CONTENTS EXHIBITIONS 4 EVENTS P18 TALKS P20 WORKSHOPS P21 Beyond Two Thousand, a TULCA FESTIVAL GALLERY p4 Soft Day Gregory Sholette Gregory Sholette story by Chris Fite-Wassilak ROSA PARKS GALLERY p8 The Quiet Club Lia Perjovschi Vagabond Reviews p26 126 GALLERY p9 Dominic Thorpe Fugitive Papers Francis Whitehead Fear of Falling by Niall THE NILAND GALLERY p10 Live@8 Vladan Jeremic Essays/Texts P22 Moore p28 SPACE INVADERS p11 Open Studio Day Amie Siegel Vladan Jeremic, Open Space for New Horizons GALWAY ARTS CENTRE P13 Closing Party Jesse Jones THE PERSPECTIVES PART 1: PG 22 (A Report) P29 James Hardiman Library, WHW? In conversation : Acknowledgements P31 NUIG. p16 Gregory Sholette & Nuns Island Theatre p17 Ben Geoghegan p24 CHAIR S NOTE

, , Welcome to this year s Tulca Festival of Visual Art in This year s talks and workshops play a central role in It is always exciting to see how Tulca will physically , Galway, After the fall, in which curator Megs Morley the programme s structure, ensuring that there is a manifest itself each year. This is formed not only by , addresses the question. ‘What happens after a legacy after Tulca closes on November 20th. This is the work chosen by the curator, but also the curator s , society is traumatized? Rather than memorialising where future ideas and strategies are born, and where vision for how space will be organised. This year , and fetishising the past, this year s artists present Tulca, as an organisation can grow and continue being we are proud to present the Tulca Festival Gallery different ways of organising. This spans from the relevant to art-making in Ireland and internationally. alongside year-round venues such as Niland Gallery, , everyday into global politics. The artists present 126, Galway Arts Centre and Nun s Island Theatre. not a new didactic system or power structure, but a We are also continuing our residency programme in We are also delighted to be working with the James space for the individual to have agency. There is also the county this year. We aim to foster the position Hardiman Library at NUI Galway and Space Invaders. emphasis on the potential of collective agency: how of the artist as an autonomous agent, looking at our We are in a great year for visual art, both nationally do art practitioners make work co-operatively,what world from an independent point of view. Tulca is and locally, with a range of high profile festivals. politics surround self-organization, what is the legacy a space in which finished ideas are presented to an of artist-led collectives and what can be borrowed audience, but is also a laboratory where new ideas can On behalf of the Board of Directors, I would like , from self-organisational methods and used in other be formed and sustained. Tulca is involved in several to thank this year s artists for participating, our aspects of our society – can artists be embedded into new partnerships this year, both internationally staff for building Tulca from the ground up, and to politics successfully, and if so, what does that mean and locally. It is always assuring to know that there our audience, who both support and challenge us , , for the artist s practice? are similar organisations and people aiming for the each year. We hope you find this year s programme same thing and we are privileged to have our name engaging, inspiring and thought-provoking. attached to that of our partners. Maeve Mulrennan - Chairperson

CURATORS ESSAY: AFTER THE FALL MEGS MORLEY

The allegorist rummages here and there for a particular the development of new website, archive, and By using creative strategies of intervention, self- piece, holds it next to some other piece, and tests to see publication, this year Tulca has expanded and forged institution and self-organisation, the artists attempt if they fit together – that meaning with this image or this image with that meaning. The result can never be known new partnerships, new relationships and has formed to intervene into collective understandings of our before hand, for there is no natural mediation between a deeper relationship with the fabric of Galway present and our past, and to expand the debate on the two. city. Working together with local art organisations, future potentials. (J80, 2 J80, a1) local businesses and like- minded institutions, As a nation, we are currently being challenged to take Tulca has created a platform for an engaged and stock of the events of the last two decades, and have The brooder whose startled gaze falls upon the fragment critical contemporary art practice in the West of to consider a re-examination of our own history in in his hand becomes an allegorist (J53, 3) Ireland. Creating the opportunity for Irish curators to light of new truths, spanning from politics to religion, Walter Benjamin The Arcades Project 1927 [1] work within a local context with an international focus that are only now being revealed. is an exciting model that is unique in Ireland. After the fall How, and who enters the archive and canon of history Within an international context of large Art Biennales, is the basis of the practice of Romanian artist, Lia The programme for the 2011 Tulca festival of visual the notion of place is highly significant in an event Perjovschi. Over the last 3 decades Lia has created art has been developed under the concept of After the like Tulca, making the residency programmes and the an archive of an alternative history, documenting fall. A deliberately familiar yet ambiguous phrase, commissioning of new work very important. However, contemporary art events in Romania that fell beyond , After the fall allows us to consider a position that if we consider that our sense of place is not bound by the ‘official art of the Ceausescu dictatorship. Sited , exists in a juncture at the end of one era, but also at geographical location, but is in fact an intersection in the James Hardiman Library at NUI Galway, Lia s the beginning of the next. of social, cultural and economic and political highly subjective hand-drawn, crystalline timelines processes[2], then the exhibition as a construct consider how individual experience can interrupt and , The last number of years have marked a period of and a reflection of these spheres, reaches beyond a interrogate the mediation of ‘official knowledge. , many overlapping crises, and ‘falls both national local geographical position, connecting though local and international. The deepening recession, political and international networks to form new models of The subject of the archive as a dominant form of collapse and social upheaval have exposed the exchange and community. official evidence is also the preoccupation of artist and , porousness between the logics of society, economy, writer Gregory Sholette s Imaginary Archive project. politics and capital. And, if exhibition-making is the What all the artists selected and invited to participate Collaborating with over 30 Galway and international , representation and staging of a discourse, then, as an in this year s Tulca share is a desire to play a role artists, over several months, Sholette subverts the Irish exhibition with an international remit, Tulca is in social change by interrogating received forms of connection between the body of the archive to a , uniquely positioned to reflect and query this context knowledge, imagery and power and by challenging ‘real past, and self-institutes a new form of archive in Ireland. the politics of representation, subjectivity, that connects instead to an imagined future. An commemoration, historiography, narrative expansive process and project the Imaginary Archive Spanning across 8 exhibition venues, and 12 satellite construction, identity and memory formation in a is a collection of documents created by over 30 artists , locations for performance and events, and with world ‘after the fall . about a future that never happened, but perhaps � 2 � could have. Multiple interpretations of apocalyptic Oral Hearing. Using professional actors to re-enact a The many other events will engage and challenge new disasters, utopian visions, political re-imaginings, contentious public hearing that was instrumental in audiences in Galway, performing in a variety of non- , and ‘what if scenarios for the future spill out into a the laying of a high pressure production pipeline by art venues including sound performances by Soft Day diverse range of forms, opening up potential readings, the Shell Oil company through the small community of (Sean Taylor and Mikael Fernström) and The Quiet Club , not only of our future but of our present and past as Belmullet in the west of Ireland. Based on the closing (Danny McCarthy and Mick O Shea) who bridge the well. statements of local residents during a public hearing space between performance art and music. held in Belmullet in 2009, Oral Hearing focuses on Resulting from a series of civic revolutions across the mechanisms and theatricality of politics and The public talks programme provides the public with Eastern Europe in 1989, the fall of the Berlin Wall democracy and the attempt by conflicting forces to the opportunity to listen and engage in discussion has become a symbol of the fall of communism. The influence the control of public space. with some of our visiting artists and curators and politics of representing such a complex past – the allows us to further explore some of the individual dissolution of the East German Democratic Republic It is the performative gesture of political decision practices and strategies and ideas presented in Tulca. – is explored through the cinematic work DDR/ that is the subject of a new work by Irish artist Tom The workshops that are programmed during Tulca DDR by American artist Amie Siegel. Challenging Molloy, entitled Shake. A series of 59 photographs, include providing the tools to develop self-organised the conventions of documentary and narrative film each depicting a pair of world leaders braced in a and independent artistic practices with Gregory , through a cinematic montage of staged and performed handshake, the gesture here is seen as an act of Sholette, and how to ‘embed artistic practice and moments, archived Stasi surveillance footage, performed global power, and as a final act in the strategies within the development of our city with and interviews with former citizens and agents, striking of an unspoken deal. Frances Whitehead. Siegel examines the close relationship between the , development of cinema, psychoanalysis and the Stasi s The sociologist and philosopher Pierre Bourdieu speaks This broadsheet publication features 3 specially , relentless surveillance of its citizens, creating a work of ‘symbolic violence [3] , a type of unnoticed (partly commissioned texts which address the idea of After that self-consciously connects the technology of state unconscious) social repression and oppression in order the fall in different writing forms and styles. Niall control and art. to maintain power to certain social orders and to Moore, in his essay Fear of Falling addresses the dominate the conscious subject. Responding to issues philosophical repercussions of a society in crisis; Chris The work of Joanne Richardson and David Rych, Red of individual and collective silence in contemporary Fite-Wassilak explores a fictional dystopian future Tours, also examines the impact of the fall of the Iron Ireland, Dominic Thorpe creates an immersive in Beyond Two Thousand, and Ben Geoghegan and Curtain. Questioning the politics of documentary-style performance in Very Very Narrow Mouth, as a means Gregory Sholette converse through Radio Free Galway. film, through 3 distinct narrative perspectives and of understanding and contesting the symbolic violence styles, the work interrogates the memorialisation that allowed institutional abuse of children in Ireland. This exhibition challenges the audience in a number of communism through the communist museums of ways, through,the many forms of visual art and in , and public sculpture parks that now exist as tourist In considering the idea of ‘After the Fall , a future the time and durations explored in the works but also destinations in former Iron Curtain capitals. The artist position is inherently implied. Referencing the history through exploring Galway city. Curated as a series, in as a protagonist in the film, takes a form of pilgrimage of feminist sci-fi film, Irish artist Jesse Jones presents order to gain a full picture of this festival you will have to these sites, including the site of the 20 metre high an apocalyptic future in Against the Realm of the to visit 8 exhibition venues, watch approximately 10 Lenin statue in Berlin, that was cut into 125 parts and Absolute, where women have survived in a barren and hours of film and attend over 19 live events, talks and buried in Koponick forest after the fall of the Berlin wasted world and perform collective rituals that relate workshops, over this 2 week period. What you choose Wall, observing "… it was as if the body of communism to the gestures of agitation and protest. to see, and not see, and in what order, will affect how , had to be dismembered so that it could not be you create meaning ‘between image and object and resurrected". The use of fiction to explore issues and ideas is a site and place. This interpretation cannot be mediated, strategy that is also used by the Russian art collective and will be personal and individual to you. So, as you , The relationship between public monuments and the Chto Delat? in Museum Songspiel: The Netherlands ‘brood through Tulca and Galway city, I invite you to politics of collective remembering is also addressed 20XX. Set in the Netherlands in the year 20XX , consider, contemplate, and imagine what may happen by the Estonian artist Kristina Norman in her work, illegal immigrants seeking sanctuary in a modern next, After the fall. After War. The work examines the social and political art museum are asked to perform, as a work of significance of the Bronze Soldier monument that interventionist art. Presenting a future that is closer Megs Morley, Curator, After the fall, Tulca 2011 was located in the centre of Talinn by Stalin in to our present than we would like to think, the 1947. A symbol of Soviet power, the public sculpture work highlights the embedded co-dependence of art [1] The Arcades Project, the unfinished magnum opus of also became the symbol of a nation divided into institutions within current political systems. philosopher Walter Benjamin, was edited posthumously two communities – the Estonian and the Russian in the 1980,s as a fractured and deconstructed collection speaking minority – with incompatible interpretations In expanding Tulca as a platform for a longer of notes. The Arcades Project, translated by Howard Eiland , of history, which resulted in the bronze soldier s engagement with local issues, Open space for new and Kevin McLaughlin, and prepared on the basis of the removal in 2006. Norman observed that the Russian Horizons, a discussion and workshop event facilitated German volume edited by Rolf Tiedemann, Belknap Press community still visited the empty site of the soldier, by artist Susanne Bosch, was held in May this year, of Harvard University Press, Cambridge, Massachusetts each year on Victory Day, and created a public and aimed to support students and emerging artists and London, England, 1999. intervention and re-creation of the sculpture to make towards sustaining art practice in Galway See p29 for a visible again what was hidden. The video documents full report by participants and Susanne Bosch. [2] Miwon Kwon,s understanding of place where she the action and the resulting police interference and states, "our understanding of site has shifted from a fixed, civic protest. For the Live@8 event, I was delighted to have the physical location to somewhere or something constituted opportunity to invite Vladan Jeremić to make a through social, economic, cultural and political processes". The monument is also implied in the photographic selection video, performance video and film from Kwon, Miwon, One Place after Another: Site Specific Art work of Mexican artist Oswaldo Ruiz. By illuminating Eastern Europe. Vladan is an artist and curator based and Locational Identity. the ruins of abandoned farmhouses in rural Mexico in Belgrade, whom I made a connection with in Cambridge, Massachusetts: MIT Press, 2002. p.10. at night, in a manner usual only to significant public 2007 as part of a Live@8 event I curated with Tom sculptures, the role of the artist and of the camera Flanagan, called Art the Global Village where we [3] Bourdieu, Pierre, and Loic J. D. Wacquant, An Invitation is implicit in these works, both as device to record invited live performance and discussion across the to Reflexive Sociology. Chicago: but also to make visible the human aftermath of bad world through the medium of Skype. The discussion University of Chicago Press, 1992. pp. 94-115. political decisions, which in this case dissipated an that began then with Vladan has continued until now, entire community. and is materialised with his selection for this special Live@8 entitled The Perspectives, Part 1, which Vladan The actual site and event of political decisions is the explains further in his text on page 22. subject of the work of Irish artist Seamus Nolan in

3 TULCA EXHIBITIONS NOVEMBER 4TH - 20th

TULCA FESTIVAL GALLERY ROSA PARKS GALLERY THE NILAND GALLERY GALWAY ARTS CENTRE NUI GALWAY, CHTO DELAT? & Nikolay Oleinikov THE KITCHEN TABLE COLLECTIVE FILIPPO BERTA JESSE JONES JAMES HARDIMAN LIBRARY ELAINE BYRNE NILU IZADI KRISTINA NORMAN LIA PERJOVSCHI MARIE HANNON 126 ARTIST RUN GALLERY JOANNE RICHARDSON & DAVID RYCH OSWALDO RUIZ ALLAN HUGHES GREGORY SHOLETTE LINDA SHEVLIN & NUNS ISLAND THEATRE GARETH KENNEDY SPACE INVADERS PADRAIG CUNNINGHAM AMIE SIEGEL MARIELLE MACLEMAN JENNIFER CUNNINGHAM UNA SPAIN TOM MOLLOY THE GOOD HATCHERY SEAMUS NOLAN (Carl Giffney and Ruth E Lyons.) NICKY LARKIN

CHTO DELAT? & NIKOLAY OLEINKOV 1 NOV 4TH - 20TH � 10-18:00 Tulca Festival Gallery, Galway Shopping Centre

Title: Museum Songspiel: The Netherlands 20XX Medium: Film (26:00 min) 2011, & site-specific installation/wall painting 2011.

� Www.chtodelat.com

Title: Museum Songspiel: The Netherlands 20XX Title: The Years of the Bonecrusher Queen," mural by Nikolay Oleynikov 2011

Chto delat/ What is to be done? is a Recent solo exhibitions include: Museum Songspiel: The Netherlands Museum, Bolzano; ICA, London; bandana, being arrested by seven Russian collective, made up of artists, Learn, Learn and Act Again, Mala 20XX Gallery Nova, Zagreb; Museu de Arte cops at a demonstration. I like these , philosophers and writers, that sees Galerija, Ljubljana, Slovenia Contemporânea, Porto; Musée d Art pictures. Boring is the artist who its diverse activities as a merging Chto Delat? ARGE Kunst Galerie This video film, whose narrative Moderne de la Ville de Paris - MAM/ has convinced himself that his place of political theory, art and activism. Museum, Bolzano, Italy takes place against the background ARC, Paris; The Baltic Triennial of is in the studio from eleven in the , Formed in 2003, the group s ideas are What is to be done? - The Urgent of Dutch politics in the year International Art, Vilnius; Galerie morning to seven in the evening. And , rooted in their observations of post- Need to Struggle, ICA, London, UK 20XX, tells the story of a group Hlavního Mesta Prahy, Prague; fine is the poet who doesn t merely Perestroika Russia, and in principles The Urgent Need to Struggle. Part 01,, of illicit immigrants who try to 17th Biennale of Sydney; 11th rock the Internet or club slam with of self-organisation and collectivism. Gallery Nova, Zagreb, Croatia evade deportation by the national Istanbul Biennial; Centro per l‘Arte his words, but devotes himself to Their work advances a leftist position Group exhibitions include: I will authorities, and who seek refuge in a Contemporanea Luigi Pecci, Prato; activism … . on economic, social, and cultural never talk about the war again, museum. The work is a co-production The State Tretyakov Gallery, Moscow. agendas; they publish a regular Fargfabriken, Stockholm Sweden of the Van Abbemuseum, SMART (Nikolay Oleynikov in On Propaganda newspaper, produce artwork in the Ostalgia, New Museum, New York USA Project Space and Chto Delat? http:// New Work in Art, September 2010). form of videos, installations, public Sin Realidad No Hay Utopia,, Centro www.chtodelat.org/ actions and radio programmes, and Andaluz de Arte Contemporáneo Nikolay Oleynikov paints narrative contribute regularly to conferences (CAAC), Sevilla Spain Nikolay Oleynikov murals in the tradition of avant- and publications. Chto delat? consists What is to be done between tragedy garde propaganda. Combining of the following members: Olga and farce?, Smart Project Space, Nikolay Oleynikov (b. 1976, Gorky City painting and collages of printed Egorova/Tsaplya (artist, Petersburg), Amsterdam, Netherlands (now Nizhny Novgorod), USSR). He photo-materials with a didactic Artiom Magun (philosopher, Art against Naziam, public spaces, lives and works in Moscow. He is a approach, according to the relevance , Petersburg), Nikolay Oleinikov Moscow, Russia graduate of the Theater Academy in of historical materialism, Oleynikov s (artist, Moscow), Natalia Pershina/ Sydney Biennale,, Sydney, Australia Nizhny Novgorod. Since 2003, he has conceptual murals could be seen as a Glucklya (artist, Petersburg), Alexei Principio Potosi,, Reina Sofia, been a member of the Chto Delat? true example of contemporary ‘leftist , Penzin (philosopher, Moscow), David Madrid,Spain collective, and editor of the Chto propaganda : Riff (art critic, Moscow), Alexander X Baltic Triennale, Urban Stories, Delat? newspaper. He writes regularly , Skidan (poet, critic, Petersburg), Vilnius, Lithuania for Moscow Art Magazine. When I think about the art worker s Kirill Shuvalov (artist, Petersburg), 11th Istanbul Biennale, What keeps As an independent artist or as place in contemporary reality, Oxana Timofeeva, (philosopher, mankind alive, Istanbul, Turkey, a member of Chto Delat? he has unexpected pictures flash before Moscow), and Dmitry Vilensky (artist, Activist Club, Van AbbeMuseum, exhibited worldwide including recent my eyes: a poet torching an ugly Petersburg). Eindhoven, Netherlands shows at: Smart Project Space, office building in the city center Amsterdam; ARGE Kunst Galerie or an artist, his face covered by a 4 ELAINE BYRNE 1 NOV 4TH - 20TH � 10-18:00 Tulca Festival Gallery, Galway Shopping Centre

Title: Message to Salinas Medium: Mixed media (video, print, installation).

Irish artist Elaine Byrne works with She has undertaken residencies at Salinas left Mexico, allegedly fearing video, photography & installation. Her SOMA, Mexico (2010), Hungarian he might be charged with the murder work investigates the nature of the Multicultural Centre, Hungary (2011) of his chosen successor, arriving in inherent problems of communication, Welcome to the Neighbourhood, Ireland in the Spring of 1996 where , querying the artist s role as supposed Askeaton, Co. Limerick (2011) and he took up residence in Dublin 2. communicator. In her work, Elaine SIM, Iceland, (2011). While in Dublin Salinas undertook explores ideas about point of view – She has completed an MA (Visual Art writing Mexico: The Policy and the the perceived and the preceptor. Her Practices 2009) and obtained the Politics of Modernization, defending methodology includes engaging and following awards: Arts Council of his policies and politics, a copy which conversing with the audience and Ireland (2010 Travel), Culture Ireland was donated to every library in responding to these conversations – (2010 and 2011). Mexico. collecting stories and sharing specific memories in anecdotal format. She Message to Salinas was made In Message to Salinas Byrne aims , also uses quasi-anthropological during Byrne s residency in Mexico to give Mexican people a voice, methods, through extensive travel City during the summer of 2010. providing them with the opportunity and research, with a strong emphasis Motivated by questions regarding to send Salinas a personal message. Title: Message to Salinas on empirical data. the visibility of ex-president Carlos Byrne invited Mexicans, via Facebook, Salinas in the social and political life to send a message to Salinas either Elaine has had solo shows at the in Dublin, Byrne began researching by video or email. Over 60 emails Oonagh Young Gallery, Dublin what quickly emerged as a highly were collated into a publication, (January 2011), Atrio Cultural Space, contentious issue in Mexico. Carlos while the video work comprises 34 Mexico (2011) and The Leinster Salinas de Gortari, elected under individual messages of approximately Gallery, Dublin (September 2009) dubious circumstances, was president 2 minutes each. and has participated in Group shows of Mexico from 1988 to 1994 and is in New York, Budapest, London and probably best known internationally Significantly, Byrne has not edited Dublin. She has won several awards for negotiating the North American this work. These messages were for her work, most recently, ArtSlant Free Trade Agreement (NAFTA) made and delivered in good faith, showcase for photography (August with the United States and Canada. unmediated, retaining and preserving 2011), and will show in a group In Mexico he is remembered for the charged and genuine expression, , photography show in The Centre of initiating a social reform, ‘Solidarity , bewilderment, anger, admiration and Fine Art Photography in Colorado in which although a populist move, regret, with which they were December 2011. probably contributed, along with his originally imbued. other reforms to the collapse of the economy shortly after he left office.

Title: Message to Salinas

Title: SUSPENDED MATTER Title: SUSPENDED MATTER Title: SUSPENDED MATTER

Marie Hannon graduated from Suspended matter lingers without a Also the act of covering an object in MARIE HANNON 1 Galway Mayo Institute of Technology resolve. It is conflicted, as material hot tar not only burns and damages NOV 4TH - 20TH � 10 - 18:00 (GMIT) in 2010 with a first class matter and object matter oppose its surface, it also covers up and Tulca Festival Gallery, honours degree in Fine Art. She works each other creating a notion of conceals the traces on it. It silences Galway Shopping Centre mainly in the media of photography, tension. Everyday objects are imbued the object in thick dark secrecy. This drawing and object-making. Her work with the traces of living, they carry binary function submits the work to a Title: Suspended Matter (New Work) questions and responds to social the scars, stains and evidence of realm of uncertainty and unease. Medium: Telegraph pole, Mattresses, Tar, Fabric, Metal and Wire. and political conditions that have human activity. Tarring the surface a direct psychological impact on is in a way paradoxical as it aims the individual. Marie uses everyday to expose and conceal. It is a play , objects to explore the notions of on ‘tarring and feathering , the trauma, displacement, confinement humiliating act of publicly exposing , and struggle. ‘sinful deeds. 5 Title: Point of Audition (Reverse ADR) Title: Point of Audition (Reverse ADR) subjective and heterogeneous Doherty and Kerstin Mey. of extracts from the Radio Hanoi ALLAN HUGHES 1 positions within these narratives. www.allanhughes.com transcriptions, repositioned in a reconstruction of the analytic scene NOV 4TH - 20ST � 10 - 18:00 2011 has seen his work included Point of Audition examines from Klute. The work examines the Tulca Festival Gallery. in Rencontres Internationales at established functions of the recorded function and effect of remediation Galway Shopping Centre the Haus Der Kulturen Der Welt in voice in cinema, negotiating a on the voice and explores the Berlin, the Pompidou Centre in Paris topology that impacts upon issues consequences of establishing the Title: Point of Audition (Reverse ADR) & the Filmoteca Espanol in Madrid, of political representation, self- voice as an object that is extra- Medium: Two channel synchronised HD video with monoaural sound. SCOPE Art in New York and Askeaton determination and authority. The linguistic to speech, in opposition to Duration: 13m 42s. Contemporary Arts Welcome To work appropriates transcriptions of the ideality of meaning. This ideality , Year of production: 2009 The Neighborhood. In 2010 he was Jane Fonda s broadcasts on Radio is, paradoxically, the very thing that awarded the Arts Council of Northern Hanoi from the summer of 1972 when Fonda desires in the context of her � www.allanhughes.com Ireland (ACNI) Major Artist Award and she took the opportunity to lend political objectives. What material in 2009 he was the recipient of a six- her voice to the anti-war movement aspect of the voice can therefore be , Allan Hughes is an artist based in listening post at Black Mountain month Artist s Residency Programme by speaking out against the United reconstructed from the remediated Belfast and working out of Orchid in Belfast, the recording of Patty at the Irish Museum of Modern Art States involvement in Vietnam, voice in this context and what can , Studios. His video installation Hearst s S.L.A. Communiqués and the in Dublin. He has exhibited both infractions of the Geneva Convention be recovered from the voice that we , , work explores the production of erased portions of Richard Nixon s nationally and internationally with and the policies of President Nixon s give? The apparent materiality of the remediated histories through the Watergate tapes. His works examine work shown in the Mediations administration. They were directed voice in this matrix shifts between deconstruction of post-production the precarious position of subjectivity Biennale in Poznan Poland, UNOACTU primarily towards U.S. soldiers based the historical subjects, the work and , processes. Hughes works usually within the constructed narratives in Dresden, La Sala Naranja in in Vietnam and were recorded, the spectator. The desire for a stable proceeds from research into the of history and the processes of their Valencia, the Ormeau Baths Gallery transcribed and subsequently and homogenous unity is deferred sites, documents and apparatus of representation and reception. Hughes Belfast and the Beursschouwburg investigated by the U.S. Congress by both the material and ideological recorded and remediated histories. unpacks the processes of remediation in Brussels amongst others. In 2010 House of Representatives for their difficulty in reclaiming the voice. His installations have touched through a deconstruction of post- he completed a PhD, Screening the effect in undermining confidence The synchronised voice is upheld on many subjects, including Jane production methodologies and Voice: synchronisation, authority amongst soldiers on active duty. as a paradoxical object, only ever , Fonda s Radio Hanoi Broadcasts, establishes a place that privileges & objet petit a, at the University Point of Audition, negotiates a apparent when it is disrupted and the decommissioned British Army listening and the rediscovery of of Ulster under Professors Willie synchronised vocal performance removed.

GARETH KENNEDY 1 NOV 4TH - 20ST � 10 - 18:00 Tulca Festival Gallery. Galway Shopping Centre

Title: The Mean Pallet (New Work) Medium: Sculpture, mixed media

� www.gkennedy.info � www.kennedybrowne.com

, Kennedy s work is invested in the 2011 he has been developing two , potential of a socially engaged ‘folk fictions which stage encounters practice which addresses specific between globalised and localised environmental, social, aesthetic and material cultures in both the Aran economic concerns within located Islands and East Kerry. contexts. These works address Title: The Mean Pallet Title: The Mean Pallet concerns regarding economies Kennedy has received numerous of being and of scale as well as awards and bursaries for his practice also works on another distinct For After the fall, Kennedy presents Eastern Mediterranean, just south orientation within the liquidity including several awards from the artistic practice called Kennedy a barometer of worldwide economic of Marmaris in Turkey. However, it is of contemporary experience. They Irish Arts Council, a 2008 Local Browne, in collaboration with artist activity which may well be, in currently estimated to be somewhere attempt to localise and define, in Authorities Members Association Sarah Browne. fact, an economic fiction. The so- over the Caspian Sea (due to a high a public context, macro-economic (LAMA) Award for best Public art work called Mean Pallet describes a best level of manufacturing in the Far and/or environmental concerns and commissioned by a Local Authority, I wonder where ye average of all ye estimate of the average location of East). It is also estimated to be anxieties. Outcomes typically include Culture Ireland awards, and awards world pallets be all pallets, both laden and empty, drifting in an east south-easterly architectural or designed structures, from several Irish Local Authorities. – 19th .century Victorian industrialist across the planet. The Mean Pallet direction at a rate of 0.24 kilometres hand-crafted objects, as well as live He has produced and shown work who first coined the term ‘mean has been estimated since the early per day although the movement , performative events which bring both nationally and internationally. pallet whilst looking out of his 1960s. Setting 0.N and 0.E as a of the largest container ships can these physical entities to life within In 2009, he co-represented Ireland at factory window. baseline, initially, the estimate produce significant noise in this specific public contexts. Throughout the 53rd Venice Biennale. Kennedy placed the Mean Pallet over the trend. 6 MARIELLE MACLEMAN 1 NOV 4TH - 20TH � 10 - 18:00 Tulca Festival Gallery, Galway Shopping Centre

Title: Final Reductions (New Work) Medium: Reclaimed merchandising, paper, marker pen, highlighter and correction fluid.

Marielle MacLeman is a Scottish Working within the context of a artist whose practice involves vacant shopping centre unit, Marielle rigorous processes across mixed MacLeman uses the graphics and media wall-based work and site- content of proximate merchandising specific installation. Her work to create a new narrative and has traditionally been informed aesthetic in installation. The text by sites and subjects with lost or and images of printed material from changing roles and the folklore or window displays, advertisements, historical significance surrounding catalogues and coupons are drawn them. She graduated from Duncan on, cut then woven or reassembled. of Jordanstone College of Art and The language of marketing campaigns Design, Dundee, in 1998 with a and store signage is itself physically BA (Honours) Fine Art in Drawing reconfigured and incorporated and Painting and has exhibited into the installation. Anagrams Title: FINAL REDUCTIONS throughout the U.K. Relocating from of promotional slogans are re- , Glasgow in 2011, she is now based appropriated for fictitious marketing Whilst highlighting the shop owner s in Galway and recently completed a campaigns or echo consumer attempts to maintain consumer residency at Galway Arts Centre. She expectations and attitudes. interest, words are re-shuffled is currently Artist in Residence at to present poignant reminders, The James Mitchell Geology Museum warnings or lament on the changing and The Zoology and Marine Biology face of our high streets and shopping Museum, NUI Galway. centres. Title: FINAL REDUCTIONS (DETAIL)

TITLE: SHAKE TITLE: SHAKE

TOM MOLLOY 1 , Tom Molloy s practice has been Tom Molloy was born in Waterford Zabludowicz Collection, London; NOV 4TH - 20TH 10 - 18:00 concerned for some time with the and he works between a studio in Fondazione Spinola Banna Per , Tulca Festival Gallery examination of power in both a the West of Ireland and in northern L Arte, Turin; FRAC-Piemonte; and Galway Shopping Centre political and historical context, and France. He attended The National Princeton University Art Museum as how it can, and has been perverted, College of Art & Design in Dublin, well as several international private Title: Shake (New Work) raising global questions about earning his B.A. in Fine Art in 1987 collections. This year, Tom Molloy Medium: 59 framed photographs, 28 cms x 950 cms, 2011. morality. For over a decade Molloy and his M.A. in Fine Art in 1992. A already featured in 10th edition has been determined to challenge survey exhibition of his work was of the Sharjah Biennial, "Plot for a , the observers perception, by creating held at the Limerick City Gallery of Biennial"; he will show new work at ambiguous works that investigate Art in 2005 (publication) and at the an exhibition entitled "ART_" at the the overlap between representation Solstice Arts Centre, Navan, County FLAG Art Foundation in New York. and association. In his line of Meath, in 2008 (publication). In 2010 questioning Molloy deliberately Molloy had a major exhibition at The presents minimal representations Aldrich Museum of Contemporary of significant political and historical Art in USA (publication). Tom Molloy moments. In opposition to the clean, is included in the permanent simplicity of the works presentation, collections of the Irish Museum of the viewer finds conceptually rich, Modern Art; The Blanton Museum multi-layered meanings inherent to of Art, Texas; The Arts Council/An the artwork. Chomhairle Ealaíon, Dublin; The 7 SEAMUS NOLAN 1 NOV 4TH - 20TH 10 - 18:00 Tulca Festival Gallery, Galway Shopping Centre

Title: Oral Hearing Medium: 2 screen synchronised video piece. 120min. 2009

, Seamus Nolan is an artist based in Centre, ‘Nature Reserve Europalia , Dublin, chosen to represent Ireland Brussels, and ‘Hotel Ballymun for Europalia in Brussels, Artist in a temporary public art work residence in the Irish Museum of commissioned by Breaking Ground, Modern Art, and the recipient of Ballymun Dublin. , Wexford County Council s inaugural Emerging Visual Artist Award. ' Oral hearing is a two screen video piece, which frames the debate in the Recent works includes,Neighbo(u) contentious situation of the laying of rhood, in The Mattress Factory a high pressure production pipeline , Pittsburgh, ‘Terminal Convention through a small community in the in association with Static gallery west of Ireland, based on the closing Liverpool and The NSF Cork, ‘The statements of local residents during a , Trades Club Revival in association public hearing in Belmullet in 2009. with The Model Gallery Sligo and Title: Oral Hearing , CREATE Dublin, ‘Noughties but Nice , In this hearing, restated and filmed in Limerick City Gallery touring show, Mayo by Seamus Nolan, the various community as well as ideological relationship to the idea of public , R.H.A. ‘Futures show , ‘Corrib Gas voices of the local community are objections, the Shell lawyer argues space, the dismantling of the nation , Project Art Centre Project Arts Centre heard, as are re-enactments of the that there is very little appropriate state and the rights of the individual. , Dublin, ‘if art could save your life role of An Bord Pleanála Inspector risk, and outlines the steps taken Produced by Project Arts Centre and Droichead Arts Centre Drogheda, (Mr Martin Nolan, played by Seamus by the conglomerate to address the supported by the Arts Council and , Ev+a Limerick, ‘1968 If you could Moran) and the statement of Shell community s concerns. Fire Station studios for the 2009 , change the world at last the Goethe lawyer ( Senior Counsel, Mr Esmond exhibition Corrib Gas Project Arts , Institute, ‘Docks Tour National Keane, played by Donal O Kelly). This re-enactment of the formal Centre by Seamus Nolan, co-curated Sculpture Factory Cork, ‘Art in the life While community leaders – teachers, process of defining ones environment by Jonathan Caroll and Tessa Giblin. , , world Ballymun Dublin, ‘Demesne farmers and retired citizens, argue and an attempt to exercise some , at the Lab Dublin, ‘Phoenix Park The against the operation, citing risks influence within the democratic , Kerlin Gallery, ‘Demesne Wexford Art to the safety of the people in the process signals a contemporary

THE KITCHEN TABLE COLLECTIVE 2 NOV 4TH - 20TH � 14:00 - 18:00 ROSA PARKS GALLERY 3 McDonagh Ave, Mervue

Video viewable from outside every evening from 18:00.

Title: \Shore\ (New Work) Medium: Installation & Intervention

The Kitchen Table Collective was exploration in the field of visual arts. founded in July 2011 by nine recent The collective is committed to the fine art graduates from GMIT. The Open Space model of interaction and , group s formation was precipitated dialogue between arts practitioners. by discussions that took place at an Open Space workshop facilitated by The nine individuals who make up the Susanne Bosch and presented by Kitchen Table are Mike Ahern, Judith Tulca in May 2011 (Open Space for Bernhardt, Helen Caird, Michelle New Horizons). Conway, Brid Egan, Noelle Gallagher, Tina Hopp, Eithne Ryan and Joan Members of the collective now work Sugrue. and operate from an experimental space at 3 McDonagh Ave, The Rosa \Shore\, n. A prop, as a timber, placed Parks Studios and Gallery. The space as a brace or support against the side TITLE: SHORE provides a physical area whose of a building or other structure; a designation is fluid and can change prop placed beneath anything, as a The work addresses presence and according to the requirements of beam, to prevent it from sinking or absence, temporality of spaces the artists who are working within sagging. and the physical as well as social it. Central to the project is that concepts of inside and outside. decisions regarding the functionality Not only is the functionality of the As night falls, the private inside space and nature of the space can only be physical space called into question reveals itself to the public outside made through democratic discussion, by the timber construction but the world by projection through the front open dialogue and mutual respect. In very nature of space and that of window, or does it? this way the space can offer itself as contemporary art spaces in particular a platform for experimentation and undergoes an enquiry. TITLE: SHORE

8 TITLE: The Imaginary Archive, Wellington, 2011 BY GREGORY SHOLETTE TITLE: You can t polish a turd but you can pebbledash a panini. 2009 By Dave Callan

of Enterprise Culture (Pluto Press, to uncharted offshore islands and to take risks with their practice. 126 , , 2011); Collectivism After Modernism: mysterious pirate radio broadcasts. are Galway s and the west of Ireland s The Art of Social Imagination after On display at Gallery 126 IAG consists first artist-led exhibition space. 126 1945 (with Blake Stimson for of under-represented, unknown, was established in 2005 by local University of Minnesota, 2007); invisible, or merely hoped-for artists in their own living room as and The Interventionists: A Users "historical" materials that point to a response to the urgent need for Manual for the Creative Disruption of multiple ways of interpreting the more non-commercial gallery spaces Everyday Life (with Nato Thompson past, the present, and the future. in Galway. The gallery then moved for MassMoCA/MIT Press, 2004, 2006, to a white-cube space and invited 2008), as well as a special issue of See: local artists to form a Board based the journal Third Text co-edited with � www.darkmatterarchives. on the successful democratic style of theorist Gene Ray on the theme net|?page_id=21 Catalyst (Belfast) and Transmission "Whither Tactical Media." Sholette (Glasgow). In 2009, 126 relocated recent exhibitions include Imaginary Participating artists include: to a larger, more prominent space Archive (for the Tulca Festival in on Queen Street in the city centre, Galway, Ireland 2011, and for Enjoy Dave Callan (Galway), Simon Fleming where we remain to this day. , Public Art Gallery in Wellington, (Galway), Roger O Shea (Galway), From this more central position, New Zealand 2010); a contribution Ben Geoghegan (Galway), Austin geographically and culturally, to Temporary Services Market Place Ivers (Galway), Tiarnán McDonough 126 have been able to engage in , for Creative Time s Living as Form (Galway), Paul Maye (Galway), Àine increasingly ambitious projects, and (2011); a two-person exhibition at the Phillips (Clare), Allan Hugues (Belfast), also assist in the development of Santa Fe Art Institute in New Mexico John Hulsey, Brian Hand (Dublin), various other creative initiatives (2011), and the installation "Mole Jeffrey Skoller (NY), Matthew F. Greco within Galway City and county. Light: God is Truth, Light his Shadow" (NYC), Todd Ayoung (NY), Aaron Burr Email: [email protected] , TITLE: LIVELY CAULDRON BY Roger O Shea for Plato s Cave, Brooklyn, New York Society (NY), Yevgeniy Fiks (NYC), (2010). Sholette is an Assistant Maureen Connor (NYC), Johan Lundh Talk: Dark Matter: Art, Politics, and GREGORY SHOLETTE 3 Professor of Sculpture at Queens and Danna Vajda (NYC/Sweden), Trust Imagination under Crisis Capitalism College: City University of New Art (NYC), Ellen Rothenberg (Chicago), NOV 4TH - 20TH � 10 - 18:00 York (CUNY), has taught classes at Oliver Ressler (Austria), Markus Talk by Gregory Sholette on Saturday 126 ARTIST RUN GALLERY Harvard, The Cooper Union, New York Wetzel (Berlin), Murray Hewitt (NZ), 5th Nov at 12:00pm in Galway City Queen Street University, and Colgate University, Jeremy Booth (NZ), Malcom Doidge Museum, Spanish Parade (For more and teaches an annual seminar in (NZ), Grant Corbishley (NZ),Yevgeniy information see under "Talks" p20. Title: The Imaginary Archive (New Work) theory and social practice for the CCC Fiks (NYC), Dara Greenwald & Josh Medium: Collaborative site-specific project using mixed media, dimensions variable post-graduate research program at McPhee (NYC), Bryce Galloway (NZ), Workshop: Contemporary Artists| Geneva University of Art and Design. Lee Harrop (Australia), Malcom Collectives: Tactics, Models, and Venue: 126 Artist Run Gallery, Queen Street, Galway. , Doidge (NZ), White Fungus (Taiwan), Imaginative Possibilities : Workshop Satellite locations: Galway City Library Middle Street, Charlie Byrne s Bookstore Imagine yourself uncovering a cache working in collaboration with by Gregory Sholette on Monday 7th the Cornstore, and Bell Book & Candle at the Small Crane Sea Road. of materials and documents that Imaginary Archivists Olga Kopenkina Nov 10:30am- 4:30 pm. record a past whose future never and Gregory Sholette (NYC). � WWW.gregorysholette.com � WWW.darkmatterarchives.net arrived? Imaginary Archive Galway Ground Floor Aras na Gael, Dominic (IAG) is just such a repository: printed Street. Places are extremely limited Tulca 2011 is delighted to invite the Gregory Sholette is a New York-based materials, objects, and narratives and booking is essential: for more artist and writer Gregory Sholette artist, writer, and founding member that imagine an alternative 126 Gallery information see under "Workshops" , to create new work for "After the of the artists collectives Political Art history, which nevertheless sheds a p21 Fall". A critical international figure in Documentation/Distribution (PAD/D: surprisingly strong light on concrete In the last ten the area of collectivity and artist- 1980-1988), and REPOhistory (1989- realities. New York based artist years a diverse and led activity and politics, Sholette 2000). A graduate of The Cooper Gregory Sholette invited participants internationally significant has been collaborating with the 126 Union (BFA 1979), The University of from Galway, New Zealand, Europe, visual arts scene has emerged in Gallery & membership over the last California, San Diego (MFA 1995), and the United States to produce Ireland. It is in this development number of months to re-visit the and the Whitney Independent this "what if" collection of archival that 126 plays an important role as , concept of the Imaginary Archive. Studies Program in Critical Theory, materials addressing topics from Galway s foremost non- profit space his publications include Dark forgotten Irish inventors and for experimental visual art, allowing Matter: Art and Politics in an Age fantastic nation-branding campaigns, many younger artists the opportunity 9 Naldi and at the Theatre Studio of them as dualistic and inharmonious FILIPPO BERTA 4 Florence curated by Pietro Gaglianó; conditions. In his artistic research the group exhibitions include Fifth concept of boundary is ever present, NOV 4TH - 20TH � 10: 1800 Edition of Prague Biennale (Prague); meant as an anomalous place that is Niland Gallery Intervals curated by Eugenio Viola located between the two parties in Lower Merchants Road and Enrico Valentini at Teramo (Italy), conflict. Many of his works consist of Invasion One curated by Giovanni collective performance where people Title: Homo Homini Lupus Viceconte at Cosenza (Italy); Random perform simple actions brought to Medium: Single channel high definition Access Memory curated by Tatjana conditions of extreme tension which video with sound. Fell & Andrzej Raszyk at Mica Moca, provides to these common gestures Filippo Berta is an artist who Berlin (Germany); Damage the image an unusual character. Filippo Berta lives in Milan (Italy) and works on curated by Cecilia Freschini, Beijing is not a performer in the strict sense collective performance and video (China); Matter of Action curated by of the word but is closer to the figure works. In 2008, he was among the Sara Serighelli, Milan (Italy), F.A.B.S of the director and makes use of winners of the International Prize curated by Eleonora Farina at the performance to create an exceptional for Performance in Trento (Italy) National Brukenthal Museum in Sibiu state of empathy between the fourth edition curated by Fabio (Romania). viewer and the work. His artistic Cavallucci and in 2009 he took part in experimentation does not stop the residency programme for artists Currently he is working on several only at the realization of collective in Spinola Banna Foundation in Turin projects at international level. performance but develops in video (Italy) curated by Gail Crochane. Solo works also, in which the narrative exhibitions include Placentia Art Filippo Berta analyses the states and each form of logical end are Gallery to PIacenza (Italy) curated by of tension generated by the absent. Alessandra Pioselli, at "NT Art Gallery" imperfect mechanisms inherent in Bologna (Italy) curated by Fabiola in social relations, interpreting

TITLE: Homo Homini Lupus

TITLE: YELLOW HOUSE SERIES NILU IZADI 4 By the time the war started in The Yellow House, Beirut. 1982, the yellow house found NOV 4TH - 20TH � 10 - 18:00 1924 - 2010 itself positioned exactly on the Niland Gallery demarcation line which divided Lower Merchants Road "The yellow house has seen Beirut East and West. Due to its strategic through her grandest and bloodiest positioning, facing their enemy to Title: Yellow House Series turns. Commissioned in 1924 by the the West, the Christian militia re- Medium: Photographic Series, Barakat family, the building, designed appropriated the interior spaces and Lambda prints 100x60cm. by Youssef Aftimos in the picturesque views through to build bunkers and French Mandate style, is a work of snipers nests. TITLE: YELLOW HOUSE SERIES Nilu Izadi is a freelance photographer genius, affording a view onto the with a background in fine art. She street from every room - through Representing a valuable step in corner from virtual obscurity. The same aperture which was caused as , works primarily as a documentary windows, verandahs, doorways into Beirut s architectural heritage, this remaining scars of war left by the a result of war is now turning back photographer, photographing windows beyond and onto the city. building took on a very different billions of bullet marks on the walls on itself. Projections of people walk events and taking publicity stills for At the time of its construction, value during the war. The worlds are a chilling reminder of the terror across the mass bullet ridden walls, publications and arts events abroad the building was situated on the of the architect and sniper were of conflict. Using one of the bullet clouds move silently over the rubble and in the UK. She also teaches outskirts of Beirut, with urban intertwined, the latter taking the holes which had pierced the stone and devastation left by war, images , pinhole workshops and creates planning the city soon built up. building s exceptional layered vistas walls, I converted one of the rooms are turned back onto themselves, the camera obscura installations. as a source for voyeurism, protection of the yellow house into a camera outside now looking in." - Nilu Izadi and mass murder. The gunmen could obscura installation bringing the , nest in the bunker s dark recesses projections of the front line back into , while commanding the street the heart of the sniper s nest. The 10 TITLE: RED TOURS TITLE: RED TOURS TITLE: RED TOURS JOANNE RICHARDSON & DAVID RYCH 4

NOV 4TH - 20TH � 10 - 18:00 David Rych (b. Innsbruck, Austria) Red Tours is a docu-fiction that The narrative of Red Tours Niland Gallery studied visual arts in Vienna, investigates the dialectic between emerges through 3 stories told from Lower Merchants Road Jerusalem and Marseille, and is tourism and collective memory in different perspectives: an agit-prop 10 - 18:00 currently living and working in Berlin. statue parks, museums and staged account of what lies behind , re-enactments of communism in the today s dominant interpretation of Title: Red Tours A continuing theme in his work is the Czech Republic, Germany, Hungary communism as kitsch or absolute Medium: Video 48 mins, 2010 construction and representation of and Lithuania. Several citations from terror, a subjective travel diary that , reality and identity. In frequent Alain Resnais and Chris Marker s 1953 mixes the personal and the political Joanne Richardson (b. Bucharest, She has written essays on the history collaboration with other artists, he film, Les Statues Meurent Aussi, to reflect on the process of self- Romania) is a video artist and media of the avant-gardes, experimental explores different approaches to invokes a hidden link between the colonization that has turned the theorist currently living in Berlin. She film and video, net-art, tactical documentary, focusing on the colonialism that once transformed natives into tourists of their own completed an M.A. in philosophy media, free software, intellectual documentation of knowledge in African statues into museum objects history, and a form of direct cinema at New York University, and property, the myth of relation to collective identities and and what happened in Eastern Europe that unfolds through the words and postgraduate studies in critical authorship, activism and the radical the visual codes of personal and after 1989. gestures of the tourists themselves. theory and film & video at Duke left. Her videos reflect an ongoing official history. His work has been By using multiple voices and styles, University. She is the editor of interest in globalization, nationalism presented at: Manifesta 8, Kumu Art the video seeks to question the a webzine on media theory and and post-communism, and manifest a Museum, NGBK, Kunstraum Kreuzberg politics of documentary. activism and of two books on digital critical perspective toward the status Bethanien, Galerija Miroslav Kraljevic, culture. of documents, history, and memory. OK Centrum, Bucharest Biennale, Kunsthalle Exnergasse, Rotor, � www.subsol.c3.hu/joanne/ Transmediale, DEAF. home.html

Jennifer Cunningham is a visual artist "Not long ago, comparisons were The issue of ghost estates in Ireland , who works with paint, printmaking being made between Iceland and is more than empty houses. It s a , and drawing, film and digital Ireland, the joke being, the only symbol of the country s descent from media. She graduated with a first difference between the two was a the Celtic Tiger leading the European class honours degree from GMIT in letter in the name. charge of prosperity, to a broken 2002 and in 2008 she completed a state, crippled by what most would , Masters in fine art from N.C.A.D in In these pieces, a couple of piebald s agree was a universal greed: greed Dublin. She has won several awards eating old Irish punts roam about of consumers, developers and those for her work including the Thomas on ghost estates made out of who Irish people blame the most, the Damann Travel award and the Taylor Icelandic krona and Irish punts. The banks." , art award. artwork s role is to offer a slightly humorous mental image of the serious - Jennifer Cunningham She is currently undertaking a repercussions of careless speculation, residency in the RHA school (July- Dec) one befitting Irelands current and is a member of the Blackchurch economic situation with bank bailouts print studio in Dublin. She has taught and severe fiscal crisis. Set against the some of the part time courses in backdrop of a sky made out of German I.A.D.T , Dun Laoighaire for the last marks, the work draws comparisons to , few years and has been selected for our economic situation and Iceland s TITLE: International Monetary Field Day the R.H.A summer shows 2003-2009 bankrupt state. and EVA. She has also exhibited both nationally and internationally and Both Iceland and Ireland underwent JENNIFER CUNNINGHAM 7 her work is collected by the Office spectacular economic growth of Public Works, the ESB, Siemens, dependent on inflated financial and NOV 4TH - 20TH � 10 - 18:00 Galway City Council, Galway Mayo construction sectors. We now have SPACE INVADERS Institute of Technology, Radisson more than 2800 ghost estates in The Cornstore, Middle St. S.A.S hotel, Galway, and privately Ireland and some 23000 unoccupied by collectors in Ireland, New York, houses. One in every five houses in Mon – Sat London, Basle, and Toronto. Ireland is now unoccupied. Title: International Monetary Field Day (New Work) Medium: Mixed Media

11 THE GOOD HATCHERY 7 Carl Giffney & Ruth E Lyons NOV 4TH - 20TH � 10 - 18:00 SPACE INVADERS The Cornstore, Middle St. Mon – Sat supported by Title: ÁRAS ÉANNA RESIDENCY, INIS OÍRR (New Work) Galway County Council Medium: Mixed Media

� WWW.KARLGIFFNEY.com � WWW.RUTH.IE

The Good Hatchery is an Satellite communication depends experimental art initiative based in upon the relay of information to bog lands of north Offaly currently and from the remote satellite that directed by visual artists Carl Giffney is stationed in outer space back and Ruth E. Lyons. From this remote to earth. During their residency as , location the artist led venture part of ‘After the Fall , the island sets out to challenge the accepted will become the satellite; a remote methods used for the making point from which to both receive and and dissemination of high quality relay information from and to the contemporary artwork. mainland. The Satellite offers a macro perspective taking in the earth from TITLE: ARAS ÉANNA RESIDENCY, INIS OIRR For TULCA 2011, The Good Hatchery a remove. From their remote station (Carl Giffney and Ruth E. Lyons) will The Good Hatchery will consider Sherry is a starting point for an When sacked, their stocks would be While maintaining their position as , spend one month based on Inis Oírr, the current problems facing society investigation of past turmoil. raided and were often popularised in ‘Islanded and as a Satellite to the , the smallest of the Aran Islands and put them into an historical Made only in the area Spain s Jerez the country of the victor- drank as a main event, the artists will allow making new work in two separate and distant perspective. While the triangle, Sherry has long connections sign of their victory in warfare. The aspects of their work to infiltrate the strands. One will take direction from satellite is offers a remove from with seafaring. Explorers like history of the Spanish Armada in the city through a relay of information the seafaring history of Sherry and which to imagine a future, perhaps Colombus often spent more money Galway Bay and a current sensibility and experimental interventions, its relation to accident. The other on the island everything is ok ‘After on the drink that on weapons for his of ration and storage will be used while also inviting visitors to visit the , , will be an experiment at remote the Fall . expeditions and the Spanish Armada to make new work about Ireland s work stationed on the Island. communication. always stocked huge cargos of it. current social geography.

TITLE: Dance with Joe TITLE: Dance with Joe TITLE: Dance with JOE

NICKY LARKIN 7 He also held three solo exhibitions in July 2009. Early 2010 were spent "Dance With Joe is a humorous , NOV 4TH - 20TH � 10 - 18:00 2008, in both The Netherlands and in Tbilisi, Georgia, on an artist look at Irish people s bizarre SPACE INVADERS Ireland. residency program where he gained predilection for bad news, misery, The Cornstore, Middle St. access to Tserovani Refugee Camp and complaining. This fetish-like In 2009 he was commissioned by The and created a body of photography obsession with "The Misery" is , Title: Dance with Joe Irish Arts Council and The Belltable documenting the lives and conditions ultimately exemplified by Ireland s Medium: Video, 6min 48sec. Arts Centre to create a piece, inside this expansive camp built most popular daily radio talk-show, exploring the notorious Moyross to accommodate the thousands of Liveline, hosted by Joe Duffy. , Nicky Larkin was born in Birr, In 2007 he traveled to the Chernobyl and Southill estates in Limerick city, displaced Georgians, who s homes Duffy expertly elicits depressing Ireland in 1983. He studied Fine exclusion zone, to shoot the Ireland; a city which has been dubbed were destroyed during the 2008 scenarios from his callers, basking Art in Galway-Mayo I.T. and Chelsea experimental short Pripyat. In "The Murder Capital of Europe." Russian-Georgian war. in their bleakness, catering for the , College of Art, London. His work is 2008 his work was screened at The ‘Beyond The Roundabout? premiered overwhelming Irish market for "The located somewhere in the crossover Locarno Film Festival, Switzerland, in Limerick in April 2010, and He is represented by The Molesworth Misery". These last couple of years between video-art, documentary and The European Media Art Festival, screened at The European Media Art Gallery, Dublin. in particular have been superb; loyal experimental film. He has exhibited Germany, and The Optica Madrid Festival 2010 and The London East listeners across the land have been widely across Ireland and the UK with International Video-Art Festival, End Film Festival. In 2009 he also treated daily to miserable stories of video installations and sound-pieces, The Strasbourg International Film traveled to Bosnia & Herzegovina, to the highest calibre. Pure vintage." and his work has been screened at Festival, The Darklight Festival and create a body of photographic works various international film festivals. The Bergamo Film Festival. for a solo exhibition held in The - Nicky Larkin Molesworth Gallery, Dublin, in 12 TITLE: AGAINST THE REALM OF THE ABSOLUTE

TITLE: AGAINST THE REALM OF THE ABSOLUTE TITLE: AGAINST THE REALM OF THE ABSOLUTE

, JESSE JONES 13 Dublin based artist Jesse Jones s She has shown internationally at the Against the Realm of the Absolute Talk: Jesse Jones and Vivienne Dick practice reflects and re-presents 9th Instanbul Bienniale, nought to seeks to investigate the multiple in conversation, Sat 19th Nov. at NOV 4TH - 20TH historical moments of collective sixty at the ICA as well as Solo shows narratives of feminism as a socially 3:00pm Galway Arts Centre. For Galway Arts resistance and dissent. In her films in RedCat Los Angeles and Collective transformative movement and more information see: Talks p20. Centre and videos she explores the gesture gallery in the UK. Upcoming attempts to re-imagine the legacies 47 Dominic Street of the revolutionary action, and finds exhibitions include Artsonje centre of feminism and protest. Adapted in , , resonance in our current social and Seoul in 2013. part, from Joanna s Russ s feminist 10 - 17:30 Mon - Sat political landscape. Having recently Sci-Fi novel from 1975, "The Female 12 - 17:00 Sun completed a year-long fellowship in For Tulca, Jones will present a recent Man" this new film work attempts location one New York, Jones work film work,Against the Realm of the to attend to the multiple possible Title: Against the Realm takes many form from galley based Absolute. Commissioned by Collective futures we might face and how, of the Absolute film and installation to large scale gallery Edinburgh, through this very act of fictional Medium: 16mm film transferred to High public events, she has collaborated speculation, we may in turn open up Definition, 13:00 min, 2011. with diverse groups from Opera critiques of our present reality. singers and marching bands to activists in a practices which aims to excavate the hidden meaning within our popular collective consciousness.

13 KRISTINA NORMAN 13 NOV 4TH - 20TH GALWAY ART CENTRE 47 Dominic St

10 - 17:30 Mon - Sat 12 - 17:00 Sun

Title: After War Medium: Video document of public intervention

TITLE: After War

TITLE: After War TITLE: After War

, Kristina Norman (b. 1979, lives and The starting point of Kristina Norman s work addresses the values , works in Tallinn) is a visual artist and Norman s work is the Bronze Soldier and traditions associated with the documentary filmmaker. Her work monument in Tallinn, the capital of statue and the conflict which led to is primarily rooted in her immediate Estonia. The statue was erected in the removal of the monument. In surroundings and maintains a the centre of the city in 1947 as part this, the artist uses as her tools a consistent political and documentary of a memorial to Soviet soldiers. In guilded copy of the statue, a video commitment. Her work has been April 2007, the Estonian government camera and documentary footage. included in international exhibitions had the statue moved to a less The case of the Bronze Soldier and festivals since 2006, such as the prominent location in a cemetary, reveals tensions running under the Biennale of Young Artists (Tallinn) a decision that led to rioting which surface of the society that arise from and the 5th Berlin Biennale for lasted for two nights. different identities and different , Contemporary Art. Norman s After- interpretations of the results of War represented Estonia at the 53rd World War II. International Exhibition of the Venice Biennale. "After-War" was presented at the Venice biennial in 2009.

14 OSWALDO RUIZ 13

NOV 4TH - 20TH Oswaldo Ruiz (b. 1977, Monterrey, MadridFoto 2011. Seuils, Cultural The community found it impossible Mexico) trained initially as an Institute of Mexico in Paris, France. to keep working the fields, and as GALWAY ART CENTRE , 10 - 17:30 Mon - Sat | 12 - 17:00 Sun architect. He demonstrates in his Record 02: A Second Glance, at the independent farmers, they weren t photographic work and videos a Museum of Contemporary Art of able to face the expenses of a failed Title: Irrigators 15: meticulous interest in space and Monterrey 2009; XIII Photography crop. The people had to move out Monument to Santos Salazar and Monument to Raúl Ávalos atmospheric constructions. Ruiz Biennial, Centro de la Imagen, to other towns and find different Medium: Photograph builds his work with the use of Mexico City 2009; 1st Biennial of low paid jobs; others went to work artificial light, depicting physical Young Artists, Museum of Modern illegally in the USA. They all left spaces he aims to portray the Art, Moscow, Russia 2008; Twilight behind their homes, and in less invisible or unconscious narratives Suite, Louise T. Blouin Foundation, than fifteen years these houses that strongly determine them. London 2008; 100 Contemporary returned to the wilderness, now He studied contemporary art and Photographers of Mexico, Fototeca covered in grass and inhabited by psychoanalysis at the Universitat Nacional, Mexico 2008. wild animals. The light devices I use Autónoma de Barcelona in 2001 and to make the photographs spot them received a Master degree on Fine Arts "Irrigators 15" is the name of an as a discovery, like contemporary , from Central Saint Martin s College irrigation district in the north of ruins, showing the human leftovers of Art and Design in London, in 2007. Mexico in the borough of Anahuac, of political decisions. Making a Ruiz was an artist in residency at near the border with USA that is now theatrical approach to reality I IMMA in 2010, and currently he is completely abandoned. The farmers analyse their qualities as both in the Artist Residency Program of from these lands were forced to leave documents and ruins, portraying GlogauAir in Berlin. His recent solo their houses after not being able to a disappearing way of life that shows include Natural Frequency in keep working the fields, mainly due impacted the use of land. Luis Adelantado Gallery in Mexico to the lack of agricultural politics City and Erexit Monumentum in that could balance the production of Departamento 21 Gallery in Santiago big companies with the independent de Chile, both in 2011. Selected group farmers. This scenario was made exhibitions include: Welcome to the even worse after a drought that , Neighbourhood 2011 in Askeaton, lasted several years in the 90 s. Limerick.

Title: Irrigators 15: Monument to Santos Salazar and Monument to RaUl Àvalos

LINDA SHELVIN & 13 PADRAIG CUNNINGHAM NOV 4TH - 20TH GALWAY ART CENTRE 10 - 17:30 Mon - Sat 12 - 17:00 Sun

Title: Falling Awake Medium: Single channel high definition video with sound, 13 minutes.

Distinct from their individual co-founded the artist collective, the practices, the artists Padraig alter/native project and initiated Cunningham and Linda Shevlin have the fringe event of the same name been making work collaboratively as part of the Boyle Arts Festival in since early 2010. 2009 and 2010. TITLE: FALLING AWAKE TITLE: FALLING AWAKE The piece takes on the form Circadian was the first collaborative Shevlin is an artist based in membership on the Board of Directors Black Mountain Buddhist centre in of a condensed journey or a exhibition by Cunningham and Roscommon. Her practice includes of Visual Artists Ireland. Belfast, speaks about what initially pilgrimage through what at first Shevlin and was shown in the Leitrim exhibitions, film, public projects and drew him to Buddhism after his appears to be disparate sites but Sculpture Centre in February 2010. curating. Her work has been exhibited In January 2011 both Cunningham experiences of violence and upheaval on closer examination, traces of Cunningham has been exhibiting extensively and was included in the and Shevlin were invited to in Catholic Belfast. Images from an omnipresent threat that may continuously since graduating with following; Notions of Capital at The participate in Buddha Enlightened the Falls Road are juxtaposed with usurp both their fragile situations honours from DIT in 1996 including Dock, Ground at Galway Arts Centre; - 2 be, International art event and images from Bodh Gaya. Bodh Gaya permeates the work. at the Ashford Gallery in the RHA, Terra Firma at Triskel Arts Centre, exhibition in Bodh Gaya, Bihar, India is an ancient Buddhist pilgrimage Galway Arts Centre, The Model in Cork; Solo x5 at The Model, Sligo that was curated by Sanjeev Sinha, site where thousands of Buddhists Falling Awake was shown in Bodh Sligo, The Cross Gallery in Dublin and and Live@8 as part of the Tulca Delhi and Diane Hagen, Amsterdam. congregate to visit the place where Gaya in January and travelled to the Dock, Carrick on Shannon. Festival 2009, Galway. Shevlin has It was in preparation for and during Buddha gained enlightenment. This the Patna Museum, Bihar in India , also curated large scale exhibitions this project that Falling Awake was region of India also shares Belfast s in March 2011. This residency and In 2009 Cunningham was selected to including Sacred, an exhibition of created. history of violence. Here, as in the production of this film were take part in the Trade residency, an works from the collection of IMMA Belfast, political and spiritual worlds supported by Roscommon Arts Office. International residency working with and the ACNI, commissioned and Falling Awake presents an inquiry overlap. The film shows Buddhist the artist Darren Almond, funded by invited national and international into the universal strive for peace monks protesting after accusations Leitrim and Roscommon arts offices. artists including Grace Weir, Daphne and spirituality in this post capitalist of corruption and collusion by high This programme concluded with the Wright and Mariele Neudecker. era. Two divergent societies, Belfast ranking monks in the order. Trade conference and an exhibition Shevlin completed her Masters in Ireland and Bodh Gaya India, provide titled Sequence. Visual Arts Practices through IADT the stage for exploring these themes. Also in 2009 Cunningham and Shevlin in 2009 and was recently appointed Frank Liddy, a founder member of the 15 UNA SPAIN 13 GALWAY UNIVERISTY HOSPITAL ARTS TRUST RESIDENCY, MERLIN PARKOV 4TH - 20TH GALWAY ARTS CENTRE 10 – 17:30 Mon – Sat, 12 – 17:00 Sun

Title: Insight Medium: Photographic Documentary TITLE: INSIGHT Project responding to the theme After moving) and incorporates relevant have been extensively upgraded TITLE: INSIGHT the Fall. found and collected objects where resulting in what we now see as a possible. The body of work compiled state of the art institution of health Una Spain, was born in Ballinasloe, as part of her (Hons) Degree in care. However, given the current Co. Galway and is currently Photography at DIT (2009) entitled economic crisis, the continuation of undertaking a Research Masters in Marking Time was described upgrading within certain areas has Fine Art at Limerick School of Art by Aidan Dunne as a ‘brilliant, been temporarily suspended. & Design. Her practice primarily composite insight into the social and employs lens–based media to psychological reality of change on a There are areas where contemporary , interrogate thematics such as time, local scale in Ireland . (Irish Times, systems of operation exist within memory and acknowledgment. Using June 17 2009). the framework of a visually dated her local environs, her recent work environment, where time itself looks to engage with current socio- Merlin Park, the hospital complex, its appears to be suspended. Here is political, economic and geographical grounds and its rich history provides where the photographic document concerns in a visual format where a wealth of possibilities from which can provide an insight into where TITLE: INSIGHT past and present seem to collide. to respond to. Concentrating on the old and the new co-exist. Details Often unsettling, her imagery the curatorial thematic After the that allude to people that occupy, or endeavours to be evocative and Fall leads the focus of my attention occupied this site give a hint as to reflective. It places a certain onus to that which might reference the possible personalities. Some leave on the viewer, not only engage system of old, to see what remains their mark, while others may be seen , personally with the specific sites as from ‘before , and look at where the only in terms of the files where their documented by her, but to consider past and present collide. details are contained. their significance within the wider national and global context. Visible evidence of the old system is This project was supported by: limited due to the huge amount of Galway University Primarily working from what Hal work done on this site over the last Hospitals Arts Trust Foster describes as an ‘archival number of years. Modernisation has , impulse , Spain assembles straight meant that all the systems necessary documentary imagery (still and in the running of Merlin Park hospital TITLE: INSIGHT

fifty drawings in different languages, mapping the connections in history, history of art, theory, politics and , language. Lia s "Subjective Art History", an extensive series of reproduced images and text dating from Modernism to the present day, is made up of three interconnected stems: "Time line general", "Time line on Romanian culture" and "My time line", edited and re-edited over the last fifteen years. As an investigative practice, its purpose is to examine TITLE: "SUBJECTIVE ART HISTORY" TITLE: "SUBJECTIVE ART HISTORY" what, how, and ultimately who, has exhibited at 2011 MACBA The work of the Romanian artist Lia enters into the archive of history. , LIA PERJOVSCHI 18 Barcelona, Kunstler Hause Wien, Perjovschi focuses on the activities The installation of Lia s work will 2010 Van Abbe Museum Einhoven, of collecting, archiving, structuring, be sited in the James Hardiman NOV 4TH - 20TH Cabaret Voltaire Zurich, Jamaica distributing and mediating a variety library one of the central areas of the NUI GALWAY, Center NY, 2009 MUMOK Wien, IWAB of knowledge about society, politics National University of Ireland Galway JAMES HARDIMAN LIBRARY, FOYER Incheon S Korea, Modern Art Oxford, and art which has been inaccessible (NUIG). During the period of Tulca the Bild Museet Umea 2008 Wilkinson to Romania until 1989. Her life Library will be open to the public to 10 - 17:30 , Gallery London, Sydney Biennale, under the Ceausescu dictatorship view Lia Perjovschi s installation. Title: "Subjective Art History" Jumex Foundation Mexico City has greatly influenced her work Medium: Site-specific installation, drawings, documents and mixed media. 2007 Nasher Museum at Duke and mode of artistic expression, Lia Perjovschi will present a talk on University NC US, Christine Konig which always includes some political her practice at the James Hardiman Supported by: Gallery, Walker Art Center MN, Tate relevance. For roughly twenty years Library Browsing Room, NUI Galway, Modern London., Kunstmuseum Lia has embarked on a project-as- on Sat 5th November at 3:00pm. Liechtenstein, Centre Pompidou Paris an-institution, employing the recent (Free event no booking required) 2006, Yujiro Gallery London, MuHKA history of art as material for building Please see "Talks" p20. for more Born in 1961 in Sibiu Romania, Archive and Center for Art Analysis) Antwerpen, Royal College of Art up relations, and dialogue. A highly information. Lia Perjovschi studied at the Art an organic still in process project London 2005 Generali Foundation developed personal archive is formed Academy Bucharest 1987-1993. She (under different names since Wien, Wurtenbergishe Kunstverein, through objects, diagrams, texts, currently lives in Bucharest and Sibiu. 1985) and KM (Knowledge Museum Stuttgart, Museum of Modern Art images, and film. Ideas and notes She is the founder and coordinator based on an interdisciplinary Liublijana. take on the form of snowflake-like of CAA /CAA (Contemporary Art research project from 1999) She crystalline diagrams, comprising of 16 TITLE: DDR|DDR

TITLE: DDR|DDR TITLE: DDR|DDR AMIE SIEGEL 12 and the tracking shot—as uncanny Museum and Film Forum in New man throwing Stasi-style electronic reflections on absence, historical York. Her first book of poetry, The equipment from a moving truck; NOV 4TH - 20TH disorientation and nostalgia. Longer Waking Life (North Atlantic Books, East German emulators of American NUNS ISLAND THEATRE videos and feature films move Berkeley, CA) was published in 1999. Indian culture explain that their Nuns Island between spontaneous and scripted She teaches in the Department of hobby began as a clandestine cry for 3 Screenings Daily: 11:00, 13:15 & 15:30 spaces, truth and fiction, shifting Visual and Environmental Studies freedom from Soviet oppression. The performance from identification to at Harvard University. She has been sociocultural theme is complicated, Title: DDR/DDR parody and estrangement. an artist in residence of the DAAD however, by a former East German Medium: Super-16mm film and HDV transferred to High Definition, 2008, 135 Berliner-Künstlerprogramm and mother who reminisces about her , minutes, color/sound. Exhibitions include The Talent Show, is a recipient of the Guggenheim family s more comfortable life Walker Art Center, Minneapolis; Fellowship. before reunification. The ruminating Supported by the Goethe Institut Irland Another Point of View, La Galerie, psychological and intellectual , Noisy-le-Sec; The Russian Linesman, DDR/DDR content of Siegel s works posits that The Hayward Gallery, London; everything is subject to shifting 2008 Whitney Biennial, Whitney "[DDR/DDR] is a mosaic of interviews interpretation." Amie Siegel lives and works in Berlin, image as material means to a Museum of American Art, New York; and incidents that gradually connect, —Jason Edward Kaufman New York and Cambridge, MA. She conceptual end. Her work mines the Forum Expanded, KW Institute for allowing issues of history, state received her BA from Bard College voyeuristic gaze, direct address and Contemporary Art, Berlin. Screenings control, personal identity, and Talk: Amie Siegel discusses her and MFA from The School of the Art interview to consider how these include the Museum of Modern Art, memory to emerge. A man walking practice and DDR/DDR on Friday 18th , Institute of Chicago. repetitions shape cultural memory. NY; Berlin International Film Festival; across streets and fields as if on a Nov, 6:00pm, Nun s Island Theatre. In multi-channel video and film Pacific Film Archive, Berkeley; tightrope is a recurring motif—an apt (Free event, no booking required) Amie Siegel works variously in 16mm installations, Siegel reformulates Harvard Film Archive; BFI Southbank; metaphor for the East-West divide. Co-Funded by Galway Film Centre. For and 35mm film, video, sound and cinematic enterprises—including Museum of Fine Arts Boston, Andy The camera moves through derelict more information please see "Talks" writing. Siegel uses the cinematic the establishing shot, the remake Warhol Museum, Frankfurt Film East German buildings and records a p20. 17 SOFTDAY 11 focused on the four-year life cycle of the wild Atlantic salmon and the FRIDAY NOV 4TH � 21:30 effects of overfishing and pollution LIVE SOUND on the species ability to survive. PERFORMANCE Projects such as Nobody leaves till EVENTS , Upstairs at Kelly s the Daphnia sing (2009) examined ALL EVENTS ARE FREE! Bridge St. the implications of contaminated domestic drinking water supplies in OPENING 1 For over ten years Softday, the art- Galway and West Limerick. Marbh science collaboration of artist Sean Chrois (Dead Zone) (2010) addressed , RECEPTION Taylor and computer scientist Mikael the impact of two ‘contested Fernström, have engaged with issues marine dead zones as a key stressor FRIDAY NOV 4TH � 19:00 relating to natural cycles in time, on marine ecosystems in Donegal, TULCA FESTIVAL GALLERY climate change and its global Ireland. GALWAY SHOPPING CENTRE effects. As a collaborative team they HEADFORD ROAD. use their arts practice to explore In 2011 Softday were selected as TITLE: SOFTDAY relations to and understandings of one of the winning entries to the Official launch by special guest. nature and the world, expressed prestigious project EUROPE – A SOUND the collapse of the Celtic Tiger, toxic Italy. These near bankrupt economies Followed by Live Sound Performance through sonifications and multimedia PANORAMA, in Karlsruhe, Germany. banks and global recession. ‘Dancing have become experimental by Softday. All are welcome. artworks and performances. Both The Karlsruhe live concert will be at the crossroads of the End laboratories of our future. , artists are interested in exploring recorded by Deutschlandradio Kultur Times addresses the malaise and , ‘the cracks between various media and distributed to all European radio meaninglessness of contemporary We know now that the global and creative genres such as expanded stations. democracy – we may well ask, what financial meltdown at the end theatre, sound art, socially engaged kind, a democracy are we living in? , of 2008 brought an end to the practice, sculpture, music, film, dance ‘Dancing at the crossroads of the – it is a pertinent and urgent question utopia of global market capitalism , and the application of new End Times Project Synopsist Softday that has to be addressed, and and heralded the rise of a quasi technologies. have created a new live improvised addressed courageously. redemptive cultural capitalism where sound art work in response to the consumer guilt and environmentalism , Early projects such as Bliain Le text of Sean Taylor s 2011 sound poem The fantasy of a united and neoliberal are nervous bed fellows. As we Baisteach (A Year of Rainfall) (2000) ‘Dancing at the crossroads of the End Europe has been undermined by the approach a political zero point or , looked at fluctuating annual rainfall Times sound poem is augmented by a collapse of economies in Greece, end time for capitalism, what now patterns in Ireland. Further, Cóisir an new acousmatic composition created Portugal, and Ireland, followed hot of the cherished values of liberalism; Tsionainn (The Shannon Suite) (2003) from specific data sources relevant to on their heels by Spain, Belgium and freedom, welfare and security?

THE QUIET CLUB 15 & KATIE O LOONEY MONDAY NOV 7TH � 19-21:00 LIVE SOUND PERFORMANCE THE ROISIN DUBH Henry St.

Formed in 2006, the Quiet Club have met with considerable success and , are recognised as one of Ireland s leading sound art improvisation groups. They frequently play together with guests, which in the past have included Rhodri Davies, Stephen Vitiello, Mark Wastell, John Godfrey, THE QUIET CLUB MICK Ó SHEA Harry Moore, Iarla Ó Lionáird, Steve that accompanies the WIRE magazine and the world renowned Café Oto. has recorded and toured, the USA, She received a B.S.in Art from Roden, David Toop, and many others. which recently also featured an Japan and throughout Europe with Skidmore College in Saratoga Springs, article on their work. They have A CD "SOUNDCAST 4x4+1" featuring many musicians over the past 30 New York and has lived in New The Quiet Club continue to push completed successful tours to both their work has recently been released years, primarily as a drummer with York City, Paris and the Dordogne in , the boundaries of sound making Shanghai, China and Poland last on Farpoint Recordings. They have groups such as Elliott Sharp s Carbon, France. and listening by employing a wide year as well as appearing at several become widely known and respected Bite Like a Kitty, Better than Death, range of sound making devices festivals in Ireland. A residency/ for their durational work with Details at Eleven Raeo, Dustbreeders 2011 performances include a solo ranging from stones, homemade exhibition "Strange Attractor" performances at times ranging from and Zar as well as with many at the Just Listen Festival (Cork/ instruments, electronics, amplified featuring both their sonic and visual four to twelve hours. They also curate wonderful improvising musicians. Limerick) with a soon to be released textures, Theremins, field recordings, work took place in the Crawford work and their annual "Sonic Vigil" cd on Far Point Recordings and as a , etc. Their first CD Tesla was released Gallery Cork in April 2011. A major has become the country s premier Collaborations include working with guest with Strange Attractor at the on Farpoint Recordings (www. publication focusing on this "Strange sound art improvisation event. dance and experimental film. Her Crawford Art Gallery. , farpointrecording.com) in 2009 and a Attractor" comprising of a book, CD Film score for Rose Lowder s Qui Pro , new release is planned for 2011. Most and DVD will be launched in Cork and Katie O Looney is an improvising Quo has been shown worldwide in recently a track of theirs appeared London in Nov 2011 where they will sound and visual artist born in venues such as the Louvre, MOMA, on WIRETAPPER 23 the compilation perform in the pigeon Wing Gallery Killarney and based in Kerry. She and major experimental film festivals.

18 He has shown work nationally and To date he has received bursaries DOMINIC THORPE16 internationally including Infr/Action from the Arts Council of Ireland, performance art festival Venice Culture Ireland and the Kildare WEDNESDAY NOV 16TH � 18:00 2011, Inbound Bergin Museum of County Council. VERY VERY NARROW MOUTH Art Norway 2010, Due Process II COLUMBAN HALL (with Sandra Johnston) The Third Dominic Thorpe has developed a new Sea Rd. Space Gallery Belfast 2011 and Video performance titled ‘Very Very Narrow , � www.dominicthorpe.net Killed the Radio Star Royal Hibernain Mouth for Tulca 2011. The artist � theperformancecollective.com Academy Dublin 2009. He has had continues in his methodology of PHOTO: Rainer Pagel 2009 solo shows at the 126 Gallery Galway utilising and questioning the nature 2010, the Mermaid Arts Centre Bray of official documents and findings of workers, foster carers, members , Dominic Thorpe develops various 2010 and The Courthouse Arts Centre ‘truth . of the Gardaí, politicians and civil elements of performance as a Tinaheally, Wicklow 2009. servants were also found to have visual art form - Body, Material, If you read through the findings either perpetrated, covered up or Duration, Context, Engagement In 2010 he co-curated the landmark of the numerous reports that chosen to ignore the sexual, physical and Collaboration. He explores Irish performance art exhibition have highlighted the abuse (and and emotional abuse of those same presence, experience and encounter RIGHT HERE RIGHT NOW at subsequent cover up) of thousands children. as being crucial to understanding Kilmainham Jail Dublin. He works of children by members of the Have we really understood, accepted and is particularly interested in from Dublin where he also continues catholic clergy in Ireland you will and addressed these findings? the potential of artistic process to develop collaborative work with also discover the enormous scale Have we even begun to comprehend as a means of understanding and the performance Collective - www. and extent to which many other the implications for us as individuals responding to issues of individual and theperformancecollective.com. people, including teachers, workers in and as a society? collective silence. institutions, members of the health What is the point of getting to the care and legal professions, social truth? PHOTO: Joseph CaRR 2010

Vladan Jeremić is artist and curator. the University of Arts Belgrade. Since Context and was one of the initiators LIVE @ 8 9 He was born in 1975 in Belgrade, 2002 he works together with Rena of the project, "Call the Witness - WEDNESDAY NOV 16TH � 20:00 Serbia, where he lives and works. In Rädle as artist duo. They are founder 2nd Roma Pavilion" at the Venice of Biro Beograd, an association that Biennale 2011. He is co-author of THE PERESPECTIVES PT. 1 his artistic practice he researches the intersection between contemporary gives platform for critical practice the artworks within the collective "The Perspectives, Part 1 - The scope art and social activism. Currently in that steps beyond conventional forms Chto Delat? Vladan Jeremić had of political practices of moving im- the focus of his artistic research is of contemporary art, cultural and solo exhibitions in Belgrade, Paris, ages today": A Selection of video art- the meaning of modernist urbanism social research or activism. Vladan Hamburg, Helsinki, Trondheim, works, films and video performances Artists: Oliver Ressler, Joanne today and the emerging social Jeremić was director of the Gallery and Novi Sad, and many group made by curator and artist Vladan , Richardson, Chto Delat?, Saša movements such as emancipatory DOB of the city s cultural center exhibitions. His works are in the Jeremić for Live @ 8 Barbul/Sali Kadrijaj/Rena Rädle/ movements of Roma in Europe. in Belgrade from 2008 until 2009. collection of MUDAM, Luxemburg, See Essay by Vladan Jeremic p22. Vladan Jeremić, Damir Nikšić, Riikka Jeremić holds MFA in Arts, graduated He has curated more than thirty Van Abbe Museum, Eindhoven and , Bar 8 Bar & Restaurant Dock Rd. Kuoppala, Adela Jušić/Lana Cmajcanin Interdisciplinary Master s Studies at exhibitions in local and international Museum Reina Sofia, Madrid.

OPEN STUDIO 15 DAY GALWAY SATURDAY NOV 19TH Engage Art Studios, Cathedral OPEN STUDIO DAY Building, Middle Street. Engage Art Studios & Art Space Studios 12:00 - 17:00 Engage Art Studios is an artist-run Curators Talk by WHW 18:00, Nuns Island Theatre. studio space in Galway city centre. Founded in 2004, Engage supports ambitious, young, professional- Open Studio Day Galway is an minded and emerging artists in opportunity to learn more about a professional environment. The CLOSING PARTY 9 , Galway Arts Centre. The events and Galway s contemporary artists, by studios provide an atmosphere of show were designed to involve the SATURDAY NOV 19TH � 22:00 meeting them in their studios to creativity, production, inspiration public in the artistic process and to discuss their work and practice and opportunity for working artists in R.S.A.G foster debate and interaction with between 12:00pm – 5:00pm. the area. The unique studio space is Artspace Studios, 7/8 Addley Park, ROISIN DUBH other artistic collectives in Galway. Henry St. on the top floors of the old Cathedral Liosbaun, Tuam Road & Black Box Free Event. Open Studio Day Galway includes a Building and is just off Shop Street in Theatre, Dyke Road Galway. Curators talk by WHW, (What, How the heart of Galway City Centre. The currents artists in Artspace Rarely Seen Above Ground aka , and for Whom) a curatorial collective Artspace was formed as an artist s Studios are John Brady, Laura Jeremy Hickey is a talented multi- formed in 1999 and based in Zagreb, The current artists in Engage Art collective by a group of Galway- Brennan, Juliette de la Mer, David instrumentalist hailing from , Croatia. WHW are the curators of the Studios are: Tadhg O Cuirín, Shelly based artists in 1986. The priority Finn, Simon Fleming, Kathleen Furey, Kilkenny. After a busy summer at Croatian participation at the 54th McDonnell, Roisin McAuley, Jessica was to develop studio space for Isabelle Gaborit, Ben Geoghegan, home & abroad, Jeremy is bringing Venice Biennale 2011, and the 11th Nickel, Ann Maria Healy, Ruby Wallis, professional artists and to support Dave Holland, Mariann Hughes his explosive live show back to Istanbul Biennial in 2009 and have Seamus Keane,Victoria McCormack, group and individual work and Browne, Robin Jones, Mark Kelly, Galway. directed the program of Gallery Nova, Maeve Curtis, Dave Callan, Eimear exhibitions. More than 100 artists Louise Manifold, Paul Maye, Triona , a non-profit, city owned gallery in Jean McCormack, Brid Egan, Cecilia have been part of Artspace Studios Mac Giolla Rí, Anne O Byrne, Catherine Live he has being experimenting , , Zagreb since 2003. Danell, Victoria Smith, Angela O Brien, over the 25 years. There are currently O Leanacháin, Mara Sola, Lisa with the idea of a virtual band , Kate Molloy, Roisin O Sullivan, Winnie 19 artists between two locations Sweeney. collaborating with visual artist Pun, Tim Acheson, Clare Lymer. in Liosban and the Black Box. In Paul Mahon (Geppetto)creating February 2011, Artspace studios Artspace is supported by the Arts silhouettes of himself projected � www.engageartstudios.com were part of Supermarket ArtFair in Council and the Galway City Council. on screen backing his live drums, Phone: +353 (0)91 539573 Stockholm Sweden. In August 2011, � www.artspacegalway.coM percussion and vocals. Email: [email protected] the studios had a 25th anniversary Phone: +353 91 773046 Engage is supported by the Arts show with a month-long exhibition Email: [email protected] RSAG is back to play a solo gig with Council and the Galway City Council. and open studio with public events, a new set & spectacular new visual collaborative workshops and talks in show. 19 Lia has embarked on a project-as- Fugitive Papers will commence its Katherine Waugh is a writer and an-institution, employing the recent public phase to coincide with Tulca filmmaker based in Galway. Having WHW 12 history of art as material for building 2011, and will bring together invited a background in philosophy, SATURDAY NOV 19TH � 18:00 up relations, and dialogue. Her contributors (such as Dr. Gavin she actively pursues an ongoing Curators Talk: works are neither installations nor Murphy, Valerie Connor and Joanne engagement with important What, How & for performances; they look like offices Laws) and the public, to consider philosophical concepts as they relate Whom?|WHW for individual research, reading rooms some of these questions. The event is to contemporary art and film. She or places for debates; the focus is free, no booking required, and all are has previously written for Circa, a Nuns Island Theatre. the body of art. She cares less if one welcome. variety of film journals and regularly calls it art or not. Her work examines writes essays for artists catalogues what, how, and ultimately who, Following these dialogues, the both internationally and nationally. What, How & for Whom?|WHW is a enters into the archive of history, invited contributors will be asked to She co-directed The Art of Time a film curatorial collective formed in 1999 mapping the connections in history, make a response to Tulca, and their exploring radical temporalities in the and based in Zagreb, Croatia. Its history of art, theory, politics and texts or other responses will form the work of leading international artists, members are curators Ivet Curlin, language. first printed issue of Fugitive Papers filmmakers and architects. Ana Dević, Nataša Ilić and Sabina in November/December 2011, and Sabolović, and designer and publicist Booking/Contact: Event is free, will also be available on the Fugitive Booking/contact: Event is free. No Dejan Kršić. WHW organizes a no booking necessary. For more Papers website. booking necessary range of production, exhibition and TALKS information on Lia Perjovschi see www.fugitivepapers.org publishing projects, and from 2003, artists pages p16. directs Gallery Nova in Zagreb. "What, Fugitive Papers is funded by the Arts how and for whom?" are the three GREGORY 10 Council of Ireland and Galway City basic questions of every economic Council. organisation that also concern the SHOLETTE planning, concept and realisation of SATURDAY NOV 5TH � 12:00 This talk has been Co-funded by exhibitions, as well as the production Galway Film Centre. and distribution of artworks or the DARK MATTER : , artists position in the labour market." Art, Politics, and Imagination These questions, which were the title under Crisis Capitalism Jesse Jones 13 , of WHW s first project dedicated SATURDAY NOV 19TH � 15:00 Ground Floor, Galway City Museum, FUGITIVE 20 to the 150th anniversary of the Jesse Jones Communist Manifesto, in 2000 in Spanish Parade. , DIALOGUE #2 In Conversation with Zagreb, became the motto of WHW s At this presentation, artist and SATURDAY NOV 12TH � 15:00 - 18:00 Vivienne Dick work and the title of the collective. writer Gregory Sholette discusses his LIVE @ 8 9 Fugitive Papers: Galway Arts Centre. , most recent book Dark Matter: Art Among WHW s exhibitions are: "What, James Merrigan, Michaéle WEDNESDAY NOV 16TH � 20:00 and Politics in an Age of Enterprise How & for Whom, on the occasion of Cutaya and Fiona Woods Culture (Pluto Press, Nov. 2010), "The Perspectives, Part 1" Artist and filmmaker Jesse Jones 152nd anniversary of the Communist as well as his interest in ‘history Curated by Vladan Jeremić discusses Against the realm of the Manifesto", HDLU, Zagreb, 2000; , "The View" in Aras na Mac Leinn, that disturbs the present, which Absolute, her new feminist film in Kunsthalle Exnergasse, Vienna, 2001; NUI Galway BAR 8 Dock Street. he describes as an unprecedented conversation with Vivienne Dick. For "Broadcasting project, dedicated to spilling out of a once-hidden archive. more information see artists pages Nikola Tesla", Technical Museum, � www.fugitivepapers.org These concerns are manifest in his Live @ 8 curators talk at 8:00pm Bar p13. Zagreb, 2002; "Looking Awry" Apexart, new project at 126 Gallery: Imaginary 8pm followed by "The Perspectives, New York, 2003; "Repetition: Pride Archive Galway, an installation that Recent events suggest that the Part 1 - The scope of political Vivienne Dick and Prejudice", Gallery Nova, Zagreb, , includes dozens of contributions ‘social silence which allowed practices of moving images today" : A 2003; "Side-effects", Salon of Museum from local artists, as well as projects economic folly to unfold more or less Selection of video artworks, films and Vivienne Dick has been making films of Contemporary Art, Belgrade, 2004; from abroad that attempt to present in full view, has infiltrated the Irish video performances made by curator and videos for over 30 years. She "Collective Creativity", Kunsthalle documents of a future whose past did cultural discourse so thoroughly that and artist Vladan Jeremić. first became active as a filmmaker in Fridericianum, 2005; "Normalization, not exist. it is extremely difficult, and even the No Wave film and music scene dedicated to Nikola Tesla", Gallery unfashionable, to be critical in Ireland in the late seventies in New York, Nova, Zagreb, 2006; "Vojin Bakić", Booking/contact : Event is free. at this time. Fugitive Papers is an AMIE SIEGEL 12 later moving to London. Currently Gallery Nova & Grazer Kunstverein, For more information on Gregory artistic research project by James she lives in the West of Ireland and 2007|2008; 11th Istanbul Biennial FRIDAY NOV 18TH � 18:00 Sholette and his project the Merrigan, Michaéle Cutaya and Fiona lectures part time at GMIT. Her work "What keeps Mankind Alive?", Imaginary Archive see artists Woods to explore this and other ideas Amie Siegel is concerned with social and sexual Istanbul, 2009; "Hungry Man, Reach pages p9. about art, writing, criticality and In Conversation with politics, relationship, identity, female for the Book. It Is a Weapon", Printed public(s) in Ireland now. Katherine Waugh experience and representation. She Matter, New York, 2010; "Ground has shown at many international Floor America", Lakeside – Klagenfurt *The last screening of DDR/DDR begins LIA 18 The project is determinedly at 3:30 and finishes at 5:45 cinemas, festivals and museums. and Den Frie – Copenhagen, 2010; Perjovschi experimental and involves opening A retrospective of her work was "Art Always Has Its Consequences", a temporary critical space within Nuns Island Theatre. shown at The Crawford Arts Gallery former building of MOCA Zagreb, 2010 SATURDAY NOV 5TH � 15:00 which to organize opinion and in 2009 and at Tate Modern in 2010. (co-curated), Croatian pavillion for LIA PERJOVSCHI: reflection on art and art-writing, Internationally acclaimed artist She is an organiser and curator of 54th Venice Biennial 2011- Tomislav Artists Talk as a public activity. Consisting of and filmmaker Amie Siegel talks Live @ 8. She is guest editor on Gotovac and BADco., 2011; "Details", private and public dialogues, a about her feature length film DDR/ the forthcoming edition of Printed Kunsthal Bergen, 2011; "Second NUI Galway, James Hardiman Library, series of publications and a website, DDR showing in Nuns Island Theatre Project and is currently working on a World", steirischer herbst, Graz, 2011. Browsing Room. Fugitive Papers will work with artists, throughout the Tulca Visual Art new film. writers and publics to consider such Festival. Bridging the gap between Booking/contact : Event is free. No questions as: Can writing on art be visual art and cinema, DDR/DDR is For more information on her work Booking Necessary. , Lia Perjovschi, one of Romania s freed up to be more critical, more a multi-layered film on the German see: � www.luxonline.org.uk/artists/ leading artists, presents a lecture on provocative? Are there new and Democratic Republic and its collapse, vivienne_dick/index.html her practice at the site of her new open ways in which texts on art can using unsettlingly mundane Stasi work created in the James Hardiman be commissioned? What forms of surveillance footage, interviews Library. publishing/presentation might reach former citizens, psychoanalysts, new publics? Can we imagine the and lolling shots of derelict office , Lia Perjovschi s multidisciplinary emergence of new critical publics in buildings into a film that meditations practice recovers, collects, and Ireland at this time? on history, memory, and the shared disseminates the information which technologies of state control and art. has been inaccessible to Romania until 1989. For roughly twenty years 20 within systems of governance. Artists PUBLIC 23 research initiative with the Rialto are familiar with finding innovative � www.blog.art21.org/2010/08/24/ ART CLINIC Youth Project called The Arcade ways of working across disciplines, frances-whitehead-embedded-artist WORK Project which sets out to explore finding solutions where others see MONDAY NOV 14TH � 13:00 - 16:00 principles of practice for an arts- few options, and imagining new � www.artscience.arizona.edu/ based pedagogy in youth work. cultural futures. research_site_slowcleanup.html RESEARCH IN PUBLIC: Current projects include the research Critical Coordinates at the phase of a collaborative public art This workshop is open to Artists, Arts Art-House-Café , SHOPS commission located in the Sliabh Bán After Frances Whitehead s talk Policy makers, Graduates, NUIG Arts Vagabond Reviews (Ailbhe Murphy & Estate in Galway, and the delivery of there will be a round table Policy MA students, the Advocacy Ciaran Smyth) a course module Others and Exiles: discussion between the following: group and individual students, also Culture, Diversity & Creative Research Representative(s) from Galway City Art, Design and Film Students from GREGORY 14 No.18 Sliabh Bán, Ballybane Practice as an element of a Masters and County Councils, Megs Morley GMIT and the Burren College of Art. in Social Science Programme at (Curator Tulca & Artist), Dee Quinn , SHOLETTE In the context of a public art the School of Sociology, University (NUIG), Deirdre O Mahony (Artist & Workshop places are limited. MONDAY NOV 7TH � 10:30 - 16:30 commission Vagabond Reviews has College Dublin. Lecturer GMIT) and Artists Ailbhe Advance booking is necessary. To CONTEMPORARY ARTISTS established a temporary cultural Murphy and Carán Smyth of Vagabond register your place contact: COLLECTIVES : space in a house at the Sliabh Bán Places are limited advance booking Reviews. � [email protected] Tactics, Models & Imaginative estate, Ballybane Galway. Signalled is necessary by emailing: Possibilities in the neighbourhood as the Art- � [email protected] This will be followed by a workshop This event has been supported House-Café the house has been to consider the ideas and issues through the collaboration between constituted as the central research Commissioned by Galway City Council, raised and how they will impact GMIT, The Huston School of Film & Aras Na Gael Ground Floor, Dominic St. , device for opening up a dialogue with under the Per cent for Art Scheme. participants practice. Digital Media, and Tulca. and between residents. At the same , , Why is it that artists collectives have time Vagabond Reviews has been Frances Whitehead s involvement in emerged in such numbers over the facilitating a module as part of an public works projects convinced her past few years? What is a collective M.Soc.Sc. programme at the School that, as an artist she had something , as opposed to an art s organization? of Sociology at University College Supported by The Sliabh Ban valuable to contribute to the growing Are there advantages to working Dublin entitled Others and Exiles: Residents Association Committee and discourse on urban sustainability and in a group context, as well as Culture, Diversity & Creative Research Cluid design. Dissatisfied with the limited disadvantages? How does art world Practice which takes the form of an civic engagement offered by typical (both local and global) perceive the interdisciplinary epistemological public art opportunities, she founded work made by such informal groups, investigation, setting out to critically the Embedded Artist Project, which collaborations, and collectives? explore through examples of practice, she now conducts in partnership Artist and writer Gregory Sholette how research methods and socially with The School of the Art Institute will address these questions while engaged arts practice have developed and the City of Chicago. The goal of leading a workshop in the theory and particular ways of sense making and the program is to "embed" practicing practice of contemporary cooperative (re) presentation. artists into city government in order art making. Drawing on several to "bring new perspectives, mindsets, decades of cultural organizing in New As part of the Tulca programme of and processes" to planning projects , York City participants will develop situated dialogues Vagabond Reviews FRANCES 20 that revolve around the city s future. , alternative models for how artists will conduct a Public Art Clinic at Sponsored by the City s Innovation can work together, make decisions, No.18 Sliabh Bán. Reflections on our WHITEHEAD Program, Whitehead now works , avoid conflicts, and sustain their residency along with some critical THURSDAY NOV 17TH � 14:30 - 18:00 part time in the city s Department activity. A variety of outcomes and coordinates drawn from the Others of Environment, where she works in The Embedded Artist options for these imagined collectives and Exiles Module will be harnessed the Brownfield Initiative alongside Project: will be analyzed from both a practical to explore and generate broader a team of planners, scientists, Strategies for Civic and visionary perspective. discussion on the experiential, botanists, and other experts on a Engagement. epistemological and representational project called Slow Cleanup that What Do Artists Know? For more information please see challenges that arise when artistic involves using phytoremediation , Gregory Sholette s "Imaginary and research-based ways of knowing NUI Galway techniques to reclaim abandoned Archive" project at 126 gallery pg. 9. are brought together through public Huston School of Film & Digital Media. gas stations throughout the city. , art research processes. Whitehead says she s not sure if Workshop places are very limited. what she does now is art, or some , Participant fee: €15, light lunch Vagabond Reviews. Presentation and workshop on the new category that hasn t quite been included. Advance booking is strategy of "embedding" practicing defined. essential. To register, contact: Established in 2007 by artist and artists at local government level � [email protected] researcher Ailbhe Murphy and bridging policy and practice in order for more information. independent writer and researcher to bring new perspectives, mindsets, "My question is, how do you change , Ciaran Smyth, Vagabond Reviews and processes to planning the city s the culture, and what do artists know combines art interventions and future. that can contribute to this [change]?" research processes in order to she said. By mapping out a knowledge , develop interdisciplinary trajectories Frances Whitehead s ‘Embedded claim for artists, Whitehead is , of critical inquiry into a range of Artists Project explores new models re-framing long-held assumptions socially situated arenas of practice. and systems that can conceptualise about what it means to be an artist Projects include the Cultural Review, and foster innovative approaches to while asking us to reconsider the a collaborative arts-based research the issues and challenges presented notion that artistic practice is an initiative conducted with the to, and by, a city such as Galway. inherently individualistic enterprise." community development project One way of addressing the problem - Frances Whitehead Fatima Groups United. Most recently of diminishing resources is to create Embedded Artist Vagabond Reviews has developed a a space for cultural representation 21 The Perspectives, Part 1 by Vladan Jeremić The scope of political practices of moving images today:

A Selection of video artworks, films and video performances made by the curator and artist Vladan Jeremić for Live @ 8 Bar 8, The Docks. Wednesday 16th Nov. at 8.00pm

Artists: Oliver Ressler, Joanne Richardson, Chto Delat?, Saša Barbul|Sali Kadrijaj|Rena Rädle|Vladan Jeremić, Damir Nikšić, Riikka Kuoppala, Adela Jušić|Lana Cmajcanin

The presented collection of films, video majority of the selected works actively consider and a horizon of the emancipatory method that consequences of severe class antagonisms in artworks and video performances, shorter – a question that I constantly explore in my characterizes almost all of the selected works. the intensified crisis of the European Union and and longer artistic statements entitled The curatorial and art projects. This is a question of Authors of works from the presented selection, its potential drop outs or in the member states Perspectives, Part 1 - The scope of political relationship between politics and art, i.e. the artists Joanne Richardson and Dmitry Vilensky, beyond hope. practices of moving images today has been political practice in art: in the newspaper publication entitled Make prepared for the event Live @ 8 that takes Film Politically, [2] take into consideration a Perceived more broadly, we can say that , place this year in the context of the concept "…Political practice in art has to communicate statement of Jean-Luc Godard that it s not the presented works show the symptoms of "After the fall" for the TULCA annual season its message at various levels. Its activity and enough to make political films; films must neoliberal reality (i.e. neoliberal realism that of contemporary visual art in Galway at the reception cannot be confined to the privileged also be made politically. In several essays has replaced real-socialism in the processes invitation of artist and curator Megs Morley. aesthetic gaze in the context of contemporary and manifests Joanne and Dmitry consider of transition in post Warsaw Pact and ex art. Formalism and references to aesthetic and analyze the form, reception, distribution, Yugoslavia states) and the effects of the Several years ago, on August 28th 2008 to norms reassure the viewers in their self- ownership, position of the speaking subject, exporting of the crisis from the EU|USA to their be more precise, I took part for the first time perception, making the artwork become just collective production and didactic element of peripheries. in Live @ 8 at the invitation of Tom Flanagan another lolly-pop in the candy-store. Art is more film. In their texts, the artists reflect upon and and Megs Morley and at the recommendation of than that; it can develop methods for putting expand through their contemporary analysis, The film Socialism Failed, Capitalism is my colleague and friend Vukašin Nedeljković, an theory into practice. The specific potential of the famous statement of Jean-Luc Godard. Bankrupt. What Comes Next? of the Austrian artist from Belgrade who had sought political art is based on the fact it can at the same time artist Oliver Ressler explores exactly the asylum in Ireland some years earlier, unable practice, analyse and criticize a method or The majority of the presented artworks in The economic and political depression in post-Soviet to further withstand the economic-political concept. Art does not take place in a laboratory Perspectives, Part 1 - The scope of political states like Armenia. situation in Serbia following the assassination situation. The artist must be conscious of the practices of moving images today, were made in of Prime Minister Zoran Dinđić. My participation consequences, implications and circumstances countries where people are confronted with the The film Gazela by Serbian authors Saša Barbul, in the Live @ 8 at that time took place as a live of production and consumption. Needless to harsh social surroundings and radical political Sali Kadrijaj, Rädle and Vladan Jeremić deals discussion through Skype, as part of the Art, say, the production of art is subject to the and economical processes that followed after with the discrimination of the deprived and the Global Village event curated by Flanagan same relations of exploitation as other forms of the falling apart of the Eastern Bloc and economically most endangered citizens, the , and Morley. We discussed projects that were production in capitalist society. But this doesn t Yugoslavia. As they dominate every day life, Roma. developing in the art scene of Belgrade and mean that we are condemned to reproduce the many contemporary artists from these regions Galway and had an opportunity to talk about existing conditions in our society. Our task is deal with these societal antagonisms in their art. The often-violent attitude towards others cultural production and contemporary art in the to use artistic production against the matrix and Otherness in Europe and the question of Balkans, and about possible common ground of exploitation and in this way to turn the Presented movies show the distinction and construction of nation and identity in post- and differences. situation upside down…."[1] similarity of global problems and crises or socialist societies in the Balkans are explored in talk about collective and individual memories, the video works of Sarajevo artist Damir Nikšić. In order to more precisely define the reason I can point out right away that an important sometimes in the manner of performance. Four of his very witty video artworks found for the selection of presented artworks in the common trait of the films, video artworks Discussing concrete problems like, for example, themselves in the selection: Where the Turk , , context of this year s Tulca exhibition After and video performances from my "political" Anti-Gypsyism and Anti-Islamism in the Trod, If I wasn t Muslim, Mazlum X and Brother the fall, I will refer to a question that the selection is in fact a conscious social criticism Balkans and Europe, these works point to the in the Balkans. 22 , _ .. _ ALL PHOTOS: Gazela - Temporary Shelter from 100 to 500 Years - SaSa Barbul, Sali Kadrijaj, RAdle and Vladan JeremiC

The unstable identity construct and antagonism Vladan Jeremić (b. 1975, Belgrade) is a curator Vladan Jeremić is an artist and curator. He was (Vladan Jeremić will be presenting a talk at after the collapse of socialism is depicted by the and artist who lives and works in Belgrade, born in 1975 in Belgrade, Serbia, where he lives Bar 8 on Weds 16th Nov at 8:00pm, followed film Letter from Moldova by Joanne Richardson. Serbia. In his artistic and curatorial practice and works. In his artistic practice he researches by the screening programme) For more , The Republic of Moldova is one of the poorest he researches and develops interactions the intersection between contemporary information please see under ‘Talk s p20. and politically most marginalized European between contemporary art and political art and social activism. Currently the focus [1] To Think (Film) Politically:Art and Activism between countries, in which every third citizen is a activism. Together with Rena Rädle he founded of his artistic research is the meaning of Representation and Direct Action, WEIYTH Seminar deprived migrant laborer in Western Europe and Biro Beograd, an association that provides modernist urbanism today and the emerging Notebook 1, editor Jelena Vesić, publisher DeLVe, Zagreb 2010 Russia. a platform for critical practice that goes social movements such as the emancipatory beyond conventional forms of contemporary movements of Roma in Europe. Jeremić holds [2] Gallery Nova Newspaper no. 14, publication of the Helsinki artist Riika Kuoppala, in her film Under art, cultural and social research, or activism. MFA in Arts, graduated Interdisciplinary group Chto Delat? from Russia, 2010 (Dmitry Vilensky , is one of the founders of this group). a Burning City, explores the (im)possibility Jeremić has curated many exhibitions in both Master s Studies at the University of Arts of communicating the experience of war and local and international contexts and was one of Belgrade. Since 2002 he works together memory of war. In Finland, the memory of the initiators of the project ‘Call the Witness: with Rena Rädle as artist duo. They are the , World War I and II is still ambivalent and a 2nd Roma Pavilion at the 54th Venice Biennial. founders of Biro Beograd, an association that matter of discussion. In her previous film, gives platform for critical practice that steps entitled No Signs of Fear, a young American Selected works: beyond conventional forms of contemporary talks about her brother that disappeared and art, cultural and social research and activism. , her relation towards this history. Damir Nikšić - If I wasn t Muslim (7:03), 2004 Vladan Jeremić was the director of the Gallery , Joanne Richardsson - Letter from Moldova DOB of the city s cultural center in Belgrade With the video performance I Will Never Talk (28:00), 2009 from 2008 until 2009. He has curated more about the War Again, Adela Jušić and Lana Chto Delat? - Angry Sandwich people or in a than thirty exhibitions in local and international Cmajcanin draw attention to the post-war Praise of Dialectic (8:00), 2006 contexts and was one of the initiators of the situation in Bosnia and Herzegovina. From their Damir Nikšić - Mazlum X (0:58), 2010 project, "Call the Witness - 2nd Roma Pavilion" personal experience, they come to a conclusion Riikka Kuoppala - No Signs of Fear (4:30), 2009 at the Venice Biennale 2011. He is a co-author that it is impossible not to talk about the war in Adela Jušić and Lana Cmajcanin (09:42), 2011 of the artworks within the collective Chto everyday life. Damir Nikšić - Brother in the Balkans (1:45), Delat? Vladan Jeremić had solo exhibitions in 2009 Belgrade, Paris, Hamburg, Helsinki, Trondheim, Finally, the video performance of Russian Oliver Ressler - Socialism Failed, Capitalism is and Novi Sad, and many group exhibitions. collective Chto Delat? entitled Angry Sandwich Bankrupt. What comes Next? (19:00), 2010 His works are in the collection of MUDAM, People or in Praise of Dialectic makes a street Saša Barbul, Sali Kadrijaj, Rädle and Vladan Luxemburg, Van Abbe Museum, Eindhoven and protest in the form of theatrical happening in Jeremić - Gazela - Temporary Shelter from 100 Museum Reina Sofia, Madrid. urban space and show how artistic performance to 500 Years (24:02), 2009 can become a means for the real political Damir Nikšić - Where the Turk Trod (1:06), 2008 action. Riikka Kuoppala - Under a Burning City (17:00), 2010 23 Gregory Sholette & Ben Geoghegan in conversation August- Sept. 2011

It many respects it has become something of As the sunset disappeared over Galway Bay, A large abandoned building sat edgewise "Now, Live to Air, an interview with a cult object reminiscent of a manifesto to be in the cover of darkness the presenters on the bank of the Corrib. The walls closest Gango Hen, whom allegedly attended the read under the cover of darkness. The myth draw closer for warmth. In an effort to to the river were covered in plant tendrils presentation of the seven proposals, some allows for a knowing frustration with certain generate a reverse cross grain ideology, and moss. Inside dampness ruled. Up a set time back. ideological positions held in the city to be with mumbled thoughts they gather words of stone steps was a low arched doorway. , , revealed and the report itself is the answer and begin with ‘Why did he come? It s said Up another set of stairs the corridor opened How did you find out about the presentation to the question of how to over come them. he came to influence policy, before the big into a larger space, still damp and just visible Gango? , European Capital of Culture bid. The city s thanks to a diffused grey light. A folding , ++++++ internal structure had a flaw; the Visual Arts wood table of the type used for playing I heard about it from friends, I don t sector needed TLC and ASAP. In the cross cards sat in the center of the space. Tucked remember who exactly now, it came up The heat from the radio transmitter was fire; friendly got hit. Collateral damage and beneath the table rested a battered-looking while I was sipping a pint in the coffin of intense enough to dry out the moisture in the manuscript got lost or was on a floppy apparatus: a portable radio transmitter. And ambition. , the room s thick walls by end of day. The zip disk. Before the speed transporters, the it was here upon this table and with this broadcast had been going on for hours. Never hyperdrivers and the timeloopers there was knocked-about transmitter that a makeshift Can you remember anything from the so long before, and all about making Galway planes, trains and automobiles. Unknown radio station came into being, if only presentation? some sort of autonomous cultural centre. friendly presenters were hard spot and face now and then. Hurriedly brought out and Every artist listening shook their collective to face was the medium. Who would have assembled, its crooked telescoping antennae On mature recollection I can remember heads: Seven proposals, seven proposals, known it was before time. The message, the clipped via an orange automobile jumper to a everything as if it was yesterday. , what on fuckin earth was this about manifesto is somewhere and everywhere out dull steel cable running up the inside of the anyway? there. Hard to get a hold of and held waiting building (and probably keeping it from falling Can you describe the event? for the request of those interested by those down), the electric provided by a muffled +++++++ with the script as Word Doc. generator, and then, with a distorted and It was in a hotel... or a bar... or a hotel crackled pop… with a bar. The atmosphere was tense, the +++++++ room was stuffy and I had a hangover, me "This is Radio Free Galway coming to you tongue was gasping for a drop of a hairy from an undisclosed location …" dag, I mean I was looking for the hair of the dog. Anyways, I was taking it all in, as in, I ++++++ was taking in all whom were in the room, when a foreign national took to the stage. Co-members of the audience were quiet, a bit too quiet. The foreign national made this way to the front, he had a polite smile , and started his presentation. I wasn t really paying attention to himsell but I did notice

24 twenty minutes in, there was an unhealthy The one which had been presented? With presenters shirking to fit spaces and "…this is Radio Free Galway and we are amount of movement in seats. Some took Oh.... no. I mean, ( break in transmission) gaps in various vessels they collectively breaking and entering the archive –possibly to the bar at the back of the room, so I saw salvaged, a space for reflection descended from vents in the floor or some other my gap and out I went to order a pint of I know, yes. There is a report, reportedly, part on the crew of rafts. Facing out over the lip basement entry point (ha ha) - we are , shout. It was lovely…… The pint of shout. of it was reprinted in ‘Brochure Two, but I of the craft; the long front of culture often spreading about the city invisibly, and There was talk at the bar something akin never seen it, the full report … reforms and reshapes, exhibiting multiple speeding up time and slowing it down and to what you might get at mass of a Sunday. reflections. Critical mass collected on the moving it back and forth using a whole Men chatting at the back, unsympathetic to The transmission goes dead ground of the parish, regardless of the assortment of arms and instruments for the presentation of spiritual guidance. Then, powerbrokers and civic support systems crawling through different thickness of all of a sudden, there was a bolt of tension ++++++++++ and went on to produce Adapt, Average, history including: paddles, flippers, clamps, across the room. Some, where standing, and Artisit? First Draft, Enso, 126, Féach, Space claws, clips, spines, pins, pinchers, needles, of the standers some held fists for waving. All guests, especially foreign ones, are Invaders, Rosa Parks, Artspace, Niland and scoops, whips, tails, chips, pincers, needles… , I m not sure exactly of what gripe they expected to wander helplessly into the Engage, MART, LORG, Kitchen Collective, its thick stuff full of Rodchenkoplasm and processed but the poor man at the podium locally known mine fields of any small Knee-Jerk, Akin, Emerge, Shower of Kunst, Tatlinoplasm, and Popovaplasm, not to was not having a good time of it. Fair play community. Packed with explosive social and Live@8. The collective led agency for mention a certain azure radiation known as to him, but he managed to weathered four histories, resentments, feuds and gossip, the airing voices runs in parallel with the script. Blue Funk n. Inf., chiefly Brit. A state of great questions hurled fast and hard at him in detonation of these buried anti-personnel Some presenters have fallen and some terror…because revolution is history out of quick time. My new friends at the bar were weapons is anticipated, and not only for moved on but they are not forgotten. The place…" quiet now, and myself stood in disbelief the laugh it provides, but also because the maps have been charted in transmissions. at the turn of events. It became angry blast proves something to those who live Their vision and courage provides the legacy very quickly after the return of answers by there, something about their very existence. and guidance for the future. The Archive Gregory Sholette is a New York Artist & yourman. Like a gaggle of wolfs hollering Needless to say, no amount of care will save winks and gently laps against the barely sea Writer who was commissioned under the , over one another. Himsell left the room the guest from his or her fate, and in fact the worthy rafts. This assembly of vessels, cross Arts Council s Critical Voices programme to followed by some of the fist wavers. Some proper visitor knows how to read the signals lashed together as a craft, is going to make create a report on the visual arts in Galway send off, not marched but ran out. sent to him by locals regarding where the it through, down the Corrib passing Radio in 2001. ( see p9 for more information on the mines are located and then, dutifully, steer Free Galway out into the abundant Bay in Imaginary Archive project) Right. OK can you tell me anything about the directly into the field without protest. time for nightfall. Once more to find space report? amongst the darkness… Ben Geoghegan is a visual practitioner based ++++++ in Artspace Studios, Galway. For more info What report? The white noise clears and the Radio Free please visit: Was what they said about him true? Well, no, Galway transmission is back … � ww.bengeoghegan.blogspot.com (Crackling interference contorts the signal) not all of it, forgivable or not (someone will Are we still live…..? vouch for this). And yes, he did misspell the ++++++ Through the white noise… name of a certain councilman John Tierney as John Tyranny (maybe his word processor did not pick this up or it inserted the change all by its heartless self).

+++++++ 25 Image: Chris Fite-Wassilak Beyond Two Thousand A story by Chris Fite-Wassilak

, the headlines: She stops his recounting of his past week by He gets back late, she doesn t wake up. When He looks back at the phone and reluctantly UNKNOWN BACTERIAL EPIDEMIC RELEASED shifting uncertainly to the windowsill. He he is leaving the next morning, he sees a rash puts it down. His face is a layered oval, with FROM MELTING ICE CAPS IN NORTHERN follows her statement with silence. to the right of her nose, fading but still angry. large lips of skin lazing on top of eachother, , GREENLAND, 3 MEMBERS OF EXPEDITION It s not a rash, she says. breathing gently. His chin, neck, and chest all HOSPITALISED IN TORONTO MORE UPDATES TO He has to fly out the next day as if she booked seem to occupy different strata oiled with the FOLLOW the flights herself. They are visiting producers, • shine of sweat. Deliberately he draws the pad climbing impossible ascensions to arrive at of paper towards him, asking that each piece of even more improbable vistas over shrouded He is alone for the week, sitting around clothing be repeated before he writes it down. mountains. She phones halfway through the the house pretending to clean and batting day. at the fruit flies. Dropping his suit at the What have you got? laundrette the man in the back room is leaning , Hope you re having a good day. contentedly into his chair, holding a diminished A jacket, trousers, shirt and tie. phone to his sizable head. The man ignores him , Yeah, alright. I m just tired. for a minute, but when he persists in standing Ok so then, a jacket and trousers, right? in the doorway holding a suit in his hands, the , I ve had some sort of allergic reaction, my face man stops with a frown. Yes. , has puffed like an elephant. You re lucky you , don t have to see me. Yes, what do you want? So then a suit?

What? What was it? As if there another reason to stand there. Yes.

, , I don t know, I can t know. All of a sudden I want these cleaned. And a shirt? yesterday I was just all red and patchy, now , my face is all fat and squishy. I ve gotten some Yes. pills, but all I can do is wait. And a tie. 26 , Yes. again. Then he uses a mini shovel usually found - Yeah but this is a private community, you - We ve contained the sickness. , by fireplaces to turn small amounts of dirt onto can t just waltz in here. , , Is Thursday ok? the long, thing wooden coffin painted white - No, it s the hope I m talking about. That we in front of him. The whole thing, as another - I was born here. My foster parents lived here. can contain the hope, or that we can even , I can t come Thursday, Wednesday is still two language, seems abstract until the box is lifted Or I visited my aunt here. articulate as a finished idea the space that hope , days away. and carried out and its weight hits him. is meant to designate. This isn t done yet, but , - That isn t an invitation. all we can do is continue to regenerate a ghost , , Ok, Wednesday evening. Don t come early. A few days later in rubbed out sleep he s of our previous life. The deadlands, the dystopia , standing at work when a Spanish woman leans - For what? we ve always dreamed about is already cycled , • in close. through to be the new ideal, it s done, a fait - I need an address, form of written accompli. , The next day he goes to her brother s house, confirmation. , feeling like an interloper. They wander out of - Those are old words you re throwing around , , the house to the pub, stopping by the shops What s wrong with your eye? - The door was brown. Gold handle, malleable there son. Calm down a second, don t get all het , , on the way. Waiting outside, the brother s to the grip. They had a garden, some grass, a up again, now let s start again, one more time. , girlfriend comes out of the store in a bustle. I guess it s just a sty. large guard dog. , - It s just another evangelical swoop, the start , , Wait a minute I ll be right back I have to go get She nods her finger. What you must do, is tie a - That s every property in this estate. Be more again. That belief that things used to be better, , some antihistamines. He s a guy from the pub loop of rope around your big toe opposite. The specific son. even. Nothing ever changes, really. Why not , , I know him, just make sure he s alright I ll be feet have nerves, small nerves you see, that celebrate that? The champion of atrophy? right back. correspond to the face. You must stimulate - I can see words. them. The sheriff hears the questions, the raise in A sallow stick of a man stumbles out, clutching voice at the end of the statement, and his eyes , aviator glasses. His eyes look like they are Blinking hurts. Everyone has a solution: hot - Now listen there s thousands of sets here, a change. He is no longer looking at this strange covered in a layer of lard. water, cold water, rubbing garlic or onion. He family unit in each. Where in the grid do you man, not just another nameless wanderer but , just wants to sleep. think you re going? more determined and sharp somehow, and , My face feels like it s going to explode. looks instead just beyond the thickly smeared , , There s no way of knowing how pudgy he is The last frame is a skylight window, a whited - This is the place I was, and I know I m here. teal breeze block walls. The tan coloured normally, if this is swelling or baby fat. His cloudy sky framed in a rhomboid, the red telephone that had been designated for this neck is camouflaged scarlet. She returns with curtain hanging down. But just on the bottom He furrows his brow, his eyes with the long situation is tucked in the rooms corner. He , the pills and admonishes him twice that they re reverse L of the open window is a thin, sharp distance stare that is bestowed upon those who leans up off the table and reaches for the strong and only need to be taken once. He line of golden sunlight giving its last clarity are beyond not ever having enough sleep and receiver. follows to the pub and later ignores them. before giving up for the night. more into the tight and branching pathways of not even knowing how to care. Just after arriving home he hears, a friend who • Chris Fite-Wassilak is a writer, critic, curator , , he had just missed on a visit to the city a few - I know I ve been to this city. Places you ve and cheesemonger based in London; he writes months ago has taken ill. The next day a coma, Six months later: been, lived in, known before, are like scars. regularly for frieze, Art Monthly, Art Papers , and the next he s gone. Copenhagen is bigger You know the contours, through a sharp and and Art Review. Recent projects include , than he remembers, less crowded. The service - So let s start this again. faded distance, and following them brings alive Feedback: David Beattie, Karl Burke, Chris has a touching feature in flowers strewn across scattered murmurs of memories. You can see Fite-Wassilak at the Galway Arts Centre, and , the church aisles and floor, that he isn t sure is - From where? the distance between your previous self, the he is the associate curator for Aoife Tunney,s tradition or the outpouring of grief for such a inevitable actions that caused the scar, and the All Humans Do group exhibition opening in the young and unexpected death. The priest, too, - From the top. What do you remember? You slow waters you now move through. White Box, New York in January 2012. , is too young, catching words here and there can t just turn up here and not know like some from the sermon that are understandable only sort of phantom out of the mist. - What are you talking about? � ww.growgnome.com because the Danish is equivalent to his own , language: nordic quality, content, and the - I only know bits. Directions. Descriptions. - It s future sickness. sharp repetition of his name, over and over Floating words here and there. 27 Fear of Falling

NIALL MOORE

It is hard to deny that we are living through a This shift in mood in relation to the future is The rise of pre-emption can be defined under the dangers inherent to the present moment precarious historical moment. The disruption not the advent of something new, but rather late capitalism as the degree to which, as (namely the possibility of a lurch to the political of once steadily unfolding narratives of the consolidation and distinct expression citizens and consumers, we are no longer right, where nationalism and conservatism progress and advancement are, for the writer of processes and elements that were addressed according to our ideations or beliefs flourish). This example is a ‘simulacrum of , Dominic Fox, shocking not only because already moving of their own accord under but by the dispositional angle of our affectivity. malcontent , a displacement of the broader , they ‘warn of great and imminent crisis , neoliberal capitalism, and accelerated under "It is a preemptive event that is not content to narrative to mythic time, with its own sacred , but that they describe our ‘world as we neoconservatism. Along with this change in juxtapose the before and after, but contrives images and forms. "It embodies a will that know it; it follows that not only is another the prevailing mood has come a shift in mode. to overlay them". [4] When the future is closed which is should not be, not a will that which is, , world possible, but our current reality is This mode is ‘pre-emptive and through a off, it invades the crannies of the present, should be otherwise".[7] , contingent, revealed as ‘unsustainable and paradigmatic shift has become apparent in bringing with it contingency and fear of , ‘impossible . Its stubborn existence is an recent years on the political stage and more threat. What happened already, could strike While recent academic discussions have begun irrational persistence, or a ‘disorder in the recently in the efforts to stem to the ongoing at any time, from within or outside ranks. As to unfold the complicated relationships of these , real . [1] The shock of this realisation detaches economic crisis, but is by no means confined an example that can be thought through the regimes of power, they are only now beginning us from the comfortable image of reality to them. The pre- emptive is anobjective, future anterior, the theme for this years festival to infiltrate the discourses of visual culture. , , that we once held and offers the ‘world as a asubjective. In other words it is impersonal, - ‘After the fall , a compound tense which Perhaps then as just one entry point into backdrop where once anonymous processes retaining the autonomy of its process by folding describes with certainty the future as already- discussions about plotting a way forward for reveal their impersonal causes against personal its intervention into its future unfoldings, will-have-been, the future-past, is a well beaten visual culture in this uncertain climate would circumstance. The narratives of economic drawing energy from the outside to propel it philosophical path. The future anterior is the be to assimilate and invert these predominant collapse, political upheaval, the erosion of along its trajectory. Pre-emption is distinct temporal equivalent of a tautology - the logic of economic and political discourses as subject the notions of sovereignty and autonomy as from prevention and its correlate deterrence, as the foregone conclusion. Its paradoxical nature matter, refracted through the paradigm of the witnessed through the media continuously a self-effecting process, with its own integral creates time- slippages, or feedback loops future anterior. Given that even post-bailout converge around this increasingly widespread logic that acts upon the futurity in the present, which in the name of security and certainty act discussions surrounding visual culture in Ireland awareness and have introduce a degree of the foregone conclusion, the future- anterior. to recentre action along a present-future axis still follow in the slipstream of predominant precarity at all levels of contemporary life. This Paradoxically though, by making threat but end up re-inscribing the future upon the economic arguments, the current situation precarity is impossible to objectively define, the object of its activity, pre-emption does past by bypassing the uncertain present. provides a rich reserve of subject matter and but is pervasive and ever present; much like not deter unwanted scenarios but actively could produce very real effects. Discourse on the weather, it is environmental. It threads precipitates them into actuality from the future At a more local level, recent events in Ireland, its own is not enough, as it would inevitably , together the discontinuities and anomalies yet-to-come. namely the collapse of the economy and ‘subordinate contingency to other concepts . [8] of generic experiences. In this state our subsequent social upheaval are the main Restoring gravity to the situation is to put this , conception of the ‘future , no longer stretches What we have witnessed is how the cultural and political co-ordinates which define sense of disenfranchisement to work, or ‘other , , out indefinitely toward a utopia described mechanisms of contemporary power, in an the sole sphere for intervention for our ‘world , worldly commitments , rather than waiting on by rational tendencies from a past-present effort to subordinate contingency and restore drawing all other arguments under its remit. authoritative judgment at some indeterminate , axis, but teeters uncertainly along a present- a degree of certainty to interests under If we take the ‘fall , as the grounding event period in the future. To do so would mean future axis, in fear of another accident or fall. threat, seize upon this potential or futurity in for national sovereignty, or the bailout in this aligning these critical discourses with artistic In light of this current doleful atmosphere, the political present. Another aspect of pre- instance, once it arrived it seemed as if it had practices that already deal with contingency and the difficulty of identifying another way emption is the bypassing of logico-discursive always and already been known, it was just a and process in their own right. Tulca offers this of continuing, the urgency of finding ways frameworks. It does so not because logical and matter of time before it revealed itself. This opportunity, where in a small locality with a to incorporate the contingent would seem discursive facts cease to exist or ring true, but is the event of the fall of Irish sovereignty high proportion of artists and a relative lack obvious. that they seem insufficient to the task at hand. as advent and threat. "The pure past of the of infrastructure, these dynamics can be made To admit to adopting a discursive approach is sudden and uncontrollable contingency, and readily apparent and used for productive ends. The word contingent, is derived from the akin to admitting indecision beforehand. In the the uncertain future of its recurrence. Future- , , Latin ‘contingere , "Meaning ‘to befall – it is face of contingency and uncertainty, its flipside, past." [6] The recent images of bailout protests Niall Moore (Born Galway, 1982) is an artist an event that happens to us, that comes from command and certainty are the order of the at the Dáil, where some members of the public and writer living and working in London. , outside, that simply ‘strikes without any day. This is perhaps the most troubling aspect came dressed as leaders of the 1916 rising , possible prevision. In [Quentin] Meillassoux s of pre-emptive politics. Rather than a deliberate demonstrates the paradoxical nature of the [1] Fox, Dominic. Cold World: The Aesthetics of Dejec- tion and the Politics of Militant Dysphoria, 0 Books, words: The contingent [...] is something misreading or suppression of the facts of the timeline as read through the narrative of Irish , 2009. that finally happens – something other, situation, pre-emption is a ‘thinking machine , sovereignty, if a little comically, and a little something which, in its irreducibility to all producing its own facts of affective passage, more tragically. The presumption of allegiance [2] Mackay, Robin, Three Figures of Contingency, The Medium of Contingency, Urbanomic, 2011 pre-registered possibilities, puts an end to the dynamically interpreting an endless series of is the future-anterior of political persuasion vanity of a game wherein everything, even the events through its own signs of alarm. Because and the basis of affective fact. Invoking the [3] Massumi, Brian. The Future Birth of the Affective , improbable, is predictable. [2] When a ‘fall , in the foregone conclusion of the future-anterior names of the rising is not a logical argument, Fact. The Affect Theory Reader, Gregory Seigworth et Melissa Gregg (éds). Durham: Duke University Press: its metaphorical sense can be understood as is political command, such thinking never has to but its conviction is pure and self – preceding 52-70. 2010. a contingency external to any provision, the be in error. In other words, repeating the threat and repeating the charge enough times can in very idea of a contingency plan is revealed as a or cause for alarm is proof enough. It effects effect, rally the troops. The humiliation of the [4] Massumi, Brian. 2010.

contradiction in terms. itself materially into empirical fact by way of bailout as a contingent event that befell us, [5] Massumi, B. (1993). Everywhere You Want to Be: this simple mechanism. "Threat triggers fear. is that it subtracted the permanence of the Introduction to Fear. In B. Massumi (Ed) The Politics The fear is of disruption. Fear is disruption." [3] historical facts from rational necessity. Against of Everyday Fear (pp. 3-37). Minneapolis: University of Minnesota. Ten years on after the fall of the Twin Towers, a backdrop of ghost estates the machinations , and the subsequent war on terror we have of the marketplace have revealed ‘sovereignty [6] Fox, Dominic. 2009. seen how these mechanisms have paradoxically to be a liquid term. A performative public , [7]Fanning, John. The State and the Arts: A Healthy served to corrode ‘freedom at the expense of protest, while just one small isolated incident , Intersection. The Irish Times, September 3rd 2011. its opposite number ‘security . in a much larger event, nevertheless dramatizes Available at www.tinyurl.com|69m5yb5

28 [8] Mackay, Robin. 2010. OPENSPACE FOR NEW HORIZONS

All images © Suzanne Bosch 2011

, Open Space for New Horizons was a lecture & With the closure of many commercial galleries The participant-led Open Space format of the Equally inspiring was Susanne s point about experimental workshop with Susanne Bosch, in Galway (and elsewhere), and yet with a workshop provided a channel through which the validity of many forms of engagement artist, (Belfast/Berlin), that took place in still thriving artist-led scene, there are many visual arts professionals in Galway were invited in groups, the formal, the informal, the the GMIT, Art & Design and Film & Television questions facing young artists surrounding to come up with topics of interest, contribute metaphors of butterfly and bumblebee or campus in Cluain Mhuire on the 14th May, future avenues of support and exchange as to discussions, voice their opinions, or just to indeed the mingling at the coffee station. , , 2011, as part of Tulca 2011. The event was well as the wider questions about artist s role listen to each other s perception of the local When someone suggested skipping the coffee open to current students, recent graduates in shaping ideas for future potentials. The arts environment. Groups were formed around break to save time for the workshop session, and emmerging artists, and aimed to initiate event opened up discussion about many issues certain topics, and participants could choose Susanne stressed the importance of food dialogue with young and emerging artists facing artists today, particularly in Galway. their level of engagement within one group as and refreshments in the Open Space model about developing sustainable structures Many of these issues are not resolved, and well as when or if to move to another group of engagement. People who are relaxed and to continue art practice and create an on- they need to be fully addressed within wider (butterfly) or indeed to withdraw from the not exposed to the conventional pressures in going negotiation with arts, role in defining circles. However, this event highlighted that discussion entirely and take on a more passive meetings/workshops usually engage in more |redefining Galway city. there is certainly no shortage of creative ideas, role (bumblebee). useful dialogue. The most important things solutions and enthusiasm to tackle these issues. often happen around the kitchen table. During the discussions and presentations it was - Megs Morley, Curator, Tulca 2011 put forward that space to work/exhibit is an The outcome as well as the experience of the issue among the Galway arts community, but as event set in motion a buzzing dialogue between Whatever Happened is the Only Thing the sessions came to a close this issue became some of the participants that led to the recent That Could Have. A Response by a group more of a question rather than a statement of formation of the Kitchen Table Collective. The , of Participants to the Open Space for New fact. Is (physical) space the main issue in and Collective s members are committed to open up Horizons Workshop in May 2011 around Galway or is it something else? Can experimental opportunities for critical exchange space or a lack thereof, also be interpreted as and dialogue between artists, collectives and A learning experience which leaves you with a lack of interactive space or a space of critical institutions. There has been an ongoing enquiry more questions than answers would generally exchange? Is there sufficient interaction, about the relationship of space and dialogue be considered less than successful. In the case dialogue or discussion taking place among within the Collective over the past few months. of the Open Space for New Horizons workshop the visual arts community in Galway? It was presented by Tulca and facilitated by Belfast- generally agreed that this type of interaction is -The Kitchen Table Collective, (Mike Ahern, based artist/researcher and lecturer Susanne vital to sustaining a professional practice and it Judith Bernhardt, Helen Caird, Michelle , Bosch, the issues addressed indeed raised has become clear to us that a) it won t happen Conway, Brid Egan, Noelle Gallagher, Tina a multitude of questions. However, these unless we make it happen b) dialogue is critical Hopp, Eithne Ryan and Joan Sugrue.) questions about the role of space, dialogue to our professional development, growth and as , and interaction within Galway s visual arts a form of support and c) we are not alone. The Kitchen Table Collective also present a new community opened up a dialogue between project "Shore" in the Rosa Parks Gallery for arts practitioners which created a vibrant and the duration of Tulca, please see p8. for more ongoing debate. details. �

29 All images © Suzanne Bosch 2011

A Response by Susanne Bosch Her first step in May 2011 was to foster The following two hour experimental workshop Susanne Bosch Bio a discussion to develop together tools to used elements of Open Space Technology to Megs Morley approached me in March 2011. articulate and self organise around the areas empower the 34 participants to set up their "Being an artist, artistic researcher and lecturer As curator of Tulca 2011, but also as artist needed in Galway: Where is the space for the own agenda for the two hours, to discuss in Fine Art Research I work predominantly based in Galway and experienced in local art potential of young artists in Galway? How can in small groups the topics and to develop a in public and on long-term questions, which administration, she expressed a number of the Galway artists and their practice impact potential plan of action. The themes that tackle creative arguments around the ideas of observations: Young and emerging artists seem and engage? Megs invited me to run a half-day came up included: Ways of challenging current democracy. Recurring themes in my practice to have difficulties in sustaining a creative event on 14th May 2011 called ‘Open Space for perceptions of the arts in Galway; why is it are surviving, money and work, as well as , practice in Galway and subsequently tend to New Horizons which consisted of two parts: so hard to get different artist groups to work migration, societal visions and participation leave. The city itself is thriving on tourism and I introduced four examples of self-organised, together as one solid voice? Usage of vacant models. I formally use site- and situation- and yet access to working and creative space artist-led initiatives: The artist and curatorial spaces and bringing international artists; art in specific interventions, installations, video, is unaffordable to the vast majority. That the team Brown&Brí in Belfast (www.brownandbri. the suburbs; pooling and sharing resources and audio and drawing. In addition, I use dialogical role of arts in Galway needs to be re-defined com), Kiosk, marke.6, an artist run space in networks; finally identifying the ‘movers and formats and formats such as writing, speaking , and an inclusive dialogue between artists of all Weimar, Germany (www.kkk.pleasantnet. shakers in Galway. and listening as well as workshops, seminars generations is needed to strengthen the local de/de/31.php, www.koca-weimar.de, www. and Open Space conferences. Creative forms position. Megs felt that in the current context markepunktsechs.de), Platform, an artist-run Open Space is based on passion and of communication are an important part of my art students and recent graduates could have a studio and gallery space and enterprise in responsibility of the participants and aims work. I work collaboratively and on my own." much bigger role to play in the city but perhaps Belfast (www.stationproject.com/page4.htm) towards action. The aspiration of such an might feel in a hopeless situation. Megs had and Zoohaus in Madrid (www.zoohaus.net). experience is always that people decide to Since 2007, Susanne Bosch is joint Course decided to use Tulca as a platform of support to What was key for my selection was to introduce work together with joint forces on a topic that Director together with Dan Shipsides for the , explicitly address and include the local situation young movements that use unusual ways of passionately moves them. No other than self- MA-Programme ‘Art in Public at the University embedded in the international contemporary self-organization and funding. The presentation lead action can create change. of Ulster in Belfast. She has studied art at art festival in Galway lasting for two weeks. examined the projects while looking at key the Academy of Fine Arts Nuremberg. She questions such as: The historical situation to The Galway event followed an event-model is trained as Open Space facilitator (2008) spark a project. How does it work? How many that I used in July 2007 in Nuremberg, Germany and in Non-Violent-Conflict-Transformation people are involved? What is it? What does it (New Horizons, sustainable art projects in (2004). Susanne works internationally on do? How is it financed? What is the perspective? public space) which kicked off a discussion and exhibitions and projects, e.g. she was involved Are any wider political or social issues a collective new, long-term artistic movement with art-based research/research-based art addressed in the project? (www.leonhard-schweinau.info/?id=24). including 3 residencies in Ramallah, West September 2011: Overall the event began a Bank (2010/11), Madrid Abierto 2009/2010, The presentation was followed by a short talk query about the role of discussion in both Berlin/Istanbul (2009, exhibitions in Berlin and by Kate Howard, who spoke about Adapt, a developing action and in sustaining activity. Istanbul), The Pre-History of Crisis (II), Project Galway initiative aiming to use vacant city I am delighted that the Kitchen Collective Art Centre Dublin and Belfast Exposed (2009), spaces emerged from this day and will create an THE COMMON GOOD: The Enterprise of Art, PAN | intervention into the Rosa Parks Gallery that palazzo arti napoli, Naples, Italy (2008). She is will be part of the Tulca 2011 programme. currently living in Belfast, Northern Ireland and Berlin. � ww.susannebosch.de

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ACKNOWLEDGEMENTS TULCA 2011

Board of Directors Curator|Co-ordinator Intern: Thank you so much to all of the Media, Community Knowledge Margaret Flannery Anne Marie McKee artists, James C. Harrold, Marilyn Initiative, Marketing (J.E. Cairnes Ann Lyons Gaughan, Claire Doyle, Dr. Chris School of Business & Economics) Denise McDonagh Volunteers Co-ordinator: Coughlan, Martin Crosbie & Tom James Hardiman Library, Áras Siobhan McGibbon Conall Ó Riain Sheridan, David Finn, Siobhan na Mac Léinn and Arts Office NUI Tulca Festival of Visual Arts Maeve Mulrennan McGibbon, 126 board & members, Galway, Tom Flanagan, Michelle � www.tulca.ie , Deirdre O Mahony Marketing Intern: Artspace Studios, Engage Studios, Horrigan, Barbara Ebert & Goethe- +353 87 0694007 Josephine Vahey Chiara Curti Niland Gallery, Roger Dineen & Institut Irland, the Romanian [email protected] Ollie Walsh Harcourt Development, Don Silke, Cultural Embassy London, Mairéad Archive Intern: Jack Fitzgerald, Margaret Nolan & Ní Gallchoir & Áras Éanna, Breandán Curator: Megs Morley Alicia Lydon Space Invaders, Gugai & the Rosin Ó Heaghra & Galway City Museum, , Co-ordinator: Anna McCarthy Dubh, Margaret O Toole, Galway Security & Management Galway PR: Rosa Flannery University Hospitals Arts Trust & Shopping Centre and each and Design: [email protected] Arts Committee, Chris Hurley & Cork every one of the Tulca invigilators Printer: Webprint ,Cork Film Centre, Mary Deely & Galway and volunteers. Film Centre, Seamus Kealy and Technical Team Oliver Alcorn & The Model Sligo, All images copyright © the artists. Head Technician: Simon Fleming Peter Richards & Golden Thread Mark Byrne Gallery, Kate Smith & Collective Dave Callan Gallery Scotland , Michael Carmody, Matt Doherty Mary McCague and the students of , Mike O Halloran GMIT, Dee Quinn & Rod Stoneman Jeroen van Dooren Huston School of Film & Digital 31 MAP LEGEND 1. Tulca Festival Gallery 2. Rosa Parks Gallery I 3. 126 Gallery To MONIVEA RD 4. Niland Gallery RD. 2 & 23 5. Engage Art Studios 6. Galway City Library

7 . Space Invaders Gallery 8. Charlie Byrnes Book Store 9. Bar 8 10. Galway City Museum 11. Kellys 12. Nuns Island Theatre 13. Galway Arts Centre 14. Aras na Gael 15. Roisin Dubh 16. Columban Hall 17. Bell Book and Candle Store TULCA WORKSHOPS 18. NUI James Hardiman Library 19. NUI ARAS NA MAC LEINN 14 MON NOV 7TH 10:30 - 16:30 20. Huston School of Film & Digital Media Contemporary Artists Collectives: 21. Artspace Studios Black Box Tactics, Models, and Imaginative Possibilities 22. Artspace Studios Liosban Ind Park 23. 18 Sliabh Ban, Ballybane Aras na Gael, (Ground Floor) 45 Dominic St. Workshop places are very limited. Participant fee: €15, light lunch included. Advance booking is essential. To register, contact: [email protected]

23 MON NOV 14TH 13:00 - 16:00 Public Art Clinic: Vagabond ReviewS:

Ailbhe Murphy & Ciaran Smyth. No.18 Sliabh Bán, Ballybane. Places are limited advance booking is necessary: [email protected]

20 THU NOV 17TH 14:30 - 18:00 The Embedded Artist Project: Strategies for Civic Engagement. What do Artists Know?

Huston School of Film & Digital Media. NUI Galway. Workshop places are very limited. Advance booking is essential. To register, contact: [email protected]

FRI NOV 4TH 1 FRI NOV 4TH 11 FRI NOV 4TH 11 SAT NOV 5TH TULCA EVENTS TULCA 10 Tulca Opening SOFT DAY Tulca AFTER Gregory Sholette Night Reception PARTY TALKS Dark Matter: Art, Politics, and Page Live Sound Performance, DJ Graham Dolan Imagination under Crisis Capitalism. Upstairs at Kelly s, , Tulca Festival Gallery, Upstairs at Kelly s, Bridge Street Galway Shopping Bridge Street Ground Floor, Galway City Museum, 21:30 18 Centre, Headford Road. 22:00 Spanish Parade. 19:00 12:00

MON NOV 7TH 15 WED NOV 16TH 16 WED NOV 16TH 9 SAT NOV 5TH 18 SAT NOV 12TH 19 The Quiet Club Dominic Thorpe LIVE@8 "The Perspectives, Part 1": Lia Perjovschi Fugitive Dialogue #2 Artist Talk Fugitive Papers: James Merrigan, Live Sound Performance Performance: Very Very Narrow Mouth A Selection of video artworks, film and video James Hardiman Michaële Cutaya and Fiona Woods The Roisin Dubh, Columban Hall, Sea Road. performances. Library, Browsing "The View" in Aras na Mac Leinn, Henry Street. 18:00 Bar 8, Dock Road. Room. NUI Galway. NUI Galway. 19:00 - 21:00 20:00 15:00 15:00

SAT NOV 19TH 21 SAT NOV 19TH 15 WED NOV 16TH 16 FRI NOV 18TH 12 SAT NOV 19TH 13 Open Studio Day Galway Tulca Closing Party Vladan AMIE SIEGEL: Jesse Jones: Live Music by RSAg JeremiC: In Conversation with In conversation with Engage Art & Artspace Studios, Live @ 8 Katherine Waugh Vivienne Dick Middle St, the Black Box Dyke Rd, Roisin Dubh, Henry Street. Curators Talk & Liosban Ind Est. Tuam Rd. 22:00 Bar 8 Dock Street. Nuns Island Theatre. Galway Arts Centre. 12:00 - 17:00 20:00 18:00 15:00

TULCA EXHIBITIONS SAT NOV 4TH - 20TH 1 SAT NOV 4TH - 20TH 2 SAT NOV 4TH - 20TH 3 SAT NOV 19TH 12 Tulca Festival Rosa Parks Gallery 126 Gallery WHW?: Gallery The Kitchen Table Collective: Curators Talk Page Page Video viewable from outside nightly from 6pm. Queen Street. Galway Shopping 10 - 18:00 Nuns Island Theatre. 3 McDonagh Ave, Mervue. 18:00 20 Centre, Headford Road. 04 10 - 18:00 14:00 - 18:00

SAT NOV 4TH - 20TH 4 SAT NOV 4TH - 20TH 7 SAT NOV 4TH - 20TH 13 SAT NOV 4TH - 20TH 12 SAT NOV 4TH - 20TH 18 Scan to view all venues Niland Gallery Space Invaders Galway Arts NUNS ISLAND THEATRE NUI GALWAY on google maps. Centre Amie Siegel DDR|DDR Lia Perjovschi Lower Merchants Road. The Cornstore, Screenings 3 times daily: 11am, 1:15pm, 3:30pm James Hardiman 10 - 18:00 Middle Street. Dominic Street. Duration 135mins Library Foyer, Mon - Sat: 10 - 18:00 Mon - Sat: 10 - 17:30 Nuns Island. Main Campus Sun: 10 - 17:30 Mon - Sat: 10 - 17:30 10 - 17:30