Askeaton Contemporary Arts

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Seanie Barron: Walking Sticks,

Fishing Priests & Smoking Pipes

until 12 July 2014

The first solo exhibition of Askeaton craftsman 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.

Download a pdf copy here

 

 

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. 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

 

 

 

Jeronimo Hagerman

COMMISSION AT RATHKEALE & ASKEATON ST. PATRICKS DAY PARADES

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 exhibition around town

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

 

Adrian Duncan - artist-in-residence

Berlin-based Irish artist Adrian Duncan will take up residence in Askeaton throughout March. Duncan’s project focuses on dwelling patterns around the Iandscape.

Through sculptural and research-based activity, he will explore the aesthetics of “Bungalow Bliss”, the 1970s movement of pre-designed houses that dot the landscape in Askeaton and beyond.

For further info on Adrian's work, see here

 

 

 

   

The Hellfire Club

Exhibition catalogue

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.

PRINT COPY

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

Buy now for €10 including post and packaging

DIGITAL COPY

pdf file, available to download for free here

 

FROM THE ARCHIVE: MAGDALENA JITRIK

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, her artworks fluctuatea perceived version of what an artistic gesture might consist of.

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.

   

 

 

 

 
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