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18_121726-bindex.qxp 4/17/09 2:59 PM Page 486 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX Ardnagashel Estate, 171 Bank of Ireland The Ards Peninsula, 420 Dublin, 48–49 Abbey (Dublin), 74 Arigna Mining Experience, Galway, 271 Abbeyfield Equestrian and 305–306 Bantry, 227–229 Outdoor Activity Centre Armagh City, 391–394 Bantry House and Garden, 229 (Kildare), 106 Armagh Observatory, 394 Barna Golf Club, 272 Accommodations. See also Armagh Planetarium, 394 Barracka Books & CAZ Worker’s Accommodations Index Armagh’s Public Library, 391 Co-op (Cork City), 209–210 saving money on, 472–476 Ar mBréacha-The House of Beach Bar (Aughris), 333 Achill Archaeological Field Storytelling (Wexford), Beaghmore Stone Circles, 446 School, 323 128–129 The Beara Peninsula, 230–231 Achill Island, 320, 321–323 The arts, 8–9 Beara Way, 230 Adare, 255–256 Ashdoonan Falls, 351 Beech Hedge Maze, 94 Adrigole Arts, 231 Ashford Castle (Cong), 312–313 Belfast, 359–395 Aer Lingus, 15 Ashford House, 97 accommodations, 362–368 Agadhoe, 185 A Store is Born (Dublin), 72 active pursuits, 384 Aillwee Cave, 248 Athlone, 293–299 brief description of, 4 Aircoach, 16 Athlone Castle, 296 gay and lesbian scene, 390 Airfield Trust (Dublin), 62 Athy, 102–104 getting around, 362 Air travel, 461–468 Athy Heritage Centre, 104 history of, 360–361 Albert Memorial Clock Tower Atlantic Coast Holiday Homes layout of, 361 (Belfast), 377 (Westport), 314 nightlife, 386–390 Allihies, 230 Aughnanure Castle (near the other side of, 381–384 All That Glitters (Thomastown), -
Annual Report Tuarascáil Bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2
annual report tuarascáil bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2 The Arts Council t +353 1 618 0200 70 Merrion Square, f +353 1 676 1302 Dublin 2, D02 NY52 Ireland Callsave 1890 392 492 An Chomhairle Ealaíon www.facebook.com/artscouncilireland 70 Cearnóg Mhuirfean, twitter.com/artscouncil_ie Baile Átha Cliath 2, D02 NY52 Éire www.artscouncil.ie Trophy part-exhibition, part-performance at Barnardo Square, Dublin Fringe Festival. September 2017. Photographer: Tamara Him. taispeántas ealaíne Trophy, taibhiú páirte ag Barnardo Square, Féile Imeallach Bhaile Átha Cliath. Meán Fómhair 2017. Grianghrafadóir: Tamara Him. Body Language, David Bolger & Christopher Ash, CoisCéim Dance Theatre at RHA Gallery. November/December 2017 Photographer: Christopher Ash. Body Language, David Bolger & Christopher Ash, Amharclann Rince CoisCéim ag Gailearaí an Acadaimh Ibeirnigh Ríoga. Samhain/Nollaig 2017 Grianghrafadóir: Christopher Ash. The Arts Council An Chomhairle Ealaíon Who we are and what we do Ár ról agus ár gcuid oibre The Arts Council is the Irish government agency for Is í an Chomhairle Ealaíon an ghníomhaireacht a cheap developing the arts. We work in partnership with artists, Rialtas na hÉireann chun na healaíona a fhorbairt. arts organisations, public policy makers and others to build Oibrímid i gcomhpháirt le healaíontóirí, le heagraíochtaí a central place for the arts in Irish life. ealaíon, le lucht déanta beartas poiblí agus le daoine eile chun áit lárnach a chruthú do na healaíona i saol na We provide financial assistance to artists, arts organisations, hÉireann. local authorities and others for artistic purposes. We offer assistance and information on the arts to government and Tugaimid cúnamh airgeadais d'ealaíontóirí, d'eagraíochtaí to a wide range of individuals and organisations. -
Curated by Michael Dempsey Sara Reisman Introduction
Curated by Michael Dempsey Sara Reisman Introduction SELECT AN ARTIST t Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Introduction Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE. WWE is a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. These artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues. -
Constellations Creative Arts Practice at Trinity College Dublin
CONSTELLATIONS CREATIVE ARTS PRACTICE AT TRINITY COLLEGE DUBLIN EDITED BY NICHOLAS JOHNSON & PHILIP COLEMAN 1 CONTENTS The Pregnant Box 9 The Lir 6-7 Raising the Curtain on Performance Pedagogy 10 Trinity Journal of Literary Translation 8 The Stoic Man 12 COPD Behavioural Change, Self- Management, and Peer Perspectives 13 Postcards from the Near Future 11 A rainbow in the palm of my hand 20 Samuel Beckett Laboratory 16-17 Time Present and Time Past 18 Trinity Long Room Hub 14-15 Tall Ships: Obedienta Civium Urbis Felicitas 21 Synaptic Serenades 19 Produced by the Creative Arts Practice Research Theme Steering Committee Funded by the Trinity Long Room Hub Arts and Humanities Research Institute Design and Production by Vermillion © 2015 Mapping the Former Soviet Union 25 Samuel Beckett Theatre 22-23 A PhotoVoice Project 28-29 Dynamo Island: The History and Geography of a Utopia 24 Engineering Fictions 27 Nyet! Nyet! Soviet 26 Viking Ghost Hunt / The Stoic Man 12 Haunted Planet 33 BLAST at 100 32 Border Play: TARDIGRADE 34-35 Science Gallery 30-31 Green-graphs The Long Goodbye 36 and IRIS 37 Pen & Palette 40-41 Douglas Hyde Gallery 38-39 AntiMidas, or Book of Kells Bankers in Hades 43 for iPad 42 How Do Artists Learn? 45 Centre for Literary Index of Projects by Title / Translation 44 Researchers 48 Synaptic Serenades 19 Index of Organisations / Collaborators 49 - 52 Acknowledgments 54 Courses in Creative Arts Practice Fields at TCD 53 Oscar Wilde Centre 46-47 About the Research Theme CREATIVE ARTS PRACTICE Creative Arts Practices are integrated into a range of their practices are analysed as social processes in the research activities and themes across all disciplines social sciences; they might be purveyed as content in Trinity: Humanities, Engineering, Science, and for creative technologies, as economic markers for Medicine. -
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and Works in London, United Kingdom
SIOBHÁN HAPASKA Born 1963, Belfast, Northern Ireland. Lives and works in London, United Kingdom. Education 1985-88 Middlesex Polytechnic, London, United Kingdom. 1990-92 Goldsmiths College, London, United Kingdom. Solo Exhibitions 2021 Douglas Hyde Gallery, Dublin, Ireland. 2020 LOK, Kunstmuseum St. Gallen, St. Gallen, Switzerland. 2019 Olive, Andréhn-Schiptjenko, Paris, France. Snake and Apple, John Hansard Gallery, Southampton, United Kingdom. 2017 Kerlin Gallery, Dublin, Ireland. 2016 Andréhn-Schiptjenko, Stockholm, Sweden. 2014 Sensory Spaces, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. 2013 Hidde van Seggelen Gallery, London, United Kingdom. Siobhán Hapaska, Magasin 3 Stockholm Konsthall, Stockholm, Sweden. 2012 Siobhán Hapaska and Stephen McKenna, Kerlin Gallery, Dublin, Ireland. Andréhn-Schiptjenko, Stockholm, Sweden. 2011 A great miracle needs to happen there, Kerlin Gallery, Dublin, Ireland. 2010 The Nose that Lost its Dog, Tanya Bonakdar Gallery, New York, USA. The Curve Gallery, the Barbican Art Centre, London, United Kingdom. Ormeau Baths Gallery, Belfast, United Kingdom. 2009 The Nose that Lost its Dog, Glasgow Sculpture Studios Fall Program, Glasgow, United Kingdom. 2007 Camden Arts Centre, London, United Kingdom. Tanya Bonakdar Gallery, New York, USA. 2004 Playa de Los Intranquilos, Pier Gallery, London, United Kingdom. 2003 cease firing on all fronts, Kerlin Gallery, Dublin, Ireland. 2002 Tanya Bonakdar Gallery, New York, USA. 2001 Irish Pavillion, 49th Venice Biennale, Venice, Italy. 1999 Sezon Museum of Art, Tokyo, Japan. Artist Statement for Bonakdar Jancou Gallery, Basel Art Fair, Basel, Switzerland. Tokyo International Forum, Yuraku-Cho Saison Art Program Gallery, Aoyama, Tokyo, Japan. 1997 Tanya Bonakdar Gallery, New York, USA. Ago, Entwistle Gallery, London, United Kingdom. Oriel, The Arts Council of Wales' Gallery, Cardiff, Wales, United Kingdom. -
Dorothy Cross Dorothy Cross B
Kerlin Gallery Dorothy Cross Dorothy Cross b. 1956, Cork, Ireland Like many of Dorothy Cross’ sculptures, Family (2005) and Right Ball and Left Ball (2007) sees the artist work with found objects, transforming them with characteristic wit and sophistication. Right Ball and Left Ball (2007) presents a pair of deflated footballs, no longer of use, their past buoyancy now anchored in bronze. Emerging from each is a cast of the artist’s hands, index finger extended upwards in a pointed gesture suggesting optimism or aspiration. In Family (2005) we see the artist’s undeniable craft and humour come together. Three spider crabs were found, dead for some time but still together. The intricacies of their form and the oddness of their sideways maneuvres forever cast in bronze. The ‘father’ adorned with an improbable appendage also pointing upwards and away. --- Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. This flux emerges as strange and unexpected encounters. Many of Cross’ works incorporate items found on the shore, including animals that die of natural causes. During the 1990s, the artist produced a series of works using cow udders, which drew on the animals' rich store of symbolic associations across cultures to investigate the construction of sexuality Dorothy Cross Right Ball and Left Ball 2007 cast bronze, unique 34 x 20 x 19 cm / 13.4 x 7.9 x 7.5 in 37 x 19 x 17 cm / 14.6 x 7.5 x 6.7 in DC20407A Dorothy Cross Family 2005 cast bronze edition of 2/4 dimensions variable element 1: 38 x 19 x 20 cm / 15 x 7.5 x 7.9 in element 2: 25 x 24 x 13 cm / 9.8 x 9.4 x 5.1 in element 3: 16 x 15 x 13 cm / 6.3 x 5.9 x 5.1 in DC17405-2/4 Dorothy Cross b. -
Ciarán Murphy
2008 Ciarán Murphy, Kavi Gupta Gallery, Chicago, Eisenstadt (AT) haunting’, The Sunday Tribune, 1 October IL (US) Ciarán Murphy Flix, Rubicon Gallery, Dublin (IE) Billy Leahy, ‘Pictures before profit’, The Ciarán Murphy, Cerealart, Philadelphia, PA Village, 14–20 September Iontas, Sligo Art Gallery, Sligo (IE) (US) b. 1978 in Mayo (IE) 2005 Ciara Healy, ‘Eurojet Futures 2004 at the 2001 NCAD Degree Show, Dublin (IE) Lives and works in Callan (IE) 2007 Ciarán Murphy, GRIMM, Amsterdam (NL) Royal Hibernian Academy’, Circa, Spring RDS Student Award Scheme, Dublin (IE) 2006 15 single-word Titled Paintings, Mother’s 2004 Ruth Carroll, ‘Eurojets Futures 2004’, RHA, EDUCATION Tankstation, Dublin (IE) Frozen Pipes, Illac Centre, Dublin (IE) Dublin 2005 MA in Visual Arts Practices (MAVIS), IADT, Shoplifter, Illac Centre, Dublin (IE) Dublin (IE) SELECTED GROUP EXHIBITIONS 2000 Sensationless, Vicar St, Dublin (IE) SELECTED COLLECTIONS 2003 BA National College of Art & Design, Dublin 2021 Interludes, Workplace, London (UK) 1999 National Portrait Award, Dublin (IE) Arts Council of Ireland, Dublin (IE) (IE) Inaugural exhibition, GRIMM, New York, NY Defares Collection, Amsterdam (NL) (US) AWARDS AND RESIDENCIES SELECTED BIBLIOGRAPHY Irish Museum of Modern Art (IMMA), Dublin (IE) 2020 Merrily, merrily, merrily, merrily, The Royal 2018 John Gayer, ‘Ciarán Murphy, Plainsight, Sanders Collection, Haarlem (NL) 2012 Tony O’Malley Studio Residency, Royal Hibernian Academy, Dublin (IE) Hibernian Academy, Dublin (IE) Grimm Gallery, Amsterdam’, Paper Visual 2019 -
Isabel Nolan
Kerlin Gallery Isabel Nolan Isabel Nolan Stelliferous to Degenerate 2020 water based oil on canvas 70 x 90 x 3 cm / 27.6 x 35.4 x 1.2 in 72.5 x 92.5 x 4.5 cm / 28.5 x 36.4 x 1.8 in framed IN46720 The extravagantly, even preposterously titled 'Stelliferous to degenerate' refers to a time in the extremely far future when the universe will no longer produce stars. Using familiar materials (paint or colouring pencil) Nolan’s work consistently picks away at the coherence of our human perspective as applied to the wildness and strangeness of nature. Rendering cosmic forms at a wholly domestic human scale, the artist similarly makes the cosmic into something relatively cosy. Heat death 2020 coloured pencil on paper 29.7 x 42 cm / 11.7 x 16.5 in unframed IN46420 hot dense and smooth 2020 coloured pencil on paper 42 x 59.2 cm / 16.5 x 23.3 in unframed IN45720 we forget everthing 2020 coloured pencil on paper 42 x 59.4 cm / 16.5 x 23.4 in unframed IN45920 Seven fingered wish 2020 coloured pencil on paper 41.7 x 29.6 cm 16.4 x 11.7 in unframed IN46020 View (back turned) 2020 waterbased oil on canvas, hand-gilded 24 carat gold and painted clay frame 60 x 80 cm / 23.6 x 31.5 in 62.5 x 82.5 x 4.9 cm / 24.6 x 32.5 x 1.9 in framed IN45020 Isabel Nolan b. 1974, Dublin Lives and works in Dublin Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. -
Biography Anthony Haughey Is an Artist and Lecturer in the Dublin Institute of Technology Where He Supervises Practice-Based Phd’S
Anthony Haughey | Biography Anthony Haughey is an artist and lecturer in the Dublin Institute of Technology where he supervises practice-based PhD’s. He was Senior Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies and Design in Belfast School of Art, where he completed a PhD in 2009. His artworks and research have been widely exhibited and published nationally and internationally, including, ‘An Act of Hospitality can only be Poetic’, Highlanes Gallery, Drogheda, ‘UNresolved’, video installation, Athens Biennial, ‘The Politics of Images’, Belo Horizonte, Brazil (2017) and ‘Proclamation’ (2016), which toured widely internationally throughout 2016 where he premiered his new video ‘Manifesto’, which was acquired for the permanent collection of The Arts Council / An Chomhairle Ealaíon. Other recent exhibitions include, ‘Uncovering History’, Kunsthaus Graz, ‘Excavation’, Limerick City Gallery, ‘Making History’ and Colombo Art Biennale (2014) as well as a major British Council exhibition ‘Homelands’, touring South Asia. His artworks and scholarly writing has been published in more than eighty publications and his artworks are represented in many important national and international public and private collections. Recent chapter contributions and journal articles include, ‘Imaging the Unimaginable: Returning to the scene of a crime’, Život Umjetnosti art journal, Zagreb, ‘A Landscape of Crisis: Photographing Post Celtic Tiger Ghost Estates’, Canadian Journal of Irish Studies (2017) and ‘Imagining Irish Suburbia’ (Palgrave 2017). He is an editorial advisor for the Routledge journal, ‘Photographies’, a board member of Fire Station Artist Studios, and a member of the Arts Council Acquisitions Committee. He was recipient of Create ‘Arts and Cultural Diversity Award’ (2014) and was lead curator for a major 1916 Commemorative exhibition, ‘Beyond the Pale: The art of revolution’, Highlanes Gallery Drogheda. -
Education and Outreach Forum 2021 18
Education and Outreach forum 2021 Presented by the Irish Museums Association (IMA) in partnership with Ni Museums Council (NIMC) for 2021. 18 – 21 May 2021 SCHEDULE In Brief Day One: CO-PRODUCTION Tuesday 18 May. 09:30 – 11:15 Chair: Tadhg Crowley, The Glucksman Opening Remarks: Dr Audrey Whitty, IMA Chair, and Siobhan Stevenson, NIMC Director The Our Irish Women exhibition: Cultural democracy in practice. Presented by Lorna Elms, Project Development Officer, Irish Community Archive Network (iCAN), National Museum of Ireland and Frances Holohan, Abbey & District Heritage Group, Irish Community Archive Network. Meitheal – Community Co-Production in the CINE project. Presented by Judith McCarthy, Curator, Donegal County Museum TY Project at the Douglas Hyde Gallery: Young adults as creators and consumers. Presented by Dr Fernando Sanchez, Learning & Engagement Curator, The Douglas Hyde Gallery Video, featured project: Indigenous Programming and Collaboration: Museums by the Sea and the Acadia Fist Nation - Mi’kmaq partnership building in Nova Scotia, Canada. Submitted by Shauna Allen, Museum Educator / PhD Candidate (UCC) __________________________________________________ DAY 2: ACCESS AND INCLUSION Wednesday 19 May. 09:30 – 11:15 Chair: Rachel McCance, NI Museums Council IMMA’s Online Art and Ageing programme Spring 2021. Presented by Catherine Abbott, Curator Art and Ageing, Irish Museum of Modern Art Connecting at home: Dementia Friendly workshops. Presented by Elaine Hill, Heritage Development Officer, Mid Antrim Museum Something From There: promoting inclusion and empowerment through democratic museum practices. Presented by Brina Casey, Education Officer, National Gallery of Ireland Improving Access and Inclusion Through Multi-User-Friendly Children’s Animations. Presented by Sinéad Fox, Education Officer, The Book of Kells and Old Library Exhibition, Trinity College Dublin. -
Biography Anthony Haughey Is an Artist, Researcher and a Lecturer in the Dublin Institute of Technology Where He Supervises
Biography Anthony Haughey is an artist, researcher and a lecturer in the Dublin Institute of Technology where he supervises doctoral practice-based projects. He was a Research Fellow (2005-8) at the Interface Centre for Research in Art, Technologies and Design at the University of Ulster Belfast, where he completed a PhD in 2009. His work has been widely exhibited nationally and internationally, most recently Uncovering History, curated by Camera Austria in Kuunsthaus Graz, Excavation, Limerick City Gallery, where he premiered his new film, Unresolved, twenty years after the Srebrenica genocide, Making History, Colombo Art Biennale (2014), Art of the Troubles, Ulster Museum, Belfast (2014), Settlement in Belfast Exposed, Northern Ireland: 30 years of photography in the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing, Homelands, a major British Council exhibition touring South Asia, Citizen in Highlanes Gallery, Drogheda and MCAC, Portadown, Strike!, Labour and Lockout, Upending – an exhibition of enquiries in Limerick City Gallery of Art. He recently completed a commission for the Aftermath project, which toured galleries in Ireland throughout 2014. A publication (out of print) from this commission was launched in January 2015, available at: http://issuu.com/anthonyhaughey/docs/ah_aftermath_issuu His photographs and writings have been published in more than seventy publications (including eight in 2014). Monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He has published several chapter contributions including, ‘Dislocations: Participatory Media with Refugees in Ireland and Malta’, in Goodnow, K. -
A Complete Guide to All Dublin Attractions
Dublin A Complete Guide to All Dublin Attractions © 2014-2017 visitacity.com All rights reserved. No part of this site may be reproduced without our written permission. Ha'Penny Bridge Ha'Penny Bridge or Half Penny Bridge crosses Liffey Street Lower to Merchants Arch. The elliptical arched metal bridge originally had a wooden gangway when it was constructed in 1816. The bridge has a 43 meter span, 3 meter width and is 3 meters above the water. Today 30,000 people walk across the bridge every day! Before the bridge was built people would take ferries across the river. The ferries were often overcrowded and sometimes even capsized. When the bridge was constructed the ferries became redundant. William Walsh was the former ferry owner and a city alderman. He was compensated with £3,000 and a lease on the bridge for 100 years. Walsh charged Dubliners Image By: HalfPennyBridge-Public Domain a ha'penny to cross the bridge, which was the same price he had charged Image Source: for a ferry ride. http://en.wikipedia.org/wiki/Ha'penny_Bridge#mediaviewer/File:HalfPennyBridge.jpg The bridge gets its name from the ha'penny toll but officially it has been called the Liffey Bridge since 1922. It is also known as Triangle, Iron Bridge and Wellington. The bridge remained the only pedestrian bridge crossing the Liffey River until Millennium Bridge was built in 1999. Address: Ha'penny Bridge, Dublin, Ireland Transportation: Luas: Jervis. Bus: 39B, 51, 51B, 51C, 51D, 51X, 68, 69, 69X, 78, 78A, 79, 79A, 90, 92, 206 © 2014-2017 visitacity.com All rights reserved.