Askeaton Contemporary Arts

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Read about Askeaton Contemporary Arts in The Irish Times



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


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



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.

DOWNLOAD Guide to the artworks of Askeaton HERE



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 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



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