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Exhibition Archive
Common Ground
Culture Night: The New Guild of Domestic Cooks 12 Hour Cooking Marathon
Reading Room
A Solo Exhibition by Jacob Stack
Residency: Jacob Stack 
House Warming- A Night of Film Screenings
Tadhg Ó Cuirrín: Optimisim
Occupy Space and Stag & Deer Present: Richard Forrest // Laura McMorrow // Caroline McNally // Jillian McAteer
Taking Place


Occupy Space Graduate Residency Award 2011 - Rachel Healy and Ronan McGeough


Show Me - Curated by Nora O Murchu & Anna Crudge
Occupy Space Annual Residency Award 2010 - Eoin Francis MacCormack and Brian O' Shea
Surplus Value - Curated by Michele Horrigan




Old News...
Lajeunesse Collective on RTE Radio 1 Arena
Limerick Leader Interview with Celeen Mahe
Closure of H-Q
VAI Common Room Café and Show and Tell
Common Ground Performance Afternoon
Launch of H-Q: Halloween Hellraising Fundraiser
Limerick Leader Interview with Jacob Stack
David Naranjo
End of Year Thank You
The Mayo Artists Network Meeting
Christophe Knoch and Megs Morley in discussion at the Limerick City Gallery of Art
Leaving Thomas St.
Game On: Re-Newing Media Art
Pitch Your Project
Occupy Space @ NCAD
Bomb Global
Sunday Times Ubiety
Artist Talk: Alan Crowley 

Occupy Space presents

'Casino Voltaire'

in association with 
Askeaton Contemporary Arts

July 4th 5:30pm

Leamy House, Hartstonge St. Limerick

Join artists Ciaran Nash and David Payne-Mullins in their playful approach to considering concepts of value, exchange, trust, currency and risk through Texas Hold’em Poker and other games. Places are limited so booking in advance is required: casinovoltaire@gmail.com

Refreshments provided.
Stigma Damages
A solo exhibition by Michele Horrigan

Curated by Orlaith Treacy

Occupy Space, Leamy House, Hartstonge St. Limerick

Preview: July 24th 7pm; Michele Horrigan in conversation with Martin McCabe a DIT Fellow in the Graduate School of Creative Arts and Media
Open: July 25th – August 23rd / Wed - Sat. 12-5pm

Occupy Space are delighted to present Michele Horrigan’s solo exhibition Stigma Damages. For several years, Horrigan has been following an exploratory trail of investigation around the mineral ore bauxite. Imported from Guinea in Africa into Ireland’s largest industrial complex in Horrigan’s hometown of Askeaton, bauxite is then refined and smelted to become aluminium, the world’s most versatile metal used in computer parts and engines, drink cans and airplanes. 

The weight of aluminium makes up 8% of the earth’s crust; 80% of an airplane is aluminium; One tonne of aluminium will make over 60,000 Coca Cola, Pepsi or Budweiser cans.  These are some of the facts.  But what about the residues of this modern manufacturing miracle? What exists outside its streamlined process and what are the subjective experiences to be had in a long-term mediation? Horrigan’s exhibition sees aluminium act as a surreal motif. Postal stamps depicting Mickey Mouse working in an African mine compare to images of industrial complexes visited in the UK, France and the United States. A complication of promotional videos call for the growth and sustainability of the material in the modernist world, sited beside rocks sourced from the first open bauxite quarry of the nineteenth century in southern France. A perspex container gathers up aluminium products sourced around the Hartstonge street neighbourhood during the exhibition’s installation.

At the centre of the show are two disparate gestures by the artist, each further questioning the role of the personal in relationship to the pervasiveness of global manufacturing. Working at the Scottish Sculpture Workshop in Aberdeenshire, Horrigan made an aluminium replica of the apex of the Washington Memorial, remembering the shape given to the Masonic all-seeing eye of imperialism made from the world’s most precious metal in 1884. Then, in a field close to a refinery with chimney stacks divulging a steady stream of smoke, Horrigan is seen glibly re-enacting dance scenes from the 1983 movie Flashdance, where a heroine works in Pittsburgh’s mills while at night pursues her real dream of dancing. Here, Horrigan’s exhibition title, Stigma Damages seems pertinent. Used as a legal term to describe possible loss or suspected contamination due to environmental circumstance, both her actions seem to exist as a consequence or personal reaction to the rest of material on show, as a sensibility borne out of the disaffection of the individual against global flow and capital.

Michele Horrigan works in London and Askeaton, County Limerick as an artist and curator. Previous exhibitions include the Frankfurter Kunstverein, Frankfurt am Main, Limerick City Gallery of Art and Gallery of Photography, Dublin. She is the founder of Askeaton Contemporary Arts, and has recently curated shows in Carlow, Dublin and Amsterdam. www.michelehorrigan.com 


Janine Davidson/ Frank Wasser/ Séamus McCormack/ Elaine Leader/ Tanya O’Keeffe/ Olivia Hassett

Curated by Orlaith Treacy

Occupy Space, Leamy House, Hartstonge St. Limerick
Reception: June 5th 7pm
Open: June 6th-28th
Wed-Sat. 12-6pm

Underline showcases the work of artists Janine Davidson, Frank Wasser, Séamus McCormack, Elaine Leader, Tanya O’Keeffe and Olivia Hassett. Working site specifically, they have reacted and responded to the underground basement of the historically significant Leamy House exploring its ever changing societal functions as a school, factory, museum, snooker club and venue for the arts. 

This exhibition investigates the public and private in our society, deconstructing and reconstructing that which is hidden and revealed in our past present and future. Each artist takes a different approach to the history, physicality and resonance of the space; Davidson presents us with an immersive video piece that reflects the ephemeral and ethereal in such a historical building. McCormack and Wasser explore text and theatricality; McCormack focuses on the behind the scenes practices in theatre and makes reference to playground school games in an installation dealing with social performance and identity construction, creating liminal space that disorientates or re-orientates perception. Wasser creates a futuristic sci-fi script that explores labour and working conditions utilising the characteristics of the work of art as a decoy for a hidden agenda, to construct a situation which aims to re-negotiate value, function and language, under the dominant culture. This is something that Elaine Leader physically investigates with a model of repetitious office spaces highlighting the impersonal and rigid conditions of the work place and class room, exploring the politics of space. O’Keeffe and Hassett also take a physical but corporeal approach; O’Keeffe uses sensation and the transformative power of touch as a means of communication performatively reacting to her surroundings and allowing the audience to engage with their own corporeal reality. Hassett creates installations which explore notions of the abject body and its potential to be simultaneously grotesque and sublime.  Between Bits, the site specific installation created for Underline draws directly from Hassett's preoccupation with the metaphorical and phenomenological notions of skin as a porous, liminal boundary between public and private aspects of the human body.

Thank you to all at the Frank McCourt Museum, especially to Una Heaton, and The Victoria Snooker Club for their assistance and support. This exhibition has been kindly supported by the Arts Council of Ireland.

Elaine Leader, Untitled, 2014 & Frank Wasser, The Far Right is Here, 2014

Elaine Leader, Untitled, 2014 & Janine Davidson, An Edge to Perception, 2014

Elaine Leader, Untitled, balsa wood models, plywood, castors, 2014

Tanya O'Keeffe, Fancy, 2014 & Frank Wasser, The Far Right is Here, 2014

Frank Wasser, Kipple Fiction, Two-annotated plays, 2014

Frank Wasser, Kipple Fiction, Two-annotated plays, 2014

Séamus McCormack, Gobo, Bells, 2014

Séamus McCormack, Gobo, Bells, 2014

Séamus McCormack, Gobo, Video Projection 3 Min 18 sec, 2014

Olivia Hassett, Screened, Mixed Media Installation, 2014

 Olivia Hassett, Screened, Mixed Media Installation, 2014

 Olivia Hassett, Screened, Mixed Media Installation, 2014

Olivia Hassett, Screened, Mixed Media Installation, 2014

Id Engager

Curated by John Freeman

Occupy Space, Leamy House, Hartstonge Street, Limerick

Sigmund Freud suggested that the "Id" is a part of the human subconscious that focuses on fulfilling urges and desires. Based on our pleasure principle, the "Id" wants whatever feels good at the time, with no consideration for the reality of the situation. On the 20th of June at 7pm in Leamy House, leave reality behind and join us as we beckon the boldness in us all, and let the "Id" engage! The night features a range of powerful performances by Niamh Murphy, Siobh Mcgrane, Francis Fay, Elaine Mackey, and John Freeman. There will be drinks served along with the holding of a raffle where you have the opportunity to win a beautiful piece of work from some truly incredible artists.

Thank you to all at the Frank McCourt Museum, especially to Una Heaton, and The Victoria Snooker Club for their assistance and support. This event has been kindly supported by the Arts Council of Ireland.

John Yelverton Freeman, Id Engager, Occupy Space

Francis Fay, Id Engager, Occupy Space

Niamh Murphy, Id Engager, Occupy Space

Niamh Murphy, Id Engager, Occupy Space

John Yelverton Freeman & Niamh Murphy, Id Engager, Occupy Space

Francis Fay, Id Engager, Occupy Space

Francis Fay, Id Engager, Occupy Space

Lajeunesse Collective on RTE Radio 1

To listen to Lajeunesse Collective discussing this exhibition on RTE Radio 1's Arena please click the link below:

SUPERMARKET 2014 – Stockholm Independent Art Fair

The fair that makes a difference.

SUPERMARKET will take you around the world in three days! The fair won the BUS
Award in 2013 and is a platform for the newest, most vital and innovative
international art. With over 80 exhibitors from 30 countries worldwide it is the largest
international art event in Scandinavia. SUPERMARKET 2014 is the ninth fair and will
be held at Kulturhuset (House of Culture) in Stockholm on the 14–16 of February.

Next year’s fair will be the only large international art fair during February in
Stockholm. Georgia, Syria, Tibet and Brazil are new countries to be represented.

The SUPERMARKET programme will be full of interesting events, including the
performance stage RED SPOT, the seminar series TALKS, and the networking
meetings programme SUPERMARKET MEETINGS. Since 2011 SUPERMARKET is
producing its own Art Magazine, distributed worldwide.

“As this is a site for artist-run galleries from all around the world, we want to
highlight diversity and the unique experiences represented” says one of the Project
Managers, Meggi Sandell. “It will be relevant, up-to-date and make a difference!”

WHEN AND WHERE? 14–16 February 2014 in Kulturhuset, floors 3 and 5.
Information about the theme, exhibitors, programme and sponsors will be published

at www.supermarketartfair.com.


Carla Burns’ research based multidisciplinary practice is rooted in an epistemological investigation into shared frameworks of meaning. How are we to understand and make sense of our lives?She uses the
uncertain status of art to consider the relationships between different species of knowledge:
the professional and the popular; intellectual and embodied; the fantastic, fictional, and factual.

Research of psychological text, theory, and practice has been creative hinge in her artwork.
As Eva Illouz puts it: 

[The] dual status of psychology as simultaneously professional and popular is what makes it so interesting for the student of contemporary culture; it offers an opportunity to understand how 
high and popular culture are saturated through and through by knowledge formations.1

For her degree show at Limerick School of Art and Design (a video installation entitled ‘Dream of Healing’), she researched the ideology and imagery of selfhelp and self- improvement, 
exploring how certain popular therapeutic systems are generated, received, and practised, and looked at the roles played by irony and sincerity when they are re-­‐ presented by the artist.
modified version of that installation is presented at Supermarket. Central to her process is considered negotiation of distance from the material under investigation. In order to avoid 
detachment or cynicism, she usually proceeds through personal participation in the processes she’s studying, using embodied engagement and performative elements to explore ideas 
through her own physicality and person.

Carla Burns (b. 1979) is an Irish artist currently based at Wickham Street Studios in Limerick. With background in clinical and research psychology,she works with material from range of sources, including personal histories, youtube science primers, self-­‐help bestsellers,and group
therapy processes. Increasingly working in collaboration with others, she makes video, 
animation, drawing, and performance. Recent exhibitions include ‘Act of Portrayal’, Limerick 
City Gallery of Art (2013); 'Horizon Sprawl', Ormston House, Limerick (2012); 'ALOHA, 
NAMASTE, SO MUCH LOVE', Basement Project Space, Cork (2012), and 'Distill Life', NUI 
Galway Science and Technology Festival (2011). In 2009 she conceived and produced 'What’s
On At the Movies?', cinema revival week for Limerick, screening eight films at six former 
cinema venues in the city. She has collaborated on Irish based projects ev+a, SpiritStore, 
Make and Do Society, Table of Contents, and Art in the Making Collective (all 2009-­2010). On graduating from Limerick School of Art Design in 2011 she was awarded the
inaugural LSAD/National Sculpture Factory graduate residency.


1 Illouz, E., Saving the Modern Soul: Therapy, Emotions, and the Culture of Self-Help, University of California Press, 2008, pg.7

Dream of Healing, Carla Burns, Installation & video piece, Supermarket Art Fair, 2014