The Visual Artists’
ISSUE 3 2007
Mick O'Dea, Ceremony, 81 x 65 cm, oil on linen, 2007
May – June
Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire
Mary Kelly, Pillars 1, photograph
Mermaid Greenstar Open Exhibition
mermaid arts centre, main st, bray, county wicklow
T: 01 272 4030 E: firstname.lastname@example.org
Etaoin Holahan. Endangered Studio memmbers portraits, displayed on the windows of the Chadwicks building, Kilkenny 2003.
open: mon - sat, 10am - 6pm
Beyond the studio Source at 50 VAI Northern and Western
Reps reports UK and Irish interdisciplinary exchanges
31 May – 30 June
26 April–26 May
Studio networks Exercises in Folkatronica Susan Connolly
Antoin O’Heocha Holly Asaa Balkan Irish Arts Forum The
Visual Arts in Kilkenny Ongoing problems with art
2 The Visual Artists’ News Sheet May / June 2007
3. Roundup. Recent exhibitions and projects of note.
3. Column. Padraic Moore. In Our Angelhood.
WELCOME to another issue of the Visual Artists News Sheet.
4. Column. Slavka Sverakova. My Artists Made Me.
5. Column. Micheal Burke. ARresTed.
This issue includes feedback from a number of artists who outline common problems that they have
6. Column. John Cunningham. Loverly Weather.
experienced through percent for art commissions. For the foreseeable future we will be dedicating space in
7. News. The latest developments in the arts sector.
the News Sheet as a platform for discussing these an other issues relating the the percent for art scheme.
We are interested in generating debate generally about the scheme and would be keen to hear from all 9. Conference Report. A Room of One’s Own. Alison Pilkington reports on ‘Beyond the Studio’, The
those who have experience of working with the scheme in any capacity. symposium (8 – 9 Feb) organised as part of ‘the studio’ exhibition at the by Dublin City Gallery The
Hugh Lane, in association with NCAD and the NSF.
In June VAI will be releasing the second of 3 issues of Printed Project to be published in 2007. Issue 7 is 10. Profile. The Fact of the Page. Martin McCabe discusses the photography journal Source – on the
curated / edited by Kim Levin and is titled ‘Unconditional Love’. It includes contributions from Marina occasion of its 50th edition.
Abramovic, Christoph Buchel, Kendell Geers and Maurice O'Connell amongst others. 11. VAI Western Representation. Visual Artists Clinics. Aideen Barry, The VAI Western Representive
discusses some issues arising from the visual artists clinics she has been conducting.
The VAI media residency programme Exercises in Folkatronica is advertised in this issue. The residency is 12. Seminar Report. Interdisciplinary Exchanges. Sarah Lincoln reports on a multi-discplinary arts
a great way of getting access to the digital equipment and for either developing a project or just initiative that brings together Irish and UK based practionars together in order to exchange
experimenting with a new way of working. We welcome applications from all. Some of last years experiences and highlight the strategies and concerns that inform their work.
participants describe their experience of the residency in this issue. 13. VAI Northern Representation. Location Location. Brian Connolly VAI Northern Ireland
Representative outlines his recent activities.
Over the past few weeks a number of new texts have been added to the info~pool section of the VAI
14. Studios. A Network is Born. Alan Phelan profiles the establishment of a new studio networking body
website. New additions include in depth researched texts on Managing and Archiving Video and New Media
15. VAI projects. The Experimentaton Goes On. Last year’s recipients of the VAI’s Exercises in Folkatronica
Works and Making Sales of Video and New Media Works both by Tina Fiske and Importing and Exporting Art
digital media residencies offer accounts of their experiences.
Artwork by Jacqui McIntosh. For more information look for the info~pool logo on the VAI web site or go
17. How is it made. Questioning Limitations. Susan Connolly describes the processes and thinking behind
directly to www.info-pool.ie
Members of VAI should watch out for an announcement on the AGM which will be distributed shortly. 19. Residencies. Cite Internationale Des Arts. Antoin O’Heocha on his three-month residency in Paris.
The AGM will be held in Galway this year. 20. Residencies. Sure, Where Else Would You Get It? Holly Asaa appraises her experience of the National
Sculpture Factory’s new Annual Emerging Irish Artist Residency programme.
Finally a reminder that members can join up and pay their subscriptions and renewals on line. 22. Profect Profile. East–West Dynamics. Sascha Perfect, Director and Founder of the Balkan Irish Arts
Forum chronicles the development of thE organiSation and outlines some of its ongoing and future
25. Art in the Public Realm Roundup.
26. Focus: Commissions. Artist’s Experiences of Commissions. Various artists describe difficulties
encountered on percent for art commissions.
MEMBERSHIP APPLICATION FORM 28. Regional Focus. The Visual Arts In KIlkenny.
32. Opportunities. All the latest residencies, commissions, grants and calls for exhibition etc.
40. The Theatre of Agony. Mis-guided questions, addressed with barely disguised disinterest and
Name: condescension by our anonymous curator / concierge of agony.
Address: 40. Horoscope. Your Stars by Nicholas Keogh
Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout: Monica Flynn; Opportunities:
Home Telephone: Mobile Phone: Tara Kennedy / Monica Flynn; Proofing: Anne Henrichson; Invoicing: Valerie Earley.
Email: Website: Contributors
Padraic Moore, Slavka Sverakova,. Micheal Burke, John Cunningham, Alison Pilkington, Martin McCabe,
Category of Membership: * Professional Associate Friend Aideen Barry, Sarah Lincoln, Brian Connolly, Alan Phelan, Karl Burke, Mary-Ruth Walsh, Clodagh Emoe,
Andi McGarry, Susan Connolly, Antoin O’Heocha, Holly Asaa, Sascha Perfect, Etaoin Holohan, Mary Butler,
*If applying for Professional membership please tick which of the following apply. To qualify as a Anna O’Sullivan, Polly Minett, Endangered Studios, Hugh Mullholland, Blackbird Gallery, Valerie Mullally,
Professional member you must meet a minimum of three of the below criteria. You do NOT Nicholas Keogh
need to fulfil these criteria if you are applying for Associate membership.
Contact Northern Ireland Representive
Visual Artists Ireland, Brian Connolly
Degree or Diploma from a recognised third level college. 37 North Great Georges Street, Dublin 1. E: email@example.com
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professional artists or recognised curators participated. www.visualartists.ie E: email@example.com
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The Visual Artists’ News Sheet May / June 2007 3
THE WORLD SHOULD KNOW NOLAN @ THE KERLIN
In Our Angelhood
THIRTY years ago this year, glam rock luminary Marc Bolan of T Rex was killed, BRIAN DUGGAN IN PARIS
weeks before his 30th birthday, when the purple Mini in which he was a
passenger spun out of control and hit a tree in the London suburbs. Horribly
mundane as the circumstances may initially seem, the uncanny fact that the T
Rex back catalogue is laden with pseudo-prophetic references to motorcars and
their various components (Jeepster, Truck On, Metal Guru, etc) ensured that what
Work by Colin Rush from ‘The World Should Know’
once were perceived as frivolous pop trifles could never again be considered so.
Bolan’s untimely death elevated his status to that of an immortal idol, while ‘The World Should Know’ was an
simultaneously ensuring that the star’s cultural contributions were secured in exhibition of Paintings by Cóilín Rush at
the chronicles of musical history. Awful as the irony of the T Rex tragedy is, it the Watergate Theatre, Kilkenny (20 April
exemplifies perfectly how the untimely death of an artist almost guarantees that – 18 May). The works in the show were
his or her life, work and death will be bound up and scrutinised together described as “simply a world of beautiful
through the analytical filter of hindsight. Inevitable, then, is the emergence of juxtaposition and passionate imagery”.
retrospective insights and intriguing posthumous conjecture.
As the cases of Vincent Van Gogh (1853–1890) Jackson Pollock (1912–1956) CUCHULAINN COMFORTED
Installation view Kerlin Gallery 2007
and Bas Jan Ader (1942-1975) further demonstrate, there are numerous instances
‘Next time I promise to be more careful’,
– à la Bolan – whereby the death of an artist seems either inexplicably presaged
Isabel Nolan’s exhibition at the Kerlin
or curiously related to the content or inferences of their work. In some
Gallery (17 Feb – 16 March), comprised
circumstances it seems as though the tragedy with which a life ends (or is ended) Brian Duggan Wallball. Installation
works in a range of media that included
represents the magnum opus of a career – a final phenomenal finale to
painting, drawing, sculpture, and video
irrevocably terminate and surpass all prior gestures. The enigmatic and
animation. The gallery notes commented
unverified end which Ader is believed to have met whilst traversing the Atlantic
“usually modest in scale these works have
on his 1975 project Search for the Miraculous seems hauntingly apposite – loaded
little time for bombast or monumentality,
as it is with the same metaphysical poetics as his conceptual work.
Since his death, Aders’ oeuvre has accrued a critical endorsement and preferring to explore by accumulating
cultish revival that it might not otherwise have done. This applies also to the increments a kaleidoscopic array of
legendary Eva Hesse, whose biography demands to be acknowledged in everyday wonders and commonplace
reference to her artistic contributions. Despite her traumatic personal history feelings such as loneliness, tenderness,
(her family’s flight from the Nazis, her mother’s suicide when Eva was 10, and frustration, fear and hope”.
Brian Duggan 23 Hour Party People www.kerlin.ie
her own marital separation) Hesse admirably succeeded in bodying forth a From January to April, Brian Duggan was Rita Duffy, from ‘Cuchulainn Comforted’
distinctive corpus of work before her untimely death from a brain tumour in artist in residence at the Centre Culturel Described as “a visual and verbal STILL POINT OF THE TURNING WORLD
1970. The stoic determination she displayed has become inextricably linked to – Irlandais, Paris. During the course of the collaboration” Rita Duffy’s and Paul
and can now be seen crystallised within – the quality and quantity of her work. residency he exhibited, under the title Muldoon’s ‘Cuchulainn Comforted’ at the
Both in her biography and in her catalogue of work, Hesse remains a beacon of ‘Atelier Portes Ouvertes’ (8 – 29 March) Millennium Court Art Centre, Portadown
audacious fortitude. It is for these qualities, applied to both a life and a career – video, installation and sculpture works (5 April – 26 May) engaged with issues
and the perceived symbiotic relationship between the two – that Hesse may be created on the residency. Using the non- memory, history and visual landscapes in
eternally championed as an authentic heroine. gallery spaces in the centre, the exhibition local, national and international contexts.
The inexhaustible productivity for which Hesse is renowned is also a had five separate but linked components. Presented as part of the show was Cloth an
quality for which legendary artist-hedonists Henri de Toulouse-Lautrec A new piece 23 hour party people was made
artist book created by Duffy and Muldoon.
(1864–1901), Amedeo Modigliani (1884-1920) and Martin Kippenberger specifically for the courtyard and was
Running in conjunction with the show Work by Barry Sullivan
(1953–1997) have become renowned. Though ostensibly dissimilar, these three open to the residents of the Culturel
were a series of auxiliary activities, This is Not a Shop Gallery presented ‘The
are unified by a seemingly self-destructive determination to blaze away their centre all day and all night, and the
including a panel discussion on art and Stillpoint of the Turning World’ (12 – 20
youth and health in a frenzy of precariously high living. Could it be that these general public during opening hours.
politics with Rita Duffy, Megan Johnston, March) an exhibition of etchings and
men foresaw the unsustainability of their relentlessly pleasure-seeking lifestyles, Wallball transformed one of the artist’s
Liam Kelly and Brian McAvera. paintings by Barry Sullivan. The works
compensating for the inescapable brevity of their careers through furiously studios into half a maze that contained a www.millenniumcourt.org
drew on a wide variety of early 20th
prolific production? new video piece that dislocated the
century photographic sources.
That a premature death often dominates the way in which an artist’s work visitors’ journey. AINE PHILLIPS
is construed is perhaps most perfectly exemplified by the case of Mark Rothko www.centreculturelirlandais.com CALDER AND MIRÓ
(1903–1970). While the colour field master’s paintings were considered the
paradigm of profoundly intangible abstraction prior to his macabre suicide in THE BLACKBIRD GALLERY
1970, his downfall permanently fixed the frame in which his output was to be
interpreted. As with Van Gogh, suicide made certain that an encounter with his
work provokes a sense of sombre gravity which originates with the biography of
the painter as much as the content of his work. While Rothko’s “martyrdom”
ensured he would never elucidate upon the mysteries at the core of his iconic
painting, it paradoxically also made it impossible to view his work without
taking into consideration the specifics of his demise. For all those aware of the
Áine Phillips Harness
artist’s untimely end, the scope for fresh interpretation of his work has been
restricted, the potential for subtleties precluded, the meaning narrowed.
Áine Phillips performed Harness at
Roland Barthes’ statement that “there in every object, is the return of the
Tanzquartier Vienna on the 12 March as
dead”(1) is apposite to my belief that the death of a cultural producer is riven with
part of an event curated by The Live Art
a contradictory duality. While their artistic legacy enables them to achieve a
Development Agency London and
state of exalted immortality, those same works are forever laced with a patina of Richard Coghlan Whatareyousayingtome? Alexander Calder Polygons on Triangles 1963, Sheet
commissioned by Tanzquartier. The metal, bolts and paint, 289.6 Courtesy CalderFoundation.
fatality. Without wanting to seem flippant, it would appear that in many The Blackbird Gallery, Kilkenny recent programme of performances, talks and Works by the American sculptor
instances an early death constitutes not only the most strangely appropriate showed (22 March - 7 April) new works by screenings explored issues of performance Alexander Calder and the Spanish painter
conclusion but also the most profitable ‘direction’ taken by many careers. This Richard Coghlan and Alan Raggett. The in relation to human rights and social, and sculptor Joan Miró are currently on
phenomenon poses a fresh challenge to the viewer, who must first acknowledge exhibition presented the fruits of six political and cultural change within a show in an exhibition in the courtyard
then transcend the tragedy of an artist’s early departure, and allow the work months of intensive work and exploration European context. space of IMMA (4 April – 1 July). The show
itself shine all the brighter – a legacy far greater than that of tragic sentiment. for both artists – Coghlan’s work using Harness was also presented by is a celebration of the long-standing
(1) Roland Barthes. Camera Lucida. Vintage. London. 1993.p9. In1980 Barthes was struck by a truck on the
hand-produced pigments on paper and Phillips Hotel Ballymun on the 6 April. friendship between the two artists, which
streets of Paris and died aged 65. Alan Raggett’s abstract figurative began in the 1920s and continued up to
canvasses exploring the textural qualities the time of Calder’s death in 1976.
of paint. www.imma.ie
4 The Visual Artists’ News Sheet May / June 2007
Slavka Sverakova JOHN HOYLAND art Poijula’s show explored “death,
loneliness, shadows, invisible worlds and
My Artists Made Me macabre humour … in her ethereal and
“MY artists made me” said Pierre Matisse, an art dealer, the youngest son of
Henri. They, eg Miro, Balthus, Chagall, Giacometti valued his integrity, honesty MICHELLE CONSIDINE – FRAGMENTS
and passion. Henri Matisse, and Picasso, could have said that the art dealer,
Ambroise Vollard was instrumental in developing their art by buying and Projector 1.0: The Last Days of the President
exhibiting 150 paintings of Cezanne. Vollard understood that artists needed
outdoor installation set at an undisclosed
exposure and emotional support as much as money. Daniel Henry Kahnweiler,
location in the Wicklow. The work was a
gave the first exhibition to George Braque, and paid him and Picasso small
light projection displaying extracts from
income based on the size of the painting. On the other hand he left unsold
the final notes and unfinished letters of
Picasso’s paintings rot in a damp store; and he forbade the penniless Juan Gris to
President Cearbhall Ó Daláigh (fifth
sell work elsewhere.
president of the Irish Republic 1974-76). It
Members of the Society of London Art Dealers (founded 1932) declare
was documented on digital video and
themselves to have a proven reputation and expertise and to keep high John Hoyland Moonstruck camera and is now available as a limited
standards of fair and honest dealing. While members of its Canadian equivalent
A show of works by the British painter edition DVD (Projector 1.1) and a series of
(www.ad-ac.ca founded 1966) is expected to stimulate art market, to encourage
John Hoyland was presented at the digital C-print photos (Projector 1.2).
awareness of visual arts, to encourage the Canadian presence in the Michelle Considine girl swinging, 8x8 in., oil on canvas. www.myspace.com/projectorcollective
Hillsboro Fine Art, Dublin (12 April – 5 www.youtube.com/watch?v=frxCy9NVqpw
international art market and to work out market development strategies. One Gallery, Dublin hosted ‘Fragments: www.aphasiarecordings.com
May). John Daly, the galleries director
Founded in 1961 by Alexander Rosenberg who was admired for quiet, realism, ritualism, fetishism’ by Michelle
commented on the exhibition “Hoyland
elegant, self-effacing integrity, the ADAA (www.artdealers.org) aimed at Considine (Feb / May). As the gallery press NEW WORK BY COLLEEN LAMBE
ranks as one of the world’s greatest
promoting “superior rules of conduct” in buying and selling works of art. material stated Considine’s works
colourists, since exhibiting alongside
Significantly, they formed an advisory panel for the Internal Revenue Service in presented “fragments of unfolding female
Motherwell, Noland, and Olitski in New
the US to protect the tax deduction for art donated to museums. experience and circumstance – sexual,
York in the 1960s and 1970s, his work
Several of ADAA members became important for the Modernists. Leo crass, vulnerable, inane, innocent and
towers above most of his contemporaries.
Castelli never wanted to show the work of established artists; he put his artists playful”. One Gallery was set up as a non-
It is a real honour and privilege to show
on a regular stipend, and publicised their works. First to exhibit Rauschenberg profit space for emerging artist in 2004.
his work in Dublin”. www.oneproductions.com
and Johns, Castelli was interested in “art of grounding importance”. Edith www.hillsborofineart.com
Halpert ran two galleries – in one she exhibited Stuart Davis, Jacob Lawrence,
PLEASURES & DISTRACTIONS
Jack Levine etc; in the other American folk art. She passionately defended the GRAVITY LOOP
rights of the artists to control their work. Martha Jackson ran pioneering
exhibitions, including found art, Op art and Pop art – along with Kline, Pollock,
de Kooning, Hepworth, Christo and Fontana. Sidney Janis exhibited the work of
acknowledged masters alongside emerging artists. Thus the European avant- Work by Colleen Lambe
garde was mixed with Pollock, Rothko, Motherwell, Gottlieb etc. Janis is known Colleen Lambe, an artist based at the
for arranging the loan of Guernica to New York for the benefit of Spanish Dublin City Council’s Red Stables Studios,
Refugee Relief. A Kraushaar focused on American art from the early 20th St. Annes Park, Dublin recently exhibited
century. Her trustworthiness became legendary. Betty Parsons devoted her work at the premises (8 – 14 March).
gallery to abstract expressionism. In 1951 Newman, Pollock, Rothko and Still Appropriately for a ‘studio show’ the
asked Parsons to drop all other artists and concentrate on them alone. She works on show belied a fascination with
refused and they moved to Sidney Janis. the processes of making – in Lambe’s case,
All the above forged a strong model for successful commercial galleries specifically derived from investigations
Lee Welch High Hopes
selling contemporary art. The present president of ADAA, David Zwirner, three-dimensional forms through
recently pointed out the war between art dealers and auction houses at the photography, drawings and clay work.
‘Pleasures & Wayward Distractions’ at
TEFAF at Maastricht in March this year. Amongst the 219 dealers, Sothebys and
Broadstone XL (3 – 6 May) was group
Christies auctioneers appeared under the guise of galleries they had recently ARMSTRONG AT KEVIN KAVANAGH
exhibition featuring work by Owen Boss,
bought. Art Basel’s two events are currently closed to any gallery with auction-
Laura Burke, Tim Cantillon, Siobhan
house ownership, a rule put in place in 1996. What upsets Zwirner and others,
Phillips & Rowley Gravity Loop, 2006 Multi-Channel Conway, Judy Carroll Deeley, John
is that they do not have a hand in setting of estimates and reserves, and that it is video installation with sound. Donohoe, Niamh Farrell, Caroline
the auction process that sets the prestige of an artist, and not a coherent David Phillips and Paul Rowley’s Kennedy, Sabina Mac Mahon, Oisin
aesthetic profile championed by a gallery. Another unwelcome shift is the exhibition ‘Gravity Loop’ at the Butler McGovern, Michelle Melody, Molly
blurring of the primary and secondary art markets. Gallery, Kilkenny (10 March – 22 April) Mishkas, Lesley-Ann O’Connell, Paula
Belfast galleries mutate the older model – the number of associated artists comprised four new works focusing on Salmikangas, Martin Smyth, Cornelius
is indicated in brackets: The Nicholas Gallery (84) and their interest in the convergence of Thalbridge, Kathy Tynan, Bregtje Wolters,
http://whiteimage.com(170) provide efficient access for buyers. The Emer science and art. The show examined and Lee Welch and Mars Wright. The press
Gallery (43) aims at giving “an honest opinion and advice to the buyer”; The contrasted the visual vocabularies of material for the show noted that the show Robert Armstrong work from ‘Afterimages’
Mullan Gallery (41) focuses on promotion; Caldwell’s (20–25) aims “ to show both distinct disciplines – as they relate to as “ … intentionally open but not
what is best in contemporary design and combine it with art…”. The Third Space contemporary art, cinema history, visual Robert Armstrong’s ‘Afterimages’ at Kevin
undefined – placing the viewer within a
(17+) wants to create a market home and abroad. The publicly funded galleries culture, educational films and art history. Kavanagh gallery (8 Feb – 10 March)
framework that hopefully allows for a
Engine Room and Golden Thread recently opened small shops. While at present www.butlergallery.com
presented new paintings by the artist. The
moment of wondering”.
it uses the space owned by a publicly funded Crescent Art centre, at its founding www.myspace.com/wayward_distractions
works in the show were described by the
KAIJA POIJULA www.broadstonestudios.com
1984, the Fendereski was a commercial gallery. Its director organises first, solo, gallery as paying attention “to apparently
theme based and group exhibitions and sees himself as an artist’s agent. inconsequential aspects of images seized
The traditional model of a gallery building and its position of close control from an assortment of historical and
The Projector Collective, formed in late
of its artists seems shakier than ever. In addition, the state is not efficient in contemporary sources. Often the focus is
2006 comprises John Carter, Anthony
generating cultural vitality. For example the French Government pours almost on fragments cropped out of historically
Kelly and Jay Roche. The main aim of the
2 billion GBP into the art sector, but London‘s share of the global art market last significant, richly detailed and
collective is to create an arena where ideas
year was seven times larger than that of Paris. Some people are thinking of a new symbolically loaded scenes”.
can evolve and can be realised outside the
hybrid model where galleries hold private auctions, and art fairs could function This exhibition was followed by
normal environment of the gallery. In
as ‘silent auctions’. And nowadays globalisation and technology assist collectors ‘Ceremony’, by Mick O’Dea (15 March – 14
Kaija Poijula. Miniatures. Mixed Media pursuing this they aim to incorporate and
– and keep driving the changes. A Japanese investment consultant Yuri Aisaka April) which presented new portrait and
Limerick Printmakers Studio and Gallery use elements of the internet and the idea
has said “buying art is a matter of intelligence”. Is it that simple? still life paintings made by the artist
presented ‘Reflections’ an exhibition of of self-publication as a means to creating a
following his residency Centre Culturel
works by Kaija Poijula (22 March – 12 wider audience. Projector 1.0: The Last Days
Irlandais in Paris.
April). Working with mixed media, of the President their first collaborative
sculpture, installations and performance work was staged in December 2006 was an
The Visual Artists’ News Sheet May / June 2007 5
MEMORY DRESS School of the Art Institute of Chicago, the
Whitney Independent Study Program, and
Parson School of Design. The artists in the ARresTed
show were Gerard Byrne, Bernadette
Cotter, Gráinne Cuffe, Brenden Earley,
Denis Farrell, Denise Ferran, Paul Gregg,
WE are all aware of the concept of extradition, even if only from films and
Karl Grimes, Ronan Halpin, Katie Holten,
stories of criminals who hide in open view in countries that do not have
John Keating, Clare Langan, Alice Maher,
extradition agreements with those where they have committee crimes. Most
Tracey Sweeney Rapt Digital and Mixed Media Rosie O’Gorman, Eamon O’Kane,
people probably think extradition is a good thing. If you murder someone while
which ideas and imagination overlap. The Geraldine O’Reilly, Alan Phelan, Amanda
Marie Brett, work from ‘Memory Dress’ visiting another country it is only to be expected that our government will send
artists in the show were: Vinnie Casey, Ralph, Orla Ryan and Katherine West.
www.farmleighgallery.ie / www.fulbright.co.uk you back there to face trial if there is a prima-facia case against you. Likewise if
Marie Brett’s ‘Memory Dress’ exhibition at Wendy Dison, Joanne Dolan, Dave Finn, a person commits a crime in Ireland – be they Irish or not – we would like to get
the Triskel, Cork (30 March – 26 April) was Raymond Foley, Mary Geeleher, Clare RANGE & REFUGE them back here to face trial. Ireland has extradition agreements with many
the result of a six-month project by the Gilmour, Paula Gleeson, Eileen Graham, countries and will send Irish citizens or other to face trial in the country where
artist at St. Finbarr’s hospital. Brett worked Paula Henihan, Margaret Irwin, Ursula and offence is alleged – but only on certain conditions. Before an extradition
in collaboration with individuals, groups Kelly, David Lilburn, Breda Lynch, Des order is made there will have be a trial of sorts here to make sure there is some
and communities associated with the Mac Mahon, Denise Mc Donagh, Niall evidence against the person to be extradited. The court will also want it to be
hospital to create evocative artworks that Moore, Mary Nolan, Amelia Norman, clear that the alleged offence is also an offence in this jurisdiction and that the
celebrate and commemorate “lives lived Carmel O’Kelly, Suzannah O’Reilly, Derek offence is of a sufficient seriousness to justify extradition. There are other issues
but not forgotten”. O’Sullivan, Siobhán Piercy and Tracy
www.triskelart.com too; the Irish courts must have confidence that the justice system in the country
Sweeney. The exhibition later travelled to seeking the extradition is fair and that the person they are extraditing will
Keith McCann’s exhibition at Four – ‘Range’
the Original Print Gallery in Dublin (30 receive a fair trial. (I am not a lawyer – this is just a quick explanation – so please
RESIDUE March – 14 April). don’t nit-pick)
SUBSTRATA So why am I wasting your time with all this? Well all that extradition stuff is
still relevant – our agreements still stand with many countries – but they have
been superseded as far as our European partner are concerned. Since 9/11 – and
the resulting concern over international and global terrorism – the EU
introduced the European Arrest Warrant. Under the terms of the European
Aoife Desmond ‘Temporary Refuge’ Arrest Warrant, a person in any EU country can and will be handed over for trial
to another member country without any of the preliminaries we associate with
Keith McCann exhibited new and extradition. The ‘offence’ allegedly committed does not have to be an offence in
developing works in his solo show ‘Range’ the country extraditing you. There is no question of whether your trial will be
at Four, Dublin (2 March – 24 March). The fair or not – it is assumed it will be. No questions are asked as to the evidence
Louise Ward’s show ‘Residue’ at This is Not
gallery notes commented, “McCann’s against you or how long you might be held in custody before trail.
a Shop (14 Feb – 10 March) explored
work develops through the exploration of
themes of fertility, desire and mortality.
materials. Through observation he Again you might ask why am I bothering you with all of this…
Using found objects such as dishcloths Work by Charles Tyrell from ‘Substrata’
extracts the generic from the reality of the
and food products, combined in drawings
Solstice Arts Centre, Navan presented physical world often considering their The first artist to be subject to the European Arrest Warrant was an Austrian
Ward explores the notion of the
‘Substrata’ (15 Feb – 16 March) a group allusions”. cartoonist – Gerhard Haderer. Having sold very well in Germany and Austria,
temporality of life – employing
showing of the work of abstract painters For ‘Temporary Refuge’ Aoife Haderer’s publisher decided to translate his book of cartoons, Das Leben des Jesus
mastication, spitting and other
Seán Shanahan, John Noel Smith and Desmond’s (13 April – 26 May), created a (The Life of Jesus), into various languages and to publish it widely. When it was
unconventional drawing techniques to
Charles Tyrrell curated by Ciaran Bennett. site-specific garden piece composed of published in Greece, Haderer was accused of blasphemy and a European Arrest
create marks that are sensually suggestive.
The show sought to “explore the theme of white scented flowers – ranging in scale Warrant was issued for his arrest and extradition to Greece to face trial.
dynamic layers in contemporary from snowdrops to apple trees. The
WITHIN & WITHOUT painting”. installation, explored connotations of Haderer’s book of cartoons portrayed Christ as a pot smoking, wine drinking,
Eden or Persian depictions of heaven surfing hippie. The arrest warrant came as a shock to Haderer who hadn’t even
explored the peripheralisation of nature know his work had been published in Greece. As it happens, Haderer wasn’t
ELIZABETH MCALPINE within the city. extradited to Greece to face trial because he had been accused, tried and
acquitted of a similar offence in Austria – lucky him. The Greeks tried him in his
absence and he was convinced and sentenced to six months imprisonment. This
THE YEAR OF THE GOLDEN PIG
sentence was appealed and eventual overturned – it took a lot more than the six-
‘The Year of the Golden Pig –
months he would have been in prison. The successful appeal was important
Contemporary Chinese Art from the Sigg
nonetheless, as it meant that Haderer could again travel in Europe. While
Collection’ (13 March - 17 June 2007) at
subject to the European Arrest Warrant and the six-month sentence, Haderer
the Lewis Glucksman Gallery, Cork
could not risk travelling to any EU country, as he would have been immediately
presents a selection of works from the
extradited to Greece to serve his sentence without any further judicial
collection of Swiss businessman and
Elizabeth McAlpine, from ‘Sedimentaty Site’ diplomat Dr. Uli Sigg. The former Swiss
In February Ballina Arts Centre presented ambassador to China, Dr. Sigg, has taken a
If your work is published in other countries, are you expected to know the
‘Sedimentary Sight’ by the London based keen interest in China and its culture
intricacies of the law in each country were it is published or shown? Are you to
artist Elizabeth McAlpine. McAlpine since the late 1970s and has been building
know what might cause offence in different countries or to particular sections
Des McMahon Heart Silkscreen
works mainly with time-based media and a collection devoted exclusively to
of the population in these countries? The words of a poem or the lyrics of a song
Works by artists from Limerick, Lorg and she describes her working practice as Chinese art since the mid-1990s
might be fine in most countries but if they cause offence in one the author is in
Cork Printmakers were represented in the being “close to geology”. difficulty. Likewise with a painting or sculpture.
touring exhibition ‘Within & Without www.ballinaartscentre.com
selected by curator and arts consultant Romania has, or is in the process of, enacting a law making it an offence to
In late March participants in the new
Ruairí Ó Cúiv’ and shown at Limerick INTERCHANGES “offend against religious images”. Perhaps this is okay, but it is very subjective.
NCAD MA in Art in the Contemporary
Printmakers Studio and Gallery in ‘Inter-changes: Fulbright at 50 What will cause such offence to one person may not to another.
World mounted an exhibition of work and
Limerick (22 Feb – 15 March). The show Anniversary Exhibition’ at the Farmleigh
ongoing research in thisisnotashop
was first launched at Galway’s Tulca Gallery, Dublin (8 March – 15 April) When it comes to terrorists, murderers and drug dealer most people will likely
gallery on Benburb Street. ‘The Power of a
Festival at the White Room Gallery in profiled a range of works by artist feel the European Arrest Warrant is a good thing; but its use in the case of
Negative Remains Between Us’ featured
October 2006. The theme for the work on recipients of Fulbright Scholarships. Haderer was beyond the intention of those who formulated it. The European
artists, curators and writers Ciarán Walsh,
show, ‘Within & Without’, came from the Curated by Alan Phelan, the show featured Council of Artists – VAI is a member – are campaigning to have artwork
Jessica Foley, Liam Campbell, Dobz
curatorial subtext for Tulca 2006 – work by artist who had studied at some of exempted form the scope of the European Arrest Warrant. If you are interested
O’Brien, Ciara Moore, Colm Desmond and
referring to everyday life experience, our the most prestigious universities in the US to find out more you can visit their web-site at www.eca.dk
place in the world along with the ways in including Yale, New York University,
6 The Visual Artists’ News Sheet May / June 2007
ROTH ECKE performances. the west coast of the island, interacting
The Return, Goethe-Institut, Dublin Some works of note include Irish with the ‘shark-callers’; fishermen who go
recently presented an installation by artist Miriam Lohan’s, Ringing Limerick, a out alone to catch sharks in small canoes Loverly Weather
German artist Andrea Büttner entitled sound composition, bringing together the using rattles and songs to lure them to the
Roth Ecke (8 March – 4 April). Büttner’s bells of 25 Limerick churches in a surface.
www.kerlin.ie FOR years I have resisted the impulse to think about climate change. I suppose
exhibition was inspired by the work and performance on 7 May. While New York
that deep in our collective subconscious we all share a fear of storms and the
life of artist Dieter Roth (1930-1998); and based Aura Rosenburg has created a series
KEEPER SERIES #3 power of the sea, The Epic of Gilgamesh and Noah’s Ark tells us as much. As an
utilised the traditional medium of the of banners entitled Angels of History that
artist and curator, I was always busy with what I thought were ‘more important’
woodcut augmented with sound are displayed throughout Limerick city
things. But maybe (like most people) I was simply waiting, hoping that the issue
recordings of the artist reading from the centre. At Shannon Airport Irish artist,
wouldn’t really manifest itself for another century or so. Hasn’t the ecosystem
diaries of Dieter Roth. The show was Sean Lynch, has placed a reproduction of
our generation inherited already come with many other dire environmental
curated by Jonathan Carroll. the famous iconic image of Che Guevara
www.goethe.de/dublin issues – the deforestation of the rain forests and the depletion of world
recorded during his visit to Limerick in
resources? And yet, the climate change issue seems different. Perhaps one of our
ALMOST UNCERTAIN www.eva.ie biggest obstacles in acknowledging climate change, is that it has almost become
a cliché before it has even been understood, but this in itself is no excuse for
Amanda Dunsmore, from ‘Keeper Series #3
CONTEXT @ PREHEN HOUSE inaction. We must recognise that in the coming years, the social and political
Amanda Dunsmore presented ‘Keeper action needed to counter climate change will not merely be the major
Series #3’ at Galway Arts Centre (9 March preoccupation of all sectors of society; it will become the ‘only’ issue.
– 7April). Dunsmore is a visual artist based If we are to understand this phenomenon, we must to come to grips with
in Limerick and Belfast. Her work explores three terms – greenhouse gases, global warming and climate change.
concepts linked to social and historical Greenhouse gases are a class of gases that trap heat near the Earth’s surface. As
Phehan House exhibitions flyer they increase in the atmosphere, the extra heat they generate causes global
acts of preservation using video,
Maureen O’Connor Bridge
Prehen House, Derry is hosting four solo installation, photography and sound. She warming. This in turn puts pressure on the Earth’s climate system and leads to
Maureen O’Connor’s exhibition at Cavan exhibitions initiated by the Context is a lecturer in Sculpture & Combined climate change. Put simply, it results from air pollution, the size of our
County Museums entitled ‘Almost Gallery – by John Beattie, Mark Clare, Media at Limerick School Art & Design, atmosphere and the volume of pollutants that we are discharging into it.
Uncertain’ (2 – 23 March) comprised an Breda Lynch, Katrina Maguire (until 1 LIT. The show was based on material from For three million years the ice caps have acted as the Earth’s temperature
installation of acrylic and watercolour August). The venue has recently the artists The Maze / Long Kesh Project. In control – a sort of giant air conditioner, and for the past 10,000 of these years, the
paintings accompanied by documentary developed as a site for presenting multi- 1999 the artist was one of the artists in Earth’s thermostat has been regulated at a healthy average of 14C (57° F). This
material. The works on show sought to disciplinary arts, with poetry, music, residence in HMP The Maze, working with comes about through the process of albedo, were one third of the sun’s rays
situate both abstract and representational performance and community arts Loyalist and Republican prisoners. During falling on Earth are reflected back to space. Ice, particularly at the poles, is
means alongside one another, the artist regularly programmed. Accompanying this time she was given access to responsible for a lot of that albedo, for it reflects back into space up to 90% of
commenting “I think the pieces, though the show are artist’s talks; and four document security-sensitive areas such as the sunlight hitting it.
abstract, bear a relationship to evenings of screenings / performance, one the original Long Kesh Compound. Water, in contrast, is a poor reflector. When the sun is overhead our seas, it
architectural structure, integrating an programmed by each artist. reflects a mere 5%–10% back to space. Replacing arctic ice with dark ocean will
http://www.geocities.com/colinpeck/prehen.html result in a lot more of the sun’s rays being absorbed at Earth’s surface and
emotional narrative; and I am interested
BAD BEUYS reradiated as heat, creating local warming, which will hasten the melting of the
in how this quality may be subliminally
IMOGEN CUNNINGHAM remaining continental ice. It has become apparent over the past number of
years, that the Earth has passed one climate threshold and is rapidly
DAVID SHERRY approaching another. This has led scientists like Tim Flannery, to speculate that
David Sherry’s first solo exhibition a ‘tipping point’ has been reached that would mean that our oceans are locked
‘Regulations for Irrational Procedures’ is into a cycle that can only accelerate the ice melt.
on show at Mothers Tankstation, Dublin For Flannery, it grimly ‘indicates that the arctic ice caps has entered a death
(5 April – 12 May 2007). The works on spiral that will see the ice melt away entirely in summer within the next five to
show are described as performing “a Bad Beuys Entertainment fifteen years.’ Such occurrences and that of the collapse of the Antarctic
sequence of U-turns, reversed statements, Peninsula’s Larson B Shelf in 2002 have promoted Dr. James Hanson (Director of
Bad Beuys Entertainment’s exhibition NASA’s Goddard Institute), to speculate that we have only a decade or so to avert
points of collapse, levitation’s,
‘Spectrum City Was The Name’ at Catalyst the rise in the ocean by 24 meters (80 feet). To put this into perspective, imagine
insubordinate actions, leaps onto nothing
Arts, Belfast (16 March – 7 April) (as I have done) sitting on your favourite beach with the surf lapping gently at
and a series of ‘snooks cocked’ at the
comprised an installation of models your feet – now imagine that same beach with the waves washing over the roof
perception of reality”.
www.motherstankstation.com illuminated in halogen and UV lights that of an eight-story building. That’s what a 24m rise in the oceans will look like!
sought to ironically ironic explore notions Glimmers of hope are beginning to emerge however. This year has seen,
FIRST FIX of the ‘society of the spectacle’ and urban German Chancellor Merkel and French President Chirac vie to put us Europeans
Curated by Fintan Friel and Ian Wieczorek space. The French collectives work was on a low carbon diet: President Hu Jintoa of China declare that global warming
Imogen Cunningham Flowering Cactus. Circa 1930.
‘First Fix’ at the Custom House Gallery, described as employing a DIY approach” is a make or break issue: Californian Governor Arnold Schwarzenegger morph
Westport (7 June – 1 July) explores visual Curated by Celina Lunsford ‘Imogen and stand counter to “the political and into a green and even has our own Bertie Ahern believing that Ireland will reach
memory. Participants in this open Cunningham – A Life’s Work’ at the Sirius economical logic that underpins division its targets under the Kyoto Protocol. Nevertheless we cannot wait for the issue to
submission show were asked to consider Arts Centre Cobh, (8 – 30 of March) of labour … to quote Thomas Hirschhorn – be solved for us. The most important thing to realise is that we can all make a
their own personal art experience and presented a selection of works by this “energy yes, quality no” . difference (even in the arts!).
locate one particular image that conveys a quintessential American woman Just as the landscape artists in the 18th and 19th century helped reshape
defining moment. The exhibition photographer of the 20th century – an RETRIEVAL UNIT our perception of our place in nature, so we trust that ‘climate’ artists, are
comprises reproductions of these images, artist whose expansive vision created Sean Lynch’s exhibition ‘Retrieval Unit’ (3 beginning to reshape the way we perceive the inter relationship of climate and
together with written accounts that many great icons of photographic history. February – 18 March) at Limerick City culture. For the Paris based Curator Julien Knebush, “Artistic explorations
provide contexts for the artworks chosen. Cunninghans’s best–known signature Gallery of Art, brought to the gallery some should help us to experience and reveal our inner participation with climate,
images were made between 1920 and of the flotsam and jetsam of Irish history, the rupture of its balance and it’s meaning for our inner world, in the same way
1940, an exciting period of modernist including the rescued remains of The Irish that landscape artists reframed the relationship of humans to their
imagery in America. House pub, a bronze golf ball mysteriously environment”. In the end, we cannot act like King Chanute; or keep our silence
Currently on show in venues across
removed from a statue of former US and hope for the best. Lovely Weather (1) is an ambitious collaboration between
Limerick is ‘OPEN e v+a 2007 / A Sense of
SAPIENS president Bill Clinton in Ballybunion; and artists and scientists on climate change – the greatest crisis facing the 21st
Place’, the 31st incarnation of the show (30
Dorothy Cross’s ‘Sapiens’ exhibition at the the photographs and accounts of the century.
March – 24 June). Curated by Klaus
Kerlin, Dublin (23 March – 28 April) was Joseph Beuys visit to Limerick in 1974.
Ottmann, the ‘exhibition of visual plus art’
described as “bringing nature into the Lynch’s photographs and John Cunningham is Co Director of the Lovely Weather Project and
features the work by 32 artists - 18 of
gallery space” with a new series of works installations advocate a kind of ‘activism’ the director of the Regional Cultural Centre Letterkenny
whom are Irish and 14 come from various
incorporating sculpture, photography and towards history, where the artist discloses
backgrounds in Europe and North (1) The Regional Cultural Centre Letterkenny and Leonardo/OLATS are curating Lovely Weather, a three-year
video. Much of this new work was a direct and builds upon fragile stories and objects,
America. The media they work in ranges project that explores the ways that artists and scientists are collaborating to address issues around global
result of a recent visit to the Melanesian magnifying traces of their idiosyncratic warming and climate change. Info:
from a variety of traditional painting and http://www.olats.org/fcm/artclimat/artclimat.php
island of New Ireland in the South Pacific. existence. In ‘Retrieval Unit’, Lynch uses http://www.donegalculture.com/
sculpture to diverse approaches to
Cross spent time in the remote villages on the gallery as the context in which to http://www.leonardo.info & http://www.olats.org
photography, video, installations and
The Visual Artists’ News Sheet May / June 2007 7
been denied funding for arts & cultural
present reclaimed bits and pieces and
where he invites the viewer, assisted by
anecdote, to reconsider and reappraise
Demand is best known for his
unique approach to photography – the
subjects of his large-format photographs
News facilities in both this round and the
previous round of allocations.
these selected fragments from the past. are painstakingly constructed three- The approved projects include:
dimensional, life-size models of NEW MANAGEMENT AT OBG manufacturing technologies of gravity National Sculpture Factory, Cork
architecture and objects, devoid of The Arts Council of Northern Ireland die, low pressure and high pressure die (€450,000), West Cork Arts Centre
human presence. Once they have been has transferred the management of the casting. This work continues to this day (€1,500,000), Dublin City Council
photographed, the models are Ormeau Baths Gallery to a newly elected as the market sector has expanded to Artists Studios: St. Patrick’s, Cuilín
destroyed.. independent board. The new satisfy the ever increasing demand for House, Blessington Street & Buckingham
chairperson is Professor Kerstin Mey, lightweight automotive aluminium Street (€600,000), Project Arts Centre
ANTECHAMBER Director of Art and Design Research castings. (€60,000), RHA (€1,750,000), Leitrim
‘The First Antechamber’ at the Project, Institute at the University of Ulster. A In the early 1990s Northern Ireland Sculpture Centre (€425,000), Belltable
Dublin (16 March – 28 April) presented call has gone out inviting artists and witnessed the beginning of the peace Arts Centre (€882,000), Johns Square,
works by Gabriel Lester, Charlotte Moth curators to sit on the new board. process. The country was moving (Artists’ Apartments) Limerick
Ignition books website (screen grab)
and Alexandre Singh. The show was www.ormeaubaths.co.uk gradually to a mode of construction and (€460,000), Roscommon Arts Centre
Ignition Books is a new Irish artists- described as “As an antechamber, the renaissance. Artists and sculptors were (€1,000,000) and Niland Model Arts
books publishing initiative. Recent exhibition operates in the space DIANA COPPERWHITE WINS AIB to the forefront in this process using Centre (€1,750,000). For the full list of
publications have included works by between the dual pillars of story-telling: Diana Copperwhite, nominated by the their skills to promote understanding successful projects see:
Andrew Kelly, Ciara Healy, Catriona narrative and image. The signifiers in a West Cork Arts Centre, is the winner of between communities and the www.arts-sport-tourism.gov.ie
Hardie, Christine Ellison, Dara Ni work of art here lose their predictability this year’s AIB Prize. One of the most regeneration of socially deprived areas.
Bheachain and Grainne Carroll. All - there are smoke-screens, chance coveted art prizes in Ireland AIB Prize The Belfast Institute Foundry supported
INCREASED NI ARTS FUNDING CALL
Ignition titles books are hardback and relationships and red-herrings”. awards the winner with €20,000 for the this renewal and revitalisation by
produced in limited editions of 500 and purpose of creating new work, having an establishing new casting processes. In
are available to purchase on their exhibition in the nominating venue as particular the lost foam and lost wax
website. well as the publication of an processes were introduced to allow
accompanying catalogue. artists to design and manufacture
The three runners-up, who each beautiful bronze cast sculptures.
SERGEJ JENSEN @ DHG
received a €1,500 prize, were Sean Lynch, Today the Foundry boasts a full
Works by Sergej Jensen a half Serb and
nominated by the Galway Arts Centre, time Chartered Engineer and a qualified
half Danish living in Berlin, we recently
Alan Phelan, nominated by the Irish Artist amongst its staff. Practical support
on show at the Douglas Hyde Gallery,
Museum of Modern Art in Dublin, and is given to each artist from design
Dublin (24 March – 5 May). Jensen
Jennifer Trouton, nominated by the concept through to the finished bronze
creates textile works and paintings, and CORRECTION
Millennium Arts Centre, Portadown. casting. Many renowned artists from
occasionally films and installations; and
Ireland have used The Foundry to create
this exhibition focuses on his paintings, Apologies to Brendan Flaherty, Eilis
FOUNDRY WORKSHOPS – BELFAST stunning visual sculptures. Examples of
which are made by staining, brushing, McDonald and Pallas Contemporary
their work can be viewed in art galleries,
and dabbing marks on found fabrics, and Projects. In the roundup section fo the
sometimes by sewing fragments of at award ceremonies and in numerous
March / April VAN, works by Flaherty Increased arts funding demonstration, Belfast.
material onto them. public places throughout Ireland.
were incorrectly captioned as pieces
by McDonald. For details of past, For further information or to book your Arts funding in Northern Ireland has
present and future projects and place in the next workshop, please stalled in recent years and compares
REIGNING CATS AND DOGS contact:
exhibitions at Pallas Contemporary poorly to that received by the other
G126, Galway presented Michael Ken Barr T. (028) 9026 5429
Project see www.pallasprojects.org E:email@example.com areas, England, Scotland, Wales and the
Fortune’s new video installation Reigning Anne Campbell, T: (028) 9026 5426
E: firstname.lastname@example.org Republic of Ireland. The Arts Council of
Cats and Dogs (15 March – 14 April). The
Northern Ireland (ACNI) with support
work was recorded in the artist’s family
PARIS RESIDENCIES from the sector is heading a campaign
home in Co. Wexford over the 2006
Three visual artists will travel to Paris calling for an increase in funding for the
Christmas period and comprised various
‘mini incidents’ involving the family
Get into over the next year to take up artistic arts for the 2008 – 2011 period.
pets and his immediate family. Filmed TheRoundup residencies at the Irish College. The
artist-in-residence scheme provides an
Earlier this year the Council
from the animal’s perspective, each presented the case for increased funding
opportunity for visual artists who work to a group of parliamentarians in the
fixed-frame shot portrays a domestic- To get your exhibition or event
Work created on the Belfast Foundry Workshops and/or live in Ireland to spend 2 to 3
styled wildlife documentary where considered for inclusion in the round- House of Commons. The Council met
months in Paris. The residency includes
animals co-exist, share and interact in a up section, simply e-mail text and with the Performing Arts Alliance Group
The Belfast Institute Foundry is located a room in the Irish College and a studio
house full of humans and other animals. images to the editor (PAAG) which is concerned with issues
www.g126.eu on the College’s Millfield Campus in the within the courtyard.
(email@example.com). Your text that affect people working in the
centre of Belfast. Established in 1962, the The successful visual artists are
details / press release should entertainment industry, and provides
UNSELECTED AT BAD Foundry staff initially trained Aoife Desmond (autumn 2007), Maud
include venue name, location (town / support and assistance by engaging with
For the second year, an exhibition of apprentices from local Engineering Cotter (spring 2008) and Eamon O’Kane
city), dates and brief description of MPs and Peers from all parties.
artworks not selected for the RHA Foundries including Harland & Wolff (summer 2008).
the work. Note that ‘hard-copy’
Annual Exhibition goes on show at the plc, James Mackie & Sons Limited and In a statement Rosemary Kelly,
cannot be accepted due to the www.centreculturelirlandais.com
Bad Art Gallery, Dublin (10 May – 7 many other world class engineering Chairman of ACNI said that the PAAG
volume of material that needs to be
June). The idea behind the exhibit is companies. Trainees acquired pattern €32 MILLION FOR ARTS FACILITIES was concerned about the low funding
collated for this section of the
partly to boost the fragile confidence of making and sand moulding skills as part John O’Donoghue, Minister for Arts, levels and were sympathetic to the case.
artists and to show the public the art of their apprenticeship. Sport and Tourism, has decided to offer The PAAG also pledged to put the case to
Inclusion is not garanteed, but we
that is not selected by the RHA, very During the 1970s, as a result of funding of €32 million to 67 projects influential MPs including the Northern
aim to give everyone a fair chance.
similar to the ‘The Salon des Refuses’. many Engineering company closures, nationwide under the Arts and Culture Ireland politicians.
Our criteria is primarily to ensure that
the roundup section has a good there was a noticeable decline in local Capital Enhancement Support Scheme Artists and arts organizations
regional spread and represents a manufacturing and the future for The II (ACCESS II 2007-2009). throughout the region have agreed to
diversity of forms of practice, from a Belfast Institute Foundry looked Of the €32 million, two thirds of campaign for increased arts funding for
Thomas Demand’s exhibition at IMMA
range of artists at all stages in their challenging. However, by the end of the the funds will go towards the Northern Ireland. The campaign lobby
(28 February – 3 June) – entitled ‘L’Esprit
careers. 1980s, industry in Northern Ireland refurbishment and enhancement of ‘Invest in Inspiration’ is the result. A rally
d’Escalier’, presents an overview of the
Priority is given to events taking again experienced significant growth existing facilities while one third will go to launch the campaign was held on
artist s recent work and comprises 24
place within Ireland, but do let us with the arrival of die-casting Foundries, towards the creation of new facilities. Wed 25 April in Belfast. You can support
large scale photographic pieces, plus a
know if you are taking part in a such as, Montupet and Ryobi The Scheme is designed to fund the campaign in various ways. See
new projection piece, designed by
significant international event. Aluminium Castings. Once more, The facilities on a broad geographic basis.
Caruso St. John Architects, specially for website for further info.
Belfast Institute Foundry played a key However, notably County Cavan has
the exhibition. www.investininspiration.com
role, training employees in the modern
8 The Visual Artists’ News Sheet May / June 2007
IRELAND AT VENICE 2007 awareness-raising training on child www.shiftingground.net / www.spaceshuttle.org.uk
Minister O’Donoghue has formally POLLOCK-KRASNER RECIPIENT CULTURAL DIVERSITY CONVENTION protection issues to all ACNI funded DCAL GOES TO DUP
announced details of Irelands Dublin born self-taught Irish artist The Convention on the Protection and organisations. For more information see The four main political parties at
participation at the 52nd International Derek Culley has been awarded a Promotion of the Diversity of Cultural the ACNI website. Stormont have named the 10
Art Exhibition in Venice this June. Irish Pollock-Krasner Foundation Grant of Expressions entered into force on 18 The Arts Council of Ireland plans Ministerial posts in the Northern
commissioner Mike Fitzpatrick, $25,000. Based in Merseyside, painter March 2007. To date, more than 50 to offer specific training for Designated Ireland Executive, having chosen,
Director/Curator of the Limerick City Derek Culley intends to use the grant to States have ratified the Convention. and Deputy Designated Persons (named according to party strength, the
Gallery of Art has selected artist Gerard concentrate on his studio work and UNESCO’s culture website has a variety individuals designated to deal with Departments they will head up.
Byrne to represent Ireland at this the facilitate his ambition to establish of resources on the Convention, issues related to child protection in an The DUP is entitled to four
leading international art fair. himself in America. including the official text of the organisation) in the second half of 2007. Departments, Sinn Fein three, the UUP
This year Ireland will move to a www.pkf.org / www.derekculley.com Convention, the list of ratifying states The Guidelines for the Protection and two and the SDLP one. The DUP will be
new venue - the Istituto Provinciale per and FAQs Welfare of Children and Young People in charge of the Culture Arts and Leisure
l’Infanzia “Santa Maria della Pietà” SEAMUS MURPHY CENTENARY http://portal.unesco.org/culture in the Arts Sector can be downloaded (DCAL) portfolio which will be headed
(located between Piazza San Marco and To mark the centenary of the birth of from the Arts Council website. up by Minister Edwin Poots MLA of the
the Arsenale). The Northern Ireland renowned sculptor Seamus Murphy, PATRICK SCOTT: SAOI OF AOSDÁNA www.artscouncil.ie / www.artscouncil-ni.org Democratic Unionist Party.
pavilion will be based at the same RHA (1907-1975), a series of celebratory Painter Patrick Scott has been awarded In addition to Culture, Arts &
location showing the work of Willie events will take place in Cork from the highest honour within Aosdána; BELFAST CITY COUNCIL FUNDING Leisure the DUP will also have to deal
Doherty commissioned by Hugh April to September this year. For the that of Saoi which recognises Belfast City Council has awarded with promoting minority languages, ie
Mulholland. next six months Cork will host a major outstanding achievement by an artist £400,000 in funding to 42 professional Irish and Ulster-Scots. Fluent Irish
Ireland’s exhibition at will be open retrospective of his work, with and is a position that is held for life. arts and heritage organisations in the speaker Barry McElduff, chairperson of
to the public from Sunday 10 June to exhibitions across the city, a theatrical Scott was elected through a secret ballot city for the financial year 2007/08. the Assembly’s DCAL Committee, has
Wednesday 21 November 2007. A production of his autobiography, a at a general assembly held at the Irish Grants of between £3,000 and £28,250 already expressed his frustration at the
major publication of Gerard Byrne’s documentary and the renaming of the Museum of Modern Art. have been given as part of the cultural British Governments slow uptake in
work will be launched in early June at City and County Archives Scott joins fellow Saoithe Seamus programme funding. honouring its St Andrews talks pledge
the Biennale. For those who won’t be Born in 1907, Seamus Murphy Heaney, Louis le Brocquy, Anthony In addition, the 11 flagship to pass an Irish Language Act for
able to make it to Venice this year, the became one of the foremost stone Cronin and Brian Friel. The title of Saoi organisations currently in receipt of the Northern Ireland. Sinn Fein also shares
OPW will host an exhibition of the carvers and sculptors of his time, his is conferred by the President of Ireland. Council’s Culture and Arts Multi- that frustration. It has called for a strong
Irish and Northern Irish pavilion work forming part of modern European The Aosdána membership also Annual Funding are about to enter their Irish Language Act with a rights based
exhibitions at the Farmleigh Gallery in tradition. He specialised in memorials, elected 15 new members from 25 final year of 3 year funding, and this approach and with an Irish Language
2008. The official website of Ireland at gravestones, portraits and nominees. They are writer Kerry Hardie; year the Council has awarded a total of commissioner as soon as possible.
Venice 2007 is now live and can be commemorative sculpture. He was also poets Pat Boran and Ciaran O’Driscoll; £508,000 to these organisations. www.dcalni.gov.uk
viewed at: renowned for his sympathetic approach artists Brian Henderson, Eamon The Councils ‘Annual Funding for
www.irelandvenice.com/site to stone carving, and for the quality of Colman, Vivienne Dick, Pat Harris, Paul Culture and Arts’ programme will RECOGNITION OF CULTURE
his lettering. Mosse and Bernadette Kiely; writer and support the following visual art The Council of National Cultural
OPEN EV+ A AWARDS 2007 actor Donal O’Kelly; architect Shane de organisations: Arts and Disability Institutions (CNCI) has called on all
Eric Glavin, Tony Gunning, Eithna Joyce TRISKEL’S SACRED EXTENSION Blacam; musicians Trevor Knight and Forum, East Belfast Arts Collective, Irish political parties to recognise the
and Thorns Ltd. (Snorre Ruch and Jon Cork City Council has decided to restore Trevor McLachlan and the Belfast Print Workshop, Belfast Exposed, importance of culture in their election
Wesseltoft) were awarded the curators Christchurch, which is adjacent to choreographers David Bolger and Cindy Golden Thread Gallery, Flaxart Studios manifestos. More than 100 people met
award at this year’s e v+ a. The awards Triskel Arts Centre, as a cultural venue Cummins and Queen Street Studios at a daylong seminar in early April in
were announced by curator, Klaus and at an initial cost of two million www.artscouncil.ie/aosdana www.belfastcity.gov.uk Dublin’s RDS to discuss the
Ottmann, at the launch of ‘OPEN e v+ a / Euro. The Church will be integrated into contribution of culture to Irish society.
A Sense of Place’ at the Limerick City Triskel’s existing facilities and the arts NATIONAL MEMORIAL COMMISSION NEW HOME FOR YEATS MUSEUM This seminar was the first of a series
Gallery on Thursday 29 March. Tony centre will be charged with the Minister for Defence Willie O’Dea TD The Yeats Museum at the National planned by the CNCI to highlight the
Gunning also received the Bank of management of the venue when the has unveiled the design, site and artist of Gallery has been moved from the role played by culture, the arts and
Ireland’s inaugural Recognition Award refurbishment is completed. The the first public National Memorial Dargan Wing, where it has been housed heritage in addressing a wide range of
for an Emerging Artist. The Bank development will open up a whole erected to members of the Defence since 1999, to a new, specially policy issues, including cultural
purchased two of Gunning’s six works range of new programming possibilities Forces who died in service. renovated, but smaller, gallery space in diversity, education, economic
on show for their corporate collection. for Triskel which will enter its 30th year Funded by the Department of the Beit Wing. development and broader quality of life
The John Hunt Residency Award in of operation in 2008. The Church, Defence through the Per Cent for Art www.nationalgallery.ie concerns.
association with the Tyrone Guthrie which was built in 1726, housed the Scheme the commission, valued at The seminar was the second part of
Centre went to Orla Keeshan and the Cork City Archives until they moved to €175,000, was initially announced by SPACE SHUTTLE FOR GROUND UP a strategy designed to underscore to
Belltable One Person Exhibition Award Blackpool in 2005. Refurbishment Minister O’Dea in June 2006. Artist The Ground Up Artists’ Collective has government the value that culture plays
went to Suzannah Vaughan works are expected to be completed by Brian King won the commission been awarded the Space Shuttle as a in the lives of all citizens. In May 2006,
www.eva.ie summer 2008. following an open tender competition result of the auction by PS2. The the CNCI submitted a proposal to
www.triskelart.com in which more than 30 artists applied. collective will use the Shuttle as include culture as part of the National
SUBURBAN – SUPERRURAL ON TOUR The Memorial will be sited at Merrion temporary public art space and a Development Plan. Video highlights of
‘SubUrban to SuperRural’, Ireland’s €35,000 FOR CULTURE NIGHT 2007 Square in Dublin. It is intended that the platform for discussion about the rural the conference is available online.
entry in last year’s Venice Architecture The Minister for Arts, Sport and Memorial will publicly recognise the context. A scaled down replica of PS2 www.cnci.ie/seminar
Biennale is to tour Ireland over the Tourism has announced that a grant of contribution made by members of the project space in Belfast, the Space
coming months. The exhibition, €35,000 will be provided to Temple Bar Defence Forces as well as acknowledge Shuttle is a multifunctional, creative GOLDEN THREAD ON THE MOVE
curated by FKL Architects, looks ahead Cultural Trust (TBCT) for Culture Night the loss and bereavement of those left box sent temporarily into ‘orbit’ to Belfast’s Golden Thread Gallery (GTG)
at the next 25 years at our pre- 2007. On 14 September 2007, artistic behind. In addition, the annual outside locations where it is used as a has moved to a new premises on Great
occupation with living on the land and cultural venues in Dublin City, commemoration for deceased members working platform for interdisciplinary Patrick Street just across the road from
beyond the city’s hold, and to arrive at including the National Museum, of the Forces will take place at the artist groups and community the Cathedral quarter in the city centre.
some predictions and possible solutions National Library and the National National Memorial in future. A digital organisations. The GTG was located on the Crumlin
for the next generation. The tour is Gallery will extend their opening hours interpretation of what the new One of the obstacles encountered Road for nine years. The new premises
presented by the Irish Architecture until late in the evening. The main aim Memorial will look like can be found on by artists in rural contexts is the lack of are larger with a café and other facilities
Foundation and Culture Ireland. of Culture Night is to stimulate and the artists website. public spaces. The Space Shuttle will planned for the future. New address:
‘SubUrban to SuperRural’ has extend interest in the arts and cultural www.sculpture.ie temporarily address this and allow the Golden Thread Gallery, Switch Room,
already opened at the Ormeau Baths life of the city – the extended opening Collective to programme a range of
84-94 Great Patrick Street, Belfast, BT1
Gallery in Belfast and will travel to hours will particularly benefit those CHILD PROTECTION IN THE ARTS activities, all of which will be context
Cork, Limerick and Dublin later in the who are unable to visit these venues Both the Art Council and the Arts specific, especially for the space.
year during normal daytime hours. Council of Northern (ACNI) are Ground Up Collective member Fiona
www.architecturefoundation.ie www.templebar.ie planning to offer training on child Woods will use the Space Shuttle as part
protection issues to funded of her residency in North Tipperary
organisations. The ACNI is offering from May until August.
The Visual Artists’ News Sheet May / June 2007 9
certain artists’ studios – and that perhaps the trend was coming full
A Room of One’s Own circle – instead of presenting their studio as public ‘performance’
spaces, artist were now becoming more protective of them.
Nonetheless, in general terms, to be the subject of a studio visit is
ALISON PILKINGTON REPORTS ON ‘BEYOND THE STUDIO’, THE SYMPOSIUM (8 – 9 FEB) ORGANISED AS understood as a pinnacle of art world achievement, acknowledgment
and acceptance for artists. We’ve all heard the stories of blue chip
PART OF ‘THE STUDIO’ EXHIBITION AT THE BY DUBLIN CITY GALLERY THE HUGH LANE, IN
curators flying into Ireland in order to make a series of studio visits to
ASSOCIATION WITH NCAD AND THE NSF only a carefully selected group of artists, then flying out again. Studio
visits are still carefully orchestrated events for both artist and curator.
The panel discussion featuring artists Jaki Irvine, Ronan McCrea
and Tara Byrne, the NSF Director was unfortunately a bit rushed as the
morning sessions ran over time – but despite this some key points
were raised. Irvine spoke of the ‘ordinariness’ of everyday studio
practice; and of the studio as a place of privacy in which to hide from
the world. This concept of the studio – as a thinking space, not just a
production space I think was too rarely touched on in the symposium.
Most of the discussions focused on the documentation of the work
that went on in the studio. It seems that if it’s not written down,
photographed or otherwise archived, then in contemporary art terms
it didn’t happen!
Of course, it was certainly a ‘given’ throughout the symposium
that artists do actually have studios and make work in them. But even
THE idea of the studio has undergone many changes over the last few ‘sets’ Demand destroys them. so, the matter is not that simple. Artists know that many studios lie
decades and from looking over the programme for ‘Beyond the The idea of the studio as a site of ‘being’, as well as a place of empty for days and weeks on end as they have to try to make a living
Studio’(1), it was clear that the very concept of the studio as the main retreat, was addressed in Iwona Blazwick’s presentation Desert Islands; outside of their art practices – be that teaching or some other work.
sphere of production for artists today, was clearly one of the key topics the studio space as a space of experimentation, retreat or resistance. Blazwick Indeed, perhaps we have come full circle again, back to the traditional
up for scrutiny. Ideas tipped to be covered included issues relating to discussed artists who used the studio as performance space – as a space conception of the studio – artists needing studios as a real place of
the studio as a place of retreat; a situation for performance and as a site artists can switch their attention from the external world to the retreat. But now a space for the creation of art objects is not so
for critique, as well as contemplating the studio as simply a space for internal world; as a site of disorder and chaos; of madness and fantasy. important as the mental space and time in which to be creative.
production. Her examples ranged across the work of Francesca Woodman, Josef The closing half of the symposium The Studio as Situation
The keynote address, which took place at the Hugh Lane, took the Studek, Bruce Nauman, Kurt Scwitters and Gregor Schneider. concentrated on artistic practices that operated outside the studio. The
form of a conversation between the artist Daniel Buren and Jens Schneider’s video footage taken as he crawled through the dreary research based practice of artist Lonnie van Brummelen was
Hoffman – the co-curator, along with the Hugh Lane’s Christina interiors and claustrophobic in-between spaces of his Haus Er (Dead introduced by Tessa Gilben, visual arts curator of Project. Van
Kennedy of ‘The Studio’. Kennedy and Hoffman’s introduction to the House) documented of a constantly evolving installation / studio space Brummelen, and her partner Siebren de Haan make work that
shows catalogue states that the exhibition was strongly informed by where madness, fantasy and obsession were merged. Hand-held shaky incorporates film and publications. She talked about various aspects of
Buren’s highly influential essay, written in 1970 The Function of the camera work is almost a cliché in today’s filmmaking terms especially her work – some of which involves lengthy research and frustrating
Studio. with the success of films like The Blair Witch Project but it was scary negotiations with bureaucracies.
Buren and Hoffman focused on what constituted contemporary nonetheless. The evolution of the contemporary artist’s role to encompass
studio practices. Hoffman questioned the traditional notion of the One of the most interesting speakers of the day, in term of ideas overseeing large projects, multi–tasking, producing filmed and
studio as a fixed centre or location for artistic activity – instead he and content, was John Millar. In his presentation Studio Apartment written documentation is a departure from the singular role that
concentrated on the idea of the studio as a free-moving site or facility, /Luxury Loft Millar delved deeper into the ‘meat’ of the subject of the artists traditionally held as producer of objects in fixed location –
that can comprise a lap-top or mobile phone and that the studio in the wider cultural contexts. He addressed the studio’s however at some point there has to be an engagement with some kind
contemporary artists product is not necessarily studio bound in its representation in contemporary consumer culture and its association of spaces of production and distribution. In relation to this Tessa
production. While Buren agreed with him in principle, he was quick with inspirational notions associated with ‘studio living’ and loft Gilben talked of artists with “drifting studio practise” and of how
to point out that a lot of the work in exhibition around them was apartments. Although his focus was predominantly New York, Millar’s museums and institutions might work with these artists.
nonetheless produced in studios. arguments of course paralleled the concerns of all the artists – and It was interesting to hear artists talk about artistic research as a
A good number of the works in ‘The Studio’, by illustrating and ‘real’ people – that are desperately scrambling for living and working discipline which in physical terms does operate ‘beyond the studio’
exploring ideas around studio production, display or process, could be spaces in Irelands over-inflated property market. along with the “negotiated truce” as Gilben put it, between what is
criticised for fetishising the studio as a privileged site – examples Space in general is at a premium here in Ireland and elsewhere. required by the galleries and institutions and the requirements of
being photographing the studio, rebuilding or other forms of This is probably the key factor why many artists reject traditional artists. The final panel discussion made up of Caoimhin Mac Giolla
reconstruction of the studio. Buren’s sees his own practice as critical of notions of creative production and exhibition, in favour of a more Leith, Hank Sieger, Andrew Grassie and Mick Wilson attempted to
this type of approach – as he makes site-specific installations; and not research-based practice that isn’t dependant on large production and sum up the main points that had emerged during the symposium and
as he delicately put it “moveable artworks” – in other words exhibition spaces. Millar’s talk could have opened up an appropriate took questions from the audience. It was suggested that perhaps there
commercially marketable art-objects. This was an interesting start to point to include some speakers from the wider artistic community in was a premature celebration of the death of the studio in favour of
the seminar as much debate followed concerning the preservation and Dublin and Ireland – specifically those involved in artist-led studios more knowledge-based practices.
documentation of objects produced in the studio. spaces, on order to address the idea of physical space – or lack of it, and Where and how art is being produced remains a debatable
The next day of the seminar at NCAD attracted full-to-capacity the connections to the emergence of new working practices. subject. The studio is still a place of significance for art practice but the
audience of students, artists and curators. Thomas Demand’s The next speaker Karen Wright presented some insights about individual artist’s experience of studio practice is difficult to
presentation The Studio: Metaphor or Miracle? comprised an account of visiting artist’s studios. Wright’s presented photographic externalise. Similarly there are difficulties in presenting the day-to day
the artist’s own work in relation to the history of studio practice. His documentation accompanied by anecdotes about the artists’ studios work practices of artists who work ‘outside’ the studio. In summary
focus was on the metaphorical role of the studio – as a place of ‘being’ she had visited. Wright showed some particularly impressive the symposium was a success in exploring the ways in which
where the conditions of making the artwork are significant in photographs of Anslem Kiefer’s sprawling studio complex in Belgium. disparate practices sit in relation to one another and how individual
themselves. His key example was Kurt Schwitters’ Merzbau (1919 – Space is certainly not an issue for Keifer, his studios are located on artists negotiate the studio as private or public space. To quote Virginia
1937) – the constantly evolving assemblages that the artist created in massive site on which three former factory buildings are situated Woolf from A Room of One’s Own, “One can only show how one came
his various dwelling places. The Merzbau was highly influential in surrounded by yard spaces where he store’s and works with the of to hold whatever opinion one does hold. One can only give one’s
terms of installation art, but more essentially in the blurring of the scrap lead that he uses for his work – which is more and more of an audience the chance of drawing their own conclusions as they observe
boundaries between studio and the artwork itself. architectural scale and ambition. Millar talked of how she was told she the limitations, the prejudices, and the idiosyncrasies of the speaker.”
Demand discussed a number of other artists’ practice and works had to wash her hands every half hour for fear of lead contamination –
in the same vein – such as Fischli /Weiss’s installation of the studio whilst ironically Kiefer’s children used the yard as a playground yard Alison Pilkington
space in gallery settings, Christoph Buchel’s deconstructions of gallery regularly. This anecdotal discussion of artists’ studios and studio visits (1) ‘Beyond the Studio’ an international symposium on the role of the studio in creative
production took place at the Dublin City Gallery The Hugh Lane and National College Art
spaces and Mark Wallinger’s State Britain; the installation of a replica of added a human element to the photographic documentation of the
and Design and Hugh Lane Gallery (8 – 9 Feb). The symposium, was held in the context of
Brian Haw’s Parliament Square various protest placards. studios and artists she has met. the exhibition ‘The Studio’ running at the Dublin City Gallery the Hugh Lane Gallery (1 Dec
06 – 25 Feb 07) and was organised by the gallery, in collaboration with the National
Demand himself works through a combination of installation Wright also made some interesting points about the conventions Sculpture Factory and the National College of Art and Design in order to examine the
and documentation. His large-scale photo works are derived from and etiquette of studio visits. She also pondered whether the notion of relevance, role and function of the studio today. Speakers included internationally active
artists, curators and critics: Iwona Blazwick, Daniel Buren, Gerard Byrne, Thomas Demand,
painstakingly constructed of life size paper models or objects and visiting the studio was a valid means to adding to ones knowledge of Claire Doherty, Andrew Grassie, Jens Hoffmann, Christina Kennedy, Caoimhin Mac Giolla
Leith, John Miller and Karen Wright.
architectural spaces, which involve sophisticated computer modelling an artists practice and their artwork. Wright wryly noted that many
software in their production. After photographing these elaborate curators and writers felt they had to pass an intelligence test to get into www.hughlane.ie www.ncad.ie www.nationalsculpturefactory.com
10 The Visual Artists’ News Sheet May / June 2007
The Fact of the Page
MARTIN MCCABE DISCUSSES THE PHOTOGRAPHY JOURNAL SOURCE, ON THE OCCASION OF ITS 50TH EDITION
theory, eg. reviewers were told not to include footnotes, as if they were
the signifier of its academicisation. At that stage, Source was never
readily going to take up the mantle of Ten 8 or Camerawork.
On a related question, it also had to be responsive to changing
local conditions and funding environments, which are contingent and
specific to the historical moment. Tracing its subtitle/mast across its
different iterations is suggestive. From “The Photo Works North
Photographic Review” to “The Photographic Review” to “Ireland’s
Photographic Review” to “Photographic Review” back to “The
Photographic Review” to its new redesign and approach which has no
subtitle/mast; it maps not just the transcendence of its local roots to all
island significance but then to achieve international recognition. This
is hardly unique, and many arts publications have had to do this. It
seems like a canny strategy that allowed for those ‘constructive
ambiguities’ redolent of the wider political geography to work in its
favour. Drawing on cross border funding both Arts Council and the
peace process dividends, it was under EU funding that it could fund an
editor and support staff in the name of peace and reconciliation.
In terms of editorial stance, Source has had to navigate its way
through and around the various debates that have shaped
photographic discourse and these too bear the marks of its move from
the local to a broader internationalised mode of address. These include
the modernist and postmodernist paradigm struggles, the photograph-
as-art versus the photograph-as-document tension, all debates that
preceded it. This is precisely the fault line that any photographic
magazine has been charting and negotiating for the last decade or so.
Source is no different as attempts to grapple with the vagaries of this
expanded and complex visual cultural economy.
In the early issues, gritty black and white documentary photo-
stories of urban alienation and subcultural groups were published
with more self-consciously art school experimentations with objects
and performance. But more recently the tradition of social
documentary seems to have disappeared. These have been usurped by
the influence of a de-contextualised Jeff Wall with his mock spectacles
and his bastard kin, Crewdson et al, the German school ie. almost
everything after the Bechers. This is not altogether surprising. With
the rise of ‘artists who use photography’ Willie Doherty and Gerard
Byrne to documentary practitioners who strayed into the gallery eg.
Seawright, Anthony Haughey, etc, publications have followed this
drift. The conceptualist and post-conceptualist inheritance with their
appropriation of the photograph as document has been a feature of
gallery exhibitions for decades now. And as the art market colonised
photography in the 1990s, ‘traditional’ documentary’s stock has been
WITH its recent but intense museumification and the gravitational been extending its reach and audience over the last five years to fill the losing market share and critical currency. Indeed, the gallery for some
pull of the contemporary gallery, it is worth pointing out that vacuum left by Creative Camera and DPict and become an practitioners is now the space from where the newly parenthesised
photography has always been much more than those large scale international title with a wide distribution. Reviewing it since first ‘documentary’ can speak albeit in its prefixes as ‘new social
polished mirror-commodities that fill both commercial and public published in 1992, Source is in some way a story of our times and documentary’ or ‘meta-documentary’ amongst others.
artspaces. To the question ‘where is the photograph?’ its slipperiness, provides us with a trace of the kinds of shifts, transformations and As if in response to the proliferation of photography and lens
liminal status and relative ambiguity as a medium (in a postmedium accommodations that chart the trajectory of a photo-culture, its based work in art magazines and galleries, and to its credit, Source was
age?) has always made it available for all sorts of uses, possibilities, visibility and its attendant critical function. one of the first photographic publications to see ‘the photographic’
applications and contexts. From flickr to Abu Graib in an age of the It is worth revisiting the conditions of its emergence. It was the beyond what might have been a narrow gauge or agenda. It enjoined
ever expanding blizzard of images and online photographs, it is also vehicle of the Photo Works North initiative (made up, according to debates around visual culture as an emerging field of enquiry with
worth reminding ourselves that the dominant and most widespread Paul Seawright its first editor of a ‘who’s who of Photography’) that vernacular photography and commercial photographic practices in
channel of distribution for photography in the early 20th century was sought to establish a gallery and resource centre in the Belfast on a par features and review. As photographic discourse had be newly
not ‘the wall’ but in fact the page. In effect, its legitimation and entry to with other major cities in the UK. Equally, deficits in educational configured to address and make sense of the kinds of everyday
the ‘art’ canon, its visibility was as much to do with its circulation and provision around photography were identified and Source became practices, use and meanings, it has attempted to maintain a focus on
dissemination through the printed page in the form of the magazine, one of the rallying points for the diversity of interests around the what constitutes ‘the photographic’ when in other quarters there is a
the monograph, the journal, etc as much as the wall of the gallery photographic in the North. From these modest beginnings, the process celebration of the post-photographic. It has in some way redressed the
which accounted for a much less significant site. A recent of legitimation and building a platform for debate review and earlier criticisms around its theoretical shyness.
conversation with David Campany highlighted this when he pointed significantly the publishing of local photographers and artists work. If In the last six years with the demise of Creative Camera and
out that Walter Benjamin, when writing what is one of the seminal it had a discernable ideological agenda beyond this, it was not clear but subsequently DPict both UK based publications, Source again shifted
essays of modern photographic criticism A Short History of Photography, the juggling of the communities of interests made for content and and renewed itself with a new community of writers many of whom
was not looking at Atget on the wall but on the page in the form of a criticism that did not bear the imprint of the kinds of practices and are the leading photographic critics and commentators in Ireland and
monograph. theoretical writings that had by 1992 become the mainstay of some the UK. Whilst its own local base is still strong (unlikely to ever
Source, the Belfast-based photographic review celebrated its 50th photographic magazines and contemporary art journals. Driven more evaporate with its current funders and support) with representation in
edition last month. This is no mean feat in an environment and by a pragmatism borne of its marginal status as much as an both writing and featured photography, it is now alongside a much
market that has seen the proliferation of back issue redistribution of ambivalence to what was emerging as the canon of ‘photo-theory’ wider set of contributors and debates. Thankfully, still wedded to the
the failed, dead or recently deceased titles in this area. Source now with its radical promise, continental philosophies, density of language page, Source continues. The latest issue sees this iteration come
stands alongside very few others as a ‘specialist’ publication focused on and imported methodologies, it seemed shy of alienating its audiences. together in its new format and layout making it a significant and
photography and the photographic. Under the editorial duo of John And while many of the early writers and contributors were attractive feature of your local newsstand.
Duncan and Richard West, a photographer and writer respectively, it photographers and practitioners, making ‘access’ a virtue, it seemed Martin McCabe
has managed to remain a consistent presence here in Ireland and has that there was little appetite for ‘difficulty’ or the engagement with
The Visual Artists’ News Sheet May / June 2007 11
VAI WESTERN REPRESENTATION
Visual Artists’ Clinics other possible successful communication options.
The west of Ireland boasts 10 publicly run local radio stations. In
Ireland we have the largest radio listenership per capita in Europe. In
AIDEEN BARRY, THE VAI WESTERN REPRESENTIVE DISCUSSES SOME ISSUES ARISING FROM THE the west in particular most of the local radio stations have arts
VISUAL ARTISTS CLINICS SHE HAS BEEN CONDUCTING programmes. Roscommon FM have a very good example of an arts
programme, run by visual artist Noel Molloy (www.rosfm.ie – The Arts
Programme, presented by Noel Molloy, Wednesdays 7.pm-8.30pm). The
SINCE taking up the role of the West of Ireland Representative I have many visual artists in the west of Ireland the inability to access the
programme has quite a large listenership, encompassing listeners from
received enormous feedback from the visual artists working in the bare essentials such as broadband internet access is still an enormous
all artistic communities in the Roscommon and Leitrim area. I have
west of Ireland, the most successful of which has been through the hindrance. Add to this the abysmal public transport systems we have
taken part in three radio interviews since starting the role as the VAI’s
information clinics I have been running in Galway, Roscommon and and you have a situation in which communication has a great habit of
west of Ireland rep. Radio interviews have been quite successful in
Mayo; with future clinics scheduled for Sligo, Leitrim, Castlebar and breaking down. Given these liabilities the importance of a presence for
spreading information on the clinics; and also taking queries from
Westport. an organisation such as the VAI becomes one of the biggest priorities
artist about my own role and about the practices of VAI. Future radio
The most interesting aspect of the new role I find myself in is the of the new job.
programmes have now been scheduled for Galway Bay FM and Ocean
notion of putting a face on an organisation. In recent years there has Running ‘Visual Artists Clinics’ has been, and continues to be a
FM (Sligo / Mayo area).
been an increase in exceptional visual art activity in the west of very effective way of increasing visibility of the organisation. They are
The only major draw back of my new position as the West of
Ireland. With this growth of visual art practices comes the need for quite informal, artists come and meet me, I explain the role of the
Ireland representative is my limited area of attention. I’m employed to
effective communication between organisations in the rural organisation and what VAI can offer its members; and then I report
cover the counties of Mayo / Sligo / Leitrim / Roscommon and Galway.
community. The feedback I have been getting is that though many back to VAI with requests and queries from visual artists and how the
However, I’ve found that once a face has been put on an organisation;
artists have been members of VAI the notion of being a part of a rural organisation can help with advocacy and lobbying issues. The clinics
that face is then required to make appearances in every other county
section of the visual art community has evoked the feelings of are successful in forging links between similar artist led initiatives,
in Ireland! I have now found myself being asked to run clinics in Cork,
geographical exclusion. We are all aware of the notion of ‘pale-itis’ ie inter-county artists studios and galleries. I have amassed a large
Kerry and Wexford. This will unfortunately stretch my ability to
the concentration of resources to the area of the pale or Dublin area. amount of information on organisations that work with VAI and
represent the west and I have had to turn down clinic opportunities as
There is a need for greater representation by an organisation like VAI sharing literature on these organisations at the clinics has proved very
a result. The biggest challenge now to face the VAI is to make a
in the rest of the country and I feel my new position acts as a platform beneficial in terms of aligning similar practices and forging possible
provision for a South of Ireland, Midlands, and possibly South Eastern
for this. future collaboration projects.
Representative. The flood-gates have now been opened and it remains
Politically we are witnessing the erosion of the rural community The clinics not only offer an effective means of communicating
to be seen how the organisation can cope with a representational
the removal of vital infrastructures such as the local shop, local pub to the larger VAI body but they also reflect the historical rural notion
policy for the communities beyond the Pale. Developing a good
and post office and the urbanisation of our villages. The challenge for of being apart of a larger community. The key to this notion is the
relationship between the VAI and centres of artistic practice appears to
my position is to make contact with visual artists who live and work in personal contact between practising artists / organisations and myself,
be the key.
sometimes extremely isolated communities. Communities that are a fellow practising visual artist living in the west of Ireland. The clinics
slowly being eroded away by our new Ireland. Communicating in offer a dual function. They create links between the artists who come
these remote areas highlights the need to effectively use existing to meet with me and VAI, and by running the clinics in centres of
AIDEEN BARRY WILL RUN CLINICS IN THE FOLLOWING CENTRES
means of local rural communication such as the local newspapers and artistic activity it also encourages more contact between art centres,
10 May Linenhall Arts Centre, Castlebar, Mayo. 11am- 3pm.
radio. studio spaces and gallery’s and Visual Artists Ireland. Thus building a
17 May The Dock, Carrick-on-Shannon, Leitrim 11am-2.30pm.
The advent of the internet has meant that the VAI as an relationship that encourages collaborations and facilitations for future
12 June Custom House Studios, Westport, Mayo 11 am-2.30pm.
organisation has excelled in supplying information on visual art VAI activities. With the difficulties of communicating to members and
activity through email bulletins and website facilitations. However for organisations about VAI through the internet, I have had to examine
West Cork Arts Centre
North St, Skibbereen, Co.Cork
T: +353 28 22090 F: +353 28 23237
The Barry’s Van Tour, Jorge Satorre
I’ve never seen your face - Chris Hurley and Sandra Minchin
19 May - 9 June
Mixed media works dealing with the subjects of voyeurism, control and
The Barry’s Van Tour - Jorge Satorre
16 June - 7 July
Documentation of new site-specific projects carried out by the artist.
12 The Visual Artists’ News Sheet May / June 2007
audience had certain knowledge, saying “it was alienating for an
audience when something was too specific”. Lee cited an anecdote
about a performance that she was involved in as a key moment in
heightening her concern with elitism in dance – it was a piece in
which the performers sat with the audience; only at the moment when
all of the performers were on stage, was it revealed that there was only
one audience member. Phelan responded to this by stating that he did
not think it mattered whether you had a big, or small audience.
Irish visual artist Shane Cullen, speaking with the UK based
composer Graham Miller, noted that in his experience work that is to
self conscious about the idea of the ‘audience’ rarely interests
audiences. Cullen spoke of the beginning of a project as being the most
indulgent for artists, “then other things, that you can’t control start to
happen”. Cullen quoted Samuel Beckett, “fail again, fail better” in
response to Miller’s assertion that he was not interested in erasing the
mistakes in his work. Miller replied by speaking of “the need for cracks
in a work in order to really see it” and compared this drive with the
purposeful flaws that can be found in Islamic art. In reference to the
difficult positioning of artists as critics of their own work Shane said,
“making the piece is the test that you carry out as an artist… there is a
need to go through that process”. He concluded the 20-minute
discussion with Miller by emphasising the importance of play in
relation to art, stating that “the games get more serious, but the
rewards are greater”.
The emphasis on the audience’s formative role in the production
of works continued to be theme throughout the interview between
Irish visual artist Lorraine Gallagher and Irish based composer George
Higgs. UK choreographer Ghislaine Boddington and Irish visual artist
Louise Walsh also focused their conversation on issues that arise as a
result of ‘inter-authorship’.
With all of the participating artists gathered in open discussion in
Group discussion, Graham Miller to the foreground. Image: Vipul Sangoi, raindesign. the afternoon, Tom Creed posed the question – what was it that these
artists hoped to elicit from an audience? Shane Cullen, placing
considerable emphasis upon audience, volunteered that he hoped they
Interdisciplinary Exchanges would provide a point to his work! Alan Phelan spoke of his intention
to partake in an activity where the end product is not recognisable as
art. He aspired to “wipe himself out” as the author of the work. Graham
SARAH LINCOLN REPORTS ON AN MULTI-DISCPLINARY ARTS INITIATIVE THAT BRINGS TOGETHER Miller hoped that his work would bring about a transformation in
IRISH AND UK BASED PRACTITIONERS TOGETHER IN ORDER TO EXCHANGE EXPERIENCES AND people – and he went on to state that he believed art was a
HIGHLIGHT THE STRATEGIES AND CONCERNS THAT INFORM THEIR WORK “phenomenally important means of communication”. Rosemary Lee
believed that “audiences are looking for something spiritual in
TIMOTHY Emlyn Jones wrote in Printed Project issue 4, “There is a trying to provide a space for artists to be explorative with one another. culture”. In relation to traditions in how the arts are received by an
need for more theory about practice coming out of what artists do It is like we have a tent, and all we are doing is putting the tent hooks audience, there were some suggestions as to how audiences could
methodologically. We need to know how we think through art” (1). A in the ground, the rest is for the artists to decide”. enrich the arts through their behaviour. Tom Creed cited the belief
new project initiated by Create(2) and in partnership with NCAD seeks UK based artist Richard Layzell talking with Tom Creed the Irish that standards within theatre would improve if audiences walked out
to deepen this kind of understanding through the facilitation of Director of Playgroup, explained how key the presence of risk was to in protest at what they believed was bad work. On the other hand
discussions between artists about their practice. his work. By way of example Layzell described how for a 1989 off-site Graham Miller suggested that audiences were too impatient when it
The projects inaugural event took place in the Soho Theatre in project on the subject of revolutionary politics, he acted the role of a came to viewing art works. Though he did not pose any concrete
London on the 27 February; and comprised a series of public staunch Thatcherite right wing politician. During the course of the solution to this problem, he did venture that audiences should
discussions involving six Irish based artists – Shane Cullen, Tom Creed, project he in fact became alarmed at how convincing he was – posing sometimes be “forced to sit and watch”!
Louise Walsh, George Higgs, Lorraine Gallagher and Alan Phelan. The as a politician and informing people that they were in a revolution. A Perhaps the most acrimonious issue surrounding the question of
participants, who ranged in discipline from theatre directors, to decision was made mid-way through the piece to change his character, audience, was that of populism within the arts. Recently the British
composers and visual artists, exchanged insights into their working making himself seem more ridiculous in order to curb the amount of Arts Council has begun to consider arts applications based upon the
process with five UK based artists – Ghislaine Boddington, Shobana ‘recruits’ that he had gained. popularity of a piece of work. The question as to whether the general
Jeyasingh, Rosemary Lee, Richard Layzell, Graeme Miller and Errollyn Tom Creed drew on a project he directed with the Playgroup public are the best people to decide what cultural policy should be
Warren, who are all research associates at Middlesex University. The company called Dark Week, which was held at the Everyman Palace fuelled the discussion into the late afternoon.
group met over two days, with the second day’s discussions taking Theatre in Cork over June 2005, to illustrate possibilities in CREATE hope to receive funding to enable this group of Irish
place in front of an audience. Day one began with the artists taking withholding information from the audience. Dark Week was presented based artists to travel together, at various times, throughout Europe,
turns to pair up to interview each other over 20 minutes. As the day in such a way as that no one audience member could take in more than having discussions around similar topics with local artists. As
progressed, the group discussion expanded to include the audience. 10% of the piece. There was therefore the need for audience members relationships strengthen between each of the groups, the aim is that
The event marked the beginning of what is hoped to be an on-going to talk to one another in order to gain an understanding of the whole the conversations that take place will become more in-depth and
Europe-wide exchange. piece. Layzell and Creed Richard spoke about a common drive to blur complex. Sarah Tuck noted: “conversations will become more nuanced
The long-term intention for these discussions is that there will be the distinction between art and life. In Playgroup’s 2003 Fringe as the artists develop more familiarity with each other’s processes,
a deepening of knowledge around artists’ process. Sarah Tuck, the production of SOAP! (directed by Creed) audience members attended practice and ways of thinking”. It is to the credit of the participating
director of CREATE elaborated on this point, noting how “points of daily updates over two weeks of a live soap-opera, prompting the artists that, having had only one day in which to introduce their work
convergence arise quite naturally between the artists, as well as director to add that there’s “something delicious about seeing people to each other, the quality and diversity of discussion that took place in
differences”. Tuck also explained that having artists face each other in change their lives in order to go to the theatre”. London was stimulating and challenging. It will be interesting to note
discussion, without displaying specific projects, was a particular The question of audience – and how formative it is in the shaping how future discussions will be affected by the specific culture and
strategy in order that, “it provided an appropriate kind of a quietness – of a piece, continued as a theme throughout the day. Irish artist Alan traditions of the countries in which the next series of conversations
in order for the artist to speak with candour about their process”. She Phelan spoke of a shift occurring in how he imagined his audience. will take place.
also added that “if there is a level of candour, then that is vividly Relating specifically to his move from a participatory practice back to Sarah Lincoln
interesting for the wider public”. Though this project is in its nascent a studio-based work, Phelan stated that in his experience “the more
stage, it is important to identify a means to document an event like people he worked with, the less relevant it was to an audience”. (1) James Elkins (Ed.) ‘A Method of Search for Reality’, Printed Project (Issue 04, 2005) p23.
(2) Create is the national development agency for collaborative arts. They offer a range of
this. Create are hoping that additional funding will help to finance an Phelan’s interviewee, the London based choreographer, Rosemary Lee services for artists and arts organisations; which include Professional Development,
Learning Development, Project Management and Consultancy. They are located at 10/11
audio archive and that the series of exchanges will conclude with a responded in contrast to this. She spoke of her conscious shift from Earl Street South, Dublin 8 (Tel: 01- 473 6600, www.create-ireland.ie)
publication. However, Tuck does not regard Create’s role within this stage based to screen based work, in order to widen her audience. Lee
project as that of curator, “we are not chairing something, we are just spoke of her concern with presenting a work that assumed an
The Visual Artists’ News Sheet May / June 2007 13
VAI NORTHERN REPRESENTATION
BRIAN CONNOLLY VAI NORTHERN IRELAND REPRESENTATIVE OUTLINES HIS RECENT ACTIVITIES
IN Northern Ireland the long period of economic stasis appears to be why have both organisations moved to this particular location / Diary of Activities
coming to an end, or at least in relation to property speculation building? What does this resource and tenancy agreement give them?
anyhow. The current property boom is no doubt as a result of the What can be learned from both these organisations choice? The Arts On Wednesday 31 January I was invited to give a lecture on Public
faltering Peace Process, where some imaginary line has perhaps been Council, prior to making any plans for studio rationalisation in Belfast, Art Commissioning processes to a group of artists and
crossed, enabling the property developers to feel safe enough to come should figure out why both these organisations have arrived where practitioners at the Arts & Disability Forum offices in Belfast. This
out and spend their money. The amount of cranes now visible across they are. lecture outlined the differing type of processes which exist for
the Belfast skyline is testament to this. running commissions, and also the procedures an artist can be
As mentioned the North inner-city area of Belfast, which straddles the required to follow in response to commission briefs with
As a result of this boom, pressure is being felt by some artists studios in Former Laganside, is currently under allot of change and information based on my own experience.
the broader Belfast community and I know of several studio groups redevelopment. These include the University of Ulster’s Belfast
who in the last few months have been required to move out of their Campus redevelopment, Flaxart and Orchid Studios as mentioned I was subsequently invited by Arts & Disability to give two
existing premises to make way for so called ‘re-development’, or in above, but also soon to be joined by the Golden Thread Gallery who presentations to its members on Visual Arts Ireland. These
other words as a result of property speculation. are taking over management of the Switchroom Gallery on Great presentations took place at their Awards Day on the 21 March.
One of these, Orchid Studios, have now moved from King Street on the I am receiving regular requests for information or advice on a
edge of the city centre and relocated to a new premises in the same The Golden Thread (www.gtgallery.fsnet.co.uk.) have been running a variety of subjects and matters from Public Art Problems to contact
building as Flaxart at 44-46 Corporation Street on the northern fringe very successful program of events and exhibitions over the last details etc. I would like to ensure any Northern Irish practitioners
of the city centre, an area itself which is currently undergoing allot of number of years, in a challenging location, where it was difficult to that they are free to make contact with me for information or
development! Their new studio is housed in a space that was generate large audiences. Their impending move closer to the City advice on any professional matter in relation to visual art practice
previously used by Interface (a University of Ulster Research Centre), Centre and Art College, will no doubt generate greater audience and I will do my best to either relay their queries to the relevant
during the re-development of the art college (Belfast campus). When interaction. parties, or try to deal with them myself.
Interface moved back to their new premises within the Belfast
campus, Orchid moved in. It is also generally understood that the Arts Council of Northern I am also interested in contact with artists, artist groups, and artist’s
Ireland are in the process of championing the development of a “major resources across Northern Ireland. In particular I would be happy
This is an organic form of the perceived need for “studio group art gallery / centre” in the same area. The Old Museum Arts Centre to hear from artists or artist run organisations who are
rationalisation in Belfast”; as mentioned in the Arts Council of seem to have been pin-pointed as the main tenant organisation for this encountering problems or have longer term plans and ideas in
Northern Ireland’s Five Year Plan. In this sense both Flaxart and Orchid proposed new-build, but I am unaware of any consultation with the which I may be of use, or can offer some advice.
remain as distinct and separate organisations but now share one visual arts sector having taken place on this venture, country to the Brian Connolly.
building resource. There incidental arrival at the same building Arts Council’s stated aims and objectives.
perhaps exemplifies best practice and poses interesting questions, ie
The Royal Victoria Hospital
Commission for a landmark sculpture for the new Imaging Centre
For an artist's brief please contact:
Hilary Cromie, Arts Coordinator
The Royal Hospitals, Grosvenor Road, Belfast BT12 6BA.
Phone: 028 9063 4186
Closing date: 29 June 2007
Tina Meehan, Utopia or not?, 2006, cigar box, thread, watercolour, acrylic & paper clips, dimensons variable.
Utopias Building Castles in the Air
Tina Meehan Maggie Madden
Ground floor gallery Foyer & first floor gallery space
11 June - 25 August 11 June - 25 August
Synergies Artist in Residence
Maureen Meehan & Juliette de la Mer June - December 2007
First floor gallery Maggie Madden
11 June - 25 August
Draíocht Blanchardstown Centre,
Blanchardstown, Dublin 15
T: +353 1 885 2610 F: +353 1 8243434
14 The Visual Artists’ News Sheet May / June 2007
A Network is Born
ALAN PHELAN PROFILES THE ESTABLISHMENT OF A NEW STUDIO NETWORKING BODY
IN early February this year, a meeting of representatives from 31 institutions and while the majority of artists they host pay rent there a great eagerness to sign-up for these different roles with a number of
different artist studios (1) took place at IMMA in Dublin. This followed are many other costs that need additional support. Covering costs is regional representatives volunteering as well as a web design team,
on from an informal session the previous December which initiated a never really enough if these work places are to be properly equipped finance team, questionnaire co-ordinators, and international links
discussion about setting up a studio network for all of Ireland which and function under health and safety guidelines. With rising rental team. These volunteers will work for 12 months and then report back
has led to over 93 studios signing-up. rates many studios can only offer the most basic of facilities and at meetings and/or via the web site.
The studio scene in the country is currently without any specific resources, some even have trouble providing winter heating which Overall it was a very encouraging start to this new body which
representative body or lobby group – and as a result there is a real need should not be seen as a luxury. has quite simple aims and ambitions in providing support for a
to share knowledge, expertise and resources across many areas. Artist’s The initial discussion stressed the need to keep operational disparate scene which should benefit greatly from this shared support
studios have emerged in a variety of different ways to cater for artists matters simple and manageable. No grandiose manifestos were structure.
with many models and set-ups throughout the country currently in introduced and there was a spirit of co-operation evident. It was agreed Enquiries regarding joining the ASNI and obtaining the
existence. This emerging body, named at the meeting as Artists Studio that a good starting point was setting up an on-line directory with questionnaire for the on-line directory should be made to Janice
Network Ireland, will now hopefully provide a strong and united voice information on location, facilities, number of artists working, studio Hough firstname.lastname@example.org or Claire Power
for this sector. dimensions, art forms, access to other resources and facilities, email@example.com
The meeting was organised in an informal way with all of those exhibition space, possible awards or internal support, studio exchange The next meeting of Artist Studio Network Ireland will be at
in attendance introducing themselves to get the session going after a possibilities, urban/rural, management/administration, tenure, Queen Street Studios Belfast on Friday May 11th 2007. Contact Jude
brief introduction by hosts Janice Hough, the Artist Work Programme funding, legal structures, governance, web links, etc. All these were Bennet firstname.lastname@example.org for details. The meeting will co-
Coordinator at IMMA and Jacinta Lynch, the Director of Broadstone contained in a questionnaire that was modified during the meeting to inside with a citywide Open Studios event during the weekend of May
Studios. Each studio representative outlined the location, number of be distributed afterwards. Web sites such as the residency organisation 12th 2007
artists, resources and facilities and it was clear from this that there was ResArtis (www.resartis.org) were pointed out as a good model to Alan Phelan
indeed a diverse range, from small rural studio groupings, art centres, follow. It was decided that the technical and resource demands for web
(1) The participating studios at the meeting were: Queen Street Studios; An Averna;
private retreats through to well established institutions. site development would have to be shared and part funded by anyone Bailieborough Arts & Cultural Centre; Backwater Artists Group; Contact Studios Limerick;
The bulk of the studios represented at the meeting were self- joining the Network. A nominal contribution of €20 for one year was Cork Artists Collective; La Cathedral Studios; National Sculpture Factory; Alternative
Entertainments Ltd.; Archway Studios; Broadstone Studios; Fire Station Artists Studios;
financing, with maybe limited or once-off grants from local agreed for non-funded studios and €50 for funded studios to assist in IMMA Artist’s Work Programme; Independent Studios; Monstertruck Studios and Gallery;
New Art Studios; Pig Dog Studios; Red Stable Studios; Sprawl Studios; Stoneybatter Studios;
authorities but with little ongoing funding for administration or the creation of the web site and cover associated costs. There were
Studio 468; Artspace Studios; Engage Arts Studios; Garraun Studio; Limerick Printmakers;
development. Funding and financing issues will probably be a key offers of support from Clodagh Kenny from the Firestation Artists Tearmann Artist Studios; Art Lane Studios; Mantua Art Project; Visual Arts Centre; The
Garage Studios; Glendarragh Studios.
focus of the Network, working as a representative voice, to encourage Studios, Dublin to provide office space, phone line and broadband
increased public funding in the sector. One factor that has certainly access but the group felt it was too early to be taking such strides. This
held this back is the diversity in the studio system as they operate in will be decided on later once the web directory has been set up.
different ways and cater to diverse needs. Studios function therefore as It was felt that the Network should look at having a number of
non-profit collectives, small businesses and nationally funded sub-groups undertake different tasks to share the workload. There was
The Visual Artists’ News Sheet May / June 2007 15
The Experimentaton Goes on
LAST YEAR RECIPIENTS OF THE VAI’S EXERCISES IN FOLKATRONICA DIGITAL MEDIA RESIDENCIES OFFER ACCOUNTS OF THEIR EXPERIENCES.
Mary Ruth Walsh specific exhibition took place at a house on Bridgewater Street,
Kilkenny. The house was open to visitors from 11am until midnight.
The photographic work of Pauline Rowan were created on site and
subsequently exhibited there. Live performances were carried out by
Joanna Peacock, using her armoured body and an angle grinder to
create a explosive fire-work display, live music took place in the
kitchen by the forceful Naked Ruby and DJ sets compiled by Vaginal
Vinyl were resourcefully transmitted from a caravan parked up in the
front garden. Other impromptu performances took place throughout
the day and night. Carrying on the tradition of the attic as sanctuary, I
thought it most fitting to present the compulsive piece The Where I’m
Not in the less public and almost otherworldly space of an attic.
Undertaking Exercises in Folkatronica has enabled me to have a
more informed understanding of the forces of my favourite nightmare!
Mary Ruth Walsh still from a video work in progress. Karl Burke Clouds . Layered video image.
I love it and I hate it. I’m obsessional about it and terrified of it. It gives Clodagh Emoe
me the greatest highs and the worst lows – it’s the shooting and the Participating on the Folkatronica audiovisual residency program, not
techie side of video work. I love the former and battle with the later. only provided the opportunity to experiment with this medium – but
Crossing that threshold from the real world, through the lens, into forced me to consider my artwork within in this framework. My
another space with possibilities I hadn’t even considered is a privilege practice stretches between the visual and the sonic – working with
I’ll never tire of. But the battle with editing had a history. Memories of sculpture, installation, photography, video and sound. The work I
frequent night terrors from the tense times in editing suites in the lead produce is sculptural in nature and deals with issues related to our
up to the final BA show are now history – thanks to Folkatronica. inherit perception of space, the world around and our place within it.
With a clear-headed and matter of fact approach by Stephen Gunning An ongoing body of work wooden drawings involves the placement of
in the calm space of the Visual Artists Ireland, the editing was a dream. uniform lengths of processed wood in various situations in a
Now I’m coming to terms with the techie side of things and towards landscape, in this case a forest. These three dimensional interventions
endeavor to form a physical and emotive relationship between the art,
some sort of independent video making. The night terrors are gone.
space, place and the viewer.
What happened in the intervening six years since the BA if video
Clodagh Emoe The Where I’m Not Stills from video installation. August 2006. Translating this work in to an audiovisual format was
or lens based work is so important? Quite a lot. One MA later and a lot
Video is fundamental element of my inter-disciplinary practice. My challenging. But I realised that I could use the three-dimensional
wiser from the time spent in London I’m happy I spent so much time
use of video would best be described as vignettes that expose personal qualities of sound to illustrate my practice. One piece, still in progress,
experimenting. Resisting the easier option of a one-medium-practice,
acts of erroneous endeavour. Similar to the drawings and sculptural was inspired by a particular sonic experience. Scene – a quiet
sometimes to my distinct disadvantage, has been beneficial in
objects that I produce, glitches tend to occur in these videos – due to landscape of rolling hills, a calm bay, big open sky. The landscape
hindsight. Instinct is a great thing. Keeping the work open – my
my crude attempts of negotiating my way through video editing seems asleep except a quiver of wind, a song bird or the mysterious
practice seems to insist on several threads running at the one time; yet
programmes. Although, this method of working is frustrating , I’ve sound of the sand as it absorbs the ocean. A stone quarry is in operation
with one distinct idea. But what do I do? Draw? Photographic work?
found that this tentative approach to comprehending the technology very close to this site and blasting is not uncommon. Experiencing this
Installations? Sculpt? Paint? Unapologetically yes to them all.
has led to some interesting occurrences in the work. sonic event seemed to literally stop time as I walked my dog along the
Currently, I’m using the context of the host building (gallery) as a
To me the pleasure / pain dualism inherent in video editing is shore. Oddly, the landscape became quieter as the sound of the
type of framing device for the work. The building for the next show is
reminiscent of the mesmeric state one can fall into when deprived of explosion dissipated. This event became the inspiration for creating an
the Wexford Arts Centre, an old grain exchange. The new work
rest. Perhaps it’s to do with the weird shift that occurs in time when ambient audiovisual artwork, that in some way would carry a similar
explores contemporary aspects of exchange in a philosophical way.
obsessive-compulsive activity kicks in; time seems to stand still yet disquieting effect.
Here the lens-based work is shown side by side with its source material,
speeds forward concurrently. As a musician I was aware of the power and effect that sound and
articulating the gap between the real and the mediated image of the
In fact the kinks and malfunctions in my work help to articulate music have on the moving image. Becoming increasing interested in
camera. It speaks of personal identity and community identity by
the themes and lines of inquiry I am interested in – how a yearning for this as a device to create atmosphere, I was fortunate to get a sound
examining the anatomy and life cycle of contemporary exchange. recording of this blasting. This sound will become the central
transcendence and absolute knowledge might be disrupted or
Thanks Folkatronica. The experimentation goes on. character in the final piece and will also be used to create other texture
The Residency in Folkatronica enabled me to embark on a video and tones to build atmosphere.
Mary Ruth Walsh Besides one draw back – the lack of a three-chip camera; I found
project entitled The Where I’m Not. Having technical advice and
support from the truly savvy Lee Welsh enabled me to edit and the residency very beneficial. It provided technical assistance, which
(1) At that time the late Noel Sheridan was instrumental in sorting out computer and editing
shortages in NCAD
produce a finished video piece. This was exhibited as part of a larger was helpful in terms of using of camera and developing my editing
installation in the show ‘Re-Production’ at the Kilkenny Arts Festival in skills. The staff at Visual Artists Ireland made it a very welcoming and
August 2006. comfortable experience. Having the time and space to contemplate my
Curated by Louise Allen and Mary Butler ‘Re-Production’ was site- particular art practice through video not only created new work but
encouraged re interpretations of my practice.
16 The Visual Artists’ News Sheet May / June 2007
VAI MEDIA RESIDENCY
When I read about Folkatronica in the Visual Artists’ News Sheet, it I decided to ‘splash out’ and I upgraded my camera to a
struck me that what I was proposing might not fit the bill – it mightn’t ‘waterproof to 10 feet’ digital camera – and this was great for about a
be quite technical, or folka-tronic enough so to speak. However as I month; and then it let water in, much to my dismay – so I reverted to
examined the criteria I saw possibilities and decided to go for it. I think waterproof disposable camera’s to finish off my shooting. I have to say
it helps to “think outside of the box” sometimes – and opportunities the digital was preferable for its immediacy and the quality of the
like this one can get you to do just that. I was thinking about how I shots.
could take part of my practice and explore it in a new way. I made several journeys up to Visual Arts Ireland’s Dublin offices
I’d begun a project two years previously using an underwater and was helped by technicians to collate the images. I wanted to
camera; and then mixing text with the images with a view to assemble a DVD movie. I was shown how to insert the text, process the
producing an artist’s book. I was exploring images generated under the images, insert video clips and add a soundtrack. All of this was
water. The themes were simple enough – man’s engagement with the accomplished using Imovie. For those who don’t know this
sublime material that covers seven tenths of the world. programme – I would recommend it. It was great fun to try out this
Because water distance is measured in fathoms and the shots technology and I found the interface extremely user friendly.
were all images less than one fathom, the title of the project more or So to conclude, in terms of expectations – I had hoped to create a
Andi McGarry Under One Fathom . Video still. less suggested itself. This was the general criteria and starting point for period of space and dedicated time to work on a single piece of work. I
my enquiry. certainly did that. I found it extremely productive in terms of
I had decided at the outset to produce a finished piece – though generating new ideas and getting to grips with new and challenging
the Folkatronica remit is open-ended and it isn’t a requirement to media formulations. Collaborating often produces the kind of results,
produce a finished work. It gave me something to aim for. I was able to which would have been unattainable with out the collective
expand the remit considerably and concentrate new resources, justify interaction. My artist’s book titled Under one Fathom and DVD will be
time and expenditure, and extend both the size and scope of the work. shown later this year as a result of this residency. I am still developing
The first part of my project required frequent immersions into this underwater idea; and plan to undertake further ‘under one
water. I had in mind a variety of sites, which included the sea, rural fathom’ projects in the future.
watercourses, rivers, fountains, paddling pools and some urban
watercourses. As it evolved most of my shots came from under the sea
– by convenience as much as choice. Paddling pools for example
produced interesting shots but local rural watercourses tended to be
muddy and grainy – often producing blurry sludgy prints. With the
sea, I availed of the subject matter of lots of human interaction. There
is also something a little bit hit-and-miss about underwater
Andi McGarry Under One Fathom . Video still.
THE CALL FOR SUBMISSIONS AND FURTHER DETAILS ABOUT
photography, it being governed by tide, wave, wind, weather and
visibility. THIS YEAR’S EXERCISES IN FOLKATRONICA CAN CAN BE
Exercises in Folkatronica 6
VISUAL ARTISTS IRELAND MEDIA RESIDENCIES 2007
APPLICATIONS ARE INVITED The title Exercises in Folkatronica refers to the increasing ubiquity of digital technology in visual culture and
FOR PROJECTS IN DIGITAL daily life. It could be said that social behaviour patterns informed by the growing influence of digitisation are
VIDEO / IMAGING AND AUDIO evolving into new ‘folk traditions’.
Exercises in Folkatronica addresses the need to provide artists access to digital media.
Exercises in Folkatronica comprises four residencies, of four weeks duration facilitating free and flexible
DIGITAL VIDEO / IMAGING access to Visual Artists Ireland’s digital video and audio facilities. Participants will be awarded a research
DV Camcorder; DV player / stipend of ¤ 1000. Each participant will have the option of a whole day, or shorter modular sessions working
recorder deck; Apple G5(OSX) with an expert technician.
running Final Cut Pro HD video
editing software with DVD Participating artists will have the opportunity to have flexible access to our facilities for up to a maximum of
Burner; Digital Stills Camera; four weeks each, 9.30am – 5.30pm Monday to Friday. Residencies will be available from late June onwards.
DIGITAL AUDIO Full details online at www.visualartists.ie Application Deadline: Friday 8th June
Apple G4 (OSX), CD Burner, Or contact:
floppy drive, zip drive, fire wire,
running Cubase; Sony Minidisk Visual Artists Ireland,
recorders with stereo 37 North Great Georges Street,
microphones. Dublin 1.
T: 00353 (0)1 8722296
The Visual Artists’ News Sheet May / June 2007 17
HOW IS IT MADE?
Susan Connolly Detail of Some times I see…, 2006
Susan Connolly Untitled, 2006
Susan Connolly Breathing Room, view from Installation, 2002 bright day glow colours, citrus colours and harsh colours. The success
of the resulting paintings is mostly due to allowing them to inform
and evolve more naturally than I ever have before.
During the residency I began to question the act of cutting, which
is the other most notable aspect to the surfaces/paintings I make, with
some of the most recent work having no cutting involved at all. Here
I’ve tried to imagine what the surface would look like underneath the
painted layers and recreate that image on the painted surface (similar
to the experience of looking at the brush marks on a window painting
when the light is illuminating both sides. The interesting aspect for me
is, in being able to see how the painting is constructed). I also
introduced the more formal aspects of landscape painting into my
work - the principles of foreground, mid-ground and background. This
has had a dramatic effect upon the cut surfaces of each painting, they
have been influenced by the suggestion of a sense of place, of space,
Susan Connolly Detail of Journey Series, 2005/2006 Susan Connolly Untitled, 2006
without painting direct references into the already existing textures
upon the picture plain.
The process of cutting into the paint has many associations,
Questioning Limitations usually when you think of these cuts and slices into the surface of
painting many images of the contorted, flayed or mutilated surfaces
come to mind. Consider Titian’s multi layered process that give depth
SUSAN CONNOLLY DESCRIBES THE PROCESSES AND THINKING BEHIND HER PRACTICE and life to his subjects and inevitably their demise, De Koonings
distressing of paint and pulling back of pigment to reveal the history of
SINCE I began making art, my practice has predominantly focused on mirrored image on the removed paint. So in a way, although I never his marks, and likewise Bacon when he is describing the fallibility of
painting. My recent work has evolved from the exploration of the know the final image, I do control it by knowing the mediums flesh. I feel more like I am excavating through the history of my work,
limitations posed by the medium, my own frustrations at the limitations through trial and error with each canvas. it’s a slow drawn-out dig which I have little control of, and any
restrictions of the canvas support, the beauty of the accidental and As for the imagery, it comes from very careful consideration of interesting find that I discover within the pigments of the image act as
finally the disassembling of the traditional expectations of what a the surfaces I want to create. Sometimes I will decide well in advance a further switch in direction of the compositional narrative.
painting can and should be. to only use maybe three colours and a very specific motif – only then Creating these cut patterns can feel like I am producing precise
So how do I do this? Well, the concept behind my work, is by far can the paintings really begin. My interests have always been in the surgical cuts upon the surface of the paintings, but the accidental
the most important aspect to me, and it is also my starting point. laying of abstract imagery and colour. Whilst in college, I began nature of cutting is disguised, as the process is far from anything as
Simply put, I move and remove paint around the support. This process exploring the abstract nature of cartography and the systems that are precise. When I cut into the paint I do this to discover the hidden
involves lifting the actual paint from the canvas and allowing it to created upon layering simple line drawing, to create complex layered beauty within the layering process of painting itself. For me this is
hang or fold off the square/rectangle prepared ground. By doing this I systems and imagery. This is something I continue to do today, when the process becomes the most enjoyable and the least controlled,
ask the viewer to question the identity of these paintings; are they although now I build up the complex systems using layers of colour because no matter how much you think you can control the paint
paintings, sculptures or stuck on collages? This results in a regular and pattern and then abstract it further by removing the paint outside when it comes to cutting and peeling it, the canvas will dictate how
explanation, that the imagery is created by taking painted areas away, of the canvas frame. the paint will lift and hang.
as opposed to the traditional methods of image making which tend to The most recent work, which I exhibited in The Stone Gallery There are many limitations that painting imposes upon an artist,
occur by adding the painted imagery. during January evolved from a six-month residency I completed in which I continually question within my practice. By choosing to
The process is the second most important aspect to the paintings Draiocht last year. The residency allowed me the time to concentrate explore these limitations, I want to question not only my own
I make. I use acrylic based paints – be they artist or household quality; on and develop a new body of work. The plan for my time in Draiocht expectations of what a painting is, but the other constraints which are
having developed a technique which allows me to peel back and was to begin exploring colour combinations and possibilities within imposed on the canvas frame. As a painter, this is where I feel my
remove the paint after applying between four and five layers. It is here my paintings. inquiry and exploration into the medium exists however, this
that the process can become quite difficult, due to the fragile nature of Bright colour has always featured predominantly within my exploration has led me to experiment with other forms of
the peeled paint. I have spent a long time researching and exploring practice. However, in my previous work I have explored the representation, such as installation and video, embodying this struggle
the possibilities of each paint quality – for example, I know that by possibilities of making the surfaces quieter. I completed a body of work and which I will continue to question.
building up a household emulsion based matt paint, sanding it back before the residency, which was mostly white; and the pieces I was
and preparing a very smooth support, I will be able to remove the paint working on had been deliberately toned down. Consequently, this Susan Connolly
more evenly than if I use an artist quality gesso. I also know that some encouraged me to engage once more with a brighter palette. The
artist quality paints will both stain the support and peel back a colour combinations I was exploring on my residency consisted of
Studio Louise Rice ‘Us Two (repair)’
Launch Sat 23 June 2 – 4pm
Official opening of the Workshops 2007
only hot glass studio in Casting with hot glass - €185
Ireland where artists can Sun 24th June, 10am - 5pm
attend workshops and Introduction to molten glass as a creative material
through the process of casting in sand.
hire the studio for their
own use. Facilities Glassblowing for beginners - €285
include a large tank Sat 30 Jun & Sun 1 Jul, 10am - 5pm
Hands-on experience of basic glassblowing: how to
furnace melting high gather glass out of the furnace, control and shape
quality glass, a glory the hot glass, blow a bubble and make a simple cup.
hole for reheating Evening Classes
and two kilns.
Introduction to hot glass: Stage 1- €160
The Leitrim Sculpture Centre will be Tues 26 & Thurs 28 Jun, 6.30 - 9.30pm
hosting further sessions of At these two evening workshops you will learn the
beginners & intermediate level basics of working with hot glass and be supported
workshops later in the in developing your own ideas and style of working.
summer & autumn of 2007,
as well as a masterclass led by an No previous experience with hot glass
internationally known glass artist. required. All materials are provided.
To book and for enquiries:
Louise Rice, Leitrim Sculpture Centre,
New Line, Manorhamilton, Co. Leitrim
E: email@example.com T: 071 9855 098
RELISUC - Red Light Suction Device, installation piece by Fernanda Chieco, 2005.
MORE HEAT THAN LIGHT
The Basement Gallery - Thursday 24 May - Friday 29 June
Curated by Jonathan Carroll
Artists: Marcus Coates Hugo Canoilas Fernanda Chieco
Teresa Gillespie John O'Connell
The Basement Gallery, Town Hall, Crowe St, Dundalk, Co.Louth
Mon- Fri 10-4.30 / Sat 10-12.45
042 9396437/ firstname.lastname@example.org
The Basement Gallery is programmed and managed
by the Arts Office of Dundalk Town Council
The Visual Artists’ News Sheet May / June 2007 19
Antoin O’Heocha. The Place of Dead Roads. Art in Progress, Paris. Installation view.
nature of the play, I decided to invite the Troupe to perform a segment
of this new production, Berlin-Fragments at opening of my new
installation. After negotiations with the gallery I also invited a
German sound artist Marc Behrens, a pioneer in the world of field
recordings to do a live performance of Architectural Commentaries and
Untitled Songs a meta-composition comprising field recordings of
industrial ventilation systems and actual fires, juxtaposed and blended
through sound processing.
The 13 new works I produced for the installation comprised of 10
acrylic on canvas pieces, two photographs mounted on canvas and
then over painted and one free standing piece of wood, Perspex etched
with line drawings and a lime coloured cowboy hat suspended in the
Perspex top section of the piece. Further to this I covered the ceiling of
the gallery with aluminium foil, which created a great reflective and
Antoin O’Heocha. The Place of Dead Roads. Art in Progress, Paris. Installation view. translucent quality to the installation. Over 140 people attended the
opening including curators from various galleries – some of whom
invited me to submit proposals for future installations. Over half of the
Cite Internationale Des Arts installation was purchased by private collectors.
The show also received positive critical feedback. In his review,
Paris based art-writer Adam Warren commented on the way in which
the show suggested “disorientation, the disrupting of points of
ANTOIN O’HEOCHA ON HIS THREE-MONTH RESIDENCY IN PARIS
reference, as well as the impression of a joke well played-out, of the
unsettling of fixed artistic media, gestures and conventions in order to
THE Cite Internationale Des Arts in Paris houses 300 visual artists, noted that in Paris there seems to be a harmonious co-existence achieve that joke”. And picking up on the William Burroughs
architects, musicians and writers from all over the world. The between established venues and non-official artist-led spaces – the reference in the title and the works he added, “these are effects, after
residency complex, constructed in 1958 is adjacent to the latter of which there are a number of in Paris, some with long-term all, perhaps not too dissimilar to those created by the artistic in-
architecturally magnificent Hotel de Ville in the heart of the Marais leases. One of note is located near the Stalingrad metro stop in a sanctities and incongruities of Burroughs’s own oeuvre”.
(4th district) area of Paris and is about ten minutes walk from the decommissioned railway station, a vast space in which the resident The residency was certainly a very productive time for me and
Pompidou Centre. Last year, I was the first Irish artist to be awarded a artists use bicycles to get around it. opened up a range of future projects for me. In February this year, with
space here – other countries support studio / residential space for During July, as I began a new series of works at the residency Theatrerouch I staged an installation at a gallery in Bordeaux. In
artists in the complex, but there is no official Irish connection to the studio, a heat wave was declared over European. Coupled with the March my work was included in the major international sculpture
residency. I contacted the French Embassy in Dublin and secured a nature of the new works I was working on, this brought about a exhibition ‘The Shanghai Sculpture Space’ and as well as this my work
recommendation. The French Department of Foreign Affairs literally ‘hot house’ development of my work, as I feverishly developed was presented at the Universal Expo also in Shanghai, both projects
sponsored my studio and living space and was awarded an Arts new works and concepts. I was able to exhibit the works, as an are being supported by Culture Ireland, The Chinese Irish Cultural
Council Travel and mobility award to enable me to attend the installation entitled The Place of Dead Roads at Art in Progress a ground Academy and transport by Hanjin the shipping firm.
residency for three months. floor gallery space in a large interlinking 16th century courtyard Antoin O’Heocha
The area round the Cite Internationale Des Arts is buzzing with complex, located in the Village St. Paul, in the Marais area.
various galleries, public spaces and many theatres – where one can I had been fortunate enough to meet a Paris based theatre group www.citedesartsparis.net
encounter high quality contemporary work. For example, while I was called Theatrerouche, whose writer Maguelonne Heugel was in the www.theatrouche.book.fr
on the residency I saw a fabulous exhibition by Jonathan Meese, the process of completing a new play. The piece was to be a conceptual
current enfant terrible of painting, at the Daniel Templon gallery. I dialogue involving four actors. Due to the juxtaposed and fragmentary
20 The Visual Artists’ News Sheet May / June 2007
Sure, Where Else Would You Get It?
HOLLY ASAA APPRAISES HER EXPERIENCE OF THE NATIONAL SCULPTURE FACTORY’S NEW ANNUAL EMERGING IRISH ARTIST RESIDENCY PROGRAMME
Holly Assa making road drawings – murder victim outline of mythical creature Alien Big Cat
(ABC), roadkill, on streets of Cork.
been recording at Fota and so I proposed to the local fire station that I
could create sirens out of the animal calls. I also proposed this to the
CSPCA (Cork Society for the Prevention of Cruelty to Animals) for
their animal ambulance who, in turn, suggested the possible
alternative of creating a burglar alarm system, out of my recordings,
for their new animal shelter to be opened in autumn.
This is just one aspect of my project at the NSF – but it highlights
the positive responses I have had working at the NSF. My practice
tends to bring me out of the studio space and to create relationships
with people of different professions in spheres that are not art-related.
The people I contacted for research purposes, or to bring some of my
ideas to fruition were very obliging in meeting me and in their efforts
to assist me. This included the Manager of the CSPCA, the head of the
zoology department at UCC, the head of pest control at the Kinsale
Road landfill and the owner of Jerry Nolan abattoir to name a few. I
Holly Asaa working with bones in studio at NSF. found that the size of the city was compact enough that everything
was in walking distance; and that the pace of life here is such that
people have time to talk to you and listen to you. The fact that the
chief fire assistant of Cork City Fire Station could meet me within a
few days of contacting him and sit with me for half an hour and talk
about the possibility of making animal sirens for emergency vehicles
amazed me – sure, where else would you get it?
I have also had the privilege of meeting and getting to know
some of the most interesting artists around Cork. Prior to my
residency, Treasa put me in touch with Sarah Iremonger from the
Sirius Arts Centre who has created the Cork Harbour Project. The
project brings artists and environmental experts together to create
work using the site of the Cork Harbour centred around Cobh – but
Holly Assa – close up of mythical ‘ABC’, Kinsale Road. Holly Assa. Roadkill of ‘ABC’, Kinsale road. also to explore the increasing ability of artists to generate
AFTER graduating from sculpture at the National College of Art and To officially introduce Belinda and myself to Cork, Treasa environmental awareness. This project is in its infancy and is to be
Design (NCAD) the opportunities for an artist who has spent her years organised a very successful welcome evening where Cork-based carried out in stages throughout the year – but, with like-minded local,
at college making communal facilities for rats (1)
are negligible. But artists, at varying stages of their own careers, made power-point national and international artists involved, the creative discussions are
fortunately for me rodent amenities made sense to the board members presentations of their work at the Crane Lane Theatre, some of whom already promising some juicy results.
of the National Sculpture Factory (NSF). I was working full-time in a were representing Cork art groups and establishments. Treasa Belinda and I were also introduced to the organisers of Art Trail,
wholesaler at the Dublin Fruit Market when I found out about my personally brought us on a tour of the city centre; and we got a first Cork’s ten-day trail of site-specific artwork and interrelated events
achievement; and it immediately inspired me to follow up on my hand look at the hive of activity that is the Cork art scene, meeting the based around the Shandon area of the city. I think this project would
education as a visual artist. behind-the-scenes visionaries from the Cork Artists Collective, Art be the ideal way to execute some of the work that, simply due to time
The National Sculpture Factory Emerging Artist Residency offers Link, Cork Printmakers, Backwater Artists and being treated to a visit limits, I was unable to fully realise during my residency and also be an
artists a space on the factory floor for 8 – 10 weeks, a stipend of €1500 to Maud Cotter’s studio – to name but a few introductions and excuse for me to keep in touch with my new rebel allies.
and a year’s membership of the NSF. This is the first year that the experiences. Treasa also invited local curators and artists to come visit It was also fascinating to experience the installation of Japanese
National Sculpture Factory has offered this annual award, which it and meet with us in our studios, which were especially helpful as a artist Kenji Endo’s Replicant on the exterior of the NSF building. The
launched in conjunction with similar residential award for an form of tutorial. atmosphere on the factory floor was buzzing as a result and created a
international artist in mid-career. The later was awarded to Glasgow Two months is not a huge amount of time however, so I have positive and active working environment.
based artist, Belinda Guidi who received €2,000, 8-10 weeks residency tried to carefully use this opportunity to delve further into my At the time of writing I have not yet completed the residency; but
and free accommodation. personal practice and from these findings make quick public I hope to hold a one-day event towards the end of my time here to site
I was encouraged to take up my residency at the same time as the interventions – which is quite natural to my practice. some works in progress. Also the Art Trail event is an option to show
other residency winner – and I would advise next year’s winners to do As I had stated in my initial proposal to the NSF, I was attracted to the work I have made here – perhaps in a more informed way. So far, so
the same. Both myself and Belinda were alien to the rebel county, so we Fota Wildlife Park as a potential site and source of inspiration. My good. I feel that residencies like those on offer at the National
have been a great support for each other; and as a young artist it has work is partly concerned with the physical realm that animals occupy; Sculpture Factory offer the finest opportunity a young artist could
been both instructional and an honour to work closely with a more and our inability to comprehend their mind-space. After the first hope for and a great insight into the art world. Things are alive and
experienced artist. couple of visits to Fota, I became interested in the calls between the well for us Langers!
The synchronicity of both these residencies provides on a gibbons on their separate islands. Using NSF equipment I was able to Holly Asaa
practical level equal opportunities for both ‘emerging’ and ‘mid-career’ record and edit these sounds.
(1) Rat Bridge; 2004; 6m industrial pipe, steel frame, lard; installed at Camac Bridge, Dolphin’s
artists alike. Treasa O’Brien, NSF’s Programme Manager, inventively The flat where I stayed was around the corner from the fire Barn as part of Cork Street Regeneration Project in association with NCAD and Dublin City
timetabled various events in the course of the dual residencies, station and the police headquarters. This became an aspect of my
introducing both myself and Belinda to local artists, studios, galleries work, as my first few nights in Cork were sleepless. The wailing of
and other interesting sites and organisations. sirens had similar urgencies to me as the monkey sounds that I had
22 The Visual Artists’ News Sheet May / June 2007
cultural diversity in a time when Ireland is welcoming new
immigrants from this region. The Forum will implement cultural
projects within Ireland and the Balkans and to assist artist mobility
into these areas. It was formed from an alliance of four key cultural
operators; BIAF Dublin, Remont Independent Artist Association
Belgrade, Brain Store Project Sofia and Maska Productions Ljubljana.
Further details can be found at www.balkanirishartsforum.com
I contacted the Visual Artists Ireland to see if they were
interested in being involved with the Balkan Irish Arts Forum and our
proposed programme of events. The VAI was happy to support us at
this early stage and it was with confidence that the forum then
started to apply for funding.
We applied firstly to the European Cultural Foundation, then to
the Arts Council’s Small Festival Fund and Dublin City Council Arts
Sasa Asentic and Per Art, Serbia Grant. After receiving funding for a small festival from the Arts
Council, our first project the forthcoming ‘Have U Met Nosti?’ (4) arts
festival was born. It was devised as a showcase of what was hot and
interesting about Balkan Contemporary art. We wanted to present an
essential image of this artistic strength and cultural cooperation and
we thought that the vitality and visibility of this young art scene is
something Irish artists could learn a lot from.
Brain Store Project production of Watch Your Back
Curiously, little is known further a field of the creative
endeavours that characterise this part of the world. Therefore one of
the aims of the festival is to combat the frequent prejudice
encountered about the Balkans. Traditional stereotypes which
portray the Balkans as Europe’s ‘other’ can be mocked or even
shattered by the festival artists and Irish audiences will have the
opportunity to see that this work is as relevant as it is compelling.
In January this year I travelled again to the Balkans on a Step
Members of Brain Store Project, Sofia. Ivo Dimtchev, choreography
Beyond award from the European Union. The purpose of the research
trip was to meet with existing contacts to develop the Balkan Irish
Ivo Dimtchev in production of Lili Handel 2004
Arts Forum network, to meet new artists and organisations and to see
East–West Dynamics new potential work for the festival. From this trip I met key
individuals within the arts in each country as well as cultural leaders
and ambassadors. This work placed me in a unique position, as I was
able to offer insight into how the arts and cultural industries work in
SASCHA PERFECT (1), DIRECTOR AND FOUNDER OF THE BALKAN IRISH ARTS FORUM CHRONICLES Ireland and to act as an advocate for contemporary Irish arts practice.
THE DEVELOPMENT OF THE ORGANISATION AND OUTLINES SOME OF ITS ONGOING AND FUTURE
Back in Dublin I began to look for venues for the festival and began
negotiations with Dance House, Project, The Back loft and The New
“Strength, passion and exotica, the Balkans is a strange and ‘art tourist’ came up in the discussion, I was more than a little Theatre.
mysterious place. A region often characterised by a wild, sometimes offended. I quickly had to assess what my motives were for being in The ‘Have U Met Nosti?’ (4 – 8 July) will explore performance as
reckless spirit, rife with highly passionate behaviour and powerful Belgrade at this particular point in time? Coming and going as I did a medium of communication, injecting a variety of performance
sweeping gestures. It’s an area rich in tradition with a wealth of between Eastern and Western Europe, perhaps there was some truth strategies into artistic expression. The festival aims to question the
ambitious creativity – a creativity specific to the people who practice in their accusation – and what did I have to offer to this artistic contemporary politics of the performing arts and perhaps offer a
and indeed embody this particular brand of expression.” (2) community? I was then asked how my work was affected by my deconstruction of traditional theatre in an anarchic and playful way,
travel in the region. Because I wasn’t making work directly about the allowing for many possibilities of communication, engagement and
IN 2004 I went to live and work in Serbia on a year-long research region, I replied rather feebly “my experiences often can take time to interaction. The festival will establish dynamic relationships between
programme entitled ‘Body Unlimited’ at the University of Novi Sad. manifest in my work…” By this stage I didn’t really believe my own the viewer and performer asking them to reconsider notions of
Here I was involved with two European Artistic programmes; CIMET answer and I began to think a lot about my relationship and reason, the body, art, ego, private and public, meaning and non
– a cross border project between Serbia, Austria, Italy and Slovenia responsibility as an artist within this area to my fellow artists and to meaning, social codes and culture, East and West, EU or non EU.
and Tracing Roads Across Europe in association with the Grotowski the specifics of this place. After three months, I returned to Ireland ‘Have U Met Nosti?’ will include new work from Serbia,
Work Centre in Pontadera. These programmes involved groups of full of these questions to complete my MA focusing on art making, Slovenia, Slovakia, Bulgaria and Macedonia. Featuring new live art
independent artists from across Europe in collaborative practical curating and criticism of contemporary art practice. from Brain Store Project (Bulgaria); Katerina Mojzisova (Slovakia) and
workshops, research and discussions. At these meetings, we would In May 2006 I arrived again to the region to perform at the Mare Bulc (Slovenia); Film and video work by Dragana Latinovic and
present our current artistic work and discuss such things as what it ‘Gravity Free Festival of Independent Experimental Art’ at the Red Peter Tuskin; new theoretical dance theatre from Dejan Garbos
meant to be an artist in today’s world, what role art plays within our House Centre for Culture and Debate in Sofia, Bulgaria. A centre that (Serbia), Galina Borissova (Bulgaria) and Iskra Sukarova (Macedonia);
own cultural contexts and the efficacy of our work. runs socio-political, as well as artistic and cultural training the dark and curious choreography of Ivo Dimchev (Bulgaria) along
It was through these European meetings, that I realised how programmes. They create forums, which stimulate public debates, with new work in voice by Irena Tomazin (Slovenia).
little contact most Irish artists have with the wider European art bring new ideas into public politics, educate new generation of Balkan Irish Arts Forum activities for 2007 – 2008 include:
community. I saw the importance of collaboration at European level creative thinkers and bring together the artistic, cultural and political Research Project in Association with Via Negativia, Slovenia (1 – 30
because I experienced the benefits it brought to my own practice in elite. Here I encountered artists from France, Bulgaria, Macedonia, Nov 2007); and in 2008 a performance programme in association
terms of professional training, networking and further international Romania, Turkey and Croatia. We discussed again the role of the with Via Negativia; Irish Artist residencies within the Balkans and a
opportunities. I also became aware of how artists in the Balkans, with artist, difficulties of local support and funding issues. conference on Eastern European Art practices involving Ireland and
their artistic urgency, are lead to co-operate regionally and When I returned to Ireland, to my delight I had received an Arts the UK.
internationally. Council bursary to continue developing my practice as a performance Sascha Perfect
In 2005, I returned to Ireland to undertake the IADT MA in artist, inspired by my time and research in the Balkans. This award
(1) Sascha Perfect, Director of the Balkan Irish Arts Forum in Dublin is a Performance Artist,
visual arts practices. In the summer, after working at the Venice gave me the confidence and momentum to devote all of my time to Pedagogue and Producer. She has spent the last three years travelling and researching in
Biennale, I returned to the Balkans on holiday and to see fellow my practice and to set in stone a few unrealised creative projects. the Balkan region; meeting with local cultural operators, academics and artistic
practitioners. Sascha has a passionate interest and keen understanding of the work in this
artist’s exhibitions. I was then invited to perform and speak on a Near the top of my list was a Balkan / Irish collaborative project. area and is keen to promote it further in an Irish context.
(2) Jeff Bickert, Magazine Editor Kontrast 1/06 Fetish, Ljubljana.
panel at a conference in Belgrade on ‘Mobility in Art’. Here I I sent out a call for partner organisations in the Balkans and (3) The Balkan Irish Arts Forum
encountered a number of Balkan NGO workers complaining about then went about setting up an NGO – The Balkan Irish Arts Forum (3), (4) ‘Have U Met Nosti? New Performance from New Europe … and just beyond’ (4 – 8 July
2007). See full programme of events at www.balkanirishartsforum.com
lack of access to funding and resources and the difficulties of mobility in order to promote international co-operation across European
for local artists. borders. The forum’s main mission is to promote contemporary art
Having lived in Serbia, I already realised that I was in a and intercultural dialogue between Ireland and South Eastern
somewhat privileged position, being free to travel around the Balkans Europe. It was set up primarily to introduce Ireland to the
without any visa restrictions on my EU passport. But when the term contemporary arts of Eastern Europe and to raise awareness of
St. George’s Terrace, Carrick on Shannon, Co. Leitrim
T: 071 9650 828
GMIT Art and Design Graduate
Dominic Stevens design. Image by Paul O’Connor
C l u a i n M h u i re C a m p u s , M o i n v e a R o a d , G a l w a y
23 April - 19 May CONVERGENCE
Padraig Cunningham: Bill Viola
John Albert Duigenan: Caroline Patten
Laura Gallagher: Stephen Kelly
2007 25 May - 7 July
Linda Shevlin: Hughie O'Donoghue
IMAGINED - VISIONS OF ARCHITECTURE
Eithne Jordan Paintings
Paul O’Connor Photography/ Leitrim Architecture
Exhibition Preview 9th June 2pm Exhibition Open 11th - 16th June
Monday - Friday 10am - 5pm Saturday 11am - 4pm Ongoing DREAM DIARY
Digital Projector Hire
for members of
Visual Artists Ireland
Visual Artsits Ireland now has a number of Summer 2007
new Digital Data Projectors available for
both short & long-term hire by artist ISSUE : 07
Curator / Editor Kim Levin
For further information, see the Services,
Facilities & Resources section of our web
site. Autumn 2007
ISSUE : 08
www.visualartists.ie Curator / Editor Munira Mirza
Visual Artists Ireland
37 Nt. Great George’s St, Dublin 1
T: 353 (0)1 872 2296 www.printedproject.ie
The Visual Artists’ News Sheet May / June 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.
GRAFTON STREET SCULPTURE PROJECT added energy and personality to the work. Some of
the locations were private places known to the
speakers, others were within the town and
distinctive in their urban nature. The different
locations formed many interesting relationships
and connections within the artwork.
Leo Higgins Winter Trees
Artist: Leo Higgins
Title: Winter Tress
Installed: Feb 07 – Feb 08 Rachel Joynt Clutch
Dimension: 3.5 metres high Artist: Rachel Joynt
Materials: Patinated Bronze Title: Clutch
Location: Grafton Street Dublin Date: Summer 2006
Commissioner: Solomon Gallery Dimensions: Each egg: 85cm x 115cm
Type of Commission: Invitation Materials: Cast bronze
Main Project Partners: Dublin City Council and Location: Baltray, Co Louth
Solomon Gallery, Dublin. Commissioner: Louth Local Authorities
Description of Work: Leo Higgin’s Winter Trees, Project Partners: Arts officer; Vincent O Shea
consists of five individual bronze trees, patinated Type of Commission: Louth Public Art Panel of
white and mounted on tall black highly polished artists were invited to submit to a number of art
and reflective granite pedestals. To mark the projects in Louth
changing seasons, Leo will patinate the trees green Budget: ?31,500
in summer and burnt ochre in the autumn. Description of the work: The three eggs are
To date, the Solomon has facilitated the loan of situated in a ‘clutch’ on the grass adjacent to the
three large bronzes to Dublin, sited at the top of shoreline at Baltray. The bronze eggs have a
Grafton Street – Lady Hare & Dog by UK artist dimpled texture and are patinated a light cream
Sophie Ryder; Orla de Brí’s Quiet Mind; Patrick colour with spots and blotches of brown. A bronze
O’Reilly’s striding teddy bear Going to Town. book on eggs lies open on a rock next to them – the
artist describe the piece as “playful, rather surreal
and interactive feature to this expansive costal
Felicity Williams Talkingpoint2: betweenthelines.
Kenji Endo Replicant
Artist: Felicity Williams
Title: Talkingpoint2: betweenthelines Artist: Kenji Endo
Invitation to Exhibit Medium: 8mm film and video work
Dates: Oct 06 – April 07 Materials:Aluminium duct piping and LED
Commissioners: CCAT @ Temple Bar, Temple Bar lighting.
The Alley Arts Centre, Strabane, invites applications for exhibitions to be Installed: 28 March – 28 Sept
Cultural Trust, Dublin www.ccat.ie
programmed within our newly opened gallery space. Location: National Sculpture Factory Cork
Exhibition: April 2007, Aberystwyth Arts Centre.
Two video works shown separately. Commissioner: National Sculpture Factory in
Selection will be based on a consideration of an artist’s CV, exhibition association with Cork Artists Collective.
Project Partners: CCAT @ Temple Bar, Temple Bar
proposal and 6 – 12 examples of previous work (which can be submitted Type of Commission: Invitation
Cultural Trust, Dublin.
in hard copy, slide or CD format). Project Partners: National Sculpture Factory in
Description: Felicity Williams has been making a
collection of dialogue and conversations from local association with Cork Artists Collective
To receive an information pack including gallery dimensions, programme Description of Work: Japanese artist Kenji Endo’s
people in and around Aberystwyth during the last
schedule and terms & conditions please contact: Replicant is installed along the side of the red-brick
six months. The speakers were free to choose their
subject and location for filming within NSF building where Albert Road meets the South
Ms Pauline O’Neill, Alley Arts Centre, Strabane, Co. Tyrone, BT82 8EF Link. The piece is described as “sprawling, virus-like
Aberystwyth or the surrounding area, but were
Tel: 0044 2871 88 4760 Email: email@example.com along the western face and front of the factory
encouraged to choose a site that had some meaning
to them or that was relevant to what they had to building, emitting a low lit, blue glow”.
The deadline for receipt of submissions will be Friday 22nd June 2007. www.nationalsculpturefactory.com
say. With a strong element of unpredictability this
26 The Visual Artists’ News Sheet May / June 2007
Artist’s Experiences of Commissions
VARIOUS ARTISTS DESCRIBE DIFFICULTIES ENCOUNTERED ON PER-CENT FOR ART COMMISSIONS
THE per-cent for art scheme is a truly valuable cultural resource. THE commissioning process for Public Art is by its very nature an reflects the need for these specialisations because materials and
It is by far the single largest commissioner of new work In imperfect beast and while one can accept aspects of that, there are fabrication processes are very expensive. It is very important to keep a
Ireland and consistently provides artists with new opportunities areas that could be clarified and improved as follows – hands on involvement as the design progresses when working with
and contexts for developing and producing work on a scale that Vague briefing documents. What constitutes a statement of fabricators and it is therefore essential to establish a working
would not otherwise be possible. The scheme has much to offer interest? In the absence of specific site details etc I’ve always relationship with interested parties early on and to be confident that
artists but also the arts generally and the cultural wealth of the interpreted it to mean a statement of one’s methodology supported they will allow you that creative space once the production phase is
country. by examples of previous work. But on a couple of occasions local underway. Purely technical decisions may not be aesthetic ones and
The scheme has gone through a number of changes since its authorities have looked for specific proposals under ‘statement of it’s important to be there to find accommodations. For the above
inception and at each stage there have been a number of key interest’ in the absence of any site plans, maps, site meetings, reasons I have been mostly concerned with outdoor locations. I
organisations, agencies and individuals who have pushed the identification of what community etc in the briefing document. would not usually submit for low budget schemes simply because I
boundaries of the scheme and who have been influential in On occasion you can be asked to draw up a proposal for a site of know that there are too many demands on the funding, material
advocating and setting standards for others to follow and aspire your own choosing but information about lands in public costs, insurance, specialised skills and finally the artists time.
to. This refers to artistic ambition but also to the processes and ownership can be difficult to get – so it is not really worth driving a
proceedures of commissioning art. considerable distance to develop a proposal for a site that may or
This continues to be the case and there are no shortages of may not be available
examples of good practice in the field of percent for art In many cases a budget is advertised in the brief but on being
commissioning in Ireland today. It is the experience of Visual shortlisted; or in my case when the contract was to be signed, ONE of the difficulties I encountered with a project was the changing
Artists Ireland, however, that while many commissions are artists are informed that a percentage [9%] is to be deducted for of the site. My proposal was specific about both the location and
successfully completed there remains a number of persistent admin purposes. importance of the site. My work had been selected partly on the basis
and recurring problems with the implementation of the scheme. Administrative delays in implementing the contract are a problem. of its specific links with the local environment. Drawings, models and
Visual Artists Ireland recently asked artists to provide some I currently have a commission, ongoing since 2004 that is due to be prototypes had been fully developed and approved on the basis of
feedback on problems and difficulties they have experienced sited soon. It was selected and costed in 2004 but only got started in that site. It was rather late in the game when the change of site was
with the scheme. The texts that are set out below are just some of 2006, meanwhile cost of bronze casting increased by 75% - even forced upon the project. With some artworks it might not be a
the responses received from artists. The contributions are with cancelling certain elements and the foundry doing a deal – problem to change the location, however, with my work the moving
anonymous and all references to specific commissioners have everybody’s profits cut! I am now waiting 6 months for site works of the site represented a fundamental dilemma.
been removed. to be completed and looking at having to put work into temporary The way I work could be described as site-generated. My work
storage. Still trying for more money. In terms of a ratio, twice as evolves from the specific qualities of the given site. In my proposal it
much time appears to be allocated to admin of competition against was the particular qualities of the landscape that formed the genesis
the time for creation of the artwork. of the artwork. I chose the site because it seemed to embody a sense of
The level of assistance provided by most local authorities has the wider surroundings. The site also provided an opportunity for the
declined dramatically over the past number of years, no site works, artwork to change as one would move through the area - appearing
foundations, landscaping etc –commissions are often only awarded and disappearing - depending on ones vantage point. These were not
after the contractor has gone off site. Meanwhile cost of materials just superfluous concepts, but represented the essence of the artwork.
like bronze, stainless steel and the cost of trying to get a contractor The decision to change the site was not done in a spirit of
to carry out small scale site work has sky-rocketed. I was shortlisted consultation, which might have offered possible solutions to the
recently for a commission where 10% of the budget had to be committee’s concerns. Instead the decision was simply stated as a
allocated for a traffic management plan. It means the amounts directive, “You must find a new site.” This one decision set off a whole
available for the actual work is significantly reduced so perhaps chain of events that ended up causing huge delays and in many ways
there is a case for having the cap on the scheme lifted or increased. compromised the experience and integrity of the artwork.
The selection panel send you together with the rejection letter a If any lessons can be drawn from this experience I would say
‘tutorial’ on where you went wrong. I know that as a public body that first, one should spell out the potential impact of such a decision;
they are obliged to make available if requested the conclusions of second, rewrite contracts to reflect the impact of the change, and
the panel but it should only be if it’s officially requested. third, as the artist one should seriously consider whether or not the
Unsolicited it creates the impression that the expertise is all on the change requested seriously compromises your original intentions.
side of the panel and unbalances the professional relationship of
the artist to the selection process – I had a case where I received a
‘report card’ with boxes ticked as to why I wasn’t being shortlisted
(not providing specific proposal under ‘statement of interest’ where
no sites, maps etc were provided) – I complained, though it always I have been a sole artist producing public artworks for a number of
looks like sour grapes, but as far as I know they have ceased years.
sending out the ‘report cards’ The process of tendering and carrying out public commissions
has its own ‘little world’ problems, for instance; when presenting
proposed work to some committees the panels are most often
outweighed by non visual partners. These partners, not wanting to
look out of place often confront me with some unbelievably
MY experience of public commissions has been largely positive and ludicrous questions, for example “How many pieces do we get? I am
this is in a large part due to careful contract planning with particular not interested in quality but quantity! Will it make a noise if the wind
attention to - blows through it?” not to leave out the ever popular, “What do you
An appropriate payments schedule, particularly if one is to use see this work bringing to the end user?” I have even been confronted
fabricators which are expensive and can require 50% up front by one person producing a calculator just to make sure everything
Who deals with all statutory approvals, planning, roads service etc, was adding up!
usually the commissioner? Please lets discuss the art and make this the priority of choice
Installation costs and site preparation including responsibilities for particularly when it is has already been demonstrated that the figures
crane hire, foundations and engineering input for safety etc, match their budget as provided through the presentation materials
In recent years I have created a number of large scale works, supplied by the artist.
simply because they allow for a greater involvement with specialised Even before this second stage some commissioning bodies ask
materials in engineering terms and also the opportunity to deal with for too much in response to their brief such as supplying full design
sculpture/installations in a site specific way with emphasis on the and budgetary details with no payment which I find unprofessional.
space and the surroundings. With large scale works the budget Remember, ideas and concepts are the artists currency.
The Visual Artists’ News Sheet May / June 2007 27
Other commissions have seen a lack of communication with the they whiz by on the main road.
commissioning body with no one identified as a project manager so I County councillors should designate a representative to sit on About two years ago I was invited, along with four other artists,
have found myself being passed from one person to another to give or selection panels, preferably someone who knows something about to submit for a project in a new Library. Following a site visit, I
obtain information. On other occasions staged payments have not the subject and agree to abide by their decision. Could this be submitted a proposal. This was not acknowledged and I’m still
been received on time for paying contractors. While I understand included in a code of practice for the commissioning of artworks? awaiting a reply. This process was overseen by the local authority
these elements happen to all in business I must emphasise that we One thing that I learned was not to let them get away with it, best of Arts Office and all invited artists were promised a submission fee.
are sole traders and in my case do not have a pot of money to live off luck to Marco Dessardo in his pursuit. Unrealistic timescales are also an ongoing problem. My first
until payment is received. I would have to say that overall these question when asked to submit for a particular project is: “What is the
problems happen in the minority of commissions, but the process of deadline?” I have turned down numerous such requests because of
choosing is in my view badly flawed. unrealistic timescales.
THE % For Art Scheme in Ireland is one of the main opportunities for
artists. It is difficult to imagine where sculptors would be without it.
Besides livelihood and opportunity, the scheme has yielded some
THE trouble with commissions is that they are completely balanced magical results, but, let’s face it, only some. One might unreasonably I regularly enter for public commissions and have found that most of
on the side of the commissioner. There never seems to be any expect that Ireland would, by now, be some sort of shining light in the the initial problems have been ironed out –many as a result of ‘best
negotiation on artist’s availability and they assume that you have specialist art of work for the public space. practice’ advice from the SSI now the VAI.
nothing else to do but apply yourself to the specifics of that particular I suppose sculptors themselves can’t be entirely let off the hook I find it hard to comprehend the reason for the short deadlines.
commission. Any professional artist is engaged with a number of with regard to the disappointing state of public art in Ireland. But It must result in rushed proposals and is frequently one of the reasons
works and projects at any given time and cannot drop all to devote six there is, I believe, a far more damaging factor that lies at the heart of that I decide not to enter. I have found that often the great rush to get
months exclusively to a commission. Commissioners have got to the matter. It’s not the numerous administrative frustrations that we entries in is followed by months of waiting while panels are rounded
take this into account. When they decide upon the artist they want, all come up against – these can and ought to be amended and set up. Three months to entry date and the same for second stage would
then negotiation should take place on the timescale of what suits straight – but blame, if that’s the right word, must ultimately rest be sensable. Second stage requires quite a lot of time to be spent on
‘both’ parties. I think this is a big problem for practicing artists, how with the panels appointed to assess, select and commission public art. the proposal. I think that a fee of €1,000 should be standard
to do a commission without screwing up all the other work in which I have frequently found people on these panels to be completely procedure.
they are involved? This is what stops me becoming more involved in uniformed about sculpture, public sculpture or otherwise. Should a
public commissions, they are just not flexible enough with time and vote be given to a person who perhaps has rarely if ever attended a
they do not recognize that an artist is not hanging around with serious art exhibition, hasn’t a single book on sculpture in his or her
nothing to do but hope to win a commission. home, and would be hard-set to name a dozen or 6 sculptors from any
time in history, from any country in the world? These people are THERE still exists an attitude among some Commissioning bodies
asked to look at maquettes, read the “not-more-than 100 words” about that the role of the artist is to merely enhance a particular site or
it, and to envisage its enlargement and placement on the allotted site, space at the latter end of a project etc. With a little bit of planning,
having first determined if the sculptor is (a) capable of delivering on some commissions could be developed in a manner that would be far
READING over the Marco Dessardo debacle in the last issue reminded the proposal, and (b), whether the project isvalue for money. OK it is more rewarding for all concerned-the artist, the commissioning body,
me of some of the problems that I have had both as a commissioned sculpture for the public and if our ill-informed jury can’t find merit in and the public. The timescale on some briefs is so short that some
artist and as a member of selection panels for public commissions. your proposal, what is Joe Public going to make of it? So there is the artists don’t bother even to apply (I’m thinking here in particular of
The biggest cock-up was a job a colleague and myself did in the problem. And the outcome is a desperate grab at anything that is people who use materials such a Stone, Bronze etc. where the lead in
south of the country which parallels Marcos experience in the vaguely recognisable – some reference to local history perhaps – but time is quite long).
interference of county councillors as arbitrators of good art by their forget any talk of states of mind or real artistic vision. No surprise If the time-scale between the initial submission and the
rejection of our selected proposal. amid this intellectual fundamentalism, we end with a dull literalism, awarding of a commission is too long, it can happen that the costings
Travelling south for that first meeting to present our selected creative predictability, a sameness – in lieu of all that might be. for a particular project (materials etc) can increase. This has been the
idea to the local county councillors, we were full of plans and good Actually I am enough of a democrat to appreciate both sides of case in recent years with material and labour costs increasing
expectations; we envisioned a meeting where we would work out this dilemma on public art but sadly great achievement in sculpture practically every month, and invariably these increases come out of
details of the commissioning process ie contract, sitting etc. However under the present system is even less likely than the Eurovision Song the artist’s pocket. In view of the above, I feel that funding for the
we were met by a group of hostile men who unanimously rejected Contest producing a song of true enchantment. So until further percent for art scheme needs to be increased as the commissioning
our selected idea on the basis that they had not been involved in the notice it looks as though we must Tra-le-la-de-da along, public bodies are getting less and less for their money, as the cost of
selection process in spite of the presence of the county secretary on sculpture by telephone vote as it were. materials increase.
the selection panel and his presence at this meeting. Our idea was My wish for public sculpture in Ireland would be for the capping
undermined and it was suggested that a local artist would soon be of the % for art to be lifted; for sculptors to then have the budget to
issued with the commission and we could take ourselves off back to work in collaboration with architects and structural engineers where
Dublin. applicable, and to start proposing and producing sculpture that
We immediately contacted the Arts Council and other challenges and stretches our creative imaginations to the full; and for I am still dealing with a project I was awarded and commenced
represented bodies from the selection panel for their support which the jury system to be thoroughly overhauled to comprise leading and working on in 2002. There have been a number of issues but the main
was wholly forth coming, unfortunately there was no turn around by acknowledged experts in the field, brought in from abroad if difficulty has been getting the Council to actually take ownership of
the local council on receipt of letters of protest. We were obliged to necessary. the work and give me an installation date. It is difficult to
contact a solicitor who advised us that we had a very good case and Regarding a wide-awake, vibrant and diverse public art comprehend the amount of time that has passed since I was awarded
he would be happy to act on our behalf. programme in Ireland, I don’t think we have anything to loose - and the job. Having made endless efforts to establish a date when the
What occurred next were two years of legal back and forth until everything to potentially gain! Council would take receipt of the work and conclude the
the County Council agreed to award the contract to us on the threat commission, long periods followed where I essentially gave up
of court proceedings. This was followed by a further protracted period because of their lack of contact and interest. Throughout my
negotiating the contract and the site. The work we had designed was dealings with the council they have been evasive and unhelpful,
as part of a sculpture technicians training programme being delivered often not affording me a response to my queries. There have been
at the Fire Station Artists Studios and incorporated a lot of detailed ONE of the main problems I have encountered in the commissioning delays in the planned work around the site for the work and
stone work so as to give the trainees an opportunity to participate in process is inexplicable delay. A few years back, I was awarded a information regarding this and my position in relation to it has been
every aspect of the construction of a sculpture. By the time the commission after a short-listing process. The job involved the non-existent. My sense of the situation is one of being cut adrift with
legalities had been ironed out the training course had ended and we renovation of a church and the commissioning process was overseen no respect or regard shown for my efforts in the production of the
were required to undertake all of the work ourselves without the by a local authority as far as I can recall. In the commission brief the commission. The work has become a liability to me and the whole
assistance the course would have given us, thus the sculpture ended budget was not stated so I also omitted costings in my submission. I project is surrounded by huge uncertainty and doubt as to its future.
up costing us money to complete. We were unsuccessful in getting was awarded the commission and then asked to submit costings. This
more money out of the council for cost adjustment to the material I did following advice from The Sculptors’ Society.
costs. I received no response to this and assumed that my proposal was
The work was designed to work as the entrance to a park in the too expensive for the available budget. Three years later or so I was For the foreseeable future the News Sheet will provide a regular
town centre but a raised flower bed appeared in the middle of the contacted again and asked when could I commence the project! As I platform to debate and discuss issues relating to the per-cent for
negotiations at the proposed site area and so our work was eventually was very busy at the time, I explained that I was not in a position to art scheme. We are genuinely interested to hear from all parties
placed at the end of a cul-de-sac of houses, it is never seen except by pursue the project and opted out. No explanation for the delay was who have an interest in the issue.
motorists who see a small section of the top over a ten foot wall as forthcoming.
28 The Visual Artists’ News Sheet May / June 2007
The Visual Arts in Kilkenny
Butler Gallery Castlecomer Art & Design Centre
sponsored by local company Ormonde Brick. Tina
spent two months creating the pieces and the seats
are now on show in the Estate Yard.
A One Year Community Arts Residency ‘Layers
& Imprints’ led by Artist / Papermaker Polly Minett
was based in the Estate Yard. The aim of the project
was to explore the physical, historical and social
influences on a landscape. Groups from the
community worked with the artist through the
medium of contemporary papermaking, using
David Sandlin – exhibition view, Butler Gallery. materials gathered in the demesne to create
Promotion, understanding and learning about contemporary pieces ranging from paper costumes
contemporary visual culture at all levels is central to large book works. Polly has now set up her studio
to the ongoing growth and expansion of the Butler Paper Works in the Estate Yard, and is currently
Gallery, the artists it engages, and the communities working on a new body of work for this years
it serves. For this reason the community and Kilkenny Arts Festival
education outreach programme, curated by Louise Painter, Rachel Burke has recently relocated
Allen, is central to the Butler Gallery’s ongoing from Pig Dog Studios in Dublin to a new space in
Louise Bourgeois Lullaby development. The education programme delivers a the Estate Yard. Rachel study art at Crawford
diverse range of events, workshops, long-term College of Art, Cork, and paints landscapes and
THE Butler Gallery has been in operation since domestic scenes using acrylic and inks. Rachel
projects and interventions throughout the year.
1943 and has been located in Kilkenny Castle since exhibits in the Solomon Gallery, Dublin and the
‘Solas’ brings the gallery alive with the Castlecomer Estate Yard
1975 where a major contemporary art gallery has Mullan gallery in Belfast and is having a solo show
exuberant creative freedom of young minds on
flourished. Exhibitions of critical acclaim mounted in Gallery 44 Cork, this September.
alternate Sunday mornings. Artist in Schools CASTLECOMER Estate Yard has seen a dramatic
over the past 30 years include Sean Scully, Antoni Award winning textile artist and print maker
programmes promote learning through first hand change since its inception as farmyard, stables and
Tapies, Bill Woodrow, Sol le Witt, Brian Maguire,
experience of the contemporary visual arts. The kitchen gardens in the 1700s. Today the Maeve Coulter has her studio in the Yard. Maeve is
Tony O’Malley, Tony Cragg, Petah Coyne, Paul
benefits of long term engagement in the arts and Castlecomer stables are filled with a vibrant currently working on a collection of textile pieces
McCarthy, Ernesto Neto, Eve Sussman, David
the creative process are central to many of the community of artists working towards a vision of inspired by views of Kilkenny. These pieces will
Sandlin, Jeanne Silverthorne and Louise Bourgeois.
Butler Gallery’s outreach programmes. ‘5 to 6’, a creating ‘a new design for Kilkenny’. Restoration is also be exhibited in The Yard for the Kilkenny Arts
The Butler Gallery is a model of what
creative arts and development programme, has ongoing and the first section of the yard has already Festival.
enthusiastic commitment can achieve. Its
worked with over 40 women for the past year and been fully restored and adapted to facilitate the American ceramic artist Andrew Ludick, a
collection, built on modest means, provides a
will continue into 2007 and 2008. resident artisans. graduate from Columbus school of Art, Ohio, is also
credible account of the evolution of 20th century
Upcoming events for artists and interested Adjacent to the Estate Yard Art & Design based in the Yard. Andrew is well known for his
art in Ireland, and its exhibitions have put Kilkenny
audiences to watch out for are: MOOT a series of Centre, visitors will find Castlecomer Demesne. unique, sculptural ceramics.
firmly on the artistic map. Most importantly, it
discussions and debates focusing on trends and These old landscaped gardens have recently been The Yard is also home to up and coming
provides proof positive that regional organisations
attitudes in contemporary culture. The website renovated providing lakes, beautiful woodland Designer Makers such as Australian Milliner
have a major part to play not only in terms of their
MOOT.ie is about to be launched to provide a wider walks, and a sculpture trail that was created as part Rebekah Patterson, Rosemarie Durr Pottery, Carl
own environment, but in enriching the cultural life
platform for discussion, debate and opinions about of an international residency of artists for Kilkenny Parker Jewellery, Crannmor Pottery and Eclectic
of the country as a whole. There are outstanding
all things contemporary, creative, cultural and Arts festival 1999. These sculptures remain in the Interiors.
works in the Permanent Collection by artists such
cutting edge. Log on in the coming weeks to woods to be enjoyed by the public. Over the past The most recent addition the yard is an
as Patrick Collins, Paul Henry, Mainie Jellet, John
contribute and find out more. ‘Re-produced’ couple of years the sculpture trail has been add to interpretive centre and museum, café and gallery
Kindness, Tony O’Malley, Camille Souter, James
(August, 2007) will present wild alternative by art students from NCAD who as part of their space housed in a beautiful custom built Oak Frame
Turrell and Jack B Yeats. Recent acquisitions, gifts
experiences of untamed, bizarre and curious art, course have created site specific instillations and Building, the centre will be open in June and is
and long-term loans include works by Jacki Irvine,
utilising performance and visual art in non- sculptures within the woodland environment. going to secure a lot more visitors to the yard. The
Michael Beirne, Jeanne Silverthorne, Simon Reilly
permanent spaces. With an explosive mix of In addition to providing beautiful studio gallery space is to be included in Kilkenny Arts
and Mildred Anne Butler.
vibrations, sounds, visual projections, alternative space, The Estate Yard has hosted several Festival official programme as it will be hosting a
The Butler Gallery provides a platform for
theatre and film, Re-produced is not to be missed! residencies for artists. Last year ceramic artist Tina series of Exhibitions during the festival and
presenting the best of Irish art today, along with
(MOOT and Re-produced are jointly curated by Byrne was commissioned by the Crafts Council of continuing months.
demonstrating a strong commitment to presenting
Louise Allen, Butler Gallery and Mary Butler Ireland, to create sculptural seating from bricks
work by artists of international repute. With that
Kilkenny County Council Arts Office.)
philosophy as our backbone our exhibitions seek to
The Butler Gallery exists on and off site, as a
stimulate, inspire and challenge our audience and
place of interaction between artists and the public –
reflect the constantly changing nature of visual arts The Blackbird Gallery
a contemporary space within a non-contemporary
practice and the range of media used in the making
setting. Occupying this unique position on the Irish
of contemporary work today. LOCATED in the heart of Kilkenny city, The the work is vital to the success of the enterprise but
art circuit, we are dedicated to remaining at the
The exhibition programme that I curate offers Blackbird Gallery is a small visual arts space that while selling the work is very satisfying,
forefront of artistic excellence.
a balanced mix of high profile international solo has become a major addition to the art scene in discovering, nurturing and supporting emerging
There are many working artists who have
exhibitions, selected exhibitions by emerging and Kilkenny and the South East. Now coming into its talent is where the passion lies.
made Kilkenny their home including Louise Allen,
established Irish artists and thematic group second year, the gallery is continuing to showcase a The ambition for the gallery going forward is
Saturio Alonso, Steven Aylin, David Beattie,
exhibitions which reflect current contemporary diverse range of oils, acrylics and prints from both to continue to attract challenging work from
Michael Beirne, Debra Bowden, Mary Butler, Ger
visual arts culture. The gallery advertises an ‘open an established and emerging repertoire of Irish and established and emerging talent and to build on the
Casey, Eamon Colman, Helen Comerford, Jean
submissions’ call out on an annual basis which international artists. gallery’s reputation by further promoting and
Conroy, Elizabeth Cope, Richard Coughlin, Alan
offers the unique opportunity of a one-person The gallery is the only commercial art space profiling those artists who continue to arrest,
Counihan, Suzanna Crampton, Helena Gorey,
exhibition to established and emerging artists. currently operating in Kilkenny city and over the engage and delight the audiences.
Anthony Hobbs, Etaoin Holahan, David Holohan,
Exhibitions by: Brian Fay, Theresa Nanigian, Finola course of the past 12 months has engaged the The Gallery is located at No. 1, St. Kieran Street,
Kathleen Holohan, Bernadette Kiely, David
Jones, David Phillips & Paul Rowley, and our current public with a programme of varied exhibitions Kilkenny and is open Wednesday to Saturday from
Lambert, Sonia Landweer, Deirdre McCarthy, Polly
exhibition by Nevan Lahart (April 28 – June 10, focusing on different aspects of the visual arts. New 11am to 6pm. We will be delighted to handle any
Minett, Paul Mosse, Pauline O’Connell, Patrick
2007) have been selected from our open submission works are featured regularly so that visitors to the enquiries regarding the gallery and would be happy
O’Connor, Hughie O’Donoghue, Jane O’Malley,
drive. Following Nevan Lahart, exhibitions for 2007 gallery will find themselves exposed to fresh and to discuss any opportunities for showcasing new
Alan Ragett, Gypsy Ray, Blaise Smith, Francis
include Fran Hegarty and Andrew Stones, Barry challenging work on each visit. work. Please contact Valerie Walshe on 056
Tansey, Tunde Toth and Connor Wickham.
McGee, Yvonne Buchheim and Paul Doran. Look The space is owned and run by Roger O’Reilly 7762050 or email firstname.lastname@example.org
out for our free ‘Art Bus’ from Dublin to Kilkenny and Una Herlihy who have a very strong
Director, The Butler Gallery.
scheduled throughout the year. commercial background. Their view is that selling
The Visual Artists’ News Sheet May / June 2007 29
Sculpture at Kells Kilkenny Arts Festival
The vast majority of community involvement IN programming the Visual Arts element of the by using sections of texts that have been translated
is voluntary and Sculpture at Kells would not have Kilkenny Arts Festival this year, I have not tried to into the flashing light signals of Morse Code. In
been possible without it. The level of community impose any over arching theme which connects addition to this piece we will show a work entitled
acceptance and its dissemination within the each artist project, instead I wanted to, where Inverse, Reverse, Perverse consisting of a large
Kilkenny area also functions to increase visitor possible, bring to Kilkenny work which I felt could concave mirror that inverted and radically
numbers and break down pre-existing barriers to contribute something to the location in which it distorted the viewer’s reflection, producing a
art or its understanding. The exhibition site – was exhibited, not site specific but site disturbing self-portrait. Located in this same room
outside of an institution and in a rural area - also sympathetic. Having said that, and even taking into will be a large table centre-piece by Maud Cotter.
combine to make it an accessible event at a wide consideration Kilkenny’s rich heritage with its For Cotter, our domestic spaces are charged spaces;
local and national level as visitor numbers, wide range of historical buildings and landmarks charged by the simple fact of our having used them
feedback and press reports testify. this has not always been possible. It is notoriously and the objects they contain, often unthinkingly,
difficult to find non-gallery spaces to programme day in, day out. The tea cup that we lift to our lips
International Artists works, which for the most part have been made to each morning becomes, under Cotter’s eye, a
The inaugural exhibition in 1998 featured the show in gallery conditions. It is only possible with repository for something strangely physical. It
work of Dame Elizabeth Frink, plus seven Irish the cooperation and permission of a diverse range becomes a host for the accumulation of mood,
artists. Following years have featured works by of people and the hard work undertaken by the feeling, emotion, secrets and stories of life, from the
such internationally renowned artists as Barry festival organisers. banal to the extraordinary.
Flanagan, Peter Randall-Page, Michael Warren, In the end I have reached a balance between Located in the shabby but still functioning
Lynn Chadwick. those works which are located in spaces where the billiards room of the Home Rule Club, a former
Work by Craig Wood at ‘Sculpture at Kells’
In 2005 and 2006, with the assistance of history, architecture or function of the venue gentleman’s club will be a work by Danish artist
AS you come down the hill into the picturesque Interreg funding, we staged unique bilateral contributes to our viewing of the work, and those Jesper Just. Just taps the universal power of music to
village of Kells, picture a giant bronze hare leaping exhibitions with a sister community in Wales works or projects which have been sited in a range create lushly filmed, seductive works that
the weir by Mullins Mill. As you continue along the comprising artists from both Wales and Ireland, of commercial and public buildings, which though challenge the traditional notion that masculinity is
island walk you see a suitcase floating midstream, who created work in response to monastic sites of not be specific to the particular environment have incompatible with external displays of emotion.
bearing a young woman sleeping. You cross the Strata Florida (Wales) and Kells Priory. be been just as carefully selected in order that the Just’s critically acclaimed mix of tenderness,
bridge, your attention drawn by a haze of ethereal environment does not detract from our humour, and tongue-in-cheek incongruity is
dresses created from the husks of magnolia leaves A Wider Audience appreciation of the work but offers the best exemplified by No Man is an Island II. In this video,
adrift in the trees above a small burial plot. You The quality of the artwork at the core of Sculpture physical space for its presentation. the emotional walls between the denizens of a
enter the ruins of the stunning 12th century Kells at Kells ensures that the usual art audience attends. Kilkenny has a rich ecclesiastical history with dimly-lit strip joint suddenly crumble when a
Priory where an enormous glass cube, occupying However, our experience to date is that the a plethora of early Christian monastic sites and young man unexpectedly breaks into a heartfelt
the centre of the cloister, reflects the remnants of involvement of the local community in the some remarkable churches. St John’s Church is rendition of Roy Orbison’s tear-jerker classic Crying.
the great stone structure in curious fashion like the planning and execution of the show, the beauty of situated in the heart of Kilkenny and was once an While the relationship of the venue to the
vortex of some strange time machine while flocks the venue and its freedom from the negative image Augustinian Priory first erected in the 13th century works described above is specific and I hope
of white ghost-crows look down on you from the of an elitist institution and the surrounding local the ruins of which still stand next to the church. It sympathetic to the work there could be no more
walls and towers. exhibition and initiatives, all combine to attract a is the tranquil setting of this church that is the appropriate venue for the Factotum choir than St
Any or all of these images will have vastly different art audience from the norm. The venue to Bill Viola’s work Four Hands 2001 unlike Francis Abbey Brewery on Parliament St.
confronted a regular visitor over the years to the event attracts large numbers of families, rural Viola’s most well known works such as The The original Factotum choir was nothing if
annual Sculpture at Kells exhibition. Sited in the dwellers and members of the public who would Messenger 1996 or the Nantes Triptych 1992, this not eclectic, embracing socialism, Satanism, pagan
striking 12th century monastic ruins of Kells Priory not normally feel comfortable attending artistic piece is not a monumental video installation but a ritualism, folk and psychedelic performance art.
on the banks of the King’s River, this 10 day events or art institutions. rather subtle piece showing four sets of hands – a Highlights of the exhibition will include a behind-
exhibition runs each August in conjunction with We actively work to broaden and enrich young boy’s, two middle-aged people’s and those of the-scenes film of rehearsals of their 1985
the Kilkenny Arts Festival. Sculpture at Kells community and audience participation through an elderly woman – run through a gamut of multimedia performance about Cuchulann, The
started in 1998 as a joint initiative between the programming workshops and events during the gestures; some are familiar and others rhetorical, Hound of Ulster. Original drawings from the folk
community in Kells and local artist Ann exhibition and by encouraging integration some are associated with prayer or supplication, opera, No Joy for Henry, will also be included, as
Mulrooney. The original aims of the venture were between artists and the community. while others resemble Hindu and Buddhist mudras. will explosive footage of their infamous pagan
to make contemporary visual art more accessible The use of a range of ages implies a continuous actionist ritual, Die Orgiegeheimnisse, performed in
to the general public and to provide a platform for 2007 Exhibition tradition, the teaching of the young by the old, the London in 1971. These documents and many
both established and emerging artists. This year’s exhibition is being curated by Mark sequence of gestures complementing but also others, including posters, letters, records and
Garry and will features the work of the following departing from one another. bizarre musical instruments, have been recovered
Community Based artists: David Beatie; Marie-Dorothee Neugebauer; The opulent Georgian surroundings of the from attics and libraries and in one case discovered
When Ann Mulrooney first approached the Sinead Mc Geeney; Rhona Byrne; Nina Mc Gowan Butler House with its magnificent plastered in a hedge. The whole story is engagingly told by
community of Kells in 1997, its members were and Karl Burke. It will open on Sunday 12 August ceilings and marble fireplaces is the location for those who experienced the choir first-hand. This is
understandably cautious and had little knowledge at 12 noon. two artist, whose work is at first glance in keeping achieved through a mixture of interviews and
or experience of the arts. A few years later, the Sculpture at Kells receives a Small Festivals & with the architecture and social function of the contextualising text, bringing this obscure but
community organises and administers the Events grant from The Arts Council and is room but on closer inspection are unsettling and at fascinating period of musical history to life. The
exhibition, prepares and maintains the venues supported by Kilkenny County Council. odds with the gentile environment. Cerith Wyn current Factotum choir will perform at the venue
each year, houses, transports and entertains visiting Evans will present his ‘Chandelier’ sculptures on Friday 17th August.
artists, Valerie Mullally evoking notions of otherworldly communication Other highlights of the programme will
include Amar Kanwar an independent film maker,
living in and working in New Delhi whose work
responding to conditions in contemporary India.
KILKENNY CONTACTS www.kozogallery.com
Mark Orange whose work uses a range of media,
including audio, film, photography, and digital
animation to explore the unpredictable and often
The Grennan Mill Craft School Mary Butler, Kilkenny Co. Council Arts Officer, Blackbird Gallery,
hapless ways in which the individual navigates
Thomastown, Kilkenn.y 72 John Street, Kilkenny 1 St. Kieran Street, Kilkenny
urban space. Also presenting work will be Antonio
T: 056 7724514 / 056 7724557 T: 056 7794138 E: email@example.com T: (056) 7762050
Reillo from Italy and painters Eithne Jordan and
Butler Gallery, The Castle, Kilkenny Sculpture at Kells,
Rudolf Hetzel Gallery, 10 Patrick St, Kilkenny T: 00 353 (0) 56 776 1106 Kells Priory, Kells, Co Kilkenny.
T: 056 7721497 E: firstname.lastname@example.org M: 086 8055304
Kozo Studio and Gallery, Marshes Street, Kilkenny Studios,
Thomastown, Co. Kilkenny Kilkenny Arts Festival www.kilkennyarts.ie Castlecomer Estate Stable Yard, Kilkenny
E: email@example.com T: 056 779 3265 www.castlecomerestateyard.com
30 The Visual Artists’ News Sheet May / June 2007
Endangered Studios Kilkenny County Council Arts Office
KILKENNY County Council’s Arts Office develops feel that it is imperative to endorse the work of
and co-ordinates artistic activity across the city and practitioners residing in Kilkenny and to encourage
county. We motivate and empower practitioners in the development of innovative collaborations
the sector and encourage and inspire enthusiasm across art forms.
for the arts promoting it as a valuable, positive and Our visual artists’ residency programme is
worthwhile activity for all. We also provide advice, now in its fourth year. To date these residencies
assistance and support for individuals and groups have focused upon offering research and
and work to keep the arts on a countywide agenda. development opportunities to artists. Five years ago
Kilkenny has three council-managed the city and county had little or no rentable studio
exhibition spaces for the visual arts, namely the space available to artists whatsoever. As a result of
Watergate Theatres Gallery Upstairs, County Hall this most artists worked within their own homes,
and no. 72 John Street. The Arts Office currently allocating garage space, spare rooms, gardens and
programmes on average 14 exhibitions annually in even corners of their bedrooms to carry out their
these venues. These include solo, group and work. Many still do and of course some always will.
community focused shows. No. 72 John Street is a But in 2004 the Arts Office acquired the use of
relatively newly acquired and extremely significant Chadwicks and Electro City a disused builders
venue, which also serves as a residency and activity provider premises. I offered artists studios and
space. Other independent visual arts venues in the residency opportunities within the building and on
county include the Butler Gallery, Kozo Studio and the vast landscape that came with it. The emphasis
Endangered Studios at Chadwicks Gallery, the National Craft Gallery, the Blackbird of these studios and residencies were on the
Gallery, the Berkeley Gallery and newly developed working process rather than the finished product. It
Castlecomer Demense, which comprises studios provided opportunities for artists to research and
and exhibition space. The city and county libraries develop their work practice and the space to
also serve as exhibition spaces as do the streets of investigate and explore new ways of working,
Kilkenny and unused shops and buildings encouraging artists to cultivate and develop new
particularly during festival times. ideas.
The Arts Office facilitates the professional Various initiatives took place on this site
development of arts practitioners to maximise their including residencies by students from the
full potential and enable them to explore new Ormonde College of Art, Kilkenny, NCAD and
The Workhouse in Callan – currently undergoing renovation.
Studio space in the Maltings. possibilities. Many of these initiatives are KCAT, Kilkenny. The whole area steadily grew in
ENDANGERED Studios story begins with six artists resulted in two highly successful group exhibitions undertaken in partnership with other arts or terms of its stability, continuity, energy and
being awarded spaces in a studio facility located as part of the Kilkenny Arts Festival in 2004 and education service providers, namely the Butler momentum. It was fantastic and extremely
within a disused builders merchants – Chadwicks, 2006. Since leaving the Maltings in autumn 2006 Gallery, The Ormonde College of Art, NCAD, artists rewarding to see the spaces and the artists work
through a venture instigated by Mary Butler, the group has continued to meet regularly in order and other local authorities. The links between change, develop and evolve over the months.
Kilkenny County Council Arts Officer in the winter to combine skills to access new studio possibilities. agencies, providers, individuals and community Louise Walsh, sculpture tutor at NCAD stated,
of 2003. Although basic, the studios provided a vital In March 2007 the group was offered a new groups work well and as a result of this synergy, key “While the workshop resources of the sculpture
resource – huge work spaces, along with studio space in Callan, Co. Kilkenny. Patrick Lydon actions are being delivered. One such significant dept (NCAD) are excellent the opportunity to
opportunities for discourse and contact with other of the Camphill Communiy approached the group development in the region is ArtLinks. This is a engage with the acres of showrooms, yards and
artists – along with a wealth of found materials; and about occupying a disused space they had within professional development service for artists of all warehouses that Mary Butler has made available is
all on a completely cost-free basis with the support Callan. The building, which is the original disciplines, which is based on a partnership invaluable. The National College of Art and Design
of the Kilkenny Arts Office. Over the period of its workhouse of the town, offers the resident artists between the Arts Departments of Local Authorities is delighted to collaborate with the Kilkenny Arts
existence on this site the group grew in numbers, the possibility to work on large-scale projects. The in the counties of Waterford, Wexford, Carlow, Office for this fantastic opportunity”.
welcomed residencies from individuals and groups group plans to renovate the space to make it usable Kilkenny and Wicklow, the Arts Council / An On evaluation of this undertaking its success
from local, regional and national colleges including as both studios and temporary galleries – and Chomhairle Ealaíon and artists from these was very clear with, amongst many other things, all
KCAT and NCAD. The studios were in operation on overall to develop a place where artists and counties. ArtLinks provides accessible artists had created new work, embarked upon new
the Chadwicks until 2005, when the building was community will interact. opportunities for artists from the five participating ways of working and significantly, developed new
demolished. The new space offers the opportunity to again counties to gain skills, knowledge and attitudes regarding their work. This space -
The Endangered group has enabled a number run visual workshops engaging with students of all understanding and provides the necessary supports Endangered Studios, as it became known and the
of artists to work and develop. The professional ages and other groups within the community – they need in order to develop their work practices artists who were there long term, now the
development of the artists involved has been plans are afoot to work with residents and staff of and careers. Another key partnering body is the Endangered group, are still together proactively
invaluable in their growth and has been accelerated Camphill in this way. Callan is a particularly Butler Gallery and together we undertake many seeking funding, exhibiting and working as
by their association with, and activities undertaken exciting venture at this time for other reasons as events, courses and projects, including MOOT a individuals and together with some newer
by the studio unit, and indeed the group as a whole well. KCAT has its home by the river in Callan. series of debates and discussions about the arts. ‘members’ on board.
continues to strengthen. Housed in the biggest purpose built arts centre in These debates feature internationally renowned In fact they have just recently secured new
Following the demolition of the Chadwick’s the South East, KCAT is well known for its levels of panellists and encourage full and open audience studio spaces in Callan, a town just outside of the
site, the group accessed space in the Maltings enthusiasm, vibrancy and energy. participation. We also partner with Kilkenny Arts City. This is even more significant than the
Building in Kilkenny. From within the Malting’s The friary was donated (by the friars) to the Festival annually in order to specifically promote evidence collected on paper as this evidence is
building the group planned, managed and people of Callan in 2003 and is managed by Callan emerging local visual artists during the festival. based on the continued activities of the Endangered
facilitated a series of educational art workshops for Community Network. There are a variety of This has resulted in a highly successful initiative group and other practitioners over the past three
a number of Kilkenny schools. The basis of these different courses and support facilities being called VERGE. It gives a number of artists a years. Other residency opportunities offered by the
workshops was visual awareness – a key conducted there, one of which is the KCAT theatre tremendously valuable platform for their work and arts office are based in no. 72 and to date four artists
motivation for the workshops being the artist own course. L’arche has recently opened a café within the overall support and endorsement of the have undertaken residencies of six to eight weeks
experience of less-than-exciting and poorly the town and there plans for the family home of Festival. developing new work and engaging with the public
structured art education while in primary artist Tony O’Malley to become an artist residency We offer a number of awards and bursaries and groups for information sessions regarding their
education. The overall aim was to provide the space with studio. and these have increased considerably over that work.
participating children with the opportunity to Callan has a web of exciting innovative past five years. The Arts Act grants are administered It is a very challenging and exciting time for
explore drawing, painting, sculpture and projects all connected in different ways providing a annually as are the Tyrone Guthrie Regional the Arts Office in Kilkenny and for the arts sector in
photography with energy and fun. network of support and learning for creativity Bursary Scheme, the Research to Exhibit Award and general. It is fair to say that practitioner,
Though there has been a consistent core throughout all the arts. Endangered looks forward the Facilitation Award. The latter two awards have community and visitor aspirations and
group, it has fluctuated in size allowing new artists to contributing to this momentum. been devised specifically to enable and encourage expectations have never been higher and Kilkenny
to utilize the spaces and opportunities provide by Endangered Studios (Steven Aylin, Jean practitioners to feed their own professional County Councils Arts Office is committed to
Endangered Studios. All artists within the group Conroy, Helen Comerford, Patrick O’Connor, Etaoin development trends and to support practitioners in making every effort to provide and support.
have continued to pursue individual opportunities, Holahan, Alan Raggett, Richard Coghlan, David directing the development of their practice. They
exhibiting widely at a range of levels, whilst Beattie). also support the furthering of their careers and Mary Butler, Arts Officer.
maintaining a strong group dynamic – that has Endangered Studios assist in creating a culture of self-sufficiency. We
The Visual Artists’ News Sheet May / June 2007 31
Etaoin Holahan Visual Artists Ireland’s new
on-line information resource
for artists – covering all aspects
of professional practice.
PUBLIC ART COMMISSION
CARLOW NATIONAL SCHOOL, CARLOW
Etaoin Holahan Kiss Mural 2006 Private commission, Kieran Street, Kilkenny (recently painted over) BUDGET; €14,000.
Carlow National School under the department of education and science,
I settled in Kilkenny in 2002. I’d studied for a year at and running an eight-week workshop module. We
per-cent for art scheme wish to commission a visual art piece(s) of durable
the KSAD (Kilkenny School of Art and Design), worked with children from four local primary
under Helen Comerford, after which I did a BA in
quality, in an indoor setting, which will enhance the school environment and
schools. Devising these workshops together further
fine art in Wales for three years. I was hungry to improved our group dynamic. It was great to be promote enquiry.
create a platform for myself and other artists and working within the community and contributing
within a month a group of us came together to to the visual education of the children. FOR APPLICATION FORMS & FURTHER DETAILS CONTACT:
organise the exhibition ‘Warehouse’ held during Shortly afterwards, I went on a four-week The Principal, Carlow National School,Green Road,Carlow.
Kilkenny Arts Festival 2002. For the show the residency to Iceland. I returned, with stories of
T: 059 9132175 (9 30am- 3pm weekdays) E: firstname.lastname@example.org.
group secured a very raw space in Kilkenny city frozen waterfalls, to continue the workshops and
centre where installations, theatre, painting, begin a new body of work, a series of drawings
performance art and sound art were housed. We all inspired by the residency. Some of these drawings Closing date for submissions 11 June 2007
worked so hard to launch this exhibition and were included in the opening exhibition of the
organised everything from public liability Blackbird Gallery in Kilkenny.
insurance to designing the invitations. The In June 2006 I was offered a commission from
opening night had a vibrant energy of a street the Kilkenny Cat Laughs Comedy Festival to install
carnival – with fire jugglers and drummers at the a large scale street installation. The project was
entrance. This was my introduction to Kilkenny. entitled Kiss and consisted of nine 1m x 1m panels
For the Arts Festival 2003 we secured the with stencil print of couples kissing – each one
Brewery Presentation Room on Parliament St; and mounted on a sandwich scaffold on the façade of a
together with Eileen Flynn and Brendan Cullinan building in the city centre for the duration of the
we put together an exhibition called ‘The Green festival. The models were all local people.
Door’. This space had never previously been used as In the 2006 Arts Festival, we had the second
an exhibition space, but it has now become a successful group show of Endangered Studios artist
regularly used venue by the Arts Festival. works, presented in two venues– The Watergate
In 2003 Kilkenny Arts Office advertised the Theatre and The Arts Office.
availability of studio spaces in the old Chadwick’s I’m working as an aural historian at present,
building. A few months after its inception of the collecting stories about the ‘Mart’ in Kilkenny from
studios, which were named by the artists farmers, buyers, auctioneers, publicans – anyone
‘Endangered Studios’ I was invited to do large scale with something to share really; in preparation for a
portraits of all the participating artists. These were Talking Birds / Kilkenny Arts Office production to
displayed in the windows of an abandoned mark the closure of the Mart after 50 years of
electrical store, as part of the very first ‘Endangered’ operation on the site. As well as this I am working
exhibition during the Arts Festival 2004. on a body of work exploring print and drawing. My
Shortly afterwards I was offered the very first energies are also focused on the new studio space
six-week residency at the newly renovated Arts we have been offered in Callan. This is an exciting
Office premises. The idea of the residency was to time. We’ve discussed running workshops,
highlight the profile of the arts office as an exchange residencies and a gallery space. And the
interactive public space and an asset to the city. I studio artists are to be included in Strand 2 of this
invited all the employees to sit for their portraits. year’s arts festival.
Anybody coming into the office was free to talk to Kilkenny has the name among some circles as
me about my work and I could be seen working being the art capital of Ireland. I’d like to see that
through the window – thus energising the space name really be deserved, and the circle who believe
and arousing the curiosity of passers-by. The it to be true, extended. The Arts Office in Kilkenny
culmination of this project was a solo exhibition, is extremely well run. Information is regularly
‘Staff’ – comprising 17 life-size stencil prints of circulated about residencies, jobs, professional
council employees and some of their children; held development courses, seminars, current
in the adjacent main building of the county council exhibitions, funding application with supportive
office. information and exhibition opportunities. As an
When the lease on the Chadwick’s space artist practising in Kilkenny the city has offered me
expired, we were again homeless. But we many footholds and encouragements. There are
maintained very strong ties and met regularly. The great opportunities here for artists who are willing
result of which was that we secured a studio space to seize them and work hard.
in The Maltings building – in exchange for devising
The Visual Artists’ News Sheet May / June 2007
with a major public art element. environment or health care LINDEN HOMES further information:
The total budget for this project setting. Initial responses should Linden Homes Southern Ltd in Telephone
is stg£240,000 with at least include a CV and examples of partnership with the Borough of 021 4314353
stg£100,000 of this budget being previous work together with a Poole Arts Development Unit, is Www
ring fenced for the public art statement on the proposed looking to commission a public nationalsculpturefactory.com
element. Full details of the approach you would take. For a artwork. We are inviting Deadline
competition conditions and the full brief contact the Public Art expressions of interest in 29 June 2007
competition brief can be creating site-specific artwork(s)
Team and quote the relevant
obtained from Mr Frank reference number. which respond(s) to a diverse BALLINGLEN FOUNDATION
Sweeney, Head of Arts and Telephone range of activities and land use The Ballinglen Arts Foundation
Tourism, Omagh District +44 (0)1245 437521 nearby to the Aqua Housing was formed in 1992 to bring
Council: Email Development in Poole. professional,established artists
FUNDING 20 May 2007
Address email@example.com. Interviews will be held on 13 and younger artists of recognised
The Grange, Mountjoy Road, uk June. Installation is to be ability, from Ireland and abroad,
MONTEHERMOSO GRANTS Gunpowder Park Bright Sparks
Omagh, County Tyrone, N. Deadline completed by Christmas 07. to live and work in North Mayo
Support for Creation and Research and Development
Ireland BT79 7BL 25 May 2007 Total budget available will be in order to benefit both the
Research in Contemporary Art Awards Round 3. Bright Sparks is
Www stg£50,000. For a copy of the artists and the community. Each
and Thought. Grants aimed at a funding scheme for arts and
www.omagh.gov.uk ROYAL VICTORIA HOSPITAL commission brief contact Nicky invited artist receives a three
Artistic Creation, Curatorship design led research and
Deadline The Imaging Centre: The latest Whittenham (Public Art Officer) bedroom house and a studio in
and Research. Artistic Creation: 8 development projects which
25 May 2007 facility to be added to the Royal Email the Ballinglen Centre free of
grants for unpublished art explore the physical and social
Victoria Hospital's estate. It is a firstname.lastname@example.org charge. The Ballinglen Centre
projects which are in the aspects of public open space in
ESSEX PUBLIC ART five storey building linked via a Deadline has four studios and a fully
production phase or which must both urban and rural contexts.
Public art commissions 2007 - hospital street to the hospital 1 June 2007 equipped Print Studio. It also
be produced during the Bright Sparks is a unique
2010. Essex County Council is and will provide the latest state boasts a significant library, The
extension of the grant. Each opportunity for UK and non-UK
investing stg£2.14m into public of the art facilities which include THE FOREST SCHOOL Courthouse Gallery and all up to
project grant will not exceed individuals and / or groups
art projects over the next 3 years. Nuclear Medicine, X-ray, MRI, Worcestershire County Council date office facilities. Each artist
divided into the working in any creative practice
This is to ensure that artists are CT, Cardiology and a range of and Sidemoor First School are in turn leaves one piece of work
following items: €7,000, to develop well defined research
part of our design teams, other services. Commission: The seeking expressions of interest which remains unsold in the
maximum amount for the focusing on new ideas relating to
providing an artistic dimension Royal Hospitals wish to from artists wishing to Ballinglen Archive (it currently
production of the project, and open space within the British
for our new building projects commission a major sculpture undertake a sculpture has over 400 works of art). To
for fees of work Isles, relative to the UK's current
and environmental for the interior of this new commission for the main apply please submit an
production and copyright. The intellectual and political trends.
enhancement schemes within building with the aim of: external entrance to Sidemoor application form for a residency
Grant includes an exhibition in Awards from stg£3,000 to
the County. Our ambitious providing an iconic artwork for First School. The theme is 'The which lasts for a period of four to
the space of the Montehermoso stg£10,000. Up to six research
Public Art Programme will the Centre, enhancing the Forest School'. The commission eight weeks (sometimes longer
Cultural Centre, within the 2008 and development awards.
challenge the traditional role of quality of the environment for will commence in June 2007 and depending on the time of year).
programme. Curatorship: 1 grant Www
public art to encourage new both staff and patients, be completed in October 2007. Application forms are available
for an unpublished curatorial www.gunpowderpark.org
levels of debate and to explore integrating the work of the Unit Stg£15,000 Incl. Fees, production online.
project including the Deadline
Genus Loci 'Spirit of Place' in its with the architecture of the & installation. For details: Address
participation of at least four 22 June 2007
broadest sense. Details: building. The budget for this Email The Ballinglen Arts Foundation,
contemporary creators. The
Colchester Primary School, commission is stg£60,000. Jacqueline@impactart.co.uk Main Street, Ballycastle, Co Mayo
proposal must be under PUBLIC ART
stg£60K Ref: GL1. Epping Further information contact Www Telephone
production or must be produced
Primary School, stg£60K Ref: Hilary Cromie, Arts Coordinator: www.impactart.co.uk 096 43184
during the extension of the WATERFORD CO CO
GL2. Park and Ride Network, Telephone Deadline Email
grant. The selected project will Waterford County Council wish
stg£80K Ref: GL3. The design 028 9063 4186 18 May 2007 email@example.com
be allocated €6,000 for fees of to commission a visual art work
teams for the above projects have Email Www
curatorial tasks and copyright. to be located at Davitt's Quay,
been asked to pay particular firstname.lastname@example.org RESIDENCIES www.ballinglenartsfoundation.o
The exhibition project award Dungarvan, Co. Waterford under
will not exceed €15,000. This
attention to sustainability issues i.net rg
the Dungarvan & Environs
by using reclaimed and/or Deadline Deadline
amount must include the Sewerage Scheme / Scéim
recycled materials including 29 June 2007 NSF RESIDENCIES 2008 None
expenses caused by work Séarachais Dhún Garbháin agus
those from sustainable and local The National Sculpture Factory
production, insurances and an Cheantair Máguaird. The
sources; low energy DERRY FIRE STATION are delighted to announce 3 CLO CEARDLANN
transport, trips and stays of the total budget for this commission
consumption and the use of Call for submissions for an major residency opportunities New Call for Residencies 2007.
selected artists and curators. is €60,000 Full details plus the
renewable energy sources. iconic piece of artwork for the for artists at all stages of their This programme offers
Research: 3 grants for research application form are available
Brentwood High Street, stg£50k exterior wall of The Old City Fire careers and open to any type of accommodation in Clo
projects related to online or by contacting the Arts
Ref: GL4. An extensive Station, Derry City, currently practice. Award for an Ceardlann's artist-in-residence
Contemporary Art and Thought. Office.
programme of upgrading the being refurbished. It is envisaged International or Irish Artist in house and full technical facilities
Within this section, at least one Telephone
streetscape of Brentwood High this will comprise of a relief Mid-Career: two months in NSF, at their workshop based in scenic
of the grants will be aimed at 058 41416
Street is in progress and presents work fixed to the new building Cork, to be taken up between North West Donegal. Artists
projects related to the Www
opportunity for artists' facade in an appropriate January and December 2008. residencies of one to three
development of a www.waterfordcoco.ie
interventions into this medium. Total budget Ireland/Australia Exchange months available. This residency
Historiography of Feminist Art Deadline
refurbishment. Brentwood stg£30,000 to include Residency (Ireland-based artist): is offered on a self-funded basis.
in Spain. The award for the 25 May 2007
Gateways, Ref: GL5. Expressions fabrication, transport and three-four months in Hobart, Clo Ceardlann will help
Research project development
of interest are also sought from installation at site. For details: Tasmania (plus two weeks in interested applicants to apply for
will not exceed €9,000. This OMAGH BOMB MEMORIAL
artists who are willing to work Address Sydney) from January - April funding. Interested applicants
amount includes the researcher's Omagh Memorial Working
with Brentwood Borough Economic Development Section, 2008 with travel expenses, should forward their C.V. and a
fees, as well as the expenses Group invites submissions from
Council and Brentwood Town Derry City Council, 98 Strand stipend and exhibition detailed proposal via email. For
caused by the project suitably experienced and skilled
Centre Partnership on Road, Derry, opportunity. Emerging Irish an information pack please
development. For information: Design Teams, for the design,
developing ideas to mark entry Telephone Artist Professional Development contact Marjorie Doohan:
Address production and installation of a
and exit points into the Borough. 028 71376506 Award: two months in NSF, Cork, Telephone
Centro Cultural Montehermoso permanent memorial to the
Ramsden Hall School, stg£50K Email to be taken up between January 074 9531271
Kulturunea, Fray Zacarías Omagh Bomb of 15 August 1998.
Ref: GL6. This school caters for economicdevelopment@derryci and December 2008. The Email
Martínez, 2. 01001, Designs Teams will be expected
pupils with behaviour, ty.gov.uk National Sculpture Factory is a email@example.com
Vitoria-Gasteiz, Spain. to prepare proposals for the
emotional and social difficulties. Www 770sq. m large-scale workshop Deadline
Telephone integrated treatment of the
It is essential that artists www.derrycity.gov.uk/tenders facility for sculptors and mixed None
+(34) 945 161 830 bomb site and the temporary
applying for this commission Deadline media artists. NSF has also
Www memorial garden and the project
have direct experience of 18 May 2007 recently opened a new fully HEATH MOUNT SCHOOL
www.montehermoso.net will entail the development of a
working in a similar equipped new media studio. For Residential opportunity in
Deadline permanent memorial garden
The Visual Artists’ News Sheet May / June 2007
Hertford for an enthusiastic 31 May 2007 packages and more. Send CV, Deadline Telephone Deadline
animator keen to work with statement, proposal and Ongoing 01 2225455 31 May 2007
children. Involves making TYRONE GUTHRIE CENTRE supporting material. MEMPHIS Email
animation films with small Dublin City Council is delighted Address Lantana Projects. Experimental firstname.lastname@example.org GREYSTONES ARTS FESTIVAL
groups of energetic pupils aged to offer a special residency to Light Work, Artist-in-Residence residency in Memphis, USA, Deadline Greystones Arts Festival, now in
from 7–13, and continuing to artists born or living in Dublin Program, 316 Waverly Avenue, with the opportunity to interact 25 May 2007 its 26th year is inviting all artists
develop animation work within City (Administrative Area) to Syracuse, NY 13244, USA with artists in the region. to take part in the selection for
the school and extensive enable them to spend two weeks Email Residency is for approximately the 4th Annual Arts Trail. The
grounds. From 1 September 2007 at the Centre. The residency email@example.com one month at a mutually following media are welcome:
to 31 July 2008. Interviews to be covers all board & lodging Www arranged time. Stipend of painting, prints, sculpture,
held on 24 May. Attractive salary, expenses and the use of a studio www.lightwork.org/residency/re USD$250 per week offered, plus OUT OF SITE 2007 photography and drawing. The
bedsit accommodation, board if necessary. There are a variety of sinfo.html a roundtrip airfare to Memphis Out Of Site is a festival of selection will be made by
and dedicated studio, with time workspaces including studios, a Deadline and in-town travel assistance. performances in public space in professional adjudicators and all
for own work. For further details music room for composers and None Artists are responsible for their Dublin. Following the success of art selected will be of a
and an application form: musicians, a multi media room own personal expenses. Artists Out Of Site 2006 we are looking professional standard. Entry fee
Address and a large rehearsal and PITTSBURGH have to donate one work at the for submissions for Out Of Site is €10. The Greystones Arts
Heath Mount School, Woodhall performance space. It will be The Mattress Factory. Residency end of the residency. 2007, which will run from the Festival takes place during the
Park, Watton-at-Stone, Hertford open to practitioners in all art programme for installation, Accommodation and studio as 22–26 August. The Festival Bank Holiday weekend August
SG14 3NG forms. There is no age limit. visual and sound artists. needed. Includes exhibition of hopes to activate spaces around 3rd to August 6th. Leading up to
Telephone Applicants should show Residency lasts 1–8 weeks, all existing work at commencement Dublin City Centre through live the festival there will be a launch
(+44) 01920 830230 significant achievement in their year round. All costs paid by the of the residency with marketing. art. We are looking for of the Arts Trail held at the
Email chosen field. This would organisation. Air transportation Application form online. submissions that actively engage Cherrylane Fine Arts Gallery
firstname.lastname@example.org normally mean that artists to and from Pittsburgh; housing, USD$35 application fee. with location, taking into (27th July, opening at 8pm),
Deadline should have had one-person per diem and local Address consideration issues and where all selected work will be
18 May 2007 shows in reputable galleries and transportation. Other benefits: Lantana Projects, 2767 Natchez inhabitants of that particular exhibited. During the festival the
that composers or musicians all materials and equipment, Lane, Memphis, Tennessee site. The performances should Art will be exhibited at various
AOMORI CENTRE JAPAN should have had their work curatorial support to identify 38111, USA, explore our relationship to the venues in Greystones. For
Themed residency 'Under commissioned, recorded or and secure all materials; skilled Www city; how we navigate, negotiate information or submission:
Thread' which explores the performed, writers/poets should and unskilled labour during the www.lantanaprojects.org and experience the urban. Telephone
abnormalities of life that are have had work published or installation process; marketing Deadline Applications must include: a 085 7185684
hidden and neglected in favour whatever might be appropriate and publicity; documentation (4" Ongoing detailed proposal outlining Email
of the ordinary. 5 September - 16 to the particular art form. x 5" transparencies, colour slides, practical and conceptual email@example.com
November. Fee: Yen200,000 Otherwise the applicant must digital images); an opening STUDIOS information and the specific firstname.lastname@example.org
travel costs, Yen400,000 demonstrate a high degree of reception to present the location proposed (no longer Deadline
materials, Yen3000 per diems promise attested by references or exhibition to the public, than 500 words), technical 3 June 2007
(stg£12 per day). Also includes other forms of support from marketing and publicity. Open RED STABLES RESIDENTIAL specifications, a budget, a current
final group exhibition, studio, established figures in the arts. application. See website for full Dublin City Council invites CV for all artists involved and no HAZEL WILLIAMS GALLERY
accommodation, free Internet Application forms, guidelines details. artists to apply for the Irish more than two sources of further The Hazel Williams Gallery,
access. Application form online. and criteria may be obtained Address Artists' Residential Studio Award, documentation. For further Kilkenny's newest art space,
For details: from: The Mattress Factory, Residency The Red Stables, St Anne's Park, information: opening in May 2007. Call for
Address Address Programme, 500 Sampsonia Dublin 3. The award is intended Address Submissions for artists. For 2008 /
Aomori Contemporary Art The Arts Office, Dublin City Way, Pittsburgh, PA 15212-4444, to support an emerging Irish 5 Emmet Street, Dublin 1 2009 Program. Submissions to
Centre, 152-6 Yamazaki, Council, The LAB, Foley Street, USA visual artist at an early stage of Email include 5 images of current
Goshizawa, Aomori, Japan Dublin 1 Email their professional practice and email@example.com works on CD Jpeg format.
Email Telephone firstname.lastname@example.org runs from November 2007 – Www Current Biography. A stamped
email@example.com 01 2225455 Www November 2008. The Award www.outofsite.info addressed envelope, if you
Www Email www.mattress.org includes: Studio and living Deadline require your work to be returned
www.acac-aomori.jp firstname.lastname@example.org Deadline accommodation at nominal rent 25 May 2007 to you.
Deadline Deadline Ongoing of €200 per month for a one-year Address
21 May 2007 25 May 2007 period. Inclusion in Exhibition CLAREMORRIS OPEN The Hazel Williams Gallery, No 1
SWAP OHIO Programme at THE LAB, Foley The Claremorris Open The Parade, Co Kilkenny
DURHAM CATHEDRAL SYRACUSE USA Spaces World Artists Program Street, Dublin 1. Administrative Exhibition (COE) is an open Telephone
Twelve-month residency at Light Work. Residency (SWAP). Six week residency and curatorial support through submission exhibition taking 086 1687044
Durham Cathedral. Shortlisted programme for photographers programme. USD$2000 Dublin City Council's Arts place in Claremorris, Mayo in Www
candidates will be invited to and related media in Syracuse, honorarium, stipend for housing, Office. The Red Stables September '07. The exhibition is www.hazelwilliamsgallery.com
Durham for interview on 25/26 USA. Residency is for one month. a limited budget for material Professional Development a contemporary multi-media Deadline
June. In addition to a fee of USD$4,000 stipend. Free costs. Also includes exhibition Workshop for Artists in Studios. exhibition, with works placed at 1 July 2007
stg£17,000, other benefits accommodation, private and publication, a residency Meetings/Studio visits with a variety of locations throughout
include a studio and subsidised darkroom and 24-hour access to coordinator, accommodation Curators and other arts the town, including tradional
accommodation; some teaching the facilities. Renovated lab and studio. Applications will be professionals. Internet Access. gallery spaces, outdoor locations,
at the University of Sunderland facility can accommodate just selected on the basis of quality of There is no application form. used and disused buildings.
in the School of Art, Design, about any black and white work, a recommendation from Artists are asked to submit the Artists must submit detailed
Media and Culture (University process from alternative an American artist and/or following: A covering letter proposals for works by the end of CUBE OPEN
lecturer rate of pay and processes to mural printing. curators of international detailing the proposed usage of May '07. Cost: €20 per entry. Prize CUBE is the centre for the Urban
additional to the fee referred to Colour facility includes a Hope residency programmes. the studio and a work plan fund of €8,000. All participants Built Environment based in the
above); a final show. Should the 32" color processor, Macintosh Proposals expressing a desire for outlining ideas for the residency. will be included in the annual heart of Manchester. Inviting any
artist wish, a fee for a short-term workstations equipped with a public/community programme Reasons why occupancy of a COE catalogue, designed by creative discipline to submit
collaboration with another artist, flatbed and film scanners. are also more favourably looked studio in Red Stables is Trigger Communications. Entry work for CUBE's first open
perhaps from another art form, is Output includes a 42" Roland upon. important to your work forms available online. For exhibition. Interested parties are
also available. For details see HiFi Jet six-color printer, and 44" Address development. A current CV. information: asked to respond to the theme of
website or send an SAE: Epson seven-color printers. SPACES, World Artists Program, Documentation of work. Any Telephone the Urban Built Environment.
Address Artists use Adobe Photoshop, Sarah Beiderman, Residency special requirements, for 087 6680107 Accepting proposals from
Canon Bill Hall, 41 Ellerby Mews, Illustrator, InDesign, and Coordinator, 2220 Superior example in terms of access. For Email Artist's, Architects and Designers
Thornley, Durham DH6 3FB Macromedia Director Studio, Viaduct, Cleveland, OH 44113, information: email@example.com at any stage of their career. Please
Www Flash, Dreamweaver, Adobe USA Address Www send up to five jpeg images of
www.artschaplaincy.org.uk Premiere, Apple Final Cut Pro, Www Dublin City Council Arts Office, www.coearts.org your work with dates and
Deadline DVD Studio Pro software www.spacesgallery.org THE LAB, Foley Street, Dublin 1. dimensions and a brief (500
The Visual Artists’ News Sheet May / June 2007
word) statement/proposal of Birmingham Museum and Art couples. The most innovative Address WHEATLEY BEQUEST ELECTROFRINGE 2007
how you feel your practice Gallery with proposed tour to applicants among these couples The Irish American Arts Awards Applicants main area of practice Call for video and online artists.
relates to the Urban Built Germany, Hungary and Spain. will receive an exhibition in 217 East 86th St., Ste 151 should be based in or relate to Electrofringe is a five day festival
Environment. The overall Anchor Awards including 1st Berlin, Germany during the Art New York, NY 1002 painting. The Fellow will be of electronic arts and culture
winner will have the Prize stg£4,000. Application Forum 2007. Exhibition takes Telephone provided with a studio in the featuring national and
opportunity to be artist in form available online. place online and in Berlin, and +1 (212) 208 2526 School of Fine Art at UCE international artists and
Residence at CUBE for a two Address runs until autumn 2007. USD10 Email Birmingham and will have occurring as part of the This Is
month period. A stg£10 Art of the Stitch, Embroiderers' submission fee. Personal info@irishamericanartsawards. access to all of the Schools Not Art festival in Newcastle,
submission fee is required for Guild, Apt 41, Hampton Court presentation website for each org facilities. The Fellowship lasts for NSW, Australia. 27 September –
any application. Please send a Palace, Surrey KT8 9AU artist at www.wooloo.org. Artists Www ten months commencing Oct 07 1 October 2007. Electrofringe
cheque payable to the University Www can create exhibitions with still www.irishamericanartsawards.o and culminates in an exhibition. will provide a nominal fee,
of Salford. For submission www.embroiderersguild.com images and video, show CV, rg. Interviews on 25 July. The Fellow shared accommodation and
guidelines and further Deadline publish blogs, etc. Application Deadline will receive a stipend of some basic equipment at venues.
information: 21 September 2007 can be completed online. For 18 May 2007 stg£9,000. For details contact Sue Applications by email.
Telephone further information: Rice: Email
+44 (0)161 2375525 PROJECT ABILITY Telephone RDS AWARDS Address firstname.lastname@example.org
Email Project Ability is hosting an open +49 (0) 306 676 3097 Entry forms for the RDS Student Department of Art, Birmingham t
email@example.com exhibition on the theme of Email Art Awards are now available. Institute of Art and Design, UCE Www
Www mental health to coincide with firstname.lastname@example.org The competition has a prize fund Birmingham, Margaret Street, www.electrofringe.net
www.cube.org.uk mental health awareness week Www of €30,950 and is open to full- Birmingham B3 3BX Deadline
Deadline in October. Artists worldwide are www.avantgardedating.com time students of Irish art colleges Email 31 May 2007
15 June 2007 invited to submit work that Deadline and departments of art. The RDS email@example.com
reflects their ideas and feelings 15 July 2007 National Crafts Competition is Www FLASH FILM FESTIVAL
EXETER OPEN on mental health from a still open for entries. The www.biadart.com The 2nd UK Flash Film Festival
Call for submissions for Exeter perspective of wellbeing or of MADRID ABIERTO 2008 winning and commended Deadline will be hosted at The Horse
Contemporary Open. Takes illness. Works will be selected Interventions. Sound Works. entries from both competitions 9 July 2007 Hospital, London's premier
place 20 September - 1 and exhibited in Project Ability's Audiovisual. The aim of this will be exhibited as part of the centre for avant-garde media, on
November. Prizes: stg£1,500 HW two gallery spaces, Glasgow, in summon is to select artists to Fáilte Ireland Dublin Horse JERWOOD DRAWING PRIZE Saturday 15 September 2007.
Business Advisors award open to October - November. Stg£5 entry carry out temporary or brief Show from August 8 – 12 and the Annual open drawing exhibition The aim is to encourage the use
all; stg£1,000 ink2paper.com fee for each submitted work. interventions, including two following four days. For entry for artists based in the UK. 1st of Flash and other innovative
award for photography; stg£500 40% commission and VAT wil be specific projects for the buildings forms and further information, prize stg£6,000; 2nd prize technologies – Maya, Photoshop,
Eyestorm Gallery award for added to the sale price of of La Casa de América and the please contact Johanna Suhr, stg£3,000; Student Awards Dreamweaver etc as a tool of
painting; stg£500 Exeter Phoenix artwork. Work should be Círculo de Bellas Artes, which Arts Development Executive: stg£1,000 each. For information: creative expression. The primary
award for a Devon-based artist; brought directly to Project will be included in Madrid Address Address goal remains to highlight new
stg£250 Energy Creative Hair Ability in Glasgow or Stepping Abierto with other invited RDS, Ballsbridge, Dublin 4 The Jerwood Drawing Prize, vibrant work using this
award for student entry. For Stones in Edinburgh projects and the sound and Telephone University of the Arts London, ubiquitous software package and
further information send SAE. (submissions by mail to Project audiovisual works selected. 01 2407255 Wimbledon College of Art, other innovative freely
Address Ability) between 30 July - 10 Interventions will take place at Email London SW19 3QA distributed technologies, whilst
eco, Exeter Phoenix, Bradninch August, along with a submission the same time as the ARCO fair, firstname.lastname@example.org Telephone discovering and fostering new
Place, Gandy Street, Exeter EX4 form and 300 word statement. in February 2008, in Madrid, Www +44 (0)20 75149709 animation filmmaking talent
3LS Address within the axes of Paseo de la www.rds.ie/arts Email and creative expression. As the
Www Project Ability, Centre for Castellana - Paseo del Prado and Deadline email@example.com name suggests we're looking for
www.exeterphoenix.org.uk Developmental Arts/Trongate Calle de Alcalá - Gran Vía. The Student Art Awards: 2 July 2007 Www artists primarily using Flash as a
Deadline Studios, 18 Albion Street, sound works will be Crafts Competition: 21 May 2007 www.jerwoodvisualarts.org creative tool and method of
11 June 2007 Glasgow, G1 1LH broadcasting on Radio 3, of Radio Deadline expression. For details:
Email Nacional de España, and TERRY O'NEILL AWARD 26 June 2007 Telephone
ELIXIR firstname.lastname@example.org audiovisual on the Canal Metro Submissions are now being + 44 (0)20 7833-3644
Elixir is a two year digital arts Www channel. Artists from every invited for this new LENS BASED / NEW Email
programme which aims to shed www.project-ability.co.uk/news country may participate, contemporary competition MEDIA flashfilmfestival@thehorsehosp
new light on and celebrate some Deadline whether individually or in created by The Independent ital.com
of the less understood or 10 August 2007 groups, in which case, they must Photographers Gallery and Www
'invisible' activities within name a representative. For more aimed at celebrating and MOVING IMAGE COMMISSION www.thehorsehospital.com
Gloucestershire Royal Hospital. TEXTILE BIENNIAL LITHUANIA information: promoting the very best in Great North Run Moving Image Deadline
Elixir's curators are looking for a Open call for artists working Email contemporary photography and Commission. Call for 29 June 2007
wide range of work - video, with textile media or textile email@example.com lens-based media. Open to expressions of interest in major
animation, text and sound, dance concepts to enter work in Www photographers based in the UK. commission to respond to the INTERVENCIONES TV.8
and performance - to show on biennial exhibition taking place www.madridabierto.com Winners exhibition will take BUPA Great North Run, the Call to all moving image artists.
the Elixir screen, a dedicated 52" in Kaunas, Lithuania. Research Deadline place 1-15 September. Entry fee world's biggest half marathon on Screening of audiovisual work
screen as part of a 2-year curated and educational opportunities, 15 June 2007 stg£3 per picture. 1st prize 30 September 2007. Fee via the Internet relating to the
programme of on-screen activity. residencies and new stg£3,000 and published in stg£30,000. The final work will qualities of televisual
Exhibition fees paid. For further commissions are also available. Hotshoe, 2nd prize stg£1,000, 3rd be launched in the North East as transmission as a public space or
details: Exhibition runs 30 November to prize stg£500. For details and to part of the 2008 Great North Run a private one to take place in
Email 2 March 2008, including prizes submit work: Cultural Programme, with an Vitorio Gasteiz, Spain. Fee €500
firstname.lastname@example.org and awards. Fill in an application IRISH AMERICAN AWARDS Address extract screened during the BBC's per screening with a public vote
Www form online. The Irish American Arts Awards Independent Photographers live coverage of the BUPA Great prize of €500. Possible screening
www.elixirnews.info Www is now open for entries for 2007. Gallery, 3 Old Brewery Yard, North Run. The work will then as part of the Madrid Abierto
Deadline www.bienale.lt The Irish American Arts Awards Battle, East Sussex, TN33 OAF be included in a national tour. with a further fee of €500.
Ongoing Deadline is a non-profit organization Email For details: Application form online. Work
30 May 2007 whose mission it is to recognize, email@example.com Email must have a maximum duration
ART OF THE STITCH encourage and celebrate Www beth.rowson@nova- of three minutes and can be
International open biennial LOOKING FOR LOVE? contemporary artists from www.ipgbattle.com/oneillaward international.com uploaded through the website.
exhibition presented by the Avant-garde, an experimental Ireland or throughout the Irish Deadline Www Address
Embroiderers' Guild in dating service investigating Diaspora. In September they will 20 July 2007 www.greatrun.org/movingimag Intervenciones TV.8,
association with Coats Crafts, issues associated with award two cash bursaries of ecommission Montehermoso Cultural Centre,
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of stitch in contemporary artistic selecting individuals to be artists. Interested artists are 11 June 2007 01001 Vitoria Gasteiz, Spain
practice. Commencing at matched in carefully chosen encouraged to apply online.
The Visual Artists’ News Sheet May / June 2007 35
Email Party 2007, Art Center Nabi, 99 15 May 2007 contemporary arts practice will be used to inform and negative from found objects, a
firstname.lastname@example.org Seorin-dong, Jongro-ku, SK bldg. through a retrospective promote future action-research wax model and a refractory
Www 4th fl. Seoul, Korea 110-110 ARTS AND HEALTH programme of lectures, commissions.) Time scale: June - mould. Aesthetic and formal
www.intervenciones.tv Email Inspiring Transformations is to screenings and exhibits. At the August 2007. For further details concerns will be discussed,
Deadline email@example.com be a conference focused on the Memory Technology forum we please contact Sinead Connolly: alongside the presentation of
31 May 2007 Www interactive relationships of The will be investigating the issue of Address example works of historic and
VIDEO ART FESTIVAL GREECE www.nabi.or.kr/party2007 Arts and Health. Taking place in archiving from long term, Dublin City Council Arts Office, contemporary cast glass. We will
Video Art Festival Miden invites Deadline Northhampton 3 – 6 September, historical and practical The LAB, Foley St., Dublin 1. all work on our own ideas and
all video artists and video 31 May 2007 it will bring together those with perspectives. Other events cast a small object in glass. To
creators to participate in this interests in The Arts and Health include; DATA, kids workshop, Telephone book contact:
year's events, which will take CINEMA CONTAINERS to share research and Open Mike Salon, Swap-meet, 01 2227846 Telephone
place, like the past two years, in Here Today, Gone Tomorrow. An experiences, explore the Wares area, Pod cast's, Email 01 8556735
public spaces at the Historic exhibition of video work using potential of partnerships, and Symposium launch/registration, firstname.lastname@example.org Email
Centre of the city of Kalamata, shipping containers as theatres. establish ongoing YouTube video lounge, Deadline email@example.com
Greece. The proposed video can In Antwerp from 6 – 8 July. collaborations. Abstracts for networking events, music and 25 May 2007 Www
be of any genre (video art, Application form online. For papers, posters and workshops closing barbeque party. You can www.firestation.ie
experimental video, animation, details contact Damien Van are invited from a range of book online or contact: WORKSHOPS/COURSES
short movie etc.) and under 10 herck Bart Claes, fast forward: disciplines and interests. We are Address DIGITAL SLR PHOTOGRAPHY
min. The festival takes place in Address aiming for contributions of 69 Dame St, Dublin 2 Limerick Institute of Technology
July. For details: Ernest van Dijckkaai 4, 2000 ongoing and completed research, Telephone BODY/LANDSCAPE 2007 invites applications from serious
Www Antwerpen, Belgium experiential studies, narratives 01 6709017 7 day intensive residential photographers to the following
www.festivalmiden.gr Email and examples of best practice Www workshop with dancer and exciting summer course . A week
Deadline firstname.lastname@example.org that inform and contribute to the www.darklight.ie choreographer Frank van de Ven. long intensive course in Digital
31 May 2007 Www evidence base regarding how North Leitrim 9 – 15 June. The 35mm SLR photography: Getting
www.fstforward.be Health and The Arts interact UMHA AOIS workshop proposes strategies to the most from your Digital SLR
OK VIDEO MILITIA JAKARTA Deadline with each other, and how this This year's Umha Aois confront our bodies with the Camera at Limerick School of
Biannual International Video 20 May 2007 could be used in the future to Experimental Bronze Casting multiplicity, unpredictability, Art and Design, Clare Street
Festival established in 2003 by enhance both fields. Venue: Symposium is taking place from directness and autonomy of the Campus, Dublin Road, Limerick.
ruangrupa, an artists' initiative. INTERNET Avenue Campus, The University 16th-26th July on Inis Oírr with natural environment. The aim is The Course will run from 9th to
In this third festival the aim is to of Northampton. Host the focus on Bronze Age horns. to explore and develop 13th July 2007. Course Tutor:
develop a collaborative work department/organizer: School of There a limited number of places consciousness of the body itself Eamonn O'Mahony, Professional
between the festival team and WEB BIENNIAL 2007 The Arts and School of Health. and artists wishing to participate being an ever evolving landscape Practitioner. Please note that we
the participating artists or Call for web-based art projects. Price: Early Bird stg£290 (before should have experience in within a greater surrounding can take a maximum of 20
within the context of a certain The Web Biennial is a project June 1, 2007), Standard stg£350, bronze casting and a knowledge landscape. See last issue of the students on this course. For
public space. Takes place in produced by Istanbul Students stg£225, Day rate and interest in archaeology, VAN for a full review. For artists Application Forms contact
Jakarta, 21 July – 4 August. Contemporary Art Museum. stg£150 and Student day rate specifically relating to the and mature students working in Dawn Coleman, Adult
Application form online. There Ongoing. Send URL's by email, stg£100. Presenters are requested Bronze Age. There is subsidized the fields of performance, dance, Education Coordinator.
are opportunities to screen work no attachments. to identify which of the fee of €350 euro, which includes landscape art, sculpture, Address
in public spaces, in the National Email following four strands they feel materials, meals and photography, architecture, Limerick Institute of
Museum and as part of a TV email@example.com their work contributes to most: accommodation. Applicants theatre, visual arts, biology and Technology, Moylish Park,
scratching event. For details: Www Transformative, Informative, should send their CV, artist's natural history. Acceptance Limerick.
Address www.webbiennial.org Preventive or Supportive. To statement and visual material. based on c.v. and motivation. No Email
Tebet Timur Dalam Raya 6, Deadline submit your abstract please fill All materials will be returned. previous (dance) training firstname.lastname@example.org
Jakarta Selatan, 12820, Indonesia 31 December 2007 in the online abstract Address required, but the workshop is Deadline
Email submission form. For 7 Coollattin Way, Coolboy, Co physically demanding, so a good 16 May 2007
email@example.com information: Wicklow overall condition is required.
CONFERENCES / Telephone Telephone Workshop fee: €300. Student
SYMPOSIA + 44 (0) 1604 892373 086 8891688 and unemployed discount €250.
Deadline Email Www Accommodation and food €20 DON’T FORGET to look at
15 May 2007 GLOBALISM IN ART firstname.lastname@example.org. www.umha-aois.com per day. For information contact the advertisments in this
VAN, also check our web site
Announcing the first annual uk Deadline Frank van de Ven, Body Weather & subscribe to our e-bulletin
ONE MINUTE FILM Stone Summer Theory Institute, Www 25 May 2007 Amsterdam for further opportunities.
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artists to submit work to the one Globalism in Art: one week of dhealth/papers/submit/ +31 (0)20 68 42 568
RESEARCH WATCH OUT. While every
minute film and video festival. intensive seminars, lectures, and Deadline Email effort has been made to
You can submit films in 4 panel discussions, July 16 – 21, 1 June 2007 email@example.com ensure the accuracy of our
categories: fiction/documentary, School of the Art Institute, ART IN OPEN SPACE Www information we strongly
animation, art/experimental, Chicago. Faculty include Fredric DARKLIGHT SYMPOSIUM Dublin City Council Arts Office, www.bohemiaerosa.org advise readers to verify all
details to their own
youth. Jameson, Susan Buck-Morss, The Darklight Festival in association with The Arts Deadline satisfaction before
Address Shigemi Inaga, Harry Symposium. 21 – 23 of June Council, invites tender 25 May 2007 forwarding art work, slides
Film und VideoFestival, One Harootunian, Thomas DaCosta 2007. Film, art, workshops, applications to research or monies etc. with regard
Minute, P.O. Box 2761, CH-5000 Kaufmann, and James Elkins. debate. The Darklight international models and GLASS WORKSHOP to opportunities.
Aarau, Switzerland Fifteen Fellows will be admitted Symposium 2007 will be an programmes which support Glass Workshop at Fire Station
Www on a competitive basis; full action packed three day event, a innovative engagement of artists Artists Studios with Gerhard
www.oneminute.ch tuition remission, travel, and combination of debates, with Urban and Suburban Open Ribka. Casting found objects in
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30 June 2007 available. Faculty and advanced master classes. We will be asking to Irish and International artists / workshop will run from 28 May
graduate students are invited to what the developments of the curators / organisations with – 1 June 2007, 10am to 5pm daily. In addition to the
P.ART.Y 2007 SEOUL apply; Send a two-page letter past 10 years actually means for proven knowledge of this sphere. Places: 12. Places can only be information forwarded
Themed festival in Seoul describing your research cultural producers from all art Researchers will be asked to guaranteed upon receipt of directly to us, Visual Artists
Ireland also exchanges with
exploring the idea of networked interests, along with a CV and forms and genres? How is this identify critical themes and to payment. Cost: €300. This class and sources information
performance. 14-16 September. any relevant texts, published or impacting and influencing suggest 5 – 8 innovative will be about the playful from: A-N:The Artists’
First prize of USD$5,000. Travel unpublished, via email. creative practice, decision international models / combination of found objects Information Company; The
and technical support will be Email making, budgets, education, programmes of support, which with handmade sculpture in International Sculpture
Centre (New Jersey / USA)
offered to the prize winner and firstname.lastname@example.org exhibition choices and are relevant to the Dublin glass. The technical process of and the National Sculpture
other selected artists. Www possibilities? We will be context. These models will later lost-wax kiln-casting will be Factory Cork.
Application form online. www.imagehistory.org reflecting on past movements in be presented at a public seminar. shown and demonstrated,
Address Deadline cinema and their influence on (The research and this seminar including the making of a silicon
THE IRISH ARTISTS' RESIDENTIAL STUDIO AWARD AT DUBLIN CITY COUNCIL TYRONE GUTHRIE CENTRE RESIDENCY
THE RED STABLES, ST ANNE'S PARK, DUBLIN 3
Dublin City Council invites Artists to apply for the Irish Artists' Dublin City Council is delighted to offer a special residency to
Residential Studio Award, The Red Stables, St Anne's Pk, Dublin 3. artists born or living in Dublin City (Administrative Area) to enable
The award is intended to support an emerging Irish visual artist at them to spend two weeks at the Tyrone Guthrie Centre.
an early stage of their professional practice and runs from The residency covers all board & lodging expenses and the use of
November 2007-November 2008. a studio if necessary. There are a variety of workspaces including
The Award includes:
studios, a music room for composers and musicians, a multi media
Studio and living accommodation at nominal rent of €200 per month
room and a large rehearsal and performance space. It will be open
to practitioners in all art forms.
for a one-year period. (Includes light and heating costs).
Inclusion in Exhibition Programme at THE LAB, Foley St, Dublin 1.
Administrative and curatorial support through Dublin City Council's Arts There is no age limit. Applicants should show significant
Office. achievement in their chosen field. This would normally mean that
The Red Stables Professional Development Workshop for Artists in artists should have had one-person shows in reputable galleries
Studios. and that composers or musicians should have had their work
Meetings/Studio visits with curators and other arts professionals. commissioned, recorded or performed, writers/poets should have
Internet Access. had work published or whatever might be appropriate to the
There is no application form. Artists are asked to submit the following: particular art form. Otherwise the applicant must demonstrate a
A covering letter detailing the proposed usage of the studio and high degree of promise attested by references or other forms of
a work plan outlining ideas for the residency. support from established figures in the arts.
Reasons why occupancy of the Irish Artists’ Residential studio in Red Stables is
important to your work development. Application forms, guidelines and criteria may be obtained from The Arts Office.
A current CV.
Documentation of work.
Any special requirements, for example in terms of access.
For a specification please contact the Arts Office
Deadline for applications for both: 5pm, Friday 25 May, 2007
Submissions and enquiries to:
Dublin City Council Arts Office, THE LAB, Foley Street, Dublin 1
T. 01 222 5455/
www.dublincity.ie Dublin City Council
Public Art Commission
Total Budget - €60,000
Continuing the Tradition
Waterford County Council - Comhairle Contae Phort Láirge
Bronze Art Ltd Wish to commission a visual art work to be located at Davitt's Quay,
Fine Art Foundry Dungarvan, Co. Waterford under the Dungarvan & Environs Sewerage
Scheme/Scéim Séarachais Dhún Garbháin agus an Cheantair Máguaird.
Leaders in Fine Art Casting Full details plus the application form can be downloaded from
For your next project contact: Cris Neumann or Rosemary Flavin. www.waterfordcoco.ie or by contacting the Arts Office at
T: (3531) 8552452 F: (3531) 8552453 E: email@example.com T: 058 41416 E: firstname.lastname@example.org
Bronze Art Ltd., Unit 3, Gaelic Street, Dublin 3 Closing date for submissions: Friday 25 May, 2007
Dublin City Council
ART IN URBAN AND SUBURBAN OPEN SPACE
International Research Tender
Dublin City Council Arts Office, in association with The Arts Council,
invites tender applications to research international models and
programmes which support innovative engagement of artists with
Urban and Suburban Open Space.
The commission is open to Irish and International artists/curators/
organisations with proven knowledge of this sphere. Researchers
will be asked to identify critical themes and to suggest 5-8
innovative international models/programmes of support, which are
relevant to the Dublin context. These models will later be presented
at a public seminar. (The research and this seminar will be used to
inform and promote future action-research commissions.)
Time scale: June - August 2007
Closing date for receipt of Tenders: Friday 25th May
For further details please contact:
Sinead Connolly, Dublin City Council Arts Office,
The LAB, Foley St., Dublin 1
Tel: 00353 -1- 222 7846
The Visual Artists’ News Sheet May / June 2007 39
PROBLEM PAGE HOROSCOPE
The Theatre of Agony Your Stars by Nicholas Keogh
MIS-GUIDED QUESTIONS, ADDRESSED WITH BARELY DISGUISED DISINTEREST AND CONDESCENSION BY Aries (21 March – 19 April) With Mars, Venus, Jupiter Mercury, the Sun, and new moon all
OUR ANONYMOUS CURATOR / CONCIERGE OF AGONY. THE NAMES AND WHEREABOUTS OF THE meeting in your tenth house of contentment and happiness, this month dear Aries for you it’s all
ANXIOUS AND CONFUSED CORRESPONDENTS HAVE BEEN WITHHELD. about stability and equilibrium, you feel tired and need time to recharge, you deserve a rest. Your balance is
low. Wanting to shoot the top-up woman in the face is only natural but she doesn’t have a face. Stop to take
For some years – since the mid-eighties in fact, I have maintained a successful practice in the field of stock. Have a breather. Take time this month to reflect. Collect your thoughts and think outside the box.
percent-for-art funded public art. Readers may be familiar with my dynamic cubo-futurist
abstractions adorning many of the roundabouts and lay-bys of arterial and trunk autoways. Taurus (20 April – 20 May)Dear Taurus, sometimes I wonder why I bother, your strong willed
However in recent years, for reasons not entirely clear to me, demand for my work has declined. To stubbornness will always disregard advice, but you still like to know people are thinking of you.
some degree, I can accept this – I am content that most of the populace has sufficient access to my Deep down however your confidence wavers, in regards to your organisation skills. As Dr. Rachel Miles once
fine oeuvre; yet I have to insist that the public, nay mankind, really do need just one more of my said “ organised people just do a better job of seeming to be organised”. Your strong nature sometimes gets
creative excrescences. Out of a crushing modesty, I was hoping never having to reveal my true in the way of people seeing the real you. 2007 will be your year to open up to people and reveal your soft
motivations, but at this stage – what with the increasingly unstable state of global politics, I have no fondant centre.
choice. With one more of my commissioned works situated, what I call THE GREATER MATRIX
will be complete and the MOTHERSHIP will be summoned. To précis: extra-terrestrials will meet Gemini (21 May – 20 June)Dear Gemini five planets, including Saturn and Mercury, rise in congress
with international heads of state and the administrative staff of a number of mid-level arts bodies, this month, moving through your rusty star into your third house, in the divine-for-Cancer sign of
share their superior technological and peace oriented philosophies with us and forthwith a new Scorpio. An unlikely orgy sandwich you might think, but don’t worry yet. Gillett fusion mac 3, has the
millennia-long era of harmony will commence. How might I go about bagging this one last crucial comfort of four blades but the precision of one. Your love forecast this month predicts blustery passion on a
gig? south westerly heading reaching force nine regret by late April. Liquid love is the answer. You know it makes
I’m of two minds. What you say seems to contain a kernel of plausibility – and even if it is to be that you will sense.
be humiliatingly dis-proven, what would be the harm? Indeed I think it would be great sport to see a trifling
amount of public money squandered, just to offer the privilege for some of us to attend the community Cancer (21 June – 22 July) The Moon in your sign this coming weekend will help calm your
dialogue sessions that will be held in support of your project – where I have heard you address the populace worries and allow you to relax. This will be your month dear Cancer to let your hair down. You have
in quite spectacular baco-foil rig outs. Let me know if you wish me to act as your sole agent in relation to earned it and deserve it after the inner turmoil you have recently been through. Swap the whys in your life
this matter. to why nots, embrace debauchery in all its ugliness and splendour.
I have been awarded a part-time lecturing position in a regional institute of art and technology. Leo (23 July – 22August)The New Moon in Scorpio on May 29th will allow you to change in a
While I am delighted at this regular stream of income, I am uncertain about what to pack in my positive way, but you’ll have to make some major adjustments to see results. The weekend will bring
bespoke travelling valise for my weekly trips out of the metropolis. What would be the requisite changes in your routine at home that will help to resolve issues that have been holding you back or causing
number of hardwearing tweed dungarees and pastel toned corduroy workshop capes that my tailor problems. Ambitiousness and selfishness may be relatives but are not blood brothers; I know you are
should run up? Likewise can you recommend some good clarets, ports and sherries? – I wish to playing the long game but you can’t hold back any longer. Ignoring you dreams will not benefit anyone.
Follow those dreams or the effect on those around you could be catastrophic.
ingratiate myself with my colleagues by re-stocking the cellar of the fine oak panelled suite of
rooms that I anticipate the majority of our tutorials and master-classes will be conducted from.
Virgo (23 August – 22 September)This month drama and tension will be all around you, but you
My dear child, you labour under a delusion. A pre-fabricated porta-dwelling, in which you will be required
will experience the more positive effects. Even clouds with silver lining may cause turbulence, the
to ‘hot-desk’ in order to share the use of a temperamental IT system – installed in 1989 – is in fact your port
pallets are stacking up behind your fifth house, and in your sixth house, Ansley Harriot is cooking up a
of academic terminus. For liquid libation, there may be such a thing as a ‘water-cooler’, helpfully situated in
storm. Especially in your profession be sure to treat camp promises with oven gloves.
the proximity of photocopiers that pump out a static charge and a surge of ions that are steadily eroding the
molecular bonds of the space-time continuum as we know it. I will not speak of the ‘canteen’. As for
Libra (23 Sept – 22 October)Dear Libra I can even picture your wry smile, perceptiveness and
swishing around in fine vestments – chasten yourself for the consequences of soul-sapping health & safety
determination are two of your best assets and you are well aware of this, but even you still like to be
codes – your daily raiment’s will be constricted to drab, ill-tailored, (though intriguingly stain-resistant)
reassured sometime about your often caviller decisions. Ignore the accusations and instead focus on the
positive message of Michael Jackson’s lyrics. A New Moon in Scorpio on 3 June will initiate a sense of
renewal and hope for the future. Shacras lost due to counterfeit vodka, can easily be re-grown by eating
Rather foolishly – I admit; I’ve tried to kick start my career as a hybrid artist / curator / DJ / MC
figure, prior to taking some professional guidance. I was hoping to be able to play county fairs, debs
balls, and so on; but I have now be-spoiled several rare brown velvet bound Max Ernst and Hans Arp
Scorpio (23 October – 21 November) Your stars this May point to very practical solutions to very
catalogue raisonne in my attempts to bore spindle-holes through them for playing them as ‘dub
cosmic problems, yes that’s right the big Ds – diet and digestion. Do not let your occasional black
plates’ on what I’m calling my ‘dada-surrealismo’ sound-system. I’ve also burnt out the motors of
moods get the better of you. If you do not have a euro style inspection shelf, produce your morning stool
several Bosch power drills. Would I be better off concentrating on manifesto pamphlets and other
onto newspaper. Stick cotton buds, firmness permitting, centipede style all around. This may not improve
printed ephemera? Or should I, as some say, be working with 3-phase industrial specification power
digestion but later may make you laugh when you think about it.
tools in order to fully penetrate the dense tomes of mid-twentieth century anti-modernist masters?
While it is indeed a job for a specialist – do not despair. I direct you to visit; just after tea-time you’re nearest
Sagittarius (22 November – 21 December) This month, more than ever you need to look to the
working-persons public hostelry. I am sure that here, in return for standing a round of twelve or so ‘fighting’
stars for love inspiration, your unique sparkle has become tarnished by disappointment, rise above
lagers or stouts, you will be able to secure the services of an artisan blacksmith, who will for a nominal fee
this. Venus next week moves into your own sign on Friday, which will heighten your magnetism and you’ll
– maybe some complimentary invites to one of your cultural ‘knees-ups’, will systematically drill through
more consciously be able to relate. Use this to you advantage. Set your sights higher than a hole and a heart
(to the required circumferences) your belle-artes livre’s, with his trusty shire-horse powered biblio-screw.
beat. Be direct and honest during June. Don’t resort to passive-aggressive behaviour.
And by all means intersperse your set with the more gentle, crumpled rustling tones of Letterist and Fluxus
handbills and press notices.
Capricorn (22 December – 19 January) With Jupiter and Saturn in sync for most of 2007, you
couldn’t be better positioned for a career breakthrough. Facing up to that free floating anxiety you
Musn’t grumble. But – truly, for the love of all that is good and proper in the order of things as they
experienced at the start of 2007 in many ways is your new years resolution resolved, see it as a lingering
should be – what is story the dizzyingly exponential increase of exhibitions by and for those on the
epiphany and you can turn this month on its head, you know what I’m talking about and you know that it’s
lowest, slipperiest and least-worthy rung of the wobbly step-ladder that is the art world career path
only up from here.
– that gauche and sickeningly over-eager segment of society – art students and the recently
graduated? I teach these blighters – and I thought that I possessed a fully rounded and robust CV,
Aquarius (20 January – 18 February) Realise that that sensitive and insecure part of you that you
which records solo and group showings of my work every couple of years. I am truly perplexed by sometimes worry about is a part of everyone. You thought you had notes in your pocket but had to
this upping of the stakes. Nowadays one can’t turn around for near daily announcements of hoke through coppers and pick out a pube while and impatient queue formed behind you. This even
showings and ‘platforms’ for the latest fashionable scatterings of building waste, carpet off-cuts, happens to the stars once in a while. Look at grounding experiences positively. J Lo, used to have a little and
gloss paint spillages and frenzied applications of post-it notes, glitter and fuzzy felt on every now she’s got a lot but she’s still Jenny from the block.
conceivable nook and cranny of whatever lobby space or other vacant premises that serves these
rapscallions as their ‘gallery’. Pisces (19 February – 20 March)Pisces your fluid flowing thinking has become polluted by out side
Indeed, while the great Cher has lamented ‘if I could turn back time’, this outrage can at least be stalled, if influences. Do not let this stinkin’ thinkin’ stagnate your beautiful waters Pisces. The high rising of
not totally eradicated. My advice is express sentiments, similiar to the following in the course of Jupiter tells me that there is no crab in crab sticks, this may be hard to come to terms with. Where does the
commanding a seminar group or while you are giving the class a good hard drubbing down in a crit – “slow redness come from? Be wary of provocative fish lips.
down, emerging art-folk I say. Don’t let the great controlling apparatus that is the art market and prevelant
curatorial consensus know you can work so fast and so cheaply. That’s a decades work there my dear. And
look you haven’t stuck the edges down properly, that won’t last – shoddy, shoddy, shoddy!”
visual arts library
Public Research Library of
20th Century & Contemporary
Irish Art & Design
Vivienne Roche Note of Silence John Behan Spirit Boat
National College of
Art & Design
100 Thomas Street, Dublin 8
Stephen Lawlor Horse Guggi Vessel
Contact: Leo / Ray
CAST Ltd 1a South Brown Street, Dublin 8
Tel: 01 4530133 Fax: 01 4735029
Email: email@example.com www.cast.ie
Hillsboro Fine Art
49 Parnell Square West
Dublin 1, Ireland
Jonathan Hunter: New Paintings
May 10 - June 1, 2007
The Salon des Refuses was an art exhibition, established in Paris in 1863.
The realist and impressionist movements submitted works to the Academy
selection committee only to be rejected. The resulting complaints led Napoleon III to allow
the rejected works to be displayed in a separate exhibition called ‘Salon des Refuses’, which
contained several important paintings. Following this tradition The Bad Art Gallery is
holding the second annual ‘RHA Unselected Show’. So why not satisfy your curiousity and
Irish Visual Artists Rights Organisation
come and see for yourself, the wide variety of misjudged art. APPLICATION FORM
To not attend, would be truly a missed opportunity!
To register with IVARO – the Irish Visual Artists Rights Organisation simply complete this application
form and forward it to: Visual Artists Ireland, 37 North Great Georges Street, Dublin 1.
Visual art form(s)
I hereby applyfor membership of IVARO, Irish Visual Artists’ Rights Organisation Ltd.