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The Visual Artists’ News Sheet (VAN) is one of two periodicals published by Visual Artists Ireland. The Visual Artists’ News Sheet has been devised primarily as an information resource for artists in Ireland. It is published 6 times a year in a 36 page, colour/B+W, tabloid newspaper format. It is useful, practical and relevant, it is regularly produced and widely distributed, it draws on a diverse range of contributors and assumes a broad readership amongst visual artists. This publication is a valuable and much needed resource for all artists practising in Ireland. The News Sheet is available to pick up free of charge in galleries and arts centres. However, the most effective way to ensure that you receive the Visual Artists’ News Sheet both regularly and promptly is to become a member of Visual Artists Ireland. Membership is open to all artists and entitles you to an annual subscription to the Visual Artists’ News Sheet as well as a host of other benefits.
Image, Eleanor Philips Glendarragh Group Show Sinéad Ní Mhaonaigh, Platform, oil on canvas, 61 X 81 cm, 2006 18 August – 16 September Eleanor Phillips arts centre 22 September – 21 October Sinéad Ni Mhaonaigh 27 October – 25 November www.kevinkavanaghgallery.ie Main St, Bray, County Wicklow T: 01 272 4030 W: www.mermaidartscentre.ie News Sheet The Visual Artists’ Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire September – October ISSUE 5 2006 Blaise Drummond A Little Romance. 2006. Oil & Collage on Canvas. 167.5 x 142 cm. Courtesy of Rubicon Gallery, Dublin. 2 The Visual Artists’ News Sheet September / October 2006 INTRODUCTION CONTENTS Introduction Contents 3. Column. Ken McCue. Missing Continents. WELCOME to another edition of the Visual Artists News Sheet. 3. Roundup. Recent exhibitions and projects of note. You will notice the advertisement below announcing that Visual Artists Ireland is about to move to a new 4. Column. Sarah Glennie. Building for the Future. premises. We will be remaining on the north side, but as from 18 September we will be relocating from our 5. Column. Alan Phelan. Memory is more than an Index Card. current base opposite the Dublin wholesale fruit market, to number 37 North Great Georges St. This is just 5. Column. Una Walker. Mythical Beasts. 2 minutes from the Parnell Square end of O’Connell St; and close by to the Hugh Lane Gallery and O’Reilly Theatre – and directly opposite the Cobalt Café. This is a convenient, central and accessible location and we 7. News. The latest developments in the arts sector. will occupy the ground and first floor. The move will allow us slightly more space and will create a more 8. Focus: Live Art in Public Spaces. To Stand in Front of Other People. Aileen Lambert introduces some of comfortable environment for staff and visitors. For several days either side of the move there will obviously the principles and dilemmas underlying the presentation of live art in public spaces. be some disruption. However, we hope to be able to resume a normal service as soon as possible and we 9. Conference Report. Productive Anomalies. Jane Speller reports on the AICA organised seminar ‘From would ask for your patience and co-operation if you have any difficulty getting in touch with us over the moving period. We will maintain our current phone number. Art School to Professional Practice’ held at the National Gallery, Dublin in May. 10. Research. Helping More People Know About the Arts. Jacqui McIntosh surveys media coverage of the VAI in association with the National Sculpture Factory has just announced a new programme of visual arts in Ireland professional development workshops for the autumn. A brochure is available outlining the programme 11. Appreciation. Noel Sheridan. Brian Hand pays tribute to Noel Sheridan. and details can also be found on our web site. 13. Conference Report. Real Relationships. Sarah Browne reports on public conversation with Grant Kester. Visual Artists Ireland has been supporting the delivery of OUT OF SITE, a series of site specific 14. Cultural Policy. Selling Creative Futures. VAI International Representative Mark Cullen reports on performances taking place in September as part of the visual arts programme of Dublin Fringe Festival. the ‘World Summit on Art and Culture’, held at The Sage, Gateshead. OUT OF SITE will feature16 artists from Germany, Portugal, Finland, USA and Ireland and performances 15. Organisation Profile. United in Art. Mary Caulfield profiles The United Arts Club in Dublin. will take place in public spaces around Dublin City Centre. The project was initiated and has been organised by artists Michelle Browne. 16. Conference Report. Knowledge, Power and Space. Susan Gogan reports on the Site-ations International Conference 2006, Model Arts and Niland Gallery, Sligo (17 – 18 June). VAI has over recent months started to commission a wide range of texts that will form part of a new web 17. Career Development. Peaks and Troughs. Blaise Drummond considers the dynamics of his art career. based information resource for artists called ‘info~pool’. It is intended that this web resource will be a 18. Art in The Public Realm. Recent public art commissions, site-specific works, socially engaged practice comprehensive information archive and act as a useful, practical and relevant tool to all artists. We are aiming for an on line resource comparable to the likes of those sites operated by a-n The Artists and other forms of ‘art outside the gallery’. Information Company (www.a-n.co.uk), Artquest (www.artquest.org.uk) or the Australian National 19. The Domestic Goddless. Brain of Piglet in Barley Wine. Association for the Visual Arts (www.visualarts.net.au). We hope to launch info~pool on line later this year. 20. In the Studio. Claire Halpin and Damien Duffy discuss their studio facilites. 22. Art in Rural Contexts. Making Art Porous. Djeribi and Dominic Stevens travelled from Leitrim to Clare Finally, on page 11 you will find a tribute to professor Noel Sheridan who died recently. Noel had been a significant figure in the arts in Ireland for many years and his presence will be missed by many. to report on a recent meeting of the Ground Up Artists’ Collective. 25. Project Profile. Making Inroads. Kildare County Council Arts Officer, Lucina Russell and Artist, Sally Timmons provide an overview of ‘Temporary Foray’ A series of talks and workshops held at Riverbank Arts Centre, Newbridge, County Kildare (Feb – June 2006). 26. Advocacy, Lobbying and Representation. Fees & Contracts. An update on these 2 key areas of VAI’s current research. 27. Regional Focus. Visual arts resources and activity in CountyLouth. We are 30. Opportunties. All the latest residencies, commissions, grants and calls for exhibition. Production Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout & Opportunities: Monica Flynn; Moving! Proofing: Anne Henrichson; Invoicing: Valerie Earley. Contributors Ken McCue, Sarah Glennie, Alan Phelan, Una Walker, Jane Speller, Jacqui McIntosh, Brian Hand, Sarah Browne, Mark Cullen, Mary Caulfield, Susan Gogan, Blaise Drummond, The Domestic Goddless, Claire Halpin, Damien Duffy, Djeribi &Dominic Stevens, Lucina Russell, Sally Timmons, Alex Davis, Toby Dennett, Nick Reilly, Anthony Collins, Sean Cotter, Sile O’Sullivan, Cliodhna Cunningham, Brian Harten, Marcella Bannon. Contact Northern Ireland Representive Visual Artists Ireland, Cnr Halston Street / Mary’s Brian Connolly V isual Artists Ireland is Lane, Dublin 7. NB New address (from 18 Sept) E: email@example.com 37 North Great Georges Street, Dublin 1. Staff T: 353(0)1 872 2296 F: 353 (0)1 872 2364 Director: Toby Dennett moving to new premises. E: firstname.lastname@example.org W:www.visualartists.ie Publications Manager: Jason Oakley Membership Manager: Valerie Earley Board of Directors Information/Research Officer: Niamh Looney From Monday 18 September Therry Rudin (Chair), Liam Sharkey (Vice Chair), Niall O’Neill, Anya von Gösseln, Maoiliosa Administrator: Monica Flynn Advocacy Programme Officer: Alex Davis Reynolds, Richard Guiney, Paula Duffy, Tim Lloyd, Research Assistant: Tara Kennedy our address will be – 37 North Brian Fay, Roger Bennett, Susan MacWilliam, Kevin O'Dwyer. THE VIEWS EXPRESSED IN THIS PUBLICATION, UNLESS OTHERWISE INDICATED, DO NOT Great George’s Street, Dublin 1. NECESSARILY REFLECT THOSE OF THE EDITOR, EDITORIAL PANEL OR VISUAL ARTISTS IRELANDS’ BOARD OF DIRECTORS. Our telephone numbers and email contacts remain the same. Visual Artists Ireland is the registered trading name of The Sculptors’ Society of Ireland. Registered Company No. 126424. The Visual Artists’ News Sheet September / October 2006 3 COLUMN ROUNDUP Roundup Other visual arts highlights of the exploring elements of cultural Ken McCue festival including ‘Re-Production’ a phenomena such as speaking in tongues Missing Continents specially curated weekend art event (19 – and reverie”. During the Birr Arts Festival Man's portrait. 20 August) featuring performances, in Co. Offally (12 13 August) Murnaghan SQUARE ONE Terra cotta. NOK period. installations, dancers, DJs and exhibitions restaged his previously enacted project Lagos Museum. Photographer: Philip Gaunt by artists from Ireland and the UK Memorious whereby he used advertising © UNESCO including Clodagh Emoe, Pauline Rowan, space to offer for sale, part of his memory Joanna Peacock and Vaginal Vinyl. At the capacity. Maltings building members of the www.paulmurnaghan.com Endangered Artists groups presented the group show ‘From Here to There’. Works LONG HALL by Alan Counihan were on show at The TAXPAYERS recently moaning about the big grant presented to the ten theatre Rudolf Hetzel Gallery companies performing at this year’s Edinburgh Festival heard Doireann ni www.kilkennyarts.ie Bhriain, a director of Culture Ireland explain on RTE’s Rattlebag that the funding Richard Gillingam Burnside, Portland was a cultural investment and that the Scottish capital was an important stage OBSCURED BY ARCHITECTURE for the Irish companies to show their work. Doireann, who knows that ‘Square One’ at Monstertruck Studios, Edinburgh is an ideal ‘shop-window’ for theatre in the European arena, Dublin (3 – 6 August) was group defended the spending of resources with vigour. exhibition featuring the work of over 20 There is no doubt that the potential spin-off in terms of European receiving established international artists who are theatres hiring Irish companies is one of the motivating factors and therefore involved in skate-boarding – from justifies spending money to open up this market for Irish material. designing board graphics and clothing For many members of the general public this radio broadcast segment may lines to photographing skating. As the have been their first introduction to this new Government funding and press release stated “There is something one-of-a-kind about the creative impulse Niamh McCann development agency. Patrick Hall WM in Stripe Vest Culture Ireland was established in 2005 with the brief of: and skateboarders. The two seem to go ‘Patrick Hall – 50 Years Painting’ at The Presenting and promoting work internationally. together quite well, like sound waves and Model Arts and Niland Gallery (20 July – Developing new and diverse international audiences and markets. air. It must be the individualistic nature of 10 September) was uniquely determined Participating in international network events. both skateboarding and creativity. by the views of another artist – Isabel Developing opportunities through workshops, exchanges/collaborations Although people can certainly be creative Nolan. Nolan is carefully described in the with international arts practitioners. when assembled into groups, it is usually press release as the show’s selector and Advising Government Departments on integration of cultural policies in the loner, hammering away in his garage not a “curator, writer or academic”. Her their international strategies. that brings about the sudden inspired Ben Geoghegan Munning (verso) 2006 selection, developed through a number of Building relationships and networks abroad. innovations. Most sports are about ‘Obscured by Architecture’ South Dublin discussions with Patrick Hall over the last Working with Department of Foreign Affairs, state agencies and government winning, skateboarding is not and this County Hall, Tallaght, (15 July – 4 August) year. The end result is an exhibition that departments at home and abroad. exhibition is a celebration of this”. and Rathfarnham Castle, (15 – 22 July) www.squareoneshow.com does not present a ‘representative’ path Developing strengthened relations with Northern Ireland, England, Scotland presented works by Chris Reid, Ben through Hall’s career, but instead and Wales. Geoghegan, Aisling O Beirn, Amanda KILKENNY ARTS FESTIVAL addresses attitude and intention over To date the agency has disbursed over €4 Million in grant aid to mainly Dunsmore and Niamh McCann. Curated coherence and linearity. Irish based companies and individuals working in the Arts and Cultural arenas. by Michael Dempsey on behalf of The Art www.modelart.ie Although the scope is global, one continent has been virtually ignored. The Projects Network, the exhibition was funding for projects in Africa to date has included; €1,400 to painter Brian focused in issues relating to public spaces CANDIDA HÖFER AT IMMA Henderson for a solo show in South Africa, €15,000 to Elizabeth Healy for a and the paradox of them being owned by music project in Mali, €9,900 to Colm O Snodaigh for a music project in Tunisia, all but occupied by no one. In response to €3,000 to Cork Film Festival for a film showcase in Algeria and €1,000 to the this starting point the works in the show Irish Society of Tanzania for a St. Patrick’s Day Ball. The cultural investment in offered various analysis and observations Africa totals €30,000 out of the €4,000,000. on how the world is put together, along In order to correct this imbalance, a major overhaul in the way we see with imaginings of new social Africa must be effected. Primarily, we must get rid of the notion that Africa is configurations. www.artprojectsnetwork.net there for charitable donations and bequests. We must realise that culture is the first cousin of development and that the Millennium Development Goals must PAUL MURNAGHAN incorporate a strong cultural dimension. The Irish Government, alone has 28 Diplomatic Missions and Embassies in Africa. Our Civil Service Officials on this continent must place culture higher up on their agendas. Dedicated officers, Candida Höfer, The Merrion Dublin II, 2004, 180 x 220 cm, C-print, Courtesy of the artist and VG Bild-Kunst Bonn 06 connected to Culture Ireland, must be appointed and mechanisms put in place Nevan Lahart to facilitate cultural exchange between African countries and Ireland. A German artist Candida Höfer’s first solo position similar to the strategy of the Danish Centre for Culture and show in Ireland is currently on view at Development can be adopted. This will involve the creation of a direct link IMMA (12 July –1 October). The between cultural and development agencies in Ireland. exhibition features 11 works made while This can be achieved in a number of ways. Firstly, now that the Arts visiting Dublin in 2004, including Council’s new Arts Strategy has finally recognised that intercultural dialogue photographs taken at the National Library can be achieved through the arts, a Cultural Diversity Observatory can be of Ireland, Marsh’s Library, the Long Room established which will implement UNESCO policy in the area. Added to this, in the Old Library of Trinity College, the individual artists can explore exchange project opportunities by making Merrion Hotel, and the Great Hall, Chapel contact with artists from African countries living in Ireland. Further study could and Johnston Room of the Royal Hospital Paul Murnaghan be made of the cultural contacts between Ireland and Africa. A good starting Deirdre Power, Kilmainham. The types of architectural point is Bob Quinn’s The Atlantean Irish which covers the historical cultural space to which Höfer is repeatedly drawn The core visual arts element of this years’ Paul Murnaghan’s ‘Turn me on dead man’ connections between Ireland and North Africa. This proposed Observatory can are, without exception, public or semi- Kilkenny Arts Festival was the exhibition at the Basement Gallery in Dundalk, (18 facilitate joint-venture activity involving the Non Governmental Agencies public places that have been constructed entitled ‘Failure’ situated in various site Aug – 8 Sept) referenced a reversed working in Development Education (Dochas), Irish Aid and the Arts and for specific purposes; spaces in which we across the city (11 – 20 August), curated by message embedded in a 1960’s vinyl Cultural sector in order to achieve these aims. may expect to linger a while but not Mike FitzPatrick. The show brought album. The show explored how the Visual Arts Ireland as a member of the International Liaison Committee of reside. together a range works by Irish and message could be read as a mantra the Coalitions for Cultural Diversity, campaigns to have the Irish Republic sign Candida Höfer was born in 1944 in international artists including Bas Van applicable to varied factions through the the UNESCO Convention on the Protection and Promotion of the Diversity of Eberswalde, Germany, Having studied Ader, Vito Acconci, Caroline McCarthy, ages, comprising of drawing, installation, Cultural Expression 2005. I recommend that a meeting take place between VAI film at the Kunstakademie Düsseldorf, she Deirdre Power, Tom Fitzgerald, Gerard video and sound. and Culture Ireland to discuss Articles 14 and 16 of this Convention dealing went on to study photography under Byrne, Martin Healy, Nevan Lahart and Murnaghan decribes himself as a “a with Cooperation for Development as soon as possible to address the reasons Bernd and Hilla Becher. Tina O’Connell. documenter, illustrator and guinea-pig, www.imma.ie why Africa has been left out of the Irish Cultural mindset. 4 The Visual Artists’ News Sheet September / October2006 COLUMN ROUNDUP Sarah Glennie INITIALS AT IMMA JEANNE SILVERTHORNE between Insider and Outsider art and the impact of some Outsider artist on the Building for the Future work of many of the greatest artists of the past 100 years. The exhibition is built around the Musgrave Kinley Outsider Art THE Model Arts and Niland Gallery is about to embark on a major Collection, on loan to IMMA since 1998. It redevelopment with building work planned for September 2007. This is not the has already been shown to critical acclaim place to go into the details of the redevelopment, but essentially we will be both at Fundación ‘la Caixa’, Madrid, and the adding to and improving our existing space and the plans include new galleries, Whitechapel Gallery, London, both co- artists’ studios, performance space and more storage. James Coleman I N I T I A L S, 1993-94 organisers, with IMMA, of the show. The I have been working on these plans since I started work at the Model in Projected images with synchronised audio narration. show features the work of modern September and as we progress into the project, I and our working group, have Photo: Courtesy of James Coleman © Jeanne Silverthorne Burning DNA masters such as Jean Dubuffet, James been increasingly making very specific decisions that will determine the feel of IMMA hosted the first showing in Ireland Burning DNA Jeanne Silverthorne’s Ensor, Philip Guston and Joan Miró with the building long after my tenure as director. With the ACCESS II Capital of I N I T I A L S one of the most important installation at the Butler Gallery, Kilkenny that of a wide cross section of Outsiders, Investment Scheme recently announced by the Department of Arts there will works by James Coleman (4 Aug – 3 Sept). (12 Aug – 24 Sept) addresses the literal and including Henry Darger, Madge Gill and now be many directors in the similar position of trying to envisage a new future The slide-tape installation, dating from metaphorical implications of DNA, the Adolf Wölfli. for their galleries. www.imma.ie 1993-94, is one of a trilogy of works by molecule that encodes the genetic There is clearly an enormous responsibility in any decisions determining Coleman acquired by IMMA through information that is passed from one the form and nature of public gallery spaces. This is particularly the case in INTERVENTION / REINVENTION funding from the Heritage Committee of generation to the next. Amongst its spaces like the Model whose key policy is to engage with contemporary art and the National Cultural Institutions in 2004. elements the show features tiny rubber respond to developments in current art practice. One of my main concerns from James Coleman is widely regarded as figures, modelled by the artist from the beginning has been to create enough flexibility of use in the building for it to having a uniquely influential role in a photographs displayed with DNA remain relevant and exciting for future contemporary artists but to some extent range of media that dominate large areas information on the sitters who were this is an impossible task and requires a foresight that none of us have. of current art practice. For more than 30 selected for the joint ancestry back to In the 1980s an ability to take monumental sculptural work was seen as a years he has used the photograph, the seven common female ancestors some prerequisite for contemporary galleries but somehow now it doesn’t seem so projected film still, the transparency, the 1000 years ago. important – but who is to say this will continue to be the case in 30 years time. www.butlergallery.com slide show with sound track and the film Similarly in the age of laptop art production large-scale working spaces designed as powerful means of conveying his for object making do not seem the most effective way to provide practical NEW WORKS Ian Wieczorek Land Series 1, No. 3 reflections on the meaning of the image, working spaces for as many artists as possible. But again will this continue to be ‘Intervention / Reinvention’ Ian whether moving or static. the case? Things can change so quickly that buildings designed around current www.imma.ie Wieczorek’s showing of new paintings at art concerns quickly feel tired and prescriptive. Already the recent desire for the Custom House Studios and Gallery, contemporary galleries to have ‘multi-media’ spaces with high level technical MACHINES GIVE ME FREEDOM Westport (3 – 27 August) examined specifications feels dated and tied into a very particular view of future art notions of context and character in terms production that has not necessarily been realised. A recent visit to two recently of visual cues and perceived expectations. refurbished galleries in the UK highlighted these dangers as their ‘mulit-media’ The works, while resembling landscapes spaces already feel too limited and they are frequently being adapted for a more were in fact derived from sides beef – the flexible use by work with a less technologically focused remit. The flip side to artist transforming the viewer’s reading of this though is the continuing frustration of visiting new spaces that still fail to imagery through the utilization of provide the basics for the presentation of audiovisual work such as light and painting techniques and style typically sound control. Anthony Lyttle World III associated with landscape painting in More difficult again to get right than the physical specifications of the Ireland. space is the feel of the gallery. Will it be a space that artists respond well to and want to show work in? To me this is at the core of a successful gallery as a good LARS ARRHENIUS ‘match’ between artist and space creates the best environment for the audience Hugh McCarthy La Naturaleza ha Muerto to experience an artist’s work. In my experience this ‘match’ does not always happen with the clean white cube that is often held up as the ideal for gallery Hugh McCarthy exhibited colourful spaces. The Model is a very good case in point where the unique character of our abstract works in his exhibition ‘Machines 19th century galleries offering differing scales, good light and changing Give Me Freedom’ at the Stone Gallery, perspectives is almost universally met with a good response from artists and Dublin (30 June – 18 July). The paintings audience despite the limited wall heights, small doors and architectural combined imagery patterns and shapes detailing. There are many examples that spring to mind of characterful, referencing contemporary design, mass awkward spaces that do not follow the rules of good gallery design but which media culture and consumerism. www.stonegallery.ie David Begley Laocoon have still resulted in memorable shows where artists’ work seems to sit in perfect harmony with the space (Inverleith House, IMMA and the Serpentine). VISUAL ARTS AT MERMAID ‘New Works’ at Newtownbarry House Should this lead all architects and planners of new gallery spaces to looks for Gallery presented new works by the uniqueness and character over simplicity? Will art find its place in a well painters David Begley and Mary Canty; Lars Arrhenius Habitat, 2005, animation, DVD, 8 min. designed building and should architecture aim for interest over neutrality? along with printworks by Anthony Lyttle Again I don’t know the answer to this. For every example of a dynamic new and (21 July 7 August). All the artists have Swedish artist Lars Arrhenius’s exhibition gallery that works well for both audience and artist there is the horror of an over- exhibited in many group and solo shows at Temple Bar Gallery & Studios (26 July – designed space that will always feel like an architectural folly dominating and throughout Ireland. 2 Sept) ‘If signs had souls’ presented wry compromising the art shown in it (the Tate St Ives immediately springs to mind). www.newtownbarryhouse.com social observations and contemporary Ultimately though decisions have to be made and stood over with narratives through works utilising a confidence and certainty. Our decision at the Model has been to go for quality of INNER WORLDS OUTSIDE universal graphical visual language, gallery over quantity. The new plans will create a ‘circuit’ of galleries on the first recalling technical illustrations and floor that creates a cohesive uninterrupted environment for artist and audience public signage. In his portrayal of the and overcomes a current slightly awkward split between levels that interrupts mundane, Arrhenius has been likened to a the experience of a show. The additional space in the new building is being used Jean Clyne Fire Field 60 x 60cm Oil on Linen modern day Bruegel, while his penchant for other aspects of the Model’s activities – new studios and performance space Currently on show at the Mermaid, Bray is for pithy humour and understanding of and the less glamorous but essential additional storage, offices and toilets, all of the ‘Glendarragh Studio Group human foibles links him to a succession of which will allow us to provide a better experience for both artists and audience. Exhibition’ (18 Aug – 16 Sept).The studio, social satirists from Jane Austen, Hogarth We feel we have come up with the best possible solution and the new Model will founded by Fiona Coffey, is located rural and Woody Allen. The show was the be able to develop and meet its future potential. However, I have no doubt that North County Wicklow. The work in this Perifimou, Forbidden Territory, 1986, Acrylic on paper artist‘s first solo outing in Ireland, there will still be some cursing by my successors over decisions that make total exhibition records a diversity of artworks comprised the large wall mounted sense to us now but may not be so right for the future. This is the risk that has to Comprising 140 works, ‘Inner Worlds and styles that have been developed and graphic A-Z and the digital animations be taken in the quest to improve what we have and leave the best possible arts Outside’ at IMMA (26 July – 15 October) created by the artists during their time at The Street, Habitat and The Man Without infrastructure for those coming after us. explores the many myths surrounding Glendarragh Studios. Qualities. www.mermaidartscentre.ie Outsider artists, showing the parallels www.templebargallery.com The Visual Artists’ News Sheet September / October 2006 5 ROUNDUP COLUMN DRAWN CONCLUSION RDS TAYLOR ART AWARDS 1878-2005 Currently on show in the National Gallery, PALOMA VARGA WEISZ Alan Phelan Dublin (26 June – 22 October) is an Memory is More Than an Index Card exhibition focusing on the winners of RDS AS someone who works part-time as an archivist, the recent popularity of Taylor award, which was established in archive practice within art has always been of interest to me. I have myself even 1878. The show is a contribution to the used the archive concept, for one project in particular which utilized archive 275th anniversary celebrations of the records and as a whole presented itself as a kind of ‘living archive’. Generally Royal Dublin Society. The exhibition archives are repositories, meaning places where stuff goes to ‘repose’ or lie features winning works by Walter dormant. But archives are also places where information can be accessed – not Osborne (The Tempting Bait, 1882), Patrick hermetically sealed for posterity. Tuohy (Supper Time, 1912), Rose Brigid The way much archive material is presented in the art context has to do Mary A FitzGerald Ganly (Pity, 1929), Dorothy Cross (Pierrot, with presenting raw information. There is something strangely ‘objective’, it 1977), James Hanley (Captain Courageous would seem, about the implications of the archive. I reckon this can be traced Land Lover, 1991), and Neva Elliott back through contemporary history to the early days of conceptual art, when (Without Breaking, Clean Break, 1999). lists and index cards were all the rage. Within most of this work there was the www.nationalgallery.ie urge to present pure information without any decorative nonsense. Stanley Brouwn’s filling drawer piece springs to mind, one of which was purchased by Tate Modern last year to the horror of the press and blog community, which MAZE & AGREEMENT Paloma Varge Weisz Hirsch, Stehend 1993 limewood contains 1,000 blank index cards. Paloma Varga Weisz’s show at the Douglas But there have always been colourful debates criticising early conceptual Kate Betts Hyde Gallery (29 July – 16 Sept) features work by many of its proponents. Mel Bochner, for example, never trusted in the ‘A drawn Conclusion’ Kate Bett’s and Mary wood sculptures and drawings. Weisz’s transparency that was being mooted by these artists. As he saw it there was no A Fitzgerald’s a collaborative exhibition at has a growing profile for her traditionally new objectivity being forged through these ‘language games’. Other attempts in The Tipperary Excel Gallery (23 June – carved wood sculptures that recall the late the 1980s to revive objectivity by, for example, curator Jean Francois Chevrier, 21st July) featured works on paper, wall gothic style of her native Germany, which proved to be short-lived and somewhat faddish. His fetish for the large, over- pieces and a large wall / floor installation. represent surreal hybrids of people and sized photograph, provided another possible trajectory from the Bechers’ The works in the show explored animals. deliberate descriptive images, but art photos have long since shrunk. Maybe I www.douglashydegallery.com am being harsh here, as ideas do change and are played out or acted out over unconventional approaches to drawing techniques and modes of presentation, only a limited amount of time. To keep things fresh ideas are tweaked and including the utilisation of print multiples BITTNER AND GLABIS AT QSS morphed into new ones – which sometimes say the same stuff, but at least the Raymond Watson Cold Floor and Rorchschach inkblot exercises. new language games keep things interesting. www.tipperary-excel.com The archive is a useful tool or model in the presentation of factual Raymond Watson’s exhibition in Sirius information. The pedantic professional archivist inside me, however, looks at Arts Centre, Cobh (August) featured two ARCHIPELAGO AND OTHER STORIES many of these art archives and scoffs. Too often the ‘archive’ gets used to locate separate, but thematically connected a few files or documents and this in no way resembles the reality of any archive, bodies of work. The Hands of History, is a which generally is stuffed to the seams with hundreds of thousands of sculptural work based around the Good documents, many lying around uncatalogued or non-retrievable for decades. Friday Agreement, while The Maze, series What the archivist does is provide routes to and into this mass of information paintings consider various aspects of the Gudrun Buttner Deaf Eric. (2003) Stop Motion Animation. for the researcher. human interaction with the prison. www.iol.ie/~cobharts With art though, it’s all different. The artist is not trying to be an archivist, and the audience are not researchers. But in reality that is what is being RICARDO proposed, as many of the activities are similar. With much archive-related art practice, a selection of records are ordered, or numbered, and sometimes Ciaran Walsh catalogued or at least listed. The key here is the selection which is presented to ‘Archipelago and Other Stories’ Ciaran an audience. Calling the selection an ‘archive’ implies that there is much more Walsh’s exhibition of new work at Four, Pau Pascual GalbisEl Green. (2005) Audiovisual Installation. stuff somewhere else, but the artist has selected a range of material for the Dublin (28 July - 30 September) considers Video, film and installation artists Gudrun audience. Rarely are there enough records to create that the critical notions of escapism, confinement and the Bittner & Pau Pascual Galbis were recently information-mass that an archive should contain. sense that perfection is always elsewhere. visiting resident artists at Queen Street What these selections or partial archives present is the opposite of In the show small scale representations of Studios, Belfast. Austrian artist Gudrun objective raw information, but rather a subjective glimpse for the viewer / fictional places, architecture and Bittner and Pau Pascual Galbis from Spain researcher. If the archive model is taken to the next logical turn, the viewer / situations mediate between imagined Margaret Tuffy Ricardo: A Moving Portrait. (Video Still) showed a number of video works at QSS. researcher surveys the material and goes off and writes up the research. Now personal landscapes and narratives, and a www.queenstreetstudios.net this is foolish in an art context, as what happens is that the viewer has to decide Margaret Tuffy showed Ricardo: A Moving sensation of restraint experienced through where meaning lies from the clues presented by the artist. The narrative is not Portrait at the Crow Gallery, Dublin (20 – OBSESSION the physical and social facts of external directly centred on the raw material but in the space around and between it. 30 July). Tuffy met the subject of this work reality. Graduating from Dun Laoghaire There have been many incidents recently where this has worked and while working as a film extra. Ricardo also Institute of Art, Design and Technology in others where the archive becomes something else entirely. The General Idea a film extra, discusses in the video his film 2003 and currently living and working in archive material presented at Project recently created an odd hagiography to related ambitions and fascination with Dublin, Ciaran Walsh has exhibited in queer art practice, and although dubbed ‘a partial retrospective’, it left out film. The piece is the first in a series of ‘Haunted’ in the City Arts Centre, decades of actual practice to make its few but interesting observations. Neva portrait video-works by the artist, which is ‘Elsewhere from Here’ in the Workroom, Elliot’s Archiving Limerick project as part of the ‘Fresh’ collections show at LCGA inspired by the changing face of the and ‘Flagged’ a part of the VISUALISE: used the archive model to document numerous encounters the artist had with contemporary urban landscape and the Carlow public art programme. He has local leisure and hobbyist groups. Many of the files however were pretty empty desire to capture the nature of local most recently exhibited as part of Pat Burnes Obsession and it was far more interesting hearing from the artist herself about her many characters within a transient community ‘Imagined - Visions of Architecture’ in The strange and wonderful experiences ranging from youth drama to retired writing Pat Burnes’ exhibition ‘Obsession’ at the Dock, Carrick-on-Shannon in June of this clubs. The Moore Street Lending Library collected information rather than CONOR FALLON Signal Art Gallery, Bray (25 Sept – 8 Oct) is year and is presently working as curator presenting an existing archive – similar to Elliot but with tighter socio- A mini-retrospective of Conor Fallon’s described as “being driven by obsessions – for part of VISUALISE: Carlow’s 2006/2007 geographical limits. The results were also presented on site and not in a gallery, work was recently shown at the Norman with art making, memory, landscape and programme. maintaining a strong link between site and content. This is where the living www.fourdublin.com Gallery, Enniscorthy (1 – 23 July). The the history of her hometown, Bray”. The archive remains as true as possible to its participants, and where there is no exhibition featured 16 of the artist’s works in the show are painting and print attempt to translate or distil the material for an art audience. What happens sculptures from 1976-2005, along with works derived from old black and white next with the MLL will be interesting to see. drawings and prints. family photographs, derived from a It was also refreshing to see Sarah Pierce’s approach in her recent Project www.normangallery.com repeated process of enlargement and show in complicating further the notion of the archive, by mixing remakes of reproduction– which the artist iconic sculptures with borrowed maquettes, drawings from her mother and acknowledges was inspired in part by Anonioni’s famous 1960s movie Blow-Up. letters from a Kent State University archive. Theodor Adorno may have described the museum a mausoleum of artworks, but when there is a good range of material presented, life can be again infused into dead old records. 6 The Visual Artists’ News Sheet September / October 2006 ROUNDUP COLUMN AUSTRALIAN PRINT EXCHANGE LILY WHITE Una Walker Mythical Beasts JUST when sightings of UFO’s are reported as being at an all-time low and faith in eerie phenomena appears to be diminishing, the creature know as the ‘Ulster Artist’(1) , previously thought to be extinct, has recently made a come back, with Gemma Browne Lily-White No. 6 (2006) sightings in the vicinity of Ormeau Avenue reported. The Ulster Artist was first Acrylic on linen, 52 x 42 cm identified (some say invented) by the poet and curator John Hewitt some time Gemma Browne’s new body of work, Lily in the 1950s. This is not to say that artists of the more general kind had not been White – shown at the Kevin Kavanagh spotted in the north-east of the island before this date. These artists were of two Michael Zschech Wail-Whale-Wail Digital Montage. Gallery (14 July – 11 August), was main varieties: those who had been born and trained elsewhere and who took ‘EPPM: An Exhibition of Australian Prints concerned with the notions around the up residence for short periods: and those who had been born, and possibly even – Landscape, Portraiture, Still Life’ at freshness, innocence and possibilities of trained in Ulster, but who left at the first opportunity. In the post-war period, Limerick Printmakers (13 July – 3 August) youth. The paintings in the show were when free third level education became available, output of Ulster trained presented work from Exchange Partners in derived from composites of images of artists began to outstrip export demands and some of them stayed at home, but Print Media, an Australian non-profit Eimear Brennan teenagers from fashion magazines – these conditions did not of themselves produce the Ulster Artist. organisation for media artists. EPPM have O’Donovan, Piia Rossi, Cresta Simonsen images that strive to conjure a world of been organising exchanges of print and Jasia Szerszynska. youth and its endless possibilities and The geographical prefix would normally imply being from that place, however, portfolios since 1992 and over 260 artists www.originalprint.ie optimism in order to drive consumption. in this instance it in fact indicates some essential quality. Hewitt attempted to www.kevinkavanaghgallery.ie define this; “being an Ulster artist is not primarily a question of birth, of blood or have participated in the exchange since KAUNAS PHOTO DAYS 06 accent: it is the condition of being involved in Ulster life and Irish landscape, then. Their print portfolios are held by major art and print collections in Australia and finding therein the material for his art”. This reference to landscape may PICASSO, HISTOIRE NATURELLE and overseas. prompt recollection of Roy Foster’s argument in Varieties of Irishness that the Navan’s new visual arts facility, The www.limerickprintmakers.com cultural roots of the nationalist revival lay in differentiating between the values Solstice Arts Centre recently showed of the city (perceived as English) and the country (perceived as Irish). In 1971 TWO ALS Picasso’s Histoire Naturelle graphic suite, one the Arts Council of Northern Ireland’s contributions to Festival ’71 was initiated in 1936 by picture dealer and Causeway, a collection of essays of different aspects of the arts in NI. In the publisher Ambroise Vollard, to painting and sculpture section Kenneth Jamison states that though Belfast is accompany the classic 18th century text of the artistic centre of the province, the city has had little influence as many the same name by George-Louis Leclerc de John Kelly artists were born in the country and most have used it in their work. In fact Buffon. Picasso chose 31 animals, birds and William Conor, the leading light amongst artists in Northern Ireland until the insects and drew them not from life but Irish artist John Kelly is taking part in 1960s, consistently depicted the mill and shipyard workers against the with his mind’s eye. A series of workshops Al & Al Perpetual Motion In the Land of Milk and Honey Kaunas Photo Days 06, the largest festival background of street life in Belfast, indicating that perhaps the essential and lectures will complemented the of photography in the town of Kaunas, qualities defining ‘Ulsterness’ lay elsewhere. exhibition. Lithuania, taking place in September. www.solsticeartscentre.com Kaunas Photo Days 06 is the third edition Some have doubted the very existence of the Ulster Artist. Hugh Shearman, of the annual festival which is a member theosophist and writer of novels such as The Bishop’s Confession, has been of Photofestival Union. Kaunas Photo described as a moderate apologist for the Stormont Government. From 1946 Days is presented in traditional and non- Al & Al Perpetual Motion In the Land of Milk and Honey conventional spaces: galleries, medieval and new museums, centred on the Get into the until the late 1960s numerous editions of his Northern Ireland; its History, Resources and People, were published by HMSO in Belfast. In earlier editions the Presented as part of the Straylight Art Programme accompanying the Darklight historical centre of Kaunas. The theme of the event this year is “EuroAsia - Re- Roundup arts are not dealt with specifically but are mentioned in connection with ‘The Ulster Character’. According to Shearman Ulster people are “pushful, sceptical, unceremonious and individualistic.” He lists people, originally from Ulster, who Digital Film festival. festival, the first Irish Merging Continent. have made a name for themselves elsewhere but suggests that this solo show by UK based video artist Al and www.light.lt To get your exhibition or event individualistic tendency prevents them from making much of their origins as Al was shown at St Michael and John’s considered for inclusion in the they “…have no wish to express or resemble any standardised Ulster ‘type’ ” By Church Hall, Dublin ( 24 June – 8 July). JARED PANKIN round-up section, simply e-mail text 1968 the arts merited a few pages in what was to be the last edition of Northern The duo exhibited their installation and images to the editor Ireland. Shearman acknowledges the creative talent in the Ulster community Perpetual Motion In the Land of Milk and (email@example.com). Your text which “…emerges in a good many minor novelists, occasional poets, Honey that takes as its theme the quest for details / press release should entertaining dramatists and composers and a remarkably large number of the holy grail of engineering along with a include venue name, location (town painters. Many of these are highly successful without achieving major status as formal examination of the spectacle of / city), dates and brief description of celebrities.” In an interesting slip-of-the-pen, he refers to the “Ulster Arts capitalism - all combined with references the work. Note that ‘hard-copy’ Council”. to Britney Spears’ music video Toxic! alandal.co.uk cannot be accepted due to the volume of material that needs to be It is probably not surprising that Ulster Artists produced Ulster Art. In the 1960s GBS CELEBRATED Jared Pankin Untitled 2 Wood 2006 collated for this section of the and through the 1970s ACNI mounted numerous exhibitions with Ulster in the To commemorate the 150 years since publication. title, including ‘Ulster Places’, ‘Ulster Faces’ and ‘Ulster Faces by Ulster Artists’. Works by the American artist Jared Pankin This last exhibition was held in 1977, the same year as the publication by ACNI George Bernard Shaw’s birth the Original were recently shown at the Rubicon Inclusion is not garanteed, but we of the two-volume Art in Ulster. By the 1980s the use of ‘Ulster’ in describing Print Gallery hosted an exhibition of Gallery, Dublin (24 June – 28 July). aim to give everyone a fair chance. either artists from Northern Ireland or the work they produced was in decline. artworks inspired by the writer (July 21 – Composed of chopped and hacked Our criteria is primarily to ensure The last serious outing was ‘Ulster Art in the ‘80s’, held in the RHA Gallagher August 10). Curated by Aidan Dunne of wooden planks, Pankin creates free- that the roundup section has a Gallery in Dublin in 1989. Since then both Ulster Artists and Ulster Art have the Irish Times, Angela Greyson of the standing and wall mounted sculptures, good regional spread and retreated from view, with occassional sightings in the mid 1990’s in the ‘Works Shaw Society, Anne Hodge of the National which resemble rock outcrops, which represents a diversity of forms of from Ulster Artists’ shows the Malone House Gallery, run by Belfast City Gallery and Crona Connolly of the sometimes featuring small hand-crafted practice, from a range of artists at Council, in the leafy outskirts of the city. The homogeneity and insularity Original Print Gallery, this richly diverse model trees. The works, with titles such as all stages in their careers. required for the survival of the term ‘Ulster Artist’ has dissipated, and out of the show, exhibits the response of 20 Satan’s Six Pack, Lucifer’s Left Nut and chaos an entity, known simply as ‘artist’, has emerged. established and up-and coming Irish & Beelzebub’s Boney Boney Backbone suggest a Priority is given to events taking International artists: Kate Betts, Eimear troubled vision of an inhospitable, alien place within Ireland, but do let us (1) This piece was prompted by the use of this term in the publicity material for the first show at re-opened Brennan, Konstantin Chmutin, Cora Ormeau Baths Gallery ‘Collectors’ Collections: Northern Ireland Civil Service Art’ (9 – 22 May 2006). and threatening natural world. know if you are taking part in a Cummins, Monica Flynn, Mike Hassett, www.rubicongallery.ie Nickie Hayden, Frank Kiely, Brian significant international event. Kreydatus, Brian Lalor, Chul Soo Lee, Maev Lenaghan, Janet Mullarney, Coilin Murray, Ruth O’Donnell, Michael The Visual Artists’ News Sheet September / October 2006 7 NEWS royalty due to them under the Directive Applications for the scheme will be ACNI CALL FOR RESPONSES IRELAND, ARCHITECTURE & VENICE News and that if this were to be found to be the case that there may well be a accepted from 9 October 2006 until 17 November 2006. The Arts Council is to The Arts Council of Northern Ireland (ACNI) have posted a draft of their Presenting a group show at the for the first time International Venice resumption of this aspect of the case. work in collaboration with the Strategic Plan for 2006 – 2011 to their Architectural Exhibition (10 September ARTISTS & PRSI: CLARIFICATION It was presented that due to the Department on the selection of projects. website and welcome feedback from the – 19 November), Ireland has responded It was reported in a recent article in the www.arts-sport-tourism.gov.ie lack of provisions between 1 January artistic community before 15 to the 2006 theme ‘cities, architecture Business section of the Sunday Business and 12 June 2006, Ballagh had incurred a September. The strategy is set out under and society’ with an exploration of Post that tax exempt artists along with VENICE COMMISSIONER & ARTIST direct loss of €3,000 from the known re- four broad themes, which aim to Ireland’s obsession with the land and racehorse owners are to be chased by Mike Fitzpatrick, Director / Curator of sales of his work. In making his award, formalise the Councils vision for the the car. Under the project title ‘Suburban Revenue for outstanding PRSI Limerick City Gallery has been however, the judge went a step further next 5 years. The four areas of focus are: to Super-rural’ nine architectural contributions going back to 1988. appointed Ireland's Commissioner for and ruled that it was certainly possible promoting the value of the arts; practices look ahead to the next 25 years Visual Artists Ireland contacted the the 2007 Art Biennale in Venice. He has that there were further sales that the strengthening the arts; growing considering our preoccupation with journalist who wrote the article. It chosen artist Gerard Byrne to represent artist might not have been aware of and audiences and improving organisational living on the edge or beyond the city’s seems the main source of this story the country for what will be the 52nd that as a result of this; and the lengths performance. hold. The curators are FKL architects came from a person or persons in the Venice Biennale. Byrne’s work is largely www.artscouncil-ni.org that the artist had to go to claim his (Michelle Fagan, Paul Kelly, Gary stallion industry rather than persons lens based - film, video and legally due royalties, that he would Lysaght) and the participating from the arts. The journalist maintains, photography; and has been shown VISIT STUDIOS award a total of €5,000 in damages. exhibitors are Boyd Cody Architects, however, that there would also be recently at the Tate Triennial 2006, New For the first time in Dublin, over one Speaking afterwards Ballagh was Bucholz McEvoy Architects, dePaor implications for artists. British Art at Tate Modern, London. His hundred artists will open their studio obviously pleased that the case had been architects, FKL architects, Henchion We spoke to a person from the Tax forthcoming shows include the Nordic doors to the public. Seven of the city’s won but expressed disappointment at Reuter Architects, Heneghan Peng Exemption section fn the Revenue Biennial Moss, Norway,Sept 2006; largest artists’ studio groups will take the minimal directions provided for Architects, MacGabhann Architects, Commissioners who denied any such Performance Appropriate Gallery, part in VISIT, an all day event within the new Regulations. ODOS Architects, Dominic Stevens investigations into artists are underway Vancouver (Solo) March 2007 and programmed for Saturday 30 September architect. and confirmed that as far as she is aware Model Arts & Niland Gallery (solo), this year. The purpose of the event is to www.architecturefoundation.ie PALLAS STAY OF EXECUTION there are no plans to single out and Sligo, April 2007. provide an insight into the spaces where After a meeting with Dublin City pursue artists in relation to PRSI. art is made, to view new work and to AC BROADCASTING REPORT Council, Pallas Studios has been given a Despite repeated attempts we were not NEW PROJECT PEOPLE meet the artists in situ. Groups and The Arts Council has announced that it stay of execution on Sean Treacy house. able to get a conclusive answer out of The gallery at Project Arts Centre is soon organisations participating include – is to commission a report on the arts and The Council has agreed to allow Pallas the Department of Social Welfare, to have two new staff at the helm, after it Broadstone Studios, Brunswick Street broadcasting in Ireland. This to use the flats until the end of 2006. however, no one we spoke to in that said goodbye to it curator of five years Studios, Dublin City Council: The Red announcement is timely considering Pallas will re use these spaces as arts department could enlighten us as to any Grant Watson; and assistant curator Stables, Fire Station Artists’ Studios, the recent changes to the arts studios. However, Pallas Heights will not such initiative in relation to artists. Gavin Delahunty. Shortly after Watson’s IMMA's Artists’ Residency Programme, programming schedule on RTE Radio 1. re-open as an exhibition space. As most artists are aware, payment move to the Muhka space in Antwerp, Pallas Heights and Studios and Temple The Council hopes to find out how well The decision by the City Council is of PRSI is and always has been Delahunty left to take up a position as Bar Gallery and Studios. the diversity of the arts in Irish society is a temporary measure, and the studios compulsory. Artists are liable to pay Assistant Curator at Modern Art Oxford, www.visitstudios.com reflected in TV and Radio coverage as still face the future with no long term PRSI on all their income even that where he now works in the exhibitions well as through internet based security for the artists. Pallas Studios CULTURE NIGHT income which is tax exempt and there department. broadcasting. Issues which will be main studio on Foley street, which is On Friday, 22 September Dublin will has always been a process and procedure Delahunty will be replaced by addressed in the report include: Public rented from a private landlord and host it’s very first culture night when for dealing with this. If any such Jonathan Carroll, who has previously service broadcasters and their which houses 14 artists has now closed over 40 cultural venues across the city retrospective investigation were to go worked at IMMA and graduated responsibility in safeguarding the arts; but the company is seeking continuity will keep their doors open until late into on it would likely focus on those artists recently from the MA in Curating at the The Arts Council and its work directly on the lease for their office, so their the evening making it possible for many who might never have actually made Royal College of Art, London. The with local radio; Raising the quality of postal address remains the same. Pallas people who are not available during the any kind of tax return rather than on recruitment process for Grant Watson's critical debate and creating excitement is continuing to seek long term secure day to enjoy the city’s cultural riches. those who have registered for tax successor is in its final stages and it is about the arts and Digital technology spaces for artists in the city centre and Most of the cities galleries, museums, exemption and have declared their tax hoped that an announcement will be and how it will change the broadcasting will remain alive as an organisation theatres, arts centres and cultural trails exempt income. www.pallasstudios.org made soon. Meanwhile, the next landscape - how can this be harnessed to will participate in the initiative. exhibition at Project will be guest benefit the arts. BALLAGH & RESALE RIGHT CASE Culture Night is organised by www.artscouncil.ie ACCESS II: NEW GRANTS SCHEME curated by Hugh Mulholland, formerly At a sitting of the high court in June, a Temple Bar Cultural Trust and the Minister for Arts, Sport and Tourism, of Ormeau Baths Gallery, who will work ruling was announced concerning Council of National Cultural IRISH AMERICAN ARTS AWARDS John O’Donoghue, has announced a with the Belfast based organisation Robert Ballagh’s case against the state for Institutions with the intention to create The Irish American Arts Awards were new scheme to support investment in Factotum. damages incurred due to the www.modernartoxford.org.uk / www.muhka.be greater awareness of Dublin’s cultural launched earlier this year to recognise arts and culture infrastructure. government’s failure to implement the offerings as well as to encourage more and celebrate artists of Irish ancestry ACCESS II (Arts and Culture artists’ resale right. JEANETTE DOYLE @ LOCATION ONE collaboration and co-operation among across the world as well as to highlight Enhancement Support Scheme II) will Ballagh was awarded €5,000 in run from 2007 to 2009 and is a successor The Arts Council has announced that the arts and cultural organisations in the the investment potential of Irish damages as well as being awarded all Jeanette Doyle is the 2006 recipient of city. contemporary visual art. The artists to the ACCESS scheme introduced in costs. In presenting the case Ballagh’s the 2006 Arts Council Location One short-listed for the Awards in the under August 2001. legal representative emphasised that the Fellowship. The Fellowship offers a ten- CARVING A FUTURE FOR BELFAST 35 category are: Katie Holten, New York, ACCESS II is intended to support proceedings had been motivated by a month residency at the arts centre, Belfast’s parks and open spaces play host Suzanne Mooney, Dublin; Katrina the development of arts and culture desire to force the state into taking the Location One, in SoHo, New York. to more than 30 public artworks across Moorhead, Houston; Niamh O'Malley, facilities nationwide with priority given EU Directive seriously rather than a Location One encourages the city. To draw attention to this Dublin and Paul Rowley, Brooklyn. to the renovation and maintenance of claim for monetary recompense and she experimentation through new media growing sculpture trail the Forest of And those in the over 35 Category: existing facilities. However there is also stressed Ballagh's long history of and will provide Doyle with a studio Belfast in partnership with Belfast City Meg Cranston, LA; Maud Cotter, Cork; provision made under the scheme to campaigning for the introduction of this space as well as technical and curatorial Council, has launched a new Maureen Gallace, New York; Mary Kelly, support new build projects. artists right. support from in-house staff. Jointly publication entitled Carving a future for Dublin and Tom Molloy, Clare. An The original ACCESS scheme The case brought by Ballagh had administered with the Irish American Belfast, a publication telling the story of awards ceremony will be held annually allocated €45.71 milli0n to 44 art and originally also been seeking a judgment Cultural Institute, this Arts Council ‘Art In The Park’, which, since its in Manhattan, with the first to be held cultural projects. Projects supported that would force the state into taking Fellowship is worth approximately inception 12 years ago, has this September. The judging panel for included the provision of new immediate action to implement the €40,000 which covers the cost of flights commissioned more works of public art the awards are: Professor Declan museums, art centres and the resale right. This aspect of the case was and accommodation and provides a than any other project. The new McGonagle (Chairman), Professor Colm refurbishment of existing performance superseded by the implementation of a monthly stipend of $2,000. Doyle will publication is available free of charge Ó Briain, Cheryl Donegan, Vincent spaces. Under this scheme, Solstice, the Regulation on 13 June, which signed begin her Fellowship in early from Belfast City Council’s Parks Ferguson, Emily-Jane Kirwan, Alice new arts centre recently opened in into law the minimum mandatory September. Department, and includes a map Maher and Dr. Yvonne Scott Navan was awarded €2.92 million while www.artscouncil.ie www.irishamericanartsawards.org elements of the EU directive on Resale. showing where all the sculptures can be the not yet completed Centre for It was noted by Ballagh’s legal team, found in the city. Contemporary Visual Arts in Carlow www.belfastcity.gov.uk however, that it was yet to be established was awarded €3.174 million. whether the Regulations would be sufficient to allow artists to collect the 8 The Visual Artists’ News Sheet September / October 2006 FOCUS: LIVE ART IN PUBLIC SPACES To Stand in Front of Other People(1) AS AN INTRODUCTION TO THE VAI SUPPORTED ‘OUT OF SITE’ LIVE ART PROGRAMME FOR THE STREETS OF DUBLIN (9 – 24 SEPT), AILEEN LAMBERT INTRODUCES SOME OF THE FUNDAMENTAL PRINCIPLES AND DILEMMAS UNDERLYING THE PRESENTATION OF LIVE ART IN PUBLIC SPACES However, performing in public does guarantee an unsuspecting audience, which can be made integral to the work, and opens the work to the potential of a range of responses. A particularly successful work in this respect was Brian Connolly’s Milk the Market, performed as part of Infusion in Limerick in 1999, which utilised a public space and engaged it’s attending audience of shoppers to Limerick’s Milk Market. The audience were at first often bewildered by the artist’s stall as they Aileen Lambert Breath Street, Tract, 2006. Aine Phillips Caravan, LCGA, Limerick, 2005. Aine Phillips Caravan, LCGA, Limerick, 2005. struggled to assimilate it within their known or accepted models of market stall and trader. People were faced with a number of choices in terms of their interaction with the work, and responses varied from disgruntled to intrigue and enthusiasm. Being Present Fundamentally live art requires us to be ‘present’. However, there are some practical difficulties – the opportunity to access live work is on Aideen Barry Storm Reader, Cork 2005. Brian Connolly Milk the Market Aideen Barry Synchronised Flashing, 2005. Melissa Longnecker Charter and Manifest Photo: Mick O Sullivan. Infusion ’99, Limerick. Photo: Clare Lymer. Tract, Penzance, UK 2006. the whole quite limited. The fact remains that most people come to know of live art, after the fact, through publications and LIVE art and performance art are largely interchangeable terms used to maps of the area in order to direct her further. Such a work places an documentation, if at all. An increase in live art presented publicly describe an extensive range of practices. According to Rose Lee emphasis on the ‘relational’. Indeed live art in public contexts can be provides a means of changing this situation. Goldberg, “by it’s very nature, performance art defies precise or easy seen as an exemplary enactment of the relational aesthetics (3) explored If ‘being there’ is necessary to experience live art, then definition beyond the simple declaration that it is live art made by in much recent visual arts practice. performance works that take place unannounced pose obvious artists. Any stricter definition would immediately negate the In some instances, the audience need only be present to ‘view’ the difficulties – by not allowing people to know where and when to show possibility of performance art itself.”(2) But this hasn’t stopped work. But there is some truth in the classic art-gag – “how many up. Festivals, on the other hand, do make it easy to be ‘there’. By multitudes of people from trying. Many definitions have been performance artists does it take to change a lightbulb? I don’t know – I programming a multitude of works of live art over a number of days, proposed by artists, curators and writers – while diverse, they all stress left after the first four hours”. The durational aspect of some sited in locations within easy reach of each other, the Live Art festival the importance of the ‘presence’ of the live act in front of, or otherwise performance work, which aims to explore challenging physical and organiser is providing the attending audience with a rare opportunity in the context of an ‘audience’. More than any other art form, the mental states on part of performer and audiences alike, can be to view number of live art works in a short timeframe. relationship between artist and spectator is integral to live art. problematic in public settings. Addressing the fact that passers-by may only have time to pause momentarily, artists have used strategies such Documentation Why Live? as repetition or working through one-to-one / relational encounters While it is accepted that live art is best experienced ‘live’, undeniably In this media saturated age, few activities require our actual presence. with individual viewers. documentation has a role to play in the circulation of information So why make live work in an age of mass communications? Why work The creation of a temporary mobile space is another approach. about the work – alongside anecdotes and accounts from those who in what is more-or-less the only field that still insists on presence? For Áine Philips will be presenting her work Caravan in Galway this attended and participated. For artists and audience alike, the impulse many artists, and indeed audiences, the reason is simple – the November, as part of the Tulca live art festival. Philips will invite to document is often very apparent, at some performance events it can pervasiveness of the ‘virtual’ is reason enough to justify the legitimacy people to engage in a largely relational work of live art in various seem that every second or third person has a camera, camera phone or of live art. ‘Liveness’ is important in a culture of consumption and public spaces or ‘halting sites’, defined by the artist pitching her video camera. It is likely that more people will view the various forms mass media. Live art offers us an alternative – time-based, intimate and caravan across Galway. of documentation of the work, than will experience it first hand. truly interactive reciprocal experiences. Live art requires us to be fully Spectacle, colour, costume and props can also be employed in Ironically of course, this attempt to capture, record and represent the ‘present’, to be engaged and grounded, to be aware of the lived moment order to draw attention in public places. Aideen Barrys’ Storm Reader, live work is of course in opposition to the very nature of the unique in the here and now. which was presented to an audience of some 2000 people as part of fleeting moments that form the basis of the live art experience. Cork 2005, featured the artist in an insect-like dress on the surface of a Why Public? large man-made lake and bird sanctuary in inner-city Cork. Out of Site Live art practitioners aim to test the limits of the possible and the Aspects such as scale, target audience, audience interaction, Curated by Michelle Browne ‘Out of Site’ will bring live art to various permissible, and seek to be alert and responsive to contexts, sites and whether the audience is intended to view the work in a fleeting sites across Dublin (9 – 24 Sept). Presented as part of this year’s Dublin audiences. In this respect public spaces offer live artists a multitude of moment or see it from beginning to end, are all aspects which the live Fringe Festival it features work by Irish and international artists. contexts to respond to, along with an ever-changing and diverse art performer presenting work publicly must consider. Browne has devised a curatorial strategy, which attempts to address audience to address and engage. And moreover live art’s presence the inherent dilemmas around presenting performances in public asserts an expanded notion of the function of the spaces of our towns Risky Business spaces. Should works be announced in order to formally attract and cities, beyond that of consumption and mass media spectacle. Artists and curators must consider the implications of parachuting audiences or should works take place unannounced and take their Presented in non-art venues, publicly performed live work is work in front of an unsuspecting publics; and realise that some chances of gaining attention within the everyday goings on of the city? often not distinguishable as ‘art’. Indeed, it is often not announced, performance practices do not sit comfortably in a public space. There To document or not? What happens if you miss a once-off live work? introduced and framed as ‘art’, but rather it is woven into the fabric of is often an element of risk with live art practice, which may provoke The ‘Out of Site’ website aims to address these questions everyday life. Co-habiting on the streets with shoppers, workers, strong responses and even disapproval. When performing in public (www.outofsite.info). Clues will be posted as to the whereabouts and traders, strollers, loafers and other ‘users’ of public space, live art can be spaces, the potential to provoke strong responses is further increased. times of the performances and an interactive forum will provide space presented alongside the daily transactions and occurrences of the Thus arises the problem as to how to present work without for both formal documentation – along with anecdotal reports from everyday. compromising it. those who where ‘there’ and questions from those who didn’t make it to the performances. Arising from this, the site will offer the Strategies for presenting live work in public places Diverse Audiences? opportunity to raise further questions and tease out the issues Often, artists performing in public spaces take on forms or personas Anyone who has attended a live art festival using predominantly art surrounding the relationship of live art to public space. which are quasi-recognisable within public contexts. These act as a venues will vouch for the fact audiences consists largely of students, Aileen Lambert catalyst for audience engagement and are often infused with humour. curators and other artists. There is little doubt that presenting work in NOTES Examples would include the adoption of the guise of corporation style public spaces allows for engagement with a wider diverse public. workmen adopted by Maurice O’Connell and Brian Connolly for However, the quality of experience must be considered against (1) This phrase was used to describe the work of the performance art group Forced Entertainment, quoted by Philip Auslander in, Liveness, London, Routledge, 1999. Untitled, their 1994 work in Temple Bar; or a that of a campaigner quantity. Quality depends on the artist’s skills of engagement and the (2) Rose Lee Goldberg, Performance Art: From Futurism to the Present, Revised edition, London, Thames & Hudson, 2001. distributing leaflets, Michael Fortune for his 1999 work Living Culture, audience’s willingness to engage with the work. (3) Nicholas Bourriard Relational Aesthetics Les Presses du Reel, 2002. handed out fliers proposing a ‘North Wexford Republic’; and there is While the presentation of work in public spaces does indeed offer Web resources for live art: www.thisisliveart.co.uk / www.newmoves.co.uk / John Byrne the self styled ‘Border Interpretative Centre Director’. the potential for large and diverse audiences, it is often the case that www.performanceart.ca / www.tract-liveart.co.uk And of course publics and audiences can also be integral to the performances, which are presented in ‘public’ parks or other outdoor Further information on ‘Out of Site’ availale at: www.outofsite.info / www.fringefest.com making of the work. Melissa Longenecker’s work Charter and Manifest venues only attract the same ‘art gallery’ audiences – the ‘public’ may involved the artist walking every street in Penzance in August 2006, not always present in public spaces. commissioning people she met along the way to create hand-drawn The Visual Artists’ News Sheet September / October 2006 9 CONFERENCE REPORT The afternoon session ‘Post-graduate Studies and the Gallery Space’ moderated by Ciáran Bennett looked at the exhibiting and assessing of student work. Brian Maguire, Head of Faculty, NCAD, Dublin in his paper Normalizing the Artist described how a growing interest site-specific work had seen a departure from the traditional model of the artist making work in the private realm of their studio. He highlighted the concept of relational aesthetics and the impact this was having on teaching and student practice in terms of a growing interest in developing opportunities for audience engagement. He also emphasised the importance of new technologies and the internet. He concluded with a description of various NCAD student projects including work undertaken with residents of Cork Street in 2005. Bending the Cube: The Gallery as Research Space, was delivered by Fiona Kearney, Director of the Lewis Glucksman Gallery, Cork. Completed in 2004 and located on the edge of the university campus, Kearney described the Glucksman gallery as comprising two white cubes, one inserted into the other. Kearney noted that while the gallery is autonomous in its programming, it operates as a locus of research – being very closely connected to the university. The gallery maintains a constant dialogue with students and invited artists and incorporates different points of engagement as the core to its education policy. Kearney also described how the location of the gallery permitted the development of programmes, which enable both student and public engagement. She finished with a selection of examples of the work the gallery had undertaken since it opened, highlighting the many possibilities of this model of dialogue. (L–R) ‘From Art School to Professional Practice’. Ramon Tio Bellido, General Secretary of AICA; Marianne O’Kane, AICA Ireland Secretary; Miltos Frangopoulus from The Vakalo School of Art and Design in Athens; Maria Teresa Beguiristain, Professor of Philosophy at the University of Valençia, Spain; Ambroise Tièche, Professor at ESBA/HEAA, L’École Supérieure des Beaux-Arts, Switzerland Sam Ainsley, Head of the MFA Programme at the Glasgow School of Art presented Do you sincerely want to be Poor? On being an Artist. Productive Anomalies Ainsley has been running the MFA course since 1990, and noted that it is currently so successful that on average there were 700 applications for just 20 places. She highlighted the fact that students were allowed JANE SPELLER REPORTS ON THE AICA ORGANISED SEMINAR ‘FROM ART SCHOOL TO PROFESSIONAL considerable independence and that this had resulted in a plethora of PRACTICE’ HELD AT THE NATIONAL GALLERY, DUBLIN IN MAY multi-disciplinary work. Travel and experiences in a variety of social contexts outside of the school were encouraged, as were the partnerships with museums and galleries both locally and abroad, for ‘FROM Art School to Professional Practice’ held at the National Gallery Ambroise Tièche, Professor at ESBA/HEAA, L’École Supérieure example The Hunterian, Tramway and the CCA Gallery, Glasgow and of Ireland, Dublin (22 May) was organised as part of the run up to the des Beaux-Arts, Switzerland began his paper, Mutating Changes in DAAD in Berlin. Ainsley described how students were responsible for forthcoming International Association of Art Critics (AICA)(1) Higher Education Teaching in Switzerland, with an introduction to developing their own projects and for all aspects of organising their European Exhibition of Young Artists, at La Centrale Electrique, institutional changes in the country. He described how the old system own exhibitions including fundraising. She described a number of Brussels (Nov 2008 – Jan 2009). It was the first of a series of seminars of federal institutions had been replaced by 7 major regional exhibitions, which had been realised by GSA students, including that are being held in the sponsoring countries of Austria, Belgium, universities and that all the schools of fine art had adopted the Bologna projects by Simon Starling and Douglas Gordon. Ireland, Germany, Switzerland and the UK. The Dublin event was reforms (2). The major effect of this being the introduction of new Niamh O’Malley was invited to contribute to the seminar in her concerned with how colleges prepare students for professional programmes embracing a unique combination of practice and theory; capacity as artist. Her paper, An Artist’s Perspective drew on her practice as artists. Questions were posed such as – how and why do art curatorial and experimental approaches; as well as new experience as a PhD research student at the University of Ulster, schools prepare their students to become visual artists? What methodologies and techniques. Like Bast he saw aim of such new Belfast. O’Malley described how the course was equally split between importance is given to a complementary training in curatorial courses, curricula was to prepare artists for a useful role in contemporary studio practice and theoretical research. She emphasised the enriching art history and art criticism? The main subjects of discussion were – society. Tièche described the 5 departments in his school and noted a experience provided by periods of study abroad – at the British School the increasing importance of post-graduate studies; the status of the concentration on the subject of body/space – media; painting and in Rome and the International Studio Programme, PSI MoMA, New artist on graduating; and the relationship of professional practice drawing; art criticism and curatorship; film. Each area also shared an York. She also spoke of the importance attached to an artist being able studies to the curatorial models and practices of public and private emphasis on practical training, student exchanges and textual to focus on research. In conclusion, O’Malley commented on the need institutions. criticism; in addition students were given specialised careers advice for emerging artists to be made aware of the realities of life after The morning session was opened by AICA Ireland President and training. college, and for courses to incorporate a professional practice Ciáran Bennett. He highlighted the work of the AICA Ireland branch The third paper Art Studies in Spain: From School to University by component in order to address this. in setting up the European Exhibition of Young Artists project, also Maria Teresa Beguiristain, Professor of Philosophy at the University of All in all, an extremely interesting and informative day, which noting that the 2009 AICA congress would be held in Dublin. This was Valençia, Spain described a major period of change in the 1980s, provided valuable insights into European art school education. followed by a short introduction to the exhibition project by Ramon during which the country’s former art schools became university Whether the European Exhibition of Young Artists lives up to its Tio Bellido, General Secretary of AICA. Bellido explained the apparent faculties. These number 17 nationally, the Escuela San Carlos de Bellas promise in terms of providing a contemporary emphasis on the ‘anomaly’ of the project within the context of AICA’s usual art Artes in Valençia, for example, having 2,070 students and 240 evaluation and criticism of the curation of visual art, remains to be criticism related activities, relating it to contemporary emphasis on professors. She went on to say that although these faculties now teach seen, however it will certainly be a great opportunity for emerging the evaluation and criticism of the curation of visual art. He described a range of studies including art theory, the history of art, aesthetics and artists to exhibit along side their European peers. One final word how AICA had invited the nominations for inclusion in the show of philosophy there remained an emphasis on the technical as opposed around the attendance of the day – it was a little disappointing, the students by European art colleges and that these would form the basis to the theoretical. She further noted that while there was some interest morning session was particularly poorly attended. One can only hope of a provisional list from which artists would be selected for the show. in new technologies – for example in the schools of The Basque that this was due to the fact that it was a Monday, rather than a lack of The first session ‘Checking Specific Contexts’ moderated by country, generally speaking the Spanish tradition in fine arts interest in our European counterparts. Marianne O’ Kane, Secretary of AICA was dedicated to contributions education was a little insular and lacking in dynamism. Jane Speller on European art school education. Gerard Bast, Rector of The In Retarded Education and Advanced Practice, or Life on the Border, NOTES University of Applied Arts, Vienna, Austria described in his paper Miltos Frangopoulus from The Vakalo School of Art and Design in (1) AICA, The International Association of Art Critics was founded under the patronage of UNESCO in 1948-9, with the aim of supporting art criticism in all its forms worldwide. AICA Facing The Changes of Giving Art a Place in Society the university’s overall Athens, lamented at the lack of art school provision in Greece and the today, brings together some 4,000 art professionals from 70 countries in the world, with aim to highlight the engagement of art with society. Bast emphasised fact that the few schools that do exist such as in Athens, Thessalonika international conferences taking place most recently in Dakar (2003), Istanbul (2003) and Addis Ababa (2006). the desire to promote discourse between both technical and and in the East of Greece have a very academic emphasis. He noted (2) The Bologna Declaration was signed by 31 representatives of 29 EU member states and theoretical concerns, as well as maintaining an inter-disciplinary and that whilst there is an increasing number of new museums and ascension candidates 19 June 1999 and sets out that by 2010 a number of aims relating to unify higher education standards and practice across the EU. Key amongst these is that: international orientation for the school. He went on to describe how galleries, most are closed to current developments in contemporary A system of easily readable and comparable degrees shall be introduced, supported by the the Kokoshka Archive held within the university had generated a art. Likewise there is also no specific curatorial training on offer for implementation of the Diploma Supplement; Higher education course systems shall be based on two consecutive cycles: the undergraduate cycle, lasting three years, shall qualify series of exhibitions and discussed what role the galleries could play in artists and academics – leaving most students with no option other students for employment, whereas the graduate cycle shall lead to Master’s and/or doctorate degrees; Student mobility and free movement shall be promoted.European co- terms of stimulating discussion around both gallery based and socially than to train abroad, usually the UK or in France. He concluded by operation in quality assurance shall be established. Further information is available at engaged art practices. In conclusion, Bast suggested that the future describing the very real need in Greece for institutions, which were www.bologna-berlin2003.de/index.htm survival of the university was dependent on its ability to help students able to provide a stimulating context, within which young artists engage with the world in new ways. could work, develop and find a sense of community. 10 The Visual Artists’ News Sheet September / October 2006 RESEARCH: VISUAL ART & THE MEDIA Helping More People Know About the Arts JACQUI MCINTOSH SURVEYS MEDIA COVERAGE OF THE VISUAL ARTS IN IRELAND THE announcement in May that RTÉ Radio 1 are to drop the arts documentary on landscape painting of Ireland by Sean O’Mordha. In says Dunne. “When we started covering visual arts it was like virgin programme Rattlebag from its daily mid-afternoon slot, sparked a huge terms of visual arts coverage in the series, a spokesperson for RTÉ said territory in a way.” When he began working for the Irish Times, “it was debate. Petitions were signed, letters were written to the Irish Times that compared to other arts disciplines there is “less visual arts.” at a time when things were changing,“ says Dunne. “Some people and urgent meetings were held between the Arts Council and RTÉ Radio still plays an important part in Irish culture with an within the Irish Times were aware of that and were keen to increase regarding their coverage of the arts. But how do RTÉ and other sections estimated 85% of people tuning into the radio every weekday. RTÉ the paper’s coverage of the visual arts.” Dunne adds the decision was in of the media currently cover the visual arts and what should we expect claim 43% of the listening population, but they face stiff competition no way unanimous, but that demand came from the readers. “There’s a from Radio 1’s shake up? in the form of local stations, which collectively claim 45% of the phenomenal response to visual arts coverage and it’s proved to be The new plans for the RTÉ Radio 1 autumn schedule include a national market. (7) One of these local stations, Newstalk 106, currently incredibly popular.” Dunne has a busy time of it, covering shows the popular culture show presented by Dave Fanning from 7-8pm broadcasting to the Greater Dublin Area, will go national in the length and breadth of the country, including the recent graduate weekdays, with a specialised arts programme filling the weekday 11- autumn. Newstalk’s Arts and Entertainment Show, airing Saturday degree shows. “That developed year by year and again was very reader midnight slot. A spokesperson from RTÉ says the 7pm show is, “aimed mornings between 10am and 12noon, repeating between 10pm and driven, in that the response from the students and people associated at a wide listenership. Covering popular music and features, this show midnight, is presented by Sophie Gorman, Arts Editor of the Irish with colleges was really phenomenal,” says Dunne. “However that will also place a spotlight on the arts. The aim here is to make culture Independent. Gorman says of the show, “because we mix things up so presents huge logistical difficulties and it’s very demanding to do. I as readily accessible as possible and there is no reason why coverage of madly and crazily it frees us to throw in a very serious art piece don’t know if you could continue to do it the way we have done it. It’s the visual arts cannot and will not be included in the mix.” (1) In an alongside a live band in the studio.” So what percentage of the show is kind of done on a wing and a prayer in a way, in that you’re actually (2) interview on RTÉ Radio 1’s Morning Ireland, Director of the Arts visual arts coverage? “There’s no set percentage,“ says Gorman. “It using more resources than are there.”(12) Council Mary Cloake said of the 7pm show, “our concern is around the would be very dependent on what’s opening. It has to be something a In terms of readership, the free commuter newspaper Metro, diversity in programming, the need to make space for the critical bit quirky or different. If there is an exhibition that I think is going to claims to be giving the paid-for daily titles a run for their money. The voice, the unusual perspective…sometimes popular culture doesn’t be particularly interesting, I will organise a pre-record where I, or my paper publishes visual arts reviews every day. “Our arts coverage is include these alternative perspectives.” She added that this may producer, will go out, wander around the exhibition with the artist or unparalleled in the Dublin market,“ says Metro Arts editor Paul happen on the proposed arts show at 11pm, but, “we’re looking at curator and get a feeling for what’s going on in the gallery.” Gorman Connolly. “We devote three full pages a day to the arts. Consequently, reduced listenership of 100,000 people.” says the show’s listenership is quite young, “essentially they’re all our coverage of the Dublin visual arts scene is second to none. At the time of writing this article, RTÉ were still finalising the waking up. That’s why the tone is quite light, we have to take into Obviously, visual arts offer us the opportunity to bring colour and format of the new 11pm show, but did reveal that the presenter will be account the fact that it’s Saturday morning.” The listeners at that time sparkle to our pages.” Connolly says that compared to other Macnas founder, Padraig Breathnach. A spokesperson from RTÉ says, of the day, says Gorman “don’t want a big late night review style newspapers, Metro’s visual arts reviews are, “more accessible, more “it is anticipated that this later time will give the show the ability to be debate. You’ve got to plan it out so that they are warming up to the thorough,” and, “give the artists a louder voice. If we hate something first with opening night reviews, delivering the verdict of both experts day.”(8) we’ll tell our readers. We don’t pussyfoot.” (13) and audiences.” The concern of many, including the Arts Council, is The Irish Independent is Ireland’s best-selling newspaper, Of the Sunday newspapers, The Sunday Times is unusual in that that most of the potential audience will be asleep. “After 11’ o’clock claiming 17.4% of national readership compared to 10.2% for the Irish it presents both UK and Irish visual arts coverage in its Culture Ireland most people are in bed,” agreed a seemingly caught off guard Adrian Times and 7.9% for the Irish Examiner. (9) Both the Irish Examiner and section. Whilst Christin Leach covers Irish shows, Waldemar Moynes, Managing Director of RTÉ, in response to Cathal MacCiolla’s Irish Times have dedicated arts pages, but how much coverage do the Januszczak’s reviews of UK shows are also included. “Visual art tends questioning on Morning Ireland. (3) “So what is the point of having a arts get in the Irish Independent? “In very recent times we have to get as much coverage as other arts in Culture, if not a bit more,” says programme on after 11?” asked MacCiolla. “Well because it’s not the increased the amount of arts coverage by a hundred fold,” says the Irish Michael Ross, Culture Ireland editor for the Sunday Times. So what only show that’s on,“ replied Moynes. In an article published in the Independent’s Arts Editor Sophie Gorman. The changes at the readership are they aiming at? “Ideally it should cover all bases and be Irish Times on June 22 2006, Moynes says, “there is room for a Independent have much to do with Gerry O’Regan who replaced accessible to the broad readership while also offering something to specialised arts show – one that enhances our ability to be edgy, Vinny Doyle as editor in 2005. Since then, the paper has had “much those with a specialised interest.” Ross adds, “if there is a notional innovative and challenging. It will go to air at 11pm and like most of more appreciation and understanding of the broader arts but also of reader…it’s just an intelligent person with a natural curiosity.” Shows the schedule, it will be there on the internet, free-of-charge and the visual arts,” says Gorman. The Independent is now printing arts in Dublin are covered more frequently, “partly because of logistical available when it suits the individual listener.” reviews every day and of the visual arts Gorman says, “we’re getting reasons but more because one third of the population lives in the Moynes’ complaint is that the changes to RTÉ Radio 1’s schedule them in too.” Gorman adds that visual arts pieces are also making it general vicinity of the city,” says Ross. The shows that get covered are, are being viewed in isolation by the arts community. He may have a into the Weekend Review section. “There certainly is more of an outlet “simply those who look most interesting.” So how has coverage of the point. In 2006 RTÉ Radio 1 also broadcast two visual arts series – Eye of for the visual arts,” says Gorman. ”Up until now, it has been incredibly visual arts in the Sunday Times culture section changed over the the Mind, and Eye Candy. Another radio programme forgotten in the neglected. I’ve been working in the arts in the Indo for almost 11 years years? “Coverage of any area of the arts is determined as much by the furore surrounding Rattlebag is RTÉ Lyric FM’s Artszone, launched in now and getting any kind of coverage, be it for any art form, has been a quality of the available writers as by the merits of the art,” says Ross. 1999. The hour long programme, presented by Aedín Gormley airs struggle, but the visual arts has been the hardest struggle.” So why has “The reality is that most of those writing about the arts are not very Thursdays at 7.30pm repeating Saturday at 5pm. Artszone producer the visual arts been as Gorman describes, “bottom rung”? “People good. I struck oil when I came across Christin Leach a few years ago…if Olga Buckley says, “Artszone aims to provide a space for comment on dismiss it as being elitist,” says Gorman. “There is this generalisation I didn’t have a good visual art writer, I’d by necessity have a lot less topical stories and the perennial questions that emerge in the arts and that the general reader is not going to be interested in the goings on in coverage of the area in the section.” (14) cultural life and to bring new angles to arts coverage.” Aiming at a a tiny art gallery. There is wariness in covering the arts because the On the face of things, it would seem that there is more visual arts cross section of listeners the show covers, “specialist areas whilst also editor would be understandably and rightly nervous about losing a coverage within the Irish media, but is there more critical debate? giving the ‘non-specialist’ an introduction and insight.” So how does potential readership.” Of the latest developments in visual arts “There is still the tendency from Irish newspapers to look for the spin the amount of coverage devoted to the visual arts compare to that of coverage at the Independent, Gorman says, “I think that’s almost in the story,” says Aidan Dunne. “To get a consistent level of critical say music, theatre and literature? “The visual arts have always been enough for now. I get great feedback on the reviews, people like coverage is quite a different thing and I think it’s lacking in the general part of the coverage,” says Buckley, “but the amount has hugely finding them there. People read them without thinking, I’m reading a media context.” Independent writer and critic Gemma Tipton says, increased over the years.” Buckley estimates it now equals that of other visual arts review.” (10) “when people think about critical writing they hark back to this idea of arts disciplines. “Our coverage looks at the visual arts in a variety of Ian Kilroy has been Arts Editor at the Irish Examiner for the past a golden age characterised by someone like Clement Greenberg. That’s ways, interviews with practitioners, curators, reviewers, books about two years. I asked him how he thought the paper’s visual arts coverage seen as an era where critics had the kind of power that perhaps the visual arts and artists.” She adds that the show has, “a very large had changed in recent times. “The Irish Examiner is covering more international curators have now.” Tipton adds that today, “the names correspondence with artists and visual arts practitioners from around visual arts since I started editing the paper’s art content,” says Kilroy, writing have changed, but I don’t think it’s grown. I do wish that the the country both highlighting events and suggesting ways of covering adding that in their arts coverage he has “driven the paper towards a Irish newspaper media had the guts to trust people to read art criticism local visual arts developments.” (4) national perspective.” Visual arts reviews or articles come out about at a level that you would get say in the New York Times, or The RTÉ’s The View, which has been running since 2001, will return to three to four times a month and due to limited space concentrate “on Guardian or Observer.” (15) Philomena Byrne, Head of Public Affairs at TV screens in the autumn on Tuesday nights at 11.15pm. “The the major shows in the major galleries,” says Kilroy. “We also try to the Irish Museum of Modern Art, describes media coverage of the transmission time is late, “says a spokesperson for RTÉ, “but it is in cover some student shows and new names, but space often works visual arts as at best “haphazard. There is no sign of an obvious (16) peak time and on RTÉ 1 – a significant scheduling contribution in against this latter ambition.” The visual arts are, says Kilroy, “covered commitment really apart from the Irish Times.” Patrice Molloy, comparison with other generalist broadcasters.”(5) They add that in as much as theatre or music, much more than opera and classical Public Affairs Executive at IMMA adds, “It’s almost down to one person the show the visual arts are covered almost as much as other art music.”(11) taking an interest. It’s very hard to get out of your arts page into your disciplines. The arts documentary series Arts Lives will return to RTÉ The Irish Times has a long history of visual arts coverage, a daily, news page and that makes all the difference in terms of getting people in 2007. “Spending on arts output in television factual programmes dedicated arts page and its own equally dedicated visual art critic in up here.”(17) has risen substantially between 2002 (pre license fee increase) and Aidan Dunne. I asked Dunne how he thought visual arts coverage in 2005,” says a spokesperson for RTÉ. (6) Confirmed for 2007 is a general has changed over the years. “I think it’s changed incredibly,“ The Visual Artists’ News Sheet September / October 2006 11 RESEARCH: VISUAL ART & THE MEDIA APPRECIATION So what is the result of coverage in the general media? Mark Cullen, co-founder and director of Pallas Studios in Dublin says, “it is very important for the health of our organisation and the art scene at Noel Sheridan large to increase its general profile, position and importance in BRIAN HAND PAYS TRIBUTE TO NOEL SHERIDAN society.”(18) Artist Seán Hillen says, “I think it’s partly to do with what sort of artist you are. I generally sell into a broader audience. I have a “J’attends une chose inconnue/I await a thing unknown” Stéphane Mallarmé (1867) regular small income from my print sales…and that’s the general audience and with them you want a general level of visibility.” (19) Kevin “I think possibly the only social virtue that painting has is that it won’t jump off the wall and do one a physical injury.” Noel Sheridan (1967) Kavanagh, Director of the Kevin Kavanagh Gallery in Dublin says that media coverage, “has a big impact. Any time this gallery has featured on The View, it’s been very big. And the same with reviews where there is a away from one’s own skeleton, but there are artists on both sides of the nice big colour reproduction or a substantial review in the papers, world who feel that this is one of the most important issues with particularly the Irish Times or the Sunday Times culture section, you which to engage their art practice”.(2) In an interview at that time, Said get more people ringing up and coming in.” (20) One thing that is certain challenged himself in away that I feel strikes a cord with Noel is that competition for media coverage is intense, with more visual arts Sheridan’s practice, “I seem to be in a position of saying about various spaces, exhibitions and events than ever before. critical or political projects, well, they’re doing this right, but they The scrapping of Rattlebag may have been the catalyst for the aren’t doing that part right. I don’t want to seem to go through ticking debate over arts coverage in the media, but Olive Braiden, Chair of the off what’s good and what’s bad… I’m really much less certain than Arts Council says, “the implications of this debate go well beyond perhaps I give the impression, much less certain about what I’m doing scheduling changes in RTÉ Radio 1.”(21) A report commissioned by the and my whole enterprise… I’m often concerned that I’m simply dipping Arts Council on the arts and broadcasting in Ireland is, at the time of into certain formations, certain moments of culture and political writing, in the preliminary stages of development. A policy, expected to experience, and I really do view what I am doing as a suggestion for be adopted in the autumn, will cover such issues as ensuring that, “the others to help in, or provide me with ways in which I might go. The arts reach the widest audience possible across the full range of one thing I want to resist is the idea of a finished project.”(3) Noel’s broadcast production,” and how digital technologies can be “harnessed hilarious accounts of making his 1976 film/installation Keep this to benefit the arts.” (22) In terms of internet coverage in Ireland of the bastard moving in his later performance Not Waiting do not deflect from visual arts, Circa Art Magazine currently leads the way with their the post-colonial critique of Australian culture that is present in this website www.recirca.com which has been online for over six years. work – quite simply he was ahead of his time. Peter Fitzgerald, editor of Circa says, “we took the decision early on that While his death draws questions of what might have been for an as many Circa texts as possible should go online, free. The web articles artist of his renown to make new work and arrive at new insights in his and reviews are intended to extend what Circa can do, as there is only retirement from academic life, he has left behind many remarkable so much space in the magazine. An article or review in the magazine Carey Clarke Professor Noel Sheridan, Director of the National College of Art and Design 1980 - 1989; works catalogued and described in his monograph Noel Sheridan On 1994 - 2002, Director of Perth Institute of Contemporary Art 1989 - 1994. Oil on canvas 40 x 36 inches. carries more kudos, but those online can reach a global audience.”(23) It Reflection (Four Courts Press, 2001) and his intriguing and entertaining is perhaps unfair to compare a specialist visual arts magazine’s online retrospective of older work (some of it specially re-made) at the RHA in content with that of the daily Irish broadsheets, or RTÉ for that matter, ON Saturday the 24 June 2006 Noel Sheridan created a performance 2001. As Ian Hunt commented on the show [Sheridan’s] “ return to but as Gemma Tipton points out “given that newspaper art writing isn’t called Talking at The Kurb Gallery Northbridge, Perth, Western painting is so toe-curling in its peculiarity – it is a performance piece- ephemeral anymore, it’s searchable and archived on the Internet, Australia. It was a re-working of performance about his father, the actor that actual doubts about the grip of art on your life, on any one’s life are there’s also space for it to actually form a bank of discussion.” It seems comedian, Cecil Sheridan called The Head with bits of Not Waiting a mobilized. Respectability has it seems been postponed again, as though to work for The Guardian in the UK, whose commitment to arts and celebrated performance from 1998. 18 days later he died at the to scare off those who might be ready for some of the early works”.(4) visual arts coverage on www.guardian.co.uk continues to grow. Most relatively young age of 69. An online reviewer described how the Indeed, I feel the RHA retrospective did not garner the critical attention recently the Guardian introduced podcasting onto their website performance displayed “Sheridan’s own commitment to 60’s avant- it fully deserved at home, perhaps IMMA might consider a more in including a weekly arts and entertainment show.(24) gardism merging into a real time discovery of the generosity and depth show in the future? Certainly his work should be covered on Just as the internet has not replaced the newspaper, it is unlikely optimism that must stand at the centre of all living art”. To the end, (1) every course that aims to teach Conceptual Art. The work that I have that podcasts will herald the demise of radio and TV scheduling in Noel Sheridan was wonderfully consistent – always an optimist and seen of Noel Sheridan’s lives strong in my memory, because his work Ireland. Whilst it is advantageous that a specialised radio arts show also always concerned for the values of art to be generous and free. His was of real quality and was an imaginative, well observed and be available to download, that fact should certainly not be used as an death in Perth, with his loving family gathered around him, was I hope intelligent meditation on assumptions about art and life, art and excuse for late scheduling. Integration of the arts into mainstream a peaceful release from the pain of his disease. His life in Australia was politics. programming is just as essential as a dedicated slot devoted to the arts. in its third chapter, as he was there in the 1970s for eight years as At the end of the performance Not Waiting at Project at the Mint in A specialist arts show will not survive in this era of high competition lecturer and director of the Experimental Art Foundation in Adelaide; 1998 I remember Noel did a very eerie thing – as he named all his props without attracting new listeners from the mainstream, even if it is in and again in the 1990s for five years as the first director of the Pert on the stage in his low hushed distinctive voice, the audience went still the ‘graveyard’ slot. Head of RTÉ Radio 1, Ana Leddy’s assertion that one Institute of Contemporary Art. and silent; he then started to try to directly engage with the audience of the stations aims is “to help more people to know about the arts” (25) is For many readers he will be known as the Director of NCAD as it and reach a point of collective concentration that would enable him to certainly a good one. Whether the station pulls off the new changes is moved to Thomas St and developed the campus there. From my finish the piece. He willed the audience to go for it – he was not yet to be seen. The word from the street is clear – the visual arts experience of NCAD between 1984 and 1989 he was very hands on – threatening or authoritarian, just insistent that a state of ‘not waiting community want more critical debate and better and more consistent literally, from day one he engaged with my year, he was not afraid of for an ending’ could happen in the here and now, it was his attempt at coverage at a time when everyone is still awake. art, or of students and was genuinely supportive of questions about ‘not not ‘waiting, just leaving at the top of your game – and he did it. practice. He attended seminars and often goaded myself and others to This would be theatrical and faded if he did it five nights a week for Jaqcui McIntosh ask more questions, to not let such-and-such a visitor off the hook. He paying audiences, but this was a once off singular event, a once off NOTES instilled a critical sensibility in a climate of Reagan and Thatcher. Quite experiment. Today, much like in the past, the business of art isolates art simply he cared deeply about the school, cared about the students and to quote Sheridan ‘smoothes, levels, narrows and closes it down’, (1) Email correspondence with RTÉ spokesperson, 30 June 2006 (2) Interview by Cathal MacCoille with Adrian Moynes, Managing Director RTÉ and Mary (although through many battles about fees he was quite an adversary, but he was never someone to give up, to become impatient or to lose Cloake, Director of the arts council, Morning Ireland , RTÉ Radio 1, June 6th 2006. A link to despite being an artist he was the management after all) he cared about sight of his desire for art to be intelligent, free and above all generous. the full interview can be found at http://en.wikipedia.org/wiki/Dave_Fanning (3) ibid the work that was made. His vision for NCAD at Thomas Street is still Ni bheidh a leithéid ann arís. (4) Email correspondence with author, 18 July 2006 (5) Email correspondence with author, 25 July 2006 unrealised, for example, there is still no large-scale exhibition area on Brian Hand (6) ibid campus. He kept an eye on us, supported our college theatre company (7) http://www.rte.ie/radio/advertising/ NOTES (8) Interview with author, 4 July 2006 and settled the bill when Beckett’s estate threatened to sue over our (9) http://www.jnrs.ie/survey.htm (1) http://artwall.blogspot.com/2006/07/performance-at-kurb-gallery.html posted by art (10) Interview with author, 4 July 2006 production of Endgame, took us to meetings with community groups refugee. (11) Email correspondence with author, 24 July 2006 and watched from a distance the emergence of our reading group. Later (2) Noel Sheridan, Foreword/Introduction to EKKER catalogue published by The City Arts Centre (12) Interview with author, 29 July 2006 and PICA Australia, 1991. (13) Email correspondence with author, 12 July 2006 he would show my work along with fellow younger artists Kevin Kelly, (3) Interview with Jennifer Wicke and Michael Sprinker, 1992 reprinted in Power, Politics and (14) Email correspondence with author, 8 August 2006 Jaki Irvine, Valerie Connor, Brian Cross, Tom Green and the late Evelyn Culture interviews with Edward W. Said, Ed. Gauri Viswanathan , Bloomsbury 2004, p. 163-4. (15) Interview with author, 17 July 2006 (4) Ian Hunt, Letter from Ireland: High and Dry Art Monthly, March 2002p. 34. (16) Interview with author, 18 July 2006 Byrne, – then operating as a collective called Blue Funk, in the opening (17) ibid (18) Email correspondence with author, 18th July 2006 show at PICA. In the catalogue introduction for this show called (19) Interview with author, 13 July 2006 ‘EKKER’ he framed our participation quite specifically in terms of the (20) Interview with author, 12 July 2006 (21) Arts Council statement dated 27 June 2006 late Edward Said’s understanding of colonialism and power in Ireland (22) ibid and Australia; and finished with a strong manifesto for the common (23) Email correspondence with author, 19 July 2006 (24) http://blogs.guardian.co.uk/podcasts/arts_entertainment/ concerns of the new institution. He wrote: “the rethinking of (25) Deirdre Falvey, RTÉ defends arts policy at awards night, Irish Times, June 1 2006 historically embedded myths can seem as difficult a task as walking MILLIKEN Bros. Fine Art Materials manufacturers and suppliers of professional quality stretcher frames & stretched canvases 11 Main Street, Greyabbey, Co.Down, BT22 2NE Tel: 028 427 88293 / 028 427 88005 Fax: 028 427 88293 Email: firstname.lastname@example.org The Visual Artists’ News Sheet September / October 2006 13 CONFERENCE REPORT position from the group they are working with— due to access to aesthetic expression (the power of representation), state funding, institutional sponsorship and so on? Such work implies a dramatic shift from the textual paradigm of art criticism, the act of ‘decoding’ not really possible in this multi- dimensional practice extended in time. Kester described how this necessarily devalues a pleasure-based response, displacing the ‘intoxicating power’ of the critic or theorist to issue pronouncements from on high, and creating the need for a kind of criticism that is durational, and possibly collaborative in some way; much like the work itself. The principles of immersion, learning and reciprocity promoted by Kester in relation to the artwork would thus be similarly necessary for the critic. In his book Conversation Pieces Kester proposes a new critical framework based on Habermas’ idea of discursive ethics.(7) Like Fitzgerald’s comment above, such an approach would demand the ethical analysis of the ‘real relationships’ that constitute any of these projects, rather than an evaluation of the formal appearance of physical objects. Crucially, Kester also discussed a need to build a positive and affirmative framework for such criticism: ‘critical’ does not have to mean ‘negative’. However, good causes must be distinguished from good art; this was highlighted by audience members who described how in Ireland there is commonly a risk of overtly positive or Grant Kester speaking at Pearse Street Library, Dublin. Photo: Jane Speller. affirmative support of work in community contexts without any kind of criticality. This directly feeds into the rather thorny issue of ‘quality’ Real Relationships that tends to haunt many community-based projects – which is tied to modernist ideas of worthy art being complex, difficult, and uncommunicative. SARAH BROWNE REPORTS ON A PUBLIC CONVERSATION WITH GRANT KESTER In reference to one of Kester’s case studies, Park Fiction, Aisling Prior of Breaking Ground questioned how the skills of the artists FACILITATED by City Arts, the ‘In Conversation’ event with Grant outside the gallery walls”. The discussion of these case studies involved measured up to professionals working in landscape Kester at the Pearse Street Library, Dublin (9 June)(1) offered an concluded Kester’s presentation and opened the way for the audience architecture. Kester defended their efforts based on the local opportunity to encounter and discuss the implications of Kester’s conversation. knowledge that informed the building of the park, the ownership felt research into evolving forms of collective and collaborative practice. A number of issues quickly arose, namely the politics of funding as a result, and how well-used the park is to this day. This possible Kester sees such practices as an emergent ‘paradigm shift’ in and patronage; the language/ rhetoric of ‘collaboration’; the changing slippage in ‘quality’ is directly related to these new forms of practice contemporary art, describing them as ‘dialogical’, as they propose the role of the artist and the need to build a new critical framework where the role of the artist is not that of a skilled craftsperson or process of dialogue as aesthetic in and of itself.(2) At the talk he capable of discussing and evaluating these kinds of projects and maker. Rather the skills of the artists Kester is describing typically lie expanded on this idea by offering a kind of potted art history, moving practices. in negotiation, facilitation, research, relationship-building: artists can from the stained glass of Notre Dame Cathedral to Baroque and The question of public versus private patronage is perhaps one of be ‘context providers’ rather than ‘content providers’. What this Roccoco periods, the work of Goya along with the development of the most defining differences between art in Europe and America. actually means is not a slippage in quality, but a different way modernism in the 20th century. He used these examples to discuss the Concerns over the politics of funding are particularly pertinent in altogether of measuring and evaluating where this ‘quality’ lies. changing relationship of art with its audience – moving from a model relation to such cultural projects that are often socially ‘useful’, or seek The approach Kester takes to framing his argument is firmly of transmission in order to support the dominant forms of authority, benefits that allow them to be substituted for effective social policy (6). rooted in an art historical context. The currency of modernism and such as Church or State, to a model of dissent and the emergence of the John Mulloy proposed that artists are in danger of being used as ‘agents community arts were given equal weight in this discussion, and there individual artist personality. From setting the scene in this manner, of the state’ due to state-sponsored per cent for art programmes. Artist was a clear sense of legitimisation bestowed on the latter as a result. Kester moved to his main focus, proposing the exhaustion of the Jesse Jones articulated the need for artists to find ways of manoeuvring There were also some ‘useful gaps’ between Kester and the modernist model of ‘alienation’, where the autonomous artwork through these funding hoops, in order to find ways of operating audience, such as a possible fuzziness surrounding the intricacies of communicates the unique revelation of the artist, and the style of through these state processes for ‘purposes of subversion rather than contemporary art theory, or the specifics of the Fatima Mansions address in relation to audience is intended to be ‘correctional’. collusion’. Regeneration Project respectively. These gaps operated less as barriers Kester presented three case studies that he proposes as Related to the above was a recurring concern amongst the to dialogue and more as spaces where some room for active listening emblematic of the new paradigm where the autonomy of the art audience in relation to the potential for the language surrounding this could open up. The idea of discursive ethics that Kester proposes is a process is rethought through audience participation or involvement. kind of practice to be misleading or manipulative in its description very useful model for valuing and evaluating a wide range of Such socially-engaged practices have widely-spread roots, from and prescription of power relations. John Mulloy described how there democratic cultural practices. A very stimulating conversation opened temporary public projects in the US, to community arts, to diverse could be a ‘sense of betrayal’ in collaboration, and further how the up following Kester’s presentation, aided no doubt by privileging new forms of cultural activism and the post-Greenbergian set of expanded term ‘community’ could be used as a State-supervised prescription of possibilities of ‘the aesthetic’ rather than simply ‘the visual’. Such an practices that emerged from the 1960s onwards. These three case difference. He referred in particular to the term ‘bridgehead space’, that open and egalitarian notion of the possibilities of art practice is studies were: The Park Fiction group in Hamburg, who occupied a treats any idea of community as enemy, or territory that needs to be provocative indeed, and may be more challenging for professionals piece of public land and designed a park in collaboration with local conquered. He also contended that there is less grassroots involvement within the circle of art to accept than those outside it. residents; Navjot Altaf, who made a series of alterations to public water in community arts practice since the professionalisation of the sector. Sarah Browne and how it’s accessed by young women in the Indian village of Bastar, In response, Mannix Flynn proposed speaking of ‘citizens’ rather than India; and eight Senegalese artists, Huit Facettes, who organised a ‘communities’, and highlighted the dangers of community arts NOTES series of festivals and exchanges of craft skills between neighbouring practice being used as a tool to ‘soften up’ areas for speculation. The 1. In Conversation: Grant Kester, (9 June 2006) was presented by City Arts & Blue Drum, with the support of Dublin City public Libraries, NEAR fm & the Media Co-op. podcast of the In villages previously in conflict in their home country.(3) instrumental use of culture highlighted above goes hand-in-hand with Conversation with Grant Kester event is now available. : http://www.nearfm.ie/podcast. There is insufficient space in the scope of this article, nor was a crafty use of language that can gloss over embedded problems or 2. Kester, Grant, Conversation Pieces: Community and Collaboration in Modern Art, University of California Press, 2004, p.13. In his book Kester draws a clear distinction between these there in fact in Kester’s presentation, to discuss each of these bodies of deny the need to address systemic social inequalities. Sandy Fitzgerald kind of dialogical practices and those that are collaborative in the sense of the shared work in the necessary detail, especially as they deal with very described the word collaboration as ‘a dangerous term’ now the production of paintings, sculptures, murals and so on. 3. More information on these projects, see: www.parkfiction.org; particular local concerns and rely on a degree of situated knowledge community arts of the 60s, 70s, 80s have been brought in from the cold http://www.greenmuseum.org/generic_content.php?ct_id=210; http://3r2n.cfa.cmu.edu/groundworks/statements/HuitFacettes.pdf; developed over time.(4) Suffice to say that they shared a number of by the powers that be. He suggested we instead speak of the ‘real 4. Such ideas of ‘connected knowledge’ are recurrent themes in feminist epistemology – Jane qualities that made them appropriate case studies for Kester’s thesis— relationships’ that make up such a collaboration; where does Jacobs’ classic critique of modernist urban planning, The Life and Death of Great American Cities, is an indicative example. these include the participation of the ‘audience’ for the work, an collaboration slide into compromise or collusion? 5. This is however changing, with artists such as Wochenklausur becoming an established emphasis on process and workshop-based activities, and a complex Implicit in the discussion, though largely unexplored, was the group on the international museum circuit, and artists Huit Facettes being included in Documenta XI, 2002. and deeply nuanced approach and understanding of the work’s place need for a critical and self-reflexive position to be taken by artists 6. For an analysis of the instrumental use of culture by the UK government see Walker, Una, Moving on from Opportunism, The Visual Artists’ News Sheet, July/August 2006. and site of reception. Like most forms of community art, the artists and involved in such projects – who can claim to speak ‘for’ a community? 7. Kester, 2004, p.109. groups Kester is interested in typically receive their primary validation The case studies put forward by Kester ask what it might mean for an from the community or co-participants in question, rather than the artist to surrender the security of self-expression for the risk of inter- international art world, and largely operate outside this circuit— subjective engagement and the possibility of a collective authorship. though the case studies he addresses are global in scope.(5) These are all What are the ethics of such an exchange, especially since the artist essentially “positive practices that are directed toward the world typically is seen to operate from a different economic and cultural 14 The Visual Artists’ News Sheet September / October 2006 CULTURAL POLICY Selling Creative Futures Jones stressed the value of rethinking the position of creativity in society. He felt that in the future “creativity will be the main currency”, and that agencies must be proactive in “overcoming the psychological barriers to change”. He cited the dramatic aesthetic transformation of VAI INTERNATIONAL REPRESENTATIVE MARK CULLEN REPORTS ON THE WORLD SUMMIT ON ART the Albanian City of Tirana, instigated by the city’s Mayor Edi Rama – AND CULTURE, HELD AT THE SAGE, GATESHEAD,WHICH FOCUSED ON CULTURE AND REGENERATION who was originally an artist, as a key example of what a pro-active attitude on the part of cultural agencies could achieve in overcoming WE were greeted by the Sage building in Gateshead flexing its acoustic Robinson noted that in 1800, the global population – urban and psychological barriers to change. Tirana’s development started simply might, via a montage movie of all that the Northeast has to offer put to rural combined was one billion, while it is predicted by 2050 5.4 with the painting of grim communist era housing blocks with riotous an ethnic rave soundtrack. Things weren’t looking too promising at billion people will live in cities alone. He warned again that the 19th colour; and moved onto a major infrastructural development of the this point, the sound may have been good – but it was at full volume century educational structures that inform our current business city. Jones finished on a positive note by stating, “that we all want the and we had only just finished breakfast. I was here to attend and report models and social policy are too rigid to be capable of dealing with the same thing, namely quality of lived experience, and the arts are the key back on the ‘World Summit on Arts and Culture’ (14-18 June), the third rapidity of change of contemporary culture. Specifically Robinson was to providing it”. such event organised by the International Federation of Arts Councils critical of the literally ‘top down’ idea of education – with mathematics One of the workshops available on the closing day was ‘Culture in and Culture Agencies (IFACCA) – a body set up in 2000 to strengthen and languages on the top and art and dancing on the bottom –“we get Crowded Cities’ which featured presentations by Mitsuhiro the position of cultural policy makers, by creating a worldwide progressively educated from the knees up until we get to the head then Yoshimoto, Director of Arts & Cultural Projects NLI Research Institute, network of information exchange on cultural policy that is serviced by it moves slightly to one side. The trajectory of education is to produce and Tokyo on regeneration projects in Yokohama and by Howard a frequently updated website (1). The event featured 480 delegates from university professors who live in their heads, slightly to one side and Chan, the Community Museum Project, and Hong Kong. As Sir Ken half the countries of the world – 20 of these incidentally being in the view their bodies as transport for their heads.” Robinson had pointed out earlier in the summit, our cities are going to world cup. For Robinson the principle question now facing education is how get more crowded as the countryside empties and urban populations Risto Rouhonen, Chair of IFACCA, introduced some of the issues to participate and succeed, within in economies that are themselves swell. In relation to this Mitsuhiro Yoshimoto discussed the that were at stake at this years event, which looked at the theme of rapidly changing the systems and technology that they use. Moreover, development of Yokohama in Japan and the role of its Triennial of Art regeneration under the title ‘Transforming Places, Transforming Lives’ how do we provide for local identity in a global frame of changing and the Sakura Art homes project. Paralleling Artscape’s presentation He stated that interest in cultural policies is growing a wider appeal demographics, one that transcends ideas of the regional or national? on the potential of creative clusters and managing projects in order to outside the arts sector, but with this comes the consequence of And what strategies can be employed to positively develop our bring about a general positive change in atmosphere and use value of increased pressures of instrumentalising the arts. The chair systems both locally and globally? cities spaces. For example The Sakura Art Home projects had proclaimed culture as a basic right of everyone in a creative welfare Fundamentally, Robinson argues that education should teach us transformed ‘one-up one-down’ red-light motels into spaces where society. Art as an innovative base, he claimed, can be a key tool about ourselves – what it is to be a person, to feel and understand form, artists, community and non-profit organisations interact and operate. plugging into governmental social policy drives. This theme of art and our bodies and to teach us to creatively engage with our lives; to Yoshimoto stressed the importance of providing such meeting spaces culture as an instrument of social regeneration was taken up by many enhance the quality of lived experience for ourselves and other. He in the ‘vacancies’ in city real estate. Likewise he thought it vital to of the speakers throughout the summit. In order to improve regional claimed that the nature of intelligence lies in webs of significance that place trust the organizational abilities of artists and non-profit groups accessibility to creative culture, a plea was made that arts and culture are diversely spread and integrated between the fives senses. Education to deliver positive results. must be included in resource allocation. So the summit got off to a should also promote our sense of cultural identity and deepen cultural Howard Chan noted how Hong Kong regeneration has its own positive, if somewhat polemical start, where the aspirations of the proficiency and literacy. Alongside this it should develop intercultural, unique style –whole streets and districts are simply erased to make chair and IFACCA were clearly articulated. ‘interpolated’ concerns via an understanding of what it is to be global. way for higher density, higher rise buildings. Chan’s focus was on the Peter Hewitt of the Arts Council England related the summit to Robinson finished by claiming that art and imagination can address visual ecology of the ‘street’. He spoke about symbiotic and parasitic the context of Gateshead, a city remarkably transformed by a the ideological and ecological crises of our time by making full use of relationships such as ‘one-dimensional shops’ – vendors that make use regeneration process that began with a decision to foreground art and our capacities to feel, think, make and do. Robinson asserted that we of the doorways of closed banks and larger store, using security architecture. In the 1970s, the conurbation had turned its back on the are at an early stage of our spiritual evolution and that the problem is shuttering as makeshift shelving apparatus and pawnshops dilapidated and decrepit riverside, with warehouses no longer needed not that we aim high and fail, but we aim low and succeed. inextricably linked to established jewellers, to the extent that space is as businesses turned away from the port as part of the de- Following the keynote presentation we were given the included for the ‘squatter’ in the redevelopment of their site. industrialisation process. Gateshead now has many key landmark opportunity to attend various presentations by international arts- Chan also talked about The Street as Museum project and other buildings such as the Sage, The Baltic and the Millennium Bridge that organisations involved in regeneration projects. Jonathon Harvey, initiatives, which been produced in response to regeneration serve as positive re-imaginings of the cities identity. Hewitt spoke of a director of ACME studios in London (2), which provides high-quality, initiatives in Hong Kong. Chan talked about, his project for Lee Tung need to connect; and to learn to connect better. This could be manifest secure, affordable and accessible studio and spaces, gave a presentation Street, renowned for being the ‘wedding card street’ with its abundance in modernising relations with government in ways that are “switched on the relationship of artist studios to regeneration. He noted how the of small printing shops which was scheduled for complete demolition. on to artists”. He spoke of the challenges of displacement, migration situation of studios had changed in England since ACME was set up in Chan’s project, that he termed ‘social curating’, analysed and ethnicity and Islamophobia and the unique ability of creative culture 1972. He described in detail the demographics of affordable artist catalogued images of the street – from doorbells and letterboxes to the to affect society, in the context of access to culture being no longer the studios in England, there being some 134 organisations, 197 buildings, shop signage. Employing a digital photography he constructed a preserve of an elite and creativity no longer confined to artist. Hewitt 4,000 studios catering for 5,000 artists. We learnt that most of these complete view of the façades of the buildings, producing two nine underlined this point with reference to Marshall McLuhan idea of the spaces were artist initiated and had taken advantage of opportunities metre wide photographs of the street. The project’s aims were to “weightless economy” where the “user as creator” engages in varying arising in the property market, such slum clearances, and the de- highlight the importance of the immediate environment and to relationships to the market that shifts with the users desires and industrialisation of cities, dock closures. empower and encourage creativity and debate among ordinary people, intents. He cited The Sultans Elephant, a street-theatre performance He stressed the insecurity of the sector, with only 16% of studios in order that their voices are heard in the development process. (5) where one million people turned out to see 40ft elephant puppet being having permanent claims on their buildings. Harvey recognised In his closing speech Risto Ruohonen, wrapped up the led by a 20ft marionette girl parade through the streets of London as an current models of regeneration as both an opportunity and a threat, proceedings with a recap of the various issues that were repeated example of art directly interfacing with the public on the street; which along with the familiar problem of art spaces and studios throughout the summit. A key issue was the need for the creative he proposed as a ‘new medievalism’. Hewitt finished his address with a unintentionally serving as the vanguard of gentrification and sector to directly engage with governments and corporations in order call for policy makers to support more research and development eventually being priced out of areas they helped ‘develop’. By way of to elevate the position of culture in resource allocation. Unfortunately projects, as he believed artist to be social pioneers. solutions, he felt that it was important not to place faith in any single there did not seem to be any ears from these sectors present to bend. Sir Ken Robinson delivered the first keynote address. Based in model of practice –citing diversity of size and price range as indicators None the less, I was generally impressed with the level of engagement California he works as an educational advisor, and he spoke of a more sustainable and healthy community of art studios catering of the participants and the quality of the presentations made during passionately about the key position of creativity in social evolution. for a diverse range of artists needs. the summit. It is quite stirring to be surrounded by the chief policy Robinson’s belief is that we are currently working in the framework of Tim Jones the CEO of Artscape (3), a company based in Toronto formers who direct the course of cultural development worldwide – all a revolution in every field of life, with profound implications for that specialises in ‘Creative Community Building’, talked about together at once, and witness what seems to a polyphonic singing workers in the ever-expanding cultural field. However, we were particular strategic responses to the creative milieu – ones that from the same hymn-sheet. Yet, as the only artist delegate at this event hamstrung by our education systems – developed during the 19th develop both ‘hard’ and ‘soft’ infrastructures for creativity. Artscape – had been repeatedly described as ‘an anomaly’ amongst this century industrial era, they are no longer adequate in the face of the aimed to achieved this through working with planners and gathering of policy makers, advisors and administrators; I could not changing particularities of the 21st century information / service age. developers, to redesign districts from the bottom up and devising help but think that the presence of artists was a significant omission. Robinson stressed the need to get involved in the framing education ‘creative clusters’ that offer opportunities for a range of cultural uses. Mark Cullen policy within wider social, economic and cultural frameworks. He also In the Distillery District in Toronto Artscape worked with NOTES noted that technology is transforming culture, with the exponential developers to set-up two studio buildings with a mix of cultural users pace of information development increasingly diverse economic and within a major national heritage site of 44 buildings that was having (1) www.ifacca.org (2) www.acme.org.uk cultural forces are the driving issues of current life – leading to new difficulty finding commercial tenants. Artscape secured long-term (3 Further information on artscape can be found at: http://www.torontoartscape.on.ca/distillery/ phenomena such as ‘digital immigrants and natives’. By way of leases for the studios at below marker level rents. By demonstrating the http://www.musac.org.es/index_en.php?obr=277 example he mentioned the 97 million users of www.myspace.com – a potential of the area, the 42 other buildings were filled within 18 (4) http://www.newyorker.com/fact/content/articles/050627fa_fact2 (5) http://www.hkcmp.org/cmp significant cultural zone for a particular segment of the worlds youth months of the artists moving. population with digital access. The Visual Artists’ News Sheet September / October 2006 15 ORGANISATION PROFILE United in Art Associated Clubs The United Arts Club is Associated with the following Clubs: MARY CAULFIELD PROFILES THE UNITED ARTS CLUB IN DUBLIN, WHICH NEXT YEAR WILL BE CELEBRATING IT’S 100TH ANNIVERSARY Savage Club, 1 Whitehall Place, London SW3 6EB. T: 0044 171-9308118 The Irish Club, affiliated with many clubs around the world. Members wishing to visit 82 Eaton Square, London SW1 associated clubs can obtain a letter of introduction from the club The Sussex Arts Club, secretary. 7 Ship Square, Brighton, East Sussex, BN1 1AD. The committee carries the election of members out monthly and The Artists Club, candidates must be proposed and seconded by the members of the club 5 Eberle Street, Liverpool, L2 2AG. of three years standing. The club year begins on 1 January and Scottish Arts Club, subscriptions are adjusted accordingly. Subscriptions average around 24 Rutland Square, Edinburgh, Scotland. €180 per year, but are divided into town and country, overseas and Glasgow Arts Club, joint rates. Members resident outside Ireland for twelve 12 months 185 Bath Street, Glasgow G2 4HU, Scotland. T: 0044 141 2485210 continuously may retain their membership on payment of the Ulster Arts Club, reduced subscription. 56 Elmswood Avenue, Belfast. Players Club, DISTINGUISHED MEMBERS 16 Grammercy Place, NY 10003, USA. William Orpen was a member of the Club from 1908-1912. Among his Arts Club of Washington, students were Letitia Hamilton, Patrick Tuohy and Estella Solomons – 2017 One Street NW Washington DC, 20006, USA. all of whom joined the Arts Club. Arthur Power, artist and friend of The Arts & Letters Club, James Joyce and acquainted with the prominent artists in Paris during 14 Elm Street, Toronto, Canada. the 1920’s and 1930’s was a member of the Club for 60 years. Societeit de Kring, Sarah Purser must be included in any salute to Arts Club artists Kleine Gartmanplantsoen, 7-9 Amsterdam, 1017 RP. for not only was she an outstanding artist, she did Trojan work to Associazione Artistica Culturale, promote the work of her contemporaries. She was one of the great Piazza del Monte Reggio, Emelia, Italy. portrait painters of her time, the others being John Butler Yeats and Circlino de Bellas Artes, Osbourne. She was enraged when John Butler Yeats’ paintings were Calle Alcata, 42-28014, Madrid, Spain. turned down by the Royal Irish Academy in 1901. Nathaniel Hone’s The Doha Club, work was also rejected. As well as promoting their work she founded Doha, Quatar. An Túr Gloine to improve the quality of Irish Stained Glass. She The American Club, founded the Friends of the National Collections to buy new works by 131 MacQuaire Street, Sydney, Australia. Irish and foreign artists for the public galleries and like Lady Gregory she campaigned for Hugh Lane’s Gallery and for the retention of his Illustration by Brigid O’Brien for the Arts Club’s Christmas 1931 dinner and dance, with paintings here in Ireland. caricatures of many Club members. (L–R) Sophie Pearce, Mrs Williams (commercial aviator), James Duncan, Major Bryan Cooper, Sara Allgood, Richard Orpen, Mrs Kennedy Cahill, Conor Of all the artists, I believe, the prize for best attendance of the Arts Oliver decided to return to Dublin and open a gallery to exhibit, O’Brien (circumnavigator). WB Yeats, Bernard Shaw, Padraic Colum, Lennox Robinson, AE, Harry Club would go to Jack Yeats. He joined the Arts Club in 1912 and called promote and sell quality Irish paintings. His friends warned him to Norman, Mrs Kirkwood Hackett, Tom Casement, Page Dickinson and Mrs Duncan. Image courtesy of the United Arts Club. to it nearly every day. He was offered, but declined, the office of avoid this neglected field. They pointed out to him that at a recent President of the Club. He was a Vice President of the Club. One of his auction, a painting of AE’s – George Russell – had failed to sell for great remarks was “art is nothing without the living ginger in it”. 2s/6d, even when the auctioneer added a coalscuttle to the lot. When DUBLIN’S United Arts Club was founded in 1907 by Ellie Duncan, The Club has been host to some artistic dynasties, one being the Oliver opened the Oriel Gallery in 1968 he started ‘the art revival of with the stated aim to combine “the usual advantages of a social club, Ford Madox Ford / Lamb family. Ford Madox Ford’s son-in-law was the Ireland’. He opened with exhibitions of watercolours by Percy French open to both ladies and gentlemen, with features of special interest to outstanding painter Charles Lamb, an early member of the Club and oil paintings by George Russell. Oliver‘s quirky sense of humour is workers in art, in music and in literature.” Duncan was a connoisseur whose son, Peadar Lamb, and his wife, Geraldine Plunkett – both sadly missed. He greeted new acquaintances with “I’m so glad you have and critic who wrote on the visual arts and literature and is best actors, are also members and their son, Peter, is a stained glass artist. met me!” His parties and salons were works of art in themselves. known as the organiser of the first exhibition of Post-Impressionist Back in the 1960’s there were very few art galleries in Dublin painting in Ireland, as well as being a campaigner for the return of when the Artists Group started in the Arts Club. They held solo shows CENTINARY Hugh Lane’s paintings to the Municipal Gallery in Dublin. Duncan and group exhibitions every two weeks in the arts club. They were a The celebrations to commemorate the centenary of the United Arts was also notable in her insistence that women members were great success, particularly for the buyers, for at such low selling prices, Club will commence in January 2007, with the main focus being to accorded equal rights to male members – at a time when the the paintings inevitably appreciated. The artists who exhibited with honour our distinguished founder members. The first event will be a suffragettes were dying for the right to vote. the Group received publicity and reached audiences that they couldn’t re-enactment of the Nine Arts Ball at the glorious baroque chapel and Our current mission statement states that the club provides “a have done without the backing of the Group. One of the shining lights Great Hall IMMA. The nines arts being literature, music, painting, centre for people interested in literature, music, painting, drama and was Robert Ballagh, who is showed his mettle again by challenging the sculpture, theatre, dance, poetry, rhetoric and architecture – and on good conversation”. The club holds an art exhibition every three Government on its delay in implementing the EU droit de Suite / artist this occasion augmented by film. The sight of carriages, guests in weeks. Painting classes with Harrie McManus are held every Tuesday re-sale right directive. Among the other members of the group were period costume, the sound of great music and the tinkle of champagne morning. Life Drawing drawing classes are held every Wednesday and Michael Ashur, Evin Nolan, David Goldberg, Frances Boland, John glasses will waft us back to another age! Thursday night. Artist members may hold exhibitions in the club Coyle, Charlie Harper, Theo McNab, Arthur Power and Harry Kernoff. Lectures will be given on the founder members, including WB subject to committee approval. Non-members may be invited to Artist Patrick Collins was a familiar presence in the Club. While Yeats, Jack Yeats, JM Synge (2007 being the centenary of The Playboy of exhibit in the club from time to time. Currently visual artists represent his presence was regal he had all the graces but none of the airs of the the Western World), Lady Gregory, Hugh Lane, George Bernard Shaw, just over 30% percent of the clubs membership. great artist. He was once asked if he thought Paul Henry was colour Count & Countess Markievicz, William Orpen, Lennox Robinson, Apart from its artistic activities, the club fills a definite place in blind. He replied – “If he was colour blind then I wish I was too”. George ‘AE’ Russell and Percy French. A programme of art exhibitions the artistic life of Dublin and is taken advantage of by members for the A former President of the Arts Club, Michael Scott – architect, has been drawn up especially for the centenary year, including a major entertainment of their friends. Members whose occupations are in the actor, painter, collector, poet and great raconteur, like Hugh Lane sculpture exhibition featuring works by members and non-members. vicinity find it a convenient place to lunch, while for those going to the brought international modern art and architecture to wider publics What we regard as the most important event is the initiation of theatre; dinner is at a suitable hour. Distinguished visitors to Dublin through his work as Chairman of the ROSC exhibitions of the 1970’s the Arts Club Annual Lectures that have been modelled on the lines of are regularly entertained in the club and during the winter season club and 1980’s. the great Reith lectures. A high profile speaker will soon be confirmed. dinners and lunches are held frequently. The club’s premises include a Another leading member of the Arts Club, Oliver Nulty, who died Through these lectures the Art Club will provide a platform for major larger double drawing room suitable for concerts and gatherings, a bar recently, played an enormous part in securing recognition for the figures in the world of theatre, literature, film and music. Further and lounge and several bedrooms for the use of country and overseas visual arts in Ireland. In the 1960’s Oliver was working in London details of the centenary programme will be announced later this year. members. Meals are served in the beautifully appointed dining room, when he noticed that painting from most countries in the world could and rooms may be hired by members for meetings, rehearsals and be seen in galleries, but,but as he said “virtually none from Ireland”. Mary Caulfield receptions. And at the time there was little demand within Ireland for the work of Further Information from: The club is financially self-sufficient and supports itself through its own artists. Oliver asked the owner of a prominent London gallery The United Arts Club, 3 Upper Fitzwilliam Street, Dublin 2. membership subscriptions and the renting out of its rooms to if he ever handled any Irish paintings and he replied “Oh! Are there T: 01 6762965 F: 01 6617292 members and other eligible individuals. The United Arts Club is any?” 16 The Visual Artists’ News Sheet September / October 2006 CONFERENCE REPORT late 1990s in Croatia. Topic examined both the opportunities and the Knowledge, Power and Space problems arising for artists as they open up new spaces of freedom and expression within the newly created social system. Anna MacLeod gave the first curatorial presentation of artworks SUSAN GOGAN REPORTS ON THE SITE-ATIONS INTERNATIONAL CONFERENCE 2006, HELD AT THE produced for Sense in Place Europe. Each curatorial project had a MODEL ARTS AND NILAND GALLERY, SLIGO (17 – 18 JUNE) particular theme related to local issues. For example Paco Simon’s project Agua / Water that took place in Spain, aimed to facilitate a deeper understanding of society’s complex need for water and to increase public awareness of sustainable futures in relation to the transference of water to building sites in Southern Spain. Adam Klimczak, curator of Sense in Place, Poland, brought the audience on a visit to the monumental 19th century textile factories of Lodz, where the site-specific artworks created a dialogue between the city’s industrial past and its cultural future. In his writings, Henri Lefebvre expresses concerns about privileging the local for its ‘concreteness’ – he stresses that we should understand our links to a wider realm of constantly changing processes and contexts. The site-specific works produced for Sense in Place prove that artistic methodologies and practices offer the perfect means by which to reveal the political and cultural struggles that exist at a local level, while at the same time working with broader, more complex sets of philosophical, sociological, historical and Aigars Bikse 1/10 of Mothers Earth’s Office. 2004. Installation, main cemetery of Riga city. Eriks Bozis Bench-up. Bench-down. 2000. Installation, Visby, Sweden. geographical perspectives. Time constraints only allowed a brief look “… it is somewhat arbitrary to dissociate the effective practice of think about space, outside of the binary way of thinking that still at the many great artworks produced for Sense in Place Europe, freedom by people, the practice of social relations, and the spatial characterises much of Western thought. Foucault and Lefebvre’s ideas however a publication is promised for the future, which will be a distributions in which they find themselves. If they are separated, they about the production of space were not really taken up until the 1990s, highly valued and covetable record of this inspired and fascinating become impossible to understand. Each can only be understood when there was a remarkable surge of interest in a critical spatial project. through the other.” perspective that sees space as lived and as a dynamic force Tim Yarnell of the Forestry Commission of England, offered some Michel Foucault (1) characterised by a constant process of negotiation between the built interesting viewpoints on people’s changing relationships with the environment and its inhabitants. Soja stressed that the spatial turn woodlands, once seen as a place of danger and hardship for its IN an interview with Paul Rabinow, Michel Foucault discusses the represents one of the most important intellectual and political inhabitants, but now more commonly envisaged as a publicly shared complex exchanges between architectural projects and how they developments of recent times – spatial practice is instrumental in the space of tranquillity. More recently it is a place where people can buy function as forces of oppression, resistance and liberation. He formation of social relationships, political struggle and cultural their own ‘plot’ of forest in order to picnic in private without being emphasises that the intention of the architect is not the fundamental identities and as such it is imperative that we politically involve disturbed! determining factor in people’s experience of a project or building, ie ourselves in the production of the spaces in which we live. Brendan Bartley discussed the Irish government’s 2002 National utopian schemes specifically designed to liberate people, cannot do The conference acknowledged the interactive relationship Spatial Strategy (NSS) which was introduced to conform to the EU’s this by their very nature. Moreover ‘liberty’ should be understood as a between urban spaces and the natural landscape, and presentations European Spatial Development Perspective (ESDP). The goals of the practice and as such, architecture can only produce positive social and discussions shifted effortlessly between the two. Æsa latter include: territorial cohesion; the prioritisation of partnerships, effects when the liberating intentions of the architect coincide with Sigurjónsdóttir brought us to the place of ‘nowhere’ – the Icelandic negotiation and social inclusion; the promotion of EU cities as global the real life-practices of people in the exercise of their freedom. (2) highlands, which have a long tradition in the collective Icelandic centres and the avoidance of economic polarisation. The Irish Foucault’s observations are now being awarded new currency as cultural imagination as a dark, negative place with no myth or history, National Spatial Strategy primarily aims to address problems of the importance of the spatial dimension of our lives is being nature’s margin or otherness. However, recent controversy integration, eg. the isolation of the North West of Ireland in terms of recognised across an extraordinary breadth of disciplines. The Site- surrounding the construction of Karahnjukar project hydro-electric infrastructure and connectedness to the rest of the country, and to ations International Conference 2006 held at the Model Arts and dam in such a location, has stimulated artists, philosophers and develop co-operative planning between Northern Ireland and the Niland Gallery, Sligo (17 – 18 June), directed by Sean O’Reilly, Director scientists to engage with the Icelandic landscape in new ways, South. Although coming under some audience criticism for seemingly of the Leitrim Sculpture Centre, brought together academics, constructing new national identities for these spaces. promoting a global rather than a diverse perspective, Bartley’s professionals, artists and curators to examine the re-construction of With reference to Roland Barthes’ Mythologies, Chris Short spoke presentation provided an interesting and very necessary balance to the space and the reconfiguration of borders, political landscapes and about the shoreline and how he seeks to understand the space between primarily artistic content of the other talks. cultural identities. Spatial approaches such as location, place, region, the two realms of the ocean and the beach, ie the endless, nameless, The role of the artist in the spatial production process arose as a territory, periphery, urban, landscape and environment were all forms and movements of the ocean that exceed and elude key question during the closing panel discussion. Audience and panel investigated over two days of insightful and inspiring talks and representation and the highly representational world of deckchairs, opinions swung quite dramatically between positive and negative discussions within a creative context. Guest speakers included Edward promenades and sandcastles. perceptions of the artist’s future as a real negotiator in the planning W. Soja, Inese Baranovska, Tim Collins, Æsa Sigurjónsdóttir, Brendan Inese Baranovska gave a stimulating presentation on the and production of the spaces and places in which we live. Bartley, Tim Yarnell, Chris Short and Leila Topic. The conference was adoption of scientific and sociological methods by contemporary On the positive side Tim Collins, an artist and academic, spoke of chaired by Fidelma Mullane – a geographer, planner, lecturer, and arts artists as a means to integrate art into the public sphere and everyday his experience directing interdisciplinary projects that affect real and culture projects consultant and trainer. life. She spoke about the new dialogue that has opened up between change in the material realm. Examples of such cultural initiatives This conference was the culmination of a series of international artists and the viewer based on social problems such as violence, included the removal of a slag heap from a public park and a natural arts projects that have taken place in Europe and the US over the past ecological fears and changing cultural identities. Inese cited Latvian riverbank conservation project. Collins adds weight to his social and 10 years collectively entitled Sense in Place(3). The most recent site-specific ‘adaptive’ artworks, both in urban and rural contexts, in artistic concerns by collaborating with teams of scientists and other initiative ‘Sense in Place Europe 2005-2006’ explored thematic, artistic her discussion of the re-construction and re-interpretation of space as a experts to compile ecological evidence in order to make convincing and interdisciplinary responses to six ‘peripheral’ locations in Europe – means to stimulate the viewer into considering their relationship to presentations to local councils and developers. Collins and his team Reykjavik, Iceland; Sligo, Ireland; Lodz, Poland; Riga, Latvia; Zaragoza, life and values in new ways. One particular piece by Latvian artist also directed the Groundworks Monongahela Conference a major Spain and Cardiff, Wales. The curators of each of these projects were Aigars Bikse, who took part in Sense in Place in Sligo, resonated on exhibition and public exchange of international views on art, ecology respectively, Rosa Sigrun and Hannes Larusson, Anna MacLeod, Adam many different levels – 1/10 of Mother Earth’s Office (2004) is a public and planning that took place last year at the Carnegie Mellon Klimczak, Ilse Egle, Paco Simon, Sean O’Reilly and Paul Beauchamp. art piece dedicated to burial places that have been lost in the Great University, Pittsburgh, (15–16 Oct 2005) (4). Collins argued that the Alternating with the guest speakers’ presentations, these curators gave Graveyard of Riga city. Situated in a piece of parkland, the piece artist’s aesthetic perception of complex systems can help us both presentations on their ‘Sense in Place Europe’ projects. appears as an underground office that has been pushed upwards from recognise and address social and ecological problems in new ways. His Edward Soja provided the theoretical framework for the underneath the earth, exposing four glass walls and an illuminated projects have been hugely successful in affecting change, although conference in his engaging discussion of the ‘spatial turn’ in the functional office. Scrolling on a computer monitor are the names of they do require massive funding – which was noted by one audience human sciences, ie the unprecedented diffusion of a ‘critical spatial the deceased people lost in the cemetery. By literally breaking through member as an obstacle to change. Nevertheless, Collins’ work serves as perspective’ into a great range of disciplines – most notable in that it the surface, this piece exposes knowledge that was unobtainable while a great example of the success that is possible when artists move from challenges the historical as the primary means of interpreting human the ‘whole’ was intact – the re-structuring of space has allowed new a peripheral position in the planning process to a central one. social and political activity. Soja explained how through the late 19th experiences and relationships with the past to emerge and has re- Susan Gogan NOTES century and most of the 20th century, the development of society over formed the identities of those deceased. (1) Michel Foucault.‘Space, Power and Knowledge.’ (1984) The Cultural Studies Reader 2nd Ed. Ed. Simon During. London and New York: Routledge, 1999. p. 136 time was seen in terms of a dialectical relationship with space – and Leila Topic also discussed issues around public art. After the (2) Ibid. P. 135 space being perceived as non-active and non-dynamic. In 1960s Paris Balkan War several Croatian artists began to produce public art as a (3) For further information see www.site-ations.org www.artistsproject.co.uk (4) For further information see http://3r2n.cfa.cmu.edu/ however, Michel Foucault and Henri Lefebvre proposed a ‘third’ way to response to the instability, poverty and anxiety that characterised the http://www.communityarts.net/readingroom/archivefiles/2005/12/paradigms_on_th.php The Visual Artists’ News Sheet September / October 2006 17 CAREER DEVELOPMENT As a strategy, setting up in London and capitalising on this interest made sense. Instead I went to Liverpool for six months to work on a public art project with industrial slag heaps. Then my wife Síabhra and I bought an old farmhouse in the middle of nothing back in Ireland and buried ourselves for the next years in renovating it. It’s the anti-manual of artistic success. On coming home Charlie Cullen got me in to cover for David Godbold’s sabbatical year from NCAD and from then on I took on a rash of teaching around the country. At one point working on Monday in NCAD, Tuesday and Wednesday in the Crawford, Thursday in the Burren College of Art and Friday in DIT. I gave up all that in 2002 for one full-time position at Galway-Mayo Institute of Technology. Looking back that my CV – they are pretty lean years artistically. Without much expectation I put together a show ‘What to Look for in Summer’ in 2003 in the Rubicon. In the way you’d hope from a body of work, it seemed to offer afterwards other possibilities. I was in the midst of exploring these in the studio when the chance came up to do a solo show at the Brussels Art Fair in April 2004. Again I think I was lucky. It was good work as it goes and a lot of people saw it. Art fairs are like that – numerous small stands piled high with work, but the whole artwork scouring through them – a specialist sort of jumble sale. Offers flowed in from galleries all over. I had to get out an atlas. I guess this was my second chance. I chose the most immediate and specific offer, with a gallery that seemed good – a solo show that September with Galerie Loevenbruck in Paris. Herve Loevenbruck is well connected in the French art world and does a lot of curating, so various group shows followed also. On the strength of the show in Paris the curator of a museum of Blaise Drummond Flowers of Field and Stream (Black Mountain) 2005 contemporary art in the west of France invited me to do a show in his Oil, collage and ink on canvas 127 x 167.5 cm Peaks and Troughs space, the Musee De L’Abbaye Sainte-Croix. It was the biggest thing I’d undertaken to date and involved a lot of borrowing back of existing work from collections, a couple of months leave from work and a lot BLAISE DRUMMOND CONSIDERS THE DYNAMICS OF HIS ART CAREER of travelling back and forth to France. When the show closed in June I didn’t exactly plan to be an artist. I went to university in Edinburgh to some of it travelled to Paris to form the basis of ‘ A Field Guide’ a show study biology and ended up graduating in philosophy and classical art at Loevenbruck; and some went to make up the ‘Sous Le Soleil Du four years later. I didn’t have much to do with art when I was younger. Nord’ this year at the Butler Gallery in Kilkenny (24 June – 30 July), my My dad was a doctor and the Christian Brothers in Birkenhead didn’t first solo show in a public space in Ireland. have much to do with art either. After university I spent a summer in Between these things I followed up other requests to do shows Dublin on the dole and a bicycle – afternoons in O’Neills of Suffolk with Alice Day in Brussels and Blancpain Stepczynski in Geneva. I’ve Street with the Irish Times, a pint and sandwiches of white bread and just finished preparations for a show in September with a gallery in orange cheese. Padua. The guy, Andrea Perugi, is very funny and a great enthusiast and Later on I was working in landscaping in Boston and had a mind proposed that the show comprise “jast wan veryy beeg painting” in his to return to Dublin, but had no excuse. I loved the band The Stars of pristine hanger-like industrial space. I’m making a sort of wall Heaven, but they were over – their residency at the Baggot just a installation of various different elements and creeping out across the memory by the time I got there. Then someone gave me the address of floor. An expanded painting, if you like. I started fooling around with NCAD and I applied with some photos and film things I’d been flirting the format in the show with Alice Day, prompted by a suggestion of with. I graduated in painting in 1994, grateful that it was something I Síabhra in the studio – and I have made a couple since, one currently could realise on my own. Too shy and unassertive to command a film in the Loevenbruck show and one in The Commune’s Fish Pond in a Blaise DrummondTree (Repaired for Autumn) 2004 crew. People can tire you out. Being an artist is a good career choice if group show about drawing in Düsseldorf. Stick, Leaves, Electrical Tape & Blu Tac 38 x 38 x 38 cm approx. (detail) you like your own company. Next spring I have a show scheduled with a gallery in LA that I’ve Everybody’s creative life has its peaks and troughs. You’re lucky if I did an MA at Chelsea in 1997. My arrival on the course done a couple of group shows with already and I hope to get another a deadline coincides with a peak. I hit a stride I think with my degree coincided with the inclusion of a piece of mine from my first show in together with Alice Day in Brussels. show of bricollage made up of fruit crates, paint, stickers, rubber the John Moores, a biennal survey show of contemporary painting in I guess I am travelling a lot now, though I’m not that big on stamps and veneer. After all that I had little idea what to do. I went to Britain held by the Walker Art Gallery, Liverpool. It was their 20th travelling. Sometimes I am lucky that trips co-incide with shows that I New York and saw a million shows and worked in a gay porn video anniversary and a big deal. The award ceremony dinner at St. Georges might not have otherwise seen (gone are the days with the luxury of shop. Hall (where Echo and the Bunnymen played and across the road from time to fly especially to Copenhagen just to see a Robert Smithson Back in Dublin I was lucky to get a place in a subsidised studio. the Empire where I’d first seen the Undertones) attended by the Brit-art show) – like a huge Friedrich show I caught in Essen recently. Back then there weren’t a lot of spaces around. Its accumulated dusty world – Tracey Emin, Jarvis Cocker, Sam Taylor-Wood, Gary Hume. Unfortunately time constraints often mean that I see little more than burden of the abandoned oeuvres of former inmates has left me with Strange to find oneself from Dublin amongst all that – and a thrill. the insides of the galleries I am working with, which is less than ideal. an abiding fear of overproduction. Or put another way, a taste for the Then Charles Saatchi approached me to buy the painting. On the other hand our children Sonny and Bee have sampled the concise – fitting the maximum in the minimum; and trying not to fill Sentimentally I had agreed to sell it instead to the Walker Art Gallery. playgrounds and cuisines of Europe and I am getting to see things up the world with too much more stuff. It also gave me an awareness A mistake I can repent at my leisure. But it was a laugh. My flatmate sometimes at first hand that hitherto I’d only seen in the pages of of how readily an artwork can slip between worth and worthlessness. telling me on the way out to the pub that there was a message from the books. This autumn we are all going to be actually living in Le I made my first solo show out of that space. It was with the Saatchi Gallery on the phone for me. I assumed he was kidding ‘til I Corbusier’s Maison Radieuse in Nantes on the back of a show at the Rubicon Gallery in 1996, mostly because I used to play football in heard it in the morning. We danced and cheered around the living Musee Des Beaux Arts there that I am taking part in about the Herbert Park with some of their artists and Peter McKenna who was a room in our shorts. There were visits to my studio from Saatchi, The influence of Le Corbusier on Contemporary Art. partner in the gallery then. British Council and the Ikon Gallery. And I did a show with Andrew With all this I am beginning to have to think about how my time While I loved living in Dublin through those years I never Mummery in Clerkenwell, whilst still on the MA. Suddenly there were is divided – between family, teaching, the studio and the garden. In the identified much with the prevailing mores of the Irish art world. I still other horizons. It was only a few years later when a friend said short-term, an Arts Council bursary will allow me to take a day off a can’t quite fathom why so many students I speak to only seem to think something elliptically but pointed about second chances that it really week the art school for a year and we’ll see how that helps redress the of art in terms of Ireland. The issues of identity and gender politics of dawned on me that I’d blown my first. balance. the time meant little to me. A show of Jimmy Durham’s at the Douglas London was great. I saw a lot of shows and heard heroes like Ed Blaise Drummond Hyde in 1993 or 1994 offered a world of different possibilities. An art Rusha and Alex Katz talk. I didn’t find the course at the time to be www.rubicongallery.ie that was funny and stupid, seemingly offhand yet lyrical and concise. particularly rigorous or dynamic. Goldsmiths seemed better and wwwwww.aliceday.be certainly produced a far more successful crop of artists that year. I did www.loevenbruck.com It came at the right time. The arrival of David Godbold in painting at NCAD probably helped too. It’s important to be able to at least imagine meet Robert Sherrat there though, who is one of the real artists I know an audience when you are trying to make something. and we still talk. 18 The Visual Artists’ News Sheet September / October 2006 ART IN THE PUBLIC REALM BETWEEN THE KNOWN AND THE UNKNOWN Art in The Public Realm RECENT PUBLIC ART COMMISSIONS, SITE-SPECIFIC WORKS, SOCIALLY ENGAGED PRACTICE AND OTHER FORMS OF ‘ART OUTSIDE THE GALLERY’. JOE LEE ON THE UNRAVELLING DEVELOPMENTS PROJECT IN SLIGO Elizabeth Caffrey & Sean Campbell Between the Known and the Unknown. N15 Bundoran / Ballyshannon ByPass. Photo: John Shiels. Dara McGrath. Image from the ‘Plantation’ series. Carlo Kroon talks to residents of Caltragh housing Estate The initial ‘calling point’ came via an advertisement region and benefit the local artistic community. We where the public could take time out to hear for the N15 Bundoran / Ballyshannon Bypass received great support from all those involved at something a little different from ‘muzak’. commission in the Donegal Democrat, July 2005. the sculpture centre foundry. Simon Carmen gave Hitherto known for his short stories, Jack We had previously discussed collaborating on a us initial recommendations and undertook the Harte was commissioned to write his first novel, In future project and this seemed like an ideal maquette casting. Dave Kinane led the casting the Wake of the Bagger, which reflects on the past, opportunity given the close proximity of the process and carried out all structural welding. and present in rural Sligo and documents the proposed site to our studios. Martin O’Mahoney provided answers to all our the internal migration to the midlands and to the rural Donegal County Council ran the commission bizarre queries about all things technical and Anne industrialisation of Bord na Mona. As an interim on a open submission basis and the project was Lewis proved invaluable in terms of administration stage of the commission Jack produced a CD, advertised nationally. Overseeing the project was and costing and so on. Lament for the Birds, which includes some of his Marie Little the Assistant Staff Officer for the As the form ‘out grew’ its surroundings at the Sligo short stories and songs performed by Carmel Ballyshannon / Bundoran ByPass and Hugh Fox the centre it was relayed with support from Tambet Gunning. Jack has also engaged with a variety of Chief Engineer. They were assisted in adjudicating Truu and Brendan Gallagher to a local engineering creative writing groups around the county. the second stage by artists Locky Morris and Rhona firm in Kinlough. Here Michael and Reggie The photographic artist Dara McGrath has Henderson, along with members from the National Connolly provided the physical space and lifting completed a new portfolio of work Plantation based Roads Authority, Donegal Public Arts Officer, Terre we power needed to finally get the piece standing An RTC Sligo Industrial Design Student works on a listening post for on the development and the planning process in Ian Wilson’s project. Duffy and two local councillors from Ballyshannon upright. After two more weeks of welding and Enniscrone and West Sligo. Dara’s work has been and Bundoran respectively. finishing, the piece was ready to be sited – with the presented to the public on billboards, newspaper Change and the impact of development are From the outset our focus was on the ‘living invaluable assistance from the N15 site team of advertisements and in a free publication. possibly the most striking features of landscape’, particularly an area called Rathmor; Eddie Davenport and Michael McHugh. The piece, The Dutch artist Carlo Kroon has engaged in contemporary life in Ireland. In 2004 Sligo County which lies central to both towns of Bundoran and which we entitled Between the Known and the consultations with residents of Caltragh housing Council launched its new round of public art Ballyshannon. From this site you are more aware of Unknown was craned into position, on Friday estate and the Parks Section of the Borough Council commissions, entitled, Unravelling Developments. the greater context of South Donegal, North Sligo morning, 7 July 2006. on a series of site visits. He is developing plans for a The title clearly indicates the thematic intention of and Leitrim. Both of us share a huge commitment In hindsight there were many issues, which permanent sculpture and light work. the series to “engage with the idea of change and towards the natural environment and this were not ideal. There were delays with the initial Grace Weir has produced a new film/DVD development as it effects culture, landscape and the commission gave us the opportunity to do contract, as well hold-ups with payment Upon the Greenfort in Sligo town. She has consulted built environment”. something quite deliberate about turning peoples throughout the project. However, having had widely in the area with residents and interest Unravelling Developments builds on the ‘gaze’ towards the everyday their natural experience from previous commissions we knew groups. This new work explores the many readings success of Sligo Arts Office pilot public art surroundings. We settled on a form which is found that such problems, while challenging were not Greenfort has for the people of Sligo as both an programme, Placing Art. Eleven projects will be in abundance on the site and which clearly insurmountable. We faced the problems of historic and recreational site. The work will be funded in the new series. I am the artist-curator for indicates the presence of the prevailing dynamics of extortionate public liability insurance fees – which presented to the public later this year. the series and devised a curatorial statement to this area – that of a windswept hawthorn tree. By VAI helped us with putting us in touch with PJT Christine Mackey was invited to develop a initiate a call to artists. Working closely with Sligo incorporating a real hawthorn tree and fabricating insurance who offered us a policy at a more proposal based on the refurbishment of the town’s Public Art Officer, Mary McDonagh and under the a ‘reflected’ form in bronze, we wanted to create a manageable rate. While everyone we worked with riverside walks and Doorly Park. This commission supervision of an appointed selection panel, 12 kind of arc or bridge engaging the viewer with their was highly professional, there was sometimes a lack will involve a new interpretation of these very artists were chosen and would be invited to make environment both in natural and historical terms. of awareness as to the ins and outs of the important natural resources for Sligo. proposals for one of the 11 commissions (in one Traditionally in pagan belief the hawthorn tree was commissioning process. While all the issues were All of these projects deal with the theme of case two artists will collaborate). a marker for the festival of Bealtaine / Maytime – resolved, doing so proved to be a tedious and time- change or the new in one way or another. They The artists’ work in a variety of disciplines and the start of the bright half of the year. Also, the consuming process. achieve this in different ways and on a number of media including, writing, new music composition, hawthorn, having numerous beneficial medicinal With the work now finally completed – albeit levels whether that is in the area of new new media, book production and the visual arts. properties is regarded as a prime symbol of fertility, over time and over budget, we are none the less collaborations in the production or presentation of They are: Dara McGrath, Jack Harte, Carlo Kroon, whereas other references allude to ceremonial and delighted and surprised by how beautiful the piece work as in the cases of Ian Wilson, Christine Christine Mackey, Ian Wilson, Grace Weir, Alberto religious traditions. appears at each visit – slowly blending more subtly Mackey and Carlo Kroon. Kroon will also explore Duman, Stephen Hurrell, Nevan LaHart, John Casts of fossilised rock and petrified wood into the landscape as the groundwork scars using new materials in the production of his work, Langan, Helen O’Leary and Paul Chidester. Artists were taken locally and inlaid into the trees’ textured disappear. When it is illuminated at night it looks Dara McGrath, Grace Weir and Jack Harte deal with are invited to make proposals as funding from surface. The preliminary elements of the work such just as its Irish name suggests, An Sceach Gheal – the theme directly. Change is central to the subject County Council capital projects becomes available. as life cast moulds and waxes were prepared in our the bright or whiten bush. All comments from the of Harte’s book. Grace Weir’s work is informed by To date six projects are at various stages of own studios at Belleek and Ballinfull, with the local population have been positive and we trust science and contemporary philosophy, while Dara development or completion. larger part of the fabrication process taking place in they will take ‘ownership’ of the piece and look McGrath continues his exploration of the new The composer Ian Wilson has written and the Leitrim Sculpture Centre at Manorhamillton. after it in the coming years. Our aim with Between Ireland in his Sligo work. recorded new music with ancient haiku texts The use of the centre was invaluable as the nature the Known and the Unknown is that through local I’m looking forward to the completion of translated from Japanese by Sam Hamill, performed of the project was very much hands-on; each of us community and wider general public’s interaction these projects and how the other artists on the by Natalie Raybould, soprano with the RIAM was involved at every stage of the work’s with the piece, interest will be re-activated in the panel Alberto Duman, Stephen Hurrell, John Percussion Ensemble The project titled Pieces of development. Extra help was gained from the traditions associated with the native Irish Langan, Nevin LaHarte, Helen O’Leary and Paul Elsewhere is available on CD. Three listening posts skilled artist community working within this hawthorn tree and its connection to the living Chidester will respond to the commissions as they designed and built by Industrial Design students of region. We strongly believe that as much as landscape. arise in the next two years. the Institute of Technology were temporarily possible, all revenues from the percent for art Elizabeth Caffrey and Sean Campbell Joe Lee installed at various public locations in Sligo town commissions should remain in the appointed The Visual Artists’ News Sheet September / October 2006 19 ART IN THE PUBLIC REALM THE DOMESTIC GODLESS ART@WORK Art@Work’ is an annual initiative of Roscommon County Arts Office, which places a number of artists on three-week residencies with local businesses. Artists utilise the opportunity to either make artworks using the materials and processes of the company or to otherwise respond to the environment, staff and working practices. The arts office describes the project as “bringing artists and the making of art closer to the public – but it holds equal benefits for artists, management and staff”. This year’s ‘Art@work’ artists and participating businesses were Dennis Collins, Ros FM; John Daly, Roscommon Herald; Angie Duignan, Molloy’s Bakery; Michael Fortune, Roscommon Champion; Garreth Kennedy, FDK Engineering; Pamela Wells, Roscommon Fire Service. An exhibition profiling these projects was held at Roscommon Arts Centre (20 July – 12 August). Michael Fortune GLOBAL JOURNEYS Chris Wilson’s Global Journeys was one of two commissions awarded through open competition by Down District Council for the new promenade development at Newcastle, County Down. Wilson’s work comprises 2.5 metre diameter mirror finished stainless steel globe mounted on a Mourne granite base with a bronze surround depicting swimming salmon and the main compass points. The piece was developed by the artist through a series of workshops conducted with local school children in December 2005. The Chris Wilson Global Journeys. Newcastle, Co. Down. other work commissioned for the promenade was Cone of Light by Robert McColgan. MAKE YOUR MOVE ‘Make Your Move’ (11 August – 9 September) was an exhibition presented on five billboards throughout Dublin city – at the Project Arts Centre, Cuffe St, Essex Gate, Tara St and Townsend St. Curated by Gavin Delahunty for the Project Arts Centre, the show featured images by Shannon Bool, Öyvind Fahlström, Ferdinand Kriwet, Garrett Didier Rittener The Family, 2006 Joining of various drawings. Phelan and Didier Rittener. Delahunty described Printed, 60 x 120 inches Courtesy Evergreene, Geneva ‘Make Your Move’ as seeking to “engage directly with audiences during the course of their daily lives” and to “highlight the importance of subjective, marginal and nonconformist thinking”. Generous support for the exhibition has been provided by Gillespie Screen Print and Irish Poster Öyvind Fahlström ESSO-LSD, 1967 Manufactured plastic signs © Sharon Avery-Fahlström, 2006. Advertising www.project.ie SCULPTURE AT KELLS Since 1998 the Sculpture at Kells outdoor art exhibition at Kell’s priory, Kilkenny has fused the ancient monastic site with the work of contemporary artists. This year’s show (12 Aug 06 – 21 Aug) curated by Pauline O’ Connell and Anne Price Owen featured a range of works addressing how the past impinges on the present and focusing on issues such as labour, leisure, consumerism, tourism, travel pilgrimage and historical iconic figures. The participating artists were Michael Warren, Tom Fitzgerald, Walker and Walker, Tina O’Connell, Tom Fitzgerald My Father’s Saw. Limestone Kathlyn O’Brien, Iwan Balla, Helen Jones, Lois Williams, Craig Wood and Paul Jeff & Richard Huw Morgan. There was also a display of the ancient art of bronze casting by Umha Aois on Saturday August 12 and Sunday August 13. 20 The Visual Artists’ News Sheet September / October 2006 STUDIOS In the Studio ARTISTS DISCUSS THEIR STUDIO FACILITIES THERE are many types of studios and artists use studios in many different ways. The industrial workshop, the office, the spare room at home, the collective, the retreat in the country, or the laptop computer – these are all places where artists make and think. Throughout 2006 Visual Artists Ireland will use the Visual Artists News Sheet to look at and consider the different ways in which artists use the studio, the type of studios they use and what they use them for. We are also interested in the problems and difficulties artists experience in relation to their studios. Access and availability, resources, security, health and safety, insurance, expense, location, tenure, these are all familiar concerns in relation to the studio. If you are interested in contributing to this discussion then please contact us. Claire Halpin: Stoneybatter Studio, Dublin. “STONEYBATTER Studio was founded in June 2000 to concentrating on my own work (after I’ve lease was up and a new lease was not forthcoming with the intention of creating a group studio that finished writing this) for a solo exhibition in The without a major rent hike. Eventually with some provides a permanent and creative work Basement Gallery in Dundalk in October. I tend to months legal wrangling we got a new similar sized environment, allowing the personal and spend a lot of time in the studio, 6 days a week and unit for same rent for a four year six month lease (so professional development of a number of artists to usually long days at that. I love working in my technically we will have had fixed rent for nearly produce quality works of art. On achieving this, the studio and find there is always something to be ten years). The studio was broken into recently and studio entity would be used to promote the work of done and more to do after that. It is very much a equipment was stolen and we were left with a the resident artists through exhibitions, including working and thinking space. And yet sometimes general feeling of insecurity. It highlights the an annual exhibition at the studio premises” – this after a long day struggling with a painting, the precarious situation of artists in studios in rented is a quote from the original mission statement of solution will come on leaving the studio on the bike premises and the problems faced with leases, Stoneybatter Studio and all told it still remains true, on the way home. landlords and insurance. although the artists have changed. The studio is in As with any artist there is a lot of time juggling. On 30 September Stoneybatter Studio is an old mill in Stoneybatter, one of the oldest areas in In my case I have two part-time teaching jobs, an participating in the first ever citywide studio open Dublin city. Since the studio set up in the building, exhibition co-ordinator job and commissions and day in Dublin involving Temple Bar Gallery and other studios such as Brunswick Mill, Button Facto, then there all the associated meetings. So actually Studios, Broadstone Studios, Fire Station Studios, Pallas and Visual Arts Centre, have set up with that getting a concentrated period of time in the studio IMMA, Pallas Studios, Brunswick Mill, Button result that there are now nearly 30 artists working to focus purely on my own work can be difficult – Factory Studios and Red Stable Studios. Claire Halpin’s studio at Stoneybatter Studio, Dublin. in the building. This all lends to a good community but then again the part-time jobs bring income. I of artists, creative environment and source of have finally achieved the lucky position where I Claire Halpin’s is a founder of Stoneybatter information and opportunities. enjoy the part-time jobs and they are all art related. Studio. Her exhibition opens at The Basement What am I up to at the moment? I have just An ideal studio would be one with both Gallery, Dundalk 12 October. completed four large canvases for a commission for security and guaranteed tenure. In the last year we Carton House in Kildare and so am looking forward were faced with a situation where our five-year Damien Duffy: Void Studios, Derry. VOID has five studios, measuring approximately 3 x 6m. All are new-build and finished to the same high standard as the gallery spaces. The studios have pristine white walls, buffed concrete floors, are centrally heated, lit by three strip lights with diffusers; and each studio has a window at one end. The studios are accessible on a 24-hour basis. An exhibition space for the studio artists is located in the corridor leading onto the studios – it is accessible to the public during openings for exhibitions at the main Void galleries. An open studio is held twice a year, giving the public access to the artists and their work. I was renting a space at Void, but in September I begin the Void’s residency programme, which will last for one year. A series of seminars has been planned for September, which will offer the studio artists a platform for discussing the ideas and concerns within their work along with the wider field of art practice and theory. This coincides with the Damien Duffy’s studio at Void, Derry. beginning of Void’s artist in residence education programme called ‘Void Artscool’ which comprises occasionally use my space at home, working a year-long pre-foundation curriculum enrichment informally on smaller pieces. project for up to 8 A level students. The course will I’m here in the Void space a lot, as I find it a include tutorials and seminars tied into the Void’s good space for research and thinking work through. exhibition programme. ‘Artscool’ also includes a Given the time consuming nature of painting, I am primary school programme in the form of ‘Void often working here at Void late into the night. The Comix’. seclusion the space affords gives a real sense of I am currently working on a series of paintings detachment and ‘incubation’ of sorts. that I began in December 2005. In February this year It is a first for Derry – a gallery with studios I showed four of these in the Context Gallery. I am attached. The Orchard Gallery was a great space, it in studio five, here at Void, although now that I am but never had the resource of studios, so in that here on a residency basis, I may move into the rent- respect Void is a major move forward for the visual free space in September, which is larger but lacks arts in the North West. natural light. Damien Duffy www.voidcomix.co.uk Previously I’d been working at home for some www.derryvoid.com time, so it’s a relief to have a new workspace – and a separation of work and home life. Although I do still The Market House Monaghan DOWNSHIRE HOUSE Celebrating 25 years of the Tyrone Guthrie Centre, Annaghmakerrig, Newbliss, Co. Monaghan GA L L E RY This exhibition will include some of the Centre’s valuable art collection and artefacts. 15 Aug - 20 Sept, 2006 Opening Hours 1- 5 p.m. Tues - Sat (or by appointment) www.monaghan.ie/markethouse T: 047 38162 www.tyroneguthrie.ie Eileen Maher U BLOW ME AWAY new works on video Offaly County Council 4 October-3 November Aras an Chontae, Tullamore Mon - Fri, 9am-5pm Sinéad O'Reilly, Arts Officer, Request for Portfolio Submissions: Offaly County Council, Aras an The Downshire House Gallery, Main St, Blessington, Chontae, Charleville Rd, Tullamore, Co. Offaly Co.Wicklow T: 0579 357400 Include SAE: E: email@example.com Bernard Flynn / 045 865199 E: firstname.lastname@example.org www.downshirehousegallery.ie still from video clip created in real time in space 22 The Visual Artists’ News Sheet September / October 2006 ART IN RURAL CONTEXTS in other words, “the destruction of locality where all your dealings are with the city” (Fiona Woods). A project like Ground Up has been instrumental in helping its participants redefine the connection between their practice and with their chosen place to live. A more intense engagement with their physical and human surroundings occurs, putting the artists in a much more challenging position where suddenly what they do and what they are become an issue with the community at large. MEANINGFUL ENGAGEMENT? Aine Phillips Shelters in Memory 2005 Fiona Woods Pink Sheds 2005 Nowhere more than in the country can the edges around art become as porous. Is it art because I’m looking at it in a certain way? Is it art Making Art Porous because I can talk it up? Is art only what the artist made? Am I an artist when I am digging the ground to plant a garden ? And what about my neighbour’s garden? What does being an artist mean for the DJERIBI AND DOMINIC STEVENS TRAVELLED FROM LEITRIM TO CLARE TO REPORT ON A RECENT community? An artist involved in a rural community will certainly MEETING OF THE GROUND UP ARTISTS’ COLLECTIVE. add another layer of possibilities or complexities to a place where as a child not so long ago if you weren’t working you were messing. WHAT IS GROUND UP? Where traditionally the rural setting is used a source of pictorial Ground Up was initiated by the arts office of Clare County Council to inspiration full of romanticised visions of a vanishing world, all the challenge the assumption that rural audiences could make do with the participants emphatically described their surroundings as a vibrant ‘traditional’ arts, while new, challenging contemporary work, could place, a complex zone of politics, community and life. The inspiration only be appreciated by urban audiences. Three groups of temporary gathered there was borne of their very engagement with what went on public art works in rural locations have been commissioned with the around them, well beyond a mere observation. aim of creating new audiences and promoting discussions about the role of public art in rural society. WHO IS EDUCATING WHOM? This meeting, which took place on 11 June in the Burren College The common prejudice would have it that rural audiences need to be of Art in Ballyvaughan, of the resulting Ground Up artists’ collective, educated before they can reach up to the level of the art offered to was called to assess the success of the project with the participating them, in that context it is of course implied that art is a commodity artists. that deigns to travel from the big cities. This room of artists (who in passing also form part of the aforementioned ‘rural audience’) have developed a more sophisticated position. Provided that the rural population is not confronted too formally with art, they do respond fruitfully (and actually have, judging from the success of the already completed Ground Up projects). This is partly because, certainly in the farming community, from small-scale pieces (the fence or the turf stack), to larger-scale interventions (field management, barn constructions), the people that artists are actually dealing with also make visual decisions on a daily basis. The fact that farmers would not perhaps regard their activity as having anything to do with art is in fact not relevant, the artist in action can be there to prompt a discussion or a reflection. There is certainly here a rich potential for dialogue, between art practice and Sean Taylor Blushing Hills 2005 the everyday in a rural setting. The rural-based artist together with WHO WAS THERE? their audience (in effect their neighbours), are all engaged in a Siobhán Mulcahy (Arts Officer Clare County Council); Artists from continuous two-way further education programme. Ground Up Magazine Cover 2003 Ground Up 1: Maria Finucane, Fiona O’Dwyer, Áine Phillips. Seán PEASANTS! Taylor. Fiona Woods (Regional Arts Co-ordinator, North Clare Arts THE PLACE OF THE ARTIST. As art/architecture/farming/baking practitioners based in Leitrim for Office and instigator of the Ground Up project); Artists from Ground This unprecedented economic boom in tandem with the decline of the the last 7 years, we were extremely stimulated by the Ground Up Up 2: Maria Kerin, Aileen Lambert, John Langan, Deirdre O’Mahony, small-farming sector, has compelled people to commute and work initiative. This project seems part of a shift that is quietly happening in Vince Wall; Artists from Ground Up 3: Vladimir Arkhipov, Amanda away from their homes, giving them capital, and making them less many disciplines. While the urban space is being engulfed in rampant Dunsmore, Patricia Hurl, Tamás Kaszás, Therry Rudin; Fergus Tighe reliant on one another – effectively killing off the old meitheal consumption, the rural, in an era of cheap travel and virtual (filming the event). systems. This has resulted in the relative explosion of rural connectivity, is becoming the place where potential radical thought communities. In effect the artist is the first to return, taking up may happen. While the very notion of development is being AGENDA. residence in abandoned houses and reappraising the values and questioned, the powers that be still describe a ‘developed’ country in Does the rural context (as distinct from the urban context) require pleasures of rural life. terms of how few people are still engaged in agriculture. However, a that we, as artists working in a context-specific way, think The smaller numbers that make up surviving rural communities growing number of people are settling in the countryside and while differently about what we are doing? have a long history of close interdependence. The artist introduced continuing their hitherto urban-based activity (not ‘dropping out’) are What does it mean to engage meaningfully with a community? into this existing structure by definition becomes important at some also engaging with the work of the land. These new settlers, like many How can failure be incorporated and made visible as a disruptive level to everyone – either in what they make or what they say or of the Ground Up artists, are developing a very acute conscience of ingredient within the overall structure and conceptual framework simply what they are. “The artist is just another personality, and a their position in their communities and in the world. Less engaged as of any cultural project? community is made up of lots of personalities.” (Vince Wall) artists in the production of objects for sale, they are very aware of the What is the relationship between existing rural aesthetics and On the other hand, the urban artist finds himself in a niche rural landscape as being a vibrant contemporary place rather than a indigenous forms of rural creativity and contemporary art practice? society of ‘sophisticated’ individuals, bathing in a homogenous moribund landscape for the pursuit of recreation and nostalgia. What As a starting point to the discussion, Fiona Woods proposed that discourse (apart from the odd comment from one’s parents) that is we are witnessing is a profound shift in perception, the discourse- and as artists engaging with the rural context we were contributing to the totally pre-formatted. In the countryside the emperor is always naked. policy-makers have to date always sat in the city and applied their development of new thinking ‘that challenges the conventional policies about farming, life etc. to the countryside, a more interesting notions of the rural as a marginal or minor cultural discourse, and WHY THE COUNTRYSIDE? set of theories is now starting to emanate from the countryside about repositions it as a new intellectual site and critical impulse from A lot of people in the room were able to reflect on the evolution of itself, and about the world at large. which to construct a new cultural discourse about social, economic their connection with where they lived. Progressing from the initial and environmental change in the context of sustainability.” Ian “viewing the landscape as a type of spectacle” to making work that is Djeribi practices as an artist, publisher and baker. Architect Hunter, Littoral Arts Trust “revealing some of the complexities of competing interests in the Dominic Stevens focuses on making buildings and theoretical landscape, for example farming, tourism or house-building” (Deirdre projects in the Irish countryside. Together they farm 5 acres, RURAL? O’Mahony). keeping goats, ducks, chickens and cats. The participating artists were either rurals who had gone through Stereotypically the artist uses the quiet rural setting as a retreat to temporary urban reprogramming in art college, reformed urbanites; produce art to exhibit and sell in the city. This is ultimately a suburban and a handful of urbans dipping their toes into rural life, venturing state where there is a divorce between homes and workplaces or tentatively beyond the pale. schools—perhaps the greatest malaise in contemporary Irish society, monica flynn in the woods we return.. an exhibition of new work, exploring lancdscape & locality Crow Gallery Thurs 28 Sept - Sun 8 Oct Preview Thurs. 28 Sept. 6-8 pm Gallery hours: Mon - Sun, 12 - 5pm & by appointment. M: 086 831 8132 (to view) Crow Gallery 1st Floor, 6 Crow St, Temple Bar, Dublin 2 E: email@example.com M:083 331 7190 (press info) www.monicaflynn.com The Visual Artists’ News Sheet Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire Don’t miss your next issue! Subscribe as a member or friend of Visual Artists Ireland & receive 6 issues annually, directly to your door. To subscribe – see the subscription form on page 39 (inside back cover) of this issue, visit our web site or give us a call. www.visualartists.ie T: 01 872 2296 The Visual Artists’ News Sheet September / October 2006 25 PROJECT PROFILE described how various collaborators came together to undertake various documentary-based film and audio projects. The overall focus of the day included the use of the term ‘community’ in a transient and non-fixed sense, arising from particular places, structures and situations. Gutierrez openly discussed the successes and failures of previous projects undertaken by himself and his cohorts. He described their work as a means to open dialogue around motivations and manifestations of projects from ‘within’, yet outside of and beyond clichéd ideas of ‘existing communities’. For the afternoon session Gutierrez screened the recently completed documentary film; Valley of The Dog Songs (2005) followed by questions and answers. On 12 May, Temporary Foray welcomed Kirsten Lavers of Taxi Gallery, Cambridge, UK and Clodagh Kenny, director of Fire Station (L–R) Lucina Russell, Sally Timmons and Clodagh Kenny at ‘Temporary Foray’. Pat Murphy at ‘Temporary Foray’. Artists Studios, Dublin. Kenny participated in the fourth event at short notice and provided a welcome presentation which considered ‘studio Making Inroads culture’ and looked at some of the artists who’s practices have benefited from the opportunity to take up residential studios in Dublin’s North inner city. Lavers set the agenda for the day by using KILDARE COUNTY COUNCIL ARTS OFFICER, LUCINA RUSSELL AND ARTIST, SALLY TIMMONS PROVIDE alternative terms to describe an artist’s social existence and AN OVERVIEW OF ‘TEMPORARY FORAY’ A SERIES OF TALKS AND WORKSHOPS HELD AT RIVERBANK responsibilities such as, ‘caretaking’ and ‘neighbourhood’. Issues ARTS CENTRE, NEWBRIDGE, COUNTY KILDARE (FEB – JUNE 2006) around ideas of responsibilities and neighbourhood also fed into Kenny’s approach to describing the remit of an organisation such as THE Temporary Foray series marks a turning in the arts service’s was important for me to question the overall intentions and objectives The Fire Station – that has often been assumed to function under a provision for Kildare County Council. At the outset, Temporary Foray that the local authority arts service might have in initiating such a community arts mandate. was envisaged as a series of informal presentations, providing ‘public profile’. I delivered anecdotal, yet in-depth briefings about each The final event, which took place in on 16 June provided an opportunities for artists and the wider public to reflect on and of the individual and group practitioners who I had short-listed to opportunity to recap on some of the issues raised over the previous question the work, ideas; and rationale of significant international invite for the event series and asked questions about what kinds five months, while also critiquing the ‘usefulness’ of a talk series that artists and arts administrators. Presentations by Kirsten Lavers, administrative and managerial protocol would be necessary to work employs rhetoric, discussion and informal collective groupings. The operating a gallery from a taxi in her front garden and by Diego from within the confines of the county council. day began with Dave Beech, who talked about a series of projects he Gutierrez connecting with artists around the world, via hand-written At the initial meetings I also noted elements of behaviour had undertaken where he took on roles beyond that of the single questions, film and music, threw on its head traditional notions of “the inherent to local authority institutions and working environments – identity of a studio-based practitioner. In an audacious presentation, work that we do, where we do it and how we do it”. such as bureaucratic protocol taking precedence over attempts to raise Beech promoted philistinism and popular culture as a form of ‘anti- The series attracted a number of artists returning to the county, the current standard in services. These issues arose during discussions art’, which questions itself and the value systems around good and bad leaving behind larger towns and cities, where opportunities to meet about the brochure design and technical support at Riverbank. This taste. other artists, attend arts events, presentations and lectures are almost prompted me to undertake further appraisal meetings with various In the afternoon, Sarah Pierce, organiser of Metropolitan taken for granted and where the potential of the physical individuals working and resident within Kildare County in order to Complex engaged further with points arising from the morning’s infrastructure provides more scope for artists needs. Temporary Foray seek out a means to implement an informal, yet critical, dialogue discussion with Beech. She pointed to the lack of attention we pay created an expectation from these artists and set challenges for Kildare series. Some of the individuals I consulted were Brian Swan (Kildare towards unofficial and informal interactions and encouraged those County Council – How to further engage with artists in a meaningful County, architect), users of Riverbank Arts Centre such as the present to consider what defines ‘expertise’ and ‘amateurism’. way? How to build on the existing arts infrastructure, physical and Scribblers Inc. writers group and a number of artists who have The final hour involved a forum around Rhetoric in which otherwise in the county? In a commuter-belt county in the midst of a exhibited in the exhibition space at Riverbank. I also benefited from attendees made active contributions by reading out texts or technological revolution like Kildare, how do we create connections telephone conversations with individuals such as Marion Brown, statements relevant to words such as – rumour, chat, voice, inform, that are both local and global? The upcoming autumn artists Visiting Teacher for Travellers in Co Kildare. arbitration; that had been communicated to attendees prior to the day symposium, which is entitled ‘Temporary State’, will deepen the During this period it became clear to me that the ‘venture out’ via phone or email. This ‘happening’ grew from a conversation that Temporary Foray work and allow Kildare based artists to move into which I was planning to undertake on behalf of Kildare arts services, took place between myself and Pierce during an early development the ‘production’ phase of the process, while gathering information for would be an opportunity for learning and critical appraisal for the arts meeting in which we devised a means to allow regular attendees to the further critical debate programmes. officer, in terms of her position and role within the bigger institution series have the ‘final say’ on the last day. The Arts Development Plan for Kildare County Council 2006- of the council – as much as it was intended to be for the audience Currently, I am working towards producing a catalogue, which 2011, due to be published this autumn, commits to ‘Redefining Ways members who we hoped to target for the duration of the five month will take the form of a comic strip, in collaboration with two other of Working’. No doubt, the outcomes of the Temporary Foray series series. With this in mind, the programme has been a mutual success, artists – Carly McNulty and Brian Kelly. The catalogue will document will impact on this work, the potential of which is yet to be explored. for myself, those who attended the series and for Kildare Arts Services various contributions made during the five-month run of Temporary Lucina Russell as the initiators of an important and involved consultation, cultural Foray by those who attended – which averaged between 25 to 30 development and evaluative process. people each month. The catalogue is intended as a gauge or indicator IN autumn 2005, Lucina Russell contacted me and proposed that I The first event, which took place on the 10 February, allowed of what emerged as the most important and relevant topics raised might be interested in coordinating some workshops and / or artists artists, individuals and groups to meet and engage with two artist-led during the event series – rather than a ‘conclusion’ to the project. The talks to take place at Riverbank Arts Centre in Newbridge. The collectives – Via, based in Dublin and Platform from Finland. During most valuable ‘outcomes’ of Temporary Foray can only be measured in intention of this initiative being to facilitate informal dialogue the morning session, participants took part in a sewing workshop terms of the actions of those who chose to engage in this open and between the Kildare arts services, visual artists and other cultural during which Via introduced the working process of artist Bea fluid process. This of course includes Kildare Arts Services, which practitioners located in, or associated with the county. The Kildare McMahon, who uses sources such as mathematical theory and sewing already has responded by asking me to devise a week-long symposium County Council Arts Services office is located in the Riverbank to inspire her practice. In the afternoon, Platform introduced some of planned for the last week in November 2006. For ‘Temporary State’ building, and it was agreed from the outset that it was important to the activities that they have undertaken in Vaasa, a town in West Kildare Arts Services will invite seven Kildare based practitioners to introduce practitioners and public to the arts centre as a physical point Finland that is of comparable size to Newbridge. join three artists to take up occupancy of a residence in County Kildare of contact. On 10 March, Willie White (artistic director of Project, Dublin), for the duration of one week from 27 November. Temporary State will The title ‘Temporary Foray’ was chosen to suggest an expedition Lois Keidan and Daniel Brine (Live Art Development Agency, UK) be an opportunity for art practitioners to act upon their experience of arranged to supply a passing cultural need – with the ‘forayer’ or presented mixed approaches to their practices both as fostering living and working in County Kildare. forager leading the way and making inroads by rummaging through representatives of organisations and individuals with specific interests Sally Timmons an existing field; and the use of the word ‘temporary’ implying the and concerns. White’s antagonistic approach in asking “what do you non-eternal or mutable, which is appropriate in relation to a do with your revolution when you get it?”, allowed for audience The call for proposals for the Temporary State Symposium can be constantly changing regional location such as Kildare. Temporary members to enter into debate and discussion in informal found in the opportunities section of this edition of the VAN. Foray aimed to provide participants the opportunity to take a ‘day out’ surroundings, where key topics were voiced, such as partnership, For further information contact: from their regular activities and be provided with ‘food for the soul’ competence and cultural foundation through planning, design and firstname.lastname@example.org / email@example.com through engaging in informal activity-based talks and presentations. appropriation. Keidan and Brine attended White’s animated morning The preliminary meetings with Kildare Arts Services included session which meant that keen discussions could continue through Lucina Russell (County Council Arts Officer for Kildare), Brenda Brady lunch and into the afternoon. (Assistant County Council Arts Officer) and Sinead Redmond (Acting On 7 April, Diego Gutierrez presented a critical outline of his Manager at Riverbank) and lasted for approximately three to four involvement with El Despacho / The Office – a project situated in the hours. During these sessions, besides discussing cultural interests, it Latin American Tower building in downtown Mexico City. Gutierrez 26 The Visual Artists’ News Sheet September / October 2006 ADVOCACY, LOBBYING & REPRESENTATION Fees & Contracts VISUAL ARTISTS IRELAND PRESENTS AN UPDATE ON CURRENT RESEARCH ON FEES, PAYMENTS AND CONTRACTS VISUAL Artists Ireland is continuing its research into fees, payments We have listed here just some of the personal anecdotes received from Artists come off worst from arts venues that are not dedicated to and contracts for artists in order to provide back up for a campaign to artists we spoke to – visual arts or those that are directly run by local authorities. improve the living and working conditions of professionally “My experience is of an exhibition fee of around €200 in ROI if you Artists are often asked to put the exhibition fee towards the costs of practicing artists. In this update we give a brief overview of some of the are lucky; and in the North £300STG again if you are lucky.” the exhibition, such as transport or a catalogue. rather predictable feedback we have received to date “Have been paid €550 by OPW for shortlisting on a commission, but Artists who are either assertive or established enough will often be The ongoing campaign for a better deal for creative artists is run with materials, research, site visits and presentation costs such as able to negotiate better terms for themselves. in conjunction with the Irish Playwrights and Screenwriters Guild and binding and folders and the requirement to provide five copies of Per-cent for art commissioners are very often not fully aware of the the Composers Association of Ireland and commenced over 2 years the submission it is prohibitively expensive to participate …. I find work that is involved in preparing a proposal or undertaking a ago. In August 2004 our 3 organisations met with staff and senior County Councils to be the lowest payers.” commission. management of the Arts Council to demand action in relation to pay “When showing in a municipal gallery I was not offered EPR Artists will lower the fee they should charge in order to secure a and working conditions for artists in line with commitments made in (Exhibition Payment Right), when I queried this I was told ‘we don’t particular commission. the 2002 Arts Plan. do that’ ”. Per-cent for art commissions are generally always covered by a At this August 2004 meeting we were directed to the then “I have been paid €400 by 2 separate regional arts centres, however, contract. upcoming strategy review and it was suggested that we might partake another paid me nothing – and I also had to pay for the hire of video Many arts venues and organisations make use of written in the consultative meetings to raise our concerns. Our 3 organisations equipment myself, this was despite having verbal assurances in the agreements in their dealings with artists, however, they are vigorously participated in this process and were pleased to see early stages that there would be funding available … I feel a lot of generally very brief and often make no reference to the artists’ fee. commitments made within Partnership for the Arts (published in galleries take advantage of the fact that there is no fixed rate of However many prominent galleries still do not use formal contracts, December 2005) to improve artists living and working conditions and payment.” preferring to make use of less formal arrangements, usually in particular to – “I’ve never been paid for participating in a solo or group show, I was outlining terms and expectations verbally or in letters. 1. Implement new funding conditions to ensure Arts Council funded paid €500 for a commission shortlisting fee but the requisite Artists rarely supply their own contract and when offered one do organisations provide adequate pay and working conditions for engineers report cost €300.” not usually feel confident about re-negotiating the terms. artists “There should be a standard fee across the board for commission From looking at examples elsewhere it is clear that the use of 2. Agree and implement standards for the employment and shortlisting of between €850 and €1,000. To present a well thought contracts is much more common abroad and is particularly developed commissioning of artists by arts organisations and others out proposal, maquette and costing there is considerable time in countries such as Canada and Australia where artists benefit from In June this year representatives of our 3 organisations met with involved. Arts Officers and commissioners need to be educated the wide availability of template contracts designed for a variety members of the Arts Council to discuss how to move forward on the about this.” situations. In 2003 the Scottish Artists’ Union (SAU) brought out above commitments. While we sensed good intentions to implement “Most artists are delighted to be given opportunities and until Artists’ rates of pay: recommended national rates of pay for visual and applied these plans it was clear that no deadlines or details had been drafted as he/she gets well known for doing the work for almost nothing. I am artists in Scotland, as the first phase of a series of research and advocacy to how any such schemes might work. trying not to do this anymore, of course there is the fear that work documents. It is also worth mentioning that the Arts Council of In order to keep pressure on the Arts Council and in order to be in will just be offered to another artist who charges less.” England is considering tightening up its arrangements to make its a position to advocate well-researched and qualified recommendations “EPR where it exists, if lucky, covers the cost of transportation grants to galleries conditional on fair treatment of artists. on the issue of fees, payments and contracts VAI is continuing its of work to and from a venue.” The above research is ongoing and we urge artists to get in touch research in this area. “In the past when walking away from a commission I was told by and let us know their views and experiences in regard to fees, We have been asking artists about their experience in getting the administrator that there were plenty of other artists waiting for payments and contracts for artists. By the end of this year we aim to paid for their work and the terms and conditions they work under and the opportunity.” make detailed submissions to the Arts Council in relation to how we have received almost 50 submissions so far. We have been asking “I figured out that I would eventually be expected to put most of my believe it should implement the commitments and promises it has venues, galleries, arts officers about their policies and rates of pay. We artists fee into getting equipment and making the exhibition work, made to artists within its strategy Partnership for the Arts. We will have also been looking to other countries and regions to make this is one of the many pitfalls of working with multimedia.” accompany this with a detailed fee schedule with recommended comparisons with the island of Ireland. “One Local Authority Arts Office paid me €100 for a solo exhibition minimum rates and a number of draft template contracts. We intend to use this research to help inform – and offered to pay for either a postcard invite or an opening A rates of pay/fee schedule – to establish basic minimum rates of reception … it is also my experience that cheques and payments are pay. We envisage that this will be flexible and will therefore account almost always invariably late and require lots of chasing up and WE WANT TO HEAR FROM YOU! for the wide range of different types of venue, artist, exhibition, harassing finance depts.” commission etc. We would like to hear from artists, commissioners and galleries to A comprehensive template contract – with specific relevance to From speaking to artists and venues/commissioners (and it will come get your opinion on – artists when working on exhibitions, projects residencies etc. as no surprise to most) generally we have found that – How, when and what an artist should be paid for different types An advocacy document – for use by VAI and others when While many dedicated galleries north and south apply the principle of activity. campaigning for the fair treatment of artists by publicly funded of EPR there are certainly a good many that do not. The use of contracts and written agreements governing artists bodies. Exhibition fees (when they exist) currently range from €200 - €1000 dealings. but most commonly fall into the €200 – €400 bracket. To add your experience and opinion or for more information please Where they exist fees in the north seem to be slightly higher. contact Alex Davis: E: firstname.lastname@example.org, T: +353 (0)1 8722296, F: +353 (0)1 8722364 IVARO Irish Visual Artists Rights Organisation APPLICATION FORM To register with IVARO – the Irish Visual Artists Rights Organisation simply complete this application form and forward it to: Visual Artists Ireland, Cnr. Halston St. / Mary’s Lane, Dublin 7. NB New address (from 18 Sept) 37 North Great Georges Street, Dublin 1. Surname Firstname Address 1. , D t) lin et ep ub re 18 S Tel: m rg (fro Email: St eo SS es Visual art form(s) t G RE ea DD Gr A h EW I hereby applyfor membership of IVARO, Irish Visual Artists’ Rights Organisation Ltd. No B N N rt Signed Date 37 The Visual Artists’ News Sheet September / October 2006 27 REGIONAL PROFILE Visual Art in Louth Anthony Collins The Highlanes Gallery Anthony Collins Golden Sunset DROGHEDA based artist Anthony Collins recently presented his first solo show ‘Twice Daily’ at the Droichead Arts Centre, Drogheda (22 June – 14 July). Although resident in the town, Collins works in Dublin at the Dublin Institute of Technology, where he is the Fine Art Print Technician – the title of his show being an allusion to the daily commute undertaken by the artist. As Collins puts it “As an artist and a commuter I find constant inspiration in Anthony Collins Fly By Wire the passing landscape Juxtaposed with the man- from ‘in-between’ time – “spare time between his made structures, man’s constant mark making on work in the DIT and his home-life in Drogheda and the landscape, as time passes and passes again. they are of an ‘in-between place - the M1 - Maybe time lost, maybe not?”. Selected pieces from representing his daily commute between town and this body of work were also shown in the Iomha city. The monotonous back and forth of a show at Droichead (27 April – 20 May), which commuter’s life, that daily grind on the same travelled to the Basement Gallery in Dundalk and Highlanes Gallery, Drogheda. stretch of road, readily translates into the hard to Lapua, Finland. Cliodna Shaffrey writing in the DROGHEDA’S Highlanes Gallery will open its no doubt some will question why we needed to labour and multiple editions of the printmaker’s Iomha catalogue noted that Collin’s works arose doors to the public in early October . It will be the invest so heavily in these areas, but the reality is craft”. culmination of three years planning to deliver a coming down the road that artists and collection dedicated visual arts space for the region. The managers will begin to insist on such facilities Coming to Louth gallery is sited in the former Franciscan Church and being in place, so in a way we are ‘future proofing’. Friary, which was known locally as ‘The Highlanes’. Converting a church building, which is a The Franciscan’s gifted the property to the people of protected structure has not been without its Drogheda when they ended their 780-year challenges. It is not a classic white-cube, the space is association with the town in 2001. The buildings very different – but I think the public will respond date from the 18th century, although elements date well to it. We were lucky insofar as it was a plain back to earlier times and include the former church to start with. As one local wag has said ‘the Franciscan burial crypts. building has soul!’. The Highlanes Gallery programme over the first year will see it reintroduce the Drogheda Municipal Art Collection to the public for a three- Sean Cotter Noise III Sean Cotter Noise IV month period. This will be complemented with borrowed works from national and private IT was out of necessity more than desire that I made Finding a studio didn’t take that long and it collections, in order to place the early 20th century the move to Louth in October 2003. I needed to be was to come through my eldest daughter Eva. works in the Drogheda collection in their context, within easy access of my children as my ex-wife had Having taken her to rugby practice I met one of her which has a strong representation from women returned to her home county. I wasn’t too sure what friends parents who, on hearing of my search, artists. Other elements of the little known I could expect from the point of view of an art offered me the coach houses in the courtyard Drogheda Municipal Art Collection – which dates community, but decided to throw myself into it. behind their house. Perfect, as much room as I could from the 17th century, will also be shown from The first task was to secure an exhibition at a venue want and a perfect place to begin work on a new Highlanes Gallery, Drogheda. in Louth and as I was already aware of the time to time. Dr. Denise Ferran has curated the first body of paintings. The Gallery’s board has raised over €4 million exhibition ‘The Drogheda Collection in Context – Droichead Arts Centre, I decided to give them a Like most artists, my time is spent between from a range of international and local donors and Irish Art from Hone to Nano Reid’. visit. I was introduced to the Visual Arts Officer, two or three differing occupations trying to derive have developed a gallery space which meets The Highlanes Gallery has an exceptional Tony Conaghy, who was very helpful and later the most out of my week. My week breaks down in international standards in terms of security, indoor sculpture deck, and already links have been informed me they would offer me a show in three nearly equal parts of studio time, family time humidity, lighting and related environmental forged with Sculpture in Context in order to show a October 2005. In fact the more people I would meet, and working as a stonemason, which I find a controls. This is a major achievement for the town major selection of contemporary works from the more I found they couldn’t do enough to help. welcome break from the isolation and mental as none of the cash has come from direct sculptors working in Ireland later in the yearand People like the aforementioned Tony Conaghy, toughness of painting. Alot can be said of a hard government funding, with several local individuals December this year. I believe that the Highlanes Marcella Bannon, Director of the Droichead Arts days graft and there’s nothing to compare to the making very large cash donations to the project. Gallery can be one of the few Irish venues that can Centre, Brian Harten – a very helpful and sleep you welcome after it – unlike a bad day in the The board of the gallery also made a strategic offer the potential for year-round slots for either approachable County Arts Officer and Síle studio when you return home only to toss and turn decision to purchase much of the adjoining group or individual sculpture shows. O’Sullivan the Arts Officer of the Dundalk Town the night away. Of course the reverse is also true or property a number of years ago, to enable it plan for Highlanes Gallery is also working closely with Council. There is a very positive feeling developing I wouldn’t be in this game. The natural high (or the Highlanes Gallery long-term development. Banbridge District Council who are developing a in Louth among the arts community and otherwise if you’ve being overdoing the turps!) on Much of this property has been incorporated in the space dedicated to the studio of FE McWilliam, this newcomers are most definitely welcome. the completion of a piece has no comparison for development and will be rented to cross subsidise will lead to joint programming and education Part of this can be seen in the drive behind me. Working for myself gives me the ability to take the gallery programme. services in the coming years between both towns. Íomha, a selected show of the arts in Co. Louth, as much time as I need off to focus on the The Highlanes Gallery will be able to Development work on the gallery will continue whose stated aim is “To increase awareness of development of new work. It is a flexibility that I programme shows of most types contemporary or into 2007. The Highlanes Gallery has full planning achievement in the arts by Louth Artists”. The am lucky to have. historical practice without difficulty. We also have permission to build a further environmentally inaugural exhibition was in 2004, featuring 19 My anxieties about moving to Louth have thus a strong sense that we need to reach the highest controlled storage area, two further ‘cube galleries’ artists, with a second more focused exhibition this far proved unfounded and I expect will always standards in terms of the and an education centre in 2007. year, which featured five artists (including myself), remain so. environmental/conservation side of running a Nick Reilly, curated by Ruairí Ó Cuív and Cliodhna Shaffrey, Sean Cotter gallery. In my experience this is too often cut from Project Manager, complete with accompanying catalogue. Little did I the budget – and arts venues are then always Highlanes Gallery. think my relocation would produce such fruits. running to ‘catch up’ to accepted standards. I have 28 The Visual Artists’ News Sheet September / October 2006 REGIONAL PROFILE The Basement Gallery Cliodhna Cunningham Brian Flynn’s exhibition at the Basement Gallery. THE Basement Gallery, Dundalk’s only contemporary visual arts gallery, was established by Work by Beth O’Halloran, shown at the Basement Gallery. the Arts Office of Dundalk Town Council in 1992 commission rate of 20% maximises the value of the and has carved out a niche for itself where the sales to the exhibiting artist. Works are purchased primary consideration is the sense of freedom for by the gallery across the year on behalf of The the exhibiting artist. The gallery is in the basement Dundalk Town Council Collection. The gallery is of the Town Hall, Dundalk, completed in the 1860s part of the Town Hall Building and is run by Local and the original architect of which was John Government. The Arts Office of Dundalk Town Murray. The Basement Gallery programme has Niall Bowler, work from ‘The Joy’ Council manages and programmes the Basement included 11 exhibitions a year and has an including painting and photography by Beth Gallery. established reputation as a springboard gallery, O’Halloran and site specific responses to the gallery More recently, the gallery’s ethos has expanded which included early exhibitions by Caroline by Paul Murnaghan ‘Turn me on deadman’ which to include artists at a more mature stage of their McCarthy and Isabel Nolan. The atmospheric includes sound and video installation and the careers and exhibitions which respond specifically exhibition space includes vaulted ceilings and forthcoming light installation by Garrett Phelan to the history and architecture of the space. Recent Cliodhna Cunningham. Untitled. Work shown at Iomha 2006 flagstone floors and was formerly Dundalk’s Town ‘Points of Power’. In a significant new programming noteworthy exhibits include Balbriggan based artist Gaol and the biggest holding prison in the North- development planned for 2007 the Basement Thomas Brezing’s installation in response to the East for prisoners due to be transported to Australia. Gallery will be working with a seasonal guest 9/11 tragedy and Noel Bowler’s exhibition of With no natural light the gallery is a challenging curator and the number of exhibitions will be I have worked primarily with the body for several photographs from Mountjoy prison ‘The Joy’ which but unique space particularly suited to video, sound, limited to six, which will run for a longer period of years exploring the physicality of the human, both first premiered in The Gallery of Photography in light and installation work. The gallery consists of a time. internally and externally. As such I don’t think that Spring 2005. ‘Ghost’, an exhibition selected from the main space (24m x 3,75 m approx) with a vaulted Further information can be obtained by my place of residence and the visual environment collection at IMMA included Tom Molloy’s Dead ceiling and three side spaces or cells, which are each ringing the Arts Office on 042 9396437 or emailing surrounding me here in Louth have had a directly Texans and documentation of Dorothy Prendergast’s 8.5 m x 2.5 m approx and a fourth space (7.5m x Ghost Ship. The choice of works selected from email@example.com. Interested artists identifiable influence on my work. I grew up in 7.5m). There is space for large works on canvas and IMMA’s collection were inspired by the notion that should send a maximum of six slides or CD ROM or Louth, but moved away for nine years. The first freestanding sculpture but artists should note the an environment can retain a residue of people or VHS plus CV and artist’s statement for the attention four years were spent studying for my Fine Art ceiling height (3 metres app.) objects which were part of its past. of The Arts Officer, Town Hall, Dundalk Town degree, which was completed in 2002. The The subsidised status of the gallery means that In 2006 the Basement Gallery has also attracted Council, Crowe St, Dundalk, Co. Louth. majority of the following years were spent in exhibitions can be comprised of work that might be established artists working in a range of media who Sile O’Sullivan Dublin, but also involved numerous travels to far removed from the marketplace whilst the low have exhibited nationally and internationally places throughout the world. It has been just over a year since returning to Louth. Although ‘place’ does not have a huge A Flourishing Arts Sector influence on my work, since returning I have had a lot of interest and support for my work through LOUTH Local Authorities are committed to installation by William Dennisuk near the Boyne Lapua, Finland. The artists represented in Iomhá the local authorities and arts centres. So perhaps ensuring that Louth will be home to a flourishing Bridge, outside Drogheda, which had a budget 2006 are Anthony Collins, Mary Donnelly, Seán location will become a little more prominent in arts sector where artists and their work will be available to the artist of €170,000. As the number of Cotter, Cliodhna Cunningham, and Brian Hegarty. respect to my experiences. I have found the art valued, developed and celebrated. So says the permanent outdoor sculptural works has increased, The Finnish leg of the tour is supported by Louth scene in Louth more accessible in contrast to a city recently adopted Arts Plan for the county, but how a deliberate shift in emphasis has resulted in more Leader, and it is hoped that Iomhá in Finland will such as Dublin; where opportunities are of course does this commitment present itself in reality? community and developmental projects being stimulate dialogue among the arts communities in available, but where competition, contact and On an individual and group basis, visual artists commissioned, with residencies and more Louth and Lapua. access can pose a problem for recent graduates and living in Louth are entitled to apply for a number of participatory projects to the fore. “The most exciting visual arts initiative in the less established artists. funding opportunities under the Create Louth In terms of venues, Dundalk Town Council North East” is one way in which the development of Iomha 2006 gave myself and the other artists banner. Create Louth is a grouping of eight awards Arts Office continues to programme and manage the Highlanes Gallery in Drogheda has been included in the show the opportunity to travel to aimed at the arts community, and is operated by the Basement Gallery in the Town Hall, Dundalk. described. The renovation of the old Franciscan Lapua, Finland where the work is currently being Drogheda Borough Council, Dundalk Town Established nearly 15 years ago, the Basement Church in the centre of Drogheda has resulted in exhibited to an international audience. During our Council and Louth County Council. As an example, maintains a tradition of showing the work of young the creation of the most extensive and innovative stay we visited several studios and galleries and the long-established North Louth Artists received a and innovative artists, with AIB Award Winners visual arts space in the region. The Highlanes discuss and compare contemporary Finnish art grant of €3,000 towards the design and production Caroline McCarthy and Katie Holten having their Gallery is equipped to take exhibitions of an practice with the work we showcased and our of a brochure and postcard pack, timed to coincide debut solo exhibitions in the space. The beneficiary international nature and will be the figurehead for a experience of contemporary art practice in Ireland. with their re-branding and the annual group of ACCESS funding, the Basement Gallery whole series of visual arts interventions in the We also got to encounter the art organisations and exhibition. Individual artists have received funding underwent refurbishment and enlargement in county. As well as being a receiving venue for high- support available to Finnish and international for study trips, materials, exhibition expenses and 2002, allowing it to further broaden the scope of profile exhibitions, the Gallery will also be home to artists. And recently, the Louth LEADER group has training in the past. Each of the arts officers works exhibitions in this atmospheric and quirky ex-gaol. the Municipal Collection of Drogheda Borough been in contact to invite myself and other Louth with applicants in ensuring the application In Drogheda, the Droichead Arts Centre is Council. While all three Councils continue to add artists to take part in two-day professional practice includes all the necessary detail before submitting. supported by Drogheda Borough Council. The to their collections, buying from contemporary programme, where we will hear from several Each local authority in Louth also operates the Droichead has long been the focus for the visual arts Louth artists for the most part, the collection built speakers and have one on one clinics to discuss our Tyrone Guthrie Centre Regional Bursary, which in south Louth and east Meath, and its programme up over many years by Drogheda Borough Council own art practice and discuss various future enables successful applicants to stay for two weeks and the opportunity for exhibiting it offers has been is among the finest in the country and is now projects, therefore I feel their support is ongoing in this artists’ retreat in North Monaghan. crucial to the development of many artists in the housed for the first time in a state of the art gallery, and my practice has benefited largely since my Due to the strong growth in both the number region. This year, the Droichead Arts Centre and the ensuring proper conditions for the Collection’s return to county Louth. and scale of publicly funded infrastructural Louth Local Authority Arts Offices have display and care. The Highlanes Gallery is a developments in Louth over the past 5 years, the collaborated on a major exhibition entitled Iomhá. significant addition to the visual arts infrastructure Cliodhna Cunningham implementation of the percent for art scheme has Iomhá is a curated, open submission show for artists in Ireland, and Louth Local Authorities is resulted in over 20 new sculptural and interior born or living in County Louth. Five artists were committed to maintaining support for the visual commissions being awarded to artists on the Louth chosen by the curatorial team of Ruari O’Cuiv and arts and for artists in the county. Public Art Panel. These commissions have ranged in Cliodhna Shaffrey. The exhibition was on show in Brian Harten, scale from a weathervane entitled Fish by Jane the Droichead Arts Centre, the Basement Gallery, Arts Officer , Murtagh in Omeath to the Speed of Light and is currently being prepared for exhibition in Louth County Council The Visual Artists’ News Sheet September / October 2006 29 REGIONAL PROFILE Droichead Arts Centre exhibition programme, which comprises 7/8 shows in Gallery 1 and 3/4 in gallery 2, is devised as a mix of work by emerging, established, national and international artist. In addition to programming on the basis of submissions, two shows a year are initiated by Droichead, past examples, a Gerard Dillon Retrospective in 2002 and the ongoing Iomha, open submission show for Louth based artists. As a multidisciplinary arts centre, Droichead Main Gallery, Droichead Arts Centre, Drogheda. accommodates many diverse arts discipline; this of DROICHEAD Arts Centre has allowed visual arts to course raises difficulties in time required to flourish and exist in Drogheda for the past 13 years. suitably develop the visual arts alone. Droichead In terms of its visual arts policy Droichead has has recently employed a Community Arts Officer managed to keep a balance the provision of space who will assist in developing better dialogue in for young emerging artists, experimental work relation to the developmental needs of our pieces, retrospectives, and group shows. Artists audiences. However this town is changing radically who have exhibited in the gallery include Amanda like many other large towns in Ireland and so too Coogan, Dara McGrath, Sean Cotter and more are the needs. Unfortunately we are not afforded ANNOUNCING THE ARCHIVE AT CITYARTS recently Anthony Collins. Retrospectives have also the luxury of time and resources necessary to assess included Gerard Dillon and Camille Souter. these changes in detail and so we depend largely on The Art of Social Change All events: One of Droichead’s key objectives is to provide keeping aware of current visual arts trends. An exhibition to mark the launch of The Archive at Dublin City Library space where art can be created locally. In 2001, In May, this year, Droichead partnered with CityArts (formerly City Arts Centre) and Archive, Droichead purchased Barlow House, a four-story Louth Local Authorities and Louth Leader in order September 28th - October 19th 2006 Pearse Street, Dublin 2 Georgian building on Main Street; and in spring to produce a trans-national group exhibition of this year renovated the Artist Studios in the yard. work by artists working or living in Louth. Iomha For information and Memory - Art - Power bookings: Currently there are four artist studios and one 2006 was curated by Cliodhna Shaffrey and Ruairi A symposium examining the importance of sculpture space. These studios have added a new O Cuiv and offered a cross section of the best CityArts / 01 6394608 archiving for cultural validation and development dimension to the life of the building. In order to E:firstname.lastname@example.org contemporary artwork in Louth at present. This October 19th 2006 support this development, Droichead is hosting exhibition has enabled five Louth artists to travel to informal discussions over the coming months Finland facilitating the creation of new focusing on experiences, good practices and international networks and training opportunities. exploring projects happening locally, nationally Droichead is currently hosting an exhibition and internationally. of the work of Bill Viola (13 Sept – 13 Oct). The Droichead Visual Arts Programme aims to: show presents two major pieces by the artist; Present a dynamic contemporary art events Deserts and The Reflecting Pool. Inform, educate and foster the participation of In the long term, Droichead sees itself as a Selected Works the community vibrant place where art, ideas, and discourse take an exhibition of new work Develop networks and partnerships nationally place; and where the artist is supported through the by members of and internationally provision of studio space, exhibition space and Black Church Print Studio Promote high professional standards in the networks, with appreciation and understanding Original Print Gallery industry locally from our staff and the public. We hope that 7-28 September Be recognised for new developing work and Droichead, though engaging with artists to create pushing the boundaries. stimulating exhibitions, will feed into and Exhibition opens: The gallery runs a call for submissions in Wednesday 6 September, 6-8 pm influence other parts of our programme such as August / September each year – all disciplines theatre and dance 2158, Digital Image on Lithography Stone, 2006 /mediums considered. Droichead pays EPR Janine Davidson Marcella Bannon (exhibition payment right) and covers costs for Kate Betts, Lucy Braddell, Caroline Byrne, Janine Davidson, Aoife Dwyer, insurance, invitation, reception – while transport Emma Finucane, Mary A Fitzgerald, Roisín Lewis, Anthony Lyttle, and catalogue costs are also negotiable. The Tom Moore, Margaret Mc Loughlin, Naomi Sex, Vincent Sheridan Original Print Gallery Mon - Fri : 10.30am - 5.30pm SOME LOUTH CONTACTS 4 Temple Bar Dublin 2 Sat : 11.00am - 5.00pm email@example.com Sun : 2.00pm - 6.00pm www.originalprint.ie The Basement Gallery, Brian Harten, Arts Officer, Town Hall, Louth County Council, Crowe Street, Millennium Centre, Dundalk. Dundalk T: 042-9396437 T: 042 9324375 E: firstname.lastname@example.org E: email@example.com W: www.louthcoco.ie Sile O’Sullivan, Arts Officer, Dundalk Town Council, Bridge Street Studios, Town Hall, 97 Bridge Street, Crowe Street, Dundalk. Dundalk. T / F: 353 (0) 42 935 1712 T: 042-9396437 W www.bridgestreetstudios.com E: firstname.lastname@example.org Highlanes Gallery, Tony Conaghy, Visual Arts, St. Laurence Street, Droichead Arts Centre Drogheda. Stockwell Street, T: 041 9803311 Drogheda. W: www.highlanes.ie email@example.com 041 9833946 30 The Visual Artists’ News Sheet September / October 2006 Members OPPORTUNITIES Discount for the four landmarks will be announces a call to artists for Scheme stg£250,000, including the Key West International construction & installation, Airport. Step 1 is the request for Visual Artists Ireland runs a Members’ which will be carried out in qualifications; then artists will Discount Scheme, whereby over 90 phases subject to available be invited to submit proposals. funding. Application form To be considered submit proof participating businesses and service available on web. For of previously completed large providers nationwide offer 5–20% information: scale projects-a maximum of 10 discount to VAI members holding a valid membership card. OPPORTUNITIES Telephone +44 1502 523394 X 35mm slides, photographs or digital images on CD. Artists Www should also submit a max of 10 Suppliers & services participating in the www.slrr.co..uk images of other recent work, a FUNDING Telephone Deadline signed letter of interest & a scheme include: +353 87 6576349 or +353 1 ARTS COUNCIL 29 September 2006 résumé. Include name, address, 2869541 (Mon-Fri after 5pm ) Art Delivery Awards for artists - Travel & Email telephone, e-mail, titles of Artists Models Mobility Award, ongoing. Deis firstname.lastname@example.org..uk or MAKING WAVES works, media, dimensions, Art Supplies Scheme, ongoing. Commissions Artists experienced in site- location of artwork, image name email@example.com Accommodation Award, closing date Fri. 29 Sept., specific work integrated with or slide/corresponding number 5.30pm. Title-by-Title Award, science & interested in working & other relevant information. A Book Binding NSF closing date Fri. 17 Nov, 5.30pm. with students from secondary full site description & request Book Sellers The National Sculpture Factory Revenue Grants for schools. Porthcurno Telegraph for qualifications is available Canvas Suppliers continues to update its services organisations 2007, opening Museum, West Cornwall seeks to on-line. Contact: Nance Frank / Ceramic Supplies to artists & has recently date Mon. 18 Sept. 2006 & work with artists in a sci-art Chair: developed a self-contained Cinema closing date Fri. 20 Oct. 2006. 4. project, which aims to provide Fax 'white' media studio, which Darkroom Facilities Annual funding for local people with new ways of seeing +1 306 295 4372 includes wireless Internet DVD / CD Duplication authorities 2007, opening date the invisible world of the Email access, a G5 Apple Mac, monitor, Digital Video Editing Mon. 18 Sept. & closing date Fri. printer, DVD, lightbox & other electromagnetic spectrum. A firstname.lastname@example.org Engraving 20 Oct. 2006. Further series of installations will be Www office facilities. For information Foundry Services information on all schemes is commissioned for the Museum www.keysarts.com about renting this facility or to available on the website. Gardens, work to be on site by Deadline Framing rent a space on the factory floor, Www Feb 08. Fee: stg£2,000 will be paid 4 October 2006 Glass Suppliers contact the NSF: www.artscouncil.ie to each successful artist for Graphic Design Services Telephone research & development. A total WYOMING Hardware 021 4314353 STUDIOS of stg£57,000 is available for Artists worldwide are invited to Www Lighting & Metal Design & Fabrication realisation. The project is submit proposals for the annual www.nationalsculpturefactory.com Laser Eye Treatment LONGFORD supported by the National juried outdoor sculpture Memberships /Publication Subscriptions Murphy Hall, Ballyduffy Moyne, PUBLIC ART Endowment for Science, exhibition at Central Wyoming Paint Co. Longford. 1 studio Technology & the Arts. For College, 1 May 2007-1 Apr, 2008. Paper Conservation remaining. 3 phase electricity. information: Submit material that represents CAMBRIDGE Photography Services night rate. For details contact Address up to 3 works created or New Technology Public Art Mick. Mary Godwin, Director, PK proposed in the last 2 years. Photography Supplies Commission. Call for Telephone Trust, Eastern Hse, Porthcurno, Earthworks, collaborative Publishers submissions for a public artwork 086 100 4250 Cornwall TR19 6JX, pieces with Central Wyoming Printers for the south facade of the Email College students & site-specific Email Print Materials (fine art) original auditorium, The email@example.com firstname.lastname@example.org art works are encouraged. All Stone Suppliers Junction. Utilising new Www work submitted must be able to technologies, the piece will Textiles MAYO www.porthcurno.org.uk withstand the cold & harsh WY translate the activities of the Theatre Residential studio & house Deadline winter, hot summer & be safe to organisation onto its exterior & Venue Hire sublet available in Ballycastle, give the building a clearly 30 September 2006 the public. A residency is also Web Design Co..Mayo. Newly built large 85 offered for the creation of a defined visual identity within its m.sq. studio with natural light, ELIXIR sculpture(s) for Outward Web Gallery Software surroundings. Fee: stg£60,000 to sea-facing windows & central Elixir is a 2-year digital arts Westward 2007. The artist include fee, production & heating & recently renovated 3- programme, which aims to shed chosen would have full access to installation costs. For Help us to develop the scheme! bedroom house (sleeps up to 7) new light on & celebrate some the college's ceramic & information: with all mod. cons. including of the less understood or sculpture facilities. These If you are an artist using suppliers on a Telephone central heating, open fires & 'invisible' activities within include kiln, foundry-bronze Chris Rogers, Junction / +44 1223 regular basis and would like to recommend Atlantic views. Available to let Gloucestershire Royal Hospital. casting, stone & wood carving 403473 them for the scheme please forward us their all year, from 5 Sept 2006 Elixir's curators are looking for a equipment, an outside sculpture Email contact details. (except Jul. & Aug.). Ballycastle email@example.com..uk wide range of work - video, courtyard to work in, storage & is a quiet village on the North animation, text & sound, dance on-campus housing. Interested Www If you are a supplier looking for artists’ Mayo coast offering beautiful & & performance - to show on the artists should make a note in www.junction.co..uk/publicart business and would like to participate in the unspoilt landscapes, including Deadline Elixir screen, a dedicated 52" their application. Images of scheme please contact us with details of the Ballycastle beach, Lacken screen as part of a 2-year curated actual work or drawings of 1 October 2006 goods & services that you provide and we will strand, Downpatrick Head, programme of on-screen proposed artworks are required Ceide Fields Megalithic activity. Exhibition fees paid. with up to 3 views of each include you on the Discount Scheme Listing. SUFFOLK settlement & the Western Way For information & details on sculpture. Submit registration Call for artists experienced in Atlantic walks. Ballinglen Arts how to submit a work: form; written proposal, detailed To see a current copy of the discount public art. Design applications Foundation is also close by. Email description including material/s based on the theme of Energy & scheme listing go to: Long-term lets preferred, firstname.lastname@example.org..uk & complete installation the Environment invited for a www.visualartists.ie/sfr_dsl.html minimum 1 month. Rent 700 Www instructions for artwork, if series of 4 sculptural landmarks, per month for house & studio www.elixirnews.info applicable; a creation/ Visual Artists Ireland, to be sited on roundabouts excluding bills, 1 month rent & Deadline installation schedule; a budget if along the South Lowestoft Relief Cnr. Halston St & Mary’s Lane, Dublin 7 1 month deposit payable in Ongoing applying for an honorarium; Road. Short-listed artists will be T: 01 872 2296 F: 01 872 2364 advance. 20% discount on over images of existing or proposed contacted by 6 Oct. Design fee of E: email@example.com rentals over 3-months. For stg£800 will be offered to 4 FLORIDA artwork in slide, digital print or enquiries contact Rosie. The Monroe County Art in jpg format; résumé/CV & artist's short-listed artists. It is Public Places committee statement. 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Awarded to UK makers Ongoing +1 307 855 2211 photographers & artists from Deadline darkroom facilities & for excellence, innovation & Email culturally diverse backgrounds 1 November 2006 undercover outside work space. significant contribution to NEW YORK email@example.com & to act as an advocate for their Residency includes a 4-week jewellery produced in the last The Women's Studio Workshop Deadline inclusion in all mainstream VERMONT Gallery display of work six years. Applicants are invited offers studio fellowships to 1 November 2006 areas of exhibition. Submissions Vermont Studio Center. Next completed during the residency. to compete for the stg£30,000 allow artists time to explore for residency are invited from Full Fellowship. The Vermont For information: award, which is one of the most new ideas. Fellowship recipients RESIDENCIES artists working in photography Studio Center (VSC) offers year- Email significant art prizes in the are awarded on-site housing & & related media, particularly round 2-12 week independent firstname.lastname@example.org country. For information: 24-hour access to the studios. 4- LIFT BLUE ROOM RESIDENCY work that addresses issues residencies for artists & writers. Www Address 6 week sessions are available Emerging & mid career artists. relating to cultural identity, Residents receive a private www.resartis.org/ Jerwood Applied Arts Prize every year, Sept-Jun. Technical Residency programme to social change, human rights & studio, room & 3 meals each day Deadline 2007:Jewellery, Crafts Council, assistance is available for occupy a dedicated workspace historically-marginalised plus access to prominent 1 October (for residencies May 07) 44a Pentonville Rd, London, N1 US$35/hour. Interested artists for research, development & practice. Syracuse University, 3- visiting artists & writers who 8BY should submit an application experimentation & an 30 June. Fee: US$4,000 stipend offer slide talks, studio visits, & TAIWAN Telephone form (available on-line), a 1- administrative base for up to 6- for living & production readings. Low Residency MFA The Taipei Artist Village (TAV) +44 (0) 20 7806 2501 page letter of intent, résumé, 10 weeks. Lift offers resident artists expenses, private darkroom, also available. VSC also awards International Artist-in- (Tues-Fri 11-5.45) slides of recent work, a slide the opportunity to work furnished apartment, access to 200 Full Fellowships annually Residence (AIR) Program was Www script (including title, media, alongside the artistic vision of a photo & computer lab facility. for 4 week. Residencies. A established to facilitate creative www.craftscouncil.org.uk dimensions, & date) & an SASE. progressive arts organisation & To apply send CV, artists portion of these Fellowships intercultural encounters & Deadline Address to engage with a network of statement including how the will be awarded at the deadline collaborations between artists 12 noon, 25 September 2006 Women's Studio Workshop, PO local & international artists, residency would benefit your & are available to all applicants. from Taiwan & the world. Box 489, Rosendale, NY 12472 publics & professionals. practice (up to two sides of a Additionally, some Special Artists from different R & D AWARDS Telephone Resident artists provide their sheet of paper), up to 18 slides / Fellowships will be awarded. disciplines at all levels of Up to 4 research & development +1 845 658 9133 own materials & equipment jpegs (CD or DVD, format For information: professional development come awards for new ideas exploring Email (beyond those made available accessible to Adobe Photoshop Www together in 4-12 week open space in urban & rural email@example.com by Lift) & cover living expenses, CS 8.0 on a Mac OS X platform) www.vermontstudiocenter.org residencies. Artists are selected contexts. Awards of up to Www accommodation & travel. of recent work or current Deadline on the basis of the quality of stg£10,000 each. Bright Sparks is www.wsworkshop.org Address projects, any supporting 2 October 2006 their work, capacity to work a unique opportunity for UK & Deadline Nicky Petto / +44 20 7490 3964 material you feel relevant, & across disciplines & interest in non-UK individuals & / or 1 November 2006 Email SAE to: CANADA interacting with the general groups working in any creative firstname.lastname@example.org Address The Banff Centre offers self- public in Taipei City. There are practice to develop well defined EXHIBITIONS Www Autograph ABP directed creative residencies to two options for which artists research focusing on new ideas www.liftfest.org.uk/about/artist AUTORESIDENT, 74 Great artists 3 times per year. may apply: Self-Financed relating to open space within DUBLIN _development/blue_room_resi Eastern St, London EC2A 3JG, Residencies vary in length, Residencies : The fee for the British Isles, relative to the Talbot Gallery & Studios seek dencies/ Www however they must begin on a residents is US$600 for a UK's current intellectual & submissions from artists for an www.lightwork.org Monday & be a minimum of 5 residency of 4 weeks. These political trends. Bright Sparks is exciting group show of small 2D GERMANY Deadline days. The residency provides residencies are partially concerned primarily with works, in December 2006. For Akademie Schloss Solitude is 28 September 2006 time & space for artists to work subsidized by TAV. Accepted research towards a specific further information please offering approx 60 residency within a creative environment. Artists may remit payments by outcome that is conceptually contact Elaine Grainger. fellowships of 6-12 months in NEW YORK Some financial assistance is bank transfer prior to arrival or challenging rather than Telephone duration to international Sculpture Space invites artists to available. Interested artists pay upon arrival. Full Subsidy completion of a final product. +353 1 8556599 artists. Applications welcome apply for a residency between should submit an application Residency: Each year, TAV will Www Email from Artists in the disciplines: Sept. 2007 & Aug. 2008. 20 new form, application checklist, select international artists & www.gunpowderpark.org email@example.com Architecture (architecture artists are selected each year & detailed project proposal & sponsor them, providing free Deadline Www design, urban studies, landscape each receives a $2,000 stipend timeline, a biography & project accommodation & studio. For 6 October 2006 www.talbotgallery.com design), Visual arts (including towards residency expenses. summary, an artist statement, details: Deadline performance art & curatorial The selection is made by the resource request forms, a list of Www HENRY MOORE FOUNDATION 10 October 2006 practice), Performing arts, Sculpture Space Review works, CV, 2 references, an SASE, www.artistvillage.org/en_artist The Esmée Fairbairn Arts & Design, Literature, Music/sound Committee & a rotating guest application fee of $47, 10 slides _apply.htm Heritage Programme has agreed DUBLIN & Video/film/new media panelist in Dec. Artists are or digital images & reviews or Deadline funding over 3 years to the Thisisnotashop.com is a new (including video installation). notified of decisions in Feb. exhibition catalogues 22 September 2006 Henry Moore Foundation, with commercial gallery recently Each fellowship recipient is Criteria are quality, originality (optional). Visit the Web site for the goal of supporting artists & opened on Benburb St, Dublin 7. granted 1000 per month, in & potential for growth. The application forms, full AWARDS / FELLOWSHIPS benefiting a large number of The gallery space itself is small addition to free lodging. facility consists of 5,500 sq. ft. requirements. visual-arts projects across the 5 x 4 metres but its street facing Address open studio space & one 400-sq.- Address O'MALLEY TRAVEL AWARD 06 UK & N.Ireland It is the location should prove useful in Akademie Schloss Solitude, ft. private studio, located in Banff Centre, 107 Tunnel An award of 2,600 sponsored trustees' policy to support all attracting new audiences & Solitude 3, 70197 Stuttgart, downtown Utica. A subsidized Mountain Dr., PO Box 1020, by Waterford Crystal will be aspects of the arts in which buyers with the Luas stopping Germany 3-bedroom apartment within Station 28, Banff, Alberta, presented to a painter with a Henry Moore himself was every 8 minutes right outside. Telephone walking distance of the studio is Canada T1L 1H5. specific travel proposal. For engaged: sculpture, drawing & Thisisnotashop intends to give a +49 711 99619 472 available at low cost. Artists have Www submission guidelines: print-making (all freely solo show to a different artist Fax 24-hour studio access & are www.banffcentre.ca/programs/ Www interpreted in the case of every month & is now inviting +49 711 99619 50 expected to stay for a 2-month program.aspx?id=519 www.butlergallery.com contemporary work). Esmée artists to get in touch with Email work stay. Artists are responsible Deadline Deadline Fairbairn has earmarked regards to exhibiting. Contact firstname.lastname@example.org for materials, specialised tools, & 6 October 2006 27 October 2006 stg£150,000 to give annually to Aideen: Www meals. For application from & the Henry Moore Foundation Telephone www.akademie-solitude.de information see Web site: AUSTRALIA JERWOOD APPLIED ARTS between 2006 - 2008. Projects in 086 0858779 Deadline Address Call for expressions of Interest The Crafts Council & Jerwood the UK may include the work of Email 31 October Sculpture Space, 12 Gates St, for 1-month residencies at 'The Charitable Foundation artists from any country; email@example.com Utica, NY 13502 Other Studio' in Townsville, announce a call for entries for overseas projects must contain a Www Telephone North Queensland. Residencies the Jerwood Applied Arts Prize British component. The www.thisisnotashop.com +1 315 724 8381 comprise an air-conditioned, 2007. Open to craftspeople, Foundation's Grants Committee 32 The Visual Artists’ News Sheet September / October 2006 OPPORTUNITIES WEB GALLERY video, sound, food, clothing & stg£3,000 donation to a charity Deadline organising a series of Www Binary Lane Call for Artists, drawing. Artists selected by of his/her choice. Of work sold 6 October 2006 exhibitions in Leeds. The first of www.contemporaryartforum.ca Submissions must include: 6 to open submission & invited 50% of the sale price goes to the these will focus on artist Deadline 12 colour photographs or high - artists, will exhibit their work at artist & 50% to the NSPCC. For BURY multiples, e.g. books, sculpture, 1 November 2006 quality jpgs of your work; an Wexford Arts Centre from 2-23 information: Call to artists who work with print, video, sound etc alongside Arts-related C.V. & price points. Dec. A website will profile all Www maps or explore the theme of small wall hanging work (not NEWYORKRIOTOKYO Send completed submissions by the works online. Seconds :: the www.libertedexpression.co..uk mapping. Bury Art Gallery is larger than 50cm sq). Entry fee Call to artists & curators. email or by post. imperfect artwork is curated by Deadline currently developing an stg£5 (payable to Artist NewYorkRioTokyo is a network Address Aileen Lambert. For application 22 September 2006 exhibition that will investigate Community Workshops). To of artists, designers & curators & Hazel McCrann, 17 Norseman form, brief, floor plans & the possibilities of maps & apply send images, CV, aims to create an international Place, Stoneybatter, Dublin 7 photographs of the exhibition LONDON mapping. It will examine how statement if relevant & £5 fee to: network to promote & sustain Email space: Jersey & Garden Galleries, artists have used & interpreted Address artistic practices. 'E 4' is their firstname.lastname@example.org Telephone Osterly Pk House invite maps & explored systems of ACW, c/o Patrick Studios, St project room situated in a Telephone 053 9123764 submissions from mapping. The show will include Mary's Lane, Leeds, LS9 7EH nightclub & restaurant in 0872029994 (after 4.30) Email contemporary artists in all a variety of forms from Telephone Berlin, showcasing works that Www email@example.com media to exhibit in an historic cartographic, both historic & +44 113 248 0040 examine the creation of public www.binarylane.com Deadline setting close to central London, contemporary maps, to mind Email & private environments. To Deadline 6 October 2006 throughout 2007. For maps & other diagrammatic firstname.lastname@example.org..uk apply send portfolio on 29 September 2006 information: systems. 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Project proposals sough Email associated with animistic or are now available on its website Deadline technical requirements about for the festival programme from email@example.com shamanistic religious practices. or by contacting Galway Arts 1 October 2006 available work to: all disciplines of art. Open to Www 2. An object of unreasonably Centre by phone or email. Work Address anybody who lives within a www.nyrt.net excessive attention or will be collected from selected LONDON MAPPING, Bury Art Gallery, 100 journey radius (1-way) & Deadline reverence. 3. Something, such as drop off points in Galway, Call to international dealers, Moss Street, Bury BL9 0DR who has an idea relevant to the Ongoing a material object or a nonsexual Limerick, Cork, Dublin, Sligo & curators, artists, a unique Telephone topic: individual artists or part of the body, that arouses Belfast. Chris Plowman is this Victorian Chapel exhibition 0161 253 5878 groups of artists, cultural FLORIDA sexual desire & may become year's adjudicator. Prize fund of space. Services include 210sq. m Email workers & researchers, Artists are invited to submit necessary for sexual 1 ,500. of exhibition space; website firstname.lastname@example.org initiatives & associations applications for Sculpture Key gratification. 4. An abnormally Address documentation & promotion of Deadline working in the field of art. For West 2007 an annual exhibition obsessive preoccupation or Maeve Mulrennan / Visual Arts show; extensive mailing list & 1 October 2006 full details & to submit: of contemporary sculpture attachment: a fixation. A call for Officer, Galway Arts Centre, 47 press list; full invigilation Address bridging 3 venues across the artists to submit artwork based Dominick St,Galway during exhibition opening; no SITTING ROOM Forum Stadtpark, c/o GOLD, island of Key West. The on this theme & contained Telephone commission. For information: Artists' books are sought for a Stadtpark 1, 8010 Graz, Austria exhibition at Fort Zachary within a box no bigger than 091 565886 Address show at the Alsager Gallery in Telephone Taylor Historic State Park opens 20X20 inches; the work will be Email Director, The Empire, 33a December. A handling show in +43 316 827734 Feb 25, 2007. Home to a civil- curated by Sandra Minchin. Art email@example.com or Wadeson St, London E2 9DR which the exhibition area Fax war-era fort, it is surrounded by, work will be auctioned off on firstname.lastname@example.org Telephone becomes a sitting room, +43 316 827734 21 wooded areas, beaches, the Gulf the closing night of Art Trail. Www +44 20 8983 9310 complete with bookcase, Email of Mexico, & Atlantic Ocean. All There will be a reserve price of www.galwayartscentre.ie Email armchairs, coffee table & email@example.com outdoor sculptural media will 50 euro on all boxes or a Deadline firstname.lastname@example.org..uk wallpaper. Submissions now Www be considered at this venue, but higher reserve if specified by the 31 October 2006 Www taken for books that work on www.forumstadtpark.at/gold work must be able to withstand artist. Submission fee is 12 & www.theempirestudios.co..uk the theme of Sitting Room, be Deadline tropical sun, occasionally high should be submitted with the EXHIBITIONS that domesticity, living spaces, 2 October 2006 (postmark) winds, & interaction with park work. 100% of the selling price INTERNATIONAL JERWOOD ARTANGEL OPEN seating areas or any way you visitors. In addition, 2 historic- will go to the artist. Works must Arts practitioners including choose to interpret the title of CANADA civil-war brick forts, the East not have been previously LONDON (but not limited to) visual the show. For information: Haptic, call for Proposals. Our Martello & West Martello, can exhibited. For further Contemporary art competition artists, filmmakers, Email physical connection to objects accommodate limited indoor & information: held across the UK & supported choreographers, composers, email@example.com / & spaces is essential to our outdoor installation/multi Telephone by a number of sponsors writers, theatre practitioners, firstname.lastname@example.org being in the world: in the media/video/electronic media. 021 4961449 including Barclays, applied artists & producers Deadline environments we inhabit, in the The Martellos exhibition opens Email Communisis & Candid Arts living anywhere in the UK. 30 September 2006 ways we relate to one another & Jan14, 2007. Exhibitions at all email@example.com Trust. 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Wexford Arts artworks will be selected & will make 3 outstanding new form send an SSAE or see web: all media will be considered Information on-line or by Centre invites Irish & displayed at the Barclays Global commissions possible. Address including sculpture, sending an SASE: international artists working in Headquarters in Canary Wharf Proposals are invited from arts Open Sculpture 2007, RWA, performance, video, audio, Address all art forms, to respond to the & then at Candid Arts Trust in practitioners to respond to Queen's Rd, Clifton, Bristol, BS8 1PX installation, photography, Sculpture Key West, PO. Box 7, idea of failure, to consider how Angel Islington from 2 - 12 Nov specific sites & situations across Www painting, drawing & new media. Key West, FL 33041 they deem an artwork a success, 2006. Paintings that have not the UK. 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The www.thejerwoodartangelopen. artists & the wider community Email 1 October 2006 performance, artists' books, winning artist receives a org.uk through arts based activities, is email@example.com 33 The Visual Artists’ News Sheet September / October 2006 OPPORTUNITIES shown on single screen. with submissions. For exchanges. Open to artists Firkin Crane Centre, Shandon, perceptions of presenting & FILM / NEW MEDIA Accomondation & travel information & application pack worldwide, artists are invited to Cork on Sat. 30 Sept, 12-3pm. experiencing art in a rural BRITDOCART expenses are responisbility of send a cheque for £20 payable to make one or more ex-libris on Light lunch included. Speakers context, using the Beacon Art Funding scheme to award up to the artist. After the festival a Bathing Beauties with A4 SAE the theme 'Bread - cultural will include Deirdre Nolan, who Project as a starting point. Panel 4 artists stg£30,000 each to catalogue will be available on- (94p) to: heritage', as the most general & was pivotal in the formation of members will include Adam make a documentary film. The line on the Festival website. Address multisided symbol. All works Backwater studios, discussing Sutherland, Director of fund is open to artists from the Www PO Box 4203, Manchester, M60 1SP must be conceived as ex-libris, the possibilities of funding for Grizedale Arts, Sally O'Reilly UK & Ireland based anywhere in www.inport.tk/ Www i.e. as small-format art graphics artists purchasing their own writer & critic, Anne Douglas, the world & also to foreign Deadline www.bathingbeauties.org.uk made to be pasted into books & individual studios & Marie principle researcher On The artists currently based in the UK 1 October 2006 Deadline to identify their owner. An Finucane from Limerick Art Edge, Aberdeen & chaired by & Ireland (for at least the last 6 22 September 2006 international Jury will select School who will be discussing Francois Matarasso Chair of the months). The 4 finished films, 3- RUSSIA prizewinners. 1st prize 1,500, similar issues but in a rural Arts Council England, East 30 minutes long, will premiere Call for entries for Videologia an SPAIN 2nd prize 1,000 & 2 ex-equo context where she has been Midlands. The Beacon Art at the ICA & tour leading international festival of audio- IX Engraving International prizes of 500. See web for full working on the formation of Project is supported by Arts regional galleries & sites. visual arts taking place in Biennial "Josep de Ribera" 2007. details; small working studios & Council England, East Midlands Applications are welcome from Volgograd, Russia, Nov. 2006. This international prize is Address opportunities for dialogue. & was launched in 2004 to bring artists working together Artists & directors working with sponsored by the City Council Ksenija Graovac, Balkankult Coinciding with this seminar new art & artists to a rural collaboratively but should be short films, video art, of Xantia & Rotary Club of Foundation, Trg Nikole Pasica 1, Art Trail will be meeting with audience. The first event made by one individual from animation, documentary films, Xantia. Open to artists of any 11000 Belgrade, Serbia studios & independent artists to attracted over 800 visitors aged the team. Directors may be net art & various visual nationality. All techniques & Telephone discuss the central role of open between 1-75yrs. Conference fee required for Q&A sessions experiments are welcome to subjects allowed. Exhibition, + 381 11 322 7441 studios in the Art Trail stg£15 per person includes visit during this time. Channel 4 will participate. All selected titles Jan. 2007, Valencia. For Email programme & how the festival to the project & lunch. For have a 'first-look' option on the will be screened in the cinema information & application firstname.lastname@example.org can increase opportunities to information & bookings: completed films. If they decide halls & art galleries & evaluated form: Www show, sell & promote work Telephone to exercise their option, they by the independent jury & local Address www.breadculture.net through this artist led event. To +44 1522 811 809 will be granted the television audience. For information: Casa de Cultura, C/. Montacada, Deadline this end we would be delighted Email rights & online rights for stg£1. Address 7 - 46800 Xativa (Valencia), 15 December 2006 to meet with groups & email@example.com All other rights (DVD, Yaroslav V. Khokhlov, Do Spain individual artists contact: Www theatrical, international vostrebovaniya, Volgograd Telephone CONFERENCES / Telephone www.beaconartproject.com. broadcast other than UK & 400066, Russia +34 96 228 23 04 SYMPOSIA 021 4961449 / Sheila online) are retained by the Email Fax Email LONDON filmmaker. For information: firstname.lastname@example.org +34 96 228 98 09 KILDARE email@example.com International Art & Ecology Telephone Www Email Temmporary State, the first Symposium, 11 & 12 Dec. 2006, +44 20 7729 2087 http://fwdcalls.blogspot.com/20 firstname.lastname@example.org symposium for Kildare-based CREATIVE RURAL ECONOMY London School of Economics. Email 06/07/fwdcalls-videologia- Www artists will take place from the Lancaster, 10-13 September Key people from different email@example.com..uk 2006.html www.ayto-xativa.org 27 Nov. 2006. Artists based in 2006 Following the success of disciplines concerned with Www Deadline Deadline Kildare County are invited to arts and urban regeneration environmental issues have been www.britdoc.org/foundation/br 1 November 2006 31 October 2006 submit applications for projects & urban-based cultural invited to nominate ecologists, itdocart.php participation in a weeklong industries, this conference, economists, philosophers, 60X60 WORLD CERAMIC BIENNALE symposium initiated by Kildare developed & coordinated by scientists, geographers and FRANCE Vox Novus want silent video The 4th World Ceramic County Council Arts Services. Littoral Arts, will attempt to anthropologists to discuss Artists using film & video. La shorts of 60 seconds or less Biennale International Over 5 days, artists will be define an equivalent area for pertinent issues - leaving space Saison Video is an annual which will be paired with audio Competition is open to invited to take part in an investment in the rural between for artists to respond, programme of film & video compositions from composers. international ceramists. It inventive programme of economy & suggest a strategic show their work & explore the work screened by Espace Croise New York & worldwide. A includes the world's finest workshop-based activities. programme of arts & rural challenges presented by the in museums, cultural centres & touring show throughout 06-07. ceramic artists & focuses on Proposals are invited from regeneration & creative rural current state of the ecology. art schools across northern Work submitted cannot have defining new values & creative interested parties working in industries projects that would Further details: France. Selected works will be been screened previously. Details direction for Contemporary any discipline for participation. be capable of supporting some Email included in the Saison Video online. Ceramics. Running 28 Apr-17 The event will demand full-time of the economic, firstname.lastname@example.org catalogue. Include title, date, Address Jun, 2007, Korea. Submissions commitment (including environmental, social priorities Www length & 250 words of text 60x60 VIDEO, c/o Robert Voisey, invited in the categories evening activities) Mon-Fri. 7 as outlined in the Rural www.artsandecology.org about the work & state if you Radio City Station, PO Box 1607, 'Ceramic for Use' & 'Ceramic as places available. Please send a Development Plan for England want to be included in the New York, NY 10101, USA, Expression'. Exhibition will be current CV & letter stating why (RDPE). The conference aims to: VOLUNTEERING catalogue. You can submit more Email held at the Icheon World you are interested in taking part. - inform & widen the art sector's than one piece of work, but put Support@VoxNovus.com Ceramic Centre, Gyeonggi-do. Address engagement with issues in rural ARTS & HEALTH only one piece per DVD. Work Www The judging panel comprises 2 Temporary State - Symposium & agricultural policy - promote The Adelaide & Meath Hospital, can’t be returned. To apply send www.voxnovus.com/60x60.htm Korean & 3 international Application, Kildare Arts the creation of a European Rural Incorporating the National DVD with name, address, email, Deadline members. The winners of the 7 Services, Riverbank, Arts Centre, Biennale of art, agriculture & Children's Hospital, Dublin, are & phone number to: 15 September 2006 prizes will be announced on 2 Newbridge, Co.. Kildare rural creativity - frame a new seeking artists willing to Address Feb 2007. For information: Telephone cultural strategy for agricultural volunteer to facilitate art groups ESPACE CROISE, Grand Place, COMPETITIONS Www 045 448318 change, rural development & for patients. The hospital arts BP 40534, 59059 Roubaix cedex www.worldceramic.or.kr Email environmental sustainability, office runs a busy programme of 1, France BATHING BEAUTIES Deadline email@example.com / which could be taken forward as arts activity for patients, with Email Call for professional artists, 6 October 2006 firstname.lastname@example.org the basis for a possible CAP two funded artists in residence email@example.com architects & designers, national (initial screening) www Pillar III: European Rural & 12 artist volunteers. The Deadline & international. Collaborations www.kildare.ie/arts Cultural Development therapeutic art groups for 30 September 2006 welcome. Competition for EXLIBRIS COMPETITION Programme. To book: patients reached the final of the seaside architecture, a superb Balkankult Foundation, Ericarts NEW STUDIO MODELS Telephone Health Service Innovation ESTONIA stretch of Lincolnshire Institute, Turkish Ex-Libris Art Trail is hosting a café +44 1706 827 961 Awards in 2005 & the arts office International Video coastline. 4 prizes of stg£1,500 Society, The Bread Museum, discussion on new studio Www is constantly introducing Performance Festival, Tallinn. with a further stg£20,000 for Ulm & Belgrade Ex-Libris Circle models, which will be able to www.littoral.org.uk innovative arts projects for December 2006. Performance each winning entrant to build, are organizing an international operate in a new environment, patients & staff. Vacancies artists all around the world are deliver & install their proposed ex-libris competition, to support where traditional artists work- ART IN RURAL AREAS currently exist for volunteer invited to send proposals for design. Submissions will be co.-operation amongst persons spaces are coming under Boston, Lincolnshire, 20 Sept. artists in the dialysis unit & in- INPORT. This is non-profit scale model only. Additional active in culture & media, artists increasing pressure from 2006. The aim of this 1-day patient wards (adult patients). Festival with a very small prize of stg£500 for best model & entities & to help develop commercial development. This conference is to challenge & This project would suit: Artists budget so work can only be entered. Entry fee: £20, refunded trans-border cultural ties & seminar will take place in the question established considering a career in art 34 The Visual Artists’ News Sheet September / October 2006 OPPORTUNITIES therapy & /or arts in healthcare. 250 (2 weekends); performance art - from the most artists & designers living in the Artists interested in gaining FILMBASE COURSES Introduction to Bookbinding. traditional interpretations to UK but now also featuring a DON’T FORGET to look at experience in community art & Upcoming courses at Filmbase: Sat 25 & Sun 26 Nov. Cost 150; those integrating advanced selection of international artists. the advertisments in /or public art. Mature, reliable Digital Foundation Course. 23 Waterbased Photo technologies, inanimate objects, A small yearly fee is requested this VAN, also check our web site & subscribe to our people with some experience of Sept-10 Dec. This foundation Screenprinting. Sat 9 & Sun 10 passersby, sites & beyond. All after a 3-month free no e-bulletin for further illness or disability & a caring, course is run over nine Dec. Cost 180. To book: submissions must include the obligation trial. The objective is opportunities. sensitive personality. A weekends. It will take the Telephone following, Video in DVD, VHS to overload the site with commitment of 2 hours per participants through the 021 4322422 or miniDV format, Artist's name creative talent to ensure it is BEWARE. While every effort has been made to ensure week, on a regular basis, for a filmmaking process from script Email & resume, Artist & visually stimulating & packed the accuracy of our minimum of 4 months (16 to screen & culminates in firstname.lastname@example.org Commentator contact with artists' resources. The site information we strongly weeks) is required. A shooting two short films on DV. information (phone, mailing has a forum to exchange advice, advise readers to verify all willingness & flexibility in Cost: 900 waged / 800 EAST LONDON UNI address, & e-mail), topics include: 'Relinquishing details to their own satisfaction before approach. The Arts Office offers unwaged. For information: Applications invited for the Commentator's name & resume, your creative freedom,' under forwarding art work, slides Induction, ongoing support & Address following Postgraduate Brief notes outlining the general discussion & 'Beginner's or monies etc. with regard training sessions from the Arts Filmbase, Curved St, Temple Bar, programmes - MA in Fine art, contents of the proposed Guide to Search Engine to opportunities. Officer. Free car parking & Dublin 2 developing their practice in a commentary, A self-addressed Optimization' under web refreshments while at hospital. Telephone professional context, students stamped envelope if materials design. Plus, there is an exciting Opportunity to develop your 01 6796716 initiate, plan & take need to be returned. new members section entitled own work in a healthcare Email responsibility for all aspects of a Commentators can be curators, 'think-tank' for brainstorming THANKS environment (subject to email@example.com public exhibition or other critics, theorists, educators, or potential ideas for creative In addition to the approval of proposal). For Www professional practice project. other individuals with a broad projects. information that is information contact Carol Roe www.filmbase.ie MA in International understanding of the artist's Www forwarded directly to us, or Deidre Cahill: Contemporary Art & Design work & the greater art historical www.artisticdirectory.co..uk Visual Artists Ireland also exchanges with and sources Telephone GLASS Practice, this MA examines, context. An artist cannot supply information from: A-N (The 01 414 2102 International Glass Artist Jayne through creative practice, areas his or her own commentary. The FEMINIST ART ARCHIVE Artists’ Information Email Persico from Pennsylvania, USA of convergence between art & video should be between 5-12 The Feminist Art Project, Company); The International firstname.lastname@example.org is teaching kiln formed glass design; science, technology, minutes in length. You will be coordinated at Rutger Sculpture Centre (New Jersey, USA) and the workshops, at Pangur Bawn media, anthropology, contacted by 1 Nov. if work is University, is a 3-year National Sculpture Factory COURSES Studio, Co.. Cavan. A hands-on ethnography, sociology, ethics, selected. For information, Liz celebration of women's impact Cork. workshop where students sustainability & gender within a Nofziger / Assistant Editor: on the art world & the feminist DONEGAL produce a number of individual range of convergent Www art movement. The project Tearmann, A Professional pieces to take home. Materials technologies. Students www.aspectmag.com/submissio began in 2006 & incorporates Development & Training are included in course fees. 6 undertake the development of a ns/faq.cfm exhibitions, symposia & Programme for Artists is a cross places per workshop. One day self-initiated research project Deadline commemorations at border Artist Development course in kiln-formed glass engaging with one or more of 30 September 2006 institutions around the US Programme makes available an jewellery suitable for beginners: the disciplines; Graphic Arts, Event details are listed on-line. outstanding facility & Friday 22 Sept, 10am-5pm 150. Graphic Design, Moving Image, SERVICES OFFERED Rutgers University also contemporary cultural resource 3- day workshop in kiln-formed Photography, Digital Arts, maintains the Women Artists to future arts administrators glass open to beginners & Animation, Illustration. A PRO CAMERA OPERATOR Archives National Directory, an from both sides of the border. experienced covers a variety of proportion of the programme Artist / Professional camera on-line record of primary source Taking inspiration from the techniques including Pate de can be studied abroad. operator available to make a materials on contemporary gaelic term 'Tearmann', Verre, Billet Casting, Frit Professional Doctorate in Fine video record of your art. You women visual artists. Artists & meaning sanctuary, this project Casting, Pattern Bars, Vitrograph Art, a practice-based research may want a record of an archivists may apply to list their focuses on Donegal in terms of & Embossing. Sat 23 - Mon 25 degree. For information: exhibition, temporary on-line archives. For more landscape, culture & September 10am-5pm 395. To Telephone installation, or a performance. information see; environment. The programme is book: Sian Harris / +44 20 8223 3405 You may be interested in Www offered on a structured practical Address Email capturing your 'work in http://waand.rutgers.edu basis, in a culturally unique Pat Rooney, Pangur Bawn Crafts, email@example.com progress. Have worked as a context. Modules offered 1 Lime Tree, Drumroragh, Www professional TV camera include: Lithography, Ballyjamesduff, Co.. Cavan www.uel.ac.uk/ava operator & on independent Etching/Intaglio, Book-Making, Telephone documentaries. Having your Career Development, 049 8545118 PUBLICATIONS artwork/exhibition shot Contemporary Gaelic Culture, Email professionally on video will Video Editing Publishing. Applications are welcome from people who can - Desktop firstname.lastname@example.org Www www.jpglassworks.com MIDLANDS ARTS & CULTURE MAGAZINE A new publication highlighting give you an alternative for illustrating your work. I would be happy to meet & consult KILMAINHAM demonstrate a commitment to completing this Irish/Gaelic CORK PRINTMAKERS the extent & diversity of the arts in the midlands was launched with any artist interested in this possibility. During this ART FOUNDRY LTD mediated programme & who Evening & Weekend Courses in recently in Tullamore, Co.. consultation, I can show you either work in an arts Fine Art Printmaking at Cork Offaly. The 34 page A4 magazine examples of my work. The Fine Art Foundry For Sculptors environment, are interested in Printmakers Oct - Dec. Night is a joint publication between Reasonable rates. working as an artist or who are Classes (10weeks): the Arts Offices in Offaly, Laois, Telephone Seeking the Perfect Cast interested in working in Arts Experimenting with Etching, Longford, Westmeath and the +353 (0) 863466221 Administration. This project is Catherine Hehir. Tues nights, Arts Council in a bid to create a Email part-financed by the European Cost 335; Intro to Stone greater Midland Cultural email@example.com ENLARGING, MOULDING, LOST WAX Union through the Interreg IIIA Lithography, Dominic Fee. Weds Identity. Read more on our news CERAMIC SHELL, SAND CASTING Programme. The project is also nights, Cost 305; section: RESOURCES FINISHING, PATINATION & ERECTION co.-funded by Údarás na Intro to Waterbased Www Gaeltachta. For information: Screenprinting, Paul La Rocque. www.visualartists.ie/sfr_news.h ART DIRECTORY Telephone Judy Ní Ógáin / 353 (0)74 Thurs nights, Cost Weekend Classes: Photo Etching 335. tml Are you a graphic / web designer, photographer, 01 4542032 9531271 with Riston Film, Tony McClure. PERFORMANCE ART illustrator or glassmaker, a PHONE / FAX Email Sat 7 & Sun 8 Oct. Cost 170; Aspect: The Chronicle of New sculptor, fine artist or 3d Willie Malone firstname.lastname@example.org Papermaking, Dominic Fee. Sat Media Art welcomes animator? In fact, anyone with a Deadline 21 & Sun 22 Oct. Cost 170; submissions for Volume 9, passion for art & design. Why 31 August 2006 Chinese Woodcut Masterclass. Performance. This issue will not join the artistic directory Sat & Sun 4, 5, 11 & 12 Nov. Cost focus on the broad spectrum of &/ or forum? Primarily for Draiocht Allyson Keehan, Silk Purse: Red, 2006, oil on canvas, 70 x 90 cm. Symptoms of Fetishism Panorama Frances Jung and Allyson Keehan Eamon O'Kane Ground Floor Gallery Ground and First Floor Galleries September 8 - October 14 October 20 - December 02 Continuing the Tradition 6th Fingal International Fotofest Artist in Residence Bronze Art Ltd First Floor Gallery September 8 - October 14 Susan Connolly Fine Art Foundry Leaders in Fine Art Casting For your next project contact: Cris Neumann or Rosemary Flavin. Draíocht Blanchardstown Centre, T: (3531) 8552452 F: (3531) 8552453 E: email@example.com Blanchardstown, D15 T: 01 885 2610 F: 01 8243434 Bronze Art Ltd., Unit 3, Gaelic Street, Dublin 3 W: www.draiocht.ie Fingal Public Art Panel County Call for Artists Council Fingal County Council invites Locations: expressions of interest from artists Sites within these locations are not wishing to sit on a Public Art Panel. predetermined and due to the A considerable sum of money has broad nature of the call the “site” if been made available through the applicable will be decided by the Department of the Environment, artist. Heritage & Local Government Per Cent for Art Scheme associated Once selected the artist will be given a with the Fingal County Council sum to develop their proposal and Water Services Department. brief with the support of the Fingal County Council Arts Office. Artists will We have no expectations as to the sit on a panel for a period of two years. Further information is available from outcome of the projects and are the Fingal County Council Arts Office . opening up the commission to artists working in all mediums and To Apply: all genres as Stated under the Send a recent C.V. , CD, Prints or Slides Department of Arts, Sport & (Max 10 Slides), Written Work, Tourism Per Cent for Art General Photographs & a letter of interest Guidelines 2004. www.publicart.ie describing your approach to public art. N.B. All applications should be clearly marked Fingal County Council For further information: Public Art Panel. www.fingalarts.ie Expressions of interest by: Applications to: 20 October 2006 Caroline Cowley Public Arts Co-ordinator T: +353 1 870 8449 E: firstname.lastname@example.org West Cork Arts Centre Monaghan County Council North Street, Skibbereen, Co.Cork, T: +353 28 22090 F: +353 28 23237 E: email@example.com “The Kavanagh Way” www.westcorkartscentre.com NRA Percent for Art Commission €100,000 2 Stage Competition Monaghan County council invites submissions from artists for a landmark site specific permanent artwork with a budget of €100,000 under the Per Cent for Art Scheme for the N2 Carrickmacross Bypass - “The Kavanagh Way” named , after one of Irelands most renowned and celebrated poets, who was born in Inniskeen, Co. Monaghan. Proposals are invited from artists working either on their own or in Stephen Brandes, Bed & Breakfast, permanent marker & acrylic on vinyl, 2005 collaboration with others. Selection will be by way of a two-stage open submission competition and up to five Fresh: Re-imagining the Collection Continues until 16 September short listed artists will be invited to develop specific detailed A group exhibition alongside work from the Limerick City Gallery of Art Collection (LCGA). proposals for second stage. Participating artists include: Patrick Collins, Amanda Coogan, Jill Dennis, Neva Elliott, Ciara Finnegan, Marie Foley, Sam Ely and Lynn Harris, Alan Magee, Alice Maher, Linda Molenaar, Further information & detailed brief from: Melanie O'Rourke, Alan Phelan, Oliver Sheppard and John Shinnors. Joanne Behan, Public Art Manager, Stephen Brandes Chutz Paradiso The Market House, Monaghan, Ireland. 23 September - 21 October T: +353 (0)47 38162 New two-dimensional and three-dimensional work from Cork based Stephen Brandes. Ranging from small paintings to large intricately detailed drawings, this exhibition sees the Download Brief for Commission: further development of the artist’s practice by introducing a 'sculptural' element to the www.monaghan.ie/markethouse work. Stage 1 Deadline: 5pm, Thurs. 26 October Wicklow County Arts Office invites submissions from Visual Artists for the exhibition programme at the gallery space, County Buildings, for 2007. Applications are welcome in the following categories: Wicklow Solo: Any medium Wicklow Group: Any medium National Group: Photography and digital media Applications must be submitted on official application form. Deadline for receipt of applications: 5pm Friday, 6 October 2006 Guidelines and application forms from: Wicklow County Arts Office County Buildings, Station Rd Wicklow Town. T: 0404 20155 E: wao@Wicklowcoco.ie School of Creative Arts Applications of interest are sought, for part-time associate lecturer hours, which may arise in the Academic Session 2006/07 Photograph, Ros Kavanagh 1. Image-making & painting techniques in relation to contemporary arts practices. 2. Image-making & printing techniques in relation to contemporary arts practices. 3. Three-dimensional/fabrication techniques in relation to contemporary arts practices. 4. Digital Video techniques & applications within contemporary Call for Submissions arts practices. 5. Photographic techniques & applications within contemporary We are inviting artists and curators to engage with us in arts practices. exploring our cultural identity through a series of exhibitions 6. Art as Installation; practices & theory. and projects in various social and environmental contexts. 7. Art as Intervention; practices & theory. Solstice is particularly, but not exclusively, interested in 8. Art and performance and/or narrative; practice & theory. creative ideas that respond to, and interact with, various 9. Research-based Art practices & theory. aspects of contemporary life in Meath. 10. Art and Curation/Facilitation practices & theory. 11. Art and Criticism; practices & theory. Applications should include a full CV, images, and detailed proposals where appropriate. 12. Critical and Contextual Studies in Art & Visual Culture. 13. Critical Practices. To apply please forward a letter of application Applications to: & Curriculum Vitae to: Closing Date: Director, Solstice Arts Centre, Railway St, Navan,Co. Meath. Human Resources Office, Dun Laoghaire Institute of Art, Design Noon, Friday, Tel: (046) 909 2300 & Technology, Kill Avenue, Dun laoghaire. Co. Dublin. 15 Sept. 2006 T: 01 2144601/01 2144919 F: 01 2144700 E: firstname.lastname@example.org E:email@example.com Deadline for submissions www.solsticeartscentre.ie 31 October 2006 Claremorris Open Exhibition 2006 Sept 16 - Oct 8 For three weeks every year Claremorris is truly a gallery without walls... the town is full of surprises, experiencing an exhibition has never been more like a treasure hunt." Andrea Schlieker, Curator of Fourth Plinth Sculpture Project, Trafalgar Square and Co-Curator of the British Art Show 2005. For information: Tel: 087 6680107 www.coearts.org MEMBERSHIP APPLICATION FORM Name: Address: Home Telephone: Mobile Phone: Email: Website: Category of Membership: * Professional Associate Friend *If applying for Professional membership please tick which of the following apply. To qualify as a Professional member you must meet a minimum of three of the below criteria. You do NOT need to fulfil these criteria if you are applying for Associate membership. Degree or Diploma from a recognised third level college. One-person show (including time based events) in a recognised gallery or exhibition space. Participation in an exhibition / visual art event which was selected by a jury in which professional artists or recognised curators participated. Work has been purchased by Government, local authority, museum or corporate client. Work has been commissioned by Government, local authority, museum or corporate client. Have been awarded a bursary, residency, materials grant or otherwise grant aided by the Arts Council/Arts Council of Northern Ireland or other funding body. Have been awarded tax-exempt status by the Revenue Commissioners, or are on schedule D as a self-employed artist in Northern Ireland. FEE ENCLOSED All Ireland Standard Rate €50 / £35 Concessions Rate €25 / £18 Britain £4 Europe €65 Rest of World €70 Friend €60 Payments are accepted by cheque cash or postal order. Cheques should be made payable to Visual Artists Ireland. Cheques can be accepted in Euro or Sterling. Visual Artists Ireland, Cnr. Halston St / Mary’s Lane, Dublin 7. NB New address (from 18 Sept) 37 North Great Georges Street, Dublin 1. T: 01 8722296 F: 01 8722364 E: firstname.lastname@example.org e W: www.visualartists.ie CAST BRONZE FOUNDRY Andrew Clancy Cathode/Anode. 2005. Civic Offices, Main Street, Ballymun (5 x 3 x 4m) . CAST (Crucible art services & Technology) 1a South Brown Street, Dublin 8 T: 01 4530133 F: 01 4735029 E: email@example.com W: www.cast.ie Contact: Leo Higgins / Colm Brennan THE MATERNITY PUBLIC ART COMMISSIONS AT THE ULSTER HOSPITAL national irish visual arts library Public Research Library of The Ulster Hospital is building for the future . . . 20th Century & Contemporary Irish Art & Design Up to 9 individual commissions for integrated artworks worth between £5000 and £40,000 will enhance the patient environment at the new . Maternity Hospital and will reflect the themes of “Life and Movement” More information can be found on the web, by checking out the Ulster Community and Hospitals Trust and exploring the Building for the Future pages. National College of Expressions of interest are welcome from professional artists working in two Art & Design or three dimensions wishing to be included in a select list for large and 100 Thomas Street, Dublin 8 medium scale commissions for the brand new Maternity Hospital at the Ulster Community &Hospital Trust set to open by Autumn 2007. firstname.lastname@example.org www.ncad.ie/nival Artists should submit up to 10 images of recent work (slides, JPEGS, CDs or photos), a short statement (200 words max) on current working practice and concepts in response to the brief theme, a relevant CV details (max 2X A4 pages). For information: Eilís O Baoill / Arts Procurement Manager, UCHT Capital Development Team College of Nursing, Ulster Hospital, Dundonald, Belfast, BT16 1RH T:+44 (0)28 90 550434 ext 3115 E: email@example.com Deadline for submissions: 4pm,Thurs. 20 October, 2006
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