Askeaton Contemporary Arts
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All events are free to the public. All welcome.
Read about Askeaton Contemporary Arts in The Irish Times
Tuesday 1 July, 6-7pm
Launch at Cois Sionna Credit Union
Thursday 3 July, 9.30pm
Luggage Doors Operating – music at Cagney's Bar
Friday 4 July, 4pm
Roundtable discussion at Limerick City Gallery of Art with resident artists
Tuesday 8 July, 8pm
Orlaith Treacy dips into the archive and discusses a selection of artworks
made in Askeaton since 2006, at Civic Trust
Thursday 10 July, 8pm
Seanie Barron talks about his exhibition Walking Sticks, Fishing Priests
& Smoking Pipes, at Civic Trust. Publication available
Saturday 12 July, 3 – 6pm
Open day and tour of artworks in around Askeaton, beginning at Civic Trust
TRANSPORT FROM LIMERICK:
BUS EIREANN 314 service
Out: leaving Limerick Bus Station 13.35, reaches Askeaton 14.25
Return: Leaving Askeaton 19.10, reaching Limerick 19.50
Saturday 12 July, 9pm
Hellfire Club Party until late
email: email@example.com telephone: 087-2977179
SEANIE BARRON: Walking Sticks,
Fishing Priests & Smoking Pipes
until 12 July 2014
The first solo exhibition of Askeaton's Seanie Barron, held at Askeaton Civic Trust. Seanie is known throughout Ireland for his signature walking sticks.
An exhibition catalogue is published, featuring an
interview with Seanie by Michele Horrigan, and an essay by Christa-Maria Lerm Hayes.
Askeaton Contemporary Arts
at KUNSTVLAAI, AMSTERDAM
Askeaton Contemporary Arts will also present artworks by Stephen Brandes and Fiona Larkin (above) at Kunstvlaai 2014 in Amsterdam from 21- 24 May, along with participating in a series of public events and talks. Askeaton is invited as part of fifty worldwide art initatives, each of whom are considered experimental art spaces.
For further details see Kunstvlaai's website 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 and create a rich framework
for subjective encounters. The Shapeshifting Workshop explores these dialogues, and asks a group of respected arts practioneers to speculate around how Askeaton Contemporary Arts might evolve in the coming years.
Read Sean O’Sullivan’s report here
Based in Barcelona and Mexico City, 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 here
CURRENTLY ON EXHIBIT IN ASKEATON
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
THE HELLFIRE CLUB
A series of commissions 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
FROM THE ARCHIVE:
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
SEANIE BARRON PUBLICATION
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.
A publication features a newly commissioned 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