National Interest - ArtTrail Festival 2011

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A r t T r a i l F e s t i v a l2 0 1 1 C o r k C i t y

National InterestFri 18th Nov - Sun 4th Dec

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Cover ImagePhotographer: Pamela CondellCostume/Makeup: Lisa BarrettModel: Emma McElroy Concept and direction by ArtTrail, inspired by the work of Erin Gee.Ireland’s Euro coins bear the harp designby Jarlath Hayes.

ArtTrail Ltd. Board of Directors:Kevin Tuohy, Danny McCarthy, Chris Clarke, Tara Walsh

Festival Coordinator: Kevin Tuohy

Promotion: Anna Crudge & Sharon McCarthyExhibition design, Technician, AWE: Cliff DolliverWebsite Design: Nora O’Murchu / WPShower

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PUBLICATIONDesign: Rory O’Brien roryoseven.comCover: see rightAdvertising: Creative ConceptsPrinted by WebPrint, Cork. www.webprint.ie

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ARTICLES

Branding the Nation Rosie Meade

Back to the GardenElaine Garde-Wulff PROJECT PROFILES

Ma Bicje Boije <It’ll Get Better>/Galic & Gredig (CHE)Examining nationhood and the authority of images, through the prism of Bosnia’s conflict

The Heritage Collection /Aideen Doran(NI)Postcards revealing new perspectives on old Irish holiday destinations

Earth Station/David Upton(IRL)Research into the implications of information technology & its role in sculpting society. 24 Hour Print /A Printmaking Project (IRL)12 artists, 24 hours, 1 workshop, 1 exhibition space, and a shredder...

Under the Flag/Neil Butler (IRL)Translating the Declaration of Independence, the perception of Ireland online

Approval Needed/Catherine Harty (IRL)Who decides the news? Why are we always asking for approval?

(Un)Like /Kent Gustafsson (SWE) An audio work where national anthems are reassembled to investigate their similarities

A Flag for National Interest?Three new flags, reassessing the purpose and symbolism of Ireland’s flag.

ART WORK EMBASSY at The ElysianExtensive showcase of artists’ practice in Cork area, interactive projects, festival hub & information point.

This is Conceptual/Denise Kehoe (IRL)My influences range from the Euro saver menu and South Park to Rothko and N-Dubz.

Alessandro Saviotti & Marianna Liosi (ITA)How are artists responding to the current crises? What does the future hold for artists in Ireland, Italy, Europe?

MUTANTspaceTrashCultureRevueProfile of this online skills-sharing resource, and the festival it’s members present

ALSO ON...Other events and Gallery Listings

CONVERSATIONSIrish Examiner series, Pecha Kucha, and the Provisional University

Nina Tanis at The Guesthouse (US/IRL)A participative project, with Lucky Bags, newspapers, and more...

Daily Rituals / Carolyn Collier (IRL)A solo Lightbox exhibition at Tom Barry’s

C.R.A.P., at Art Work EmbassyResearching collaboration, interaction, process-based art practices, and public spaces

VISITOR GUIDEMAP, Event Calender, Eating, Accomodation

CONTENTS

Who is a Nation? Who is the Irish Nation? What are the people who make up the population of this island interested in?

In 2011, is Ireland a nation, a country, an island, a jurisdiction, an economy, a tax haven, a destination or a stop-over, an exporter; a land of contradictions, where State, Church, Drink, and Sense vie for control of a collective identity; a land of guilt, doubt, thwarted ambition, and passive acceptance of international agendas; or a network of people and communities? Is Ireland a state, or a state of mind?

Is there a collective identity, a common set of interests - or is there a need for one? In the race to homogenise, for fear of losing attractiveness to international visitors and investors, has this island lost the peculiar individuality that attracted people here in the first place? Constant movement and intermingling is a feature of the human race that ensures its survival, any ‘Nation’ is surely only the current permutation, the result of numerous individual decisions and circumstances over previous generations. Is any decision to assign a ‘national’ identity purely abitrary, an empty symbolism? Or is it symptomatic of the human need for companionship, community, family?

Humans are fiercely territorial animals, programmed to constantly identify, assess, and deal with threats to their territory. In the modern world, threats come in many guises - from the blunt edge of physical violence to the insidious mind-control of the mass media. In the ‘Western world’ we at least have the relative luxury of not being subject to regular threat of violence from fellow humans or from wild animals. Instead the threats to our bodies have grown ever smaller - vermin, bugs, germs, bacteria. Ageing is a threat, life itself is causing our bodies to decay. New reasons to invest in chemical protections surpass even what Flann O’Brien might have invented in The Third Policemen - reasons so far removed from the visible world, that the only logical action is to buy the pill/cream/supplement/treatment. An invisible threat is surely the best, and even a glance at the daily papers reveals the extent of the Orwellian society we now inhabit - the Communists of the 1960s have given way to the terrorists of the 1990s and 2000s and 2010s; wars are inevitable, unwinnable, and far away; Ireland is neutral but simultaneously an economic beneficiary, albeit circuitously. Every home has a tv and internet, usage is monitored, digital tv enhances your interaction so you will never miss/leave it. Reality TV is the ultimate paradox, a lucrative and improbable career choice not far removed from the realm of professional politicians. Time is increasingly fluid, thanks to instant replay, rewind, and repeat. Then is now, and the future was filmed yesterday. Is it possible to defend against this encroachment on the personal territory of the mind?

With economic and political issues to the fore, this year’s ArtTrail Festival turns its attention to National Interest. Having posed this theme to the artistic community, the festival will present selected projects in various venues across Cork City centre from Friday Nov 18th to Sunday Dec 4th .The responses reflect concerns of the art world itself as well as considering wider cultural interpretations, uses, and misuses of these words.What is it? Who is it? Who can and does invoke it? Who defines it, and why? In 2011, who is the Irish Nation? Does or should ‘art’ have anything to do with a ‘national interest’? Is art part of a broader debate on the development and direction of society? Is the subsidy of art from Public funds necessary and in the National Interest? Is art an enterprise, an economic activator, a personal hobby, a compulsion, a decadent luxury, a visceral and visual manifestation of the human need to examine and communicate ideas?This guide introduces the projects, with QR code links to further information online.We look forward to welcoming you to the OPENING of ArtTrail 2011, on Friday 18th November at Art Work Embassy,- ArtTrail 2011

INTRODUCTION

A r t T r a i l F e s t i v a l2 0 1 1 C o r k C i t y

NationalInterest

Fri 18th Nov - Sun 4th Dec

A r t T r a i l Launch Event

at Art Work Embassy, The Elysian

Friday 18th November6 - 9 pm

All welcome

- Kevin Tuohy - read more at www.arttrail.ie

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BRANDING THE NATIONAppeals to the ‘national interest’ always worry me. Of course there is real symbolic power in the concept of the ‘Nation’ and, historically speaking, invocations of ‘national identity’ have inspired diverse peoples across the globe to resist and cast off imperialism, colonialism and other varieties of oppression. But, however progressively framed or pluralistically imagined, the ‘Nation’ is ultimately bordered and limited: the re is always an interior and exterior, where ‘we’ are in and ‘they’ are out.

Whenever the concept of ‘Interest’ gets soldered on to that of the ‘Nation’, new internal borders and limits are instantly erected: all sorts of things become un-sayable, differences are elided. Superficially at least the ‘we’ implied in ‘the National Interest’, welcomes us all to invest our hopes and aspirations in the common currency of economic growth and international reputation. Consensus is thrust upon us so that irrespective of our individual rankings on Ireland’s league tables of inequality, exclusion and alienation, we accept that ours is a shared cause.

If the ‘National Interest’ could be said to have a personality, we might describe it as upbeat, thrusting and ambitious. Nonetheless, since the recession was formally declared in 2008 some more menacing aspects of our ‘Interest’ have been revealed. Austerity has become normalised as each new Budget promises to ‘share the pain’ across the society. In winter 2010 the Irish Government was compelled to seek what is euphemistically referred to as a ‘bailout’ from the troika of the EU, European Central Bank and the International Monetary Fund. Anodyne terms like ‘fiscal consolidation’, ‘budgetary correction’ or ‘adjustment measures’ now mask the ugly realities of social welfare retrenchment, the demonisation of the public sector and the closure of vital social and community services.1

Recession seems to legitimise a particular version of ‘National Interest’: ironically one where concepts of publicness, social solidarity and universal welfare are represented as out of touch and out of date. But the recession has also impacted on expectations of how we should think and talk about other things too. I am particularly interested in how the ‘functions’ of culture and the arts are being framed in mainstream media debates at this moment, and how demands for economic and reputational payoffs are being projected on to artists and arts organisations. In recent weeks we witnessed considerable press excitement about the Global Economic Forum in Farmleigh. In September 2009, the inaugural Forum was concerned with the precarious status of Ireland’s international reputation and the urgency of ‘brand’ consolidation.

‘Speakers focused on the concept of branding, noting the strength of “Brand Ireland”, but that in today’s hugely competitive environment, resources must be targeted and the message focussed so that Ireland, could distinguish itself on the global stage. The arts and culture had a key role to play in this process. Participants strongly argued that the arts are no longer a luxury or a charity, but are a hugely important part of the economy’2 (my italics)

‘Brand Ireland’ soon became a ubiquitous and inescapable refrain as media commentators wondered if, how and when the arts could re-boot the economy. To arts practitioners and arts organisations it became increasingly apparent that markets, commodities and employability - as opposed to originality, skill or imagination – would be regarded as the primary indicators of their worth.

Attempts to brand culture and identity are not new, either in Ireland or across the global economy. Throughout the 1990s and 2000s the marketing of everything from theme pubs to Riverdance to foodstuffs, privileged and exploited particular images of Irish culture, history and tradition. Peter Van Ham has recorded the emergence of the ‘Brand State’ as an international force since the 1980s, affirming the associated triumph of ‘style over substance’ as ‘image and reputation’ became key components of the ‘state’s strategic equity’3. Because brands can stimulate trust (and distrust) among investors and consumers, they have real economic value even if and when they offer

illusory or partial representations of the ‘character’ of particular nation states. To me this is yet another wearying reminder of the dominance of the neoliberal model and the ongoing encroachment of market principles into every aspect of our lives. If austerity threatens our public services, branding discourses threaten the publicness of our cultures and in what remains of this article I will try to explain why I find the concept of ‘Brand Ireland’ so objectionable.

Firstly, mainstream conceptions of Brand Ireland represent ‘the arts’ and ‘culture’ as coterminous fields. In contrast, I think we need to hold out for a more democratic and pluralised concept of culture; one which incorporates all forms of expression, communication and interchange that generate meaning in society. Sometimes cultural production results in artworks, things or commodities, but most of the time, as Raymond Williams has explained, we experience it as ‘ordinary’4 life. Against efforts to reduce culture to a brand, we might speak up for the messiness, provisionality and diversity of cultural practices. Ordinary citizens are not just tourists, audiences or consumers, but makers, doers and communicators. Therefore, the ‘arts sector’ cannot be regarded as a proxy for creativity in its broadest sense. Indeed, culture, or more accurately cultures, may be in dialogue or dispute with particular conceptions of ‘the Arts’, especially if those conceptions are riddled with the elitism and exclusivity that can estrange citizens from supposedly ‘higher’ forms of practice.

Secondly, Brand Ireland discourses, such as those articulated at the first Global Economic Forum, are constitutive insofar as they seek to create or call into being particular visions of the arts sector. Practitioners are responsibised to become entrepreneurial, to entertain or divert consumers and to eke out market share. Allegedly, there are no tensions between artists’ interests and values and those of competitive capitalism. Increasingly, as McGuigan has observed, capitalism projects itself as ‘cool’: in so doing it annexes the language of creativity, innovation and imagination as its own and ‘incorporates’ the arts and cultural spheres into ‘capitalist ideology and market practices’5. In the context of austerity, where even basic public and community services must prove their worth, the arts sector is under increasing pressure to strategically

adapt to economic rationalities and represent its purposes accordingly. But Brand Ireland discourses, and their expectations of the arts, seem quite fanciful when we consider the living and earning potential of real life arts practitioners. An all Ireland survey reported that the average income from their arts practice for artists in the Republic was ‘€15,000 in 2008, with 50% of artists earning €8,000 or less from their work as Artists’6. Notably, these figures relate to the period before the crisis when Ireland was still, notionally at least, a booming economy. In the wake of the McCarthy Report there has been worrying speculation about the future of a distinct government department with responsibility for the arts7.If truth be told there is a striking disjuncture between the actual structural position of the arts and that which is presumed in the fuzzy exhortations of Brand Ireland.

Finally, unlike Van Ham who claims that ‘brand states’ marginalize ‘nationalist chauvinism’, because they draw on the more ‘benign’ resources of culture, tradition and history,8 I believe that Brand Ireland discourses ultimately appeal to a nationalist reflex, an uncomplicated ‘we’ against our ‘market competitors’ out ‘there’. Artists are expected to generate PR and spin for our recovering economy, while the rest of us cheerlead from the sidelines. However, it is precisely because ‘the national interest’ is being over-determined by economic rationalities that we need to champion alternative visions of the arts and critical conceptions of culture. Declan McGonagle has argued that culture is always about communication, whatever the medium of expression9. Sometimes we may desire to communicate pride and optimism to imagined communities or even ‘brand’ states beyond our own. This may or may not enhance our reputation in their eyes. But culture is also about communicating with each other and ourselves, in ways that can accommodate regret, anger, confusion, anxiety and critique. Our public interest – if not our ‘national’ interest – demands that we reassert those cultural rights for ourselves.

1Irish Government (3/12/2010) ’Letter of Intent, Memorandum of Economic and Financial Policies, and Technical Memorandum of Understanding’ Accessed 29/06/2011http://www.imf.org/external/np/loi/2010/irl/120310.pdf2Department of Foreign Affairs (2009) Global Irish Economic Forum 18-20 September 2009 Report. Dublin: Department of Foreign Affairs, p 213Van Ham, P (2001) ‘The Rise of the Branded State: The Postmodern Politics of Image and Reputation’, Foreign Affairs, 80(5): 2-6, p 3.4 Williams, R (1989) Resources of Hope, London: Verso, p4. 5McGuigan, J (2010) Cool Capitalism, London; Pluto Press, p7-8.6McAndrew, C and McKimm, C (2010) The Living and Working Conditions of Artists of Artists in the Republic of Ireland and Northern Ireland, The Arts Council/Arts Council Northern Ireland. Accessed on 02/06/2011 http://www.artscouncil.ie/Publications/LWCA%20Study%20-%20Final%202010.pdf7McCarthy, C [chair] (2009) Report of the Special Group on Public Service Numbers and Expenditure Programmes. Dublin: Stationery Office, p 33.8Ibid p3 9McGonagle, D (2007) ‘A New Deal’: art, museums and communities – re-imagining relations’, Community Development Journal, 42(4): 425-434, p430.

Branding the NationMarketing Our Culture(s)Rosie Meade

This essay is based on a longer discussion that will be published by Concept, The Journal of Contemporary Community Education Practice and Theory http://concept.lib.ed.ac.uk/

Rosie Meade Is a lecturer in the School of Applied Social Studies, University College Cork.

BACK TO THE GARDENOrchards are very special gardens, for most they are perceived as places not just of sanctity and tranquillity but of great abundance. Perhaps reverence for the Apple tree might be a good example of the human connection to nature, at its best. It was most likely this positive view which lead to the overwhelming support of a proposal to create a collectively owned Orchard in Cork. With a working title of ‘Future Orchard” the project started in 2009 with a personal commitment to see it through, whatever the challenges. Inspired more for its potential as a creative space, than as some replica of a certain biblical story, it has been a journey of considerable interest for all of us who have gotten involved.

A little hectare of land with as many as 100 shareholders, Future Orchard was set up as a small scale ecological enterprise, using a model that rejects the need for loans, capital investment or any dependency on grants. Working sensitively with the land the aim was the creation of wealth by security of tenure under collective ownership. Shareholding would be financially accessible to any interested parties and a co-operative and egalitarian approach would be embraced. In addition, an intention that a promissory currency would in time be created and backed by the fruits of its labour. It might sound complicated but the model is simple, and can be modified to suit any size of available land.

A member explains –‘There are 100 shares issued for each one hectare of land. The owner of the land agrees to pledge the land to the project in return for an agreed percentage of the total shares, the value of which should reflect the normal agricultural value of the land. That takes care of the land purchase and that individual will be free to release their equity by selling their shares, at a future time, should they wish. The remaining shares are available to interested parties at an agreed sum, which can be paid over a number of years in small increments. So what happens next? ‘This incremental income then becomes the working capital for the project to develop

and maintain the orchard until it can hold its own’ So it’s an investment model? ‘It could be seen as a straightforward investment but the concept is that it can be so much more, it could also be seen as a microcosm of how we can reconnect with the earth’. Are there dividends? ‘Yes, the Dividends are for perpetuity but won’t start until the project is in its second decade and the expectation is that they would be small for many years, however in time dividends would increase’. So do the members have to work on the land? ‘No, Share holders can get involved in the design and maintenance if they choose, while others might prefer to see their investment as a transferable bond or something to leave to following generations with their estate. Apart from occasional Meitheal the intention is that all Labour is honoured and acknowledged in kind or paid with a currency developed within the project itself. In the early years small amounts of produce is an immediate asset which allows for further input to the project’. So how does the personal involvement work ? ‘In this particular case, as a registered Co-operative, the project will be bound by the same rules and structures that apply elsewhere. Therefore each new year offers potential for shareholders to get involved in the ‘core’ workings of the project.’

This approach secures the future integrity of the project by not allowing any possibility for it to be compromised by rising interest rates, or funding led actions that would distract from its core concept. No other organisation would ever be in a position to exert influence, or insist that their ideas are in the project’s best interest. Definitely no IMF interference for 100 share hectare land projects.

Commitment to the project suggests that a 100 share hectare level of collective involvement with land is agreeable to people’s sensibilities. The Shares sold out quickly and shareholders are genuinely excited by the potential of their very own micro eco enterprise. Recent studies have shown that Humans have only the capacity to know little more than 100 people at any given time, is this not interesting when you think of a microcosm. A Nucleus to replicate. Furthermore

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the amount of space in a Hectare (2.4 acres), as well as the level of financial commitment, is all comprehensible to the individual. Not as abstract or manipulative as a concept such, the National Interest.

Inspiration is the nucleus of the creative process and when you go off track you have to know how to find it again. My inspiration is a reaction to the ‘turmoil of the big world’ and a desire to create something ‘in balance with nature’. Inspiration also comes from historical animators like William Thompson or indeed Buckminster Fuller. To me Thompson’s quote ‘If you don’t create your own destiny, you will have your fate inflicted upon you’ echoes the same clarity as Fuller’s when he said, over 100 years later, ‘In order to change an existing paradigm you do not struggle to try and change the problematic model. You create a new model and make the old one obsolete’. The nucleus is also a good analogy for the Future Orchard project, it has a core, a boundary, a willingness to be part of something bigger while all the time sustaining its integrity.

The dream for Future Orchard was not for a once off project, rather that it was to be developed as a model for easy replication, a freely available plan for guidance and experimentation. Its highly likely though that other projects will never be realised. When dreams become ideas the magic gets lost in translation. However the blueprint is clear, it is for sustainability in all its forms, an ethos that put the emphasis on the shareholders and the land, a space for creativity, not the quest for profit. A Blueprint perhaps of real National Interest.

You can contact the project at [email protected] or check them out on Facebook.

The creation of a coin minted from potato skins has to be the highlight of creative activity during 2011 from Elaine’s studio ‘Orchard Arts’. A large batch of a promissory currency, set at the value of one apple, has been circulating around the country. These little coins will bio degrade with the right combination of light and water - so do remember there is only a limited edition if you come across one. The merits of not hoarding currency, wherever its origins, is a discussion for another day.

Back to the GardenMicro Ecological Enterprises: A Blueprint for Spaceship IrelandElaine Garde-Wulff introduces Future Orchard

Ma Bicje Boije / It’ll Get BetterGalic & Gredig (CHE)Curated by Chris Clarke and Stag&Deer

PROJECT PROFILES

MA BICE BOLJEOn the one hand, Ma bice bolje / It’ll get better by Goran Galic and Gian-Reto Gredig thrives on the love of images, on the fascination with the image that draws us into this world, while on the other it thrives on iconoclasm, on doubting the power of the image, on the notion that images are seductive and illusory, and that only through language or a suitable order can they be given a context in which they become legible.

In their search to uncover the truth of the Bosnian conflict, Galic and Gredig are also seeking the truth of the image in general. Setting out for his parents’ homeland to tackle the accusation that the Serbs are to blame for everything bad, Goran Galic, together with Gian-Reto Gredig, find themselves confront-ed by the question: who tells the truth of the image?

The person who explains the image also determines it. But if there is no such explanation, misunderstandings arise and the scope for interpretation wid-ens. Thinking about the image brings both these artists back to the question of society. Only those who question it, who find a flaw in the image and use it as an op-portunity for understanding, for looking through it to see what lies behind, will be prepared to rethink their own viewpoints, their own origins, before taking action.

“In my Bosnian homeland there was a clash of contradictory views of reality, as conveyed by language and image. These mutually exclusive realities led to war. Even today, the situation is still wearing the country down. Many see consensus as a prerequisite to getting to grips with the situation. But instead, the gap between the different perceptions has widened.“ (Goran Galic)

The two artists hope that they can create a level of discourse by means of photography, video and text. - Urs Stahel, Director Fotomuseum Winterthur

“In my Bosnian homeland there was a clash of contradictory views of reality, as conveyed by language and image. These mutually exclusive realities led to war. Even today, the situation is still wearing the country down. Many see consensus as a prerequisite to getting to grips with the situation. But instead, the gap between the different perceptions has widened.“

- Goran Galic

Former P&D Furnishing Store, Perry Street19th Nov 4th Dec12 - 6 pmMap : C2

The role of nationhood and identity is key to understanding the ‘national interest’. In Ma Bice Bolje / It’ll Get Better, questions of how and by whom these identities are determined are challenged by work in video, photography and text. Detailing the period following the Bosnian war (1992-1995), Goran Galic (whose family comes from the region) and Gian-Reto Gredig explore the shifting allegiances and antagonisms that affect a contested national identity and how these are represented through the media. - Chris Clarke

Stag & Deer is an exhibition-making project, made by two photographers (Pádraig Spillane and Pamela Condell), which began in April 2010. Our goal is to facilitate the needs of emerging and established artists in the visual arts with a concentration on the photographic. We do this by setting up guerilla galleries within a slack space or site-specific location. Through this method of operating exhibitions we hope to showcase contemporary art in a stimulating and vital manner.

A NOTE FROM THE CURATORS

EARTH STATIONDavid Upton recently graduated from the CIT Crawford College of Art and Design receiving a first class honours degree in Fine Art. In this time he has also studied at the Academy of Fine Arts in Budapest, Hungary.

David’s research led practice is concerned with the implications of information technology and its role in sculpting society, particularly how in the same period that religious attendance is in free-fall communication technologies have become widespread. David’s interest lies in how, while one structure is replacing the other, both rely on impercievable, wireless, forces, both provide a collective community and function without the full understanding of their users, creating, in a sense, a belief that they work.

David works in a variety of media including video, photography and archival material.This April David won a Thomas Dammann Junior Memorial Trust Award, and has recently returned from the resulting research trip to Russia, Turkey and Greece to study the use of time in Orthodox religious icons and their

links to contemporary video art. For his degree show David was awarded the Cork Film Centre Award for the best use of the moving image and the Art Trail Graduate Award. Recent group shows include ArtNow at KTcontemporary, Dublin, as part of the Dublin Contemporary 2011 programme and PERIPHERIES at Gorey School of Art.

“For those who believe, no words are necessary. For those who do not believe, no words are possible”. Ignatius de Loyola (1491-1556)

Earth Station/David Upton

The Heritage Series/Aideen Doran

24 Hours /A Printmaking Project

24 HOURS A collaborative print project involving artists from Cork Printmakers Workshop, Limerick Printmakers, Black Church Print Studio, Dublin and Artichoke Printmaking Workshop, London. The initial collaboration at the Limerick Printmakers Gallery in February 2011 came about in a very organic manner and sprung from a passion for the medium of print and willingness to the push the boundaries of what is classed as a traditional art form. The group comprises of established artists who have exhibited both nationally and internationally and at times represented Ireland at international symposiums. In the past many of our careers have overlapped in a many different capacities and this has created a level of dialogue and interaction that has now lead to this collaboration.

The aim of the project is to encourage new creative ways of working with the medium of print enabling the public at large access to the creative process in a unique collaborative environment. The artist will have free-reign of the entire printmaking studio and can use the etching, lithography, silkscreen, photography and digital print areas to make collaborative work. Some may work through the night or catch a few hours on a camp bed in the studio. The project

will be simultaneously streamed live on our dedicated website and projected on the walls of alternative venues across the city. Cameras will be placed around the workshop and the artists will take it in turns wearing a camera-mounted headpiece that allows the viewers to experience the full creative process as the artist sees it.

The participating artists Gemma Dardis, Morgan Doyle, Pamela Dunne, Clare Gilmore, Catherine Hehir, Marianne Keating, Des MacMahon, Lorraine Neeson, Noelle Noonan,

Margaret O Brien, Suzannah O Reilly, Derek O Sullivan and Fiona Quill will gather at Cork Printmakers, Fine Art Workshop at noon on Saturday 19th of November and will have 24 hours to create a collaborative body of work based on the theme of National Interest. In the run up to the execution of the project the artists have debated the topic National Interest and as a result of this have decided that the artwork should have a short lifespan: the work will be created within 24 hours, then exhibited and shredded the same day (Sunday 20th Nov). The artists will then reconstruct

PROJECT PROFILES

another art piece(s) out of the shredded material which will be exhibited at the end of ArtTrail on December 3rd at the former Frank Clarke’s shop on Sharman Crawford Street. Creating something beautiful and then shredding it seems an extreme gesture but reflects on the concept that everything is impermanent, that life is a cycle, and offers hope that this time of national and global upheaval will also pass, things will mutate, alter and transform.

GRADUATE AWARDS

SeeTimetable Map : A3

Former P&D Furnishing Store, Perry Street19th Nov 4th Dec 12 - 6pmMap : C2

Former P&D Furnishing Store, Perry Street19th Nov 4th Dec 12 - 6pmMap : C2

T I M E T A B L E O F E V E N T S Follow live stream from noon on the 19th of November 2011 to noon on the 20th November at www.24hourprintpopup.com To view the artwork and the shredding of the artwork come along to the former Frank Clarke’s shop, Sharman Crawford Street at 3pm on Sunday 20th November. We welcome you to participate by bringing paper items that for you relate to the national interest - anything that can be shredded will become part of this artwork.

A film of the 24 Hour event will be projected inside the windows of the shop space during ArtTrail. View the reconstructed art work at former Frank Clarke’s shop, Sharman Crawford Street from 12 noon on Dec 3rdwww.corkprintmakers.iewww.limerickprintmakers.com

PROJECT PROFILESUnder The Flag/Neil Butler

UNDER THE FLAG ‘Under the Flag’ explores ideas of Irishness through the prism of technology and the internet. Five distinct but interconnected pieces take us on a journey through national stereotypes as perpetuated by global Google users. As far as the internet is concerned, it seems Ireland’s image has not evolved very far past notions of green fields and leprechauns. With endearing irreverence, Butler’s work highlights the manner in which ideas of Irishness are continually subverted and simplified by external viewers and how technology seems to have little impact on painting a fuller picture of our ‘emerald isle’.

Butler’s most experimental contribution to the exhibition sees the Irish Proclamation of Independence translated into all the official languages of the EU and read by Macintalk Alex - a computer program. The piece removes the human element of the document by filtering it through the agents of the internet and clinically regurgitating it.

We are forced to engage with the document in a different way, and encouraged to question the impact of globalization and technology on the true spirit of Ireland’s nationhood. As with all of Neil’s work – the facts are merely presented to us – we are left to decide their meaning for ourselves.

“Is Ireland a Country : 500 Google predictive searches” gives a unique insight into perceptions of Ireland from internet users abroad. The film displays the most popular questions asked on Google beginning with the words ‘Is Ireland’, taking us on a journey through the most common misconceptions of Ireland. The questions range from mildly ignorant to completely ridiculous and are in equal parts amusing and depressing. Particularly telling entries include ‘Is Ireland part of the UK?’ and ‘Is Ireland a safe place to visit?.’ Butler’s collection paints a picture of a still largely misinformed global community, where old myths perpetuate in new media.

Two visual filmic pieces take the viewer on a journey through visual stereotypes of Ireland.

“Forty Shades : Google Image search ‘Irish’” is a projected video collating thousands of images of Ireland found on the internet. Perhaps encouragingly, the pictures played together create a rather pleasing greenish blur. The video displays what most would accept as one of the more positive results of Butler’s explorations.

“Lucky Charms” meanwhile, exhibits a collection of leprechaun gifs found on the internet. Ireland’s most renowned mythical creature is alive and well in cyberspace it seems. Our most maligned mascot shows no signs of waning as the figure most synonymous with our modern republic.

“Burning Churches” is a different beast entirely. Again, Butler presents us with a notion of Ireland through various

filters. This selection of photographs shows print-outs of churches which have been set alight. The symbolism is obvious – Ireland’s churches are in disarray, Catholicism is struggling under the various pressures of controversy and capitalism. The work is perhaps the most personal of the collection and stands out as a more definite statement on the state of Ireland and one of its most intrinsic institutions.

Butler’s observations ask and answer some big questions on the state of our nation’s reputation in the wider world. His findings are presented for our consideration, in a charming and often disarming manner. We are given a glimpse into Ireland as seen from cyberspace, and what we find is that, despite globalisation, despite freedom of information and travel, ingrained ideas of Ireland really haven’t changed very much at all.

Text : Sarah Daly. www.facebook.com/Metaphorest

TACTIC Gallery19th Nov 4th Dec12pm-6pm Map : B4

The Grain Store at Ballymaloevenue available to hire

PARTIES, CONFERENCES, LECTURES,

DEMOS, EXHIBITIONS, AGMs, CHILDREN’S PARTIES.

ph 083 3631468 www.thegrainstoreatballymaloe.com

Upcoming Events- West Cork Ukulele Orchestra, Thurs 10th Nov- Ozmosis (flute, piano & cello), Sun 13th Nov- Craft Fair, 19th & 20th Nov- Breandán & Brianan Begely, Sun 27th Nov- Phil Coulter, Thurs 8th Dec- Victorian Christmas, Sun 11th Dec- Masters of Dance, Fri 16th Dec- Noirin Ní Rian & Size 2 Shoes, Fri 23rd Dec

Images : ©Neil Butler 2011. #6 from ‘Burning Churches’.

Approval Needed/Catherine Harty

APPROVAL NEEDED Footage of the LED news-ticker, located at the corner of Bridge St in Cork, with sound recorded at a supermarket self-checkout machine. The news-ticker displays a condensed overview of what is deemed news worthy on any particular day in the form of text. Disasters, sports stories, small scale tragedies, all scroll hypnotically and repetitively from right to left, 24 hours a day. Approval Needed is the phrase repeated by self-check out machines in situations where the involvement of a human is required to complete a transaction, for instance when a customer wishes to buy alcohol.

(Un)Like Kent Gustafsson (SWE)

Both locations are sites where ideology is aggressively materialized; at the self- checkout, machines replace people in a drive to reduce labour costs. The news-ticker is not only a tool for disseminating news; it is also a message in itself. It embodies the notion that to live in our society requires a symbiotic relationship with information technology. It also helps contribute to the maintenance of an atmosphere of low level all pervading anxiety.

Approval Needed reads the calling card for the country; the government celebrates when its moves are complimented by the Troika (IMF, ECB,

(UN)LIKE With this piece I would like to raise a few simple, though rather important questions. Do we need nations? What is globalisation leading to? Who are dictat-ing the terms for this globalisation? Is the world becoming homogenous? In this piece short samples of national anthems have been put together so that they form a functioning but rather uniform struc-ture. I see this homogeneity as a result of a globalisation built on our colonial heritage. What struck me when I heard the recordings of these national anthems was how similar they are. It´s hard to notice any differences at all. The national anthem is, together with the flag, the

most powerful symbol for any nation. I am not a nationalist but I must admit that when it comes to sports I am affected by this nationalistic spirit. When even this, rather harmless, form of nationalism transforms into hostility and condemns the so called other it becomes frighten-ing and dangerous. Such tendencies are unfortunately much to frequent. The way I see it, globalisation can be both a threat and a hope. It can only be truly successful and lead to better conditions for all man-kind if the western world allows the rest of the world to participate in the develop-ment of this new global era.

EU). Congratulations are in order for our agility, flexibility, manoeuvrability and passivity at the neo-liberal two-step. We hear rumours of Greek bearing signs declaring ‘We are not Irish’ in Greek or English perhaps, and tales of ex- bond sales men touring the ‘new third world’ and finding us serf like with an inclination for self-flagellation.

‘The commentary from an international business perspective, an economic perspective and a political perspective sees Ireland as a country that has imposed discipline on itself’.1

1Taoiseach Enda Kenny at a press conference with European Commission President Manuel Barrosco in Brussels- October 2011

PROJECT PROFILES

Former Govt.BuildingsSullivans Qy9am - 5pmMap :B4

Irish Examiner Offices9am - 5pmMon - FriMap : D3

Excellent Value•Nationwide Delivery•10% discount for Students and Artists•

26-29 Princes Street ph. 021 4277488

Leading Retailer of Art & Craft Materials for over 25 years.Buy on line @www.corkartsupplies.comwww.cardznscrapz.com

A Flag For National Interest?

Three new flags, designed in response to an open call asking this question, will be selected, printed, and flown from the Former Government Buildings, Sullivan’s Quay.

What does the Irish flag mean? What could it mean? Who is for? What is the role of a flag in today’s society?

Artists on the Hill

Noirin O’Connor, Neil McGrath, Margaret Collins, Colette Mulholland

1, Gordon Tce., Richmond Hill, CorkNoirin O’Connor: [email protected]

Glebe Art Studios (GAS)

Natalie Allen, Ceramicist; Stefan Syrowatka, Photographer; Gill Good, Visual Artist

Glebe House, Ballinadee, Co. [email protected] 4778294

4th Floor Studios, Former Govt. BuildingsSullivan’s Quay

Karina Abdulbaneeva Ceramics 0871486403

Mary Moakley - Painting 0851968803

Tomas Penc - Film and Painting 0872300779

Niamh Hurley - Painting

Ger Cummins - Painting

Nilmini Fernando - Film 0868476495

Leah O’ Brien- Textiles and Mixed Media 0863953798

ART WORK EMBASSY AT THE ELYSIAN

ART WORK EMBASSY

The Golden Section Studios

Rory Tangney, Anna Barden, Astrid WalshKerstin Walsh, Helena O’Donnell, Jason De Butleir, Yvonne Cronin, Paula O’Callahan, Trish Ui Chrualaoi

We are a diverse group of artists working in many different media including Paint, Sculpture, Installation, Video, Sound and Jewellery making. We generally work on an individual basis but we share facilities, tea and inspiration. As a fledgling studio this will be our first exhibition together.

[email protected]@gmail.com

The Golden Section StudiosGranary Building, 19 Rutland Street

Backwater Artists Group

Founded in 1990 by graduates of the Crawford College of Art & Design, B.A.G. is dedicated to providing studios of a professional standard to visual artists. With 28 studios in cluding 6 Sculpture studios, BAG currently accomodates over 30 artists. BAG is supported by Cork City Council and the Arts Council.

Currently 29 studio members:Svetlana Shuks, Ray Llewellyn, Helen O’Keeffe, Richard Forrest, Helen Lynch, Catherine Hehir, Ben Reilly, Colin Ben-nett, Robin Daly, Fionnuala Kelly, Angie Shanahan, Aoife Barrett, James McCann, Blessing Sanyanga, Brigid Delahunty, Brían Crotty, Marianne Keating, Jo Kelley, Roseanne Lynch, Lorraine Neeson, Gary Kearney, Lorraine Cooke, Ita Freeney, Su-sanne Leutenegger, Tony Magner, Ciarán Cronin, Eileen Healy, Donna McNamara, Éilis Ní Fhaoláin, Deirdre O’Brien, Chris Samuels

Wandesford Quay, [email protected] 4961002

Cork Printmakers

Current membership 89 in total, mixture of Full and Associate members

John Aherne, Aoife Barrett, Brian Barry, Lauren Baylor, Aisling Bradley, Jim Brindley, Rebecca Brown, Johnny Bugler, Maureen Considine, Lorraine Cooke, Dave Connolly, Zoe D’Alton, Deirdre Delamere, Alejandro Del Rio Etayo, Mairead Dennehy, Wendy Dison, Maria Doherty, Tom Doig, Aisling Dolan, Morgan Doyle, June Fairhead, Dominic Fee, Irene Fitzgerald, Shirley Fitzpatrick, Grainne Galvin, Hannah Galvin Horne, Mags Geaney, Marion Gilroy, Valerie Gleeson, Debbie Godsell, Evelyn Goold, Sean Hanrahan, Catherine Hehir, Heike Heilig, Carol Henry, Mae Holland, Margaret Horgan, Marianne Keating, Fiona Kelly, John Kelly, Jo Kelley, Eileen Kennedy, Keith Kennedy, Agata Kluzniak, Paul La Rocque, Brian Lalor, Aoife Layton, Aidan Lee, Elaine Lehane, David Lilburn, Kate Lyons, Melissa MacGillacuddy, Dermot McCarthy, Linda McConville, Eimearjean McCormack, Peter McMorris, Donna McNamara, Frieda Meaney, Harry Moore, Pat Mortell, Brid Moynahan, Tom Mullaney, Coilin Murray, Claire Nagle, Rona Neligan, Una Ni She, Noelle Noonan, Amelia Norman, Michael O’ Donovan, Shane O’ Driscoll, Antonia O’ Mahony, Suzannah O’ Reilly, Mick O’ Shea, Christine O’ Sullivan, Ken Parker, Rebecca Peart, Lucy Phelan, Jackie Raftery, Ben Reilly, Amanda Rice, Karen Russell, Joanne Scobie, Jim Sheehy, Yassmin Sullivan, Georgina Sutton, Sylvia Taylor, Ciara Wall, Kate Walsh, Susan Walsh. Cork Printmakers, Wandesford Quay,Clarkes Bridge, Cork, IrelandTel.: 021 4322422

Outlaw Studios

Suzy O’Mullane, John Adams, Mary Cook, Cliff Dolliver, Val Gleeson, Linda Whelan, David Jenkins, Jo Bohan, Serge Vanden-berghe, Martin DineenOutlaw Studios are on FacebookUnit P8, Marina Commercial Park, Centrepark Road, [email protected], [email protected] Dolliver 087 6143794

The Guesthouse

The Guesthouse, 10 Chapel Street,Shandon, Cork.

[email protected]

Mutant SpaceTrash Culture Revue

Trash Culture Revue is an annual micro-festival programmed by members of the MutantSpace online skills exchange community. MutantSpace operates on a no-money basis, where skills and ideas are the currency.

[email protected]

Join our online skills exchange and resourceShare and find support for your project, event, or exhibition.

National Sculpture Factory

The National Sculpture Factory (NSF) is an organisation which provides and promotes a supportive and enabling environment for the making of art and the realisation of creative projects. We actively support artists and their practice through residencies, lecture programmes, cultural exchanges, masterclasses and professional development workshops.

Albert Rd., Cork.www.nationalsculpturefactory.com

David O’Brien – Programme [email protected]

(Listening Post)

Curated by Danny McCarthy, of The Quiet Club

A selection of recent sound works by artists based in or with a connection to Cork

C.R.A.P.Collective Research And Process

A research project associated with The Truncated Adjunct Collective see Page 19...

EVENTSPROJECTSEXHIBITIONSARTIST TALKS STUDIO VISITSINFORMATION

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The CouchStudios and gallery [email protected] Floor, 85 North Main St.

CuigAilbhe Barrett,Frankie Burton, Stephen Murray, Brid Heffernan and Angela Burchill

Mayfield Community Arts Centre,Newbury House, Old Youghal RdMayfield, Cork

Ph 021 4530434www.mayfieldarts.org

Scissors Cuts PaperMaire O’Mahony (Cork), Anne Hendrick (Wexford), Lucy Sheridan (Dublin) and Fiona Chambers (Belfast)

scissorscutspaperblog.blogspot.com

SAMPLE STUDIOS

Aodhgán O’Flaherty, Aoife-Lisa Burke, Arran Towers, Caroline Murphy, Conflicted Theatre, Diane Peters, Eamonn O’Neill, Edward Hurley, Emer Ní Chíobháin, Erika Hellmich, Fiona Walsh, Gerald Heffernan, Grainne Curran, High-Q Recording, Jason O’Donell, Joe McNicholas, Kim Morris, Joseph Heffernan, Lee Daly, Liam Slevin, Lotte de Jongh, Marios Iakovidis, Mary Donnelly, Noel Linehan, Nora Buttimer, Pamela Myers, Rebecca Bradley, Sarah Gleeson, Sinead Duggan, The Altered Hours, The Project Twins, Tom Campbell, Tony O’Connor, Trumpets of Jericho, Wandering Star Productions.

2nd Floor,Former Government Buildings,Sullivans Quay, Cork

www.sample-studios.com

Artists on the Hill















ART WORK EMBASSY










Cork Printmakers



Outlaw Studios


The Guesthouse


[email protected]



[email protected]






(Listening Post)






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ARTWORK EMBASSY

Sean Hanrahan15 Mrytle Hill TerraceLower Glanmire rd, Cork [email protected] 7409508

Neil Cooney30 Waterside Quay, Hanover st,Cork City085 [email protected]

Sharon McCarthy

087 [email protected]

Pam Carroll7 The Causeway, Compass QuayKinsale, Co.Cork, IrelandPhone: Home: 00353 (0) 21 4700 711Mobile: 00353 (0) 860 [email protected]

Nuala O’Donovan4 Hollymount House, Lee Road, Co. CorkTel. 00353 214347892 / 00353 87641 [email protected] at NSF

Colette CroninApt B6 Wandesford House,Wandesford Quay,CorkPh.: [email protected]

Toma McCullimThe Old Parochial HouseWatergrasshill0866693037tomamccullim@gmail.comwww.tomamccullim.com

Cork is a hive of cultural activity all-year round, and visual artists are a significant and vital presence. This large-scale exhibition event Art Work Embassy in the cavernous space of The Elysian (Ireland’s tallest building) brings together artists and artworks from a wide range of artists, groups and organisations in the City and surrounding areas. Art Work Embassy is designed as the hub of the festival, a meeting point, a space for artist talks, interactive and participative projects, the starting point for studio visits, and the site of a developing and flexible programme of activities. Details and timetables will be available in the space, on the ArtTrail website, and from the artists and organsiations participating.

Artists and studios have each decided how to represent their ongoing practices, and many will be on hand to talk about their works during the festival. Where works are for sale, any enquiries and arrangements will be dealt with directly by the artist, and no commission is taken by the festival.

Sarah Iremonger

[email protected]

just listening : : : ireland calling : : : : :

with sleeve notes by Bernard Clarke, Nova, RTE Lyric FM

CD project launch Saturday 3rd Decemberat the ArtTrail venue at the Elysian, Cork.

Further details see www.nationalsculpturefactory.com

CD available from www.farpointrecordings.com

Farpoint Recordings andNational Sculpture Factory presentjust listening - ireland callinga new live audio CD recorded at LSAD, Church Gallery, Limerick, Ireland during the just listenShowcase Event, April 2011

Featuring live contributions from invited performers

Francis Heery

Sunfish

(Harry Moore & Tony Langlois)

Anthony Kelly & David Stalling

Linda O’Keeffe

La Société des Amis du Crime

(Paul Hegarty & Vicky Langan)

Slavek Kwi

Ed Devane & Amanda Feery

Ellen King & Tim O’Leary

Robin Parmar

Kevin Tuohy & Liam Slevin

Eileen Carpio

Katie O’Looney

Neil Quigley

Deirdre deCourceyTel: 353 (0)87 990 5211Email: [email protected]/deirdre.decourcey.ceramicstwitter: @Deirdre_DeC

Sarah Jayne Booth10 Upper Barrack Vew,Shandon, Cork.086 [email protected]

Padraig Spillane

[email protected]

padraigspillanephotography.blogspot.com

LUCKY BAGNina Tanis (US / IRL)

Have you ever read a book that was so good you went out and bought a copy for five friends, or told everyone you met for the next week about it?!!

Is there a CD you play to get your spirits up, or when you need some inspirational ?!!

Is there film you love that you want to share with everyone on the planet?!!

Well now is your chance to give and take with the best barter possible - an equal sense of generosity and enhancement. In the Lucky Bag project, you make a Lucky Bag for someone else - and someone else is making one for you. No one knows who for, you could pass them by on the street this very day and never know.

Pick up a participation envelope with all the details at the launch of Art Trail 2011 on November 18th at Art Work Embassy, or later during the the festival. There will be no transfer of money!!! Please get in on the fun early.

WORLDS END is a 5 month residency project instigated by Stephen Mc Glynn in the Guesthouse, Cork where invitations are extended to individuals or groups to take a short residency in the space and use it as a means by which to develop a work in progress, create an event or curate an happening. No restrictions are imposed upon those invited encouraging the individual/group to develop an event of their choice.

World’s End

Presenting Artists, Studios and ArtworksSat 19th - Sun 4th 12 - 6pm daily Adm Free

Artists on the Hill















ART WORK EMBASSY










Cork Printmakers



Outlaw Studios


The Guesthouse


[email protected]



[email protected]






(Listening Post)






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and more to be confirmed...

My current practice is concerned with investigating the value and accessibility of contemporary art. I am concerned with scrutinising the role and sincerity of ‘the artist’ and ‘the artwork’. My work illustrates my own investigation into defining art in my own terms.

I am interested in posing questions concerning the financial and visual distribution of art. The work is concerned with addressing the viewer with word play and everyday imagery to draw a correlation between high art and the ephemeral every day. My practice aims to engage with a wider audience beyond the customary gallery context. The work contains an appropriation of mass media elements. By using colloquial language and imagery, the work aims to break down elite barriers that contemporary art can contain. This work is concerned with juxtaposing elements of the fleeting every day with the contemporary art world.

We would like to briefly interrupt this art jargon to hear a quick word from our sponsors…

Choose Optimism because negativity is becoming too ubiquitous.. Our future can stop being doomed. Optimism.. try it now for free and if you are not satisfied, we will refund you with 100% negativity guaranteed!

PROJECT PROFILES

This is Conceptual/Denise Kehoe

We will now resume normal programming

Depending on my mood, creative instinct and availability of materials, the work ranges from being big bold and brash to piss-takingly minimal.

My influences range from the Euro saver menu and South Park to Rothko and N-Dubz.

Some viewing restrictions/warnings:

This art is suitable for ages 0+

You will need to have a certain degree of eyesight to view the work successfully

This art is subject to stereotyping and has a tendency to conform to the institutions and the world it attempts to challenge.

I have been a human who has been indulging in visually expressing myself and you have been gorgeous. Thanks for reading,See you at Art Trail gang? xoxoxoxoxoxox

29 Washington St.See Venue for timesMap : A3

GRADUATE AWARDS

They should have used Maurice Ward...

MAURICEWARD-ARTHANDLING.COM T: +353 1 840 9099 E: [email protected]

Luckily we are experts at moving artist’s work around Ireland, to and from the UK

and Internationally. So we know how to do it smoothly, cost-effectively and very, very

carefully. For a quote just call 01 840 9099 or email [email protected]

Nothing to see here...JESSE JONES THE STRUGGLE AGAINST OURSELVES

N AT I O N A L S C U L P T U R E FA C T O R Y IN ASSOCIATION WITH CORONA CORK FILM FESTIVAL

N AT I O N A L S C U L P T U R E FA C T O R Y. C O M for fur ther details see:

NATIONAL SCULPTURE FACTORY, FACTORY FLOOR, ALBERT RD, CORK. ALL WELCOME THURSDAY 10th: LAUNCH 5.30 PM

THURSDAY 10th: SCREENINGS 5 – 9 PM FRIDAY 11th: SCREENINGS 5 – 9 PM

SATURDAY 12th: SCREENINGS 5 – 12 AM

CONVERSATIONS

Alessandra Saviotti & Marianna Liosi (ITA)with Luigi Fassi (ITA) & Mick Wilson (IRL)

What is a nation? And what do we need to be considered part of a nation?This event aims to consider our identity as curators, as Italians, as Europeans in a precarious time, especially because of politics and economics.

We are living in hard times: both Ireland and Italy are suffering due to the global crisis and our governments are forced to cut funds to support culture. Thus the art system is in danger and a lot of people have decided to leave their own country to find other possibilities abroad.

The “new emigration”, composed of graduates and highly educated people, art professionals, doctors, engineers, is changing an entire social system, especially in Italy.

The nation of art without a future.An unavoidable catastrophe?

A discussion event curated by Marianna Liosi and Alessandra Saviotti (ITA)

Taking inspiration from the financial crisis and funding cuts, the event will focus on the reaction of artists to these issues, their interpretations of the causes and effects, and their strategies to address or overcome them.

Quoting Boris Groys, “artists today are using the same forms and processes around the world, even though they are using them in different cultural and political contexts. The context in which the work is produced is often an intrinsic dimension of the work itself. Works of art do not simply tell us about themselves, for they also allude to the context in which they can immediately be perceived as signs and symbols, and as information that tells the spectator about the particular conditions that exist in the area of the world they come from.”

As a consequence of that, some artists’ approach is to bring today’s economic and political decision-making models into serious question. Some artists’ works are detached from institutions and from the normal places of art, interacting directly with the public space. In our own practice as artists and curators, we sometimes assist with these alternative models of public action.

The project consists in a panel discussion moderated by Alessandra Saviotti and Marianna Liosi, involving one Italian and one Irish curator whose

research and practice is related to these issues. Through the discussion and the comparison between the Italian and Irish context, we are interested in highlighting how artists use creative processes to face both current and possible realities. The talk will be accompanied by some examples of Irish and Italian artists, used as pretexts to analyse in depth two different contexts of action.

Accordingly to the topics, the event will occur in a place symbolic of the credit crunch: Cork’s commercial district.

SampleStudiosMap : B426th Nov 4-6pm

DETAILS..Event takes place in SAMPLE STUDIOS from 4-6pm, Sat 26th Nov.

Entry is free, no booking required, but space may be limited.

Preceded by Critical Times, with The Provisional University.

See www.arttrail.ie for further details on the participants and curators, and get involved in the conversations.

ALSO ON....

The Black MariahNov 6th - Nov 13thUn Chien Andalou / Luis Bunuel &Salvador Dali, with Mordant Music (UK)Nov 17th - Dec 3rdDifficult Walking / Rian CoughlanDec 8th - Jan 12thBlind Private Party / Alan PhelanSecond floor, Triskel Arts Centre, Tobin St., [email protected] www.theblackmariah.com

Crawford Art GalleryNov 18th - Jan 14thA Rocky RoadCurated by Sean LynchNov 18th - Jan 14th Barrie Cooke Curated by Karen Sweeney,

Crawford Art Gallery, Emmet Place,Cork+353 (0)21 480 5042 [email protected]

Sirius Arts CentreNov 25th - Jan 29th A Year in Cuskinny Marsh / Rónán McLaughlinDec1st - Dec 3rd Artists in Residence / Boaz Cohen and Sayaka Yamamoto (NL)

Sirius Arts Centre, Cobh, Co. CorkExhibitions, Music and Artist-in-Residency

www.siriusartscentre.ie

Tactic GalleryNov 4th - Nov 16th Seeing The LightAn exhibition of contemporary Irish experimental film curated by Maximilian le CainPreview 7pm Friday 4th Nov Exhibition runs until Wed 16th NovSecond floor, Former Government Buildings, Sullivan’s Qy., Cork [email protected] www.tactic-art.info

Wandesford Qy. GalleryCreativity & Community Across Disciplines

For Current, Past and Upcoming events

ccad-research.org/[email protected]

Wandesford Quay Gallery,Wandesford Quay Complex,Crosses Green, Cork

Lavitt GalleryOct 26th - Nov 12thA View From The ChairSelected by Ken McCarthy, Chairman of the Lavit Gallery.Nov 22nd - Dec 24thChristmas Exhibition

Lavitt Gallery, 5 Fr. Matthew St, Cork

021-4277749 www.lavittgallery.com

Camden Palace HotelRegular programme of exhibitions, events, workshops, performances, cinema.

In fields as diverse as Painting, Drama, Dance, Film-making, Music and Photography, Camden Palace Hotel encourages and facilitates creative experimentation, idea sharing and collaboration.

Camden Palace Hotel Camden Quay, Cork, Irelandcamdenpalacehotel.org 021-4552383

Triskel :: ChristchurchNov 23rd - Dec 24thThe Glen Paintings / Patricia Burns

Tobin St., Cork City

Phone :: (021) 427 2022Fax :: (021) 427 2592

www.triskelartscentre.ie

CONVERSATIONS

ArtTrail’s Public Conversations will appear in different forums and formats this year

The Irish Examiner, ArtTrail’s Media Partner, will be publishing a series of articles on the topic of National Interest each week from 10th November - 1st December.

8pm Wednesday | 23rd November | The Crane Lane TheatrePecha KuchaA special Pecha Kucha night takes place at The Crane Lane Theatre, where a selection of people will present their views and ideas about National Interest. A free event, the Pecha Kucha format means short, lively presentations from a wide range of perspectives.

2 - 3.30pm | Saturday 26 November | Sample Studios map : b4Critical Times: A conversation with The Provisional UniversityResearchers and campaigners from The Provisional University will talk about their ongoing work. Titled “Critical Times”, this event is free and open to all. The group were recently attempting to occupy the vacated City Arts building in Dublin, with the aim of establishing it as a cultural centre. The building is currently owned by NAMA, and suffered fire damage earlier this year leading to the abandonment of the campaign

“Autonomous education imagines what a hedge school could be today; the creation of an institution which confronts a university-as-bureaucracy with a university expressing our desires and potentials.”

The Provisional University are participating in ArtTrail as part of the Trash Culture Revue. For further details see www.mutantspace.com or call to the Art Work Embassy at The Elysian.

4 - 6pm | Saturday 26th November | Sample Studios map : b4A Nation of Art without a Future? in SAMPLE STUDIOS, Italian curators Marianna Liosi and Alessandra Saviotti host a discussion event with guests Mick Wilson, Dean of GradCam, Dublin; and Luigi Fassi, director of ar/ge kunst Galerie Museum in Bolzano, Italy, examining artists responses to the current political and economic crises, particularly in Italy and Ireland. See page 13 for details..

FREE ENTRYFull Details

Challenging perspectives — The Irish Examiner.

Daily Rituals /Carolyn Collier

To try to say who we are /Nina Tanis (US)

DAILY RITUALSThe pattern of our everyday movements through the course of each day (waking, dressing, eating, cleaning, and sleeping) can be viewed simply as processes necessary to complete menial tasks.These photographs illustrate a study of these movements as carefully choreographed routines of modern life.

The photographs are an expression of affection towards daily rituals that could otherwise be construed as dull. Through capturing the ubiquitous rituals that define a typical day it promotes simple awareness. Daily rituals that are hidden in plain sight all around us.

- Carolyn Collier is currently Artist in residence at Mayfield Arts Newbury House in Cork.

As part of the World’s End programme, Dublin-based American artist Nina Tanis will be in residence at The Guesthouse for the last two weeks of November, and is looking forward to you bringing both Irish and Cork enthusiasm to some of the varied events and exchanges she intends to schedule while in Cork. Tanis’ art interventions and events often attempt to bring people together to experience an alternative to our daily routine and our status-quo structures.Firm belief in the positive effects of expanding our connectedness to others and offering opportunities for non-electronic social exchange is central to her art practice, a belief she feels is also central to Irish heritage.Sometimes the simplest gesture can have the greatest personal impact. Often the systems that

CRAP (Collective Research And Process) is a temporary collective, with an emphasis on process-based research. Participants include Anthony Kelly, Stephanie Hough and Lorraine McDonnell. CRAP was Formed under the ‘Truncated Adjunct Collective’.

CRAP intends to engage the social through looking at the individual and how it has become re-positioned in light of current social, cultural and technological shifts. Through process-based research, CRAP intends to infiltrate the social sphere while simultaneously challenging their individual and collective practice. This will be done through a series of processes which will form the research and govern the outcomes: including but not limited to empirical research, mobile fieldwork, temporal situations, communal knowledge archiving and altered museological presentations of findings.

A ‘Mobile Unit’ will enable the fieldwork, creating a transitory site as a model for engagment, moving throughout the city. A re-purposed shopping trolley, the mobile unit will enable an interaction and ongoing participation with the public, contributing to and informing the direction and outcome of the work produced.

As well as the deployment of the ‘Mobile Unit’, there will be a variety of activities staged as part of the research. The site at the Elysian will be an opportunity for further engagement and re-structuring

of the ideas and work being produced, including a series of discussions, presentations and workshops being hosted by CRAP. They will also present their alternating findings by utilising the area given as a social space, encouraging discourse and social interaction, asking questions about current social changes, ideas of collectivity, participation and action.

Your participation is vital for the success of this research. Please do come along.For further information about the project see:

www.crapcollective.wordpress.comOr e-mail: crapcollective@gmail.

CRAP Collective / The Truncated Adjunct Collective

we function within every day are not always in our best interest, or the interests of others - but we can imagine better.

This year’s Art Trail addresses the concept of Nation. A nation of people is measured in cumulative behaviour and thinking.

She hopes to involve as many willing folks as possible, at least from the Cork area...or should that be the Cork Nation?

PARALLEL PROJECTSJust to set your mind wandering...

What book did you read that you loved so much that you want to pass it on to others?

What piece of music or what entire CD do you think is so incredible that you can’t help recommending it to everyone you meet?

Is there a phrase of wisdom that you live your life by or wish others did?

Is there a photograph, artwork or comic that you think people might be inspired by as much as you are?

Do you love jokes but can’t remember the last time you heard a new one?

Do you love films?

Are you wondering about the health of our planet and how it will really impact our lives in 20 years?

Do you think about how to hold onto the things you love, eg., newspapers, and wonder how to help them survive in this time of great transition and uncertainty?

Do you think our economic model is way off base and we are getting shafted?

Would you like to recycle more or feel that your plastic is REALLY getting recycled?

Do any of these questions make you wonder what this project might be about?

Art WorkEmbassySee VenueMap : D3and more

Tom Barry’sPub Hrs.Map : A4

Thank You

Presented in association with Mick O’Shea/Cork Artists Collective, and TrashCultureRevue, supported by ArtTrail.

ArtTrail would like to acknowledge the support of the following, who have contributed to making this festival possible: The Arts Council; The Elysian and O’Flynn Construction; Cork City Council Arts Office; Marc O’Sullivan and Shirley O’Regan at The Irish Examiner; all at WebPrint; The Montenotte Hotel; Paddy Hodnett at Sheila’s Hostel; Noreen Morris at Daniel J. Coleman Accountants; Andrew, Martin, and Sheila at Great Graphics; Elliot Rainey; CIT Crawford College of Art & Design; Sean Lawlor at O’Driscoll O’Neill Insurance; SAMPLE STUDIOS; Cliff Dolliver; Elliot Rainey; Sharon McCarthy; Pamela Condell; Colin and Jim; Martin Hazel; Sample

Studios; Farpoint Recordings; The National Sculpture Factory; Triskel Christchurch; Gulpd Cafe/Bar; all our advertisers and project partners, supporters, donors, contributors, readers, visitors and participants.

Thank you to all the artists who proposed projects in response to the Open Call; the artists who are opening their studios during the festival; the Programming panel; and the Production Committee volunteers.

And a very special thanks to Emma McElroy for allowing her image be used for ArtTrail 2011.

The Guesthouse& Art WorkEmbassyMap : B1& D3and more...

Fri 18

Sat 19

Sun20

Wed23

Fri25

Mon21

Sat26

Sat03

Sun04

FESTIVAL OPENING EVENT map: D3Art Work Embassy, The Elysian, 6-9pm, All welcome. Includes launch of C.R.A.P., and Nina Tanis’ Lucky Bag Project

OPENING EVENTS 24 Hours / Printmaking Live phase 12pm map: A3Perry St. Venue 5 - 7.30pm map: C2Tactic Gallery & Former Govt. Buildings 8pm map: B4

24 Hours - Live phase ends at 12noon and exhibition opens. Shredding begins at 3pm map: A3

OPENING EVENT map: A3This Is Conceptual / Denise Kehoe29-31 Washington Street.

Pecha Kucha map: C3at The Crane Lane, 8pm, Free.

TrashCultureRevue events begin map: D3See mutantspace.com and AWE for details

Critical Times - A Conversation with The Provisional University, 2-3.30pm map: B4A Nation of Art without a Future? Saviotti & Liosi discussion event, 4-6pm map: B4

Sun27

Exhibitions continueTrashCultureRevue events conclude map: D3

Just Listening :: Ireland Calling map: D3CD Launch event, at Art Work Embassy, in association with Farpoint Recordings. See www.nationalsculpturefactory.com

FINAL DAY See exhibitions and projects, 12pm - 6pm 24Hours Exhibition of artworks from shreds 12pmLucky Bag Project lunch at The Guesthouse

D2

>NW of D2

EAT > SLEEP > ARTTRAIL >> ArtTrail EVENT CALENDER Nov - Dec

CafeGusto D2 & B2

Liberty Grill A3

Documents

National Interest - ArtTrail Festival 2011