Askeaton Contemporary Arts
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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 welcomed Mexican artist Jeronimo Hagerman in March 2014, when he made our entry for Askeaton and Rathkeale's Saint Patrick's Day Parade. Hagerman has produced sculptural installations in public spaces and museums around the world over the last decade, investigating the relationships between nature and the manmade. Using sheets of mirror glass, Hagerman’s parade entry playfully reflects the action and scene of the parade, acknowledging the presence of spectator and townscape in the busiest day of the year.
Susan MacWilliam’s IC ITE OID was an audio and sculptural work at the Franciscan Friary,
interweaving Aldous Huxley’s seminal 1954 novel The Doors of Perception with accounts
of the Limerick Meteorite Fall of 1813, inducing a psychedelic cosmic sensation to Askeaton’s famous ruin.
Steve Maher’s site-orientated conceptualism resulted in three distinct presentations:
a miniature ghost estate appears on the edge of the four roads, excerpts from local literary
sources flash across Supervalu’s LED scrolling sign, while at Cagney’s Bar a video investigated
the illegal distilling and procurement of Poitin alcohol in the Askeaton area.
Jorge Satorre’s drawings were located in the tunnel of Askeaton’s New Bridge.
Working in an anthropological approach and in collaboration with local resident
Anita Guinane, he gathered aural accounts of previous artworks made in Askeaton,
producing a series of drawings that perform an active recollection and as a form
of unauthorised folklore for the status of contemporary art in the region.
Amanda Rice’s derives around Aughinish Island led her to finding out about the disappearance
of several triangulation stations, objects placed in the landto establish concise mapping co-ordinates.
After experiencing her own process of drift and walking in the landscape, Amanda made a structure
reassembling a ‘trig’. Rather than being stationary, instead it moves from locations at Poulaweala Creek,
to a photograph in a display case in the East Square, to another location in a field near the town centre.
Mike Cooter’s multi-directional project investigates the nature of objects. in Mussel Mind (Loaded Die),
his ingredients include an artefact from the Hunt Museum, reconstructions of a Gerrit Rietweld lamp and
an Eileen Gray table, mussels, hotplates, and industrial printing techniques that converge together
in several rooms on Church Street. Mike worked closely with System Label when in 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