You may avail of a copy of the pack for free by joining Visual Artists Ireland (student membership is just €25 per year) or for the
                                                       nominal fee of €5. Membership information To purchase an individual copy of the pack contact Visual
                                                       Artists Ireland T: 01 8722296
The LAB, brought to you by Dublin City Council is pleased to present

The Author of Unusual Papers
27 May – 25 June 2011
preview 26 May
A group show of new work by artists Diana Caramaschi, Monica Flynn, Colleen Lambe and
Susan Thomson, accompanied by an interview text with curator Claire Behan.

Events at the LAB: Art Criticism Now
In conjunction with the launch of the LAB Essays 2008 – 2011, the LAB presents a seminar on
art criticism and writing on 26 May 2011. For info and bookings see

The LAB, Foley Street, Dublin 1 T: 01 2225455 E:
                                    All forms of Metalwork and
                                    Sculpture commissions undertaken
Bronze Foundry

           New works recently finished at the foundry

Paddy Campbell Lar na Pairc            Chris Wilson Oceans Edge

CAST BRONZE FOUNDRY Located in the Liberties area of Dublin, we provide a
total sculpture service to artists and commissioning bodies. We pride ourselves
in providing a comfortable, welcoming working environment. Our multi-skilled
team brings personalised attention to every bronze casting project.

Cast Ltd, 1a South Brown St, Dublin 8. Tel: +353 (0) 1 453 0133
Contact Leo or Ray for your next project

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