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The Crisis Becomes Visible: Irelandand the European ProjectFollowing a period of rapid economic growthbeginning in the 1990s, Ireland was ranked bymanagement consultants in 2002 as the mostglobally connected country in the world1.With this newly awarded status, Celtic Tigerexceptionalism, and a uniform acceptance ofcapitalist ideologies among the neo-rich, a newmonetary hero was spawned the brilliant Irishcapitalist2.

Under the centre-rightFianna Fil, crony

capitalism prospered, and was largely denedby mutually benecial arrangements betweengovernment and the corporate elite. The IrishFinancial Services Regulatory Authority wasappointed in 2003, but failed to impose majorsanctions on any Irish institution, even thoughIreland had recently experienced several majorbanking scandals, prompting theNew YorkTimesto dub Ireland The wild west of Europeannance3. The economic boom, (fuelled by an overactive construction sector, extreme house priceination, an unhealthy dependence on foreignmultinationals, and easy access to credit) came

to an end in 2008 when the economy collapsedand Irish banks were unable to renance theirforeign borrowings, exposing corruption inAnglo Irish Bank in the form of hidden moneyand loans to anonymous businessmen. In orderto alleviate fears of a sovereign debt crisis, theIrish government nationalised six banks andissued a spectacular blanket guarantee to pay

the bondholders, in the hope that the nancialmarkets would regain condence in the euro-zoneoverall.

Receiving a bailout of67 billion from theEuropean Central Bank for this purpose in 2010,the Irish government swiftly shackled this debtonto the public, through the implementation ofausterity measures a euphemism across Europefor forced cuts to public services and publicownership. Under such conditions, Irelands direscal situation is set to continue for generations,amidst soaring unemployment, tax hikes, shrinkingpublic services, and crumbling infrastructures forhealth, housing and education; the original pillarsof the Irish free-state and 1937 Irish Constitution.

If Irelands boom phase was an exemplarymodel an archetypal blueprint from which toobserve the extent of functioning Capital thenthe bust phase will surely provide a necessary

gauge to study its effects and measure itsrepercussions, not least for those still advocatinglarger doses of the same. Once a small, introverted,

post-Imperial4 country on the peripheries ofEurope, Ireland, having joined the anti-pluralistranks of new muscular liberalism,5 is nowcompelled to scramble, like the rest, for restitutionin the crisis-ridden European project.

Many economists and cultural analysts haveruminated on the systemic failings of the CelticTiger era, and the implications of the subsequentnancial collapse for Irish society. The CelticTiger wasnt just an economic ideology, wroteFintan OToole, It was also a substitute identity.It was a new way of being that arrived just at thepoint when Catholicism and nationalism werenot working anymore.6 Describing the CelticTiger as a mirage largely dened by socialinequality, Peadar Kirby warned of the socialcosts of economic success in the era of neoliberalglobalization7. The main purpose of this texthowever, is to examine what is happening to thevisual arts in Ireland at this post-bust juncture,with a view to highlighting current socio-political,intellectual and artistic concerns.

An emerging political turn, visible acrossrecent festival formats in Ireland, will beexamined in detail, portraying an institutionalframing of an emergence from crisis, supportedby discourse on political exhibition making.Most notably, in cultivating a new delity to thelocal, contemporary Irish art is re-inhabitingfamiliar terrain that of land, place andthe native sensibilities of the local genius8.Concluding thoughts will draw on a revival

of the Irish mind debatein cultural studies9,harking back to an earlier, seemingly simpler,era of pre-globalisation. Doing so it will querywhether there is a specically Irish intellectualtradition counter to a hegemonic rationalism ofAnglo-Saxon/Ango-American logic which mightenable a reinvestment in the notion of what itmeans to be a republic.10 In framing culture asdecisively conditioned by changing economic andsocio-political relations, how are current artisticand curatorial practices in Ireland producinga systematic analysis of relations betweeneconomic interest and competing versions ofidentity on offer11? In short, I will examineartistic practices which consider national psycho-geographies as a supposed counter culture tomaterial interest and burgeoning global hegemony.

Festival Formats: Curating thePolitical Turn2011 was dened by waves of political protestand sustained campaigns of civil resistance,whose groupings were perceived as largely non-hierarchical in structure, characterised by aheavy reliance on internet technology and socialnetworking sites for communication, mobilisationand reportage. Describing the Arab Springprotestors as democracys new pioneers, MichaelHardt and Antonio Negri outlined how the self-organised, leaderless multitudes in Tunis, Cairoand Benghazi have the capacity to invent acommon plan to manage natural resources andsocial production, concluding that This is athreshold through which neoliberalism cannotpass and capitalism is put to question...Hereinsurrection touches on not only the equilibriumsof north Africa and the Middle East but also the

global system of economic governance...raisingaspirations for freedom and democracy beyond theregion.12

Inspired in part by Cairos Tahrir Square, theglobal Occupy Movements patchily called foran examination of alternatives to capitalism,reactivating modes of resistance in the publicconsciousness with demonstrations, sit-ins andoccupations of work places, corporate buildingsand civic spaces. In an Irish context, Occupyprotests in Dublins nancial district and otherparts of the country aligned in opposition to theState sale of Irelands oil and gas reserves, andthe burden of private debt, referring to thebillions currently being paid in increments tothe unsecured bondholders of defunct banks.As redundant workers of the Vita Cortex factorycontinue to occupy the Cork premises in an on-going dispute over the terms of their dismissals,an Anti-Eviction Taskforce13 seeks to preventcounty sheriffs from carrying out unlawful andunconstitutional repossessions and evictions,while Occupy protestors seek to liberate NAMA14property, retaining vacant buildings as communitycentres and civic spaces, highlighting NAMAsfailure to deliver on a promised social dividend.15

In February 2011 the governingFianna Filparty suffered defeat on a historic scale. Thenew Fine Gael/Labour coalition, inheriting thepost-Celtic Tiger economic wasteland, havesubsequently reneged on many pre-electionpromises, most notably on political reform and theelimination of (crony) political patronage. Historicstate visits from Queen Elizabeth II and BarackObama articulated international statements of

solidarity with Ireland, but the strategic interestsbehind the visits went largely unchallenged,with mainstream media coverage centring on themorale-boosting effects of these symbolic gestures.Visiting his great-great-great-great grandfathersancestral home in Moneygall, Country Offaly,Barack Obama spoke about Irish-Americanconnections, blood lineage and the (voting?) IrishDiaspora for whom the homeland symbolisedsuch extraordinary traditions and people. TheQueens visit in May, the rst by a British sovereignto the Republic since 1911 when Ireland was stillunder British rule, was a powerful reminder of thetroubled relationship between the two nations.Poignantly, Irelands colonial past and history ofmass emigration found contemporary resonancebelow the glossy media veneer, against the currentbackdrop of increasingly depleted nationalsovereignty, Europeanisation and nancial ruin.

As 2011 drew to a close, several prominent Irishart events utilised their respective exhibition andseminar platforms to consider the current Irishsituation, citing arts potential to navigate politicalterrain. The curatorial framing of this emergencefrom crisis centred largely on negotiating aposition for art within this period of re-building.References to local and global networks ofexchange persisted as a reoccurring theme.Curator driven statements gestured towardssomething radical, while substance was deliveredwith varying degrees of success.

Irit Rogoff recently described the process ofturning as not only a move away from out-datedmodes of doing towards something more urgent,but also a means of propelling an audiencetowards active engagement. In a turn, weshift away from something or towardsor aroundsomething, and it is wewho are in movement,

rather than it. Something is activated in us,perhaps even actualized, as we move.16 In readingthe political across curatorial formats, how were

Generation BailoutArt, Psycho-Geography,

and The Irish Mind debateJoanne Laws

Superex, TheFinancial Crisis

(Session I-V),lm Still (2009).A hypnotisttakes us throughfour stages ofeconomical

disaster. The lmis divided intofour sessions.Presented byFrieze Filmsand Channel 4and created forFrieze Art Fair2009.

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new perspectives generated? How were audiencesengaged, forcing these spaces to be moreactive, more questioning, less insular, and morechallenging?

Dublin Contemporary 2011: TerribleBeauty Art, Crisis, Change & TheOfce of Non-Compliance

Dublin Contemporary 2011 marked Irelandsinauguration onto the international art circuit,promising a quinquennial art exhibition ofglobal magnitude and local consequence. Butwhile lavish international launches and optimisticvisitor/revenue statistics created a celebratoryveneer, tensions (both internal and external) over-shadowed the ambitious project. Resistance hadbuilt up among the arts community in Ireland,who generally felt that the lack of information andcommunication projected an air of exclusivity. Inearly 2011 the original management board wasdissolved17 and new curators were appointed. NewYork-based curator and critic, Christian Viveros-Faun, and Franco-Peruvian artist and curator,Jota Castro, swiftly assembled the TerribleBeauty theme, referencing Yeats and the 1916Rising, alluding to the current climate of austerity,

which could hardly go unnoticed.The curatorial vision for the large scale eventaimed to provide a departure from the ashy,conventional biennial or art fair model, drawinginspiration from the principles of the ItalianArte Povera Movement of the 1960s, which hadreacted against the corporatisation of art andculture. This positioning aligned with a growingacknowledgement that the global art biennialformat is a product of the distorted relationshipbetween art and marketa value system basedon west-eurocentrism18 which is currentlyexperiencing retrenchment in an age of art-funding austerity19.

As a platform for contemporary practices andperiphery events,Dublin Contemporary 2011 wascritically relatively well received. 20 Certainly,there was an acknowledgement of the qualityof the work produced by artists in Ireland,when viewed on this international stage. Anemerging kind of constructionist21 aesthetic wasdiscernable, suggesting an impulse to deconstruct,to salvage, and to clear, privileging an activelearning through building over a transmission ofexisting limiting forms of knowledge.

The Danish Art collective Superex providedthe most biting prognosis of the current Irishpredicament, with a video-installation entitled The

Financial Crisis (Session I-IV). A space, containing

hundreds of euro coins (which were glued to the

oor), provided a backdrop for a video projection,

which presented crisis in the euro-zone from atherapeutic perspective: A hypnotist guides usthrough our worst nightmares to reveal the crisiswithout as the psychosis within. During 4 sessionsyou will experience the fascination of speculationand power, too fear, anxieties and frustrationof losing control, economic loss and personaldisaster. In Session 1 The Invisible Hand we are

introduced to the backbone of capitalism, theidea of the invisible hand as the benign faith inself-regulation that prevents markets and peoplefrom spinning out of economic control. Underhypnosis we are asked to interrogate that faithand to imagine a world no longer governed by theinvisible hand. In the following Sessions we godeeper and deeper into the nancial crisis...22

Declarations that Dublin Contemporarycould engage with art and its place in societyor operate as a hub for non-conformist artproposals23 proved unconvincing. Occasionalglimpses of curator-centred hierarchies, andknowledge that the event was executed witha heavy reliance on internship staff, made itdifcult to reconcile such a radical preamblewith the hostile atmosphere palpable within thevenues. Most disappointing was the format ofthe event, which did not deviate from the typical

biennial model, doing little to circumvent notionsof art as entertainment. Art market rhetoricand tourism statistics took precedence over any

politically motivated curation, bypassing anyopportunity to engender political agency throughthe implementation of robust exhibition makingstrategies. Slogans reminding us that art has thecapacity to imagine and effect change in the socialsphere adorned the walls of the main venue atEarlsfort Terrace, while grafti subverted thewalls of the National Gallery, producing a lack-lustre veneer, conveying vague gestures towardsinstitutional critique that were never formallyrealised.

Tulca Festival of Visual Arts24, 2011 -After The FallTulca 2011, curated by Megs Morley, embarkedon a socio-political inquiry into the world Afterthe Fall, which negotiated imagined pasts anddystopian futures, producing an experience thatwas unequivocally of the moment. The programmewas tightly under-pinned by an incisive curatorialstatement, framing the event as a pause in anendless circulation of ideas... positioning itselfin the juncture at the end of one era and thebeginning of the next. The exhibition functionedas a point of convergence for many relevantconversations civil protest, emigration, howcapital moves referencing land, territory andnationhood, punctuated with potent imagery suchas ag, border, island, and counter-monument.These images resonated within an immediatelyperceived and conceived surrounding Irishlandscape, while also offering access to wider geo-political discourse.

Filip Bertas single channel video,Homo HominiLupus(2011) gestured towards conict in theeuro-zone, with a depiction of wolves ghtingover an Italian ag. A symbol of territory, theag, luminous against the desolate landscape,is decimated, as the wolves each display theirinstinct to survive and dominate. In ElaineByrnesA Message to Salinas(2010), Mexicancitizens articulated their desire to retain nationalsovereignty in the face of US intervention andstate privatisation. A border is a dening nationaland geographical feature. The border zone, asplace and non-place, as a site of migration,

surveillance, and a threshold between native/foreigner, enemy/ally, import/export, has beenrevived as a source of study within geography andwider elds of social theory, providing a counter-culture to borderless transnationalism. To thesimple construction of binary terms Good? Evil?Terrorist?25 the notion of borderlands enables amore nuanced engagement.

While The Good Hatchery, informed bytheir islanded position, cultivated a delityto micro-geographies with a meditation onthe transportation of cargo and monar earra(manufactured goods), Gareth Kennedy referenced19th century industrialist logic, plotting an averagelocation for all of the cargo pallets currentlytraversing the planet with his folk-ctional

Mean Pallet.26 In developing rural folk-ctions,Kennedy stages encounters between globalisedand localised material cultures, in an attempt

to identify social and environmental concernswithin macro-economic contexts. Kennedy oftenworks collaboratively with Irish artist SarahBrowne, producing temporary occupations whichtrace alternative historical trajectories linked tocontemporary concerns27.

In Oral Hearing(2009), Seamus Nolan re-stagedand lmed the nal session of a Bord Pleanlapublic hearing, where members of a small northMayo community voiced objections to the CorribGas project, and the laying of a productionpipeline by Shell Oil to bring high pressure gasinland, reaching the Irish coast at Glengad andRossport. Members of the community took partin the re-construction, which took place in alocal community centre. Formed out of a deepconnection with their own locality, the contentiousten-year struggle against corporate and stateforces cited concerns about public safety and safe-

guarding the rights of its farmers and shermenas their main areas of concern, displaying animpressive accumulative knowledge of judicial

and democratic processes. The Irish state, viewingthe Corrib gas eld as a gateway to sustainabilitydeployed Garda to heavily police the area,facilitating construction workers to carry outtheir production schedule. No matter how muchknowledge or information people had gathered, itwas secondary to a homogeneous globalised modelof how things work28 stated Nolan. The myth ofprogress, enticed by corporate investment and theprospect of economic growth, was upheld, whilethe endangerment of nationhood, identity andcultural sovereignty declared by those claiminghistorical rights to working the land and seas, wasunilaterally disregarded by an amorphous enemy.The local had become marginal.

Collective modes of resistance, protest andactivism were expressed by several other artistsincluding Amie Siegal and Jesse Jones. Whenre-appropriated into the present moment,surveillance footage29 and megaphones30 symbolsof them and us; the state and the disenfranchisedclasses become inscribed with the time thathas lapsed, calling for new modes of resistancewithin this post-binary political landscape.Recession in the 1980s was dened by tradeunion unrest following the adoption of neoliberaleconomic policies in the west, creating a shift frommanufacturing and heavy industry into nanceand service industries. The current recession is aproduct of these global economic systems, as theight of capital shifts to the east, highlighting theprecarious nature of labour within capitalism.Contemporary campaigns of resistance, as

already described, are becoming increasingly self-organised and more informed about law and civilrights, in trying to hold the state, authorities orcorporations accountable for breeches of their ownpolicies, relying on the judicial and democraticsystems of international law. The shift from theindustrial form of production to the semiotic formof production the shift from physical labour tocognitive labor has propelled capitalism out ofitself, out of its ideological self-conception31.

Paul ONeill has written extensively on theshifting parameters and apparatus of exhibitionmaking, biennial culture, and the emerging roleof the curator as subject and producer of this

discourse32

. Reecting on ONeills descriptionof exhibitions as subjective political tools andmodern ritual settings which uphold identities33,it seems plausible that the formation of a politicalexhibition is partially, if not largely, determinedby the radicality of the curators own personalpolitics. Insights into Megs Morelys own politicalpersuasion are provided not just through herapproaches to curation but also in her work asan artist. Recent works such as Post-Fordlandia34(a lm produced in collaboration with TomFlanagan) portray a delity to anthropologicalresearch, supported by textual analysis in thecritique of capital, which frame the visual andmaterial narratives, outlining artistic inquiriesthat are echoed in her approaches to curation.Tulca 2011 was a panorama of embedded insightsthat gradually merged, contributing to an over-arching dialogue. ONeills concern that artistic

and curatorial practices should not be treated inisolation, but as co-existing spectrumswithin theeld of cultural production, is further expanded

Seamus Nolan,Corrib Gas,Project ArtsCentre, lmstill (2009).See, CorribGas Project:http://vimeo.com/6947901

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by Boris Groys when he described the interplaybetween exhibition-making and art as producinga space that installs everything that usuallycirculates in our civilisation35. For Groys, themass of exhibition visitors ...become part of theexhibition ...in a way that assists them in reectingupon their own condition, offering them anopportunity to exhibit themselves to themselves.

Examining civil rights, environmentalcampaigns, judicial structures and corporateagendas in proximity to artistic processes,Tulcas visitors observed tangible connectionswith the surrounding location. This landscaperevival is not concerned with nostalgia for celticromanticism, nor has it become interestingly

kitsch following decades of subversion. An islandengulfed for so long in cross-border conictmust now acknowledge that the biggest threatto national sovereignty comes not simply fromthe conditions of already having renunciatednational economic sovereignty under globalisation,but from the continuing political complianceand the democratic decit36 of the exibledevelopmental state. EU/ IMF nancial logicand restructuring, enacted through the state viadirectives for local and regional government,propose another, arguably more intrusive roundof regulating the rural and legislating for thedomestic. Multinationals, most topically thosein the business of oil and gas exploration andproduction, continue to seek to exploit andmonetise the land and waterways, a prospectwelcomed by the Irish government with thesame enthusiasm as it embraced foreign directinvestment in its economy. After The Fall,while focusing on these locally sited issues, isquestioning the broader body politic, just as crisisin the euro-zone points to a broader systemic

concern that of the utility37 and permanentnature of crisis as a function of capitalism38.

TRADE Seminar 201139

Foreign multinational gas and oil exploration alsobecame the focus of a group of artists participatingin TRADE residency 2011, in Carrick-on-Shannon,with an examination of the devastation thathydraulic fracturing (a.k.a fracking40) for gaswould have on their locality. Their campaign TalkAbout Fracking pertinently demonstrates thetangible links between global practice and local

impact, with the national, (i.e the capacity ofstate governance to implement, mediate or rejectthose practices) occupying a determining position.As already outlined, the government stance onthis issue focuses heavily on economic prospects,with Minister of State at the Department of theEnvironment, Fergus ODowd, recently statingthat if there was a chance that billions of eurosin untapped gas could provide a massive economicboost, the Government must take account ofthat41.

The Talk About Fracking campaign, whilequestioning the apparent consensus of economicnecessity that subordinated the local, alsofunctions self-reexively in its capacity toalign artistic activity with societal concerns.Interrogations regarding the social functionof art have persisted across a spectrum oftwentieth century movements, from dadaist and

constructivist directives towards a new socialorder, to conceptualist and feminist experimentsof the 1970s and relational aesthetics practices ofthe 1990s. Much of the discussion at the TRADEseminar centred on how art might continue tonegotiate a socially engaged position, and theimportant role the artist plays in advocatingactive citizenship, challenging the commodity andentertainment functions designated by capitalism,which dene art as a servant of the economyand support the bourgeois image of the artistas a creative genius existing on the margins ofsociety. Coupled with the proliferation of artistled initiatives across the country, alternativemethods of production and display are emergingas dening features of the new ecologies ofpractice42 in contemporary Irish art. Formedlargely out of practical necessity - the sharingof space and resources - artist led co-operative

structures have become increasingly associatedwith seemingly political models of collectiveself-organisation. Although the suggestion thatart, in this recessionary time, might experiencea renewed purpose seem patronising, it doesseem tenable that institutional and art markethierarchies are less prevalent in these spaces, withless of an emphasis on commerciality. But that isnot to say they are entirely emancipated. In manyIrish urban districts, artistic activity is becomingincreasingly intertwined with urban planning,with numerous county councils inviting artists totemporarily activate vacant commercial spacesin dormant retail sectors. While artistic practicesin Ireland appear to be genuinely thriving underthese conditions, revealing an underlying capacityfor co-operative production, the lingering uneasyrelationship between developer and artist is yetto be tested. Pitched as a win win situation foreveryone, this arrangement is reminiscent ofthe gentrication discourse which followed thedevelopment of creative quarters in Temple Bar,Shoreditch, Soho, etc. ; a debate too lengthy toenter into in this text. By contrast, the image ofrural art practices emerging from the TRADEseminar utilised the distance from the (urban)centre as a pensive site for many artistic inquiries commonage, local infrastructure, connectivity,and temporary publics producing meditationson the periphery and the local, which aretranslatable across a spectrum of geographies,cartographies and cultural discussions.

Cultural Geography - Signs, Routes,PerspectivesIn his contribution to the TRADE seminar, artistPhillip Napier described the M1 motorwayconnecting Belfast and Dublin, which forms part

of a larger European EU01 route infrastructureconnecting Ireland to mainland Europe via landand sea links with Portugal and Spain, facilitating

an ease of passage for production and distributionwithin Fortress Europe. His observations centredon the absent border checkpoint no military,no surveillance, no ags where the transitionfrom one country to another, north to south, isonly visible via the signage denoting either milesor kilometres. [Paraphrasing] The logic economyhas swept away the sovereigns of the foreign. Anation that historically was dened by Unionistintroversion is now being asked to adopt anoutward-looking perspective.

Border-zone study within traditionalanthropology, which examined primitivism and

the typology of ethnic groups, seems increasinglystatic in the context of contemporary globalisation.The relationships between populations and theheterogeneous structures of geography, nationstates and international law are becomingcorrespondingly blurred. Drawing on the inuenceof post-structural, post-colonial and Marxisttheories, emerging interdisciplinary thought re-asserts the role of cultural struggle in reproducingsocial life, while making apparent the inherentpower relations. Much of this deconstructioncentres on a re-examination of culturalconvergence and population mobility. Meanwhileemerging anthropological studies focus on thecultural differences between ethnic groups whichpersist precisely because of border division andexamine identity and political organisation acrossnational spaces in the context of global economicexpansion, increased global transportation and

telecommunication technologies.Speaking recently north of the border, at

the opening of his exhibition Recalculating,at The Void in Derry, Philip Napier examinedthe persistent connections between frontierdiscovery and the lingering idea of terror in civilsociety43. Recalculating is a continuation of thenarratives explored in previous bodies of work,most recently in his HMS Terror series, whichexamined Franklins ill-fated arctic expedition tothe North West Passage in the 1840s, headed byCaptain Francis Crozier, from Banbridge, Co.Down.Several countries are currently in competitionto locate the shipwreck, which could establisheconomic sovereignty over the major sea way.Suggesting that the Arctic explorers were thespace men of their time, Napier considered theHMS Terror expedition as being enshrined in mythand romantic imagination. With global warming

the North West Passage has widened, offeringpotential for the expansion of a trade route linkingEurope to China and the Far East. With dominantglobal power now shifting eastwards, the industrialand economic logic of connecting to Chinabecomes salient, thus accelerating consumptionwhere the Communist command economy meetsand the capitalist laisez faire economy.

The most radical aspect of Napiers work isthe ease with which his sculptural installationsoscillate between aesthetic manifestation, sitespecity and cognitive abstraction. When linkedto contemporary culture the atomisation ofhuman experience, which creates anxiety andthen offers a (comforting) resolution to thatanxiety, for the purposes of consumption44 anysymbolic exploration into unchartered territory,(going without maps or satellite navigationtechnology, being stripped of co-ordinates)

reactivates a potential to be curious; to navigateusing fear as an instinctive force; to discoverpolitical alternatives; to observe the spaces wherecivil resistance occurs before armed combat isdeployed; to devise our own global positioningsystems. In this way the expectations of theconditioned mind45 are disrupted, and there isno easy resolution to that anxiety46. ReferencingFrench philosopher Michel Serres analogy of they, whose pattern of discovery on a window paneportrays a speculative route-making betweencartographies of knowledge, it becomes possibleto observe the sites where translation betweenaccounts can occur, back and forth betweendomains, without privileging one as accurate orauthoritative.

On my journey into Derry city I was awareof the signicance of painted kerbs stones, andthe ceremonial removal of London from itsprecursory position on road signs. I had heardabout the tours of the Bogside, and the murals enduring icons of the troubles which haveaccumulated an ironic distance and become in

The GoodHatchery,Missionary 52,

-7, mixed mediasculpture (2010).Commonage,Callan,Co. Kilkenny.

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some way kitsch, turning the residents into touristsof their own history. These visible manifestationsof underlying conicted realties 47, which becamelegible externally through the mass media (withits hunger for drama, a beginning, a middleand an end, heroes and villains and the idea ofresolution48) are still palpable, real, and notconsigned (completely) to historical abstractionin present day northern Ireland, despite itsconstant inscription as a post-conict zone.When competing powers have caused turmoil toerupt, how might this discontinuity of historyand unresolved remembering be meaningfully

inhabited? Art, as a site for communallyconstructed, lateral rather than linear meaning,can pose the question of not, what does itmean,but what do wemean?

When asked how art might navigate a positionfor the historical, national or local withinglobalised or post-colonial contexts, Napiersuggested that these structures can be redenedthrough emphasis on the particular throughthe embedded processes of situation, and thetransference of agency to place and context. Byconstructing psycho-geographies, which engageacross the symbolic structures of land, religion,place names, language and identity, micro-political landscapes can be represented whilealso acknowledging those deep seated fault-lineswhich, like trade routes, are local and global, atthe same time. In this way, art practice becomeslocal, but legible and meaningful elsewhere,

and the land becomes an active cultural force,rather than merely a subject of monetisation,consumption and political division. Territoriality,as an epistemological principle, provides acognitive framework through which the worldis observed 49, while it nonetheless remains aconcept that needs careful attention and critique.

Concluding Thoughts - Art,Ethnocentrism, and the FutureCultural accounts of Irishness projectedinternationally via references to the land andterritory have historically persisted throughromanticism, celtic revival and nationalism,conveying an ethnocentric mindset constructedlargely through an introverted delity to thenative landscape. The idea that Irish culturaltradition is a product of specic (and previously

unacknowledged) intellectual traits was the focusof the Richard Kearneys Irish Mind Debateof the mid-1980s.50 With reference to Irelandsstrong literary tradition, Kearney suggestedthat the Irish position of periphery and exileproduced an intrinsic decentredness in theIrish population, generating a stereotype ofthe geographical or linguistic other, with acapacity to respond creatively to dislocation andincongruity51. The border, as a partition betweenGael and Saxon, colonised and coloniser, catholicand protestant, was a geographical division thatfurther permeated the Irish intellect, producinga distinct capacity to identify the foreign overthe familiar. Kearney also proposed that doublevision a Joycean kind of lateral thinking whichsimultaneously holds two contradicting thoughtsin the mind demonstrated a dialectical logiccharacterised by an intellectual ability to hold

the traditional oppositions of classical reasontogether in creative conuence, providing acounter-movement to the mainstream hegemonicrationalism and linear, centralising logic of theGreco-Roman culture which dominated most ofWestern Europe.

The main oppositions to this classication ofthe Irish mind, centred on a rejection of theseproposed ethnic characteristics, which ultimatelyreinforced the celtic racial stereo-types devisedunder English rule, formed out of an enduringmaster/slave colonial self image. ...Kearney, inthe cause of Irish nationalism, had essentialisedIrishness and simply reversed the usual colonialclaims that Ireland was full of people who simplycouldnt think straight, privileging this inability asan alternative system of thought.52

In attempts to identify a particular nativesensibility in Irish art in the 1970s and 80s,poetic, passive and introspective interpretationswere positioned within nationalist, anti-modernistand romantic stylistic and iconographic contextsand aligned with a distinct lack of scholarly

analysis in art criticism pre 1990. These in turncontributed to the marginalised position of thevisual arts in comparison with a strong literarytradition53. Under these conditions, the Irishlandscape, as a site of artistic, native imagination,assumed priority over any reference to increasingmodernisation, or the inuence of economic andconsumerist forces.

Calling for a balanced assessment ofprovincialism in art criticism in the 1980s, TomDuddy highlighted a need for lateral thinkingin the local versus global dichotomy. In carvingout an identity for Irish art at that time, Duddy

insisted that the geographical aesthetic shouldresonate within the local, but must endeavour toresist clichs of Celtic mysticism and Nationalism(a provincialism of the right). Similarly, for Irishart to convey a sense of place, it should articulatean awareness of international inuence, globalissues, and the economic realities of modernism(a provincialism of the left) without pandering totrends.

In examining the inuence of the Irishintellectual tradition on national identity,much of the discourse generated in the eldsof cultural theory has historically privilegedthe literary imaginative vision of traditionalintellectual thought, which addressed nationalist,political and cultural concerns but left theanalysis of economic and class issues to others. 54Conversely, the emerging specialist intellectualstratum of economic modernisation, reliant on

state institutions, delivered only the technicalrequirements of nationalism (trade, economy,etc.) that were based on a generated ideologicalconsensus, while marginalising socialist orradical alternatives. How can contemporarydebates on nationalism (or localism?), as acounter to neoliberal globalised positions,move beyond historical abstraction, nostalgiaor idealism? Fundamental to this debatemust be a self-reexivity regarding Irelandsnewly assumed national role in continuingto reproduce a competitive globalised spacefavourable to transnational capital, underscoredby an acknowledgement of the power relationsalready put in place by a colonial past. Howcan nationalism, culture and even racialstereotyping55 endure amidst current portrayalsof Europe as one big Western tribe a modelconceived for the collectivisation of trade

and resources, implemented through themodernisation of infrastructures, in the pursuitof a single European nancial market over thelast fty years. The recent relegation of the olderperiphery states such as Ireland, Italy, Greece, andPortugal which remain comparatively centralgiven the new eastern european periphery56 and the socialising or nationalisation of theirrespective debts have caused many culturalcommentators to describe the European projectas fundamentally awed and unsustainable57,with German philosopher Jrgen Habermaswarning that present policies are leading to thecreeping death of the European Union and thesinking [of] 50 years of European history. Thisdemocratic decit in Europe is representative notonly of the increasingly precarious relationshipbetween citizen and nation state, but also ofthe increasingly visible discrepancies between

economic forces and societal realities, somethingwhich has arguably been at the core of theEuropean common market/ currency from itsconception.

This ideological void was the basis of (post-)autonomist media theorist Franco Bifo Berardisrecent ruminations on The Future After the Endof the Economy. Aligning economics not withthe logic of science but with religious doctrine,he outlined an ideology based on prots,accumulation, and power, which gives credenceto the future as a site of innite expansion.Economists, akin to priests, worship the dogmasof growth and competition, denounce the badbehaviour of society, require repentance for yourdebts, threaten ination and misery for your sins,and profess social reality to be in crisis if it is doesnot conform to the dictates of these notions.58 Theimplications of his argument are further evidentnot only in the crucixion of Ireland59 but also inthe sacrice of Greece to the economic gods of theEuropean Union.60 The future orientated ideologyof nance, which draws its momentum from the

philosophy of exible accumulation, cannot evolveself-reexively in response to changes in thesocial paradigm.

Current economic solutions to the globalrecession that in renancing the banks, creditwill ow again, and consumption will resume,thus re-activating a stagnant economy, returningit to a path of exponential accumulation placeinnite faith in an ideology dened by theconceptual framework of future growth, with aninsistence that society comply. But what if, asBerardi suggests, this version of the future isactually over and we are living in a space that isbeyond the future? This question forms a pointof departure for the upcoming EVA International,in Limerick (19th May - 12th August 2012) curatedby Annie Fletcher, and provides a few shortthoughts on which to conclude this text. In theEVA press release Annie Fletcher states thataesthetic practices and artistic thinking havean integral role at the juncture of the presentand past, rather than as part of a propheticfuture fantasy61, supporting Berardis advocacyfor living slowly in the innite present. Theactive, contemporary Irish arts community, more

educated and outwardly aware than previousgenerations, is displaying a capacity to engage notonly with enduring legacies of the past, but withthe destabilising and complex current realities ofpermanent crisis in a post-industrial era.

In distilling the present moment throughhistorical, geographical and social lenses,identity unfolds within the vernacular of prot,privatisation and economic transnationalismwith increasing ambiguity. A distinct connectionwith wider art practices reveals a congruity withinternational discourse, the elevation of thecurator, the uctuating form and function of thebiennial, the temporary public62, the welcoming ofthe political into the gallery space63, supportedand extended by a return to substance in artcriticism. Echoing the politically self-organisedand the horizontally collectivised, supplantingthe alienated and exploitable individual, a

reorganisation of the production process atteststo the implications of community, which searchesfor alternative modes of being exploring, living,

Above, top:Philip Napier,Recalculating,mixed mediasculpture,(2012). The Void,

Derry.

Above, bottom:

Philip Napier,Visual Amenity

1 (Erebus) &

Visual Amenity

2 (Terror), mixedmedia sculpture,(2011). TheDock, Carrick onShannon.

7/30/2019 Generation Bailout: Art, Psycho-Geography, and The Irish Mind debate

5/5

40 | variant 43 | spring 2012

acknowledging fear, in being, for the moment,bereft of the answers previously provided bya linear and unconscious belief in the future.Drawing on this present collective intelligence,alternative routes can be found, proposing that,like Serres y, we might experience abrupt,unexpected, diagonal transitions of the mindand oblique accidental insights which leadus up the zigzagging but royal road to theunderstanding of how things come, and cease, tobe.64

Notes

1 A.T Kearney, Globalisation Index,Foreign PolicyMagazine, (2003). http://www.atkearney.com/images/global/pdf/Measuring_Globalization_S.pdf

2 Ciarn Bennett, Dublin Contemporary, Dublin Diary,Artnet, (September 2011). http://www.artnet.com/magazineus/reviews/bennett/dublin-contemporary-9-7-11.asp

3 Brian Lavery and Timothy L. Obrien, For InsuranceRegulators, Trails Lead to Dublin,New York Times,(2005). http://www.nytimes.com/2005/04/01/business/worldbusiness/01irish.html?_r=1

4 Luke Strongman, Post-Colonialism or Post-Imperialism?Deep South, v.2 n.3 (Spring, 1996). http://www.otago.ac.nz/DeepSouth/vol2no3/post-col.html

5 Bryan Fanning, Irish Connections, Immigration and thePolitics of Belonging, Variant, Issue 26, (Summer 2006).http://www.variant.org.uk/26texts/BFanning26.html

6 Fintan OToole,Enough is Enough: How to Build a NewRepublic, (London:Faber and Faber, 2010).

7 Peadar Kirby, Globalization, the Celtic Tiger and socialoutcomes: is Ireland a model or a mirage? GlobalizationsVolume 1, Issue 2, (2004) pp205-222.

8 Tom Duddy Irish Art Criticism - A Provincialism of theRight? published in Sources in Irish Art: A Reader, FintanCullen ed. (Cork University Press, 2000) p91.

9 Richard Kearney,Navigations: Collected Irish Essays 1976-2006, (New York: University Press, 2006) pp17-31.

10 Fintan OToole,Enough is Enough: How to Build a NewRepublic, (London:Faber and Faber, 2010).

11 Liam ODowd, Neglecting the Material Dimension: IrishIntellectuals and the Problem of Identity, in The IrishReview, No.3 (1988), pp8-17.

12 Michael Harte and Antonio Negri, Arabs areDemocracys New Pioneers, The Guardian, (February2011). http://www.guardian.co.uk/commentisfree/2011/feb/24/arabs-democracy-latin-america

13 Fiona Gartland, Anti-eviction Blockades Promise, The

Irish Times, (February 2012). http://www.irishtimes.com/newspaper/ireland/2012/0223/1224312243910.html

14 NAMA - National Assets Management Agency

15 Brian OConnell, Protesters take empty ofcesfor community use, The Irish Times, (Jan2012) http://www.irishtimes.com/newspaper/ireland/2012/0103/1224309736369.html

16 Irit Rogoff , Turning, e-ux, (2011). http://www.e-ux.com/journal/turning/

17 At the end of 2010 some money was actually committedto the project, but with the condition that it be managedby the same rm that had handled the St PatricksFestival, a very successful tourist event, though not onehaving to do with contemporary art. With the inevitablechange in focus, the international art star curatorsdisappeared and so did Rachel Thomas as curator, alongwith many of the original Irish artists. Ciarn BennettDublin Diary,Artnet.com http://www.artnet.com/magazineus/reviews/bennett/dublin-contemporary-9-7-11.asp

18 Interview with Huang Zhuan,ArtZineChina, (2008).http://artzinechina.com/display_vol_aid717_en.html

19 Ben Davis The Humbling of the Art Biennial in the Ageof Austerity, artinfo.com, (December 2011)http://www.artinfo.com/news/story/753700/the-humbling-

of-the-biennale-in-the-age-of-global-austerity

20 Several critics have produced cohesive responses to theexhibition, outlining details of artists, artworks andvenues. See Chris Fite-Wassilak, Dublin Contemporary,Frieze Magazine, Issue 143, (Nov/Dec 2011). http://www.frieze.com/issue/review/dublin-contemporary/

21 I am using the term constructionist, whileacknowledging the existence of the deconstructionistactivity of the 1930s, and its revival in architecture inthe 1980s. Firstly, I am commenting on a masculine DIYaesthetic visible in the work of several artists at DublinContemporary 2011, and other Irish art platforms.Secondly I am drawing comparisons between these

artistic processes and the pychycological process ofleaning through making- the basis of Jean Piagetsepistemological theory of constructivism. Using thisterm in this way I am seeking a linguistic denition forthe experimental process of constructionist learning- the making of tangible objects as a as a mode ofprocessing the world. See M. Cakir ConstructionistApproaches to Learning in Science and TheirImplications for Science Pedagogy: A LiteratureReview,International Journal of Environmental & ScienceEducation, 3(4), (2008), pp.193-206.

22 http://superex.net/tools/the_nancial_crisis

23 http://www.dublincontemporary.com/exhibition

24 Tulca Festival of Visual Arts takes place annually inGalway, in the west of Ireland: http://www.tulca.ie/

25 Michael Hardt and Antonio Negri, The Global Stateof War, War and Democracy in the Age of Empire, (NewYork: Penguin Press, 2004), p16.

26 The Mean Pallet functions as a symbolic barometerfor worldwide economic activity. Estimated to besomewhere over the Caspian Sea, the mean pallet ismoving eastward with an approximate velocity of 0.24

km/day, attributable to a high level of manufacturingand economic growth of the far eastern Tiger economycountries. [A tiger economy refers most commonly toAsian countries (such as Japan, South Korea, Singapore,Hong Kong, and Taiwan) who have undergone a periodof rapid economic growth. In the 1990s the term CelticTiger was applied to the republic of Ireland.]

27 http://www.kennedybrowne.com/

28 Judy Murphy, Corrib Gas row the subject of show inTulca Festival of Art, The Connacht Tribune, (Nov 2011).http://www.galwaynews.ie/22584-corrib-gas-row-subject-show-tulca-festival-art

29 Amie Siegel, DDR/DDR, HD Film, (2008).

30 Jesse Jones,Against the Realm of the Absolute, Film,(2011).

31 Franco Bifo Berardi, The Future After the End of theEconomy, e-ux journal, (2011) http://www.e-ux.com/journal/the-future-after-the-end-of-the-economy/

32 Paul ONeil, The Curatorial Turn: From Practice toDiscourse, inIssues in Curating Contemporary Art andPerformance, Judith Rugg and Michle Sedgwick eds.

(Bristol: Intellect Books, 2007) p13-28.33 ibid.

34 Post-Fordlandia, Press release, June 2011.http://www.galwayartscentre.ie/events/view-event/168.html

35 Boris Groys, Politics of Installation, e-ux journal,(2011)

http://www.e-ux.com/journal/politics-of-installation/

36 Mathias Albert, Territoriality and Modernization,Institute for Global Society Studies, (2001)http://www.uni-bielefeld.de/soz/iw/pdf/albert_3.pdf

37 Naomi Klein, Wall St. Crisis Should Be forNeoliberalism What Fall of Berlin Wall Was forCommunism, presentation at the University of Chicago,(2008), available atDemocracy Now: http://www.democracynow.org/2008/10/6/naomi_klein

38 Slavoj iek, A Permanent Economic Emergency, NewLeft Review, Issue 64, (July/August 2010)http://www.newleftreview.org/?view=2853

39 TRADE is an annual Visual Arts Programme supportedby Leitrim and Roscommon County Councils, and theArts council of Ireland. The initiative consists of a

residency phase, where four local artists work underthe mentorship of an invited artist, and a seminarevent which has historically displayed a substantialengagement with current critical discourse. Aninteresting legacy has evolved out of contributions froman array of national and international participatingartists, curators and thinkers. Joanne Laws, TRADEreport,Paper Visual Art Journal, http://papervisualart.com/?p=7560

40 Hydraulic fracturing (fracking) involves the propagationof shale and rock layers using pressurized uid as ameans of releasing oil or gas for extraction. Frackinghas been suspended in France, South Africa, parts ofAustralia and a number of US states pending moredetailed investigations

41 Minister of States comments alarm opponents offracking,The Irish Times, (Jan 2012): Explorationlicences were granted to companies such as TamboranResources by the preceding Fianna Fil governmentbefore any policy was developed around the frackingprocess. The income generated to the exchequer isthought to be negligible, especially considering thefavourable tax concessions in place for oil and gas

exploration, which allow consortiums to right off allcapital and development debt, including security,policing and ultimately hefty public relations costs,before declaring any taxable prot. Any extra revenue

generated from future rises in ination of gas andoil prices will be distributed as prots multi-nationaloverseas partners. http://www.irishtimes.com/newspaper/ireland/2012/0127/1224310808790.html

42 New Ecologies of Practice: A short season of projectsby Catalyst Arts [Belfast] / Occupy Space [Limerick]/ The Good Hatchery [Offaly] / Basic Space [Dublin].NCAD Gallery, (9th February 13th April 2012).Exhibition and public seminar presenting the work ofa number of Irish artist led initiatives, embodying newapproaches to production, distribution and display, asa perceived counter to mainstream and institutionalpractices. http://gallery.ncad.ie/index.php/2012/02/

newecologiesofpractice/43 Parts of this section are paraphrased from Philip

Napiers artists talk in The Void, Derry, (10th March,2012.)

44 Parts of this section are paraphrased from DeclanMcGonagles, Remembering The Future; an upcomingtext on Napiers work.

45 ibid.

46 ibid.

47 ibid.

48 ibid.

49 Mathias Albert, Territoriality and Modernization,Institute for Global Society Studies, (2001). http://www.uni-bielefeld.de/soz/iw/pdf/albert_3.pdf

50 Richard Kearney, The Irish Mind Debate inNavigations:Collected Essays 1976-2006, (New York: Syracuse, 2006)p19.

51 Vivian Mercier, The Irish Comic Tradition (Oxford: OxfordUniversity Press, 1962) p173.

52 Richard Haslam, citing Conor Cruise O Brien, A RaceBashed in the Face: Imaging Ireland as a DamagedChild, Jouvert, 4: 1 (Fall 1999). http://social.chass.ncsu.edu/jouvert

53 Dr. Risn Kennedy, Made in England: The CriticalReception of Louis le Brocquys A Family, Third Text,Vol. 19, Issue 5, (September 2005), pp475-486.

54 Liam ODowd, Neglecting the Material Dimension:Irish Intellectuals and the Problem of Identity, in TheIrish Review, No.3 (1988), pp8-17. Considers the rolesplayed by intellectuals in debating Irish communaland national identity and investigates why materialcircumstances have been ignored in cultural studiesworldwide; applies Michael Foucaults denitions oftraditional and specic intellectuals when examiningintellectual criticism of Irish society, North and South,while comparing the focus on abstract traditionaldebates to the marginalisation of socialist or radicalalternatives; refers to theories put forth by BenedictAnderson, Ernest Gellner and Maurice Goldring.

55 ibid.

56 The so-called peripheral countries of the eurozone are:Portugal, Ireland, Italy, Greece and Spain. However,EU membership has today grown to 27, including

northern and eastern countries, the most recent being:Estonia, Hungary, Latvia, Lithuania, Poland, Slovakia,Slovenia in 2004; Bulgaria, Romania in 2007. Until themid-1990s, Ireland was classied by the EU as a singleterritorial unit eligible for aid from the StructuralFunds (Objective 1). However, by 1999, because of thehigh levels of economic growth experienced duringthe previous ve years, average GDP for the stateexceeded this threshold. Regional disparities in levelsof development and well-being were still recognisedthough, with the Irish government successfully seekingto have two regions recognised as eligible. See: DorisSchmied ed., Winning and Losing: the ChangingGeography of Europes Rural Areas,. (USA: Ashgatepress, 2005).

57 See Fintan OToole, Treatment of Ireland adisaster for European project, The Irish Times,(May 2011) http://www.irishtimes.com/newspaper/opinion/2011/0503/1224295913381.html

58 Franco Bifo Berardi, The Future After the End of theEconomy, e-ux journal, (2011). http://www.e-ux.com/journal/the-future-after-the-end-of-the-economy/

59 Fintan OToole, Treatment of Ireland a disasterfor European project, The Irish Times, (May2011) http://www.irishtimes.com/newspaper/opinion/2011/0503/1224295913381.html

60 William Wall, This shameful sacrice of Greece to thegods of the market,Irish Left Review, (February 2012).http://www.irishleftreview.org/2012/02/13/shameful-sacrice-greece-gods-market/

61 EVA International 2012, Press Release March 2012,http://gallery.limerick.ie/Events/evaInternational AftertheFutureMarchAnnouncement.html

62 Simon Sheikh, In the Place of the Public Spherehttp://www.societyofcontrol.com/research/sheikh.htm

63 Tempered as it is by Anthony Davies observationsin Take Me Im Yours: Neoliberalising The CulturalInstitution,MuteVol 2, No.5 - Its Not East beingGreen: The Climate Change Issue, (2007). http://www.metamute.org/editorial/articles/take-me-im-yours-neoliberalising-cultural-institution

64 Steven Connor, Fly (London: Reaktion Press, 2006)p184.

Jesse Jones,Against The

Realm of the

Absolute, lmstill, 16mm lm12 mins, (2011).

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