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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.
Kate Walsh & Jennifer Cunningham 16 March–14 April There’s nothing like a brisk walk, Kate Walsh Summit, Jennifer Cunningham Mary Kelly 26 April–26 May Robert Armstrong, The Burning Bush, oil on canvas, 35 x 46 cm, 2006 Where, Mary Kelly www.kevinkavanaghgallery.ie mermaid arts centre, main st, bray, county wicklow T: 01 272 4030 E: email@example.com www.mermaidartscentre.ie open: mon - sat, 10am - 6pm News Sheet The Visual Artists’ Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire March – April ISSUE 2 2007 Marco Dessardo. Working drawing / photo-montage for The Drainage. The issues facing artists studios ACNI Five Year Plan The Wexford Quays commission saga Paul Nugent The Third Space Body in Landscape Tim Lloyd Lietrim Sculpture Centre residencies Uma Aois Ard Bia Gallery 2 The Visual Artists’ News Sheet March / April 2007 INTRODUCTION CONTENTS Introduction Contents WELCOME to another edition of the Visual Artists News Sheet. 3. Roundup. Recent exhibitions and projects of note. 3. Column. Padraic Moore. The Ruins of Yesterday’s Tomorrow. Several key issues relating to arts infrastructures are tackled in this issue – namely, public art 4. Column. Slavka Sverakova. Magpies and Alders. commissioning procedures, studio provision and the funding and policies of the Arts Council of Northern 5. Column. Micheal Burke. In Brief. Ireland. 7. News. The latest developments in the arts sector. 8. Letters. A Response to Killing Daddy. Mary-Ruth Walsh. Our ‘cover story’ is a report on Wexford Borough Councils rejection of Marco Dessardo’s proposal for a 9. Research – Studios. Studio End Games. Ruairí O’Cuiv considers the funding and management issues commission for the Wexford Quay’s, after it was recommended by an expert selection panel. The article explores this case in the light of current recommendations for best practice in public art commissioning. currently confronting artists’ studios. The funding and management issues that face group studios are considered in Ruairí O’Cuiv’s article Studio 10. VAI Northern Ireland Representation. Money For Arts Sake. Brian Connolly the VAI Northern End Games. Brian Connolly the VAI Northern Ireland Representative offers a response to the Arts Council of Ireland representative offers an individual response to the Arts Council of Northern Ireland’s Five-Year Northern Ireland’s recently published Five-Year Plan. In addition our newly appointed Western Plan 2007. Representative Aideen Barry reports on her recent activities. 11. VAI Western Representation. Way Out West. Aideen Barry the new VAI Western Representative outlines some of her rescent activities. We also have an update on the recent activities of the Irish Visual Artists Rights Organisation (IVARO), 12. Art in the Public Realm: Focus. The Risk of Blocked Drainage. Visual Artists Ireland report on the saga which has been focusing particularly on the implementation of the artist’s re-sale right. And as always, of Marco Dessardo’s commission for the Wexford Quays. there is much more, including all the latest opportunities and news of recent activity in the visual arts field. 14. Project Profile. Body Weathers / Body Apparatus. Fergus Byrne Co-Organiser of ‘Body in Landscape, Killarney National Park 2006’ Outlines the projects programme and some of its findings. VAI members will have recently received copies through the post of Printed Project issue 6, entitled ‘I Can’t Work Like This’ curated / edited by Anton Vidockle and Tirdad Zolghadr. As part of the Irish and 15. Project Profile. Artist Researchers. Cordula Hansen considers The Umha Aois Project as an International distribution of the publication, Vidockle and Zolghadr’s edition of Printed Project was interdisciplinary research environment. launched at special events in Dublin, Madrid and Berlin – further details can be found in the news section. 16. Career Development. The Profession of Creativity. Paul Nugent discusses his art career. Look out for future issues of Printed Project – our Summer edition will be curated / edited by New York 17. Institution Profile. A Collaborative Effort. Rosie Lynch, a Curator / Manager with Ard Bia Gallery based critic and curator Kim Levin; and the Autumn issue is being produced by Munira Mirza, a UK based Galway, profiles their first batch of projects and exhibitions. cultural policy specialist and broadcaster. 18. Project Profile. Space is The Place. Peter Mutschler, artist and head of ‘ground control’ profiles Space Shuttle, a series of six projects of urban creativity and social interaction that took place in locations in As part of the ongoing development of the VAI website, we have now added a ‘pay pal’ credit card facility Belfast. whereby VAI membership and subscriptions to Printed Project can now be paid for on-line. New material 19. Institution Profile. Focussing the Spotlight. Daniel Jewesbury interviews Hugh Mulholland, Director of has also been added to sections of info-pool area of the web-site. The Third Space, Belfast. Planning is under way for a new round of Professional Development Workshops. We are seeking a 20. How it is Made. Key Cutting. Tim Lloyd Describes the processes and ideas behind his recent programme manager to research and co-ordinate the delivery of a €150,000 programme of training, to be installation at the Glucksman Gallery Cork. delivered over three years which is being supported by a grant form the Arts Council of Northern Ireland’s 21. Residencies. Lost in Loverly Leitrim. Yvonne Cullivan, describes her time at Leitrim Sculpture Centre. National Lotter (see pg 26). 25. Art in the Public Realm: Roundup. Recent commissions and projects. 27. Advocacy and Lobbying. IVARO Update. Now a year and half old, IVARO (The Irish Visual Arts Rights Organisation) has been busy addressing a range of issues. 28. Regional Profile. Visual Arts in Newry and Mourne. 30. Opportunties. All the latest residencies, commissions, grants and calls for exhibition etc. MEMBERSHIP APPLICATION FORM Production Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout: Monica Flynn; Opportunities: Name: Tara Kennedy / Monica Flynn; Proofing: Anne Henrichson; Invoicing: Valerie Earley. Address: Contributors Padraic Moore, Slavka Sverakova,. Micheal Burke, Mary-Ruth Walsh, Ruairí O’Cuiv, Brian Connolly, Aideen Barry, Jason Oakley, Toby Dennett, Fergus Byrne, Cordula Hansen, Paul Nugent, Rosie Lynch, Peter Home Telephone: Mobile Phone: Mutschler, Daniel Jewesbury, Tim Lloyd, Yvonne Cullivan, Alex Davis, Jacqueline Turley, Dougal McKenzie, Email: Website: Damien Magee, Jonathan Macauley. Category of Membership: * Professional Associate Friend Contact Northern Ireland Representive *If applying for Professional membership please tick which of the following apply. To qualify as a Visual Artists Ireland, Brian Connolly Professional member you must meet a minimum of three of the below criteria. You do NOT 37 North Great Georges Street, Dublin 1. E: firstname.lastname@example.org need to fulfil these criteria if you are applying for Associate membership. T: 353(0)1 872 2296 F: 353 (0)1 872 2364 Western Representive Degree or Diploma from a recognised third level college. E: email@example.com Aideen Barry One-person show (including time based events) in a recognised gallery or exhibition space. www.visualartists.ie E: firstname.lastname@example.org Participation in an exhibition/visual art event which was selected by a jury in which Staff Board of Directors professional artists or recognised curators participated. Director: Toby Dennett Liam Sharkey (Chair), Therry Rudin (Vice Chair), Work has been purchased by Government, local authority, museum or corporate client. Publications Manager: Jason Oakley Anya von Gösseln, Maoiliosa Reynolds, Richard Membership Manager: Valerie Earley Guiney, Paula Duffy, Tim Lloyd, Brian Fay, Roger Work has been commissioned by Government, local authority, museum or corporate client. Information/Research Officer: Niamh Looney Bennett, Susan MacWilliam, Kevin O'Dwyer. Have been awarded a bursary, residency, materials grant or otherwise grant aided by the Administrator: Monica Flynn Arts Council/Arts Council of Northern Ireland or other funding body. Advocacy Programme Officer: Alex Davis THE VIEWS EXPRESSED IN THIS PUBLICATION, Have been awarded tax-exempt status by the Revenue Commissioners, or are on schedule D Administrator: Tara Kennedy UNLESS OTHERWISE INDICATED, DO NOT as a self-employed artist in Northern Ireland. NECESSARILY REFLECT THOSE OF THE EDITOR, EDITORIAL PANEL OR VISUAL ARTISTS FEE ENCLOSED All Ireland Standard Rate €50 / £35 Concessions Rate €25 / £18 IRELANDS’ BOARD OF DIRECTORS. Britain £40 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 37 North Great George’s Street, Dublin 1 . Visual Artists Ireland is the registered trading name of The T: 01 8722296 F: 01 8722364 E: email@example.com e W: www.visualartists.ie Sculptors’ Society of Ireland. Registered Company No. 126424. The Visual Artists’ News Sheet March / April 2007 3 COLUMN ROUNDUP Padraic Moore The Ruins of Yesterday’s Tomorrow Roundup DURING my undergraduate days in UCD my fascination with 20th century HILLSBORO MOVE architecture began in earnest. Skulking about the concrete corridors of the beloved Brutalist building I admired how simplicity of form coalesced with a direct, honest use of materials, producing an impression of elegant efficiency on a monumental scale. Though I partook in the buildings celebration of poured concrete and aspired to its qualities of durability and discipline, the austere aesthetics were not all that I found enchanting. Built in the early 1970s this utilitarian building was evidently integral to the blueprint for Irelands optimistic future. The architect had envisaged this monolith not only as a paradigm of ultramodern functionality but also as a means of communicating social principles via progressive design. From left, works by: Basil Beattie, John Noel Smith, Captivated by my concrete companion, I became conscious that while Michael Warren, Jules Olitski, Sam Francis, Michael Warren renowned for Georgian avenues and squares Dublin lacks – almost entirely – In December the Hillsboro Gallery, Dublin the presence of any noteworthy 20th century edifices. Even the precious moved to new premises on Parnell Square Work by Sonia Shiel Eilis McDonald work from ‘Reverse Psychology’ smattering of buildings that constitutes our provincial vernacular of low-rise, – just round the corner from the Hugh photography and sculpture. Shiel’s new late Modernism- is in a shabby state. Not so much unacknowledged as Lane. Recent exhibitions have included work – paintings and video pieces reprehensibly neglected. ‘Fiona Dowling: New Paintings’ (18 Jan 18 explored, as the press release put it The eagerness with which some factions in the comparatively reactionary – 3 Feb). Currently showing is ‘Alex Katz: “internalised, collective fantasies and Ireland of the mid 20th century embraced Modernism is evinced by the visit of Small Paintings’ (Feb 15 – 9 March). romantic imagery, in that it contemplates Internationally eminent architect Walter Gropius in 1937. Instrumental in Upcoming shows will feature work by the ‘lite’ relationship we have with the inviting Gropius to Dublin to discuss his influential book “The New David Crone, John Hoyland and Jonathan sublime”. Architecture and the Bauhaus” was Michael Scott, whose magnificent Busáras Hunter. occupies a primary position in my pantheon of Dublin’s architectural gems. www.hillsborofineart.com LUXUS AND RE-GENERATION Designed and built by Scott and his set between 1945 and 1953, Busáras displays influences of the aforementioned Gropius and constitutes the first example of DROSOPHILA MELANOGASTER Eilis McDonald work from ‘Reverse Psychology’ post WWII International Modern style in Ireland. However, the overall structural and stylistic elements of the bus station artists with a strong conceptual approach (and UCD for that matter) are ultimately more akin to the decisive idiom of Le working in different media. PCP will be a Corbusier, arguably the most significant architect of the last century. proving ground for young and emerging While UCD was constructed as a minimalist monument to education, Aras artists”. PCP will invite external Mac Dhiarmada (Busáras) was constructed with the admirable – albeit unattainable, aspiration to make bus travel luxuriously sophisticated. independent curators to develop Victor Sloan. Work from ‘Luxus’ Conceived as the epitome of comprehensive design; the architects of Busáras exhibitions specifically for the gallery and selected a cohesive array of fittings, fabrics, artworks, furniture, cutlery and even Luxus a visual and verbal collaboration by develop networks internationally in order teashop menu cards to create a compositionally unified environment(1). The Victor Sloan and Glenn Patterson is Ana Garcini Drosophila Melanogaster to initiate exchange projects with other station once featured a subterranean theatre and retains the exquisite mosaics currently on show at the Millennium by Patrick Scott. The Corbusian tropes of repetitious detailing and geometric Four Gallery, Dublin recently presented critically engaged organisations. Court Arts Centre, Portadown (25 Jan – 24 www.pallasstudios.org regularity are exemplified in the austerely opulent application of external ‘Drosophila Melanogaster’ an exhibition March). The show is the first exhibition in embellishment in mosaic, copper and glass. Though once contentious, the bus of works by Priscila Fernandes – working a two-part series of new work entitled station must have appeared like a bastion of jewel-like exquisiteness in an under the name of Ana Garcini (2 – 24 EMBODIED TIME ‘Interrogating Contested Spaces’ involving Ireland under the shroud of a long, bleak depression. Feb). As the press release explained Shown at the Lewis Glucksman Gallery, the collaboration of major Northern Irish Not totally unalike Busáras, but more conspicuous and unpopular is “Fernandes uses such processes of visual and verbal artists. While primarily Liberty Hall. Constructed in 1965-during a period of relative economic ‘personality fragmentation’ to explores looking at Berlin, and tangentially buoyancy – it is amongst the only structures in the state bearing resemblance to concepts of identity, authorship and the mid century office blocks of Mies Van Der Rohe. Soaring with haughtiness, Portadown, Luxus, by Victor Sloan and autobiography by creating characters the endangered cubic column espouses the empowered attitude of a newly Glenn Patterson, engages with the notion endowed with their own biographies and progressive Ireland. Following a bomb blast on Eden Quay in 1972 the original of The City in urban renewal. personalities that differ from her own. In appearance of the audacious escalation was forever distorted owing to the loss MCAC is also running ‘Re- the series Drosophila Melanogaster, ‘Garcini’ of the non-reflective glass, which never was replaced. In addition to detonation Generation’, a group show by nationally created a formula to translate the genetic damage Liberty Hall, like Busáras, has undergone mutilation for purposes of fire and internationally known artists who are code a fragment of DNA from a fruit fly ‘Embodied Time - Art Video, 1970 to the present’ safety and renovation, and has also endured the removal of original currently working on the ‘Regenerate’ Lewis Glucksman Gallery, Cork. irreplaceable fixtures. In addition, both have also fallen foul of the quotidian into music. These works make part of an artists’ residency project in collaboration nuisances of vandalism and indifference. investigative process to find differences; with Craigavon Borough Council’s Arts Though I acknowledge that buildings from the halcyon days of the last here genetics is used as a metaphor to Development Department. The century can seldom meet the spatial and operational requirements of today, I arrive to the individuality of each one of participating artists are Mike Hogg & contend that in our provincial context these buildings comprise a precious us”. www.fourdublin.com Philip Napier (Carbon Designs), Peter aspect of our modern heritage. While proclaiming the presence within Ireland Richards - Ian Charlesworth (Average Inc), of a contemporaneous awareness of both International architectural and social BEATTIE AND SHIEL Factotum, Paddy Bloomer & Nicky Keogh advance, the three buildings to which I have alluded confirm the determination (Tattered Dandelions) and individuals to replicate these advances in the Hibernian Metropolis-albeit belatedly and on ‘Embodied Time - Art Video, 1970 to the present’ Lesley Yendell, Yvonne Sullivan and Brian Lewis Glucksman Gallery, Cork. a comparatively Lilliputian scale. They also reveal an aspiration to compete with Global movements and bring a jaded, beleaguered Ireland into the Maguire. Cork ‘Embodied Time – Art Video, 1970 to www.millenniumcourt.org cosmopolitan, affluent world of tomorrow. Most significantly, these rather the present’ (9 Dec 06 – 25 Feb 07) lacklustre structures signify how the Modernist architectural idiom was investigated the interplay of artist, REVERSE PSYCHOLOGY AT PCP specifically valuable in the context of the Irish Republic, where it offered the Eilis McDonald’s first solo show, ‘Reverse technical media, and viewer, presenting a means to physically and visually express autonomy from the Imperial modes of Psychology’ was presented at the new range of works from the documentation of an occupied past. As the inhabitants of the prosperous tomorrow hoped for by our Dublin exhibition space Pallas a performance to large-scale video predecessors we must insist these vestiges be restored and in Liberty Hall’s case Work by David Beatie. Installation view. Contemporary Projects (27 Jan – 24 Feb). installation works from the 1970’s retained. Ultimately, these constructions are uncommon monuments to an The show was described in the press onwards. Curated by Dr. Sabine Kriebel At the beginning of this year the epoch defined by devotion to progress (technological, cultural and political) and René Zechlin the exhibition included Broadstone XL space, Dublin hosted a joint release as “an explosion of subconscious fused to ideologies that in today’s sanctimonious world seem ludicrously exhibition of works by David Beattie and landscapes, loud music, spiritual energies works by Marina Abramovic, Vito utopian. Diminutive, derivative and unkempt – in some cases even detested, Sonia Shiel (5 – 12 Jan). Beattie presented and ghosts”. Acconci, Kevin Atherton, Valie Export, these are amongst the only buildings in Dublin with such captivating character. For me, these creations are local manifestations of the Modernist Project; as long new works that were described as “part of Dan Graham, Nan Hoover, Joan Jonas and Pallas Contemporary Projects is as they stand I’ll be charmed by and grateful for their captivating, reassuring his ongoing investigations into the Nam June Paik. located on Grangegorman Road, Dublin 7. www.glucksman.org character. physicality of space, substance and time”. Using a variety of media, his work takes PCP is described as focusing “on the (1) The aspiration to construct a cohesive architectural masterpiece was also what motivated the innovative design and construction of ‘Collinstown’ Dublin airport in 1937. the form of installation, video, sound, exchange of young Irish and international 4 The Visual Artists’ News Sheet March / Apri 2007 COLUMN ROUNDUP Slavka Sverakova Magpies and Alders NOT THE FULL STORY BEHIND THE SCENES LES Demoiselles d’Avignon was created by a 25 year old migrant exactly a 100 years ago. It is still a good case for autonomous art. Should you ask a magpie “What is your identity?” you may get: “In the Northern or Eastern Europe I am migratory; however, if I am in the Western Europe, I am sedentary.” Magpies are jacks of all trades: scavengers, predators and pest-destroyers. In Andrew Vickery From Beyond the Sea, 2006 the spring they gather in so called parliaments to resolve territorial conflicts and the same title. Exploring the relationship Work by Suzanne Mooney Maud Cotter, work from ‘Not the Full Story’ social standing. This range of life supporting strategies is analogous to questions between man-made domestic objects and concerning art autonomy and value. Maud Cotter’s solo exhibition at the Ard Bia Gallery presented ‘Behind the nature O’Kane juxtaposed large drawings Magpies’ challenging, almost arrogant attitude wins them no friends, but Rubicon Gallery, Dublin (25 Jan – 3 Mar), Scenes’ (2 Feb – 10 March) a solo of trees with drawings of chairs and tables equips them to live in many habitats all year round. They are cautious, flying entitled ‘Not the Full Story’ explored how exhibition of new work by Galway born, that are fractured by other trees of varying away at the slightest change in the environment, eg my waving hand behind the domestic objects and spaces may come to London based artist Suzanne Mooney. shapes and sizes. primed masonite boards. closed window. Magpies are intelligent and agile – no wonder that one of the take on an intriguing life of their own. www.royalhibernianacademy.ie Incorporating photographs, video tools that supports interpretation of web pages and acts as a complementary “The objects we use carry a code of our projection and found imagery, the works knowledge source is called ‘Magpie’ (www.actors.org/technologies/magpie). identity,” says Cotter. “Those that receive in the show collectively explore issues of KK GROUP SHOW The uncertainty of knowing shadows the philosophical question of what is extensive use and pass through landscape representation, appropriation knowledge. generations begin to live a life of their and image making. This exhibition On one hand magpies have a bad press as killers of songbirds, on the other own.” www.rubicongallery.ie continues Mooney’s conceptual play with Magpie is a popular trade name for creativity: music, novels, journals, an add-on the medium of photography as a way of for Firefox, a New Zealand wine, a gallery in Lewisburg are amongst the 1,300 reconsidering how we look at the world 000 items on Google. EGAN AT KERLIN through representation. The RSPB reported that the numbers of songbirds were similar in areas www.ardbia.com with many or few magpies. Not they, instead the scarcity of food and hedges for nesting made the difference. The three magpie principles: autonomy, value DON’T CRY WORK! judgement and uncertainty are those of our profession too. Like magpies, arts and artists are blamed for some unsavoury phenomena in life. They must be censored, if not censored, then, at least, not supported by public funds. In vain, David Hume (1711 – 1776) identified the problem of From left, work by Cora Cummins, Tighe McSweeney and distinguishing causation from correlation as unsolvable. Art, inter alia, offers a Alison Pilkington. flexible means for stepping back and looking at the bigger picture, for turning over implicit assumptions, for scrutinising the most minute details of experience and interconnections. Not defined by closure of death art critically rehearses life. Some think that it is not enough. Felim EganTranquill 2006. J Mackie (The Cement of the Universe, 1974) defined the constellation of Felim Egan’s exhibition at the Kerlin conditions as INUS conditions: insufficient, necessary, unnecessary and Christoph Kronke untitled Oil on Canvas.2006 Gallery, Dublin (12 Jan – 10 Feb) sufficient. The various contexts and their differing power fix the work of art at presented characteristic abstract works by Curated by PE Moore ‘Don’t Cry – Work!’ some point of its existence, as if forever. While illusionary, in aesthetic the artist. Nonetheless as the press release at The Back Loft, Dublin (8 – 17 Feb) experience such a fix becomes true. Claude Monet’s painting The Magpie,1868- noted, despite the artist’s formalism Nevan Lahart featured the work of 7 artists Andreas 1869, in Musee d’Orsay places the bird on a rickety wooden fence. A tiny black “Egan’s work has nevertheless always Templin, Robert Hawkins, Gary Farrelly, and white creature with a vast snow laden orchard, house and field behind, is Work by Cora Cummins, Sarah Durcan, been influenced by the landscape, in Oisin Byrne, Christoph Kronke, Liam Ryan facing the viewer. The constellation of conditions includes a rural setting and Nevan Lahart, Tadhg McSweeney, particular by the striking characteristics of and David Turpin. For the entire duration observation of sunlight on snow, both sufficient and necessary for the image of Geraldine O’Neill and Alison Pilkington his home patch, Sandymount Strand, of the exhibition the work of these artists winter landscape. However, they are insufficient to explain Monet’s art practice, were presented in a group show at the Dublin. Along with the flat empty spaces provided a varied but thematically unified and this particular composition. The magpie is an unnecessary condition for the Kevin Kavanagh Gallery, Dublin (11 Jan – of the ‘Strand’, the new work looks above backdrop for a series of temporary events image in the sense that the cold atmosphere and rural motif could have 3 Feb). The works ranged across painting, the horizon to the infinite space of the sky and performances from musicians, included another bird. Monet could have called the painting by the place or and beyond”. A solo exhibition by Isabel drawing, installation and sculpture. time. Selecting the magpie, he adds to the fascination documented in many www.kevinkavanaghgallery.ie performance artists and filmmakers. The Nolan is currently on show in the gallery cultures. The Christians associate magpie with evil, dissipation and vanity latter included a temporary exhibition of (16 Feb– 16 March). (garrulous thief), the Chinese perceive the bird as a symbol of joy and good www.kerlin.ie HOMELANDS & CITY sculptural attire by Brigid McClean, fortune, even think of it as sacred (Manchu minority). Monet’s magpie is the writings by Aleana Egan, a musical only sign of life in the frozen land. It opens up an essay on consciousness. performance by David Turpin and the To continue with my bio-aesthetic parallels and metaphors, the INUS ON AT THE RHA Irish debut of documentary The Nomi conditions are analogous to alders. Because of their spreading root systems and Story. tolerance of moist soils, alders are often planted for flood control and the prevention of erosion. They are amongst the first woody plants to appear in SUSAN CONNOLLY denuded areas. Although short lived, they prepare the soil for more enduring trees. I like to think of alders as analogous to cultural vitality. Some recent strategies go along with the definition of cultural vitality “as evidence of creating, disseminating, validating, and supporting arts and culture Sunil Gupta ‘Homelands and Tales of the City’ as a dimension of everyday life in communities”. Frederic Martel in NY Times recently wrote: “we do not need a minister defining culture … we need Michael Warren, work from ‘Of Weight and Wings’ Belfast Exposed Gallery is currently thousands of people defining culture. Power should flow bottom-up not top- Recent exhibitions at the RHA, Dublin has showing ‘Homelands and Tales of the City’ down.” The UK has 1,848 museums visited last year by 42 million people – the included Michael Warren’s ‘Of Weight and an exhibition of the work of Sunil Gupta evidence for enduring relation to arts is not accessible. The French minister of Wings’ (18 Jan – 25 Feb). This show (16 Feb – 16 March). Born in New Delhi in culture recently announced Euro 100m support for artists “to demonstrate the included a range of recent individual 1953, Gupta grew up in Montreal, before Work by Susan Connolly vivacity of French artistic creation”. In London, a dealer opened a web site STU- works along with a major installation ART – for students from all over the world to sell their art (www.saatchi- studying photography in New York and work created for the main gallery space. ‘Shift’ a showing of new paintings by gallery.co.uk). establishing himself as an artist working Showing at the same time in galleries I Susan Connolly, was presented at the A crucial caveat, that the aesthetic preferences are neither arbitrary nor between London and Delhi. His work and II was an exhibition of paintings and Stone Gallery, Dublin earlier this year (16 completely detached from meaning and are dependent on connectivity of the represents a form of autobiographical slide show works by Andrew Vickery – Jan – 17 Feb). Connolly’s work brain, needs to be added. In its past the western culture embraced optimism, photography that is both political and that were described by the gallery as “full concentrates on the movement of paint science, individualism, liberalism, economic growth and Christian compassion. intimate, examining issues of race and of charm, memory and subversion”. In the At present this culture appears pessimistic, misanthropic, intolerant, afraid and off and within the canvas ‘frame’. Ashford Gallery, Eamon O’Kane presented homosexuality. www.stonegallery.ie normative. It needs courage and creativity to enlarge freedom and defend www.belfastexposed.org ‘Philosophy of Furniture (11 Jan – 1 Feb), values. prompted by an Edgar Allan Poe essay of The Visual Artists’ News Sheet March / April 2007 5 ROUNDUP COLUMN AT DRAIOCHT the artists processes will be ‘punctuated’ by a publication, dialogue, the possibility MOLLY AIDA Micheal Burke for exchange, and culminate in the later In Brief presentation of new work at Project Arts Centre. www.project.ie THE LAST BLUE SKY Anna Boyle, A boy aged four... 2006 Tinney’s Bar being installed at The Void, Derry. Recent shows at the Draiocht, FOR those of you who don’t know me, I spent a long time on the board of the Blanchardstown have included Anna Following its closure, Tinney’s Bar in Sculptors’ Society of Ireland and was chair for a good while. One of the issues we Boyle’s ‘It is not Clear at This Stage…’ (1 Feb Derry was recently transformed into an art promoted, along with the Association of Artists in Ireland, was open – 3 March) in the ground floor gallery installation when it was reconstructed in competition for public art projects. The situation before open competition was space. Boyle’s work explored the news the Void gallery. The project was an very restricted. There were far fewer public art opportunities and in the early media’s treatment of harrowing events initiative of the Null group (Maoliosa days of the Percent for Art Scheme, if a local authority wished to commission an and tragedies, and in particular, the recent Boyle, Damien Duffy, Paola Bernardelli, artwork, they usually contacted the Arts Council for advice (no Arts Officers Elodie Pong Untitled/Plan for Victory Video/Sound Loop.1 gangland crime wave of West Dublin. minute 15 seconds. 2006 Kieran Ferris). back then). The Arts Council inevitably gave them a short list of names. SSI and Showing at the same time on the first floor AAI, with the support of ICTU, were finally getting somewhere with the BRIAN HAND publication in 1992, of a small but significant booklet The Code of Practice for the space was an exhibition of new portrait drawings by Alan Daly. Commissioning / Purchase of Art for Public Places, which was launched by Mary www.draiocht.ie Harney TD, then Minister for the Environment. Symbolically the publication was launched in the open air, outside the BEYOND THE CLOUDS Central Bank, Dame Street, in the shadow of Eamon O’Doherty’s, Crann an Ó (1991). O’Doherty’s piece had been selected as the result of an anonymous, two stage competition managed by the SSI. It was an exemplary competition. There was a clear brief with relevant drawings. Three competitions were run at the same time and though only one commission was awarded, short-listed artists were paid a fee and cash prizes were given to the selected artists for the other Brian Hand A Decision to Love two sites. SSI managed many competitions over the years and established a The Stephen Lawrence Gallery, London benchmark for others to follow. As local authorities employed Arts Officers and recently presented A Decision to Love a developed Arts Offices, they took on the organisation of competitions Thorsten Brinkmann Gus Ding will es so. new installation by Irish artist Brian Hand themselves. Many local authorities now have a public art officer or advisor. 15 minute 20 seconds. Edition of 3. (26 Jan – 24 Feb). The installation was Every thing should be perfect – but it isn’t! ‘The Last Blue Sky’ (11 Jan – 10 Feb) at conceived as a responding to the When I see a public art competition advertised I usually look for the brief. Mothers Tank Station, Dublin was a group Suffragette Derby of 1913, in which Emily I don’t always submit a proposal for the competition – I may not like the site or show of contemporary moving image Davison fatally disrupted the race by the theme, perhaps I just can’t come up with an idea I am happy with. Work by Katarzyna Gajewska works (10 Jan –10 Feb) . The artists attempting to pin a suffragette tricolour Over the past while I have received a number of briefs that I didn’t like due ‘Beyond the Clouds’ Katarzyna Gajewska’s included in the show were Nevin Aladag, on the King’s racehorse. to some of the terms included. Who writes these briefs? Engineers? Lawyers? Thorsten Brinkmann, Ian Burns, Cliona Surely not the Arts Officer? Unreasonable demands are being introduced. These exhibition, at the One gallery, Dublin (18 Harmey, Hendrikje Kuhne & Beat Klein, ALABAMA CROME new terms are spreading like a virus, each new brief being ‘compiled’ with an Dec - 19 Jan 07) aimed to offer a visual Elodie Pong, Michael Snow and Grace assortment of ideas from other recent efforts in different local authorities. interpretation of feelings evoked by Weir. The ambiguous title of the Recently there was one that demanded evidence of public liability history. As the artist noted “This body of insurance at stage one along with a copy of your tax clearance certificate and exhibition indicated the aim of the show work is constructed as homage to the proof of your artist’s tax exemption when you were submitting an expression of “to position the viewer somewhere common ground of Irish and Polish interest. Another one that has started to appear is a request for information on uncertainly between optimism and History and inspired by historical events – recent/previous commissions, specifically those include among the images pessimism”. especially Northern Ireland of the www.motherstankstation.com submitted. What sub-contractors did you use; how much did you pay them; seventies and Poland of the eighties – to how much were you paid for the job? I contacted a recent client seeking his HEART OF THE MATTER permission to include him as a referee as part of a submission I was compiling. I represent aspects of connection therein: Eva Vermandel, Untitled. also told him that I was required to submit financial details relating to the work e.g., Polish independence in 1918 & the The latest edition in the Douglas Hyde I had done for him. He was fine with being a referee but stated quite clearly that creation of the Irish Free state in 1922”. Galleries series of books that record the I was not to disclose any information relating to the cost of the project I had One gallery is a non-profit, exhibition their exhibition programme has recently done for him. space housed in design company One been published. Entitled Alabama Chrome, Another related issue is the insistence on a full breakdown of the costs Production’s building in Dublin city the book contextualizes the venues recent which will be incurred when undertaking the project if successful. They have shows with a series of commissioned determined the budget in advance and have usually advertised it. That is the centre. www.oneproductions.com essays about contemporary visual culture budget! I am happy to give an undertaking that I will complete the work for that in Ireland. The publication also includes a amount. If I am getting someone to work on my home, I want to know what he ART MADE AT PROJECT series of photographs of Dublin and its will do and what he will charge for the finished job. I don’t care how much he environs by Eva Vermandel, which paid for the wood, plaster, cement, the hire of equipment or petrol for his van – accompany the texts by Luke Clancy, none of my business! Dermot Boyd, Maeve Connolly and At the same time as demanding a full breakdown of each artist’s costs, Declan Long. some local authorities now state in the brief that the advertised budget is not www.douglashydegallery.com the budget for the artwork as the cost of running the competition will be taken out of it – and no – they cant tell you how much it will cost to run the IRISH ARTIST IN COPENHAGEN competition! Irish artist Sean Lynch recently showed So, after all that, what do I suggest? In brief – I welcomed the publication of Fifi Smith The Heart of the Matter Aurélien Froment, The Apse, the Bell and the Antelope works with the Oeen Group in Public Art: Per Cent for Art Scheme – General National Guidelines 2004 by the Fifi Smith exhibited her piece The Heart of Copenhagen. Simply entitled the ‘Oeen Project Arts Centre has invited four artists; Department of Arts, Sports & Tourism. But they don’t go nearly far enough. The the Matter in ‘Bibliomania’, an exhibition Group Show’ the exhibition featured a Rosa Barba, Jeremiah Day, Aurélien Inter-Departmental Group chaired by the Arts Council, which compiled the held at the Holden Gallery, Manchester selection of small scale works from 14 Froment and Lonnie van Brummelen and Guidelines, haven’t met since. The Arts Council’s public art specialist convenes (11 – 26 January). Contributors from the Danish and international artists (11 Jan – 4 Siebren de Haan to produce new works these meetings – only there isn’t one any more. The contract for the position USA, the Americas and the UK were Feb) “compressed” to fit a container at a ended during 2005 and nobody has been appointed since. More work needs to with the institution throughout 2007. invited to take any published book and building site in central Copenhagen. be done in this area and the best information I can get suggests nothing will Project aims to make more transparent the alter it. www.oeen-group.com happen until the Arts Council appoints a public art specialist – GET ON WITH process of producing new works. Each of IT! 6 The Visual Artists’ News Sheet March / April 2007 ROUNDUP OPEN DRAWING AWARDS TENDER ORLA WHELAN OUTSIDE Minnock showed small-scale ‘Tender’ a group show at the Original Curated by Mark Garry, ‘Outside’ Orla mono-prints, that through a Print Gallery, Dublin (2 – 18 Feb) Whelan’s exhibition of new paintings combination of ambiguous presented wok by Louise Meade, Mary was presented at The Return Gallery at compositions and figurative marks Fitzgerald, Kate Betts, Christian Bozon, the Goethe Institute, Dublin (31 Jan – sought to animate unnoticed fragments Koichi Yamamoto and Peter Wray. 28 Feb). Commenting on her work in of the natural environment that While each artist in the show possessed the press release the artist noted “ I feel surrounds us. Byrne’s paintings were a different approach to print making, that painting is a good or viable means based on the Isallt shipwreck, which is the works in the show were united by a to explore this. Perhaps because it’s only marooned off the shore of Ballymoney Rhodri Jones sense of delicacy and subtlety. about looking and seeing. Painting has Strand, Co. Wexford. www.originalprint.ie www.tinahely-courthouse.ie Dec 06) which posed the question “how clear limitations … if nothing was given, SEE FIGURE. 8 do you decide when an artwork is I wouldn’t know where to start.” finished or not, or if it’s a success?” The www.goethe.de/ins/ie participating artists were Ide Mooney, Lee Welch, Brian Fay, Gary Coyle, Fiona BETTY KILLS TOYS CORRECTIONS Work from the Open Drawing Award Show, LCAG. O’ Dwyer, Michael Fortune, Sean Taylor, David Beattie, Aideen Barry, Cliona On the cover of the last issue of VAN Harmey, Helen Hughes, Bea McMahon, we mistakenly credited the Sally Timmons, Sonia Shiel, Eileen Hedgeschool project to both Ciaran Healy, Felicity Clear, Alan Phelan, Walsh and Glenn Loughran. In fact Danny McCarthy, John Langan, Martin Alan Daly Reclining Nude the project was created and carried Shannon, Mark Curran, Noel Molloy, out by artist Glenn Loughran, on the ‘See figure.8’ at the Talbot Gallery, Mary-Ruth Walsh, Simone Schneider invitation of Ciaran Walsh acting in Dublin. (8 – 23 Feb) was group and Simon Lewandowski. the role of curator. www.wexfordartscentre.ie exhibition of work examining the age- www.hedgeschoolproject.com old subject of the human form. The MARKING TIME exhibition included works by Alan Daly, Fulsome apologies to Emma Work by Betty Brown Work from the Open Drawing Award Show, LCAG. Brian Kreydatus, Suzanne Mooney, Petterson who supplied the excellent Eimear Brennan, Clare Henderson, Tom drawings which accompanied The ‘Open Drawing Awards Exhibition Moore and Melissa Corrish. Betty Brown’s exhibition ‘Betty Kills Susanne Bosch’s ariticle Shifting the 2007’ was recently held in the Church www.talbotgallery.com Toys’ at Ards Arts Centre (8 – 30 Steriotypes in our Jan / Feb edition. Gallery at Limerick School of Art and January) explored the human / animal Due to an editorial error, the works Design, Clare Street Limerick (2 – 21 SHADOW CASTING relationship in sculptural form. were incorrectly attributed to Feb). Aidan Dunne selected the works in Specifically the artist utilised accessible Susanne Bosch. the show from an open submission of over 400 student works. A catalogue household, toy box and wardrobe sourced materials – while allowing Apologies to Andy Mason who accompanied the show with essays by should have been credited as the Aidan Dunne, Charlie Harper, John them to remain visible in the Berger, Michael Cullen and Jim Savage. photographer for the image of Jorg underlying armature’s her ‘beasts’. Ronnau’s Scriptorium project at the Work by Chris Atkins Offaly Count Council Buildings, that ON @ WEXFORD ARTS CENTRE CAROLINE CONWAY appeared on page 21 of the Jan / Feb ‘Marking Time’ Chris Atkins show at Dame Street Gallery Dublin 2 (2 Feb – 2007 edition. 10 March) presented work exploring rural decay and our seeming inability to preserve what is already there. The images of old buildings, farms and Get into walkways acted as witnesses for that which may disappear through neglect. TheRoundup www.damestreetgallery.com GAVIN HOGG AT THE MERMAID Work by Joan Alexander To get your exhibition or event ‘The City and the Shadow Light’ Gavin considered for inclusion in the Hogg’s exhibition of paintings and Space Gallery, Belfast presented a round-up section, simply e-mail prints and the Mermaid, Bray (21 Dec text and images to the editor photographic exhibition by Joan 06 – 27 Jan) focused on issues of (firstname.lastname@example.org). Your text Alexander (11 – 31 Jan). Entitled perception and responses to visual details / press release should ‘Shadow Casting’ the works in the show include venue name, location languages and forms. Described as “difficult to focus on, in terms of consisted images of cast shadows. Caroline Conway Where there was grain (town / city), dates and brief www.conwaymill.org 400 X 800 woodcut. subject/content” and requiring “time … description of the work. Note that Megan O’Beirne. another very limited commodity in Caroline Conway recently was awarded ‘hard-copy’ cannot be accepted INTERFERENCE today’s culture” Hogg’s works sought to her first solo exhibition by Offaly due to the volume of material that ‘Return Yn Ôl’ a photographic ‘Trasnaíocht’, an exhibition of new draw viewers attention to fundamental County Council and her show of needs to be collated for this exhibition by artist Rhodri Jones was paintings by Tony Gunning at the issues of perception – namely focus, woodcut prints entitled ‘Water Cuts’ section of the publication. recently presented at Wexford Arts Watergate Theatre Gallery, Kilkenny (10 colour and light. Inclusion is not garanteed, but Centre (13 Jan – 4 Feb) focussed on the www.mermaidartscentre.ie took place in December 2006 in www.gavinhogg.com Nov 06 – 5 Jan 07) considered the visual we aim to give everyone a fair artist’s native Wales to explored the Tullamore Arts Centre. Inspired by the impact of economic prosperity in the chance. Our criteria is primarily to subject of emigration – subjectively REFLECTING BY IMAGES heritage of the waterways of Offaly from rural landscape. Trasnaíocht (translated ensure that the roundup section documenting an emigrant’s return to Nightfall a work by the Irish artists monastic to industrial times she as interference) implies disharmony has a good regional spread and Wales after many years’ absence. Walker & Walker is currently on show competently and boldly depicted which is certainly evident in this series represents a diversity of forms of Showing in parallel at the venue was at Palazzo Santa Margherita, Modena, images and symbols of places and practice, from a range of artists at ‘Cast Shadows’, a selection of Italy (27 Jan – 6 May) as part of the of paintings. In this realist approach the times.. all stages in their careers. photographic works by Megan O’Beirne, group show ‘Reflecting By Images’. focus is on the sharp contrast between Priority is given to events featuring images based on the artist’s Curated by Filippo Maggia the show nature and the man-made. It is a warts- MINNOCK AND BYRNE taking place within Ireland, but do recent travels in Ireland, Spain, Italy, also features work by Salla Tykkä. Elina and-all snapshot of rural Ireland at the The Courthouse Arts Centre, Tinahely let us know if you are taking part Switzerland and France. Brotherus. Annika von Hausswolff. beginning of the new millennium. recent hosted exhibitions of paintings & in a significant international event. Prior to these show, the centre Sarah Jones and Walter Niedermayr. prints By Kate Minnock and Deirdre www.comune.modena.it/galleria presented ‘Seconds: The Imperfect Byrne (13 Jan – 10 Feb). www.studiopesci.it Artwork’ at Wexford Arts Centre (2 – 23 The Visual Artists’ News Sheet March / April 2007 7 NEWS The exhibition, ‘On Reflection, she has devised projects that explore the News Modern Irish Art 1960 to 1990’, comprising 50 artworks from the BOI collection will be shown in Limericks relationship between contemporary art practice and the rural context – these include Ground Up and Shifting Ground Hunt Museum during the month of - a partnership between Clare County PRINTED PROJECT 6 – OUT NOW! Parkett. Vidokle and Zolghadr are RSUA TWO MINDS PROJECT April. During the opening ceremony the Arts Office and the Galway Mayo among the organisers of the Berlin The Two-Minds project, initiated by Arts Bank will present the Student Regional Institute of Technology. based unitednationsplaza project & Business and the Royal Society of www.northtippcoco.ie/services/arts.htm Art Awards to three final year students (www.unitednationsplaza.org) which Ulster Architects, is an art and of Limerick Institute of Technology - proposes the idea of an “exhibition as architecture collaboration exploring the FRANK RYAN BURSARY School of Art & Design. The Bank will synergy and outcomes from creative The Frank Ryan Student Travel Bursary school”. also announce this years’ winner of the dialogue. Ten of Northern Irelands was launched in early February by The Dublin launch was specially Toradh Award - for an artist mid-career leading architects’ practices will team Taoiseach Bertie Ahern at the National hosted by the Project arts centre (15 Feb) who has consistently delivered work of a with ten individual artists from Ireland Museum. The Award has been along with a public talk (16 Feb) by remarkable quality. Previous winners of Sarah Pierce and Anton Vidokle talking at the Project. and abroad for a 6 month period. All the established by the Institute of Designers Anton Vidockle. In Madrid, at the ARCO this award include Alice Maher and practices involved have experience in in Ireland to honour Frank Ryan one of art fair (Feb 18) Printed Project 6 was Katharine West. arts and culture projects but this will be the institutes founders and life long presented as ‘evidence’ as part of a panel In addition, Bank of Ireland will the first time that any have had an artist members. discussion / conference structured by allocate a budget of €80,000 from this in residence for six months. With a career spanning over sixty Vidockle and Zolghadr as a ‘trial’ – the years’ annual art investment to The architects involved are: years, Frank was influential in the fields acquiring artworks from the Limerick change being “collusion with the Robinson McIlwaine Architects, of design, design education and region. bourgeoisie other serious accusations”. Robinson Patterson Architects, Todd consultancy. He was renowned as an Hosted at the unitednationsplaza Architects, Kennedy Fitzgerald & advisory figure to arts and heritage CHILDRENS ART @ THE TATE premises, the Berlin launch evening (24 Associates, Hall Black Douglas bodies including Kilkenny Design, the Jenny Ring from St Paul’s Secondary Zolghadr and Vidockle ‘on trial’ at ARCO, Madrid. Feb) for Printed Project was animated by Architects, Mackel & Doherty Heritage Trust Exhibition and Eigse. The School in Dublin will represent Ireland Anton Vidockle’s preperation of the Architects, Hegarty Architects, Caroline memorial bursary will fund design in the International Unilever Art Berlin delicacy of currywurst; along Dixon Architects, Michael Rogers & Co students who wish to pursue an Exhibition to be shown at Tate Modern with a short talk by Irish critic and Architects and Keys & Monaghan international educational opportunity in London on 28 March 2007. She is one curator Caoimhin MacGiolla Leith. Architects. or a design project overseas. The intent of just nineteen students who had their The selected artist are: Dara of the bursary is to provide assistance to Printed Project issue 6 – ‘I Can’t works selected from thousands of McGrath, Dublin, Gerry Murphy, Co. cover travel costs, housing costs, Work Like This’ is now available entries from all over the world. Jenny Down, Lucy Turner, Bangor, Tara materials and research. worldwide from selected outlets. Copies will travel to London to see her painting www.idi-design.ie Kennedy, Dublin, Louise Rice, Armagh, can also be purchased online at ’Written in my Dreams’ exhibited at Tate Brian Connolly, Antrim, Tony Stallard, www.printedproject.ie – along with all Modern. ACNI NEW PLAN FOR ARTS Essex, Janet Preston, Belfast, Lulu Quinn, of the back issues. The exhibition is the culmination The ACNI has launched its new plan for N. Wiltshire and Adam Kalinowski, www.printedproject.ie of the Unilever International Schools the arts in Northern Ireland. Entitled Poland. www.unitednationsplaza.org www.aandb.org.uk Art Project (UISAP), an education project ‘Creative Connections’, the plan details which invites schools and colleges the development objectives for the arts POLLOCK KRASNER AWARD around the world to create works of art over the next 5 years. It aims to “place SOURCE CELEBRATES 50TH EDITION The 2007-07 Pollock Krasner Research using the annual Unilever Series arts and culture at the heart of Northern Creative photography quarterly Fellowship has been awarded to Ciaran commission as a source of inspiration. Ireland’s social, economic and creative magazine Source will mark the Bennett whose research project is on This year’s theme is Reality & Dreams life as well as to contribute to the social, publication of its 50th edition in March James Johnson Sweeney editor of the and is based on the work of Carsten economic and cultural re-generation of Printed Project launch at UNP, Berlin. 2007 by re-launching with a new format Paris literary magazine Transition, Höller whose work ‘Test Site’ comprises the country”. and a redesign. a series of giant slides, in Tate Modern’s published by Joyce and Beckett. James Northern Ireland currently receives Issue 6 of Printed Project, the critical art Formerly printed in landscape Johnson Sweeney was the first Director Turbine Hall. The international the lowest level of government funding journal produced by Visual Artists format the new look Source will be in of painting at MOMA, then Director of exhibition will be on shown at Tate for the arts in the UK, at £6.13 per head Ireland was recently launched in portrait format. There will also be 80 the Guggenheim and later Director of Modern at a special reception on 28 of population. In comparison, the Dublin, Madrid and Berlin. Entitled I rather than the previous 72 pages, the Museum of Fine Art in Houston. In March before moving to London’s Republic of Ireland receives the Cant Work Like This and co-curated and allowing for larger portfolios and more the late sixties James Johnson Sweeney National Theatre from 30 March to 21 equivalent of £12.61. To deliver this five- edited by Anton Vidokle and Tirdad reviews. Each issue will now feature an selected the jury and with Michael Scott April 2007. year plan the NI Government will have Zolghadr, Printed Project Issue 6 www.unilever.com/uisap extensive illustrated interview with an developed the ROSC exhibitions here in to invest in arts and culture in a way includes varied contributions that take established artist, columns discussing Ireland. Bennett will be holding a which is comparable to other parts of as their starting point the notion of ARTS COUNCIL REVENUE FUNDING practical matters, and expanded reviews conference in NYC next spring on James the UK and Ireland. Thus, the ACNI are failure. Much of the issues content is The Arts Council announced its main and news sections. Johnson Sweeney and the New York urging an increase of the per capita based on the conference ‘Histories of round of grant decisions under its Source will celebrate its new look School. spend from £6 to £10 for 2008 to 2011 Productive Failures: From the French revenue funding programme for 2007. 50th issue with launches at Belfast The Pollock Krasner Research and insist that greater investment is Revolution to Manifesta 6’, which took Revenue funding is the Council’s main Fellowship is a residential fellowship for crucial if Northern Ireland is to nurture place at the unitednationsplaza Exposed on 23 March 2007 and the grants programme for arts organisations scholars using the research collections existing talent and continue to develop (www.unitednationsplaza.org), Berlin in Gallery of Photography, Dublin, on 24 and this year it has offered in excess of of the Pollock-Krasner House and Study creatively. The Creative Connections October of 2006. The Madrid and Berlin March 2007. Each event will host a €55m, an increase of 8% on 2006 Center and the State University of New strategy outlines a number of plans and launch events were organized and panel-based photo quiz, with visual aids figures. A total of 313 organisations have York at Stony Brook. Ciaran Bennett is a objectives including: facilitated by the curator / editors. and questions posed by Source co-editor been funded to date. See the Arts writer and art critic and president of A series of schemes to contribute The contributors to I Can’t work Like Richard West, ‘pitching the insight and Council website to find out who got AICA Ireland – the International to the development of cultural tourism, This are Anselm Franke, Liam Gillick, vision of curators and academics against what. Association of Art Critics in Ireland www.artscouncil.ie the creative industries and Martha Rosler, Hans Ulrich Obrist, the intuitive practical wisdom of entrepreneurial skills for artists. Natascha Sadr Haghighian, Tom Holert, photographers and artists in an epic BOI ART INITIATIVES – LIMERICK NORTH TIPP ARTIST These include the transformation Adrienne Goehler, Maria Lind, Diedrich battle for the very soul of lens-based of neighbourhoods through public art Bank of Ireland’s regional art initiatives Fiona Woods has been appointed artist- Diederichsen Ingrid Serven, Joseph media.’ Teams are yet to be fully will focus on Limerick this year. These commissions and street-scaping. Arts in-residence for the North Tipperary Cohen, by Anton Vidokle and Tirdad confirmed, but include photographers initiatives include an exhibition in the area. Woods is a visual artist based in venues such as the recently refurbished Zolghadr. Anton Vidokle was a co- Julia Healey and Donovan Wylie with Hunt Museum of 50 works from the North Clare; her practice is a Grand Opera House and the new City curator of Manifesta 6, which was curators Des Bell and Daniel Jewsbury in Bank’s art collection, 3 student awards to multifaceted one that includes curating Arts Centre in Belfast also form part of canceled among much publicity in Belfast while the Dublin event will see the value of €5,000, the prestigious and writing. She has carried out a the plan to bring economic prosperity 2006. Anton is also a co-founder of E- photographers Sean Hillen and David Toradh award as well as the allocation of number of Public Art commissions and and renewed vitality to the nightlife of Flux. Tirdad Zolghadr works as a Farrell competing with curator Martin a budget of €80,000 from the Bank’s her work has a particular focus on art in towns and cities. freelance curator and writes for many McCabe. annual art collection in acquiring rural contexts. As Regional Arts Making the most of opportunities publications including Frieze and www.source.ie artworks from the local area. Coordinator for the North Clare region for artists and arts organisations to 8 The Visual Artists’ News Sheet March / April 2007 NEWS LETTERS showcase their work at prestigious insurance to policyholders until all Motorway funded by the National Roads world festivals such as the Venice contracts have expired and all claims Authority. Letters Biennale and the Smithsonian Folklife incurred under those contracts have The artwork, entitled The Wave, Festival in Washington DC to elevate been settled. will be sited near the Sandyford Northern Ireland’s international image, Visual Artists Ireland is currently interchange on the M50. The work will which is in turn helping to attract looking into establishing a group consist of 250 coloured aluminum A Response to Killing Daddy. visitors and investors. scheme with an alternative health www.artscouncil-ni.org columns, which will emerge from the insurer. flat granite of the site to create a wave of www.bupa.ie ARTS COUNCIL ART ACQUISITIONS energy. The estimated completion date The Irish Arts Council has acquired 45 KEVIN KAVANAGH GALLERY AT ARCO is late summer / Autumn 2007. new works of art to add to its visual art This commission is one of the first Dear Editor, The Kevin Kavanagh Gallery traveled to collection. The primary purpose behind Madrid in mid February to participate in works in a round of public art purchasing these works is to support the commissions which will be rolled out I’m replying to Padraic Moore’s article Killing Daddy in the VAI, issue 1, January – the International Contemporary Art individual artist. The works selected, from 2007-2010 in tandem with the new February 2007. Fair, ARCO. It presented work by three which cost almost €500,000, are central young Irish artists, Gemma Browne, Dun Laoghaire-Rathdown County Moore has, in my opinion, completely misread O’Doherty / Ireland’s Portrait of Marcel to the artists’ practice and are significant Diana Copperwhite and Amy Council Strategy for the Arts, to be (1) Duchamp For Moore to simply brand O’Doherty’s complete oeuvre with a within the general development of the O’Riordan. Each of these artists explores published by the Arts Office. www.dlrcoco.ie/arts Duchampian stamp is to be blinkered by Duchamp himself. O’Doherty knew visual arts. The lists of acquired works ideas of femininity within their work Duchamp describing him as “a dazzling intelligence.”(2) In recognition of that can viewed on the Arts Council website and what it is to be a woman in this www.artscouncil.ie RUBICON GALLERY ON TOUR intelligence he once wrote that “Duchamp left behind a minefield of past actions, world. signified mainly by objects, which the present stumbles across and explodes. With www.ifema.es The Rubicon Gallery participated a two MODEL ARTS FELLOWSHIPS 2007 www.kevinkavanaghgallery.ie international art fairs during the month extraordinary prescience, he mined the future: some of this work remains mysterious Following the success of their inaugural because history hasn’t yet tripped over it.”(3) of February. It traveled to ART 2006 Visual Fellowship, which was LAMA AWARD WINNERS 2007 Rotterdam in Holland exhibiting the awarded to Jaki Irvine, the Model has Four of Irelands top arts and cultural But O’Doherty’s recording of the Marcel Duchamp portrait (4) was a challenge to work of artists Anita Groener, Martin announced two Fellowships for 2007. amenities were winners at the 2007 refute Duchamp’s dictum that every work begins to die at the very moment of its Local Government, City and Council Healy, Ronnie Hughes, Eithne Jordan exhibition. “This notion was an essential part of the portrait, refuting in a gentle but Nina Canell is the recipient of the Visual Awards (LAMA) ceremony held in and Abigail O’Brien and also Pulse, New relentless way Duchamp’s idea of art turning into artifact as it ‘freezes’ on the Fellowship and John Lambert (aka Chequerboard) of the Musical Dublin. Sculpture in the Parklands at York showing work by Stephen Brandes, museum wall. With Duchamp’s heart beating away, I felt I had delayed the death of Fellowship. Lough Boora was presented with the Maud Cotter, Blaise Drummond, Patrick the artwork indefinitely.”(5) www.modelart.ie Best Art/Sculpture Award. The Fisheries Michael Fitzgerald, Martin Healy, Tower, run by The Galway Civic Trust, Ronnie Hughes, Eithne Jordan and Since Moore is, correctly in my view, looking back in art history, in order to see AICA CRITICAL WRITING AWARD won the award for Best Heritage Abigail O’Brien. The Rubicon will also forward I suggest he examines O’Doherty’s retrospective more closely which gives In late January Minister John Building for its contribution to the arts some insight into what informs his practice. In the Aspen 5+6 box, described by participate in DFOTO, San Sebastian in O’Donoghue announced details of the and heritage in Galway City. The Dock Alexander Alberro as “what could properly be called the first exhibition of early May 2007 new James White AICA Award for Arts Centre in Leitrim was the winner of www.rubicongallery.ie Conceptual art”(6) O’Doherty spreads his net wide. He cites “constructivism, www.artrotterdam.nl Critical Writing. AICA is the the best Public Arts Building while the structuralism, conceptualism, tradition of paradoxical thinking, objects” and www.pulse-art.com/ny International Association of Art Critics Tulla Studios in Clare won the award for “between categories” as important to him. He made works responding to James Joyce, and AICA Ireland is the Irish branch of Best Public Building George Berkeley, Stephane Mallarmé and Sigmund Freud – The Therapeutics of Dr. CONTRIBUTION TO THE ARTS AWARD the Association. The Irish membership The Local Government, City & Fraud (sic) to mention a few, yet could not be described as a follower of any. Art collector, Patrick Murphy has been includes leading critics, essayists, and Council Awards were created to honor O’Doherty’s rare individualism and independent thinking are hallmarks of his named as the winner of the practice. theoreticians, as well as honorary life exemplary projects within the Business2Arts Award for Most members. AICA Ireland promotes community; they seek to generate professional practice and exchange Outstanding Business Contributor to To my mind, Craig-Martin is so far from O’Doherty / Ireland’s thinking that I can’t recognition of the efforts, among the professionals who work in the Arts 2006. Mr. Murphy was even see a tentative connection. Furthermore, although Craig-Martin played a role accomplishments, and positive the area of critical discourse, stimulating presented with the award at a special in the events that bore the yBa, I believe Jon Thompson was a critical thinker behind contributions of the individuals, research and reflection within the visual Business2Arts Patrons dinner, sponsored Goldsmiths. This is not to discount Craig-Martin, merely to point out that paternity, companies and local government arts, education and culture. by AIB, in Dublin Castle in late January. in a postmodern age, is not always singular and exclusive. authorities who make these happen. The Contemporary Art Critical www.lamaawards.org The Award pays tribute to a Writing Award will be open to all forms In short, the broad brush that Moore’s criticism wields, sweeps away valid and business man or woman who through of art writing. Details can be found on WHITES ORCHARD COMMISSION important contributions to the parentage of contemporary art practices. Perhaps it is their work and personal commitment Dungarvan Town Council has awarded Moore himself who is guilty of unwitting patricide. the website. has given valuable support to the arts. www.aica.ie the White’s Orchard commission to Mr. Murphy was presented with the Yours, sculptor Wil Gilchrist for his design BUPA / VAI SCHEME Fruits after Harvest. The commission was Brigid Roden Medal which was designed Mary-Ruth Walsh BUPA has formally written to Visual advertised by national open by the artist Una de Blacam. Artists Ireland to announce that it is competition and coordinated by the Patrick Murphy is currently the pulling out of the Irish market. The County Arts Office. The work will be Arts Advisor for the Office of Public company will no longer accept new located at White’s Orchard off Works. He has been a life-long advocate Notes members and current members will not O’Connell Street in Dungarvan. of the visual arts, in particular be renewed. 1.‘Beyond The White Cube; a retrospective of Brian O’Doherty / Patrick Ireland’ at Dublin City Gallery The Hugh Lane, Gilchrist, who is originally from contemporary Irish art, as well as of May – September 2006, among the numerous works dating from 1953 to 2006, there was one body of work in This will be of concern to current Scotland has been based in Ennis, Co. eleven parts titled Portrait of Marcel Duchamp or Study for… O’Doherty’s concerns of identity and portraiture music and drama. He had an active role questions the notion of a fixed identity and is not confined to Marcel Duchamp. The recording of Duchamp’s members of the Visual Artists Ireland Clare since 1988. He exhibits heartbeat by way of an electrocardiogram was done in 1966. Christian Bernard transplanted the first living heart a in the start and development of ROSC, Group Health Insurance Scheme with extensively as an artist and his most year later in 1967. As Hans Belting notes more than a year earlier “O’Doherty had transplanted a medical record of the major exhibitions of the 1970s and the heartbeat, the very signature of life, into a body of a…work of art” BUPA as well as to any individuals recent public sculpture is on the 2. Ireland, Patrick, lecture, Hugh Lane Gallery, Irish Art Historians first annual talk, 19 March1999. Organised by 1980s; the National Self-Portrait Brenda Moore McCann. thinking of joining the Scheme. BUPA is Shannon town roundabout near 3. Irving Sandler, quoting from a letter from Brian O’Doherty, January 24, 1994. winding down its activities in the Collection in Limerick; the 4. See Hans Belting’s excellent essay in the exhibition catalogue Beyond the White Cube for a description of how the Shannon Airport. portrait was recorded. Also O’Doherty’s account of recording the portrait when he and his wife Barbara Novak asked country and will no longer provide www.waterfordcoco.ie Contemporary Irish Art Society and is a Duchamp to dinner in their New York apartment. The tape is in Dublin City Gallery The Hugh Lane library, 19-03- insurance in the Irish market member of the International Council of 1999. 5. Beyond the White Cube: a retrospective of Brian O’Doherty / Patrick Ireland. 2006 Dublin City Gallery The Hugh Lane, Artists who have taken out MARK JOYCE COMMISSION the Museum of Modern Art in New York. catalogue p40. Mark Joyce has been awarded a major 6. Alberro, Alexander October, 70, Fall 1994, MIT Press. insurance with BUPA can be assured, He was appointed to The Arts Council in public art commission through Dun 1981 and sat on the Council for a however, that their membership with Laoghaire - Rathdown County Council. the insurer will remain valid until the subsequent 6 years. In 2000, he was The project is funded through the Per next renewal date on their policy. BUPA appointed Chair of the Council. Cent for Art scheme related to two www.business2arts.ie have promised to honour all contracts capital construction budgets - the in full and will continue to provide Southern Cross and the South Eastern The Visual Artists’ News Sheet March / April 2007 9 RESEARCH – STUDIOS Studio End Games RUAIRÍ O’CUIV CONSIDERS THE FUNDING AND MANAGEMENT ISSUES CURRENTLY CONFRONTING ARTISTS’ STUDIOS the two other spaces are on short-term lease; and the space provided by Dublin City Council for Pallas Heights is now due for demolition. The rapid rise in property values in the Republic has already placed pressures on studios, as the value of redeveloping or selling becomes more and more attractive to landlords. The Graphic Studio Dublin was driven out of the Dublin Docklands through development of the area – and I believe it won’t be long before other studios suffer a similar fate. The Graphic Studio was however fortunate in that they had a long lease; and they were entitled to compensation, which went some way towards them being able to actually buy a premises on the north side of the city. In Northern Ireland property prices have in the last year risen more rapidly than anywhere else in Britain or Ireland. So it seems inevitable that the pressures witnessed in the Republic, will come to bear in Northern Ireland. It is fair to say that many studios are operating on a very precarious basis in terms of security of tenure. In contrast, newly developed studios have been able to gain long- term tenancy or licence agreements from their landlords. The National Sculpture Factory Cork, founded in 1989 in a building owned by Cork City Council; and Temple Bar Gallery and Studios, which re-opened in 1994 in premises owned by Temple Bar Properties, are probably two of the best known specially developed studio complexes in Ireland. But there are also a growing number studios being developed with public The studio floor at the National Sculpture Factory studios, Cork – with new roof, part of Refurbishment Phase 1 funding. A number of local authorities have directly or indirectly THIS article was commissioned by Visual Artists Ireland to examine operated. developed – or are planning to do so – studio spaces for artists, viewing different models for the management and operation of artists’ group I believe that there are two major reasons why artists establish their capital investment in these facilities as part of their investment in studios in Ireland, North and South. The topicality of the subject is due studio groups as opposed to finding studio spaces on their own – to local arts provision. Examples would include The Red Stables Studios, to both Arts Councils’ stated aims to focus their policies on support for support communities of place and interest. In other words, artists who Raheny (Dublin City Council); The Dock, Carrick-on-Shannon individual artists, part of which entails addressing issues around the are working in the same locale and who require workspace and share (Leitrim County Council); Garter Lane Arts Centre (Waterford City provision of studio space for artists. In particular, The Arts Council of interest in terms of artistic objectives. Examples of a particularly Council); Limerick Artists Studios (Limerick City Council), and Stables Northern Ireland (ACNI) is actively exploring the possibility of shared interest would be printmaking facilities such as the Graphic Studios, Tulla, (Clare County Council). developing studio facilities in Belfast, probably with other partners Studio, Dublin, Belfast Print Workshop – or sculptural facilities like and in the Republic, some local authorities have responded to the the National Sculpture Factory, Cork and the Leitrim Sculpture Centre. Management demand for studio space by undertaking their own studio These studios provide access to expensive and bulky equipment, My research revealed a mix of management structures in operation. developments. Arising from this, some artists have expressed a fear which can be shared amongst its members. By their very nature these Local authorities, through their arts office’s and arts centres, manage that a policy of developing studios by the Arts Councils and local studios are able to facilitate large numbers of artists and issues of their studios as part of their arts programmes. The larger and longer authorities will result in a loss of control for artists. ‘tenancy’ or rent do not arise. established independent studios tend to operate as not-for-profit The majority of studios have been established to offer dedicated limited companies, with a board of directors. More and more studio Déjà vu? spaces for visual artists to work in. These cater for artists working in a organisations now include directors who are not member artists, in a When I became Director of Temple Bar Gallery and Studios in 1991, range of media and what seems most valuable is to have a private move to create diversity of expertise and to demonstrate to funders the building was in terrible condition. While I managed to get space to work and think in. A further important factor to artists is the that they are operated to ‘best practice standards’. Many of these insurance for the building, and had dealt with fire safety issues, the sense of community and purpose; and that these studios are artist- employ administrators on either a full-time or part-time basis, though state of the place was nonetheless a worry – especially if you started controlled. Such studios range in size from Temple Bar Gallery and in many cases – for example, The Graphic Studio, The Blackchurch thinking about worst-case scenarios. But most serious was the state of Studios (30 studios), Pallas Studios, Dublin (28 artists mostly in Print Studio, Dublin; TBG&S; NSF and Flaxart Studios, their uncertainty under which the studios struggled to survive. So when individual spaces), Broadstone Studios, Dublin (24 studios), Artspace responsibilities extend beyond management of the studios to include Temple Bar Properties (a semi-state company) was established to Studios, Galway, (22 artists, 15 individual spaces), Flaxart Studios, the administration of galleries, the provision of training and workshop develop Temple Bar as a cultural quarter, the end of our troubles Belfast (14 studios) to smaller studio enterprises around the country programmes, publications and community outreach projects and so seemed at hand. However, I soon discovered that this was not so. As such as Limerick Artists Studios, Orchid Studios, Belfast and Engage on. soon as ‘redevelopment’ was talked about, a number of competing Studios, Galway. Other studios operate as collectives or associations, with their pressures came into play – with Temple Bar Properties, now the members defining policy and sharing the management and owners of the building; and the artists in the studios each having Contrasting Fortunes administrative responsibilities. Cork Artists Collective is an different perspectives on the proposed development. Temple Bar The terrible fire in Flaxart Studios a number of years ago highlighted organisation, which although established as a company, operates Properties and the Arts Council had issues around the viability of the the vulnerability of many studio groups. Fortunately no one was hurt, along collective lines. Founded in 1985, the ten member artists are studio as an organisation – and particularly the fact that this was an but the loss of artists’ work was terrible. To this day some studios directors, and manage all the aspects of running the studios – in artists’ run organisation. For the artists, the major issues related to survive in old buildings, where quite frankly health and safety is not addition to other activities such as group exhibitions, exchanges and concerns regarding security of tenure, fair rent and maintenance of highest of the concern to the landlord. forums. Finally, there are a number of studios initiatives, such as independent artistic control. In the end, the negotiations resulted in a Most studios in Ireland operate out of premises owned by private Broadstone Studios, Limerick Printmakers and Pallas Studios, where satisfactory compromise – with artists maintaining their landlords. On the plus side, many of these premises are in or near the one or two individual artists have taken out the lease on the premises. independence; and with Temple Bar Properties offering the centre of cities and towns, convenient to transport, galleries, shops, etc. These artists operate the studios and undertake the programming organisation a 27-year licence at a fair rent. While there are a small number of examples of altruistic and (exhibitions, events, etc) on a paid part-time basis, while pursuing benevolent landlords (such as in the case of Cork Artists Collective and their artistic or curatorial careers. Some of the smaller and less well The Present Limerick Printmakers), most landlords engage with artists (in a funded studio complexes seem to be happy with the status-quo but Contacting a number of studios in the Republic and Northern Ireland symbiotic relationship) simply offering space at low rent, which could others such as Lorg Printmakers, Galway (founded in 2004), have for this article soon revealed that there is a myriad of different studio not be easily rented otherwise. Few of these studios have security of ambitions to follow the model of larger studio setups and to establish set-ups around the country. In fact, a picture of just how extensive the tenure, with only short-term leases or licenses being offered to artists. a limited company, with the ultimate goal of employing an network of studios is has emerged from a recent initiative by Jacinta Flaxart and Orchid Studios in Belfast are examples of studios which are administrator. Lynch of Broadstone Studios, Dublin. She has set about establishing a operated out of premises owned by private landlords and which only formal network of studios – along the lines of the National Federation have short-term leases on their premises. Pallas Studios is an example, Tenure for artists of Artists’ Studio Providers in England, and at the time of writing this which in one organisation encapsulates the situation for many The issue of how long artists should be allowed remain in their studios article, Jacinta had 86 studios listed on her database. The scope of this studios. Pallas rents spaces in the Dublin north inner city, three from was one of the thorniest issues which arose during the refurbishment article does not encompass a survey or structured analysis of all these private landlords and up until recently one from Dublin City Council, of Temple Bar Gallery and Studios. Many artists who had studios studios set-ups, rather, I will try to tease out some issues, which are Pallas Heights. Pallas have occupancy rights for one of their spaces for before the beginning of the development (some over ten years) argued pertinent to any debate regarding how studios are funded and over five years, which might give them rights to a long lease. However, that because Temple Bar Gallery and Studios was an artist-led 10 The Visual Artists’ News Sheet March / April 2007 RESERCH – STUDIOS VAI NORTHERN IRELAND REPRESENTATION initiative, which had contributed to the very designation of the area as a ‘cultural quarter’, that they should be given studios on a long-term basis. However there were pressures from the Arts Council and from other artists – within and without the studios, who argued that the Money for Arts Sake public funding for the capital development (€2.5 million in 1994) and BRIAN CONNOLLY THE VAI NORTHERN IRELAND REPRESENTATIVE OFFERS AN ARTISTS RESPONSE TO ongoing Arts Council revenue funding, should not only be the long- THE ARTS COUNCIL OF NORTHERN IRELAND’S NEW FIVE-YEAR PLAN term preserve of just thirty individuals. In the end I think a happy and fair compromise was reached. This compromise recognised the contribution of the artists who had stayed in the studios when times IT is important to state that the Arts Council of Northern Ireland’s Five artists are also taking on other jobs and careers. We need to better were tough – they were not given a time limit on their tenancy, while Year Plan – ACNI5YP for short, is aspirational as it identifies serious understand the conditions in which they live and work and the kind of all the studios, which became vacant were let out on an ongoing short- under funding of the Arts in Northern Ireland, and much of what is business choices they make”. This is a very welcome and potentially term basis. proposed within it is conditional on receiving increased funding from enlightening initiative, however, the paragraph goes on to state that The norm for publicly owned and funded studios, such as those the Department of Culture, Arts and Leisure (1). Having launched their ACNI will carry out a survey of working conditions of artists in NI to initiated by local authorities – Red Stables Studios; The Dock; Garter 5YP before the local governmental administration is restored, it seems ensure that their grant aid is “relevant, focused and effective. Working that the ACNI strategically are on one hand, keeping their cards close with others we will explore options for providing affordable, high Lane Arts Centre etc, is that artists are only offered short-term tenancy to their chest in relation to hard and fast objectives; and on the other, quality work spaces for artists”. arrangements – one to three years. But this situation is not confined to trying to put themselves in the best lobbying position to pressure the Here we see what starts out as promising premise – namely a publicly owned or operated studios. Independent studios in receipt of government for increased funding. As a result the 5YP appears as a survey to find out what is affecting the choices many artists must larger Arts Council grants are subject to similar pressures. The Fire fairly positive mission statement, but rather thin in actual objectives. make to survive, is then reduced to one referring to working Station Artists Studios in Dublin has always operated short-term Furthermore, almost everything that is proposed within the 5YP, conditions alone. Perhaps here the ACNI are setting out some tenancy arrangements and as described for Temple Bar Gallery and including their own performance, involves a degree of survey or unspecified initiative, which may well already be at a planning/policy Studios, other spaces such as Artspace Studios in Galway have consultation, but there is no indication of the procedures by how this stage. Could this indeed be the germ of the rumoured collective studio introduced time limits for studio occupancy for new artists joining the will occur, which is rather imprecise and potentially a longer-term provision potentially being planned for Stranmillis College Campus in studios. problem. Belfast? If this is the case, then the ACNI are missing the point here! This in a strange way leaves many of the most insecure studio set- The following observations are made in relation to the ‘themes’ There is in fact a real need for further affordable studio space in ups offering the best long-term prospects for artists, in that having as presented in the ACNI5YP namely: theme 1: Art at the Heart – Belfast, and possibly in other centres across Northern Ireland, passed a probationary period they do not put a time limit on artists’ Promoting the Value of the Arts; theme 2: Strengthening the Arts; theme 3: especially for the younger artists and recent graduates, but this is not occupation of their studios, though obviously this is dependent on Growing Audiences and Increasing Participation; theme 4: Improving our all that is required! There is a real need for other artistic resources how long the studios can ‘hang in there’ in terms of the leases of their Performance. including sculpture workshops, foundrys, multi-media resources, buildings. As a headline statement to theme 1, the ACNI posit that: “Artists artist residency spaces, experimental / time-based art spaces, and want to live and work in a society that recognises their skill and gives accommodation for visiting artists / practitioners and local artists too, End game? value to their art”. They go on to state the potential positive roles that etc. So what are the advantages of different models of management and artists and art practice can have within society and how increased arts’ I am fully aware that many artists are indeed forced to live and operation – and is this the ‘end game’ for independently run studios? funding is required. The report states it’s support, and wishes to work in cheap, often cold, and damp, conditions, due to basic My research, unscientific as it might be, indicated that there was a co- explore, or initiate art practice in relation to either youth via creative economic pressures, and many would jump at better conditions if relation between the levels and sources of funding for studios and how youth partnerships or after school initiatives and life long learning – offered at the same rates. However, the fact that many group studios they are operated. Studios developed with public funding – be they where art is to “be used as a transformative tool”. have developed in an organic manner over many years out of specific operated by public bodies or by artists as a limited company, tended as While in support of these social directives, I would also like to say need and artistic affinity should be celebrated and protected by policy organisations to have long-term tenancy. However, new artists that it is important not to see art practice as some kind of panacea or makers /funders. Therefore any planned new resource should be members – excepting those in specialised studios such as printmaking band-aid, where other social strategies have potentially failed us. additional to existing provision and not a replacement. facilities, now seem to be only offered short-term occupation. Rather artists and art practice in its essence should be supported for it’s The ACNI must conduct a proper survey to establish actually It was pointed out by a number of artists and administrators own sake. Practitioners should not just be seen as some kind of cheap what the sector requires in relation to working resources or life work operating out of spaces on short-term leases or licenses, that this child minders or therapists. Benefits come from the practice of art and issues, in order to make the proper informed policy choices. Otherwise impacts on the level of funding which the two Arts Councils seem to from having art in our lives, as a transformative process in it’s own they are in danger of following some other simple model, from some offer. It particularly appeared to inhibit the potential to gain capital right, or in its symbolic/aesthetic form. other context, which may suit the role of the funding body as opposed funding, such as through Lottery Funds in Northern Ireland, or the Within the section of theme 2 – Strengthening the Arts ACNI to that of the sector! ACCESS II funding scheme in the Republic. However, an issue which stipulate “whether artists in Northern Ireland are ‘career artists’ or not, If I were to be in the position to put forward important issues in has to be taken into account is that State or public bodies will not we are committed to continued development and support of all our relation to ‘career choice and life work issues’, I would immediately invest large amounts of capital funding in studios which are privately artists to ensure that artistic excellence and the highest standards in all point to the tax free status that is given to artists in the Republic of owned and where there is the potential for individuals or companies art forms are pursued”. This is a seemingly innocuous statement, but if Ireland as an aid to artistic survival, as in this way the nation is letting (landlords or tenants) to financially benefit if they eventually decide to examined it is in one sense a funder’s questioning of the accepted and artists know that their input is a valued part of the living culture and sell up. Perhaps public-private partnerships are another route for established professional standards within the sector, if not directly, by of intrinsic social wealth. So where does this appear in the ACNI5YP? development? And what of the prospect for artists buying premises to implication. So those who have studied under critical tutelage are now It should also be pointed out that the ‘artist’ is a recognised establish studio complexes? Slim I imagine, given the level of artists potentially judged and assessed with the same criteria as all hobbyists. category within social welfare system in the South and as yet this does earnings and the price of property. Studio prospects for successful Therefore I ask what is the professional criteria now being used by the not exist in the North. Therefore many Northern practitioners are artists will tend to focus on developing facilities at their homes. ACNI to assess best practice? How does this criteria reflect critical and forced into crazy forms of deception or inappropriate work choices Is there any future for independent studio groups offering long- professional standards within the sector? It is important that we just to survive. By providing the artists with a social welfare term tenancy? This is a question of supply and demand. Demand will challenge, and further consider the implications of this statement? classification this society would for the first time be recognising art always outstrip the supply, but if more public funded studios become Later in this section the ACNI indicate a desire to “showcase” practice as a professional discipline as well as giving the artist some available, there might be long-term prospects of artists being offered artists work and for artists to “exploit emerging markets” and badly needed social status. Having professional recognition and the longer term occupancy. Other potential is for the Arts Councils and to “promote entrepreneurial skills development through a range of ability to make social insurance contributions and qualify for a local authorities to fund artists to rent suitable premises on a long- delivery partners, encouraging artists to expand into new markets and pension all, as an artist should be a basic right! Having the ability to term basis – through direct funding, individually or collectively, so to make the most of new commercial opportunities – for example sign on, as an artist would relieve so many problems for practitioners that they can match commercial rents. Perhaps Ireland, both in the through the Internet and digital content development” Any artist will it should be the top of any policy makers/lobbyist’s to do list. So where North and South will follow Britain; and in time develop a culture welcome support and income, but policy makers should understand does this policy objective appear in the ACNI5YP? centred on cultural trusts and charitable foundations such as ACME in that artists often have made very specific career choices. Few artists Further on in the same section the 5YP states that ACNI “will London, bringing private benefactors to work with artists in providing that I know lack entrepreneurial skills; in fact many artists are multi- assess the type of support artists and creative business people need to affordable working and living space. How long that will take is taskers and creative on many fronts. It is more often resources that are develop and sustain a flourishing creative industries sector in anyone’s guess. All of these avenues will be dependent the funders’ required, rather than lessons in marketing. I am sure however, that Northern Ireland. The range of possible ways through which we can ongoing evaluation of artistic merit and activity. additional income opportunities would be very welcome to all artists, offer this support is varied. We will promote entrepreneurial skills So understandably, artists in privately rented premises, but these opportunities must also take cognisance of the fact that the development through a range of delivery partners, encouraging artists particularly those which have been in their space for many years, visual art sector is by it’s nature complex multi-layered and organic! to expand into new commercial opportunities” (with further mention witnessing the onslaught of property development, feel threatened The perceived need to promote entrepreneurial skill development is of the internet and digital content development!) not only by the prospect of losing their space but by never regaining a patronising and obsolete. Once more the ACNI will assess the “support artists need to space which offers them long-term tenancy. Put simply, this issue is Further to the above points within the same section of the develop and sustain practice in the arts sector”. This is then later not so much about the nature of facilities but to do with issues of ACNI5YP, they have highlighted the need for a revue/survey of the narrowed down to relate to an outcome of ‘entrepreneurial skill control, independence and most of all security of tenure. Arts Practitioners in light of their working conditions and life choices development’ leading to artists expanding their ‘commercial Ruairí Ó Cuív to this effect “however to continue with their work in long-term, some opportunities’. The Visual Artists’ News Sheet March / April 2007 11 VAI NORTHERN IRELAND REPRESENTATION VAI WESTERN REPRESENTATION Way Out West There is an implicit, but unwritten belief here, that art must make venture will ultimately serve most. So what then is the reasoning for money to survive and that no art practice can logically exist without the development of this proposed new world-class gallery? being a commercial activity of some kind. This in fact goes against the Furthermore it should be said that we already had a major gallery other sections where art is to be celebrated and supported and in Belfast in the form of the Ormeau Baths Gallery, prior to the debacle, recognised as an important/valued aspect of society – for itself! which saw the removal of its director and dissolution of the board last AIDEEN BARRY THE NEW VISUAL ARTISTS So by asking artists to become entrepreneurs of a sort, is the ACNI year. This process hardly fills the visual art community full of trust or IRELAND WESTERN REPRESENTATIVE OUTLINES sure that they are benefiting the practitioners in the most meaningful enthusiasm for the next flagship to arrive at the behest of a or best way? (Refer to the points above). I doubt this, in fact I suggest surprisingly ruthless directorate. SOME HER RECENT ACTIVITIES that this the blind adoption of government policy, which looks good Also on page 17 we find the following “we will also promote AS a visual artist based in the west of on paper and provides more ‘jobs for the boys’, (no sexism intended partnerships between artists, design professionals and clients to Ireland I understand the importance here), and less for the practitioners – as seems to be the rule of thumb encourage the use of art when designing public buildings and spaces”. This to my mind is a very welcome strategy and one that I hope will of being a part of a larger artistic over the last ten- fifteen years. The burgeoning administrative arts bureaucracy, as in other sectors, is in fact soaking up the funding in bear fruit. I would also refer once more to the need for a ‘1% for art’ in community and how being a member vast amounts through ‘delivery partners’ etc., before it benefits the Northern Ireland as a policy requirement to further bolster the of a network facilitates the growth of practitioners themselves at the bottom of the pyramid. This is wrong. integration of art within potential public building programmes. an artistic infrastructure. In a practical note If 1% of the government funding spent on It may also be pertinent here to comment on the ACNI’s current The west of Ireland has seen a infrastructure in Northern Ireland were to be spent on art I believe that public art funding procedures, which in my opinion are over elaborate growth in recent years in the number we would see the artist “develop and sustain a flourishing creative in their current two-stage format. I say this as a lot of artistic work and of visual arists taking up residence in industries sector in NI”. I know that the ‘1% For Art’ which exists in good will from both commissioners and artists can be wasted, when the counties of Mayo, Leitrim, Galway, the Republic of Ireland does not in fact form part of the ACNI5YP, but stage two of the process does not receive any, or too little, funding from Sligo and Roscommon. In particular in my opinion it should be central to any lobbying strategy. the ACNI. This process needs to be streamlined and simplified. there is an increase in the number of Further on in section 2 the ACNI refer to funding for arts Within the last section of the report theme 4 Improving Our visual artists moving to rural areas of organisations. Many practitioners recognise that the already Performance we find “we will regularly consult with the arts Sector to the west of Ireland. established project funding is a treadmill for many small voluntary make sure our programmes and processes are effective” And later in Graduates of the two main art colleges, The Burren College of Art arts organisations. This funding policy has demanded much of many the same section they state, “we want to develop our assessment and and the Galway-Mayo Institute of Technology are now actively unpaid administrative workers and artist volunteers. Any support that feedback procedures, and streamline the number of funding schemes involved in setting up artist - led initatives and events, and engaging can aid continuity and administrative burdens is welcome. From my and their application processes.” with new organisations such as Lorg Printmakers, Artisit, Ground Up experience organisations are working so hard from project to project Later they also sate that “we need to maintain and strengthen our (Clare) and the G126 gallery(1). in order to survive that they cannot lift their heads to find or utilise relationship with the Department of Culture, Arts and Leisure to The exciting exhibtion programmes of The Model Niland, The broader opportunities. So some leeway should be given here to assist / ensure that the government policy expectations are met. A vital part of Dock and recently the Ard Bia Gallery have increased the pay for administration beyond projects and to help with capital costs this will be making research a priority as a way of underpinning our international exposure of the west and of the country in general(2). where possible. evidence-based approach to decision making”. This indicates a very This has encouraged the growth in exciting curatorial projects and Once more in this section of the 5YP – (p15), there is an positive stance on behalf of the ACNI, particularly as the visual arts publications such a Brochure(3) and Immature Fluke(4). unspecified and perhaps an underlying policy directive where funding sector currently has limited representation at a policy making level. By With such developments there are always teething problems. is potentially only to be awarded where matched funding is in conducting ‘open’ and ‘fair’ consultative research within the sector, the Lack of access to information, facilites, and equipment are ususally evidence, and where organisations look “beyond grant support and use ACNI will become better informed on the real substantive issues and the main problems affecting visual artists. the market, making the most of their customers and using needs effecting contemporary practitioners, and hopefully more As the Visual Artists Ireland West of Ireland representative I wish sponsorship. We will support cultural organisations to develop a mix effective and beneficial policies and funding programmes will be the to aid in the development of this infrastructure by acting as an of different sources of income, bring new approaches to their work and result. However, I ask what are the procedures in place to enable this advocate of the organisation and of all west of Ireland visual artists. It form partnerships with others to encourage enterprise within the process to occur? is my role to facilitate and encourage awareness of Visual Artists sector”. Perhaps the ACNI should ask the art community / visual artists Ireland programmes and services amongst artists in the west. This in itself is no bad thing and surely proves value for money in what kind of survey questions are required in the first place in order In this capacity I have set up a number of information clinics in the eyes of the funder and the funders funders! But I would like to that a pertinent set of findings may have a chance of being various different art centres, galleries, and studios in the west. support the notion that if administrative support was to be given represented. We are also all well aware of how narrow survey Information on these clinics will be available in the e-bulletin, in local beyond the treadmill of project funding it would assist the smaller questions can provide figures which can be melded within statistical media and on the information areas of most arts centers. The role of organisations to source and develop further options, matched funding, frameworks to find the finding that are required for a given the information clinic is to put a face on the organisation in the west and appropriate symbiotic partnerships. circumstance, so lets be open and wise about these processes from the of Ireland. The clinics are very informal: artists are invited to sit and Having worked voluntarily with a variety of visual arts start. discuss difficulties they are facing and it is my role to offer organisations over the years it has always been the lack of In conclusion the 5YP appears to slant in favour of implementing information to those artists on the VAI and the services we can administrative funding or core administrative staff that has hindered government social policy for the arts as opposed to supporting artists provide. Another role of these clinics is to link west of Ireland progress. Or, put another way; is my time, and that of many other and art practice in, and for, itself! This is an insidious process, which organisations with each other as a way of referencing similar artists, best used trying to source funding, filling in forms, and will potentially leave the arts open to future administrative difficullties and / or successful outcomes. This may be of benefit to implementing others policy objectives, or making art? This need manipulation and governance, and therefore less independent. It artists or organisations who wish to work together on a Joint should be acknowledged and rectified by the policy makers where appears as if the arts are slowly being administered and corralled into programme or project(5). possible. a kind of social or capital servitude where administrators administer, Based on these information clinics and other meetings I will be In page 17 of the 5YP the ACNI state that for Northern Ireland to and Artists respond within a further defined set of social obligations or advising the VAI on relevant issues affecting artists in the West of “take it’s place among cultural capitals of Europe, it deserves a major business remits. This in itself is not necessarily a negative remit, but Ireland. art gallery. There are examples from around the world of how flagship experimental aspects of art practice at the cutting edge may well feel If you are an art organisation, an artist-led initiative or a gallery art galleries have proven to be a catalyst for transforming the cultural the pinch with difficulties in justifying processes within business and you would like to facilitate a clinic please contact the west of and economic fortunes of the region. A major gallery will raise the criteria or within a set of social policy aims! Ireland representative at: email@example.com. profile of the arts, increase tourism, broaden access, provide new So, tomorrow we may find ourselves ever so subtly pushed audiences but perhaps most significantly it will provide inspiration toward a more commercial or socially directed terrain, where all Notes for new generations of emerging artists”. It is not clear from this practice by it’s nature must either be financially viable or be aimed at 1. www.lorgprintmakers.com, www.artisit-fesitval.com, www.shiftingground.net (Ground statement what role the ACNI will, or wish, to play in the provision of social work or implementing various government policy directives. up), www.g126.eu 2. For exhibition info on The Niland and Model Arts www.modelart.ie , the dock the ‘new flagship gallery’, and undoubtedly there is much to be excited My initial gut instinct to this future is to recoil from accepting such a www.thedock.ie Ard Bia Gallery www.ardbia.com/exhibitions 3. Brochure is a fresh publication that seeks to highlight and comment on current activity about the potential development as outlined above, but this statement circumscribed set of perimeters for my dearly loved practice, and I feel in Galway’s contemporary art community and is a collaboration publication between also flags up a lot of unresolved issues and has major implications for I am forced to ask if a mute acceptance of this insidious process is wise, Ard Bia Gallery and Tulca Festival of Visual Art www.tulca.ie 4. Immature Fluke The latest work to emerge from the Ground Up programme of art in the existing visual arts sector. It is therefore incumbent on the policy and is this really where we want to go? rural contexts, a graphic novel and temporary public art event by Vince Wall. makers and the funders to conduct open and frank discussion with the Brian Connolly 5. See the Arts Council’s Partnership for the Arts strategy plan for Visual Arts 2006-2008 www.artscouncil.ie (partnership for the arts / art strategy) downloadable PDF pg 2: one sector stakeholders on this initiative, prior to putting it in motion. VAI Representative for Northern Ireland of the aims definedin this document is to“provide opportunities for individual visual Before the plans are dry or implemented, we (the visual artists) artists to work collaboratively, either with other visual artists or with artists of other Notes disciplines.” should really critically examine the perspective and remit such a (1) The ACNI are aspirational as they state that an increase in Government Funding is both venture will have. By doing so before it’s arrival in bricks and mortar overdue and badly required to bring NI Arts Funding to equitable footing with other UK Regions a 6% PA is required. we will stand a better chance of implementing something that finds it’s place and offers a pertinent addition to the arts in Belfast, rather than ending up with a cardboard Tate or tinfoil Bilbao. By being open to critical examination from the start we will also see where the true benefits and drawbacks are, and whom such a 12 The Visual Artists’ News Sheet March / April 2007 ART IN THE PUBLIC REALM: FOCUS Marco Dessardo. Working drawing / photo-montage for The Drainage. Marco Dessardo. Working drawing / photo-montage for The Drainage. The Risk of Blocked Drainage VISUAL ARTISTS IRELAND REPORT ON THE SAGA OF MARCO DESSARDO’S COMMISSION FOR THE WEXFORD QUAYS. IN the middle of December last year, local Wexford papers ran a Subsequently, the artist was called to a Borough Council meeting number of stories with headlines such as “Council in hot Water over on 4 December 2006. It was reported that some Councillors were ‘rejected’ Quay Sculpture”; “Fiasco of the rejected quay front unclear as to who the artist was and as to why he was there (2). The sculpture”; “Will we spend ?125, 000 on the statue nobody wants?” and minutes of the meeting simply record that “Mr. Dessardo gave a “Artist says decision at this stage ‘unfair’”(1). The articles all referred to presentation to the meeting with regard to the proposed sculpture for the decision of Wexford Borough Council to overturn the Wexford Quay Front following which questions raised by members recommendation of an independent selection panel to commission were answered by Mr. Dessardo who then departed from the meeting. Paris-based Italian artist Marco Dessardo to produce a sculpture, Following discussion and on the proposal of Cllr. Nolan seconded by entitled The Drainage, to be sited on and around the newly refurbished Cllr. Byrne it was unanimously agreed that the proposed sculpture Wexford waterfront. entitled The Drainage would not be accepted”. The artist was informed, The story begins in the summer of 2006 when a selection panel this time by the Town Clerk of Wexford Borough Council (dated 12 was convened for the Public Art Programme of Wexford County Dec 2006) that “following careful consideration, the members of the Council, which included 12 new commissions. The briefs for these Council have decided unanimously not to proceed with The Drainage projects were devised by James Moran, Wexford County Council’s on this occasion” Public Art Programme Co-ordinator, then sanctioned by Rosaleen Dessardo’s proposal comprised of a series of site-specific Molloy, County Arts Officer and Pat Collins, Wexford Borough Council sculptural interventions encompassing various locations suggested in Town Clerk after both made amendments. Amongst the 12 the brief – a road junction of 1798 Street; the North Side of Wexford commissions was one advertised as Wexford Borough Council, Bridge, on and around Wexford Bridge and Wexford Marina Pier. Wexford Main Drainage Commission. Dessardo stressed that The Drainage “is not a monument. It is a It is important to distinguish here between Wexford ‘Borough’ sculpture, requiring time to discover”. The Drainage was to use Council and Wexford ‘County’ Council. The difference between the 2 Marco Dessardo. Project proposal model for The Drainage. components gathered in and around Wexford harbour and connect bodies is a significant issue and from reviewing the brief for the previously participated – to make proposals for this commission. Each them together utilising stainless steel piping, an iron mold, lumps of Wexford Borough Council, Wexford Main Drainage Commission it is member of the selection panel was invited to put forward some names concrete and an abandoned boat. The artist envisaged viewers walking not clear which of these 2 parties were acting as the ‘commissioner’. for consideration and invitations were sent out. The outcome of this along Wexford wharf progressively discovering elements of the The initial press advert for the commission makes a reference to process involved a reconvening of the panel in early October 2006 in sculpture “running under the city, under the bridge, then underwater” partnership. The front cover of the brief and the title of the project order to consider the new round of submissions. – while existing elements of sky, water and surrounding structures of suggest Wexford Borough Council as the commissioner, however, The members of the selection panel were – Alan Counihan, artist; the quayside and pier were choreographed into their experience of the within the brief under the heading Commissioning Procedures, there Annette Moloney, public art specialist; Barbara-Anne Murphy, work. In support of the work Dessardo had envisaged a range of is a clear suggestion that the County Council is the commissioner, but Wexford County Councillor; Brenda Oakes, artist / arts consultant and elements relating to community participation – including setting up a it is not explicit. There is a further ambiguous section within the brief Sean McLoughlin, Executive Architect for Waterford City Council. We website to report on the progress of the work; an exhibition, lecture titled ‘Role of Wexford Borough Council’ which fails to clarify the understand that the Borough Council had been invited to participate series and a short film. On the practical side the artist also noted how matter. It suggests a limited role for the Borough Council but does in the process but that an elected representative was unavailable to his work would be durable and would require no maintenance. There state that the successful artists would be offered a contract by the attend on the day and that the Borough Council were represented for is a full and informative presentation of the proposal on Dessardo’s Borough Council. It is clearly implied throughout that Wexford part of the meeting by the Town Clerk. website. County Council would act as co-ordinators of the Marco Dessardo’s proposal was selected by the panel. County It was reported in local news coverage that one Wexford Borough competition/commissioning processes. The Commission was to be Councillor and selection panel member Barbara-Anne Murphy was Councillor described the work as ‘awful’ adding, “Really it wasn’t the half-funded by percent monies relating to the development of quoted in the Wexford People (13 Dec ‘06) as saying that she believed artists’ fault, it was the fault of whoever set down the grounds for (3) Wexford’s main drainage scheme, with the other half coming from The Drainage would be a “wonderful” feature on Wexford’s award commissioning the piece” . Labour Councillor George Lawlor Wexford Borough Council. winning Quay front. Following his selection meeting, Dessardo was speaking on the Derek Mooney radio show stated that the proposed As it happened, the commission was not awarded when the first issued with a letter, dated 13 Oct 2006, from James Moran, (on work was “certainly modern” and that “this is something that just isn’t round of applications were received, as none of the submissions were Wexford County Council headed paper) notifying him that his right”, he then went on to describe the Borough Council’s preference (4) thought to be of sufficient quality. The decision was then taken to proposal had “been recommended by the Selection Panel” – to whom for a work that was “correct and proper” . The Councillor also invite eight artists – nationally and internationally – who had not this recommendation was being made, was not specified. remarked that Dessardo’s proposal was out of context, in terms of references to the area, local history and the social usage of the Quays, The Visual Artists’ News Sheet March / April 2007 13 ART IN THE PUBLIC REALM: FOCUS Marco Dessardo. Working drawing for The Drainage. Marco Dessardo. Working drawing for The Drainage. and suggested that The Drainage “would be OK for a drainage project, develop new and exciting mechanisms for engaging artists with the Marco Dessardo. Working drawing / photo-montage for The Drainage. but not for the waterfront”. Of course the paradox here is that from the percent for art scheme without being held back by a fixed and static ambitions for its public art programme (the initial advert for the outset the project had been called The Wexford Borough Council set of procedures. What seems ironic in this case, however, is that the scheme stated that the commissioners welcome submissions that Wexford Main Drainage Commission. opening page of the brief quotes John O’Donoghues introduction to further the debate on what constitutes public art and Wexford County Artist Alan Counihan, who was a member of the selection panel, the National Guidelines while at the same time ignoring some of its Councils web site stresses the function of public art “to provoke, to has described the affair as “not only grossly disrespectful of Mr key recommendations. challenge, to change perceptions..”) it is difficult to see how this Dessardo, but also professionally insulting to members of the Other than comments made to the media by individual Council project could not have helped but end in failure and underlines the selection panel and makes a mockery of the selection process. It Members, the Borough Council had been remarkably quiet in offering nagging question of why do local councillors feel so impelled to take should not be allowed become a precedent” (5). an official reason for the refusal to appoint Dessardo . After forwarding it upon themselves to act as arbiters of artistic taste and quality? The artist is currently looking into his legal position with regard an earlier draft of this article with a number of questions VAI received Going back to more general procedural issues one can also see to seeking some financial recompense for the rejection of his winning a statement issued on behalf of both Councils. It stated that the reason the Wexford situation as having arisen due to a persistent problem design. As he stated to Patrick O’Connell, writing in The Echo “I did for rejection was that part of the proposed sculpture strayed outside of with the overall management structure of the percent for art scheme my job, they were not supposed to have this opportunity to cut off the the 4 designated sites, which had been identified in the brief. On nationally. Despite the usefulness of the National Guidelines, competition like this.... It is very clear that I have won the competition, receiving this explanation we contacted the artist who stated that he commissioners still have to apply them on an individual basis – there They are not disputing this … normally, at the very least, ‘creation’ had not been notified of this as a reason for his rejection. is no central forum where they can go to for guidance or indeed share expenses would be covered … this normally constitutes 20 percent of Looking back at the locations described in the brief it is hard to their experiences, both negative and positive, of the commissioning the total cost of the project. A lot of work has been done in the design. see how both Councils reached their conclusion. It has to be said that process. Therefore, it is often the case, that each time a competition is I will see where I will go with this.” (6) the brief was not explicitly clear on defining the 4 sites. No plans were run there is, so to speak, a re-invention of the wheel. Looking back to the Artists Brief and the procedures used in this provided with the brief and the maps were of a size and scale that Encouragingly the Arts Council identified the importance of instance there are a number of particular issues that should be noted. made them only useful for identifying the general area. Photographs addressing this issue in Partnership for the Arts, in practice 2006 – 2008, Firstly there was no Public Art Working Group set up to oversee this or of the site were more useful but again they were only provided at a where they state a commitment to “examine the feasibility of a the other 11 associated projects that were part of this programme. The thumbnail size and were not capable of defining the sites precisely. national resource service or support unit for the commissioning of Per Cent for Arts Scheme General National Guidelines clearly recommend The text describing the site was also vague for example the extent of public art”. Nonetheless, now that they are more than one-third of the the establishment of such a group with representation from all one of the sites is described as “on or around the Wexford bridge”. The way through the lifetime of this plan, there has been no publicised relevant parties (7). A working group is distinctly different to a selection Councils’ statement claims that the work strayed on to the Wexford move to begin this process. In addition the Arts Council have not panel in that it over sees the project as a whole from start to finish. The Quays which were not part of the designated site. However, the appointed a public art specialist since the contract of the last members develop a vision for the project, set clear aims and objectives, element of the sculpture that is proposed for a small part of the Quays appointee, Annette Moloney expired in December 2005. Although the criteria, over see the development of a brief and procurement is also very much sited ‘around’ the Wexford bridge and is within an Arts Council have promised that the position will be advertised procedures, some members may also be involved in selection. The area that is identified in 3 out of the 6 photographs that were used to ‘shortly’. It is thus a sobering thought that without such a centralised working group also help to see the project through to completion identify the particular site in the brief. There is one other aspect of resource, or public art specialist in place, that the risk to artists of once an artist is selected. Dessardos sculpture that was proposed as possibly being located on experiencing a similar situation to what happened to Marco Dessardo The second issue is ‘responsibility’ for selection and the Quays. However, in his proposal Dessardo clearly acknowledges in Wexford remains worryingly high. appointment. There are limited mentions of this in the brief. Under that this is out side of the identified site and states that the particular Both the Arts Council and the Department of Arts Sport and the heading ‘Commissioning Procedure’ there is a line that states “all element could alternatively be located in one of the designated sites. Tourism were forwarded an earlier draft of this article and given proposals will be assessed by an Independent Selection Panel, the So what exactly is it that led Wexford Borough Council to take ample time to respond. The Arts Council declined to comment and members of which will have appropriate expertise in Public Art the decision that it did? Why has it been so blatant in its rejection of DAST did not respond. Commissioning”. The only other mention in the brief is that “All Dessardo’s proposal? One could conclude that the simple fact of the Visual Artists Ireland Artists’ proposals are subject to the approval of the Independent matter is that it came down to a matter of ‘taste’ with Wexford Selection Panel. Proposals will be subject to Health & Safety checks, Borough Councillors appointing themselves as the publics guardians Comments upon and responses to this article, for publication in our next issue, which will be carried out by specialised staff of Wexford Borough of artistic taste. One wonders if this is what the electorate had in mind are very welcome. In particular we would like to receive information on other Council”. There was a mention of the artists selection being a when placing their votes, that their elected representatives would competition winning proposals that did not get the go-ahead. ‘recommendation’ in the first letter sent to the artist, but again the protect them from ‘bad’ art. Marco Dessardo’s website currently documents the problems details were not clear. At no point prior to this was the approval of The arguments put forward by Councillor Lawlor on his radio encountered by the artist with this commission, including downloads Council members made a condition of appointment. The National interview with Derek Mooney are easily refutable. His assertion that of the commission brief, his project proposal local press coverage Guidelines state that the commissioning body should decide at the the proposal did not reflect the maritime heritage or the history of the along with correspondence with Wexford County and Borough outset of the project whether it will delegate selection authority to the area or the people it represents hold little water. As argued by the artist Council – http://dessardowexford.free.fr Selection Panel or make the final decision itself (8). This information and selection panel member Alan Counihan on the same radio show, Notes was not communicated in the brief and one wonders whether this had Dessardo’s proposal, can easily be read as a work that is very conscious (1) Various headlines from The Wexford People and The Echo on 12 and 13 December 2006. been considered by the County Council who were co-ordinating the of the site, both in architectural, historical and social terms – and one (2) Wexford People13 Dec 2006 Council in Hot Water over Rejected Quay Sculpture “According to one councillor who described the episode as embarrassing, no-one competition process. The uncertainty as to who the commissioner that offered viewers an exciting and engaging experience. seemed to really know what was happening or why the artist was there” actually was, only adds to this confusion. (3) Will we spend €125,000 on statue nobody wants?. Patrick O’Connell. The Echo. 13 Dec During the radio interview Derek Mooney suggested that 2006. It must be acknowledged that the National Guidelines are “wouldn’t it have been just fantastic if some artist had come up with (4) Derek Mooney Radio show. RTE Radio 1. Thursday 21 Dec 2006 “Labour Councillor, . George Lawlor chats about a controversial proposal for a new sculpture in Wexford” exactly what they say. They are guidelines and there is no statutory the idea for a flock of Greenland white fronted geese that children (5) Email correspondence to the author from Alan Counihan. requirement for them to be followed. This openness can in many ways could actually sit on. Wouldn’t it have just looked interesting, (6) From an article by Patrick O’Connell. The Echo. 13 Dec 2006. (7) The National Guidelines for the Percent for Art Scheme, which can be viewed or be seen as an advantage as it allows for bodies like Breaking Ground to different, and lovely and gorgeous”. Councillor Lawlor eagerly agreed. downloaded at www.publicart.ie (8) Ibid. continue to push the boundaries of the commissioning process and Given the discrepancy between this and the County Councils stated 14 The Visual Artists’ News Sheet March / April 2007 PROJECT PROFILE Body Weathers / Body Apparatus FERGUS BYRNE CO-ORGANISER OF ‘BODY IN LANDSCAPE, KILLARNEY NATIONAL PARK 2006’ OUTLINES THE PROJECT’S PROGRAMME AND SOME OF ITS FINDINGS “…perhaps through this blind negotiation of the land I came positioning of the paper on the chest such that one is drawing onto closest to understanding what the workshop was about. After a oneself. It was a strange reversal of the normal action of projecting the week in the woods, the distractions of regular life slowly hand toward the space observed. This upset the familiar relation of the receding, with all the senses straining to develop an awareness of eye to the hand. These drawing exercises were later combined with my surroundings and my place in them, I feel I developed an improvised movements off track. almost animal sense of existence.” Seamus Dunbar 2006. We were led in a line, not unlike Breugel’s blind men, to a position ‘BODY Landscape Killarney National Park 2006’ took place last high on a ridge after what seemed like thousands of steps to my September. It was a residential workshop organised by myself – Fergus unseeing eyes. Upon stopping the invitation was to investigate the site Byrne; and Caroline MacSweeney of Locus Theatre Company. We for 30 minutes, without opening our eyes. Close by me was another invited dancer, Frank van de Ven, to bring his body landscape practice person. We were in brief contact. Around my head were branches, so to Ireland. His dance training in the Body Weather system of Min thin as to break under the pressure of a searching hand. Descending to Tanaka led him to pursue continued research into the relation the ground gave the security of many points of contact with the land. between the body and the land in several continents since departing Remaining upright demanded greater concentration in my feet Japan. A significant element of these studies is a prolonged because they had a smaller surface area of contact with the land. This collaboration with Czech visual artist Milos Sejn known as the 30 minute period was a somewhat impromptu moment caused by the ‘Bohemiae Rosa’ (1) project. temporary loss of half of the group, later recovered back at the lodgings. Although relatively early in the week for such prolonged Over a ten-year period a topographic spiralling of the Czech Republic investigation, it did provide many of the elements to which we would completed a comprehensive exploration of the various landscapes later return. within the country’s national reserves. In taking these explorations to Ireland, Killarney National Park was chosen as a suitable location Sculptural exercises between partners extended our perceptual allowing unlimited access to varied landscapes. The workshop took Partner drawing at ‘Body in Landscape’. experience. Participants worked in pairs using the partner body as place over seven days and participants were based in the Muckross material within the landscape to create transitory sculptures of body, House Venture Centre, a converted church on the perimeter of the stones, logs, water and other materials to hand. The key in all of this national park. Kerry County Council, the Dutch Embassy and The was to consider the experience being created for the partner. One Embassy of the Czech Republic funded the project. participant was fascinated by how her leg became levered by a log wedged beneath her knee. I have always found this aspect of the work There were seven participants of several nationalities, one of whom to be enriching - the opportunity to appreciate our ‘body apparatus’ as would pull out on day two, leaving a small group of eight – who unfamiliar. Partner work is essential to this whereby one person may bonded well over the coming week. In addition to the intensive work manipulate another in an objective manner. programme, the self-catering accommodation and the egalitarian rotation of cooking and cleaning duties helped to create a close knit When not in situ, engaged in work, we were walking. The most community where the individual felt the support of the group. significant excursion was a daylong hike through Glaisín na Marbh. On many walks silence was encouraged presumably to provoke an The day’s activities always began with a warm up, followed on some inner attentiveness. (I experienced this on a previous workshop. For days by further MB (2) (mind/body or muscle bone) training, on others the first half hour we were encouraged to empty ourselves of chatter it was straight out into the landscape. A very particular element of by blathering ‘til all was spent). I don’t think it worked on the shorter Body Weather work is the highly sensitised movement of bisoku (3). walks, as self-consciousness surrounded the silence. On the day-long Participants were introduced to this with the task of opening a closed hike there was sufficient time for states of quietitude to surface. fist over a five minute period with a concentration such that the Glaisín na Marbh presented challenging terrain – bog, rocky slopes, sounds of the knuckle joints are audible. Later the challenge would be Emilie de Vlam at ‘Body in Landscape’ rivers, rhododendron forest. We were advised that the coordination of to maintain such movement throughout the body, eg 25 minutes to the body developed in the MB work should be employed in the move from your chair to one adjacent, via the floor, with eyes closed phenomenological enquiry that evaluates the qualities of each unique efficient negotiation of the slopes and frequent bog holes that lured all the while. Another aspect was contact work where we took it in moment. Each enquiry worked within set parameters of behaviour in the casual foot. turns to ‘manipulate’ the reposing form of a partner, varying this with a given site. Certain senses were then focussed and intensified to levels one on one, two and three on one combinations. The term ‘bag of not habitually experienced. The work developed in an incremental The day-long escapade was quite an adventure as it took us well away bones’ gives some clue as to the nature of this condition. The power of manner by a gradual layering of activities for simultaneous from the prescribed routes – in fact from any routes at all. It greatly these exercises was greatly heightened when taken out of the security exploration. contrasted with the landscaped areas marked as they were by signs of of the studio to be practised on rocky escarpments, in caves and on humanity. The absence of pathways made a more interesting terrain lakeshore beaches in the Killarney National Park. There was particular emphasis on the sense of sight during the week. to cross and engaged the entire body. This opportunity to escape the Testing our peripheral vision was the task as we walked laps around a confines of my pedestrian behaviour brought me close to that state Publicity for the workshop promised “strategies to confront our grassy field. A hedge close by on my right loomed large; while on my described above by Séamus – an animal state synchronous with bodies with the multiplicity, unpredictability and autonomy of the left the empty sky reflected a little towards the corner of my eye. Frank instinct rather than reason to progress. natural environment. The aim was to develop ‘consciousness of the suggested that prolonged use of peripheral vision could lead to change body itself as an ever-evolving landscape within the greater in one’s sense of orientation. We are so accustomed to leading with Fergus Byrne surrounding landscape” (4). Body weather work has a particular our eyes that our forward baring is unquestioned. Could we evolve to A Body Landscape workshop will take place this year in Leitrim from richness when conducted outdoors. The analogy of weather or a point where our bodies are coordinated to 180° of vision? If so would 8 – 16 June. For further information, contact Séamus Dunbar at meteorology can nonetheless be applied to controlled environments. we still conceive of ourselves as possessing front, back and sides? firstname.lastname@example.org Details on Body weather Amsterdam is It is described as a “comprehensive training and performance practice available on www.bodyweatheramsterdam.blogspot.com that investigates the intersections of bodies and their environments. Experiences of movement while holding the eyes still reminded us Bodies are not conceived as fixed and separate entities but are, just like that the eyes are forever darting, guiding us before our body arrives. Notes the weather – constantly changing through an infinite and complex We stood like sentinels on the grassy banks of Lough Leane slowly 1. website www.bohemiaerosa.org system of processes occurring in and outside of these bodies” (5). rotating over a ten-minute interval. All the time the eyes gazed 2. An energetic, dynamic and rhythmic movement workout that observes the kinaesthetic forward without moving ahead of the body’s rotation. The landscape sensitivity and co-ordination potential of the body-in-motion while developing strength, endurance, flexibility and grounding. Body Weather Amsterdam publicity material The above ‘strategies’ took the form of prescribed tasks that allowed a thus flooded the retina as the blind intervals afforded by the saccades 3. Subsequently I spoke to Hideaki Idetsuki, an artist resident at IMMA, who explained to me phenomenological exploration of physical sensation within the were wilfully eliminated. the conjunction of the word - bi can mean faint or tiny, soku means ‘speed’. Further sense can be inferred from the Japanese word, bifu, which means calm wind. landscape. In discussion of the week’s work, van de Ven said he did not 4. Body Weather Amsterdam publicity material. use the term ‘exercises’ to describe activities pursued. Perhaps 5. Ibid. Drawing exercises led by Milos Sejn abandoned observation ‘exercise’ implies a preparation or learning for a more significant altogether and introduced seismographic renderings of our walking moment. The consideration of each activity as ‘work’ is true to motion along forest pathways. An interesting aspect of these was the The Visual Artists’ News Sheet March / April 2007 15 PROJECT PROFILE Bronze Age Stone Mould, Co. Tyrone, Holger Lönze Workshop Implements, Billy MagFhloinn performing on the bellows, Artist Researchers example insights into the probability of the use of lost wax in the Bronze Age. Other results have been of rather more artistic interest, both technically and philosophically. CORDULA HANSEN CONSIDERS THE UMHA AOIS PROJECT An example of work that blurs the boundaries between the AS AN INTERDISCIPLINARY RESEARCH ENVIRONMENT archaeological experiment and the artwork is the image of a glazed object in a furnace by this author. Originally a reconstruction of a THE notion of interdisciplinarity has become popular in recent years, vast, uncoordinated yet somehow enormously effective research Bronze Age artefact, the object underwent a series of formal and not only in art practice, which has long been using combinations of programme that looks critically at what we are and how we know aesthetic transformations, before being exposed to Bronze Age firing ideas and media, but also in the more traditionally academic fields. what we are … ”(1) Other archaeologists have taken a more theoretical processes. The object itself is a record of the way it was made, but the Discipline boundaries have begun to dissolve, with research approach to the role of art practice in understanding material culture. image resulting from this can only be a visual snapshot – the images increasingly based on issues and specific questions – rather than the Abstract questions concerning materiality, object agency and human cannot portray the full spectrum of experiences associated with the disciplines themselves. Collaborative projects are emerging, and experience have been raised and applied to artworks as well as object. scientists are more and more turning to contemporary art practice for archaeological finds. While stemming from a technical question about the function of new insights. With increasing confidence in art as a research process, However, in the past five years, theorists in archaeology and a specific artefact, the photographic work alludes to the theoretical combinations such as Arts and Health, or Art and Science, have athropology have begun to refer back to materials and environments archaeological problem mentioned at the beginning of this article, the established a prominent presence in the professional art world in as integral elements of human experience. Ingold in particular reconstruction of human experience through material culture. Ireland and the UK. The degree of freedom and input of the artist in criticises the lack of direct engagement with materials and processes Working from an interest in traditional skills and ecological such collaborations is often varied – the artist may act as illustrator, by archaeologists and anthropologists. Here the theoretical value of a sustainability, Holger Lönze’s work at the Umha Aois events may be technical advisor, communicator, researcher or theorist. It could be project such as Umha Aois becomes obvious. The activities at the characterised as research-based art, where the process of enquiry itself argued by sceptics that there is a danger for artists in these annual symposia differ markedly from an archaeological experiment, constitutes the work. While the artist experiments with the relationships to simply provide the aesthetic facade for the other although some of the outcomes provide similar information. While techniques associated with Bronze Age casting, the site of work parties work. This article will explore the role of the art practitioner in the archaeological experiment takes place under controlled develops into an installation of its own – objects begin to gather such collaborative partnerships. conditions, with accurate measurements and repeatability as their around the furnace. They are re-arranged, constantly being added to or While often initiated by institutions such as hospitals or framework, the artistically motivated exploration does not re-invented to fulfil a new purpose. Crucibles combine with clay universities with appropriate resources – and an agenda of their own, concentrate on the outcome. The making and positioning of things – vessels holding water, clay moulds and the circular opening of the pit some interdisciplinary projects are led by individual artists or artists’ images, objects and sites – to the art practitioner is a way of thinking furnace, interrupted in their regular forms by jotting willow sticks and groups with notable success. One of the longest-running collaborative through a physical medium. copper pipes – tongs for lifting the glowing crucibles, supports, blow research projects in Ireland is Umha Aois – The Bronze Age 4,000 Umha Aois therefore operates on both a philosophical and a pipes. Lönze’s tools create an aesthetic of functionality, with few Years On. Established in 1995 as part of the European Year of the practical level. The rediscovery of ancient techniques of bronze objects being added arbitrarily. For archaeologists these workshop Bronze Age, its original aims were to research and experiment with casting and ceramics with minimal equipment opens new installations may hold a particular interest, as they illustrate the Bronze Age casting technologies, making them accessible to possibilities to artists to re-discover this traditional sculpture material manufacture and accumulation of many objects in the natural course contemporary artists as an affordable alternative to the often directly through their own experience. Additionally, the experimental of working with Bronze Age technologies, over the comparatively expensive modern foundry. Since then, Umha Aois has been making environment provides a conceptual background and access to short period of two weeks. significant contributions to archaeological research. It acts as a forum imagery which is not usually available in a modern everyday setting. The variety of the work produced and findings made at the Umha for experiments and discussion, illustrating the mutual benefits The performative aspects of the ancient craft skills have been Aois (2) symposia illustrates the creative and scientific potential of such which may be gained by representatives of collaborating disciplines. explored by Anne Burke through video, sound collage and collaborative projects. It is, however, vital to their success that Founding members Niall O Neill and Cliodna Cussen were photography. Her photographic portraits of tools and artefacts show representatives from both disciplines are willing to respect each principally concerned with an authentic reproduction of Bronze Age the objects as separate from their environment, speaking for other’s aims, and their methodological or philosophical background. casting techniques as a way to re-connect with past societies and themselves of their manufacture and life history. But Burke’s While one party may be interested in solving a particular problem or cultural identity. From its initial stages until 2004, the group was documentaries include not only the activities directly associated with creating a specific piece of work, the other may need space to develop concentrating on reproducing the processes of melting bronze with the work itself – casting, mould making, finishing of objects – but also a new process or simply observe and record an activity. As with the charcoal and bellows in pit-furnaces; and authentic mould making provide a record of the social setting. Especially her sound recordings Umha Aois project, running over 12 years and ongoing, organic during the annual Umha Aois symposia. Archaeologists were able to convey an impression of the immaterial environment. Conversations, growth and progress may require time and persistent commitment provide some insights on finds and sites. The main source of hammering, footsteps and singing are underlined by the constant from organisers and participants. information, however, was the artists’ own experiments and the input breathing of the bellows and the roaring of the furnaces. The In entering a collaborative relationship with another discipline, from experienced craftspeople, such as Peyju Leywola. Stemming from symposium is presented as an event with its own dynamics. especially one with a long-established ideological tradition, artists a caste of bronze workers in Benin, she contributed through her The collaboration with archaeologists takes the form of need to ensure parity with their collaborator. Artists are no longer the knowledge of traditional mould making materials. With a number of communal activities, rather than discussions between representatives window-dressers of science but have begun to contribute through working pit-furnace designs in operation, the project began to draw of different viewpoints. This very direct engagement with their own practical and theoretical expertise. more interest from archaeologists once again. Throughout 2006, and archaeological questions through art practice provides a research especially during their symposium at An Creagán Visitor Centre, Co. environment in which the question itself drives the enquiry, not the Cordula Hansen is a sculptor and member of Umha Aois. Tyrone, members of Umha Aois have been working on more specific discipline-specific conventions or institutional direction. The main She is currently completing a PhD in Art at Waterford Institute problems, such as the manufacture of Bronze Age objects, for example question – “how could the process have worked with the materials of Technology. horns and swords; or the casting of maquettes for sculptures. available?”, is answered through direct experimentation, informed Notes Coinciding with the development of the group has been the mainly by practice and the evidence provided by archaeological 1. Renfrew, Colin. Figuring It Out. What are we? Where do we come from? The parallel emergence of a new school of thought in archaeological theory, which artefacts themselves. visions of artists and archaeologists. London. Thames and Hudson, 2003. p 7. 2. Umha Aois would like to acknowledge the generous support from their sponsors, Foras is less interested in measurable facts, but includes the question of Umha Aois could thus be characterised as a forum for empirical na Gaeilge, Údaras na Gaeltachta, Bronze Art Ltd, Alpha Metals Ltd, BOC Ltd, Isaac Mullen Ltd, James Murphy and Sons Ltd, Scarva Pottery Supplies Ltd, RPM Ltd, Weldtech Ltd, AE human experience in past and present. This has resulted in an data collection combined with free creative exploration and Ltd, Crinkle Merchants Ltd and PJ Dix Ltd. The group would particularly like to thank the increased interest by archaeologists in contemporary art practice. spontaneous action. The outcomes from the symposia and other Arts Council of Northern Ireland, the Heritage Council, and An Creagán Visitor Centre for their hospitality during the 2006 symposium. Archaeologists such as Colin Renfrew have written extensively on the events have therefore taken two – not always distinct or separate – importance of contemporary art as a process of enquiry, liking it to “a forms. Some findings have been of an archaeological nature, for 16 The Visual Artists’ News Sheet March / April 2007 CAREER DEVELOPMENT But you don’t have to teach – many artists don’t. Ideally, I would like just to work in the studio. At the moment, I am only doing a half a day a week. JO: Besides teaching and sales of your work, what are your other means of support? PN: I’ve made applications for Arts Council grants. The first one was in 2004; I was awarded an annual bursary. More recently I successfully applied for a multi-annual bursary. The award is designed to allow you to buy time. With this funding I’ve now got time to experiment with different mediums and ways of working, which is the reason why I applied for it. JO: What networks do you use for professional support and information? PN: Honestly – I don’t really use any. Which I know is kind of funny considering that I am giving this interview to Visual Artists Ireland! I find too much information about opportunities distracting – I think, “there are so many things I could apply for”. I prefer using very clear sources. There are things that one finds out about, in terms of residencies and so on that may not always suit you. Whereas, when you feel very connected to something that you are applying for – that’s when it will usually work out. For example, for me to do a lot of residences, if I was lucky enough to get them, is something I would find very distracting. I would only do a residency at a certain time if it Paul Nugent Hypnosis No.1 Photographic print. Size variable. Courtesy The Third Space Galllery Belfast and The Barbara Behan Gallery London. makes sense for me. But of course the experience of applying for things is valuable. The Profession of Creativity JO: How then did your residency in Paris come about? PN: It was through a connection with Helen Carey the Director of the PAUL NUGENT DISCUSSES THE DEVELOPMENT OF HIS ART CAREER Centre Culturel Irlandais in Paris. She had organised a group show with the gallery I was with at the time. From that connection I liaised Jason Oakley: What is your approach to professional practice? JO: What’s been most influential for you, in terms of shaping with her to get a residency and with a solo exhibition at the Centre Paul Nugent: There are artists whose studios are almost like offices, but your approach to professional practice? running at the same time. It wasn’t just like “Oh I think I’ll go to Paris I prefer just sticking with the creative process. So I mainly deal with PN: I actually left school early at 14 and went straight to work – as a for three months” – there were some concrete reasons for wanting to the professional aspects of my practice through the gallery. My work is way of getting out of a certain type of educational system. I went back do it. very time consuming, so my studio practice takes up most of my time, into education via art college – at NCAD. And for me the experience of whether it be painting, or more recently when I’ve been experiencing being able to be creative everyday was incredible. The teaching was JO: What did you particularly get out of this residency? a more multi-faceted approach to my work, making sculptural pieces, focused on creativity; and this was my education in a broader sense. PN: I think the experience of the context of the city itself, as well as of short films and photographs. After graduating, well Dublin was a very different place in the Paris audiences. Also working in a different studio space – and early 1990s – myself and another artist, Alison Pilkington approached showing my work in an exhibition space that was quite big – JO: What do you specifically look for from the gallery? previously I’d only exhibited in smaller venues. I got to show a larger a landlord about spaces on the second floor of a building on Angier PN: The sign of a really mature and experienced professional gallery is body of work and a different scale of work; and saw how that affected Street. It was a very raw space, but it suited our purposes. The idea of one who can actually undertake the multi-faceted task of representing the work and the space in a different way. having that space to go to every day – having a routine of ‘going to to clients the individual qualities of the artists that they show. It is a One of the main objectives was to try to connect with galleries in work’ was very important. Being active and developing ideas – instead slow building process – it can’t be rushed. Paris. The residency and exhibition were given to me with that as one of waiting to be connected to a gallery was really helpful. My own At the moment I am represented by two galleries – Hugh of the main objectives. I did this through Helen; and besides sending personal experience was that after about four years of working in that Mulholland’s Gallery, The Third Space in Belfast; and the Barbara out invitations I also decided to directly approach certain galleries. Of studio I then managed to make work that I was happy with and Behan Gallery in London. Both are keen to show their artists in course I only arranged meetings with galleries that I had researched – managed to exhibit. And there was a social aspect to it – that’s really national and international contexts. For example, the Barbara Behan I might have gone to openings in these places and talked to the important to artists, because you can exchange ideas; or just give out gallery has recently shown my work in the London Art Fair. One of the director and so on. Also some of the galleries had come to see my show best things that can happen in an art fair, from an artist’s perspective, about whatever is annoying you. and knew about the residency. So it didn’t seem so strange to them – is when the actual personalities of the galleries get to interconnect in The process of getting to show work in galleries was very slow. I there was a context for me contacting them. I am still in contact with some way – when galleries from different cities or countries get was fortunate enough to start a relationship with a gallery – The Jo one of these galleries with a view to exhibiting in the future. together and there is cross-nurturing of artists. Rain (later to become the Kevin Kavanagh) – because it was just starting up as well – I think it was a good experience for me. It made it JO: Your work is in the collection of the Irish Museum of Modern JO: Have you ever been called upon to be involved with buyers? easier to forge a working relationship and make things happen. And Art – what do you think is the particular value of having your PN: I met one of my buyers at the Barbara Behan gallery a while ago; the experience of showing for the first time is one that stays with you. work in a public collection? and it seemed quite a natural happening – they wanted to meet me The more you show, the more you learn – you also understand that the PN: Well, I’ve been fortunate enough that my work from IMMA has and ask questions about the work that they had purchased. It’s a next show should be better than the last one. been shown internationally as part of curated shows. My own positive experience, each time a person buys one of your works, in experience is that the work is ‘revived’ in some way, because its sense effect they become an ambassador for your practice. JO: How did you support yourself? of context is broadened by the works it is shown alongside, as well as PN: Well I think most people during that time, were actually on the where it is shown – be it at institutions in China or America, that I JO: Could you describe your studio? dole. would otherwise not have the opportunity for my work to have a PN: My current studio is on Henrietta Street, one of the best-preserved connection with. The idea that the work is being represented in that Georgian streets in Dublin. The studio has a really particular quality of JO: You teach now … way is wonderful. These sorts of ‘sales’ are very important in your space and light. Myself and the other artists in the building all rent our PN: This also took a long time. And it is not something I actually career. It broadens your audience. It also re-enforces the context from spaces separately from the landlord – it is not a group studio situation. pursued – I was lucky enough to be asked, to do projects in institutions which the work stems from – so it can take on an international My galleries insure my completed work in the studio – as well as when relevance. such as Limerick College of Art and Design, The Crawford and NCAD. it is being transported and exhibited. I look after the cataloguing of my For me the most important thing is visibility and showing my I was allocated a day a week. Of course I always try and keep the work and getting professional slides etc made of the work. With the work in as many good contexts as possible. In this way you learn about lecturing balanced with the studio work. A lecturer, who is actively recent film and photography work, I’ve naturally been making this the practicalities of installing work and how the work can develop in involved in a studio practice, brings that with them – it is quite work outside of the studio and getting it processed and printed using different contexts. obvious to students. You have that recent history of creativity and www.centreculturelirlandais.com specialised services. enthusiasm. www.barbarabehan.com www.thethirdspacegallery.com The Visual Artists’ News Sheet March / April 2007 17 INSTITUTION PROFILE Thorunn Eymundardoittir (Shelter) A Sacred Space 2006 Icelandic Love Corpororation Death in the Road Cover image from the first edition of Brochure. restaurant. The gallery also initiated the publication of Brochure in conjunction with Tulca launched in December. A Collaborative Effort The production of Brochure was certainly a milestone for the gallery and is evidence of the group confidence of the contemporary visual arts community in Galway. Brochure includes written and ROSIE LYNCH A CURATOR / MANAGER WITH ARD BIA GALLERY GALWAY, PROFILES THEIR FIRST visual contributions by. Aideen Barry, artisit, Niall deBuitlear, Russell Hart, Icelandic Love Corporation, Rosie Lynch, Aoibheann Mac BATCH OF PROJECTS AND EXHIBITIONS. Namara, Niall Moore, Maeve Mulrennan, Gavin Murphy, Maeve O’ Neill, Ben Roosevelt and Jackie Summell. It is available from the gallery and other locations for free and will be an ongoing project, grant aided by Galway City Council. Developing strong links with locally based artists and curators has been an enduring commitment of the gallery. Following Aideen Barry’s solo show in February 2006 we have benefited greatly from Aideen’s continued dynamic input into the visual arts culture of the west of Ireland. Ben Roosevelt’s installation Legion, September 2006, cemented our relationship with the artist who has been actively involved in the gallery from the beginning and is currently based in Atlanta Georgia, USA. A former MFA student in the Burren College of Art his input into the gallery reflects the visible and dynamic presence of the college in the Galway art scene. Russell Hart’s ongoing curatorial project under the tag of Economic Thought produced a vinyl recording by Si Schroeder for his show in June 2006, which included works by Isabel Nolan and Jo McGonigal. Russel Hart’s contribution to Ard Bia has been huge. The gallery’s achievements owe an immense debt to the personal commitment of Russell, and it also has benefited from the contributions of amongst others Katherine Waugh who has supported the gallery through its infancy. ‘Poetic Geographies’ occurred as part of our Winter Show 2006, Jennie Moran and Marta Bahilio created a series of lamps and embroidered pillowcases and in doing so offered simple acts of homemade simplicity and beauty. The project is symptomatic of other Ard Bia ventures including the recent production of a range of Ard Bia Pottery. Commercially viable but inventive projects such as these have Ard Bia Gallery, 'Connecting Lines' – Sarah Lincoln, Rosie Lynch, May 2006. Photo: Anita Murphy opened up the remit of the gallery to include playful yet conceptually driven design ventures. Mash, inhabits this vague territory between IN conjunction with the gallery’s eight shows a year, Ard Bia gallery exchange, networking and dialogue with an emphasis on developing art, design and living. A collaboration between Italian designers runs a small art bookshop and offers an outside courtyard space for a link with experimental Icelandic visual art practices. A highlight for Marios and Polish visual artist Karolina Kowalska, they will return the performances. We provide a programme of lectures, talks, and Ard Bia was a visit in July 2006 from the Icelandic Love Corporation. gallery to its original shop function for the month of April. experimental music events and have recently initiated the production Their six week exhibition, ‘Eruption – Corruption’, was opened by a May 2007 will see a group of nine artists / curators / musicians / of a quarterly visual arts publication for Galway, entitled Brochure. spectacularly hand crafted performance that included a lively array of writers embarking on a two-week residency in Eastern Iceland, The space has developed on a small scale as a service that fosters other fire, axes, wool crocheted outfits and balloons. An unusually hot Irish pitching their tents in the surrounding area of Skaftfell Cultural creative practices and projects. Aoibheann Mac Namara started Ard summer greeted them; off site events included an Ard Bia/ILC trip to Centre in an Ard Bia instigated venture. ‘Convoy’ will mischievously Bia Gallery in Galway in September 2005. I joined her fresh from my nearby Barna woods for a spot of nest building and an impromptu explore concepts of the artist working in isolation and utopian ideals degree year in NCAD. After our initial period of ‘pioneering’ Ard Bia performance in the ‘romantic’ surroundings of Ashford Castle. Their of the idyllic. The ‘hikers’, Aideen Barry, Russell Hart, Jo Mc Gonigal, has found its place positioned, slightly uncomfortably, between the visit confirmed the importance of playful interaction. Tara Kennedy, Rosie Lynch, Aoibheann Mac Namara, Chris Nelson and commercial gallery and the independent art space. Ard Bia’s Icelandic connection was furthered by a solo show by Katherine Waugh, have crossed paths through recent events and Our interchange with the city has been greatly enhanced by the Thorunn Eymundardoittir for Tulca, November 2006. Tulca’s happenings that have emerged in Galway’s visual arts scene. All these appearance of g126, the growth in ambition of Tulca, the ambitious programme included a substantial group of local, national individuals are concerned with its sustainability and direction, and development of the Fisheries Tower as an art space and the formation and international exhibitions as well as a dynamic live-art programme are optimistic. Convoy is an attempt to draw attention to the of the organisation artisit? The sharing of resources and equipment and a series of talks. The beauty of Tulca lies in the potential for structures that arise out of a collective initiative. has allowed each event and organisation to grow and develop informal meetings in Galway’s village-like environment. The Rosie Lynch is a visual artist and works in Ard Bia Gallery collectively. My strongest feeling from my year and a half working in experience of having international artists working alongside the local in the role of curator/manager. Ard Bia Gallery has been the sense of working communally, as a loose arts community is far-reaching. Cliodhna Shaffrey, Sarah Searson and www.ardbia.com ‘co-op’ of ideas and purpose – our common ground being a desire to Aine Phillips, Tulca’s curators provided the gallery with much create a lively dose of contemporary visual culture in the city and appreciated expertise and support. Ard Bia activities included a public Ard Bia is currently welcoming exhibition and project proposals for provide tangible spaces and structures for this to occur. discussion between Russell Hart and IMMA head curator, Rachael 2008 and visual and written submissions for Brochure 2. Ard Bia’s programme includes a platform for international Thomas and a ‘feast’ conjured up by Domestic Godless in Ard Bia 18 The Visual Artists’ News Sheet March / April 2007 PROJECT PROFILE Space is The Place PETER MUTSCHLER, ARTIST AND HEAD OF ‘GROUND CONTROL’PROFILES SPACE SHUTTLE, A SERIES OF SIX PROJECTS OF URBAN CREATIVITY AND SOCIAL INTERACTION THAT TOOK PLACE IN VARIOUS SPACES IN BELFAST Call Centre Colllective Pass Odyssey. SPACE SHUTTLE Mission One: Donegall Pass. Siraj Izhar 7 by 7 SPACE SHUTTLE Mission Four: Blackstaff Square S Browne / G Kennedy Episode 306, Dallas, Belfast. SPACE SHUTTLE Mission Two: Titanic Quarter. “HELLO. This is SPACE SHUTTLE – an experimental base for artists landowners, architects and manufacturers, we also re-wrote and and the Call Centre Collective welcomed this as a kind of success, and urbanauts. I have been launched to six different orbits around adapted the description of the project many times – curtailing our indicating a legitimate engagement with the real world, rather than planet Belfast. My mission is to explore the creative environment. initial aspirations for a de-mountable, recyclable structure with solar art world. Please keep in contact. www.spaceshuttle.org.uk Return to mother- panels; and shortening the frequency of ‘missions’ and the length of ship PS2” This small text, printed on a red plaque stuck to the steel excursions. These changes and adaptations were made due to ‘reality’ Outcome skin of the ‘work-base’, sums up a series of projects, which started last and budgetary constraints, but nevertheless this negotiation process SPACE SHUTTLE is nearly at the end of its journey – but as a project it summer and will conclude in April this year. With many references was interesting; full of discoveries in itself. is far from being complete. A ‘space for free’ call for ideas is currently and ironic similarities to real space travel, SPACE SHUTTLE was and is However the most important part of SPACE SHUTTLE was and is under away, and the ‘shuttle’ will be handed over to successful both a programme and a vehicle; a flexible and multifunctional the participating artists. We were not only looking for ‘spacial applicants for their own initiatives – therefore prolonging its creative platform – small enough to be lifted by crane lorry onto pavements practitioners’ and ‘urban interventionist’s with a strong creative use. How much the missions and the concept behind it were and big enough to function as a meeting place or workshop for up to identity, representing a range of artistic positions – but fully successful will perhaps be seen at a final presentation entitled ‘SPACE 15 people. A mobile space for ‘missions’ of urban creativity and social committed artists; who were prepared to work not only two weeks SHUTTLE – mission findings’ that will be presented at PS2and in the interaction – a slightly unfortunate term perhaps in a place, where exposed on-site, but also to research their project in Belfast and come shuttle between 23 April and 5 May 2007. A publication featuring religion plays such a significant political part, but which, on the other up with a site specific and – possibly more importantly – devise a critical texts will accompany this review-show. hand stated a conviction to place contemporary art (back) into an social and micro-politically influenced strategies and practices. All the As a tightly framed series of experiments, the projects can be everyday social environment. SPACE SHUTTLE was funded by Belfast artists worked for a fee of £600 per project, a shamefully small sum – assessed both individually and as a whole – what worked, what didn’t, City Council through Celebrate Belfast 2006 and is supported by the and yet the highest we have ever been able to afford, representing in what can be learned and what will stick in the memory? What an Arts Council of Northern Ireland through the National Lottery. total around 10% of the £33,000 budget, with all the organization / initiative like SPACE SHUTTLE underlines for us, is the creative administration carried out by PS2 ‘in kind’, ie. unpaid. potential of interactive projects based in the ‘real world’ – both for the Background SPACE SHUTTLE was a very time-intensive project, with a long artists and the public. Paragon Studios, is a small artist collective, with studio space in the pre-production time. And it was a demanding and exhausting project But it also highlights, through the conclusions and centre of Belfast. A former shop in the same building, utilized as – not in the least now that we are in the post-production period, where contradictions inherent in its concept, a duality between ‘art space’ project space, is used as a platform for art projects and run on a experience’s gained and the findings of the various artist’s projects are and ‘real space’, between the artwork and its recipient or participant. voluntary base with the focus on art in an urban context – under the being edited and transcribed. In which ways does art change in an everyday context; and how do the title PS2. In 2005 we organised a project called ‘Street Archaeology’, artists transform this reality? This was the fundamental question set www.streetarchaeology.co.uk, where we invited artists to take Locations out at the beginning of SPACE SHUTTLE’s missions, tested in this Donegall Street as their subject for video and text, which were then Although the artists were free to choose their location within Belfast, series with lots of joy and hard work by all the ‘crew’ members. The shown in the windows and facades of nearly 30 shops and offices. The we asked them to emphasise non-touristy and culturally under- question remains ‘Return to mother-ship PS2’ or stay in new orbits? project prompted some key questions – in which way does art change resourced sites. With a strong element of unpredictability, the final Peter Mutschler is an artist at PS2 within the everyday contexts of a hairdresser’s or a flower shop? How criteria for a site, was often that it had ‘to feel right’. Most of the and head of SPACE SHUTTLE ground control truly ‘site-specific’ is the outcome; or did we just change the location locations were within walking distance of the city centre and www.spaceshuttle.org.uk / www.pssquared.org and the audience? Did the artists transform the flower shop into an distinctive in their urban character. Together these locations formed a unexpected art venue; and the shopkeeper and their customers into fragmented city-map – with many links and connections within the projects; both spatial and thematic. SPACE SHUTTLE MISSIONS 2006/7 art-experts? To test these questions about the relation between artist, Mission One. 22 – 29Aug 2006. Donegall Pass. Call Centre Collective Pass Odyssey. An interdisciplinary group of artists, designers and architects from Interface, University of production, urban environment and street audience in reality; we Audience & Participation Ulster, initiated a series of events and provocative environmental and community were looking for a conceptual framework; a playful sequence of To reach new audiences is now a stereotypical pledge and a ‘to-be- themed multi-media activities with young people and other local residents. repeated experiments in a changeable, but formalised laboratory. We ticked’ box in applications. But it is a real and important issue, if art Mission Two. 31 Aug – 16 Sept 2006. Titanic Quarter. Sarah Browne / Gareth Kennedy came up with a concept, quite intuitively – rather than theoretically, wants to be relevant and socially influential. SPACE SHUTTLE by its Episode 306: Dallas, Belfast. Together with a group of people selected by invitation and open audition, Kennedy and Browne made a film based on a fictional script of the 1980s that demanded flexibility and mobility as a useful tactic. It turned out mobile nature, did not only address the public but many publics – TV show Dallas, investigating issues of development, prosperity and choice in the context of Belfast’s ongoing regeneration. to be a highly relevant approach as PS2 will soon itself be a victim of often changing during the course of the day. The ‘missions’ were regeneration. intended to be as open and accessible as possible, not only physically, Mission Three 18 Sept – 5 Oct 2006. North Street / Waring Street. Aisling O’Beirn Some Things about Belfast (Or so I’m Told). O’Beirn used the shuttle as an unofficial transmitter but also mentally. SPACE SHUTTLE included a ramp for prams or and receiver of informal, unofficial contemporary information about Belfast. Preparation & Organisation skateboards; and the project artists complimented by ‘engaged Mission Four. 9 – 19 Oct 2006. Blackstaff Square. Siraj Izhar 7 by 7 and the Health & The concept for SPACE SHUTTLE is simple – a purpose built, invigilators’ working alongside them as mediators. This was one of the Wealth syndicate. A mythic, utopian fable about basic social and economic realities. multifunctional structure, 12m2 internally – and a scaled replica of most demanding aspect of the projects – to be directly confronted by a Mission Five. 23 Oct – 2 Nov 2006. Dublin Road/Shaftesbury Square. Mick O’Kelly Find PS2 project space, was sent into ‘orbit’ for six missions around Belfast. diverse and unpredictable street audience; nosey kids and youngsters, Your Perfect. O’Kelly converted the shuttle to a mobile unit / apartment, where the selling point was the buyer, who could choose their desired location. For up to two weeks, interdisciplinary artists/initiatives and unsuspecting curious people, interested, casual, sometimes engaged, community organizations used the ‘device’ as a platform for urban sometimes just asking for directions or where to renew a passport. Mission Six. 19 – 30 Mar 2007. St. Aidan’s Christian Brothers Primary School, Ballymurphy, Belfast. Barnados/Amy Russell. Community Organisations, as experts in direct creativity and social interaction. SPACE SHUTTLE was open to being Most artists were initially nervous about this personal exposure and community action, the children charity Barnados together with the artist Amy Russell are unprotected vulnerability – far more than their concerns of negative invited, to open up the ‘art’ field and to challenge the topic of social intervention. This will utilised as an on-site work base, as office/meeting point for activities allow SPACE SHUTTLE, to question and expand the boundaries of ‘art in a social context’ and non-profit use in order to create, with the participation of the reactions towards their work. Yet we were lucky, as incidents that did and the subject of ‘social engagement’ in art. residents and social environment, new site-influenced work. occur, ultimately resulted in creative rather than destructive forms of SPACE SHUTTLE mission findings. 23 April – 05 May 2007. PS2 and shuttle locations. While putting together the funding applications, contacting conflict. One audience, which didn’t seem to respond, was the usual Presentation of all projects, edited work and launch of publication. artists, undertaking web research, dealing with road services, art audience – who didn’t seem to take much notice. Both Siraj Izhar The Visual Artists’ News Sheet March / April 2007 19 INSTITUTION PROFILE The Third Space. Installation view of Mark McGreevy’s exhibition ( It 14 Sept – 13 Oct 2006). The Third Space. Installation view of Mark McGreevy’s exhibition ( It 14 Sept – 13 Oct 2006). The Third Space. Installation view of Mark McGreevy’s exhibition ( It 14 Sept – 13 Oct 2006). Focusing the Spotlight DANIEL JEWESBURY INTERVIEWS HUGH MULHOLLAND, DIRECTOR OF THE THIRD SPACE, BELFAST HUGH Mulholland began curating in Northern Ireland when he commercially, without artists having had to compromise their goals DJ: If The Third Space makes art practice here more healthy by established the Context Gallery in the buildings of Derry’s Playhouse for their work along the way. So what I want to do now is to provide concentrating more attention on it, making it possible for artists Theatre in 1992. Moving on from there to become Director of the some kind of structure for that potential, but I’m not prepared to to make a living from their work, and if that in turn leads to Ormeau Baths Gallery, he brought to Belfast names as diverse and undersell those artists in the process, to make allowances for the young artists leaving college wanting a career path, would you renowned as Bill Viola, Gilbert & George, Yoko Ono, Sol LeWitt and absence of a market here. expect that others will now try and emulate what you’re doing Stan Douglas, as well as continuing to provide a unique platform for and set up other commercial galleries? artists in the North to develop their careers. Outside of Ireland, DJ: What are the directions out for contemporary art in Northern HM: Yes I hope so. It’s surprising to me that Belfast has operated for so Mulholland curated ‘The Nature of Things’, Northern Ireland’s first Ireland? What are the directions that you’re looking to at the long without a commercial environment. I am sure that there will be exhibition at the Venice Biennale, in 2005; having been re-appointed moment, in terms of orientating your gallery early on? those who will see an opportunity to do something different from me. to the post for next year, he has selected Willie Doherty to be the HM: When I was at OBG, I was very particular that what we were There are enough good artists out there who need representation to North’s representative. In October 2006, Mulholland established his doing ought to be aligned to certain galleries beyond Ireland. In the sustain a number of commercial spaces. own commercial gallery, The Third Space, in the centre of Belfast. course of my career I’ve come into contact with many curators, Visual Artists’ Newsletter asked Mulholland what lay behind the galleries and buyers around the world who are very interested in DJ: Galleries in Dublin were never that interested in making timing of this new venture, and for his thoughts about current Northern Irish art practice, and I hope now through the Third Space to long-term commitments to artists from Belfast, with a couple of conditions for contemporary art in the North of Ireland. introduce artists to those contacts. If an artist is well-known it is as exceptions. Do you think that what you’re doing helps to increase important for me in developing their career profile as them simply interest from galleries outside Belfast? Hugh Mulholland: I’ve had a desire to do this for a long time. I had a exhibiting every two years with me in a commercial context. HM: Yes, positioning a credible commercial space in Belfast at Fine Art education, and a peer group who were trying to develop this time will hopefully extend the awareness of collectors from careers as artists. Later, when I went into arts administration, I was DJ: Might you have done it sooner? outside of Northern Ireland. In the past galleries from Dublin may interested in their career paths, and I felt that they were linked to my HM: I might have wanted to do it sooner, but the circumstances didn’t have taken an occasional interest in artists here, but now with the own career development. Initially, there were limited opportunities exist previously. Our strong presence at the Venice Biennale in 2005 Third Space focusing more of a spotlight on those artists it’s bound to for working in publicly-funded spaces, so I did what my made the international interest in Northern Irish art practice much generate a greater level of interest. contemporaries did and set up a space myself. While I was doing that more apparent. So this confirms that we’re operating at a level that is at Context, my contemporaries were doing the same in spaces like comparable to art practice and discourse anywhere else. So it seems to DJ: Do you feel at all optimistic about the future of public spaces Catalyst. Being aware of what they and others were doing, I created my me the perfect time to capitalise on those achievements. in Belfast? own working relationships with artists, through Context, in a way HM: No. I can’t; I think it’s a disaster. Having worked as long as I have which continues to inform how I’ve worked with artists since. DJ: Northern Irish art has sometimes been stifled by the in publicly-funded spaces, some which were well funded, and others So over the course of my career, so far, I’ve maintained that ‘Northern Irish’ label. International curators had a narrow less so, I feel we’re not even maintaining the same position any more, impetus, the reason why I went into arts administration in the first understanding of what they’d find here – edgy Troubles art. Is it and of course this refers to OBG and the actions of the Arts Council. If place. Recently my thinking has been that to some extent the public important to you to define something beyond that? the Arts Council choose to take control of a publicly-funded space, the system is not always the best or only place to develop artists’ careers. HM: I’ve played host to many visiting curators who came to view way they did with OBG, if they become hands-on, then it’s legitimate Northern Irish art with particular agendas. But even though they may to say that they are responsible for the current lack of direction in Daniel Jewesbury: People’s practice here was conditioned for have come with a very particular objective, to select work that they publicly funded spaces here. However, perhaps the Belfast arts scene such a long time by the absence of commercial galleries; now that thought reflected a certain received view of Northern Ireland, many of will renew itself as it has done in the past, although it’s going to take a you’re introducing the only purely contemporary, purely them, after seeing the art that was being made here, didn’t stick with long time. commercial space here, it means that you have to bring into the their original intentions, they ended up making very different Right now I am excited about what I see happening within the commercial context work that, for a long time, developed very exhibitions as a result of their visits. commercial sector and along with maintaining some freelance separately to that, because it had to. Some of the artists [in Venice] may have made work that was projects, this is the area that I want to invest my time in now, and what HM: In the absence of this commercial market, artists’ work was able ‘political’, but it was about ‘place’, it came out of a period of reflection; I want the Third Space to be part of. to evolve quite naturally, without that influence, without being being reflective, rather than reactive, it was much more complex, less The Third Space 16 Donegall Square South, BT1 5JA, Belfast directed by a market. Art practice in Northern Ireland has now reached clichéd. T: 028 9023 7757 www.thethirdspacegallery.com a point where it is accepted internationally and is ready to be accepted 20 The Visual Artists’ News Sheet March / April 2007 HOW IT IS MADE Key Cutting TIM LLOYD DESCRIBES THE PROCESSES AND IDEAS BEHIND HIS RECENT INSTALLATION AT THE GLUCKSMAN GALLERY CORK Tim Lloyd Key Cutting, 2006, site-specific video installation. Tim Lloyd Key Cutting, 2006, DVD still. selecting which views I would obtain footage of to manipulate in my videos. To facilitate this process I produced a series of templates in Photoshop that I could position over images to identify the best locations. The final selections were two external shots that were used for the boat and the tree house, and an internal one for the rocket. The top of the building with its wooden lats was used to resemble the hull Tim Lloyd Key Cutting, 2006, site-specific video installation. of a boat, with the sky acting as its sails. A section of the gallery filmed through some trees formed the footage for the tree house piece and a shot of some large silver pipes in a plant room were transformed into the rocket in the third video. The documented events recording the physical production and assembly of each set of tangram pieces were produced in situ. Shot on a single 3 chip digital camcorder these choreographed actions utilized the natural lighting and characteristics of their location. Each performance was executed in a similar manner following the same series of cuts to produce the pieces, with noticeable variation only accruing with the placement of the wooden pieces. The running time Tim Lloyd Key Cutting, 2006, DVD still. Tim Lloyd Key Cutting, 2006, DVD still. was approximately 9 mins for each video piece. In all the pieces I am IN the spring of 2006, I was invited to take part in ‘Investigations’, at interesting line of enquiry. I found that using these shapes I could visible wearing an identical black t-shirt. In earlier works I utilized the the Lewis Glucksman Gallery, Cork – a series of projects that explores make a variety of images that the Glucksman is said to resemble, device of wearing a blue boiler suit to underline a level of considered the relationship and intersections between the gallery and its namely a boat, a tree house and a rocket. Thanks to some previous intent – as I engaged with my inquiries in a manner akin to an university environment, situated as it is on the University College studio based research that had been sitting on the back burner, I amateur scientist. However in recent works I have adopted a more Cork campus. My contribution to these projects was curated by Ciara thought that I might have an interesting way to develop this further. nonchalant approach to my appearance, dressing often in t-shirt and Healy, Glucksman Curatorial Fellow for 2005 – 2006. Through the My earlier tests had involved examining the possibility of jeans, taking on less of a ‘persona’. With this work my one overriding concerns and interests of my own practice, my response to these combining blue-screen editing effects with performance-based concern with clothing was simply that it wasn’t blue, in order not to artistic inquiries was three site-specific video installations, entitled actions. Blue-screen – also known as ‘croma key’ is the popular interfere with the effects of the blue-screen process. Key Cutting, that were installed throughout the gallery complex (10 filmmaking technique of using a single colour background, usually For the final editing process I used two editing packages, Final Nov – 8 Dec). The video components consisted of factual and non- blue or green, that can then be replaced by another image, resulting in Cut Express and Adobe After Effects. Final Cut Express is the paired factual elements combined to produce ‘uncanny’ visual imagery of two sections of footage becoming united on the same picture plain. down version of the industry standard Final Cut Pro and I find that it performance-based activities. Located in the gallery bookshop and on Think of the TV weatherman pointing at a map that we know isn’t generally serves my editing needs. However whilst I wasn’t looking for two of the landings, these installations revealed much of the actually behind him. Thanks to digital compositing these techniques cinematic production values with my special effects there were some mechanics behind their trickery with the inclusion of the props and have become widely available on digital editing packages, and are problem segments of footage that needed the greater degree of ad-hoc coloured structures used to produce the works still installed. relatively straight-forward to use. manipulation offered by After Effects. For anyone not familiar with My first site visit was also the first time I physically encountered Using this technique I had discovered that by painting sheets of this package it is best described as Photoshop for video. the Glucksman building; and even though I had seen images on the MDF with blue paint I could cut them with a jigsaw and edit the Over the last five years my work has been concerned with web, I was still taken back by how visually stimulating the spaces in footage to appear as though I was sawing through chunks of video generating a sense of event, with performance-based investigations, the O’Donnell and Tuomey designed building were. After exploring footage. Thanks to this knowledge the work really began to progress. I choreographed for the purpose of documenting them to video, at several other avenues I became particularly drawn to the visual now planned to cut up images of sections of gallery that could then be forefront of my practice. These pieces often reference physical associations that the architecture evoked. Among other things the reassemble into other images. Sheets of MDF were attached to free- constructions that I utilize to explore our understanding of space. building has been referred to as looking like a vessel, a tree house, a standing frames with the design of the puzzle marked out on them, so With these works for the Glucksman I sought to humorously provoke space ship and an interlocking puzzle. It was a combination of these that I could cut them in a vertical position. Thus I could use a single a re-evaluation of the way that the institution and its architecture are elements that I would eventually reference in my work. camera angle to film myself cutting the wood, and then attaching the understood and in doing so also questions how we perceive the world Whilst researching different types of puzzles in response to the shapes to a wall directly behind me, in one take. Thanks to the around us. Rubik’s cube type appearance of the gallery, I came across a Chinese discovery of the Chinese puzzle, I had a device whereby I could apply Tim Lloyd puzzle called a Tangram. This is a flat seven piece puzzle made up a similar series of actions to manipulate multiple video pieces, with predominantly of triangles. The object of the puzzle is to assemble a different yet related outcomes. variety of different images using only the shapes available. It’s a puzzle From my site visits I had compiled a catalogue of images of the that I remembered seeing before, but its rediscovery sparked an gallery and its surrounding environment. I now began the process of The Visual Artists’ News Sheet March / April 2007 21 RESIDENCIES Yvonne Cullivan Glenade Mountains, view from home be adapted to house work in any medium. And technical support and advice is readily available. Personally I find that a longer residency has many advantages, subconsciously you are becoming familiar with and preparing for the space or site in which your work will be shown, there is time available to explore tangents, for work to morph and develop and you obtain a sense of place that can enrich and inform the work. I’m sitting here now, as the light fades and the sun slips behind Benbo, thinking of the journey from my initial ideas in text, the ways in which the project has adhered to these and yet expanded from these and can still develop. Smiling at some of the conversations I’ve had on the side of the road and marvelling at some of the views I’ve stumbled across in this seemingly timeless place. The problem now, as always with a residency, is moving on! But as luck and the weather would have it, I have only completed one stage of my proposal. The original project involves a site-specific Yvonne Cullivan Swallow's House 1 sound installation, which I found impossible to physically work on Lost in Loverly Leitrim within the damp frozen shells I had sourced, given the time of year. LSC is a flexible and adaptable centre, a project space that is also a gallery space, depending on the needs of the artists that use it. The focus here is on the development of the artist’s work and finding the YVONNE CULLIVAN, DESCRIBES HER TIME AT LEITRIM SCULPTURE CENTRE, MANORHAMILTON best means to facilitate this. And so in discussion with the Centre’s director, Sean O’Reilly, I will be showing my work to date as a gallery WHILE walking with a friend in the remains of rural Cavan last year, I replaced with or transformed in their juxtaposition with larger exhibition from 3 – 17 March and returning in the summer, without came upon a small low cottage enveloped in over growth, the front modern homes. The project I proposed for my time at LSC involved my gloves hopefully, to continue the site-specific work. door ajar. Inside, encased in dust and dirt, lay inanimate abandoned sourcing one such building for development as an installation space objects; furniture, possessions, icons. For a long time the incessant and drawing focus through sound onto the empty state of decay and Yvonne Cullivan urbanisation of Cavan had been playing on my mind. This one house imminent elimination of the building. I found more than one. Part of www.yvonnecullivan.com / www.leitrimsculpturecentre.ie seemed to symbolise in its silence and stillness all that was forgotten the research and possible outcome of my proposed project also and all that was in transition, in both geographical and social terms. involved collecting audio from recorded interviews. I wanted to find Notes (1) In 2006 Leitrim Sculpture Centre and Leitrim County Council agreed on a programme of When Leitrim County Council advertised residencies in the Leitrim out what the people of Leitrim felt about the developments within national and international artists residencies to be hosted by the centre and at various other locations across the county. The programme started late in 2006 and attracted 30 applicants Sculpture Centre (1), it seemed the ideal location to develop a response their county and in the country in general. The project itself addresses from Ireland and as far away as the Ukraine, Canada and Brazil. Six artists were chosen for the to this theme. I needed a place where the rural idyll was still graspable, an aspect of modern culture, which is widely affecting on a trans- 2006 round, three from Ireland and three from abroad. Artists included;Yvonne Cullivan, Ireland; Anthony Mawson, Ireland; Dorothee Kolle, Ireland; Mariusz Soltysik, Poland; Kristaps Gulbis, where some semblance of previous ideals still existed, where cranes generational level. It would be necessary to communicate with a Latvia and Angela Conte from Brazil. and diggers where not constant on the skyline and in the ear, where considerable section of the community. development, I imagined, was occurring at a slower pace. And so I began months of driving and talking. When I would find My previous experiences of being ‘on residency’ were short term, an abandoned house and spend several hours of numb-fingered LSC Residency Exhibitions two weeks to one month, and usually involved isolation in a studio exploring and recording, I would return to the road to be greeted by an space with the aim of producing 2D work for exhibition elsewhere. inquisitive neighbour. The conversation would almost always start Exhibition Dates for the 2006 Residency Artists. These residencies provided necessary and supported ‘time out’, space the same way – “You’re not from around here anyway…?”, followed by Yvonne Cullivan: 3 – 17 March. LSC Gallery. to make, time to think, a place to hide away and work or to discuss and “We’ve an awful lot of priests here from Cavan…”. From there we could Yvonne Cullivan: 14 – 30 July. Derelict buildings, Nth Leitrim. engage with other artists. In the majority of cases, though, plans and broach any topic; the history of the place I had been exploring, Anthony Mawson: 20 April – May. LSC Gallery. preparations for the work were established in advance. LSC residency religion, the state of the country, the price of property or the changes Kristaps Gulbis: 12 – 26 May. LSC Gallery and Offsite. provided all of the above, but I came with a slightly different aim: to in Leitrim lifestyles. It seemed that the people of Leitrim would openly Angela Conte: 8 – 30 June. Gallery and outdoor locations. take time to think, explore, research, accumulate and produce within grab the opportunity to voice an opinion. I set up several interview Dorothee Kolle: 14 July – 4 August. LSC Gallery. and because of the particular environment. I had a skeleton structure days to capture the essence these conversations. And when I that needed interaction with the place and the people to fill out. I mentioned that I was looking at old abandoned houses, there would Leitrim Sculpture Centre will be inviting applications for a further proposed a longer residency, five months, to allow time to adjust and inevitably be another one to take a look at, another map to follow. 6 residencies for 2007. Three are intended to engage with respond to the environment, and thus found myself with a box of Leitrim was so dotted with these icons that I often narrowly escaped identified groups as part of an objective to develop Leitrim materials and a bag of clothes in the smallest of cottages, lodged collisions with sheep and hedges due scanning the landscape and audiences for the visual arts, and one of these three are intended to between two spectacular mountains, 12km from the nearest pint of jerking to a halt. In fact, it was while driving one crisp late-autumn engage with children or young people. Three other residencies are milk. morning, half following a hand-drawn map, half improvising a route intended to be for artists’ professional development in terms of The first of five residents to arrive at LSC, I was given a choice of based on the beauty of my surroundings and numerous side-roads, my exploring new technical skills, innovative practice or spaces in which to work. There’s no shortage of space here. I could car loaded with visual and audio recording equipment, my toes experimental work. Each residency culminates in an exhibition have taken the large warehouse with the printing press in the corner, accumulating no heat in the wellies, not knowing what or who I either at the centre’s extensive gallery and project space or a site- one of the bright, exposed spaces within the glass-fronted gallery would find around the corner, that I realised the full, involved specific work elsewhere in the county or both. Each artist receives building, or one of numerous rooms of various shapes and sizes in potential of being ‘on residency’. a studio with technical support and use of all the equipment at the Sheehan’s – a building frozen in time in the centre of the town. I Day after day I would return cold-toed to Manorhamilton, to sit centre. A budget of ?5,000 is attached to each residency and artists climbed the musty stairs three floors to claim a quiet, evening-sun- in front of the long studio window and gaze at Ben Bo, sifting through plan their own costs with assistance from the centre. For drenched room with a view of Benbo Mountain. the recorded conversations and imagery of that day’s adventures. Of information concerning see www.leitrimsculpturecentre.org Integral in the transformation of the rural environment is the course there came a time when the daily expeditions had to end and Deadline submission is 14 April 2007. Alternatively you can elimination of traces of the past, through the replacement of old with the involved task of preparing a conclusion arrived. Alongside request information and application forms direct by writing to new. This is most evident in relation to old homesteads which have availability of space, another positive aspect of LSC is adaptability of Residencies at email@example.com T: 071 9855 098. become obsolete: are left to disintegrate, have been completely space. The gallery building, though initially daunting due to scale, can SECOND CALL INTEGRATED ART PROJECT FOR THE NORTHERN IRELAND CANCER CENTRE AT BELFAST CITY HOSPITAL The Northern Ireland Cancer Centre has relocated to a new building on the site of the Jubilee Maternity Hospital at the Belfast City Hospital. Patients have started to use the new facilities since March 2006. 3 Integrated Commissions Three major sites have been identified in this new state of the art building that are suitable for integrated three dimensional artwork. 1 Architectural Glass Commission There is also one superb location for a large three dimensional architectural glass piece, making a total of four commissions. Artists are invited to apply for a place on a short list for the projects by Friday 27th April 2007. Shortlisted artists for each commission will be invited to proceed to a second stage developing detailed, costed proposals, for which a fee will be paid. To apply, please send your C.V. with a letter of interest (max. 400 words) and examples of a maximum of ten previous works in the form of 35mm slides or on C.D. The projects will be funded by charitable donations to the Belfast City Hospital. The commissioning phase is supported by the National Lottery through the Arts Council of Northern Ireland. Dr Roy Lyness, project co-ordinator can be contacted for informal discussionand a site visit on; (028) 90263669. The brief and an information pack may Frank Young, Capital Development Manager, Belfast City Hospital, Lisburn Rd, Belfast, BT9 7AD. T: (028) 90263643 E: firstname.lastname@example.org B.C.H. is an Equal Opportunities Employer Digital Projector Hire for members of Visual Artists Ireland Visual Artsits Ireland now has a number of new Digital Data Projectors available for both short & long-term hire by artist members. For further information, see the Services, Facilities & Resources section of our web site. www.visualartists.ie Visual Artists Ireland 37 Nt. Great George’s St, Dublin 1 T: 353 (0)1 872 2296 E: email@example.com www.visualartists.ie The Visual Artists’ News Sheet March / April 2007 25 ART IN THE PUBLIC REALM Art in The Public Realm RECENT PUBLIC ART COMMISSIONS, SITE-SPECIFIC WORKS, SOCIALLY ENGAGED PRACTICE AND OTHER FORMS OF ART OUTSIDE THE GALLERY. THE GIFT HORSEPOWER Commission Type: Open submission, percent for Art. Project budget; €5,000 Project partners: Clare County Council and the Arts Council of Ireland Artist: Kevin Holland www.shiftingground.net/ImmatureFluke Neumann from Balbriggan was commissioned by Title: Horsepower Fingal County Council’s Arts office to come up with Dimensions: 3.8m x 3.5m x 0.7m CHRIS REID, BELFAST. an art installation featuring light. The commission Material: Bronze is part of a project titled “Light up Fingal” which Location: New apartments located on the site of aims to work with artists using light to illuminate the old distillery, Blackpool, Cork. Artist: Sandra Bell the villages of Fingal. Artists are asked to draw on Commissioning body: Private developer Title: The Gift local themes and traditions to develop their Date sited: October 2006 Date: 2006 artwork. Christophe Neumann was inspired by the Budget: €20,000 Dimensions: 1800mm (h) x 500mm (w) x 450mm rich tradition of Mumming and projected life size Commission Type: Direct invitation. (d) Mummers on to buildings outside the Seamus Materials: Cast bronze Ennis Centre. The project was coupled with a visit CLARA PAVILIONS Location: Bentley Villas (a new residential unit for by mummers from Sardinia and Ireland which had crisis homelessness), Dún Laoghaire, Co. Dublin been facilitated by director of the Seamus Ennis Commissioner: Dún Laoghaire-Rathdown County Centre, Sean Mc Philibin. The Sardinian mummers Council under the Department of the Environment, performed their unique procession which was Heritage and Local Government Per Cent for Art enhanced by the Neumann’s dramatic projections. Scheme The project was very well received locally largely Chris Reid. Textwork at Cupar Way, Belfast. Type of Commission: 2 stage open submission because the subject matter chosen was such an Budget: €26,500 Commissioner: Interface, University of Ulster. important part of rural Fingal’s heritage and the Description of the work: a life-sized figure in cast performances help to put this theme in context. Type of Commission: Direct invitation bronze, with green patination and highlighted Budget: Artists fee / expenses Photo: Andy Mason CONTAINMENT polished areas. It depicts a curved abstract figure Sited: Nov 06 onwards, with second phase starting holding a bowl, which incorporates a water feature. summer 07. Artist statement: “the work was created with Artist: Jorn Ronnau Some years ago Chris Reid recorded a series of Maggie Maloney, the owner of the original site Title: Clara Pavilions conversations with people living in Belfast. Many of where the building stands, as the inspiration. Dimensions: Clara Triangle 2m X 1.2m X 1.2m, these conversations were about personal Maggie, who was a fishmonger all her life, Book of Friends 2m X .5m X 3.5m, Storytellers Bench experiences of trauma. Using these as a starting bequeathed her house to the County Council. The 2m X 1m X 4m point he transcribed, edited and abstracted sculptural figure is adorned with fish scales and Materials: beech wood and steel fragments from the testimonies. The resulting text waves and the bowl is overflowing with water, Location: Cluain Fia Housing Scheme, Clara, Co. fragments are given the form of signage and placed representing the bounty this state of the art Offaly into outdoor sites around the city. Sites chosen for building offers its new tenants.” Date commission advertised: Direct invitation in the signs included entrances and exits along some September 2005 interface barriers, as well as some buildings THE PAINTING LIBRARY Date work installed: September 2006 including Crumlin Road Jail. The intention is to Budget: €31,000 construct a narrative about conflict, trauma and Commissioner: Offaly County Council place. This narrative privileges trauma as the end Commission Type: Per cent for art, local authority consequence of conflict and that which each housing scheme community has in common. The first batch of these Main Project Partners: Offaly County Council signs was installed in December. Some of this work was shown in the Switch room as part of the IMMATURE FLUKE Interface ‘I confess I was there…’ show. Other Artist: Michael Burke Artist: Vincent Wall batches will be installed later in 2007. Title of Work: Containment Title of work / project. Immature Fluke Location: Civil Defence Headquarters, Benamore, Commissioner: Arts Office of Clare County LIGHT UP FINGAL The Painting Library was set up by Mairead Roscra, Co.Tipperary. Council for the Ground Up programme of Art in Artist: Christophe Neumann O’hEocha as a participating artist in Eigse’s Installed: 5 Dec 2006. rural contexts. Title of Work: Light Up Fingal ‘Utopias’ exhibition. Located in Carlow Central Materials: Fabricated stainless steel, stainless steel Project Dates: February 2007. Venue: Naul Buildings around the Square Library the scheme allows library members to take cables, cast bronze. Project Description: Graphic novel and Date: 7 – 9 Dec 2007 an original artwork home on loan much the same Dimensions: 3200mm x 600mm temporary public art event employing forms and Type of Commission: direct invitation way as they would take a book out of the library. Commission Type: Limited competition. techniques from popular and youth culture; comic Budget: €15,000 Four paintings were made by the artist to mark the Commissioner: Office of Public Works. culture, printed T-shirts, 3-D graphics, badges and Project Partners: Peter Canning High Resolution first stage of the painting library project. The artist‘s Project Partners: Stainless steel fabrication – Kells posters. The Public Art event will turn the Lighting/ Fingal County Council intention is for the painting library to expand and Stainless Steel Limited. Cast bronze sphere –CAST Courthouse Studios and Gallery into a scene from The project was a pilot this year so that is why it acquire additional works by other artists. Limited. www.paintinglibrary.eu the story, so the visitor can not only read the comic, was a direct invitation. This opportunity will be but also see it brought to life around them. advertised generally this year. Artist Christophe 26 The Visual Artists’ News Sheet March / April 2007 ART IN THE PUBLIC REALM 100 PACES Job Opportunity with VAI Professional Development Workshops Programme Manager Visual Artists Ireland is seeking a committed individual to manage and coordinate a new professional development workshop programme. VAI has received a grant form the Arts Council of Northern Ireland’s National Lottery fund to operate a professional development workshop programme valued at over €150,000 that is to be delivered over the next 3 years. We are seeking a committed and self motivated individual with excellent organisational abilities and written and verbal communication skills to lead the research, programming, co- ordination, delivery and evaluation this ambitious and prestigious programme. The position does not include teaching/delivering actual workshops. Photo: Derek Spiers. a collection of papers, photographs, catalogues and Artist: Sean Taylor The position is part time although the nature of the role will involve varying levels of moving images which document and record the Title: 10 Paces socially engaged, activist and process based arts engagement at different stages throughout the course of the programme. The role does not Materials / Dimensions: Site specific sound work traced and developed by CityArts over the necessarily require the person to be based in the Dublin office. artwork. past three decades. The result of this research was Commissioner: The Office of Public Works for The an exhibition, ‘The Art of Social Change’, an Closing date for applications 21 April 2007. National Museum of Ireland, Collins Barracks, international symposium ‘Memory-Art-Power’ and Dublin. a practical workshop ‘DIY Archiving’. Staged at the For full details contact: Type of Commission: Sound/Performance/Video City Library, Pearse Street, the aim of the project was Visual Artists Ireland Artwork three fold in its intent: Firstly, to profile CityArts Budget: €50,000 37 North Great George’s Street and its contribution to Irish Culture over the past Date Advertised: May 2006 Dublin 1 three decades; secondly to highlight the importance project Partners: OPW (commissioners)National E: firstname.lastname@example.org of The Archive at CityArts in documenting this Museum of Ireland at Collins Barracks, Dublin, Irish type of work; and thirdly and perhaps most T: 00353 (0)1 8722296 Defence Forces. Date of Project: 24 Feb 2007. importantly to make researchers and artists aware www.visualartists.ie Artist Statement: Since September 2006 Limerick of this unique resource. Following its Dublin based artist Sean Taylor has been working showing The Art of Social Change toured to The collaboratively with a platoon of regular Irish Switch Room, Belfast as part of the Interface I Defence Force soldiers at Collins Barracks, Cork to Confess that I Was There season of exhibitions and develop and choreography a unique physical events. The exhibition will tour to further venues in choral/drill based sound art work, for the National 2007. Museum of Ireland, Collins Barracks, Dublin. 100 Paces is a sound art composition commissioned by BIRCHWOOD HOUSE, WATERFORD The Office of Public Works for the National Museum of Ireland Collins Barracks, Dublin, incorporating formalised army drill combinations that are common to soldiers of the Defence Forces. These movements are further complimented by the soldiers singing/shouting a contemporary choral composition based on the musical repertoire of the Defence Forces musical ensembles. The completed choral/drill sound art work will be presented live in a series of timetabled performances to members of the public in Clarke Square at the National Museum of Ireland, Collins Barracks, Dublin, on Saturday 24th February 2007. A visual documentary recording of 100 Paces will be on display in the National Museum of Ireland at Collins Barracks as part of the museum’s permanent collection. Artist: Antonia Splini THE ART OF SOCIAL CHANGE Commissioners: Garter Lane Arts Centre Outreach Commissioners: CityArts in association with / Birchwood House, Waterford. Interface at The University of Ulster. The project Advertised. March 2006 was supported by The Heritage Council and Dublin Date sited: 14 November 2006. City Council. Budget: Circa ?6000. Sited: The project took place September – Project partners: The project was funded the December 2006. Department of Rural Community and Gaeltacht Budget: €35,000 Affairs in conjunction with Birchwood House in Type of commission: Self initiated project Waterford and Garter Lane Arts Centre. I worked Project Partners: Nina Tanis, Sandy Fitzgerald and with a group of children from Somalia, Sudan, Togo Jane Speller worked with material from The and Congo currently housed at Birchwood House. Archive at CityArts, supported by former staff For six weeks I conducted a series of workshops members and collaborators from the long history of exploring perceptions of self and the relationships the organisation, to produce a series of public between place and identity. The children’s creative events which would launch The Archive at responses generated the design for the ceramic CityArts. mural. Project Description: Home to the memory of CityArts, formerly City Arts Centre, The Archive is The Visual Artists’ News Sheet March / April 2007 27 ADVOCACY AND LOBBYING IVARO Update NOW A YEAR AND HALF OLD, IVARO (THE IRISH VISUAL ARTS RIGHTS ORGANISATION) HAS BEEN BUSY ADDRESSING A RANGE OF ISSUES INCLUDING THE DEVELOPMENT OF ITS MEMBERSHIP BASE; TACKLING THE APPLICATION OF ARTISTS RESALE RIGHT LEGISLATION; AS WELL AS LOOKING INTO LICENSING RATES AND ISSUES FOR THE REPRODUCTION OF IMAGES OF ARTISTS WORKS. IT is over one and a half years since the Irish Visual Artists Rights provides maximum benefits to artists without undue disruption to party concerning specific works, that is agreed on a case by case basis, Organisation (IVARO) was officially launched as an organisation. the art market. Written submissions have been made to the is known as a ‘primary’ licensing agreement. IVARO has helped a Since then IVARO has experienced considerable growth and has government, most recently in February 2007 ahead of a meeting number of members negotiate primary licenses. IVARO’s fee for this established itself on both a national and international level. There between IVARO and Michael Ahern TD, Minister of State at the service is agreed on a case-by-case basis depending on the amount of have been a number of significant developments in the last year most Department of Enterprise, Trade and Employment (this is the work involved. notably the introduction of the artist’s resale right. This article government department that deals with copyright legislation). provides an update on these developments and IVARO’s plans for the The latest submission reflects the difficulties which IVARO has Secondary Copying and Blanket Licensing future. experienced in the collection of resale royalties over the last 8 months. IVARO strongly advocates the collective management of the resale Secondary copying takes place for example when a university student Membership right by a collecting society as this best serves the interests of both photocopies an article in a journal for use in an educational context. artists and the art market. Indeed Irish art market professionals have The copyrighted material has already been published so the Membership of IVARO has risen to over 800 visual creators and confirmed that they would fully support the collection of resale photocopying is a secondary use. Universities and schools regularly copyright holders. There is no fee to join and members are drawn royalties by a collecting society such as IVARO as it provides engage in secondary copying and are therefore legally bound to from all sectors of the visual arts including fine art, design, illustration, numerous advantages in terms of cost savings and efficiency. It is also purchase a license from a registered collecting society in order to and photography. Heirs of deceased artists are also entitled to become the only way to ensure that royalties from the sale of Irish art abroad make such copies. members as copyright lasts for the artist’s lifetime plus 70 years after are collected and remitted to Irish artists. The Irish Copyright Licensing Agency (ICLA) is a well the artists death. established collecting society that represents authors and publishers AGM and New Board of Directors and has provided licenses to hundreds of educational establishments Registration with Controller around the country. Up until recently the ICLA license only dealt with IVARO held its first AGM on Thursday 14th December 2006 in text and not visual material. As a registered collecting society IVARO The Controller of Patents, Designs and Trademarks has issued IVARO Buswells Hotel in Dublin at which a new board of directors was has been able to negotiate a deal which allows ICLA to include the with a Certificate of Registration. This is essentially a license, which elected. The artists Vivienne Roche and Shane Cullen, who were both secondary copying of visual works in its licenses with educational enables IVARO to act as a collecting society for visual artists. A instrumental in getting IVARO up and running, retired from the establishments. In return IVARO receives a percentage of the total collecting society manages copyright and collects royalties on behalf board. A number of the original members were later co-opted onto the income that ICLA receives from the sales of its licenses. In 2006 this of its members. All collective licensing bodies operating in Ireland board in order to retain their expertise and knowledge. The new board licensing agreement brought in over ?35,000 euro for IVARO. IVARO must be registered with the Controller and adhere to regulations laid of directors is as follows – Robert Ballagh; Declan Clarke; Oliver hopes to negotiate an increased percentage income for 2007 and out in the Copyright and Related Rights Act 2000. Dowling; Francis Fay; Mary Keane; Declan Mulligan (all visual artists future years. This form of licensing is know as ‘blanket licensing’ as or copyright holders); Samantha Holman; Linda Scales; Gaby Smith the license is offered on behalf of an entire sector rather than on behalf Mandate and Toby Dennett. of any one or other individual artist. The development of a scheme to distribute the above income to IVARO has developed an ‘artists agreement’ or mandate. This ‘artists International Links artists is one of the current concerns of IVARO. agreement’ is a form of authorisation allowing IVARO to represent and collect payments on behalf of artists in relation to specified uses of IVARO has become affiliated to EVA (European Visual Artists) and Arts Council Funding their work, including the artists’ resale right (also known as droit de CISAC (International Confederation of Societies of Authors and suite). By signing the agreement artists are not signing away any of Composers). Both of these organisations act as umbrella bodies for The new board encountered its first setback with the recent decision their rights and the agreement ensures that individuals will be collecting societies and play a vital role in enhancing communication by the Arts Council to reject IVARO’s application for revenue funding consulted on a case by case basis in relation to specific between societies around the world. Both organisations have waived for the second year running. IVARO had hoped to use these funds to uses/reproductions of their works. Over 250 mandates have been the first year’s membership fee. IVARO has secured provisional appoint a full-time staff member and build on its recent work. The signed, including some of the major names in Irish art. It is important commitments of financial support from EVA, CISAC and also from the decision is a great disappointment and IVARO is seeking further for members to sign the mandate as this will put IVARO in a position German collecting society Bild-Kunst. It is intended that this seed clarification from the Arts Council. to best represent the interests of it constituents. funding be used to develop the IVARO’s web site and the We will keep you up to date with further developments. infrastructure needed to collect and distribute royalties in an efficient Artists Resale Right and timely fashion. The artist’s resale right entitles artists to a portion of the proceeds Board member Linda Scales attended the joint EVA and CISAC conference in Budapest and the EVA resale right working group IVARO Irish Visual Artists Rights Organisation whenever their artworks are resold via art dealers or auction houses. meeting in Brussels. In November 2006 board member Samantha The entitlement of artists to receive a resale right is laid down in an EU Holman represented IVARO at the IFFRO (International Federation of Directive, which Ireland has so far failed to enshrine in actual Reproduction Rights Organisations) conference in New Zealand to legislation. discuss best practice in managing artists royalties. APPLICATION FORM To register with IVARO – the Irish Visual Artists Rights However, on 13 June 2006 the government did bring the resale Very close links have been established with the Design and Organisation simply complete this application form and forward it right into law through a Statutory Instrument. This essentially Artists Copyright Society (DACS) in the UK. DACS is one of the most to: Visual Artists Ireland, 37 North Great Georges Street, Dublin 1. involves a Minister bringing something into law without going well respected art licensing agencies in its field and has agreed to act as through the full legislative process. It is a basic and temporary mentor to IVARO during its set up period. Surname stopgap measure and while it does allow the resale to be collected it Firstname has a number of limitations and shortcomings. Commission Rates Address Since the introduction of the resale right IVARO has monitored sales of Irish art through the major auction houses. It has tracked When IVARO collects a royalty on behalf of a member it deducts a fee eligible sales and has informed entitled artists of their right to a to cover administrative expenses before passing the royalty on to the royalty. IVARO is actively collecting and distributing the artist’s resale artist. IVARO is a not-for-profit company and retains only such funds Tel: right on behalf of its members, net of IVARO’s administration charge as are necessary. Email: which is 15%. It is also in the process of negotiating reciprocal rights Visual art form(s) agreements with a number of similar societies in other European Primary Licensing countries, including DACS (the Designers and Artists Collecting I hereby applyfor membership of IVARO, Irish Visual Artists’ Society who are responsible for collecting and distributing the right in When a visual work is created, the artist automatically owns the Rights Organisation Ltd. the UK) in order to collect royalties due to Irish artists whose work has copyright in it. The artist is entitled (even after the sale of the original) re-sold through public sales abroad. to receive a royalty every time the work is copied: by publication in a Signed In undertaking this task IVARO has learnt much about the book or journal, by broadcasting, by being reproduced as a print, etc. If workings of the resale right and in particular has identified a number an artist authorises such copying he/she should do so through a Date of shortcomings and flaws in the current regulations. One of IVARO’s licensing agreement which normally involves the artist receiving a immediate concerns is that the full legislation is drafted in a way that fee. Such an agreement between a specific artist and another specific 28 The Visual Artists’ News Sheet March / April 2007 REGIONAL PROFILE The Visual Arts in Newry & Mourne Alive and Kicking Higher Education Art & Design Provision at Newry Institute Studio space at Newry Institute. Print area at Newry Institute. The Sean Hollywood Arts Centre PERHAPS those who are familiar with the area of Our own Arts Committee are very supportive of NEWRY Institute has a growing reputation for Newry and Mourne know of the strong drama the arts, both in the city and in the rural areas such delivering HE Art and Design courses, amongst its history of the area – our own Arts Centre has been as South Armagh and South Down. Because our many other creative study programmes on offer. named after Sean Hollywood, a Newry man who Centre is in the heart of the city, we never have a One of the key elements within this is the was steeped in a love of arts, sports, and culture. shortage of artists wanting to utilise either the Foundation Studies in Art and Design programme, However, the visual arts scene, I am happy to say, is work or gallery space, and we liaise with our which provides students with what is effectively alive and kicking in Newry and Mourne. Not only exhibitors offering them the service of organising the first year of a four year period of degree study. do we have a plethora of amateur artists an opening, providing refreshments, sending out One of the attractions of undertaking this at Newry flourishing, but also many new professional artists invitations, and working with local press to get as is the ‘no fees’ element, which would otherwise are emerging on the scene. wide a coverage as possible for the exhibitions. We have to be paid if studying the same course at a The local authority provides funding for both are also beginning to forge links with local University in the UK. By doing the Foundation at The Carroll Gallery and The John Bell Gallery in businesses that wish to sponsor the arts, as opposed Newry (equivalent of the Core Year or First Year at The Sean Hollywood Arts Centre, and we to sports, and this will colleges in the Republic), students are then able to celebrated the 25th anniversary of our opening in Our forward programme at the moment will progress to Degree specialisms elsewhere February this year. Although both galleries are used feature exhibitions by Tony Loughran, The Ulster for other activities, the Centre also contains a afterwards. Watercolour Society of Ireland, Brian Robinson, theatre, rehearsal space, meeting rooms and café. and the Ulster Society of Women Artists and a Some students remain at Newry to progress to This does not detract from the respect in which return visit by Joseph Mullan. There are also the HNC/ HND Fine and Applied Arts course on a both galleries are held in the wider island of independent galleries in the area who actively part-time basis. On completion of this, several have Ireland. Over this quarter century we have played support both emerging and well established artists. gone on to complete their degree at the art college host to many artists, Neill Shawcross, Basil Imagos Gallery and The Olive Gallery, both in in Belfast. For most however, the Foundation course at Portfolio tutorial. Blackshaw, Gordon Woods, to name but a few, and Newry, are easily accessible and offer dedicated have also seen local societies in Newry, Rostrevor gallery space. This year we are also participating in Newry provides the opportunity to make successful and Warrenpoint go from strength to strength. We The Tyrone Gutherie Regional Bursary Scheme, applications to Degree specialisms elsewhere. In Fashion, Product/Graphic/ Interior Design, also provide excellent art studios and workshop which will enable an established artist in recent years this has taken students to the Fine Art Ceramics and Digital Media. These are then space for multi media artists, and we actively whichever art form, to avail of a two week courses at NCAD Dublin, Wimbledon in London, narrowed down to three subject areas, and finally a encourage a visual arts programme. Artists like residency in Annaghmakerrig. John Moores University Liverpool, West Wales single specialism for the end of year show. This also Sinead Young, Joseph Mullan, Cathy Marsh, Jack We understand the difficulties faced by visual School of the Arts Carmarthen and the University means that students build up a varied portfolio, Sanders, and Margaret Smith and photographers artists, and competition for funding is fierce, but in of Ulster at Belfast. which is then weighted towards their Degree Patrick O’Hanlon and Ronan McGovern all have Newry and Mourne we aim to provide the best of Of the Design specialisms, students have specialism interviews. exhibited in our galleries. the arts to all those in the area, and will continue to similarly completed their degrees at NCAD Dublin, Over the past three years the course has As for any local authority, we are bound by do so in the years to come. UU Belfast, Manchester Metropolitan University doubled in size, currently with an intake of around budget constraints, and therefore try to provide a Jacqueline Turley, and Huddersfield University. Carmarthen and 40 full-time students and 12 part-time. The majority wide and varied service within these constraints. Sean Hollywood Arts Centre. Huddersfield are significant in that an agreement of these will successfully progress to Degree choices exists whereby students can successfully gain following their Foundation Year. places on Fine Art and Design courses there Newry is undergoing a merger with Upper SOME NEWRY & MOURNE CONTACTS without an interview taking place, on the Bann and Armagh Institutes, to form the Southern recommendation of Foundation lecturers at Newry. Regional College. It is expected that as the largest Newry Institute, West Campus, Patrick Street, Newry, BT35 8DN. T: 028 302 61071 Another of the significant factors about the Foundation course provider in the area, Newry will Foundation course at Newry is that all students continue to develop and expand this provision Mark Hughes, Newry & Mourne District Council Arts Officer, Newry Arts Centre, 1a Bank Parade complete projects, which cover each of the Fine Art further. Newry, BT35 6HP.T:028 3031 3180 www.newryandmourne.gov.uk and Design subjects, without exception. Whilst this results in a heavy workload it means that a wide For further information, please contact Sean Hollywood Arts Centre, 1A Bank Parade, Newry BT35 6HP T: 048 30313180 range of options are covered, from which students Dougal McKenzie, Foundation Course then select a specialist area later on in the year. coordinator at Newry Institute, Imagos Art Gallery, 4 Forthill Road, Crieve, Newry, BT34 2LP Therefore students gain some experience of E: email@example.com T: 048 3083 4927E: firstname.lastname@example.org www.imagosart.co.uk emaile Painting, Sculpture, Print, Photography, Textiles, The Visual Artists’ News Sheet March / April 2007 29 OPPORTUNITIES Jonathan Macauley Damien Magee Damien Magee Irelands Eye Acrylic on MDF. Johathan Macauly Arachnoid Belfast. This piece was taken on a public ‘day-trip’ Imagos gallery. of Belfast in a bid to heighten the public’s ART galleries have never lasted in Newry. In the last to hanging and engaging the work in a public awareness of art. Not the most practical things to five years no less than three commercial galleries arena, not to mention experiencing the cold do as it is over 14 feet wide and weighs in at 200kg! have come and gone, one lasting a meagre three realities of dealing with public institutions as a This piece has just recently returned from months. No time for any market to make itself toughening of the skin that is not taught in the Sculpture in Context at the National Botanic visible. With no discernible market no one seems nurturing confines of an art college. Gardens so it has been a relative success. interested in exploring and developing any, Recently renamed, the Sean Holywood Arts I have found that despite structural whether that be for cultural or financial gain. Centre has the potential to be a great visual arts engineering and art requiring different thought I have been living in Newry all my life and space promoting and developing relations with the processes, they both complement each other in a since graduating from the University of Ulster in cross-border public and contributing to the visual unique way. Strong engineering influences can be 1998 I have been an artist living in Newry, quietly culture of a thriving new city, and with a purpose seen in my portfolio and it has opened new and independently developing my professional built sister-museum opening soon we may get the avenues of work, such as the Oriental bridge that practice. I have held a few exhibitions in Newry dedicated space and funding Newry needs. was produced for a private client. Arts Centre over the years. The arts centre boasts In 2002 the Princes Youth Business Trust Opportunities for public art commissions in two gallery space one of which doubles as a bistro. funded my own efforts to make an impact on the Johathan Macauly Arachnoid Northern Ireland are somewhat limited – one The larger ground floor space appears more like a artistic profile of the region. I opened Imagos Art I have been working as an artist in the area for reason being that there is no Percent for Art scheme board room, decoratively carpeted with pale brown Gallery in a converted stone byre at the farmyard around eight years, initially it was a hobby but like that operating south of the border. Public stippled walls, its far removed from the white space where I live outside Newry. Bringing together the more recently it has become more serious as more awareness and expectation needs to be raised in you would expect to find in an Arts Centre. While work of local artists from the traditional landscape and more of my time is committed to sculpture and order to increase the amount of money invested in this may be a welcome change for some, the space to the contemporary abstract the gallery has tried to a lesser extent, bespoke furniture design and arts and culture. This has led me to exhibit work at is used for public and private meetings of all to cater to conservative tastes while providing manufacture. Living just outside Rathfriland, a horticultural and even agricultural events, as descriptions which further undermines the opportunities to inform the public about painting small town in rural County Down (often mistaken organisers have welcomed fresh, unusual ideas and reverential potency that so many gallery spaces trends. Being situated off the beaten track, two for Rathlin Island off the north Antrim coast!), it provides exposure to a large, diverse audience. aspire to possess – I once found my sculpture miles from the city has proved to be the galleries there is not an abundance of work for a sculptor as Despite having fewer opportunities for relegated to the side of the main gallery to make greatest disadvantage while also providing its public art would not be high on the priority list for commissions, there are sources of funding way for a local Weightwatchers meeting. enduring power with minimal costs and overheads public spending. A common question I am asked is available through the ACNI and InvestNI’s ‘Start a The Arts Centre, however has been supportive to maintain it. Some people still manage to track “but what does it do?” Business Programme’, with the latter providing of myself and does offer support and me down and they’re usually struck by the wealth I work full time as a consulting engineer useful knowledge and assistance for those wishing encouragement to anyone interested in the arts. Its of talent in the area, which is always encouraging. which eases the financial strain of being an artist to turn their work into a commercial venture. A theatrical reputation is international and Meanwhile I continue my own practice at the back somewhat as it has allowed me to focus at times on more unusual source of funding has been EU peace deservedly so, but with limited funding there is no of the gallery, forging ahead with a career that is non-commissioned work purely in an effort to dividends through the Rural Down Partnership - an visual arts infrastructure for long term exhibition slowly taking shape in exhibition spaces around build my portfolio and gain some exposure. One organisation set up to promote diversification and schedules and national promotion.I personally the country. such example of this is the piece Arachnoid, a large business growth in rural areas. found the experience of exhibiting there an metal spider that was inspired by the lack of art on invaluable learning curve, from selection of work, the M1 motorway, the main arterial route into 30 The Visual Artists’ News Sheet March / April 2007 OPPORTUNITIES LONDON STUDENTSHIPS the A470 at Taff's Well; Brynglas installation / intervention include studio & For students interested in single Hill at Newport & the A465 (hoping to secure additional accommodation for 3 months. or cross-disciplinary research Junction at Dowlais, Merthyr funds). Location: Laughton One International Bursary open relating to research within the Tydfil. These five sites have Common, Rotherham. Fee to artists not resident I Ireland. International Centre Fine Art potential construction budgets includes design, artist fee, Besides free studio & Research (ICFAR), Camberwell of £750K - £1M each. Five fabrication, documentation, accommodation for 3 months a College of Arts, Chelsea College winners will receive cash prizes installation & materials. stipend & travel allowance are OPPORTUNITIES of Art & Design & Central Saint Martins College of Art & Design. Open those with a good first & the potential opportunity to realise their Applicants can enter for more proposals. Concept Temporary Installation Pilot: Utilising/combining any medium from digital, light, offered. Flexible start date from May 2007 (Sorry no children or pets can be facilitated). degree & preferably a Masters than one site. Full project sound, film or photography. For Applications on line or to: as new models of engagement in qualification in a relevant description, site briefs & further details send an A4 SAE: Address FUNDING BOI Millennium Scholars Trust biomedical science. Funding can subject. Full research degree submission requirements online. Address Mill House, Belmont, Birr, MILLENIUM SCHOLARS TRUST be applied for at two levels: Small award for full-time study to start Address Jennifer Booth, Public Arts Co.Offaly The Bank of Ireland Millennium -medium sized projects (up to October 2007. Students studying Geoff Wood, Landmark Wales Officer, Rotherham Central Email Scholars Trust was established in stg£30,000; Large projects (above on a part-time basis receive fees- Project, Working pArts Ltd, Library & Arts Centre, Walker email@example.com 2000. Bank of Ireland has stg£30,000). Applicants can only awards, consisting of the Shoulder of Mutton, 70 Place, Rotherham S65 1JH. Www allocated €12.5 million to the apply for any amount within the payment of fees for a maximum Towngate, Midgley HX2 6UJ. Telephone www.belmontmill.com Trust, which will awards up to 60 above boundaries, for projects of five years. Bursary: stg£14,500 Www +44 01709 82 3637 Deadline scholarships each year of the first lasting a maximum of three per annum plus fees for a www.working-parts.com Email 20 April 2007 decade of the new millennium. years. Applicants must be based maximum of three years. For Deadline firstname.lastname@example.org. The Trust welcomes applications in the UK or the Republic of information: 21 March 2007 uk DASH SHREWSBURY from individuals who, because of Ireland & the activity must take Address Deadline Call for Disabled Artists for Multi economic circumstances or place in the UK or Republic of Research Support (Research & SUSSEX ARTS IN HEALTH 26 March 2007 Media Project. The project on the other barriers such as disability, Ireland. Applicants are usually Enterprise Office), University of PICU (Psychiatric Intensive Care theme of Barriers will be a short are prevented from reaching affiliated to organisations, but the Arts London, 65 Davies Unit) Garden & Water Garden. RESIDENCIES artist residency 30 July - 4 August their full educational potential. can apply as individuals. Open to Street, London W1K 5DA Sussex Partnership Trust is 2007. The site of the residency & Likely candidates will be a wide range of people including Telephone providing a modern sixty-nine IMMA exhibition will take place in a identified as people having the artists, scientists, curators, +44 (0)20 75148187 bed Acute Mental Health Residency programme open to high street shop in Shrewsbury ability & motivation to filmmakers, writers, producers, Email Hospital for working age adults all visual artists. Mar - Sept 07 for town centre. The exhibition is participate successfully in 3rd directors, academics, science email@example.com living in Northern West Sussex 2-6 months. Fee of €1,000 for the scheduled for 4 August 2007. level education, but who would communicators, teachers, arts Www & East Surrey. Inviting artists & duration of the residency. Artists involved in this project be unable to progress without workers & education officers. www.arts.ac.uk/research designers, as individuals or Includes free studio & will need to commit to being financial assistance & other Further information from: Deadline teams, to create two inspiring accommodation at IMMA. resident in Shrewsbury for 6 days supports. To be eligible Address 16 March 2007 courtyards within the mental Application form available & 5 nights. Each artist will candidates must be proposed by Arts Awards, Wellcome Trust, health hospital. Opportunity to online. receive stg£200 to cover costs a Nominating Body. Gibbs Building, 215 Euston Road, ARTWORKS WALES create exemplar garden Address plus travel & accommodation. Creative/Performing Arts: London NW1 2BE, UK A call to artists in any media environments that take Janice Hough, Irish Museum of DASh is looking for 5 disabled Candidates with exceptional Telephone using their own ideas to create sculptural aesthetics & Modern Art, Royal Hospital, artists from different disciplines ability in the arts who face +44 (0)20 7611 7222 projects of exceptional interest, landscape design in mental Military Road, Kilmainham, to take part in the Multi Media significant obstacles to Email to take place in Wales. Good health to a new level. There will Dublin 8 Project. The project will be led by developing their potential firstname.lastname@example.org Ideas - funding of up to stg£6,000 be a competition process Email Nikki Hewish, installation artist, through further study or Www available for ideas for innovative following first submission. Three email@example.com & Tanya Raabe, visual artist. To training. Scholarships in this www.wellcome.ac.uk/arts residency projects involving a will be shortlisted & paid a fee of Www apply artists are requested to category are awarded for Degree Deadline community in the broadest stg£1500 to develop design ideas www.imma.ie send in: CV, Artist Statement, 5 or Initial Professional Training & Small to medium sized projects: sense. Artists@Work - funding of with mental health service users Deadline examples of your work (CD, DVD for Advanced Studies/Specialised 4 deadlines in 2007: 16 March, 13 up to stg£6,000 for ideas for & staff. Overall budget including 31 March/31 September 2007 or as prints), An idea or ideas, Professional Training. For July, 28 September & 15 residency projects within a design fees stg£30,000. For a full which can be written, recorded information: November. Large projects: 27 business or in a workplace detailed brief & further ART@WORK ROSCOMMON or as a visual image on how you Address April 2007 environment. For information: information please contact Roscommon County Council would interpret the theme of Bank of Ireland Millennium Address Jacqueline Seifert, Impact Art Arts Service is currently seeking Barriers. Scholars Trust Office, National ARTSADMIN BURSARIES UK Cywaith Cymru . Artworks Project Assistant. interest from artists wishing to Address College of Ireland, Mayor St, Bursaries for artists working in Wales, Crichton House, 11-12 Email in the 2007 participate Tanya Raabe, DASh, The Lantern, IFSC, Dublin 1. contemporary performance Mount Stuart Square, Cardiff firstname.lastname@example.org Art@work programme. Meadow Farm Drive, Telephone practice & based in the UK. Ten CF10 5EE Www Art@work is a residential Shrewsbury SY1 4NG 01 4498500 research bursaries. Seeks to Email www.impactart.co.uk programme where artists from Email Email support artistic experiment, email@example.com Deadline any artform spend three weeks firstname.lastname@example.org email@example.com speculation & play, without Www 19 March 2007 in a company in County Deadline Www emphasis on outcomes or www.cywaithcymru.org Roscommon making work using 30 March 2007 www.boi.ie/millenniumscholars expectation of finished works. Deadline SOUTH YORKSHIRE either the materials of the Deadline There are ten bursaries, offered 31 March 2007 Seeking expressions of interest company or stimulated by the HUNGARY 3 April 2007 through two strands: 1) from artists with experience of environment, staff & working The Hungarian Multicultural Roaming: non studio-based PUBLIC ART producing work for public practices of the company. For Center is currently accepting WELLCOME TRUST AWARDS 'journeys' & 2) residencies at places/features that enhance the further information: applications for the New arts funding scheme, Toynbee Studios. The bursary & LANDMARK WALES space in a new & established Telephone Csopak/Balatonfured Hungarian supporting arts inspired by residency period will run Open design competition for residential development located 090 6637285 International Artist/Writer biomedical science. Inviting between July 2007 - June 2008. Phase Two of Landmark Wales, within a rural environment. Email Residency Program. Program applications for projects which For information: an ambitious plan to mark major Seeking an artist who thinks on a firstname.lastname@example.org Dates: May 21 to June 13; June 18 engage adult audiences &/or Address entry points to Wales & key creative tangent & develops Www to July 11; July 16 to August 8, young people. Projects should Nikki Tomlinson or Frances Welsh transition points. With a work that applies drawing & www.roscommonarts.com 2007. The HMC invites have some biomedical scientific Scott, Artsadmin, Toynbee possible budget of stg£18M, it is print making principles & is not Deadline interested visual artists, input either through a scientist Studios, 28 Commercial Street, a Public Art Programme of bound by mining history. The 21 March 2007 experimental short film makers taking on an advisory role or London E1 6AB, 020 7247 5102 unprecedented scale & ambition artist will need to work & writers to submit application through direct collaboration. Www in the UK & has been shortlisted collaboratively with members of STUDIO BURSARIES 07 for its residency programs in Applicants are encouraged to www.artsadmin.co.uk for BIG's Living Landmarks the public & community. Fee Belmont Artists Studios. Four Hungary. The program is open to investigate new methods of Deadline Programme. Sites at the A5/A483 stg£18,000 for fixed feature; National Bursaries open to artists international artists working in interdisciplinary working as well 28 March 2007 at Chirk; the A40 at Monmouth; £3,500 for Temporary resident in Ireland, benefits all disciplines who are engaged The Visual Artists’ News Sheet March / April 2007 31 OPPORTUNITIES in the research, development or within the community. Stipend residents who procure outside www.mccollcenter.org Address Deadline creation of work. Application for materials & living expenses. funding sources. Deadline Paula Gibson, Aberdeen Arts 30 March 2007 form available online. For Other benefits: studio, solo Address 7 May 2007 Centre, 33 King Street, Aberdeen further information: exhibition, accommodation & The Centre For Land Use AB24 5AA BUTLER GALLERY Email associated publications. Interpretation, Venice Boulevard NORWAY Email Submissions invited for Butler email@example.com Unsuccessful applicants may be 9331, Culver City, California TAOH Residency open to firstname.lastname@example.org Gallery Programme 2008-9. Www recommended for group shows 90232, USA performance artists, Stavanger, rg.uk Submissions to include a www.hungarian-multicultural- elsewhere. Contact Three Walls Email Norway. Underground, anarchic Www proposal & CV with labeled center.com for further details: email@example.com performance space with the www.aberdeenartscentre.org.uk documentation in CD, DVD, Deadline Address Www potential to work in-situ. Two- Deadline slide or photograph format. A 15 March 2007 Three Walls, 119 North Peoria St. www.clui.org week residency in a 23 March 2007 return stamped addressed #2A Chicago, IL 60607, USA Deadline contemporary arts centre in a envelope is required. NETHERLANDS Email none converted brewery by the sea. ARTSWAY Address Jan van Eyck Academie, open to firstname.lastname@example.org Accommodation & facilities free ArtSway invites contemporary The Director, Butler Gallery, The all artforms but proposals must Www CANADA PRINTMAKING of charge. 25m2 project visual artists to submit proposals Castle, Kilkenny. be in line with current research www.three-walls.org Residency to facilitate greater room/apartment with bunk bed. for an ArtSway Production Telephone areas. The residency offers an Deadline communication among artist- Other facilities located nearby. Residency scheduled for 056 7761106 artistic & critical space in which 1 May 2007 printmakers, to provide them To apply send A4 proposal by February/March 2008 with a Www research & production, with a fully equipped studio & to email with contact details & subsequent exhibition in mid- www.butlergallery.com individual & collaborative CALIFORNIA increase public awareness of website link to: 2008. Fee: stg£4,200. Deadline projects are carried out within an Fellowship awards for eight interest in fine art prints & Address Travel/Accommodation: £1,000. 1 June 2007 advisory framework. Maastricht, international artists working in printmaking. Residency is for Tou Scene, Lervigsva 22, access Production costs: £2,000. The Netherlands. Research traditional & digital one month, based in Vancouver, by Kvits¿ygata 4993, Stavanger, Exhibition & Marketing: £2,000. NUA ART EXHIBITION periods are for one month - two printmaking, book arts, Canada. Stipend of CAN$1,300 Norway (Final budgets will be agreed The 5th annual Nua Art years. Researchers who fully photography, film, video & with all costs being paid by the Email with the selected artist). Details Exhibition will be taking place commit to the institute receive a installation art. Up to 6 months artist. Includes solo exhibition & email@example.com available online. in July 2007 & applications are stipend of €8,840 p/a paid in 13 residency in California, USA. studio & printmaking facilities. Www Email now open for those wishing to installments of €680. US$3,000 stipend. Unlimited Open application with proposal www.touscene.com firstname.lastname@example.org exhibit. Ten artists from counties Researchers who cannot fully round-the-clock use of Kala's & 15-20 slides of work. Deadline Www Wexford, Wicklow, Carlow, comply with this condition studio & equipment for up to 6 Address Ongoing www.artsway.org.uk Kilkenny or Waterford will be receive half of the annual months, housing assistance & a Malaspina Printmakers Society, Deadline selected for this year's show. stipend. Applicants may add number of professional 1555 Duranleau Street, Granville JAPAN 13 April 2007 Selection is based purely on the funding from other sources to development & exhibition Island, Vancouver, B.C. V6H 3S3, The ARCUS Project is an artist- quality of the submission rather the stipend. Production funds are opportunities. Application form Canada in-residence program organized STUDIOS than previous experience or an also available. Application form & details available online. Email by Ibaraki Prefectural the artist's reputation. Applications online with a fee of €60 payable Address email@example.com Government that was launched FIRE STATION DUBLIN are open to artists working in the before the deadline. For Kala Art Institute, Attn: 2007 Www in 1995 with a focus on Residential Studio At Fire Station areas of painting, photography, information: Fellowship Competition, 1060 www.malaspinaprintmakers.co nurturing young & mid-career to let for a period of between 1- textiles, digital media & Address Heinz Avenue, Berkeley, CA m visual artists & on fostering 2.5 years. International artists sculpture. Entry fee €10 /€5 per Jan Van Eyck Academie, 94710, USA Deadline grounds for international may apply for shorter periods. person. Application form Academieplein 1, KM Maastricht Email 30 April 2007 exchange in the arts as well as in The subsidised cost of the studio available online. For 6211, The Netherlands firstname.lastname@example.org the local community. The will be between €95-105 per information: Email Www NORTH CAROLINA residency will take place in week including rent, utilities, Telephone email@example.com www.kala.org Three month residency Ibaraki, Japan, late August waste disposal, parking, internet 086 3119660 Www Deadline programme for visual artists in through mid-December, 2007. access, full use of high end Email www.janvaneyck.nl 4 May 2007 North Carolina, USA. Artists will Studios are available for a computers & subsidised access firstname.lastname@example.org Deadline be selected for either an Autumn maximum of 4 months. Program to digital equipment including Www 13 April 2007 LAND USE INTERPRETATION 08 session (8 Sept - 24 Nov) or Provisions: Airfare, production digital still cameras, digital www.nuaart.com Center for Land Use Winter 09 session (5 Jan - 23 fee, living expense, studio, camcorders, mini disc recorders, Deadline ART/ARCHITECTURE Interpretation. Residency Mar). Each artist will be provided accommodation, professional tripods & more. Available from 1 May 2007 Wall House 2 - Open to all artists programme in California, USA with a travel allowance, staff support, opportunities for September 2007. There is no interested in architecture. (in a remote area so a car is materials budget of US$2,000 & presentations, publication & application form but artists VERGE Emerging artists residency necessary). Residency is offered a stipend of $3,300. Any personal distribution of activity report, should follow guidelines as Kilkenny Arts Festival & the dealing with the poetics of for 3 - 8 weeks, with an needs are covered by the artist. etc. Enquiries by e-mail only. outlined on the website. Kilkenny County Council Arts designed space. Residencies take allowance of US$250 per week as Accommodation, professional Application by post only. Address Office invite submissions from place April - June & October - well as an exhibition. Residents development & networking Address 9-11 Buckingham St, Dublin 1 visual artists for consideration December, Groningen, The live in a self-contained, vintage assistance & reference library are ARCUS Studio, 2418 Itatoi, Email for inclusion in this year's Netherlands. Benefits: A small travel trailer, equipped with a provided. Artists are also Moriya, Ibaraki, 302-0101 Japan email@example.com festival programme under the allowance, apartment & studio. kitchen, bathroom & bedroom. provided with a 230 - 819sq ft Email Www exhibition strand VERGE. The Final exhibition & cooperation The Centre maintains a studio & have twenty-four hour firstname.lastname@example.org www.firestation.ie VERGE initiative seeks to with regional architects/artists searchable database, containing access to the Centre's facility Www Deadline provide a platform for emerging etc. To apply send a proposal information on more than one including a media lab, machine, www.arcus-project.com 15 March 2007 visual artists & makers born or (500 words max) & CV to: thousand interesting physical metal & woodshop, dark room, Deadline living in Kilkenny to exhibit Address locations & a reference library. printmaking studio, ceramic 31 March 2007 EXHIBITIONS their work as part of the festival. A J Lutulistraat 17, Hoornse To apply submit a one-page essay studio & blacksmith shop. Artists are invited to submit a Meerwijk, Groningen, The explaining why you want to Application form available ABERDEEN CARNIVAL DUBLIN ART FESTIVAL comprehensive proposal, Netherlands participate in the Wendover online. Applications are invited for a 2 Calling on artists of all mediums fulfilling a range of criteria, to be Email Residency Program & what you month residency within to submit proposals for considered for selection. Places email@example.com plan to do when you get there. At Address Aberdeen Arts Centre in the lead exhibitions & outdoor are limited & prospective Www the top of the page, list your Artist-in-Residence Program, up to 'Carnival' summer festival demonstrations to take place applicants should contact Mary www.wallhouse.nl name, address, phone number & McColl Center for Visual Art, 23 June - 19 August. The artists during the festival! From 4-10 Butler or Niamh Finn at Deadline the proposed dates for your 721 N. Tryon Street, Charlotte, will develop workshops in any February 2008. Kilkenny County Council Arts 1 June 2007 residency. If you have matching NC 28202, USA medium to produce a number of Email Office for full details. funds, or would be interested in Email events that will engage people & firstname.lastname@example.org Address CHICAGO residing without pay, please note artistresidencies@mccollcenter. introduce new participants to Www Mary Butler, Arts Officer, Three Walls. 6-8 week this on your application. Special org the Arts Centre. Fee: stg£5000. www.dublinartfestival.ie Kilkenny County Council, residencies to create new work consideration will be given to Www For details & application forms: 72 John St, Kilkenny 32 The Visual Artists’ News Sheet March / April 2007 OPPORTUNITIES Telephone apply please submit a short invitation is extended to produce www.actart.co.uk specific art. Work must Photography, Textile, Sculpture 056 7794138 written proposal with CV & a series of bookmarks for this Deadline demonstrate innovation in its or Relief to Red House Museum, Email images of previous work (digital project. Each bookmark should 31 March 2007 delivery & be relevant to its Christchurch. CADArts Prize of email@example.com preferred) to: be no larger than 21cm x 5cm in environment. Taking place in stg£100 plus solo exhibition. Deadline Address a series of at least 20 bookmarks, CAMBERWELL ARTS FESTIVAL Cumbria. A number of bursaries Other awards to be announced. 23 March 2007 Emma Nee Haslam, Secretary in any media or material. They Camberwell Arts is looking for are available towards materials Entries selected for the 39th Annual Birr Vintage Week should explore the re-circulation work for Camberwell Arts & expenses. exhibition will be displayed in KILKENNY STRAND 2 & Arts Festival, 16 Parkrise, Birr, of ideas & information & could festival 2007 (June 17 – 24) that Www the Main Exhibition Gallery at Strand 2: In recognition of the Co Offaly incorporate instructions &/or can take place in alternative sites www.fredsblog.com the Red House Museum from high standard of visual art Email links to other places possibly to & does not rely on gallery &/or Deadline 7July – 27 August. This currently being created in firstname.lastname@example.org activate an action, performance, theatre venues. i.e pavements, 12 April 2007 exhibition is being organised by Ireland, Kilkenny Arts Festival Deadline production, etc. Each submission parks, bus shelters, hairdressers, CADArts & all entries will be invites established professional 31 March 2007 can consist of a series of identical shops etc. Small fee made to ROYAL ACADEMY LONDON judged by an independent panel. artists to submit a bookmarks or include a selected artists. Call for entries for the Royal Application forms & full details comprehensive proposal to be G126 collection of visually separate Address Academy's Summer Exhibition. are available online. For further considered for inclusion in this The Galway based artist led bookmarks held together Camberwell Arts Festival 2007, Held annually since the Royal information send an A5 SAE to: year's Festival Programme. Places gallery / project initiative G126 thematically. The bookmarks c/o Camberwell Leisure Centre, Academy's foundation in 1768, Address are limited & prospective moved into new premises in will be put into circulation Artichoke Place, SE5 8TS. the Summer Exhibition is a CADArts Open, The Hayloft, 14 applicants should contact the November last year. Run by six through the Library spaces of Email unique showcase for art of all Wick Lane, Christchurch BH23 Kilkenny Arts Festival office. unpaid volunteers in Leeds & an archive held at Leeds email@example.com styles & media, encompassing 1HX Address conjunction with the founder Metropolitan University. The Www paintings, sculpture, prints & Www Kilkenny Arts Festival, 9/10 members Ben Geoghegan & archive will document the www.camberwellarts.org.uk/fest architectural models. Takes www.cadarts.com Abbey Business Centre, Abbey St, Austin Ivers, G126's objectives project & will include an ival place 11 June - 19 August. Deadline Kilkenny are: establishing in Galway a example of each submission Deadline Application cost: stg£18 per 25 June 2007 Telephone space for exhibiting art & to with information on the 22 March 2007 work. For information: 056 7763663 make available for all visual producer/artist/practitioner. Telephone AWARDS Deadline artists a flexible, multi-purpose Takes place 14 – 27 May. For RULES & REGS +44 (0)20 7300 5929 23 March 2007 space & providing a platform information: The arts organisation A Space Email ART TRAIL CURATOR AWARD within the West of Ireland for Address will commission 5 emerging summerexhibition@royalacade Art Trail seeks proposals for our SCULPTURE IN CONTEXT the presentation of all aspects of 'Bookmarks' Project, C/o Krissie artists to participate in a Rules & my.org.uk New Curator Award 2007. Sculpture in Context Annual the visual arts with particular Ireland, Room H708, The Leeds Regs event curated by artist Mark Www Exhibition: 21 September - 7 Open Exhibition 2007 will be emphasis on art not normally School of Contemporary Art & Gaynor & beginning June 07. www.royalacademy.org.uk October 2007 in Shandon (Cork). held at the National Botanic represented by commercially Graphic Design, Leeds Rules & Regs is a practice-led Deadline The intention of this award is to Gardens, Glasnevin, Dublin from orientated or established Metropolitan University, Civic development platform 23 March 2007 provide an opportunity for a 6 September to 19 October 2007. institutions. G126 are currently Quarter, Leeds, LS1 3HE, UK supporting Live Artists to make curator to work outside of the The Botanic Gardens offers a accepting proposals from artists. Email new work in response to rules REJECTED FUTURES gallery space & to create an unique & challenging platform Address firstname.lastname@example.org that challenge habits & The first annual exhibition exhibition utilising public space for artists to respond to a specific G126, Unit 11, Ballybane Beg, Deadline stimulate creativity. showcasing contemporary art that critically engages with location. Site visit Saturday 10 Tuam Rd, Galway 20 April 2007 Participating Artists receive: turned away by major art venues. contemporary artistic practices. March, meeting inside the main Email commission (stg£500 each, all- Submissions are selected by a The awarded curator will be gate at 11am. If you cannot email@example.com ACT ART LONDON inclusive fee); public exhibition panel of Contemporary Artists & fully supported by the Art Trail attend the site meeting you can Www Till Death Us Do Art. On Friday 8 of the work created during the Curators, all of whom are quite programme. A curator's fee & an visit the National Botanic www.g126.eu June 2007 the 5th annual programme; access to a nice people. Applications are allocated budget for the Gardens at any time, admission London ACT ART event will take programme of professional invited from Artists working in exhibition will apply. The is free. Please note any enquiries EXHIBITIONS place in a 1000 capacity development beyond the all media, all work must be quite selected curator will work with regarding the exhibition &/or INTERNATIONAL converted railway arch venue in opportunity to make work; good & previously rejected from the Art Trail team on all practical siting should be directed to London Bridge, London. ACT access to unique venues, a another exhibition or aspects of the proposed Sculpture in Context Committee SHREWSBURY ART aims to create an event that dedicated curator & support competition. Rejected Futures exhibition/events. Please send members & not to the National Mind as Machine? The celebrates difference, supports from a space. Rules & Regs will aims to draw attention to the CV & general outline of your Botanic Gardens staff. Entry Whittingham Riddell cross-disciplinary ways of be presented as part of Artvaults , wealth of artwork overlooked & proposal by post. Forms & conditions of entry Shrewsbury Open Art working & offers a safe a programme in which artists a second chance for the Address available online. Send proposals Exhibition. Open to artists environment to exhibit work in exhibit work in medieval vaults culturally disillusioned. Art Trail (Curator Award), c/o [Typed A4] with entry forms & working in all art forms. Work all disciplines, including live art, around Southampton. Each Exhibited artwork will be subject BAG, Wandesford Quay Studios, appropriate fee by post. For will be exhibited in venues performance, video, installation, Rules & Regs artist will have to theartmarket's nominal Crosses Green, Cork further information: across Shrewsbury, 14 July - 2 painting, sculpture, drawing & access to a vault in which to exhibition fee of stg£5 per work. Email Address Sept. Awards & prizes include photography, with a particular make site-specific work. To Submissions must be for work firstname.lastname@example.org Sculpture in Context, PO Box stg£3,000 first prize, £1,000 prize emphasis on works that are apply, submit a CV, statement of already submitted to another Www 10054, Dublin 16 & £500 people's choice prize. For experimental, radical, why you wish to participate & competition or prize. Upon www.arttrail.ie Telephone information & application forms confrontational & non- examples of past work. receiving a rejection artists may Deadline 087 6258258 please send a medium SAE. mainstream. ACT ART Address forward their application to 31 March 2007 Www Address programmes work by a wide Dan Crow, Bargate Monument Rejected Futures. For www.sculptureincontext.com Open 2007 Enquiries, spectrum of artists who are Gallery, The Bargate Monument information: CULTURAL POLICY RESEARCH Deadline Shrewsbury Museum & Art united by an interest in the body, High Street, Southampton SO14 Address The Cultural Policy Research 20 April 2007 Gallery, Barker Street, & believes in bringing emerging 1HF Rejected Futures, C/o 10 Award for Applied Comparative Shrewsbury SY1 1QH artists together alongside more Email Buckingham Grove, Hyde Park, Cultural Policy Research aims to BIRR VINTAGE WEEK Email established practitioners in an email@example.com Leeds, LS6 1DQ stimulate academic research in The 39th Annual Birr Vintage firstname.lastname@example.org attempt to create a dialogue Www Email the field of cultural policy by Week & Arts Festival invites Www between artists & their work, as www.aspacearts.org email@example.com giving young researchers from artists to apply for exhibition www.mediamaker.tv well as staging an event that is Deadline Www all over Europe the opportunity space during the forthcoming Deadline open to everyone & alienates 30 March 2007 www.theartma.co.uk to realize their research projects. festival which takes place 10 to 5 May 2007 nobody. Fill out application form Deadline This year, young academics are 17 August, 2007. Artists are online. FRED ANNUAL ART INVASION 30 April 2007 invited to propose research advised that (non-traditional) BOOKMARKS PROJECT LEEDS Telephone Inviting artists & organisations projects which analyses various exhibition spaces are located Part of the 'Library' project at the +44 7939320758 to submit proposals for RED HOUSE MUSEUM aspects of cultural diversity in throughout the town e.g. shop Civic Quarter Library, Leeds Email installation & intervention Artists are invited to submit up Europe & which seeks to inform units/windows, pubs, banks, Metropolitan University for firstname.lastname@example.org projects as part of the 4th FRED to three works: Paintings, policymaking & benefit hospital, workhouse etc. To 'Situation Leeds' '07. An Www event, an annual festival of site- Drawings, Prints, Mixed Media, practitioners active in the The Visual Artists’ News Sheet March / April 2007 33 OPPORTUNITIES cultural field. The CPR award, a Deadline for artists working with virtual enhancing communication, 2007: Call for Papers. This WORKSHOPS grant of €10,000, is given to the 3 April 2007 environments that will result in participation or user experience conference sets out to investigate BODY/LANDSCAPE best project proposal which the commissioning of 5 on the website. Artists will be the meaning & role of space in B o d y / L a n d s c a p e throws light on contemporary NUNNERY GALLERY LONDON networked art works to be asked to execute the Community contemporary cultural theory & Leitrim/Fermanagh is an European Cultural issues & Visions in the nunnery is a exhibited/performed. Project independently & be practice. Often invoked as the Interdisciplinary Open-Air offers possible policy solutions. showcasing opportunity for new Commissions must be prepared to work with Rhizome key parameter for understanding Workshop exploring the Www & established artists who are completed by February 2008. to integrate the work when 20th-century culture, does space relationship between Body, Art www.cpraward.org pushing the elements of film, Five proposals will receive complete. Projects must be retain this centrality today? The & Landscape led by Frank van de Deadline video & moving image practice. commissions of US$5,000 each feasible & manageable for up to aim of this conference is to Ven (Body Weather Amsterdam). 1 May 2007 Looking for new & compelling as well as gallery & online one year. Proposal submission investigate the current relevance For artists & mature students work. The work selected will be exhibition. For information: takes place online. of the spatial paradigm in theory working in the fields of JOBS either projected or be monitor Email Address & practice across the arts & performance, dance, landscape based. We are also interested in email@example.com Rhizome.org, 210 11th Ave, 2nd social sciences. Scholars & art, photography, architecture, PLYMOUTH performance works that relate to Www floor, New York, NY 10001 practitioners in all fields are sculpture, theatre, visual arts, Strategic Arts Coordinator. the moving image. Selected www.turbulence.org/comp_07/g Email invited to propose papers that biology & natural history. To Groundwork South West wants work will be shown at visions in uidelines.htm firstname.lastname@example.org address any aspect of space in the receive further information to use the arts strategically to the nunnery 18 – 20 May 2007. A Deadline Www modern & contemporary period. contact Seamus Dunbar. maximise the impact of our critical debate/discussion will 31 March 2007 www.rhizome.org Proposals for panels mixing Documentation of previous work across the region. You will take place on Sunday 20th May. Deadline theory/criticism & artistic &/or Body/Landscape events may be lead on applying a contemporary Please submit no more than THE BIGGER PICTURE 2 April 2007 architectural practice are viewed online. Body/Landscape arts approach to our three works on DVD or DV tape, The Bigger Picture is inviting particularly welcome. Please Leitrim/Fermanagh will take regeneration work. Using your Pal format, please send a separate proposals for the production of A + B = BA? submit proposals for papers (300 place 9-15 June 2007. passion for developing & application form for each work exceptional new public realm (Art + Blog = Blogart?) words max) & panels (of max 3 Email supporting partnerships, you submitted & an up to date CV. works to be launched on Big JavaMuseum is starting its participants with individual email@example.com will help us to find new & SAE required for return of work. Screen Manchester at the time of second phase by publishing on abstracts) by e-mail to both of Www creative ways to make a real Address the Urban Screens Conference open call focussing on the addresses below. www.bohemiaerosa.org impact on the lives of people & Visions in the Nunnery Manchester 07 & to tour to question whether blogs &/or Address communities. You will be Bow Arts Trust, 183 Bow Rd, partner city Big Screens & public blogging can be tools for creating Dr Hugh Campbell, UCD School LIFE DRAWING confident providing training & London, E3 2SJ sites throughout 2007/8. Four a new type of net based art. Art of Architecture, Landscape & Talbot Gallery presents Drawing advice to other professionals. Www new works will be projects must be in the form of a Civil Engineering, Belfield, the Figure. The Talbot Gallery You will bring up-to-date www.bowarts.org commissioned, each with an blog. For details: Dublin 4 are facilitating full day life knowledge & experience to Deadline attached fee of stg£5000, based Www Email drawing sessions with model develop & manage deliver of a 16 March 2007 on an agreed budget of up to www.javamuseum.org/blog firstname.lastname@example.org with a maximum 8 people per three year arts & regeneration £10,000 for production. This is a Deadline email@example.com session. From 11am until 5pm. programme, working with SHEFFIELD significant opportunity for film, 2 July 2007 Www Saturday 14th April 2007, artists, students & Groundwork Public Places Silent Spaces. Call video, new media & cross- www.ucd.ie/arcel Saturday 21st April 2007 & staff. Stg£23,800 - £24,883 per to digital artists & filmmakers. disciplinary artists to explore SLOWTIME 2007 Deadline Saturday 28th April 2007. Please annum, pro rata 22.5 hours per Showroom Cinema in Sheffield unique new ways of creating & Slowtime 2007 - Quicktime as an 31 March 2007 contact the gallery if you are week. Job application pack will soon be installing two new exhibiting work for a public artistic medium. Cinematheque interested in taking part in these available online. For permanently sited projectors in context. Particularly is exploring the artistic potential THE DEMOCRATIC IMAGE sessions. information: public spaces within the encouraging proposals of the of the popular streaming video The Democratic Image: Telephone Address building, one in the Showroom following nature: Interactive & format Quicktime. Artists can Photography & Globalisation 01 8556599 Training & Recruitment Support bar & the other in the entrance participatory new work; submit up to three videos in symposium. The final event in Email Assistant, Groundwork UK, foyer to the two largest cinema Interdisciplinary new work Quicktime format, originating the Look 07 celebration of firstname.lastname@example.org Lockside, 5 Scotland Street, screens as part of Digital Space, a (combined arts, performing arts, from 2004 or later, preferably photography calendar. Bringing Www Birmingham B1 2RR new showcase for creative digital audiovisual); Evolving or sized 480x360 px, not smaller together world-renowned www.talbotgallery.com Telephone work. Both spaces are public &, expanded work; New media & than 320x240 px, a duration of writers, thinkers & practitioners, +44 01752 217729 at opposing times, are highways streaming technology; Film & max 6 minutes & make them this event explores how Email & static spaces within the Video. available online on a separate photography is changing & how email@example.com cinema. They both have ambient Www webpage for review & download. everyone is involved. From THANKS Www sound from crowds, music & www.cornerhouse.org Send name of artist/director, multi-national agencies through www.groundwork.org.uk general noise during public Deadline email address, URL, short to street kids, everyone is taking In addition to the Deadline times; at other times they are 30 March 2007 biography/CV (max 300 words), & distributing photographs. The information forwarded directly to us, Visual Artists 16 March 2007 silent & empty. In order to title, year, duration, URL for Democratic Image asks where is Ireland also exchanges with explore these notions of silence INTERNET review/download, work this sudden global access to and sources information LENS BASED / NEW ('noise-polluted' & drowned description ( max 300 words), shared imagery taking us? from: A-N:The Artists’ MEDIA /closed & quiet) we are asking RHIZOME COMMISSIONS one screenshot (.jpeg, max. Speakers include; Pedro Meyer; Information Company; The International Sculpture artists to submit work that This year, Rhizome will award 800x600 px) for each submitted David Levi Strauss; Suvendu; Bill Centre (New Jersey / USA) STROUD WAR & PEACE explores the theme of silence in commissions to eleven new work. For information: Thompson; Mark Hawarth and the National Sculpture Submissions invited from artists public & private spaces. Selected works of Internet-based art. with Email Booth; Brett Rogers; Geert Van Factory Cork. working with moving image on artists will receive a fee of fees ranging from US$1000- firstname.lastname@example.org Kesteren. Tickets are available the theme of War & Peace for a stg£150 & some costs towards $3000. Rhizome will accept t.net online through the Look07 series of screenings to include expenses for coming & talking proposals in two categories: 1) Www website or by phone with a the Stroud Site 07 Festival & about their work. Ongoing series New works of Internet-based art www.mac.le-musee- special reduced rate of stg£70 for DON’T FORGET to look at Arnolfini/Watershed Cinemas, of exhibitions throughout 2007. (10 commissions). The works divisioniste.org/blog/ the event (£50 concessions) if the advertisments in Bristol. Screening fees will be For information: must use the Internet as a Deadline booked before the 16th March. this VAN, also check our web site & subscribe to our e- paid. June – Dec 07. Submissions Email primary source. They can 31 March 2007 Takes place 21st - 22nd April bulletin for further in DVD format, statement, CV & email@example.com manifest offline, as long as the 2007. opportunities. SAE. Www final work is accessible online, Address CONFERENCES / Address www.showroom.org.uk/special_ whether through a web browser, Mechanics Centre, Princess WATCH OUT. While every SYMPOSIA effort has been made to Fiona Meadley, Stroud Valleys events.html software, or some other use of Street, Manchester. ensure the accuracy of our Artspace, 4 John Street, Stroud Deadline internet technologies. There is DEFINING SPACE Telephone information we strongly GL5 2HA, UK 01 April 2007 no required theme. 2) Call for Papers: Defining Space: +44 0845 094 5184 advise readers to verify all Email Community Project. Rhizome International Interdisciplinary Www details to their own satisfaction before firstname.lastname@example.org MASSACHUSETTS will also award one commission Conference. Newman House, www.look07.com forwarding art work, slides Www Mixed Realities: An to an artist whose project will University College Dublin. or monies etc. with regard www.sva.org.uk international juried competition benefit our community, by Friday 12, Saturday 13 October to opportunities. West Cork Arts Centre North St, Skibbereen, Co.Cork T: +353 28 22090 F: +353 28 23237 E: email@example.com www.westcorkartscentre.com Handle with Care Youth Event: Exhibition and Workshops 16 March – 4 April An exhibition of work from The Drawing Project with second level schools, Similarity and Difference with Transition year students and an Artist Residency Project with the Centre's Youth Arts Group. Nearly There - Gabrielle Byrne & Johanna Connor : work in progress 14 April – 12 May Continues the strand of exhibitions showcasing new work by west Cork-based artists who work through a variety of media and processes and who are influenced by the context in which they work; Gabrielle Byrne and Johanna Connor have collaborated to develop a story and series of illustrations. Continuing the Tradition Bronze Art Ltd Fine Art Foundry Leaders in Fine Art Casting For your next project contact: Cris Neumann or Rosemary Flavin. T: (3531) 8552452 F: (3531) 8552453 E: firstname.lastname@example.org Bronze Art Ltd., Unit 3, Gaelic Street, Dublin 3 Call for entries... CARRICK-ON-SHANNON St. George’s Terrace, Carrick on Shannon, Co. Leitrim T: 071 9650 828 E: email@example.com RDS National www.thedock.ie Crafts Competition 2007 – Prize Fund in Excess of €25,000 – Open to professional and amateur craft designers, resident in Ireland or Irish craft workers based abroad, with 20 different categories. An exhibition of winners and other commended entries will take place as part of the Fáilte Ireland Dublin Horse Show from August 8 – 12 and will then travel to three other venues around Ireland between August and December 2007. Gary Robinson, Who Do You Think You Are? Ripple Manufacturing Machine Closing date for photo submissions: May 21, 2007. 1 February-Ongoing DREAM DIARY - public art work by Robin Whitmore Entries must be accompanied by an entry form. For futher information contact: 23 February-7 April THE MEMORY BOX - sculpture and 2D work by Catherina Hearne Gallery 2 & 3 Johanna Suhr NEW PAINTINGS AND A RIPPLE RDS Arts Department MANUFACTURING MACHINE Ballsbridge, Dublin 4 by Gary Robinson Gallery 1 Tel: 01 240 7255 Fax: 01 660 4014 Email: firstname.lastname@example.org CONVERGENCE - paintings 13 April-19 May www.rds.ie/arts by The Dock artists in residence; Padraig Cunningham, John Albert Duigenan, Laura Gallagher & Linda Shevlin Call for entries... RDS Student Art Awards 2007 – Prize Fund €30,950 – Taylor Art Award of €20,000 R.C. Lewis-Crosby Award for Painting of €3,150 Freyer Award of €1,500 RDS James White Arts Awards of €3,150 RDS Printmaking Award of €3,150 These Awards are open to full-time students of Irish Art Colleges and Departments of Art. Award winning and other commended entries will be exhibited at the Fáilte Ireland Dublin Horse Show from August 8 – 12 and will then travel to two other venues around Ireland. Closing date for the reciept of entries: July 2, 2007. Entries must be accompanied by an entry form. For futher information contact: Johanna Suhr RDS Arts Department Ballsbridge, Dublin 4 Tel: 01 240 7255 Fax: 01 660 4014 Email: email@example.com www.rds.ie/arts 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: firstname.lastname@example.org W: www.cast.ie Contact: Leo Higgins / Colm Brennan national irish visual arts library Public Research Library of 20th Century & Contemporary Irish Art & Design National College of Art & Design 100 Thomas Street, Dublin 8 email@example.com www.ncad.ie/nival
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