NEUTRAL: TULCA Festival of Visual Arts 2014

NEUTRAL

www.tulcafestival.com P.1

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INTRODUCTION / MAEVE MULRENNAN P.5 TULCA TEAM & ACKNOWLEDEGMENTS P.7 ESSAY / Pﾃ．RAIC E. MOORE P.9 ARTISTS / WORKS / PROJECTS P.21 TULCA EVENTS P.83 ARTISTS BIOS P.88 FUNDING AGENCIES & SPONSORS P.94 MAP / VENUES P.96

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MAEVE MULRENNAN Chairperson, TULCA Festival of Visual Arts

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To remain NEUTRAL in the face of increasing pressure to side with an other could be seen as a political act.

To carve out an independent space, silent of other’s manifestos could be seen as a search for utopia. It could be about creating space for a nation, or for one’s own private thoughts. Whatever it is, it is a decision - an action. And of course with every action there exists ...

TULCA is delighted to present NEUTRAL, its 12th Festival. This year’s theme invites the audience to question for what and for whom they give their time; is it to technology, to being busy, to being passive, to being active? Can all of these things co-exist? TULCA itself strives for neutrality within its organisation; with the majority of its funding spent on programming rather than operative costs, and with equal pay for equal work to all artists. Although independent, it also relies heavily on others; partners, staff, volunteers, artists and of course, its audience. We have given you the map and the manifesto to find a neutral space for yourself; a space that is active without being busy, a space that is silent without being abandoned. All you have to do is find it.

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BOARD OF DIRECTORS

2014 FESTIVAL TEAM

Margaret Flannery, Galway University Hospitals Arts Trust Deirdre Kennedy, Business Consultant Ann Lyons, Community Knowledge Initiative, NUI Galway Denise McDonagh, Visual Artist Shelly McDonnell, 126 Artist-Run Gallery Maeve Mulrennan, Galway Arts Centre Gavin Murphy, Galway-Mayo Institute of Technology Josephine Vahey, Galway County Library

TECHNICIANS Dave Callan Pete Neilson Alwyn Revill Eoghain Wynne

AV TECHNICIANS

CURATOR Aisling Prior

Mike O’ Halloran Aidan Reade

PRODUCER

TRANSPORT

Kate Howard

Gareth Kennedy Niamh Moloughrey

EDUCATION COORDINATOR

INTERNS Production Manager: David Finn & Laura Poortenga Education Assistant: Louise Spokes Volunteer Co-ordinator: Maria Casey Social Media: Sarah Pattison

Joanna McGlynn

SALES MANAGER Andrea Healy

ACKNOWLEDEGMENTS

BUSINESS/DEVELOPMENT CONSULTANT Laura Rigney

WEB DESIGN Eric Hennelly Flanagan, Six Degrees Website Support: Enda Griffin

DESIGN

We would like to take the opportunity to thank our key funders, the Arts Council of Ireland and Galway City and County Councils.

A massive thank you to all the artists in this year’s festival.

To Galway-Mayo Institute of Technology, Community Knowledge Initiative (CKI), NUI Galway, CELT, NUI Galway, Galway County Libraries, Galway University Hospitals Arts Trust, Cork Film Centre, the Board of 126 Artist-Run Gallery, Engage Art Studios, Eric Hennelly Flanagan, Oliver Niland for their continued support.

To Orla O’Brien and Gráinne McGrath, our fantastic technicians, interns; David Finn, Laura Poortengo, Louise Spokes, Maria Casey and Sarah Pattison and our amazing crew of volunteers, thank you.

A very special thank you to: Paul Fahy and the Galway International Arts Festival. Dave Hickey and Elaine Conneely of The Connacht Tribune.

Pure Designs Eimear-Jean McCormack Ciaron Fitzpatrick

And to all our new friends, patrons and sponsors.

DOCUMENTATION Jonathan Sammon

Copyright 2014 TULCA Festival of Visual Arts, the artists and the authors. All rights reserved.

TULCA Ltd., CCAM GMIT, Monivea Rd, Galway. TULCA LTD t/a TULCA Festival of Visual Arts Registered charity number: CHY20745T

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ESSAY Pﾃ．RAIC E. MOORE

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Autumn, 2014.

Dearest E., I hope that this finds you in good spirits. I hear that you’re still building your little house deep in desolate Connemara. How is it all progressing?

You’ll recall the last time we met I mentioned Walden by Henry Thoreau. However, that night the music was too loud and the room was too crowded and I couldn’t really communicate properly. The book seems so apposite, considering your own stance and all that you’re engaged with at present. I thought you would appreciate this quote, which reminded me of you: “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could learn what it had to teach, and not, when I came to die, discover that I had not lived”.

Beginning in 1854 Thoreau embarked on what was ultimately a two-year social and psychological experiment living in a secluded self-built cabin near Walden Pond in Concord, Massachusetts. Thoreau’s book was written as a means of reflecting upon that two-year period and is part survival-manual, part manifesto. It’s an extended declaration enunciating the importance and necessity of social disconnection as a means of achieving independence and perhaps even spiritual contentment, if indeed such a thing exists. While there is an optimistic tone to the book (in that it expresses the sense of empowerment the author has achieved via his selfsufficiency) I believe there is also an extreme anxiety at the heart of the book. In fact, it’s the anxiety and sense of wariness that makes Walden seem so familiar and current. Even though it was written in the mid19th century, one can discern throughout the book a distinct lack of enthusiasm for (and a resistance to) the then nascent communication technology and its reception amongst the general populace. This is something that I believe also characterises the now time, I’m sure you’ll agree. In Thoreau’s view, technology is implicitly dangerous. Instead of being a mere tool which makes life more efficacious he believes it is a potentially malignant force, capable of manipulating and eventually dominating those who use and come to rely upon it. He writes that “technological advancements are not always a positive advance. Our inventions are wont to be pretty toys which distract us from things. They are but an improved means to an unimproved end”. He also suggests that an excess of communication – something that certainly dominates the present moment – may actually denude the quality of the correspondence

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we do have and ultimately breeds contempt: “less frequency would suffice for all important and hearty communications”. While I would never deny that much has been gained from the technological advancements of the past two centuries and admit that much of the technology we use today has become invaluable (particularly in my own area of work), I also agree with Thoreau’s view (and indeed your own), that the role it has assumed and the manner in which it is being used, will ultimately prove damaging.

Another aspect of Walden which is of interest, and connected to Thoreau’s unease with the technological onslaught of his time, is his concern that the silence and space he quite evidently depended upon (and sought out) was becoming more difficult to find, was slowly being eroded from the world. It’s no surprise that someone of Thoreau’s disposition would express apprehension at many of the developments that defined his age. For it was a time dominated by dramatic advancements in mechanisation and telecommunications. Particularly significant was the widespread introduction of the electronic telegraph, which I imagine must have been comparable to the introduction of the mobile telephone, in terms of the dramatic impact it had upon the way people lived, worked and interacted. Although electrical telegraphy was first introduced in the 1830s, it had reached even the most desolate areas of the U.S. by the time Thoreau went into hermit mode in the 1850s. And by then it was integrated into the fabric of everyday life, casually being used to rapidly convey all manner of information over vast distances. It occurred to me some time ago that you had already appreciated much of Walden, for it presents one of the earliest archetypes – now so familiar, of the individual who rejects the ease of urban domestic life and bravely seeks to cultivate a more independent and sustainable lifestyle.

One sees in Thoreau something of a pioneer, unintentionally providing a model that became an aspiration for so many people during the 20th century.That century saw so many alternative communities who, often equipped with little more than utopian idealism and new age convictions, sought to MAKE IT NEW. To find somewhere secluded where they could construct their own new, utopian societies from scratch. It was of course the 1960s that saw a surge in counter-cultural communities

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(one of which your own family was part of for some time) attempting to live off the land in isolated places whilst observing some ideological or spiritual doctrine. Yet many of those who embarked on such projects in that age of idealism were motivated also by a deep sense of disillusionment with what the post-war Western world had become. As the idealism of the 60s waned and it became apparent that the Age of Aquarius wasn’t actually going to dawn, that sense of disillusionment must have become unbearable. It seems to me that the intentional communities which formed in the wake of the 60s were constructed upon an ethos of survivalism: motivated NOT by an altruistic desire to found an ashram in harmony with nature, but the necessity to prepare for some inevitable apocalyptic catastrophe.

I wonder has any part of your own decision to move to one of the most isolated areas of Europe been motivated by your own anxiety that the city in which you lived proved perilous, impossible perhaps to escape from, should some unprecedented and unexpected catastrophe occur? When last we met, you told me your devotion to grass roots agitation – once your only hope – was over. You said such forms of activism had become futile and redundant, now that even the deviants had been homogenised, made NEUTRAL by their dependence upon technology.

Having given this much thought, I must admit that I agree with you. Diversity of viewpoints, opinion and perspective are being denuded as Western society is sedated and distanced from whatever it is that reality really is. As you said, something is wrong when everyone feels the same way.

If Thoreau was a 19th century paragon for the independent individual who found transcendence in his rural idyll, then perhaps a 20th century representative of similar ideals (albeit turned sour and dangerous) is Ted Kaczynski; as much a product of the age in which he lived as a destroyer of it. There is much to dislike about Kaczynski, but in his writings are many astute and incisive insights into the age in which we live. Kaczynski began his career as a prodigious mathematician who was lecturing at Berkeley, California in 1967, when he was still in his mid-20s. After two years of teaching, Kaczynski underwent what was either an epiphany or perhaps a descent into madness. He assumed a radical position in terms of his views on the direction that society was taking, particularly

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in relation to its relationship with technology.

He rejected his previous life as a mathematician and pursued a path that is uncannily evocative of Thoreau’s at Walden Pond. In one of the most desolate areas of Montana, Kaczynski built a small cabin where he lived in almost total isolation, hunting animals, growing vegetables, reading and exploring the surrounding countryside. In writings and interviews, Kaczynski reflects fondly upon this time, though his writing does convey some sense of the misanthropy which would become a major motivating factor in his later actions. Kaczynski’s philosophy (which has been the focus of much analysis by psychologists) was not so much anti-government as anti-technology.

In 1978 Kaczynski began what became a (sporadic) 17year long attack on the individuals and organisations he saw as representative of the technocratic status quo. From his isolated cabin in the woods, Kaczynski became the archetypal anarcho-primitivist, producing handmade bombs, often inserted into rustic wooden boxes alongside shards of sharpened wood, that would function as shrapnel. It’s these details that make his obsessive mission so intriguing.

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Most of these bombs were disseminated via the postal system to universities (including the one he had previously worked at) and to airlines, targeted because they promulgated the technological systems Kaczynski believed were insidiously dominating and despoiling the earth. In addition to letters written anonymously by Kaczynski (all signed F.C. for Freedom Club), his motives and objectives were further outlined in his extensive 35,000 word manifesto (entitled Industrial Society and Its Future) and was published in 1995, in both The Washington Post and The New York Times. This manifesto provides a thorough explication of how the industrial revolution and the dependence upon technology which followed it, have had disastrous consequences for the human species and the ecosystem of planet earth. It’s an undeniably compelling – although rather paranoid – argument which proposes that the realms of science, government and education have utilised forms of technology that have come to subjugate and control the masses in subliminal and irreversible ways. From the perspective of today, there is much that seems prophetic in Kaczynski’s writings which describe the technological webs that we are so reliant upon as a “hostile system in which all parts are dependent on one another; a system guided not by ideology but by technical necessity”. I know that there are many people who feel disenchanted and demoralised by the inhuman rules and regulations they must obey in this hypermodern world who have not and would not resort to acts of violence, and who find less destructive methods by which to express their convictions. And then there are others like you, who feel anger and disillusionment and have decided that withdrawal into meditative passivity, a state of neutrality even, is the only solution to counter the anger that can only result in destruction of the SELF. Yet, while the violent acts Kaczynski perpetrated were of course abhorrent, they were carried out earnestly, in a sincere effort to bring down the system he believed was so utterly corruptive and disenfranchising to humankind.

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From the perspective of the present day, one cannot simply dismiss his words as the misanthropic ramblings of a psychopath, for they resonate with many of my own views and know they will also speak to you. The manifesto states: “It is not possible to make a LASTING compromise between technology and freedom because technology is by far the most powerful social force and increasingly encroaches on freedom through REPEATED compromises. ... technological progress is a powerful force because it marches in only one direction and can never be reversed. Once a technical innovation has been introduced people become dependent upon it... When a new item of technology is introduced as an option that an individual can accept or not as he chooses, it does not necessarily REMAIN optional. In many cases the new technology changes society in such a way that people eventually find themselves FORCED to use it”.

Kaczynski was on a one-man mission to slow the progress of the inevitable and save society from the emergence of a world resembling that depicted by Aldous Huxley in Brave New World. He writes: “Imagine a society that subjects people to conditions that make them terribly unhappy, then gives them the drugs to take away their unhappiness. Science fiction? It is already happening to some extent in our own society.

It is well known that the rate of clinical depression has been greatly increasing in recent decades”.

While he clearly didn’t succeed in bringing about the collapse of the system he so despised (it would of course never have been possible) he did manage to evade arrest for 17 years. The only reason he was ever caught was due to a brother of his reading the manifesto in the newspaper and subsequently contacting the F.B.I. One looks at the case today, 2014, and realises how his campaign could never occur these days. Surveillance systems and ‘monitoring’ are so widespread as to be commonplace, and the grid of communications is too efficient and sophisticated.

Even you, out there in the West of Ireland are most certainly listed and logged on a system, a database somewhere.

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Nevertheless, I must admit that I admire you greatly for your move. Although I couldn’t do it myself I have been struck with increasing frequency of late, with a deep sense of unease at my own relationship with technology and the way that those around me have become so dependent upon it, exhibiting the behaviour and actions of addicts. It would seem to me that our relationship with technology has become far more complex than what it once was. No longer is it merely something we depend upon for knowledge, stimulation and entertainment, but it has become a much more psychological – perhaps even neurological – need. Moreover, it seems the compulsion to be connected at all times rises, in a commensurate way, with the desire, expressed by so many, to find refuge in what Thoreau called “the tonic of wilderness”.

Yet this is no longer possible.

So the worst may possibly be avoided by people who, like you, have chosen the path of isolation. We live in an age in which we need more than ever to find the solitude that makes possible the processing of all the sensory bombardments which we endure.

Yet this quiet has never been harder to find, despite it being a vital component of healthy mental functioning. For it is a fact that many of the most important – and profound – human experiences and thought processes occur when we are alone, and have nothing to do with interpersonal encounters. Sadly, another symptom of our techno-obsessed age is that the search for solitude is looked upon with suspicion, as though it were an abberation. As you know better than anyone, society increasingly conflates being alone with loneliness.

It is of course the necessity to find solitude that has led you to relocate to the shores of the Atlantic. I must admit I’m deeply curious to know how you’ll weather it over there and what the experience will do to you. While I understand your decision to leave the on-line world behind, I still think that parting ways with your telephone was a mistake. I do worry about you and wish that we could speak in person, but I have faith that you know what you are doing and that this is best.

I hope that the coming winter won’t be too harsh on you; I can’t imagine how you’ll do without electricity. Incidentally, I discovered something several weeks ago that struck me as serendipitous.

It seems that not 30 miles from where you are now living, there occurred an event considered one of the most significant breakthroughs in the progress of communications technology and one that killed the precious silence that you are so eager to find.

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In 1905 Guglielmo Marconi, ever eager to progress and expand his technological empire, commenced construction on a transmission station on the Derrygimlagh Bog near Clifden. The station was a vital component in making the first wireless transatlantic communication possible. Incidentally, it was this breakthrough that rendered obsolete the telegraph that Thoreau despised. Marconi’s station, powered by turbines fuelled from turf from the local bog, was almost entirely destroyed by the Republicans during the Civil War in 1922.

Perhaps someday in the near future I’ll visit you and we can explore whatever is left of Marconi’s station?

The mental image I have formed of whatever ruins remain, compels me to question whether or not we have benefitted from unrelenting ‘advancements’ or are we paradoxically finding it all the more difficult to communicate, to make sense of our human situation and condition because of these very ‘advancements’? I think I can guess what your answer to this question would be. No answer is expected, I’ll sign off now with another quote from Walden which reminds me so much of you. There’s an almost Buddhic quality to these lines in which Thoreau espouses tuning out of the trivia one inevitably encounters in daily life, in order to access true reality which is obscured by the constant wave of distraction. I thought you’d relate to this – it echoes so clearly much of what you have said to me in the past.

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“If we respected only what is inevitable and has a right to be, music and poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence, and that petty fears and petty pleasures are but a shadow of reality. This is exhilarating and sublime. By closing the eyes and slumbering, and consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundations.”

I do hope that this reaches you.

Sending fondest regards!

Pádraic E. Moore

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THE NILAND GALLERY Bedwyr Williams / Katie Watchorn

126 ARTIST - RUN GALLERY The Project Twins

TULCA FESTIVAL GALLERY

Lucy Andrews / Laura Angel / Oisín Byrne / Aileen Conroy / Cecilia Danell Juliette De La Mer / Jeanette Doyle / Brendan Earley / Mark Garry Anita Groener / Katharine Lamb / Sofie Loscher / Elaine Leader Marielle MacLeman / Fergus Martin / Steven Maybury / Saoirse Wall / Keef Winter YOUNG-HAE CHANG HEAVY INDUSTRIES

NUNS ISLAND THEATRE Mark Wallinger

GALWAY ARTS CENTRE

Jeanette Doyle / Stephen Gunning / Jennie Guy / Conor McGarrigle The Domestic Godless / The Stir Project

NO. 31 DOMINICK STREET LOWER Kay Arne Kirkebø

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LUCY ANDREWS (IRE) Stay | 2013 Rock, Packaging tape Without Contact | 2013 Concrete block, hydrophobic coating, drop of water Vanishing Point | 2014 Acrylic tubing, water

TULCA FESTIVAL GALLERY

Lucy Andrews’ practice stems from a fascination with the material presence and the temporary nature of objects.

This series of objects appear to hover on the verge of evanescence or collapse: a single drop of water is sustained, day after day, on top of a concrete block; a rock appears momentarily to defy gravity; a rudimentary measuring device displays a gradual process of evaporation... The endurance of materials is tested, and attention is drawn to their physical tendencies and transitions, often at an infinitesimal scale. The artworks propose fleeting instances of stability within the realm of the accidental and chaotic.

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LAURA ANGELL (IRE) Dome-esticity | 2014 Mixed Media

TULCA FESTIVAL GALLERY

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I got me some horses To ride on, to ride on They say that your demons Can’t go there So I got me some horses To ride on, to ride on As longs as your army Keeps perfectly still And maybe I’ll find me A sailor, A tailor And maybe together We’ll make Mother well So I got me some horses To ride on, to ride on As long as your army Keeps perfectly still You showed me the meadow And Milk wood, and Silk wood And you would if I would But you never would So I chased down your posies Your pansies in my hosies Then opened my hands And they were empty then Off with Superfly, sniffing a Sharpie pen Honey, it’s Bill and Ben Off with Superfly, counting your bees Oh me honey like one two three The camera is rolling, it’s easy Like one, two, three...

And if there is a way To find you, I will find you But will you find me if Neil makes me a tree An afro, a pharaoh I can’t go, you said so And threads that are golden Don’t break easily So I got me some horses To ride on, to ride on They say that your demons Can’t go there So I got me some horses To ride on, to ride on As longs as your army Keeps perfectly still Keeps perfectly still Keeps perfectly still Horses by Tori Amos

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OISÍN BYRNE (IRE)

Dropped Cloths for a Recital | 2014 Tufted Fabric

OISÍN BYRNE & PATRICK HOUGH

Seek Zeros | 2012 Single Channel HD Video, 10mins 40sec

TULCA FESTIVAL GALLERY

These three tufted fabric portraits have been placed on the floor of the gallery in anticipation of, or in the aftermath of, a performance of a recital. The video work, ‘Seek Zeros’ takes its title from Twilight of the Idols by Frederich Nietzche. “What? You search? You would multiply yourself by ten, by a hundred? You seek followers? Seek zeros!” It is a performance missing a performer, filmed in a handball alley in Dublin. Both works are concerned with spaces marked out or delineated for performance; spaces and states of exception.

These works are influenced in particular by Huizinga’s seminal text Homo Ludens: “The arena, the card-table, the magic circle, the temple, the stage, the screen, the tennis court, the court of justice, etc., are all in form and function play-grounds, i.e. forbidden spots, isolated, hedged round, hallowed, within which special rules obtain. All are temporary worlds within the ordinary world, dedicated to the performance of an act apart.”

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AILEEN CONROY (IRE) Retreat | 2014 Watercolour on canvas boards

TULCA FESTIVAL GALLERY

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‘Retreat’ proposes dual meanings. While suggestive of the urge to withdraw or flee, it can also denote a sanctuary or place of refuge. Both definitions bolster each other, as one hopes that the act of fleeing from a restrictive situation will inevitably lead to some sort of sanctuary.

This series of paintings is based on snapshots taken by the artist with her camera phone whilst out walking in Galway and Laois. These miniature canvases mark an important departure for the artist in terms of scale, immediacy and painterly technique. Ambiguous depictions of anonymous, solitary figures in urban settings allowed the artist to consider her own identity and project these emotions within the paintings, which became more like self portraits.

TULCA 2014’s curatorial theme ‘Neutral’ permits further self-reflection and clarity regarding particular life choices and the obstacles that one might face along the way.

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CECILIA DANELL (IRE) Suddenly Exposed | 2014 Oil and acrylics on canvas All the Change is in me | 2014 Oil and acrylic on canvas Playground of the Giants | 2014 Oil and acrylic on canvas

TULCA FESTIVAL GALLERY

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“Loneliness is one thing, solitude is another: that - you have learned now!

And that among human beings you will always be wild and strange.�

Nietzsche, Thus Spoke Zarathustra

In her work Cecilia Danell explores how places impact on a person in a psychological sense, how they shape and define us, and how this ties in with metaphors and archetypes. She depicts the rural landscape in Sweden where she grew up, but rather than being autobiographical in nature, she uses this familiar landscape to stage a metaphorical merging between the outer environment and the inner being. The work presented is a further exploration of the dual nature of the individual and the fine line between dream and reality.

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JULIETTE DE LA MER (IRE) Â Untitled | 2013 & 2014 Oil on canvas and board

TULCA FESTIVAL GALLERY

Within this series of paintings, repetition is used as an important conceptual and technical device. While repetitive organic forms, particularly vegetation and geology, seem suggestive of the unremitting nature of labour and the passage of time, they also determine the paintings’ muted colour-scape, construction and compositional impact. Within the painterly process, surfaces are constructed through overlapping and interweaving lines of paint, resulting in complex yet spontaneous images. Patience and monotony is evoked within the work, suggesting stillness. The viewer is invited to pause rather than glance, and to momentarily enter a quiet place. The work is presented as an installation of small paintings, allowing individual pieces to respond to each other, through colour and texture.

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JEANETTE DOYLE (IRE) I Crossed a Line | 2010 4 synced video projections Bed | 2014 Oil painting I Crossed a Line | 2010 4 synced video projections

GALWAY ARTS CENTRE

The work comprises a number of elements. Four projections of text-based animations contain the same script – one white letter at a time plays out against four different coloured backgrounds of black, red, blue and yellow. The text is the result of research into psychosis and the ensuing collapse of the semiological world.

The narrative reads as follows: I crossed a line and entered freshly into a world of signs and symbols. Language became increasingly mutable. Emails and texts contained discrete meanings. Websites too. Spam was addressed to me specifically. The tone could be kind or fierce and the volume increased as the crowd expanded. The source code of emails contained urgent messages and character strings made up complete stories. Proper names held clues. As did place names. The streets became peopled with extras. The colour of cars was significant. The television spoke to me directly. Songs on the radio built up a complex narrative. I was observing rules to maintain the social contract whilst implicated in a raging war being played out symbolically. The Earth shook with the devils ire and the alien landing. Different people controlled the traffic in turn. They sent out the actors. Chose the songs on the radio. Written and verbal language seemed simply a mask for other forms of communication. Cloud formations told stories in pictures. Newspapers delivered personal dispatches. Artworks had literal force and functioned as armaments. My own back catalogue spawned meanings I thought I had inscribed subconsciously. Circular emails provided private instruction. A misspelt ‘teh’ contained a full paragraph the first sentence of which was ... ‘if you could take some time out of your busy schedule ...’. I was walking into traffic thinking I was made of Kryptonite.

This work is accompanied by a painting entitled ‘Bed’ (2014) which can be viewed at the TULCA Festival Gallery on Market Street, utilising the colours mentioned above and representing a woman standing on a bed with a cloth over her head. ‘Bed’ utilises black, red, blue, and yellow throughout the painting – colours which also feature prominently in Doyle’s accompanying video projection ‘I Crossed a Line’ (2010) currently on display at the Galway Art Centre.

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BRENDAN EARLEY (IRE) Pilgrim | 2012 Crystal glass and Cotton A Million Years Later | 2011 Bronze and silicon Hunky Dory | 2010 Pen on photocopy and coloured paper TULCA FESTIVAL GALLERY

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Anyone who has spent a childhood mooching around the fringes of Irish towns and cities, where urban and rural negotiate and renegotiate their borders, would well know the geographical term - hinterland. The word’s origin comes from the German language, where it means literally “the land behind”, these are places where overspill housing estates break into scrubland; wasteland. If you know this underdeveloped, unwatched territory, then you know that they have a certain “edge”. Even though the landscape seems empty, rarely do things remain untouched in these places.

The sculpture A Million Years Later was born in one of these places – a large piece of Styrofoam found by the side of a small slip road half burnt, bits missing. This work is paired up with a drawing, Hunky Dory. This is from a photograph documenting a Robert Morris 1969 performance, draped in a large cloak with steam emanating from the ground around him.

This image is closer to a Black Sabbath album cover of the 1970s than anything else.

Pilgrim plays with a similar sensibility for these strange in-between places – unsure of its present purpose but gaining credence from a recent but obscure past, a Gothic modernism.

If parts of remote rural Ireland feel timeless, then these places feel anything but. Traveling around these environments, driving and walking, looking at the familiar, grey architecture of light industrial buildings that often block the view, it is hard not to gaze into the distance and explore the horizon for deeper meanings. These urban sculptures seek out rhythms, cinematographic qualities as if the line between fact and fiction had disappeared. Equally important however, is the latent aspect, where nothing is ever formulated, clearly recognized or understood, as if one was feeling one’s way around a grey silent zone. We often come up against boulders blocking our way on quiet country lanes or empty roads in small industrial areas on the edge of our cities. Only the burnt out car or other charred ephemera beside the barriers speak of a deed, we know what happened but not why. This latent “incantation” attempts to see, recognize and understand a world, which is, has constantly shifting boundaries, be they temporal or geographic.

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MARK GARRY (IRE) A Collection of Seasons | 2014 Wood, thread, beads

TULCA FESTIVAL GALLERY

Mark Garry’s practice encompasses a number of diverse fields of research. He uses a variety of media and mechanisms in his practice, including drawing, film making, sculptural assemblage, writing, performance and collaborative music projects. In many cases, a number of these elements are assimilated in the making of site-specific, gallery-based installations. Responding to specific cultural and architectural situations, these installations combine physical, visual and sensory analogues to create scenarios that are at once empathetic and spectacular.

Rather than making finite statements, Garry’s work emphasises open responses to the visual, spatial and associative interactions at play. He is concerned with creating interactions that negate obvious linguistic definitions, to encourage broader, more diverse forms of communication. Within these spatial interventions, he aims to stretch and consolidate the physical capabilities of his selected materials and objects, while also altering their long-held metaphorical or utilitarian associations. Collectively, these diverse elements inform Garry’s observations of the mechanisms which influence how we navigate the world, while also highlighting the complexity inherent in these navigations.

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ANITA GROENER (IRE) Â Breach (3) | 2014 441 paper silhouettes and pins on paper The Wrong Country (Part 1) | 2014 44 paper silhouettes black thread, 46 pins TULCA FESTIVAL GALLERY

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The work presented follows large scale drawing installations made last year in Ireland, The Netherlands, Belgium and Germany. Both artworks consist of minuscule, individually cut, paper silhouettes impaled on pins and mounted on a wall. ‘Breach (3)’ is organised in a circle using the Fibonacci structure, while in ‘The Wrong Country (part 1)’ these silhouettes are arranged in a simple straight line. The work is approached from a distance, emphasising the systematic and visually abstract on first view. On closer inspection though, each mark becomes an individual figure that, when stepping back, quickly resumes its essential position in creating the crowd, as evidenced within the human experience.

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STEPHEN GUNNING (IRE) The Carmelites | 2014 Single Channel Video, 48 minutes

GALWAY ARTS CENTRE

‘The Carmelites’ is a portrait that captures, like a painting in motion, the evening prayers of a group of Carmelite monks and nuns. The film employs a long take using a fixed camera to create a contemplative atmosphere, capturing changes in natural light and subtle movements in the transition from day to dusk.

Filmed at the church of Saint-Gervais in Paris 2014, the work was developed through the creation of sustained electronic sounds that facilitated infinite durations. Dark soundscapes and musical drones were created using layers of ‘found sounds’, sampling and field recordings. The soundtrack production explored musical tones and textures to create psychoacoustic effects that are almost hypnotic, inducing evolving meditative states.

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JENNIE GUY (IRE) Melancholy Park | 2010 - 2014 Single-channel video with integrated audio, 4m15s; hand-printed black and white photograph, fibre-based paper; 300 x 250 mm; edition of 5.

JG → AP → JG (symphony for a pile of unopened of letters) | 2014 64 hand-written letters (carbon-copied); inserted into 64 sealed grey hand-addressed & dated envelopes; 64 Irish national self-adhesive stamps; black Uni-ball ink pen; with mono audio.

GALWAY ARTS CENTRE

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‘Melancholy Park’ was created for the Ranelagh Gardens in Dublin. Originally presented as a site-specific audio work, this text was accompanied by the distribution of a postcard featuring an image of the park. The postcard prompted listeners to write back to the gardens in order to address certain insecurities. For TULCA 2014, the park is represented by a new video accompanying the original audio, along with a black and white photograph of the park.

JG → AP → JG “I will look forward to dedicating a time each day to sit and write you a letter. However, for indeterminate reasons, I don’t think I would like you to open the letters that I send to you.”

(Excerpt from an email from Jennie Guy to Aisling Prior earlier in 2014.)

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KAY ARNE KIRKEBØ (NO) Line Rhythm | 2014 Single Channel Video, 7 min and 5 seconds 6000 individual drawings made in sequence showing 13 drawings per second.

NO.31 DOMINICK ST LOWER

Kay Arne Kirkebø is fascinated by the use of lines to explain, express and to relay information in modern life, through the use of graphs and diagrams, timelines and systems. Lines inform us on a wide range of subjects: where to get on and off the train, the state of the economy, the architecture that surrounds us and in the planning of our own daily life.

The artist often wonders about our ‘awareness of the line’: Perhaps it is the universal language of the line that makes us take it for granted?

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KATHARINE LAMB (IRE) Untitled | 2014 Indian ink on tracing paper Elsie Martindale | 1925 approximately Photograph Untitled | 2014 Handmade glass

TULCA FESTIVAL GALLERY

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These drawings are preliminary works for a large-scale glass commission for the recently completed Dún Laoghaire Library. By exploring floral taxonomy, colour and landscape, this installation brings together a mapped micro-study of selected wild flowers, plants and herbs around Ireland.

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ELAINE LEADER (IRE) Untitled | 2014 Mixed Media

TULCA FESTIVAL GALLERY

‘Untitled’ is an interactive installation. The viewer enters a minimal white empty space, via an opening. On entering the walls on either side are activated by a sensor, disrupting the space to create a new spatial arrangement. The piece actively involves the viewer, forcing them to reposition themselves within the space. It is both playful and absurd and plays with the position of the viewer and transgresses our expectations of architectural space.

The artist wishes to acknowledge the support John Courtney, Pace Electrical, Colin Martin, Nordeal Ltd, Joan Sugrue, Pete Nelson, Ali Cairns, Kate Howard and the TULCA Festival Team.

Supported by the Arts Council of Ireland Visual Arts Bursary Award, 2014

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SOFIE LOSCHER (IRE) Circulate | 2014 Glass, MDF, Spray Paint

TULCA FESTIVAL GALLERY

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Sofie Loscher is an installation artist and sculptor working between art and physics. She is interested in the physical properties of the natural world and in human perception.

Her work explores perception as a sensory experience. She creates illusionary constructs as a tool for exploring visibility, redirecting the viewer’s attention away from the object and towards the process of perception. ‘Circulate’ is based upon the parallax view, which is the displacement of an object due to a change in the observer’s position. The layers of glass momentarily combine to produce a three-dimensional image of a floating black ring.

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MARIELLE MACLEMAN (IRE) Still Hangs Her Wrinkled Trophy | 2014 Wool, woollen blankets, plant and lichen dyes, thread, wood, wood stain, brass fixings, digital prints, pencil, watercolour, gouache, acrylic Fugitive Under Fallen Moon | 2014 Wood, plaster, mdf, paint, wood stain, ink, wool, woollen blanket, plant dyes, starch, wire, thread, sundried seaweed (Connemara), plastic jetsam (Omey), campfire charcoal (Omey), wood shavings (Annaghmakerrig), handmade grass paper (Merlin Park Woods)

TULCA FESTIVAL GALLERY

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Marielle MacLeman’s work examines the human disposition to invent, to collect, and to learn, and the inherent links with status, social mobility and lore. Here she presents an abstracted sculptural record of the pursuit for solitude, documenting a series of journeys to sites of stillness. Destinations range from inner-city wasteland and woodland to remote Connemara crags and coastline. She translates the interplay between the use of these sites for recreation and resource as the fragile and fugitive components of her wall and floor-based work. Incorporating blankets for their connotations of travel and comfort, the work references notions of the souvenir, where the discarded or fallen is collected, sorted and reconfigured. Her assemblages juxtapose material objects worn by the natural elements, with those that have been worked by the hand across an array of traditional crafts, while being broadly underpinned by the artist’s ongoing inquiry into sites and subjects with lost or changing roles.

The artist wishes to acknowledge the support of Galway City Council, the CCAM Summer Residency Programme at GMIT, and wood-turners Ambrose and Brid O’Halloran.

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FERGUS MARTIN (IRE) Tree in a Wheatfield | 2013 Archival pigment print 150 x 288 unframed Edition 1/3 Storms | 2014 Steel box, mp3 player, speaker, continuous loop, 72mins The Dearest Thing Ever Made | 2014 Stainless Steel

TULCA FESTIVAL GALLERY

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“My feeling about these works is that they are patient, solitary things. They are poignant for me, as if they had a kind of sweet strangeness”.

– Fergus Martin

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STEVEN MAYBURY (IRE) Untitled 1 & 2 | 2014 Pen on paper

TULCA FESTIVAL GALLERY

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Steven Maybury’s artworks reflect the beauty and the energy rooted in the rhythms and cycles of our surroundings, of our consciousness, and of our interrelationships with the world.

He is interested in observing our corporeal interactions with our environment, particularly with the objects that surround us, focusing on variations of perception, the individual’s reaction to the flux of time, shifting circumstances, and how such changes ripple inside the mind, altering emotions. His work focuses on the idea of constant change, and the memories this produces, through the creation of detailed drawings and sculptures composed from disparate and expired objects, producing works which are essentially recordings of form. He collects materials and objects through personal encounters, and this ‘stumble-upon’ approach of chance and circumstance is fundamental to his process of selection.

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CONOR MCGARRIGLE (USA) 24h Social | 2014 24 hour generative video

GALWAY ARTS CENTRE

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‘24h Social’ is a data-driven, 24 hour, generative video installation, powered by 24 hours of data appropriated from Vine – Twitter’s 6-second video sharing platform. Vine videos are engaging, creative, funny and often anarchic. In a very real sense they echo the creative energy of the early DIY Internet, framing the web as a space for individual creation. Yet, despite this, Vine is in essence a data collection platform designed to collect and sell data on its users. This work examines the tension between these opposing aspects of the platform by rendering both visible; the creative impulse that fuels 5 Vines per second, and the vast accumulation of data that has become a ubiquitous part of our network society.

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SAOIRSE WALL (IRE) Untitled (Digital Clip & Video Shot) Untitled (Digital Clip & Video Shot) – created on the occasion of TULCA 2014 TULCA FESTIVAL GALLERY

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GALWAY ARTS CENTRE

THE DOMESTIC GODLESS

Inspired by the ubiquitous carousels of global sushi outlets, The Domestic Godless bring Canaliculus Purgamentorum to Galway, a brand new project presenting their latest collection of amuse-bouches along a canal assembled from sewage ducting. Each dish will offer a nostalgic reminiscence of both the best and the worst of the miserable seaside holiday of yore, replete with humour and a sense of the absurd.

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THE PROJECT TWINS (IRE) Dwelling | 2014 Emulsion on MDF & Timber

126 ARTIST - RUN GALLERY

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Curiosity, humour and wit are a predominant feature in work of the Project Twins. Their playful graphics have a bold and simple aesthetic. They are interested in observations and oddities and enjoy taking the familiar and turning it into the surprising. While their work is aesthetically bold and graphic, it has a quiet and melancholic feel, often dealing with ideas of absurdity and value in the human condition.

Presented at its most simple, ‘Dwelling’ is a minimal house-like structure which is not tied to any geographical or social area. Within the space a void is created, presenting a stillness that cannot be infiltrated, only observed from outside. Two opposing figures coexist within the structure, suggesting a duality or clash of idylls, which can exist between urban and rural environments, within one geographical area, and also within one’s own psyche.

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Our works speak for themselves.

THE STIR PROJECT

GALWAY ARTS CENTRE

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STIR Project is a collaboration between two Galway based collectives: BRANCH AND ITSA – these two dynamic collectives will take up residence on the first floor of Galway Arts Centre, creating a dedicated space for public engagement and reflection. The project in centred around this year’s open call, and the synergy or contrast between this and the selected artistS/title of ‘NEUTRAL’ for Tulca 2014. As the project plans to respond to the festival as it unfolds, the schedule will be fluid, and updated via social media. Expect: walkabouts, round table discussions, research presentations and debate.

Keep an eye on: @thestirproject for the latest events.

BRANCH members: Steven McHugh, Colleen Fitzpatrick, Christina Mullan, Joanne Couch, Alice Dixon, Lucy Elvis.

Itsa members: Jackie Burke, Jason Dunne, Phil Foley, Martin Reid and Peter Sherry.

Although the STIR project will run throughout the festival it will be in situ and open for visitors from 8th-10th and 17th- 23rd November at Galway Arts Centre.

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MARK WALLINGER (ENG) Sleeper | 2004 Projected video installation of performance, Silent, 2 hours 30 minutes 52 seconds NUNS ISLAND THEATRE

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Mark Wallinger on the filming of Sleeper in the Neue Nationalgalerie in Berlin.

As a bear I don’t claim any special knowledge. Only that which I have experienced and how it lead me here. Growing up in the shadow of the wall was not about proximity. Imagine casting a stone into water and finding that the ripples, expanding in concentric rings, never diminish. Berlin was part of my subconscious before I ever set foot here A sleeper may be planted years in advance – of all the double agents buried during the cold war, not all of them were sprung. The secret of a successful hibernation is a matter of provisions and a plausible disguise. At night I am examined for authenticity, during the day I pass unnoticed. The bears in the zoo are the last of their kind, as they are no longer allowed to breed. When the last one dies will they raze the whole sorry zoo to the ground like they did with the idiot Hess? Alone in the centre of this vast space I gaze toward Potsdamer Platz like the guilty conscience of the building. A bad sleeper.

Sometimes I feel quite adrift as if I have woken up in the middle of this story.

A transparent building is intimidating. It can only exist in a society that doesn’t fear its shattering. In the Neue Nationalgalerie we are open, we have nothing to hide – art is for all to experience.

When the wall came down, there it was, naked. And looking at the Fernsehturm, you can’t help thinking, how appropriate; this is what you get when a culture of surveillance and paranoia commissions a representative national icon. One gigantic look-out tower.

The bear costume is an obvious disguise, I know. (Too much effort would appear ingratiating, I thought). It is both bear, and clearly not bear. Children, for all their fear of the unknown, can play with this fear. They switch from play to reality effortlessly, exist in two realms simultaneously. (Tonight I have been trailed by two small girls who tease me through the glass. I breathe a little cloud on to the pane. They fan out a pack of playing cards and bid me pick one. I point and they turn over a picture of Harry Houdini). The portal to the other side, the underworld or wonderland is the mirror as represented in Orphee or Alice. You have to pass through your own image to reach an imagined world. Risking enchantment.

As a child I was traumatised by a vision of the other side. The Singing Ringing Tree, made in a fully imagined world in Babelsberg, tells the story of a selfish princess who sends a long suffering prince on a quest for a magical tree. He reaches the border of another kingdom which is protected by a ravine and a sheer rock face and guarded by a dwarf. The prince explains his quest for the magical tree, and the dwarf offers it to him on one condition. If the princess does not love him by sunset, he must return to live in the magic kingdom. The prince is so confident that he jokes. He says that if he fails he will be a turned into a bear…

What does it dream? This empty building full of limpid darkness, like the promise of a well, a reservoir of silent thought? How often does one look at the moon and think that a man has walked there? On the other side of the wall the Palast der Republik is choking with asbestos.

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In Babelsberg, tongue-tied over their short history and in grief at their estranged brothers and sisters, they turned to the long past for some unexpurgated truth. The two realms of Germany were like twins separated as children and raised in completely contrary ways. Having to cross irrevocably from one realm to another, or be divided without appeal. This is what I have learnt and it seems very cruel. Germany invented the unconscious, which is not normally credited with respecting borders.

What if I died in here?

Being alone in a Museum was a delicious recurring dream of mine, to transgress among objects of such inestimable value. But an empty museum, what would that be, exactly? I have met many people who preferred the Jewish Museum empty of exhibits. Why? Something to do with Freud and the return of the repressed, I suppose. Because what do we dream until we know what we have done? The characters in Fairy tales are hapless innocents – they do not yet inhabit a moral universe.

Bauhaus is our house, Gretel.

What are we allowed to dream? The past rises up with all its vivid detail to mock our progress at every turn. The long past of our own fear. Inside the bear’s head I am aware of my own breathing. Looking out of the jaws at my narrow view, my progress from stimulus to distraction gains some kind of animal momentum – to watch and be watched as a foreign, alien, strange, endearing, imprisoned animal.

Don’t feed the bears.

Marx wrote that history weighed like a nightmare upon the brains of the living. Without the notion of a God to console, history may seem random and uncontrolled. Joyce talks about the nightmare of history as the unbearable contingency of being: the accident of birth that would take more than a lifetime to understand. He chose exile from god and nationality. The rest, the past which lies unrecorded, are what myth and folktales retain, the long past where no details change; where things remain real and answer to their names.

The Neue Nationalgalerie declares that the modern world, so cruelly interrupted, will resume its business from such and such a date.

Tonight, the moon shone brighter than the lights of the Sony Centre.

Did I tell you about the other bear? On the seventh night a bear appeared, identical in every detail, looking through the glass. The security cameras picked it up.

My German brother. Mein Doppelganger.

Mark Wallinger

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KATIE WATCHORN (IRE) A Softness Preserved You | 2014 Wool blanket, heat lamp, jellied milk, salt THE NILAND GALLERY

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This body of work focuses on Irish rural farming and brings agrarian materials into a formal environment, combining organic substances with rough agriculturallybased raw materials. Extracting and re-appropriating the utilitarian materials of her father’s farm and reframing their function, the artist creates hybrid forms which are in a process of becoming or growing. These organic commodities of nature become inanimate representatives of livestock and goods. Watchorn is interested in the maternal and instinctive care occurring within the farm environment. She selected material components which reflect this nurturing towards non-humans, such as animal-fibre blankets, heat lamps, delicate jellied milk and salt which contrast with harsher industrial materials including metal and heavy concrete.

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BEDWYR WILLIAMS (WAL) Hotel 70째| 2014 Film made with the aid of computer modelling

THE NILAND GALLERY

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The film is set in the iconic Hotel 70°, which once stood high on a cliff overlooking the nearby town of Colwyn Bay. The hotel was noted for its peculiar architecture, where everything from the carpets to the stairs followed the 70° and 110° angles of the building. From a builder’s point of view, this type of construction resulted in a waste of materials, but for many locally the hotel provided cherished moments and fond memories, with its peculiarities, its location near the coastline and its fine dining and service. The film is made with the aid of computer modelling to rebuild the hotel, which was demolished in 2007.

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KEEF WINTER (ENG) Mixed Feelings Matter | 2014 Concrete, crystacal casts, granite, artificial and sand

TULCA FESTIVAL GALLERY

‘Mixed Feelings Matter’ presents a point and a plane. A tower of concrete and crystacal casts balance on a platform of granite, resting on a bed of artificial and real turf acting as a limited boundary to its own occupation within the gallery. The components of Winter’s installation converge to form a blueprint that hints at a much larger master plan.

Constructed with a material awkwardness, this assemblage juxtaposes materials that are close in appearance but far removed in physicality from one another. Within its assembly, this work holds a sense of informal balance. The objects’ precariousness generates a visual energy, emphasised by the positioning of hard beside soft, weighty beside delicate, industrial beside hand-worked and real beside fake.

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YOUNG-HAE CHANG HEAVY INDUSTRIES (KOR) The Art of Sleep | 2006 HD QuickTime movie, Original text and music

TULCA FESTIVAL GALLERY

soundtrack, 18:38

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TULCA Festival runs a vibrant and essential volunteer programme. It is a fantastic opportunity to gain an understanding of how a festival comes together and operates as well as an opportunity to develop new and transferable skills. Volunteers, can keep up-to-date with the festival’s exhibitions, events, meet visiting artists and curators, students and members of the community. For further details  please visit: www.tulcafestival.com/volunteer-programme

Become a Friend or Patron of TULCA Festival of Visual Arts and be a part of our story.

Friends and Patrons of the festival are essential in ensuring the on-going vitality and high quality of our festival. With your support we can continue to reach ambitious goals, promote and innovate the visual arts and showcase local, national and international artists.

For further information on Patron and Friends packages contact Andrea Healy at: fundraising@tulcafestival.com TULCA LTD t/a TULCA Festival of Visual Arts – registered charity number: CHY20745T

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FESTIVAL LAUNCH TULCA Festival of Visual Arts launches its 2014 programme at The Festival Gallery, Market Street at 7.30pm Friday 7th of November. Join us as we celebrate this year’s fantastic programme. NEUTRAL TULCA 2014 will be officially opened by writer and documentary-maker, Manchán Magan.

LAUNCH PARTY @ ELECTRIC 36 UPPER ABBEYGATE STREET 9.30 P.M. ’TIL LATE

2014 sees the 12th Edition of TULCA Festival of Visual Arts.

Please do join us to celebrate the opening of NEUTRAL,TULCA 2014 @ Bite Club Streetfood Discotheque, followed by Liquors & Dancing @ The Factory - all this under one rooftop @ Electric.

This bustling rooftop space is a vibrant spot – think bohemian street party meets lazy winter evenings with tunes by special guest D.J. – artist, curator and historian Pádraic E. Moore AKA D.J. M0REM00REM0RE as he provides a vinyl collage of noise and music to dance to. Be prepared as an arousing unmixed amalgam of Eurodisco, Neu-Wave and Anthemic Trash will be played!

THE STIR PROJECT GALWAY ARTS CENTRE 8 - 11 | 17 - 23 NOVEMBER

The STIR Project is a collaboration between two Galway based collectives: Branch and Itsa.

These two dynamic collectives will take up residence on the first floor of Galway Arts Centre, Dominick Street, creating a dedicated space for public participation and reflection. Through the use of social media and a designated research hub, STIR will establish an open-ended forum for discussion, fluidly reacting to and engaging with the TULCA festival. In order to instigate a multi-dimensional experience, festival-goers are invited to peruse selected texts within a reading space at the Galway Arts Centre, react to festival events online and become involved in an open-ended dialogue and critical exploration of NEUTRAL, TULCA 2014.

A number of happenings will occur throughout the 17-day festival. For further updates on events follow us on twitter: @theSTIRproject & @tulcafestival The STIR project will officially open on Saturday November 8th in the Galway Arts Centre, 3.30 pm - 5.00 pm. All are welcome.

The STIR project seeks to subvert, challenge and question this year’s TULCA brief through the creation of a public research hub and website with both real-time and virtual activities promising dynamic and critical investigation. Planned activities as part of the collaboration include a dedicated reading space, live discussion circle, research wall and the presentation of research papers. The group will also create a web presence to document their organised events and research findings, in order to create a project that responds flexibly to the festival and creates an opportunity for open-ended discussion, beyond the parameters of the festival itself. Using social media, the group intends documenting spontaneous responses to works exhibited within the festival in the form of live tweets and photographic documentation.

The Branch collective is: Joanne Couch, Alice Dixon, Lucy Elvis, Colleen Fitzpatrick, Steven McHugh & Christina Mullan.

The Itsa Collective is Jackie Burke, Jason Dunne, Phil Foley, Martin Reid & Peter Sherry.

Funded by the Community Knowledge Initiative, NUI Galway.

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SOUND OUT: DISCUSSING EUROPEAN CAPITAL OF CULTURE LEGACIES THE VIEW, ÁRAS NA MAC LÉINN, NUI GALWAY 1.00 P.M. - 5.00 P.M.

SOUND OUT: Discussing European Capital of Culture Legacies, devised by 126 ArtistRun Gallery in partnership with European Capital of Culture Galway (ECoC) 2020 Bid Team, TULCA Festival of Visual Arts 2014 and Adapt Galway, is an open, public discussion for Galway’s local artists and organisations from both City and County.

Galway arts workers in the visual arts, theatre, dance, literature, music, performance, art education etc are invited to come together and become more informed about the bid process, contribute to the discussion and help identify possible benefits and shortfalls. The event will also highlight how strategic investment in the cultural infrastructure of the city in preparation for becoming a European Capital of Culture can result in sustainable benefit to the arts community in Galway.

SOUND OUT will be a platform to ask questions and to learn:

• How the Capital of Culture could benefit your local community.

• What are the cultural impacts and possible long-term benefits of holding the title “Capital of Culture”.

• What are the common difficulties that can arise within communities during the Capital of Culture.

• Learn how you can get involved.

• Hear from the European Capital of Culture Galway (ECoC) 2020 Bid Team about the application process and what to expect over the coming month.

• Hear from artists and researchers who have practical experience of the process and the outcomes.

The event will be chaired by Patrick Collins, NUI Galway, (lead consultant ECoC Galway 2020). Some of the invited speakers: • Tara Byrne, Consultant and Cultural Policy researcher, based in Dublin.

• Craig Richardson, Professor of Fine Art, Northumbria University, UK.

THE DOMESTIC GODLESS CANALICULUS PURGAMENTORUM GALWAY ARTS CENTRE 7.00 P.M. – 8.30 P.M.

Inspired by the ubiquitous carousels of global sushi outlets, The Domestic Godless bring Canaliculus Purgamentorum to Galway, a brand new project presenting their latest collection of amuse-bouches along a canal assembled from sewage ducting. Each dish will offer a nostalgic reminiscence of both the best and the worst of the miserable seaside holiday of yore, replete with humour and a sense of the absurd.

For over ten years The Domestic Godless have been a thorn in the foot of Irish gastronomy, with an irreverent disregard for current fashions and culinary trends. They have introduced to the world such delights as Sea Urchin Pot Noodle, Foot & Mouth Terrine, Carpaccio of Giant African Land Snail and Victorian high tea wrought from all manner of fertiliser, often in the setting of anarchic installations.

Since 2003, The Domestic Godless have performed throughout Ireland, including the Irish Museum of Modern Art, Dublin (2010), Castletown House, Co. Kildare (2013) and in a garbage skip at the gates of City Hall, Belfast (2004).

Tickets are available for €20 at Galway Arts Centre from 24th Oct. - 15th Nov. This show involves eating and tasting but is not a full meal. Unfortunately, special dietary requirements cannot be accommodated.

CANALICULUS PURGAMENTORUM is co-produced with Galway Arts Centre and is supported in part by the Arts Council Project Award 2014.

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FOOTFALL SYMPOSIUM: ARTICULATING THE VALUE OF ARTIST-LED ORGANISATIONS THE HARBOUR HOTEL 10.00 A.M. - 5.00 P.M.

FOOTFALL is a national collaborative research project devised by 126 Artist-Run Gallery Galway, to explore the position of small arts organisations in Ireland. The preliminary findings of the research will be discussed at the symposium.

Invited participants include: Jason E. Bowman (Midwest UK; University of Gothenburg, Sweden) Valerie Connor (NCFA chairperson, Independent curator) Joanne Laws (writer & FOOTFALL researcher) Mikael Löfgren (writer & activist, Unga Klara theatre Stockholm) Megs Morley (Artist & Para-Institution) Ailbhe Murphy and Ciaran Smyth (Vagabond Reviews)

T.Ed is a unique education programme that focuses on looking at and responding to visual art. It is about reaching out and engaging with schools and the wider community to create an increased awareness and a shared understanding of the Visual Arts. If we can learn about our past through the collections of a museum then so too can we begin to understand our present when we look at contemporary visual art. The T.Ed programme offers more than information about an artwork or an artist. It is about understanding an artwork as more than an object and understanding the artist as more than a producer. It’s about considering the context in which something is created. Artists probe, question and investigate areas of interest. They address, raise awareness of and make visible topics of concern - social, political or otherwise. T.Ed continues this process and encourages an individual quest for questioning by offering a platform for discussion, response and reflection.

T.Ed invites primary, post primary and third level institutions to participate in an educational tour of the festival. Each tour is specially designed to complement the existing arts curriculum or the learning requirements of the various student age groups. The introduction of an on-site process room in the Festival Gallery provides an opportunity for trained artistfacilitators to conduct workshops inspired by the festival in support of the tour package.

This invitation extends to existing groups or communities of interest in Galway City and County, who are invited to book a special tour through the T.Ed Community Engagement initiative. Artists seek inspiration from a wide range of sources and where possible the tour will forge links between the interests of a group and the exhibition.

Finally, T.Ed will engage with two primary schools; Scoil Croí Íosa (The Presentation School), Galway City and St. Joseph’s National School, Carrabane, Co. Galway, and host a series of workshops in each school by our education team. This pilot project aims to encourage and support a culture of arts-rich schools, recognising the benefits of arts education in developing a set of skills unique to each individual student.

TULCA Festival of Visual Arts believes the arts are for everyone and accessing the arts is for all. Our T.Ed programme is offered FREE but booking is essential. Tours run throughout the festival. For bookings and enquiries please contact our Education Coordinator, Joanna McGlynn on 086 8774710 or education@tulcafestival.com.

Full details of the T.Ed programme may be found online at: http://www.tulcafestival.com/art-education

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MOBILE ART SCHOOL’S THE ARTIST VISITS TULCA Festival of Visual Arts and Galway County Libraries present Mobile Art School’s “The Artist Visits” workshop programme. Artists Russell Hart and Stephen Brandes have come together to create a set of workshops using an inventive mix of sound and 2D media. Primary school children from various schools in the vicinity will participate in these workshops at Ballinasloe Library on Thursday 20th November.

Founded by curators Cleo Fagan and Jennie Guy, Mobile Art School is an artists-schools initiative that aims to expose and connect young audiences to the richness of national and international contemporary art. Mobile Art School runs artist-led workshops and in-school artist residency programmes.

Artist Russell Hart, AKA Economicthoughtprojects (ETP), creates work that includes live audio performances, artworks, exhibitions, a series of audio pressings on both vinyl and Compact Disc, poster design and an independent record label that focuses on collaborative processes.

Stephen Brandes’ practice explores the interplay of word and visual language as a vehicle for storytelling, with particular reference to travel fiction and European traditions of absurdism and satire. He works in a variety of 2D media and is also a founding member of the absurdist culinary performance group, The Domestic Godless.

Funded by Galway County Council

HOW TO SEE CLEARLY FROM A DISTANCE

GALWAY UNIVERSITY HOSPITALS ARTS TRUST How to See Clearly from a Distance has been especially commissioned by Galway University Hospitals Arts Trust as part of NEUTRAL, TULCA 2014. A compilation of thoughts from other times and other places, fragments to gather and settle into each other.

Artist Jennie Guy has invited a selection of artists and writers to read aloud texts that they have written, chosen with a particular context in mind.

Contributing artists and writers include: Hu Fang, Fergal Gaynor, Jennie Guy, Russell Hart, Léa Lagasse, Tamarin Norwood, Leila Peacock, Alan Phelan and Frank Wasser.

Available online and advertised via posters in hospitals within the Saolta University Health Care Group for the duration of TULCA 2014, these voices offer a series of narratives that stray between the mundane and the imaginary, simultaneously distant and intimately present.

For further information contact Galway University Hospitals Arts Trust at 091 544979 or guhartstrust@hse.ie

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LUCY ANDREWS Lucy Andrews was born in Stoke-on-Trent, England, and now lives and works in Dublin.

She is a graduate of the National College of Art and Design (NCAD), Dublin. Andrew’s was the recipient of the Temple Bar Gallery and Studios Graduate Residency in 2012. Recent exhibitions include Gracelands at the Irish Museum of Modern Art (2014), Stone Soup at Sailor’s Home, Limerick (2014), Reframing the Domestic in Irish Art at Highlanes Gallery (2014), Lacuna at Taylor Galleries, Dublin (2013), The Modelled Conscious at Rua Red, Dublin (2013), Futures at the Royal Hibernian Academy (2012), A MacGuffin and Some Other Things, Project Arts Centre (2012), and Transitive Relationships at Limerick City Gallery (2012). Her work is in the collection of the Arts Council of Ireland.

LAURA ANGELL Laura Angell was born in Sheffield and is a visual artist based in Galway. She graduated from Galway Mayo Institute of Technology (GMIT) in 2012 with a first class honours degree in Fine Art. She has exhibited in several group shows in Ireland and the UK, is represented by the Chimera Gallery and is a member of Artspace Studios, Galway.

BRANCH COLLECTIVE As a collective of six PhD students based in NUI Galway, the research of BRANCH occupies the space between academia and art in practice. BRANCH has grown from a desire to create a discursive bridge between traditional philosophical aesthetics and the ever-changing sphere of cultural experience.

They aim to create an open dialogue between a range of contrasting and complimentary strands of research in aesthetics to create texts and works which, whilst being publicly accessible, break new academic ground.

Members: Steven McHugh, Colleen Fitzpatrick, Christina Mullan, Joanne Couch, Alice Dixon, Lucy Elvis.

OISIN BYRNE Oisín was born in Dublin, Ireland in 1983. His practice incorporates drawing, portraiture, performance, installation and film. He is currently studying for an MFA at Goldsmiths University in London, and received a BA from the National College of Art and Design (NCAD) Dublin, in 2006. His work - often collaborative in nature - documents, engages and activates a broad community. “A community is formed precisely where it is impossible to represent one” (The Coming Singularity and Love, by Joseph Noonan-Ganley, written to accompany The Paper Ball, 2010).

Byrne’s work has recently been shown as a part of The Line of Beauty at the Irish Museum of Modern Art (IMMA) and in The Temptation of AA Bronson, at Witte de With Centre for Contemporary Art, Rotterdam.

His work is included in numerous important collections, both public and private, and

his limited edition artist publications are stocked by Printed Matter, Inc., New York and Shakespeare and Co., Paris. His work is substantially represented in the Irish State Collection.

AILEEN CONROY Aileen is a native of Durrow, Co. Laois, Ireland and graduated with an honours degree from the Galway-Mayo Institute of Technology (GMIT) CCAM in 2011. She was selected to take part in the RDS Student Art Awards in August 2012 and exhibited in the Sirius Arts Centre in November 2013. Aileen is a member of Engage Studios Galway and took part in their members’ exhibition at 126 Gallery in September 2014.

CECILIA DANELL Cecilia Danell is a Swedish artist who has been based in Galway since 2004. She graduated from Galway Mayo Institute of Technology (GMIT) CCAM in 2008. Danell has had solo exhibitions at the Talbot Gallery, Dublin and Wexford Arts Centre (both in 2012) with an upcoming solo show at Eight Gallery, Dublin. She has participated in two-person exhibitions at Ballina Arts Centre (2012) and Motala Konsthall, Sweden (2014) and numerous group exhibitions including Kaleidoscope: Art form EU Member States, at Farmleigh Gallery, Dublin (2013) where she was invited to represent Sweden, VUE National Art Fair (2011), The Claremorris Open (2007, 2010) and Cork Midsummer festival (2012). Danell was the 2011 recipient of the Wexford Arts Centre Emerging Artist Award and has also received bursaries and project awards from the Arts Council and Galway City Council. Her work is represented in the Office of Public Works collection, Wexford County Council Art Collection, Motala Municipal Art Collection, Sweden and the Kelly Collection, Rosslare.

JULIETTE DE LA MER Juliette de la Mer is an Irish artist who graduated as a mature student in 2005 from the MFA programme at the National College of Art and Design (NCAD) in Dublin. Since graduating she has had several solo shows around the country as well as taking part in many group shows, some of them abroad. During summer 2014 she exhibited in Surface Tension, curated by Helen Carey, at Glór, Ennis, Co. Clare, Ireland. Now based in Co. Clare, Juliette is currently a member of Artspace Studios in Galway where she continues her painting practice. Her work is held in public and private collections.

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JEANETTE DOYLE

MARK GARRY

Jeanette Doyle has exhibited extensively since studying at the National College of Art & Design, Dublin. Jeanette earned critical acclaim with her first post-graduate exhibition, winning the overall prize at ev+a ‘95, curated by Maria de Corral. Since then, her practice has concerned itself, often playfully, with the interrogation of a number of different disciplines and stances. Her work has been exhibited widely both in Ireland and abroad, with recent exhibitions and projects including: ‘Jeanette Doyle – Fresh Paintings (Dance)’, Dance House, Dublin (2014/5); ‘The Producers’, a collaborative project with ‘the food thing’ and ‘Gracelands’, Dublin; ‘YOUR BODY IS A BATTLEGROUND, Pristine Gallery Mexico (both 2013), ‘the food thing’ at the Liverpool Biennial and ‘Factory Direct’ at The Andy Warhol Museum, Pittsburgh (2012); ‘Jeanette Doyle: Fifteen Days’ also with The Warhol which functioned as a PREQUEL for ‘Factory Direct’; ‘In the Future the Artist Will Say: That Object is a Work of Art’ 3RD WARD, NY (2011); ‘Invisible Stranger/ Unsichtbare Fremde’, Tamtam8 Artspace, Berlin; ART BEIJING (2010), ‘Sleeping Beauty’ – a film projection in Meeting House Square.

Doyle’s work has also been shown at Dublin City Gallery, The Hugh Lane; The Crawford Municipal Art Gallery, Cork; Ecole Nationale Superieure des Beaux-Arts, Paris; Museum of Modern Art, Croatia; Brisbane Institute of Modern Art; Australian Centre for Contemporary Art; the ICA and Studio Voltaire, London, Temple Bar Gallery, Dublin; Limerick City Gallery of Art; City Arts Centre, Dublin; Fenderesky Gallery, Belfast and the Nordic Institute for Contemporary Art, Helsinki.

Mark Garry is an Irish artist, curator, writer, educator and occasional musician. He studied at the Institute of Art, Design and Technology (IADT), Dún Laoighre, Dublin, and holds degrees in both Fine Art and Design (interactive media) and a Masters in Visual Arts Practices. Mark has held exhibitions at prestigious art venues in Europe, North America, Asia and Australia. While he uses a variety of media and mechanisms in his practice, including drawing, film making, and writing, Mark primarily focuses on collaborative music projects and the making of site specific gallery-based installations.

Mark represented Ireland at the 2005 Venice Biennale in a group exhibition, Ireland at Venice 2005, which was subsequently presented at the Lewis Glucksman Gallery, Cork, in 2006.

Recent selected solo exhibitions include: RHA, Dublin (2015); The Model, Sligo (2014); Kerlin Gallery, Dublin (2014); Lafayette Projects Marseille, France (2014); City Gallery, Charleston South Carolina, USA (2014). Mark has independently curated exhibitions in Ireland at The Project Arts Centre, The RHA, The Dock and the Draíocht Arts Centre. Mark curated a visual arts programme for the Dublin Fringe Festival from 2000 to 2004, and worked for The Mattress Factory Art Museum in Pittsburgh PA, USA from 2009 to 2010 and intermittently programmed exhibitions for the Goethe Institute Dublin between 2008 and 2013. Mark has lectured in Fine Art at The Dublin Institute of Technology (DIT) for the past eight years.

BRENDAN EARLEY Brendan Earley, born 1971, lives and works in Wicklow. After graduating from the National College of Art and Design (NCAD), Dublin, with first class honours, he spent a number of years travelling before receiving a Fulbright scholarship to attend Hunter College, New York City. He graduated from Hunter College with a Masters in Fine Art in 1999 and returned to Dublin where he exhibits regularly. Exhibitions include Artist Space, New York, Ars Electronica, Austria and Douglas Hyde Gallery, Dublin. He was awarded his PhD in 2010 from the NCAD and recently had a major solo show in the RHA, Dublin. His work is in a number of public and private collections. He is represented by mother’s tankstation in Dublin.

ANITA GROENER Anita Groener is a mid career artist, born in The Netherlands and based in Dublin, Ireland.

She makes monumental, site-specific drawings, paintings, film and animation which she exhibits internationally. Recent exhibitions include Becoming|Unbecoming (2014) Park, Tilburg, The Netherlands; State (2013) at the Royal Hibernian Academy, Dublin and Gallery Witteveen, Amsterdam; The Future Perfect (We Are Here) (2013) Rubicon Projects, Brussels; Time Out of Mind (2012), Irish Museum of Modern Art, Dublin; All About Drawing (2011), Stedelijk Museum Schiedam, The Netherlands; Land (2011) Dublin Contemporary Circle Programme, Rubicon Gallery, Dublin and Into Irish Drawing (2009/10) LCGA, Limerick, Centre Culturel Irlandais, Paris, and Civic Arts Gallery Hengelo, The Netherlands. Anita is currently on a research residency in PointB Worklodge in Williamsburg Brooklyn, NYC. Anita Groener was elected a member of Aosdána in 2005. Until this year she has been teaching Fine Art for many years in the Dublin Institute of Technology where she was also the Head of Fine Art from 2004-2006.

Anita Groener is represented by Rubicon Projects | Rubicon Gallery

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STEPHEN GUNNING

ITSA COLLECTIVE

Stephen Gunning is based in Dublin, Ireland.

He studied at the National College of Art and Design, Dublin, graduating with a BA and MFA in Fine Art/Media. He works principally in the mediums of video, photography and sound.. He has exhibited widely both in Ireland and internationally.

In 2013 he was selected for the Marl Media Art Awards, Skulpturenmuseum, Germany. The video Installation Rites of Winter, an ongoing work-in-progress, was made in 2013 at the Opéra National de Lyon. His work was also shown at Exil, les Salaisons, Bridge des Images, Paris. In 2012 he was selected for the Tenderflix Experimental Film and Video Festival, London. He also took part in DEMOLITION, an International screening programme, in Chisinau, Moldova. In 2011, he was awarded an artist residency at the Centre Culturel Irlandais, Paris. In 2010, he was artist-in-residence, at the Kulturbunker Frankfurt, Germany. Prior to the Frankfurt residency, he was a member of Temple Bar Gallery & Studios for a year. From 2006 to 2009 he was an assistant lecturer at Dublin Institute of Technology School of Fine Art and Design. Upcoming shows include Nuit Blanche aux Salaisons, Paris, 2014 and Northwest Film Forum, Contemporary Video Art Gallery, Seattle.

ITSA Collective is an artist’s collective that explores the structures and constructs of contemporary visual culture, and creates a discourse around contemporary visual ideas. ITSA’s five members graduated from the Centre for Creative Arts and Media (CCAM), Galway-Mayo Institute of Technology (GMIT), with first class honors in 2014. During their time at CCAM, they led in the curation of several impromptu exhibitions, facilitated open group discussions, and established themselves as a collective by hosting formal exhibitions. Following the success of their exhibition as part of CCAM Degree Show 2014, ITSA Collective was awarded an internship and exhibition by 126 Artist-run Gallery which remains in progress, and completed a residency at CCAM GMIT this past summer. They have also held an exhibition and discussion at Damer House Gallery, Roscrea as part of Culture Night 2014.

Members: Jackie Burke, Jason Dunne, Phil Foley, Martin Reid and Peter Sherry.

JENNIE GUY Jennie Guy is an artist and independent curator based in Dublin, Ireland. Her practice embraces visual, textual, performance, and event-based output, initiating both formal and informal collaborations and participative environments that feed off other artists as well as her audience. These situations act as mirrors that destabilise the intent of both the creator and the observer, complicating notions of self, community, and the rituals surrounding artistic production, seeking new modes of observation and response.

She holds a Masters in Visual Arts Practices from IADT, Dún Laoghaire, Dublin and a Bachelor of Arts in English Literature & History, from Trinity College Dublin. Recent awards include: shortlisted for artist panel, Dún Laoghaire-Rathdown County Council Public Libraries (2014), Thinking Visual Residency Award, Wicklow County Council & Mermaid Arts Centre (2014), Arts Council Projects, Bursary, Young People, Children and Education (YPCE), and Travel & Training Awards for Mobile Art School, (2011 – 2014), Arts Council Visual Artist Bursary Award (2012), Life is Beautiful, Artist Residency in Banff, Canada (2012).

KAY ARNE KIRKEBØ Kay Arne Kirkebø is based in Bergen, Norway.

He has a Bachelor’s degree in Printmaking from Bergen Academy of Art and Design, and finished his Master’s degree in Fine Arts in 2014 at the same academy. He has previously shown works at exhibitions such as Tegneforbundet (The Norwegian Drawing Association) with his solo exhibition White Rooms and Cityscapes, in 2013, The 5X5X15 Media Project in Aarhus, Denmark, the same year and participated in the 125th National exhibition, Høstutstilingen, in 2012. He will be showing works at the upcoming Ung.Lovende exhibition in Moss, Norway in November 2014 and If on a winter’s night, a room in Bergen, January 2015. He will also participate in the upcoming Bergenbased comic book Transportation Comics.

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KATHARINE LAMB

SOFIE LOSCHER

Katharine Lamb was born and lives in Dublin. She graduated in 1990 from the National College of Art and Design (NCAD), Dublin. Following this, over a period of fifteen years, she carried out many public and private art commissions, most notably Lucan Portrait, Lucan Library, Co. Dublin, (2001), Synchronised Parking Indicators (a collaborative light sculpture), Boyne Street, Dublin 2, (2004), and Grogans Portraits, Grogans Public House, South William Street, Dublin 2 (1993 and 1995).

Lamb received an MA in Fine Art from the National College of Art and Design (NCAD), Dublin, in 2007, and since then has worked in the medium of drawing, video and glass. She has exhibited in Projector, Gallery Four, Dublin, (2009), Play, Draíocht, Dublin, (2008), Tulca, Galway, (2007), Group Show, Galleri Barbara, Norway, (2007), and The Square Root of Drawing, Temple Bar Gallery & Studios, (2006). She recently completed the public artwork for the new Dún Laoghaire Library and is currently working on a series of paintings and drawings for the new Coastguard Station in Doolin, Co. Clare, commissioned by the Office of Public Works (OPW).

Sofie Loscher was born in 1987, and lives and works in Dublin. She holds an MFA in Sculpture from the National College of Art and Design (NCAD), Dublin, and a BA in Visual Arts Practice from the Institute of Art, Design & Technology (IADT), Dublin.

Recent projects include EVA International, Limerick; a commission of a site-specific work in Killruddery House, Co. Wicklow, and a solo exhibition in Tactic Gallery, Cork. She is currently undertaking a year-long residency in UCD School of Physics, Dublin.

ELAINE LEADER Elaine was born in Dublin in 1970. Selected exhibitions include The way we live now and then, The Library Project, (curated by Mary Conlon) (2014); Little Kingdoms, Catalyst Arts Gallery, Belfast, (2014); All that remains to be seen, Catalyst Arts Gallery, Belfast, (curated by Iain Griffin) (2014); Penumbra, Tactic, Cork, (2014); Underline, Occupy Space, Limerick, (curated by Orlaith Tracey) (2014); Circulation, Flood Gallery, (curated by Paul McAree) (2013); Éigse, VISUAL, Carlow, (2013); Proposals, Lyric, Belfast, (2013); Production, Monster Truck Gallery, Dublin, (curated by Kate Strain), (2012); NCAD MFA’s at Boyle Arts Festival (Invited), (2012); NCAD Post Grad Exhibition, Steambox (2012); Transference, Monster Truck (curated by Cliodhna Shaffrey & Cliona Harmey), (2011); Claremorris Open (curated

by Chris Hammond), (2011); Draw the line, Monster Truck (curated by Dr. Ruth PelzerMontada), (2011); Proofs, Chester Beatty Library, (2010); Garden of Earthly Delights, Chester Beatty Library, (2005); Hand Pulled Prints, San Antonio, (2004); Contemporary Irish Prints, The Gallery of Graphic Art, New York, (2004); Grafiska Sallskaet, Stockholm, (2002); Ireland France, Cité Internationale des Arts, Paris, (2001).

Awards include RHA Studio Award (2013); Arts Council Visual Arts Bursary (2012); Arts Council Travel Awards (2000 & 1996); RHA Annual Print Award (1998); Arts Council Arts Flights (2001, 1997 & 1994); Arts Council Studio Award (1996); Arts Council Materials Grant (1996); Office of Public Works Per Cent for Art Scheme (2001); Commission for the National Library, Dublin.

MARIELLE MACLEMAN Marielle MacLeman is a Scottish visual artist based in Galway. She studied Drawing and Painting at Duncan of Jordanstown College of Art and Design (DJCAD) Dundee, and works across mixed media, wall-based work, objectmaking, site-specific installation and in participative contexts. She has exhibited in Ireland, the UK, Italy and France and has received Visual Artist Bursary Awards from The Scottish Arts Council, Glasgow City Council, The Arts Council of Ireland and Galway City Council. Recent residencies include the GMIT (CCAM) Summer Residency Programme (2014), the Tyrone Guthrie Centre (2014), The James Mitchell Geology Museum and The Zoology and Marine Biology Museum at NUI Galway (2012), and Galway Arts Centre (2011). Her work is held in private collections in the UK and in the collection of NUI Galway.

She has over 10 years experience in developing participatory projects and writing for Arts and Health, including the publications: The Pattern of a Bird (2008), The Magician and the Swallow’s Tale (2013), The Music of What Happens (2014). MacLeman also received a Per Cent for Art public art commission at St. Brendan’s Community Nursing Unit in 2013.

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FERGUS MARTIN

CONOR MCGARRIGLE

Fergus Martin’s most recent solo exhibition, Outside Inside, was held at Green on Red Gallery, Dublin, in April/May 2014. He currently has work in the exhibition IMMA Collection: Conversations, at The Irish Museum of Modern Art, Dublin. During 2013, as part of the collaborative duo, Martin & Hobbs, he took part in exhibitions in Dublin – an installation in the courtyard of The Irish Museum of Modern Art, and at BOZAR, Brussels, to mark Ireland’s EU Presidency, and in the 6th Biennal of Contemporary Art in Melle, France. Martin has shown widely in Ireland and internationally and his work is included in many private and public collections, including those of The Irish Museum of Modern Art, Dublin City Gallery The Hugh Lane, The Office of Public Works.

Sculpture commissions include Steel, at the East Gate entrance gates to the Irish Museum of Modern Art in 2008, and Lincoln Place, at Dublin Dental Hospital, in 2010. Awards include The Pollock Krasner Foundation, New York, (1999 and 2006); The Marten Toonder Award, awarded by The Arts Council, in 1999; the Curtin O’Donoghue Photography Prize at the RHA Annual Exhibition in 2010 and most recently, The Irish American Cultural Institute O’Malley Art Award 2014. He was elected to Aosdána in 2001 and is represented

by Green on Red Gallery, Dublin.

Conor McGarrigle is a new media artist, researcher and educator working at the intersection of digital networks and real space. His work is concerned with the integration of digital technologies into the everyday, the spatial implications of location-aware mobile devices, and the social, political and cultural implications of ‘big data’. Conor’s work has been exhibited widely internationally, in over 70 exhibitions, including the 2011 Venice Biennale, Fundació Miro in Mallorca, the St. Etienne Biennale, EVA International, Fundació La Caixa Barcelona, SIGGRAPH, Site Santa Fe and FILE São Paulo.

STEVEN MAYBURY

THE DOMESTIC GODLESS

Steven Maybury is an Irish artist currently based in Dublin. He graduated from Dublin Institute of Technology (DIT) with a first class honours in Fine Art in 2012. In 2014 Steven received a 6-month studio residency in the RHA, where he created three solo exhibitions of new work which were presented in Dublin in June/July 2014: Jigsaw’s Combs and Rulers at Eight Gallery, Radical Lines at Pallas Projects, and Groove Chronicles at Market Studios. Recent two-person shows include Synthesis i - Eight Gallery and Synthesis ii - Tactic Gallery, (2013).

Selected group exhibitions include NLA IV, Irish Museum of Contemporary Art, (2013); 183rd Royal Hibernian Academy Exhibition (2013); VUE Contemporary Art Fair, RHA, Dublin, (2013); 40-40-40 OPW touring group show: Spain, Italy, Poland, Ireland, (2013); con.glom.er.ate Catalyst Arts Belfast, (2013); One Year, One Day, Talbot Gallery, (2013); Re-act Market Studios (2012); Link, Block T, (2012); Mesh composition, Block T; Influx_art fair, Limerick (2012).

Steven Maybury is also co-founder and editor of ESC zine, an independent arts and literature zine created in 2010. In addition, he currently holds a position in The Library Project, managing the library’s photo book collection and orders in The Library Project’s art and photo book shop.

MOBILE ART SCHOOL Founded by curators Cleo Fagan and Jennie Guy, Mobile Art School is an artists-schools initiative that aims to expose and connect young audiences to the richness of national and international contemporary art. Mobile Art School runs artist-led workshops and inschool artist residency programmes.

PÁDRAIC E. MOORE Pádraic E. Moore is a writer, art historian and curator currently based at the Jan Van Eyck Academy in Maastricht.

The Domestic Godless was founded by artists Stephen Brandes and Mick O’Shea (later to be joined by Irene Murphy) under the Cork Artist’s Collective banner at the exhibition Artists/Groups at The Project Arts Centre, Dublin in 2003. Since then, it has been their mission to explore the potential of food (its taste, its presentation, its history and its cultural values) as a vehicle for irreverent artistic endeavour and experimentation.

Through recipes, installations and public presentations they employ food as both a concept and a medium through which to convey humour, empathy and other qualities that distinguish art from purely craft.

THE PROJECT TWINS The Project Twins are James and Michael Fitzgerald - a graphic art duo based in Cork, Ireland. Born in 1982, they both received a BA (Honours) in Visual Communication from Cork Institute of Technology (CIT), CCAD, in 2005. They work together across a range of disciplines including art, design and illustration, on both personal and commercial projects. They have exhibited both nationally and internationally. Solo shows include A-Z of Unusual Words, Design Week, Dublin, (2011); Making Space, The Library Project, Dublin (2013). Selected Group shows include Living/Loss, Lewis Glucksman Gallery, Cork, (2012); Extinction, VISUAL Carlow, (2013); Deception & Sacrifice, Academy of Art University, San Francisco, (2014); The Young Ones, Rua Red, Dublin, (2014). Various

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magazines, agencies and companies in Ireland, UK, Europe, America, Asia and Australia have commissioned their illustration work. They are represented by Synergy Art in the UK and US and The Illustration Room in Australia.

They are members of Illustrators Ireland and Cork Printmakers.

SAOIRSE WALL Saoirse Wall is an artist living and working between Dublin and Mayo, Ireland. She graduated with a first class honours BA in Fine Art Media at the National College of Art and Design (NCAD), Dublin, in 2014. Recent exhibitions include Foundation14, Tullamore; setup, a device, Mill Street, Dublin; Young Internet Based Artists, The Wrong Digital Art Biennale, Online; and National #Selfie Portrait Gallery, Moving Image Fair, London.

She has recently completed a residency at #0000FF online gallery. In March 2014 she presented her work at Lunch Bytes (14) - a panel discussion held at IMMA (Medium: Film/ Video). Her work is informed by the history of the moving image, performance and portraiture, with a focus on internet culture. Much of her practice takes place online. Her work consists mostly of performative video and is concerned with the physical relationships between the human body and technology.

MARK WALLINGER Mark Wallinger was born in Chigwell in 1959.

He represented Great Britain at the 2001 Venice Biennale and was nominated for the Turner Prize in 1995, which he was awarded in 2007. His many solo exhibitions include: One, The Void, Derry, Northern Ireland (2013), SITE, BALTIC, Gateshead (2012), Museum De Pont, Tilburg, Netherlands (2011) and Kunstnernes Hus, Oslo, Norway (2010).

His most well known works include ‘Ecce Homo’, the first commission for the Fourth Plinth in Trafalgar Square (1999). He was also one of three artists commissioned for Metamorphosis: Titian 2012 at the National Gallery in London as part of the London 2012 Cultural Olympiad. His work is in the collections of leading international museums including Tate, London, MoMA, New York and Centre Pompidou, Paris.

He is represented by Hauser & Wirth art galleries in London & Zurich.

BEDWYR WILLIAMS Bedwyr Williams was born in St. Asaph, Wales, and lives and works in North Wales. He represented Wales at the Venice Biennale in 2013, and had solo shows at Oriel Mostyn and Salzburger Kunstverein in 2014. Encompassing performance, sculpture, painting and video, his practice is marked by his unique brand of humour that is informed, in part, by his upbringing in Wales. Drawing from his life experiences, Williams’s work, on the one hand, offers a sharp critique of our everyday world, and on the other, a relief and antidote to life’s pressures.

KEEF WINTER Keef Winter was born in 1980, in N. Ireland and is currently based in London. He works using a material language he calls the ‘Handyman Aesthetic’, combining his interests in art and architecture with sculpture, installation and performance.

Winter’s studio process generates abstract apparatus that reference urban dissonance and reflect on cultish practices. Often his structural installations directly respond to the spaces where shown. His work has recently been exhibited at Chandelier Projects, London, Wysing Arts Centre, Cambridge, 3331 Arts Chiyoda, Tokyo and Temporary Arts Project, Southend-on-Sea. In 2013 he self-published a monograph entitled I Can Be Yours, and in September 2014 performed Let’s Build Our Own Tomb at Matt’s Gallery, London. Upcoming shows include Center Point at House of St. Barnabas, London, in May 2015.

YOUNG-HAE CHANG HEAVY INDUSTRIES Based in Seoul, Young-Hae Chang Heavy Industries (YHCHI) have presented their signature animated texts set to their own music in 21 languages, which have been exhibited widely at major art institutions including the Tate, London, the Centre Pompidou, Paris, the Whitney Museum, and the New Museum, New York. The two principals of YHCHI, Young-hae Chang (Korea) and Marc Voge (United States), were 2012-2013 Creative Arts Fellows for the Rockefeller Foundation Bellagio Center.

KATIE WATCHORN Katie Watchorn graduated in 2014 with a First Class Honours in Fine Art Painting from the National College of Art and Design (NCAD), Dublin. Living and working between Carlow and Dublin, Katie has exhibited both nationally and internationally, including Longford, Tullamore and Dublin in 2014 and Utrecht, The Netherlands in 2013. Katie has just won overall winner in the Visual Arts category in the Undergraduate Awards, 2014.

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Culturefox.ie is the definitive online guide to Irish cultural events, giving you complete information about cultural activities both here and abroad.

To find out what’s on near you right now, visit Culturefox.ie on your computer or mobile phone.

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FUNDING AGENCIES & SPONSORS PRINCIPAL FUNDING AGENCIES

FESTIVAL LEADERSHIP PARTNERS

FESTIVAL PATRONS

SUPPORTING SPONSORS

MEDIA PARTNERS

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1. TULCA FESTIVAL GALLERY 15 MARKET STREET, GALWAY.

Lucy Andrews / Laura Angel / Oisín Byrne NewConroy castle / Cecilia Danell / Juliette De La Mer Aileen Ave Jeanette Doyle / Brendan Earley / Mark Garry Anita Groener / Katharine Lamb / Sofie Loscher Elaine Leader / Marielle MacLeman / Fergus Martin Steven Maybury / Saoirse Wall / Keef Winter YOUNG-HAE CHANG HEAVY INDUSTRIES

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2. GALWAY ARTS CENTRE DOMINICK STREET, GALWAY.

The Domestic Godless / Jeanette Doyle Stephen Gunning / Jennie Guy Conor McGarrigle / The Stir Project

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Galway Cathedral

NILAND HOUSE, MERCHANTS RD, GALWAY.

Bedwyr Williams / Katie Watchorn

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4. 126 ARTIST-RUN GALLERY FLOOD ST, GALWAY.

The Project Twins

5. NUNS ISLAND THEATRE NUNS ISLAND, GALWAY.

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LOWER DOMINICK STREET, GALWAY.

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ALL VENUES OPEN FROM 11 - 7 PM DAILY | 8 – 23 NOVEMBER WITH THE EXCEPTION OF GALWAY ARTS CENTRE: MONDAY – FRIDAY: 10AM – 5:30PM SATURDAYS & SUNDAY: 10AM – 5PM

WEB: WWW.TULCAFESTIVAL.COM TEL: 086 845 6773 EMAIL: INFO@TULCAFESTIVAL.COM SHARE: u v ć

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