PUBLIC
ART

NOW

Public Art comprises a varied set of art practices, providing opportunities for collective participation and self-expression, historical reflection and community dialogue. It contributes to our social, spatial and political topologies by proposing new social models, enhancing physical infrastructure and engaging with design.

The recent Covid-19 pandemic as well as our present geological epoch of the Anthropocene, unchecked globalisation and resurgent nationalistic forces, provide new contexts to consider Public Arts' role in society. Through a series of 6 conversations led by Public Art practitioners we will explore how public art responds to the complexity of our cultural and natural environments and how current policy and theory support these actions. The event is structured by three key themes;

• Public Art: Processes & Politics
• Public Art in the Anthropocene
• Ecologies of Space & Place

Technological University Dublin
Grangegorman,
Dublin 7, Ireland

Speakers

Marnie Badham

Dr Marnie Badham is a Senior Research Fellow and teaches Art in Public Space at RMIT University in Melbourne. Her work focuses on socially engaged art and participatory research methodologies.
Marnie’s art-research practice is characterised by collaboration and interdisciplinary partnerships through residencies, expanded curation and industry engagement. Her co-curated exhibition Bruised Food: a living laboratory (Badham & Maravillas 2019, RMIT Gallery, Australia) explored gentle activism and ecology in Asia. Recent creative cartographies include Five Weeks in Spring: an emotional map of Lilydale registering attachment to place in the context of climate crisis and development (Badham & Wong Hulbert 2018, Yarra Ranges Regional Gallery, Australia) and EmpowerHER: a women’s map to the city (Badham & Dundas Oke 2018, Thompson Rivers University, Canada) re-centring local knowledge of women experiencing transition and homelessness.
Marnie has published her theoretical and applied research in dozens of international peer reviewed journals and book chapters (Portugal, France, Canada, Australia, Norway, Russia), co-edited the book Making Cultural Count: the politics of cultural measurement (2015, Springer), and is completing her monograph The Social Life of Artist Residencies: connecting with people and places not your own.

Alex Braidwood

Alex Braidwood is a sound artist, media designer, and educator who maintains a practice exploring issues of sustainability at the intersection of art and science. He has been an artist in residence in an Australian mountain village, on an Iowa farm, at a mid-western biological field research station, and on Isle Royale National Park.  Alex is currently Director of the Artist-in-Residence program at Iowa Lakeside Lab and Associate Professor at Iowa State University.

Stefanie Hessler

Stefanie Hessler is a curator, writer, and editor. She is director of Kunsthall Trondheim in Norway. Her work focuses on ecologies and technology from an intersectional feminist perspective. Recent curatorial projects include Down to Earth at the Gropius Bau/Berliner Festspiele in Berlin (2020); Joan Jonas: Moving Off the Land II at the Museo Nacional Thyssen-Bornemisza in Madrid (2020) and at Ocean Space, Venice (2019). Her monograph Prospecting Ocean was published by The MIT Press and TBA21–Academy in 2019. Hessler is visiting research scholar at Westminster University in London and curator of the 17th MOMENTA Biennale in Montreal titled Sensing Nature (2021).

Alexandra Carr

  Alexandra’s art practice responds to natural processes and phenomena, is experimental in nature and includes drawing, kinetic works, installation and video.  Alexandra has exhibited at the Fondation Cartier in Paris, in collaboration with Jean-Paul Gaultier, and was commissioned by seminal musicians Radiohead. She was shortlisted for the Arts@CERN COLLIDE International Award 2016, longlisted for the Aesthetica Art Prize 2017, 2019 and 2020, and is a member of the Royal Society of Sculptors. She also received a Leverhulme residency investigating medieval and modern cosmology in collaboration with historians and cosmologists and is a fellow at The Institute of Advanced Studies working on ‘Material Imagination’ to produce biological smart materials. Alexandra exhibits internationally including the Verket Museum, Sweden and project spaces in Iceland.http://www.alexandracarr.co.uk/

Ciaran Benson

Ciarán Benson is chair of the Grangegorman “… the lives we live” project. He was chairperson of The Arts Council (1993-98), and currently chairs a number of organisations including Poetry Ireland. He is a member of the International Association of Art Critics, and Emeritus Professor of Psychology, University College Dublin.

Ailbhe Murphy

Dr. Ailbhe Murphy is Director of Create, the national development agency for collaborative arts in Ireland. Create is a resource organisation for artists working in social and community contexts, offering professional development, mentoring, project development support, commissioning and project opportunities as well as research and training. Create also manages the Artist in the Community Scheme for the Arts Council and is leading the Arts Council’s three year Creative Places pilot programme in Tuam, in the West of Ireland. At Create Ailbhe is responsible for core programming and strategic and organisational development and partnerships, nationally and internationally.

Sinéad O’Reilly

Sinéad O’Reilly is the Local, Place and Public Art Manager in the Arts Council. She currently sits on the National Famine Commemorative Committee, the Town Centre First Interdepartmental Group and the EU OMC for Culture and Social Cohesion where public art in its many contexts, finds place and value in cultural, social and economic development. The Arts Council, who manage publicart.ie, is working closely with the Dept. of Tourism, Culture, Art, Gaeltacht, Sport and Media on a new developmental programme for the Per Cent for Art Scheme.

Garrett Phelan

Garrett Phelan has developed a distinctive practice through ambitious, site-specific projects that include drawing, independent FM radio broadcasts, sculptural installations, photography, animation and text ephemera. Solo exhibitions and commissions include FREE THOUGHT FM at the Douglas Hyde Gallery, Dublin (2019); THE HIDE PROJECT, commission, Fingal County Council, Dublin (2017); HEED FM, commission, Arts Council of Ireland, Dublin (2016); A VOODOO FREE PHENOMENON, Project Arts Centre, Dublin (2015); NEW FAITH LOVE SONG, Irish Museum of Modern Art, Dublin (2012). Check out Garrett’s website for more

Eleonora Belfiore

Eleonora Belfiore is Professor of Communication and Media Studies and Co-Director of the Centre for Research in Communication and Culture at Loughborough University, UK. She has published extensively on cultural politics and policy, and particularly the place that notions of the ‘social impacts’ of the arts have had in British cultural policy discourses. She was Co-Director of Studies of the Warwick Commission on the Future of Cultural Value (2013-5), and co-author of its final report, Enriching Britain: Culture, creativity and growth, published in February 2015. For Palgrave, she edits the book series New Directions in Cultural Policy Research, and she is Co-Editor in Chief journal Cultural Trends. Eleonora is developing new research on the labour conditions of socially engaged arts practice supported by a British Academy/Leverhulme grant.

Harriet F. Senie

Harriet F. Senie is professor of art history at City College and the CUNY Graduate Center. She is the author of Memorials to Shattered Myths: Vietnam to 9/11; The “Tilted Arc” Controversy: Dangerous Precedent?; and Contemporary Public Sculpture: Tradition, Transformation, and Controversy. She is co-editor and contributor to Teachable Monuments: Using Public Art to Spark Dialogue and Confront Controversy; Museums and Public Art?; A Companion to Public Art; and Critical Issues in Public Art. In 2008, she cofounded Public Art Dialogue, an international organization and College Art Association affiliate, and coedited its peer review journal Public Art Dialogue from 2011-17. She has served on the New York City Mayoral Advisory Commission on City Art, Monuments, and Markers; the She Built New York advisory committee, and selection committees for the Women’s Rights Pioneers Monument in Central Park; the Mexico City 1968 Memorial; and the Flight 587 Memorial. Her current book project is Monumental Controversies: Mount Rushmore, Four Presidents, and the Quest for National Identity.

Cher Krause Knight

Cher Krause Knight is Professor of Art History at Emerson College. She has published
multiple books and articles on public art including: Museums and Public Art? (co-edited
with Harriet F. Senie; 2018, Cambridge Scholars Publishing); A Companion to Public
Art (co-edited with Senie; hardcover 2016/paperback 2020, Wiley Blackwell); and Public
Art: Theory, Practice and Populism (2008, Blackwell Publishing). Dr. Knight is cofounder
of the international organization Public Art Dialogue. She is also the founding
co-editor of the journal Public Art Dialogue (Routledge/Taylor & Francis), and now
serves on its editorial board. Additionally Knight is on the advisory board of the
nonprofit organization Now + There, and has served as the Memorial/Public Art
Research Advisor for the One Boston Resilience Project (City of Boston), as well as the
Public Art Scholar for the King Memorial in Boston (City of Boston and the nonprofit
King Boston).

Timothy W. Ryback

Timothy W. Ryback is co-founder and director of the Institute for Historical Justice and Reconciliation, based in The Hague, and lead editor of Contested Histories in Public Spaces: Principles, Processes, Best Practices, published in February 2021 by the International Bar Association. Ryback has written on contested historical legacies for The Atlantic Monthly, The New Yorker, The New York Times, The Wall Street Journal, and The Financial Times, among others, and has appeared in numerous documentaries. He is author of The Last Survivor, Hitler’s First Victims, and Hitler’s Private Library, which has appeared in more than 25 editions around the world.

Niamh Ann Kelly

Niamh Ann Kelly lectures in contemporary visual culture and the history of art at the Dublin School of Creative Arts, Technological University Dublin. She teaches on the BA Creative Industries and Visual Culture, MA in Visual Culture and supervises PhD research on art, museums and memorial practices. She has published on contemporary art, art histories and commemorative visual culture and is author of Imaging the Great Irish Famine: Representing Dispossession in Visual Culture (Bloomsbury Academic, 2018) and Ultimate Witnesses: The Visual Culture of Death, Burial and Mourning in Famine Ireland (Quinnipiac University/Cork University Press, 2017). She has chapters in academic books on the memorialization of the mid-nineteenth-century Irish Famine in museums, art exhibitions and illustrated news. She is currently writing a book on contemporary art for the series Art Since the ’80s (Reaktion Books).

Elisa Caldarola

Elisa Caldarola is a Research Fellow in Philosophy at the University of Padova, Italy, where she specializes in analytic aesthetics and philosophy of art. Her work focuses on installation art and situated art, on conceptual art, on the philosophy of museums, on depiction, and on the meta-ontology of art. In 2018, she received a Stars Grant from the University of Padova for the research project A Philosophy of Art Installation. In 2015, she was the recipient of a Fulbright Fellowship, for a research project on exhibition installations that she conducted at the University of Maryland, College Park. She has been a Visiting Scholar at the University of Santiago de Compostela and a Visiting Research Student at The Queen’s College, Oxford. Some of her papers have appeared in The Journal of Aesthetics and Art Criticism, Ergo, Open Philosophy, and Aisthesis. In 2020, she published the monograph Filosofia dell’arte contemporanea: installazioni, siti, oggetti (Quodlibet).

Ros Gray

Dr Ros Gray is Senior Lecturer in Fine Art, Critical Studies in the Art Department at Goldsmiths, where she has led the development of the MA Art & Ecology programme. In recent years, her research has increasingly focused on artistic interventions in the fields of soil care, cultivation and decolonial ecologies more broadly. Ros coordinates the Goldsmiths Allotment, which provides a space for plant cultivation, meditation and developing thinking around forms of ecological ‘care’ in the context of an educational institution. She is currently leading the planning of an Art Research Garden at Goldsmiths and has convened the CHASE series of lectures and workshops ‘What Can a Garden Be?’, which seeks to explore and challenge the coloniality of the garden through artistic research and activist practice that involves anti-racism, climate justice and rewilding

Jennie Guy

Jennie Guy is a curator, artist and writer based in Dublin. She holds a BA in English literature and history and an MA in visual arts practices. Jennie’s research and practice explore new contexts for artistic production and experimentation, activating collaborative enquiries rooted in the belief that art can instigate social change. She is the founder and director of Art School, an experimental framework that explores strategies for placing artists within sites of education, and the editor of Curriculum: Contemporary Art Goes to School, a new volume of essays published by Intellect Books in 2020. Alongside her work with art and education, Jennie curates and consults on a range of public art commissions, including works by Niamh McCann, Ruth Lyons, Adam Gibney and David Beattie. As curator in residence at Rua Red, she presented the two-person exhibition Field Recording with Mit Jai-Inn and Sven Anderson (2018) and the group exhibition It’s Very New School (2017). Other recent projects include I Sing the Body Electric (2018), an education programme presented by EVA International and Artists’ Exercises (2016), an online platform for distributing artists’ educational strategies with contributions from artists all over the world. Through her artistic practice, Jennie has realised films, performances, installations and texts including Hackers (2017), Hop Step Back Side Front (2017), Before the Flood (2015), How to See Clearly from a Distance (2014), Reading Ensemble III (2012), Life is Beautiful (2012), Selected Crônicas (2011) and Melancholy Park (2010). In conjunction with her independent practice, she is the manager of programme and operations at Fire Station Artists’ Studios in Dublin.For more see https://www.jennieguy.com and https://www.intellectbooks.com/curriculum

Ruaíri Ó Cuív

Ruairí Ó Cuív is Public Art Officer with Dublin City Council. His principal role is the development of the Dublin City Public Art Programme and management of public art commissions under the Per Cent for Art Scheme. He has a central role in the implementation of Dublin City Council Public Art Policy and the Decommissioning Policy for Public Art. Previously he was an independent curator and arts consultant specialising in public art, exhibition curation, evaluation and research. He co-curated the GPO Witness History Public Art Commissions (2016) and Dublin Airport Terminal 2 (2009) as well as curating public art commissions for Kerry County Council (2003-2006), HSE, Department of Education, and other educational institutions. He was director of Temple Bar Gallery and Studios (1991-96), curator of exhibitions at the Douglas Hyde Gallery (1989-91) and Royal Hospital Kilmainham (1987-89).

Duane Jethro

Duane Jethro is a Junior Research Fellow at The Centre for Curating the Archive at the University of Cape Town. He thinks with his colleagues about archive in its manifold forms. He has held a postdoctoral position at the Centre for Anthropological Research on Museums and Heritage, CARMAH with Professor Sharon Macdonald at the Humboldt University, Berlin, and the Archive and Public Culture Research Initiative, at the University of Cape Town. His published work includes the 2020 book Heritage Formation and the Senses in Post-Apartheid South Africa: Aesthetics of Power (Bloomsbury Academic Press), as well as articles in the journals Material Religion, the International Journal of Heritage Studies and Tourist Studies.

Paraic Mc Quaid

Paraic Mc Quaid lectures in Cultural Policy in the Institute of Art Design and Technology (IADT). Current research projects include the SoPHIA project for holistic heritage impact assessment model. He is an expert author for the Compendium of Cultural Policies, and expert for the EENC (European Expert Network on Culture). Paraic also has an art practice focused on site-specific sculptural installation, video installation, and collaborative arts projects. You can visit his website here

Kerry Doyle

Kerry Doyle is Director and Chief Curator of the Rubin Center for the Visual Arts at the University of Texas at El Paso on the US-Mexico border. She specializes in curatorial projects that are interdisciplinary, participatory and performative, with a special focus on the border as subject and site and regularly collaborates with individuals and institutions from both El Paso and Ciudad Juarez in the execution of a wide range of interdisciplinary and community-engaged programming. She has curated and organized original exhibitions, commissions and performances by international artists including Tomás Saraceno, Tania Candiani, Regina Jose Galindo, Teresa Margolles, Máximo Gonzalez, Jose Antonio Vega Macotela, Fiamma Montezemolo and many others. She holds a BA in Political Science from De Paul University, Chicago; a BA in Drawing and Printmaking and an MA in Border Studies from UTEP. She has participated in fellowships at the Smithsonian Latino Museum Studies Program and the Getty International Museum Directors Institute

Kerry will discuss public art on the Texas – Mexico boarder as part of an extra-curricular lecture 7pm June 24

Tanja Karreman

After studying History of Art at the University of Amsterdam, Tanja started organising art projects in public space. From 1996 she worked successively as an advisor for art in public space for the Amsterdam Fund for the Arts, Province of North Holland, the Governmental Building Service, City of Rotterdam. From 2010 on Tanja advised the Dutch Railways on how to integrate art in the practice of travelling. The past ten years she has been director of Nieuw Dakota, an art space in the North of Amsterdam. In the last two years she have been involved as an advisor to the City Curatorium Amsterdam, established a few years ago to provide solicited and unsolicited advice to the Mayor and City Council Members about art in public space and to breathe new life into the percentage rule and to stimulate art in the major building areas in the city

Eva Rothschild

Eva Rothschild was born in Dublin, Ireland. She received a BA in Fine Art from the University of Ulster, Belfast (1990–93), and an MA in Fine Art from Goldsmith’s College, London (1997–99). Her work is predominantly sculptural and she works across a range of materials including aluminium, jesmonite, leather, fabric and perspex. She has a materials based studio practice but also works on major public and outdoor commissions. Her work references the art movements of the 1960s and 1970s, such as Minimalism and is also informed by the contemporary aesthetics of protest and spirituality. In 2014 she was elected Royal Academician.
Rothschild’s work has been the subject of institutional solo exhibitions including Australian Centre for Contemporary Art (2018), Dublin City Gallery, the Hugh Lane (2014), Nasher Sculpture Center (2012), The Hepworth Wakefield (2011), South London Gallery (2007), and Kunsthalle Zürich (2004). In 2009 she was awarded the Tate Britain annual Duveens’ Commission, for which she produced Cold Corners, a vast rambling geometric sculpture that occupied the length of the neo-classical galleries.
Rothschild’s works are held by major public collections including MoMA, New York, Arts Council of England, Irish Museum of Modern Art, Dublin, Tate, and the Walker Art Center, Minneapolis.
In 2019, she represented Ireland at the 58th Venice Biennale

David Beattie

David Beattie is an artist and lecturer in Art and Research Collaboration at Dún Laoghaire Institute of Art, Design & Technology. Beattie’s sculptural practice explores the material world through experiential, physical engagements with objects and non-objects. Recent projects have focused on the social and environmental impact of digital technologies, haptic robotics and machine learning. He was awarded the Harpo Foundation Award in 2010 and was a recipient of the Hennessy Art Fund for IMMA collection, 2016. In recent years, he has been commissioned to produce a number of temporary and permanent public artworks including VOID Commissions, Derry (2021), Reflectors, Bray, Co.Wicklow and Patterns of Illumination, Griffith Barracks Multi-denominational School, Dublin. Exhibitions include The Glucksman (2019), Berlin Opticians (2018+2019) TULCA Art Festival, Galway (2017), CCA Derry-Londonderry (2017), Irish Museum of Modern Art (2017+2013), Rubicon Projects, Brussels (2013) All Humans Do, The Model Sligo and Whitebox, New York (2012), The Mattress Factory Art Museum, Pittsburgh (2010), Douglas Hyde Gallery, Dublin (2010).

Alice Rekab

Alice Rekab’s practice is concerned with expressions and iterations of complex cultural and personal narratives. Alice Rekab takes their own mixed-race Irish identity as a starting point from which to explore experiences of race, place and belonging. Over the last ten years Alice Rekab’s practice has centred around collaboration and interdisciplinary work from which they produce film, performance, image and sculpture, creating new intersectional narratives and objects for exhibition.

Projects include Family Lines, Douglas Hyde Gallery, Dublin (2021-2), Ricochet #14, Museum Villa Stuck, Munich (2023); Two External Light Sources At The Same Time, Atrium, Temple Bar Gallery + Studios (2019); The Nomoli/Father talk, VERY Project Space, Berlin (2019) and The Open Object, Stanley Picker Gallery, London (2018). Alice Rekab is a recipient of the Visual Arts Project Award 2021 and the Visual Arts Bursary Award 2020.

Mary Cremin

Mary Cremin is a curator, writer and art historian. She holds a degree in Art History and Geography from University College Cork and graduated with a Masters in Visual Art Practices from the Institute of Art, Design and Technology, Dublin.
She is the Director, Void Gallery, Derry, where she commissioned the Turner Prize winning film The Long Note by artist Helen Cammock in 2019. She was the Commissioner and Curator of the Irish Pavilion at the Venice Biennale, 2019 with artist Eva Rothschild. Prior to this she was the Programme Curator of Temple Bar Gallery + Studios and the Artistic Director of The Treeline Project with Oonagh Young.

In 2015, she was Curator of TULCA Festival of Visual Art, Seachange, which included over 30 national and international artists. She has delivered large scale exhibitions and commissions such as Magnetism, Hazelwood Estate, Sligo, (2015), Richard Mosse, The Enclave, Irish Pavilion, Venice Biennale, (2013). Prior to this she was Project Curator at the Irish Museum of Modern Art. She worked on exhibitions such as Eileen Gray, Lynda Benglis, Francis Alÿs, Carlos Garaicoa, Romuald Hazoumè, Cyprien Gaillard, Gerard Byrne, Alice Maher and Garrett Phelan and has acted as editor/ assistant editor on IMMA publications and the multi-disciplinary publication Boulevard Magenta.

Nora C. Nerdrum

Nora C. Nerdrum leads the art section in Public Art Norway (KORO). Her academic background is within art history, and she started her career as an art critic. She has practiced as a curator within several Norwegian art institutions and is currently part of the curatorial team working on the art project for the new government quarter in Oslo.

Caroline Cowely

Caroline Cowley is the Public Art Co-ordinator with Fingal County Council and committed bringing contemporary art practices into all aspects of life in the county. She currently directs and manages the council’s Public Art Programme Infrastructure 2017-2021,Resort Residency at Lynders Mobile Home Park, THE HIDE SCULPTURE by artist Garrett Phelan at Rogerstown Park & the Skerries Art Trail in addition to work commissioning as part of private development opportunities in the county and programming in the field of heritage, art & ecology and Arts in Health. She holds a BA in History of Art from Trinity College Dublin, Masters in Arts Administration and Cultural Policy from UCD and Masters in Visual Arts Practices from Institute of Art & Design, Dun Laoghaire. She is the current chair of artist run organisation Pallas Projects/Studios.

Themes

Public Art: Processes & Politics

Public Art by its very nature cannot be viewed as an autonomous venture, instead it is the product of a multitude of relationships across institutional platforms, political and social ideologies, and subject to economic constraint. We invite participants to think critically about current, emerging and speculative models of practice and policy that respond to the complexity of Public Art contexts –and publics. This includes but is not limited to; responsibilities of the commissioning processes, commemoration and monument –and their decolonisation, policy as a form of governance, future heritage legacies, and evaluation.

Public Art in the Anthropocene

While the visibility and the significance of environmental and ecological concerns within Public Art is growing, the reality of the Anthropocene raises important questions concerning its current and future role. We invite participants to consider not only how Public Art sponsors environmental awareness, but also to think about the problems, challenges and solutions encountered in Public Art and public creativity more broadly. This includes but is not limited to; politics of materials, designing for nature, Public Art policy for the Anthropocene as well as Public Art as model for the promotion of sustainable human and non-human ecologies, the ecosphere, and politics of degrowth.

Ecologies of Space & Place

How Public Art serves to alter, reorganise or manage our sense of sociality, place and public space is a critical concern not only to artists, but to communities, architects, designers as well as the areas of sociology and planning. We invite contributions that consider how Public Art effects social and physical topologies of our communities, and responds to the local and global concerns of constituents. This includes but is not limited to; community organisation and empowerment, design of public institutions and negotiation of public space, participatory design, immigration, mapping and models of alternative social organisation.

Call for Papers

The program for Public Art Now Conference will be composed of a balance of open and invited contributors. As part of the open call, Public Art Now invites proposals for papers, composed panels, workshops or other formats that address the themes of the conference through the lens of policy, practice or publics.

Proposals are encouraged from all those with an interest in public art including, artists, academics, art administrators and managers, art institutions and students.

We want every participant to feel welcome, included and safe at the conference. It is our ambition to create an inclusive, respectful conference environment. As part of this ambition, we particularly invite proposals that reflect diverse backgrounds, race, ethnicity, gender, sexual orientation and ability.

Public Art Now is committed to making the conference an inclusive experience for parents and guardians. We are looking into providing local childcare and crèche options for participants and attendees. If this service might be of interest to you please indicate on the submission or registration form.

If you have, any queries please contact publicartnow@TUdublin.ie

 

Submission Guidelines

Please email your proposals using the proposal form directly to the conference organisers at publicartnow@TUdublin.ie

For all submissions you will need to provide a title and abstract (300 words maximum), your name and institutional affiliation (if any).

Sessions will be 90 minutes long

Composed panels, workshops or other formats should be kept to 1 hour or less to facilitate time for discussion and should include details of other participants and abstract of papers.

Artists’ proposing workshops will be paid in accordance with the guidelines for artists and workshops suggested by Visual Artists Ireland.

Individual paper proposals should be kept to 20 minutes.

Please make sure the title is concise and reflects the contents of the paper because the title is what appears online, on social media and in the programme.

You should receive an acknowledgement receipt of your submission within two weeks from the conference organisers.

WE HAVE EXTENDED THE DEADLINE FOR SUBMISSIONS UNTIL SEPTEMBER 20.

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Job title
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13.00

Lunch

13.00

Lunch

13.00

Lunch

14.00

Speaker name
Job title
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14.00

Speaker name
Job title
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Maecenas egestas quis velit at consequat. Proin pretium dapibus sollicitudin. Sed ac nibh volutpat, fringilla ante et, cursus eros. Aenean sed. Sed ac nibh volutpat, fringilla ante et, cursus eros. Aenean sed.

14.00

Speaker name
Job title
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Maecenas egestas quis velit at consequat. Proin pretium dapibus sollicitudin. Sed ac nibh volutpat, fringilla ante et, cursus eros. Aenean sed. Sed ac nibh volutpat, fringilla ante et, cursus eros. Aenean sed.

Off site events - Coming soon

Hosts

Public Art Now is hosted by Technological University Dublin. TU Dublin's new Grangegorman campus informs our considerations of Public Art, which often acts as a barometer for thinking critically about the relationships between Public Art practice, policy and its publics.

TU Dublin’s Grangegorman campus is Irelands largest single investment in higher education in the last 50 years, which will facilitate a community of 23,00 students just 1km from Dublin city centre. Situated in part on the grounds of the former St Brendan’s hospital, the campus is central developing a vibrant new city quarter that is sensitive to the context of Grangegorman, its’ surrounding neighbourhoods and existing community.

 

 

TICKETS ARE FREE. BOOKING IS ESSENTIAL.

tickets are valid for all 6 conversations over the course of 3 days.

Each conversation will relate and respond to each other. We strongly encourage participants to join us for all 6 conversations

You can book your ticket here

Support

TECHNOLOGICAL UNIVERSITY DUBLIN

TU Dublin is Ireland’s first Technological University.  The university’s new city is being developed on a spectacular 73-acre site at Grangegorman in central Dublin. This is the largest higher education development project in Europe. The campus will provide an exceptional learning environment that supports research, innovation, and the advancement of knowledge.

GRANGEGORMAN DEVELOPMENT AGENCY

The Grangegorman Development Agency was appointed by the Irish Government to redevelop 73 acres for Grangegorman into a new urban quarter in Dublin 7  with health, education and community at its heart. In 2011, the GDA commissioned the Grangegorman Arts Strategy and the subsequent establishment of the Grangegorman Public Art Working Group to oversee the implementation of the Arts Strategy through ‘…the lives we live’ (2015-2020).

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