Askeaton Contemporary Arts

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SEANIE BARRON: Walking Sticks,

Fishing Priests & Smoking Pipes

For decades, Seanie Barron has been carving and shaping wood in a workshop at the back of his house in Plunkett Road, Askeaton. Initially, his work might be labeled as folk art, yet on further inspection it becomes apparent that his work is instead borne out of an understanding of nature and often-humorous interpretations of the environment around him. He roams around Askeaton, looking for the right branch left in a field or underneath a bush, to then shape into a walking stick. These often take on surreal forms referencing seahorses, weasels, fists, foxes or swimmers. Many double as whistles, or incorporate found objects such as coins, bullets or animal bones. By channeling all from the overlooked to the exotic, Barron has spent years working on a form of art that, though may come from an untrained hand, is as relevant as any didactical form of creativity.

His exhibition at Askeaton Civic Trust was accompanied by a publication with an essay by Christa-Maria Lerm Hayes and an in-depth interview with Seanie Barron by exhibition curator Michele Horrigan

32 pages, 43 colour images, 4 b/w images
€10 including post and packaging

Download for free a pdf copy here


Welcome to the Neighbourhood!

Ninth edition!

The ninth edition of Welcome to the Neighbourhood, an annual programme of invited international and Irish artists resident and working in Askeaton occurred in July. This year’s artists hail from Mexico, Helsinki, Dublin, Mayo and London.


Read Manchan Magan writing on Askeaton in The Irish Times


Read and see about projects such as Steve Maher's Ghost Estate Model Village (below) and more by Jorge Satorre, Mike Cooter, Amanda Rice and Susan MacWilliam here



SHAPESHIFTING: a workshop in Askeaton

With no ‘white-cube’ gallery spaces in Askeaton,

artists work in public spaces throughout the town.

This form of engagement focuses on the existing dynamics of the locale, intending to bring forward

diverse layers of daily life. The Shapeshifting Workshop explores these dialogues, speculating how Askeaton Contemporary Arts might evolve in the coming years.

Read Sean O’Sullivan’s report here

Askeaton Contemporary Arts


Askeaton Contemporary Arts presented artworks by Stephen Brandes and Fiona Larkin (above) at Kunstvlaai 2014 in Amsterdam in May. Askeaton is invited as part of fifty worldwide art initatives, each of whom are considered experimental art spaces. See Kunstvlaai's website here





Based in Barcelona and Mexico City, Jeronimo Hagerman has produced sculptural installations and vegetation interventions in public spaces and museums around the world over the last decade, investigating the relationships between nature and the manmade. He was commissioned to make Askeaton Contemporary Arts’ entry into the annual Saint Patrick’s Day Parade.

See Jeronimo's work and more here



Artworks by Stephen Brandes, Freek Wambacq (above), Sean Lynch, Benjamin de Burca and Ben Kinsley & Jessica Langley are currently on view around the streets of Askeaton.





Berlin-based Irish artist Adrian Duncan was resident in Askeaton throughout March. His project focuses on building patterns around the Iandscape. Through sculptural and research-based activity, he explored the aesthetics of “Bungalow Bliss”, the 1970s movement of pre-designed houses that dot the landscape in Askeaton and beyond.

Adrian writes about his work in Askeaton here





A series of commissions in 2012 based upon the presence of an 18th century secret society house in Askeaton. Today, the building is inaccessible to the public, as a ruin in constant danger of collapse. Around this site of physical decay, featured artists have considered the Hellfire history, its non-conformist allusions to the society of the 1700s, and its material presence as a crumbling ruin in the middle of a small Irish countryside town.

New commissons are detailed in the publication, alongside texts from Michele Horrigan, Padraic E. Moore and Brian O’Doherty.


48 pages, 19 colour images, 32 b/w images.

€15 including post and packaging


pdf file, available to download for free here




Argentine artist Magdalena Jitrik’s multidisciplinary approach blurs the boundaries between a variety of mediums. Frequently using the process of painting as a starting point and questioning its’ position as a stable fixed object hanging on a gallery wall.

Take, for example, Pintura en Askeaton (Painting in Askeaton). In 2009, during her stay at Askeaton Contemporary Arts, Jitrik spent time making a small painting that, according to curator Adriano Pedrosa, “is a splendid abstract geometric composition, one can see the same mosaic of multicoloured slanted rectangles forming a larger, again not so orthogonal square, which in turn is intersected by a trapezoid figure, offering a feast for the formal connoisseur.” With such praise, Jitrik’s work could be considered akin to a Mondrian or a work of Russian Constructivism. Yet, she subtly shifts these expectations of her work away to another discursive platform, as a video details the painting’s growth and development from a blank canvas to a completed artwork, accompanied by a soundtrack by Jitrik’s band, Orquestra Roja (Red Orchestra). In another moment, the painting appears in the ruins of a local Franciscan Abbey, almost as an apparition amongst gravestones and medieval stone carvings, urgently captured in photographs and video excerpts. The piece later featured in 2011's Istanbul Biennial, and can be viewed here