Askeaton Contemporary Arts




140 x 90mm, 84 pages with colour illustrations

ISBN 978-0-995706-21-7


Catalina Lozano, born in Bogotá in 1979, is a Colombian curator and independent writer based in Mexico City. Analyzing colonial narratives and deconstructing the perceived progress of modernity have forcefully acted as departure points for many of her exhibition projects, such as ‘A machine desires instruction as a garden desires discipline’ at FRAC Lorraine, Metz, and MARCO, Museo de Arte Contemporáneo de Vigo in 2013–14, and ‘What cannot be used is forgotten’ at CAPC musée d’art contemporain de Bordeaux in 2015.


In The Cure, Lozano writes about encounters and experiences that mediate the boundary between life and death, in order to think about healing as a way of deflating the conflicting relationships between nature and culture, the visible and the invisible, and the material and the sentient. Suspicious of the notion of myth, The Cure is an attempt to vindicate the power of negotiation to dispel such divisions. The structure of the séance, Mexican shamanism, Haitian Vodou, Irish criminal gangs and natural history museums are all implicated into Lozano’s text, developed during her extensive travels and investigations in recent years.


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Under Starry Skies - Liz Ryan


Folding publication, 2010 x 150mm, with colour and b/w illustrations

ISBN 978-0-995706-20-0


Laundry drying racks, rope, bed springs, a car door, chicken wire, wooden palettes, a ladder and rusty gates and ironwork of various shapes and sizes are all used to construct a haphazard barricade on the outskirts of Limerick City. Liz Ryan’s photographic montage details this ramshackle, yet remarkable structure, as part of her continuing research exploring everyday life and creative interplay.


Designed by Wayne Daly in a concertina fold format, Under Starry Skies opens out over two metres in length, allowing for full panoramic detail of Ryan’s image. A critical text by Michele Horrigan and images of artworks by Limerick folk artist Bobby Duhig (1930 – 2014) are also featured, each offering further insights into Ryan’s work.


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52 pages, 250 x 290mm, with extensive colour and b/w illustrations.

ISBN: 978-0-955863-04-2


Since 2006, Askeaton Contemporary Arts commission, produce and exhibit contemporary art in the locale of a small town in County Limerick, Ireland. An annual residency programme entitled situates Irish and international artists in the midst of Askeaton each summer, while thematic exhibitions, publications and events often occur.


With no ‘white-cube’ gallery spaces in Askeaton, artists work in public spaces throughout the town. This form of engagement focuses on the existing dynamics of the locale, intending to bring forward the diverse layers of daily life and create a rich framework for subjective encounters. Such an approach is built on a belief that contemporary art can be a form of critique, investigation and celebration where artists are at the center of these dialogues playing a primary and fundamental role.


Ten years on, find out more about how and why art is made in Askeaton in this collected volume with contributions by Valerie Connor, Mike Cooter, Wayne Daly, Steve Maher, Susan MacWilliam, Curt Riegelnegg, Nuno Sacramento and Freek Wambacq, edited by Sean Lynch, Michele Horrigan and Wayne Daly.


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A Bottle of Stout in Every Pub in Buncrana

John Carson

2016, expanded two-volume 36-page edition of the 1978 original.

ISBN: 978-0-955863-09-7


First exhibited at Derry’s Orchard Gallery in 1978, John Carson’s A Bottle of Stout in Every Pub in Buncrana has since become a fabled artwork. Did Carson manage to drink in all of Buncrana’s 22 bars in just one day? Did he succeed in persuading Guinness to sponsor this endeavour? These are questions still asked, as rumours of his

pub-crawl-as-art still abound.


As part of ACA Public, a new publishing initiative exploring the multifaceted nature of the public realm, Askeaton Contemporary Arts have reissued Carson’s original artist book of documents and letters, alongside an interview with him and new recollections revealed by Bernie McAnaney, Carson’s guardian on that day.  Accompanied by additional images from Gerard Byrne, Jan Dibbets and Reiner Ruthenbeck, the ethics of marketing and advertising, the various goings-on of a small town on the Irish border, and the myth and reality of the sturdy Irish drinker all prominently feature.


Reproduced in a risograph format and co-designed by Wayne Daly and artist Nick Davies from Cardiff, A Bottle of Stout... featured in events and exhibitions throughout 2016 at Flat Time House, London, Emily Carr University of Art and Design, Vancouver, and CCA Derry-Londonderry.





32 pages, 297 x 210mm, with extensive colour illustrations

ISBN: 978-0-9558630-5-9


For decades, Seanie Barron has been carving and shaping wood in a workshop at the back of his house in Plunkett Road, Askeaton. Initially, his work might be labeled as folk art, yet on further inspection it becomes apparent that his work is instead borne out of an understanding of nature and often-humorous interpretations of the environment around him. He roams around Askeaton, looking for the right branch left in a field or underneath a bush, to then shape into a walking stick. These often take on surreal forms referencing seahorses, weasels, fists, foxes or swimmers. Many double as whistles, or incorporate found objects such as coins, bullets or animal bones. By channeling all from the overlooked to the exotic, Barron has spent years working on a form of art that, though may come from an untrained hand, is as relevant as any didactical form of creativity.


A publication has an essay by Christa-Maria Lerm Hayes, Professor of Art History at the University of Amsterdam, and an in-depth interview with Seanie Barron by exhibition curator Michele Horrigan

SOLD OUT – download digital pdf copy for free HERE


Undercover: A Dialect


32 pages, 297 x 210mm, with extensive colour illustrations

ISBN: 978-1-907537-11-0


Undercover: A Dialect is a group exhibition curated by Michele Horrigan at VISUAL Centre for Contemporary Art, Carlow in 2013. It explores how artists are involved in covert and almost hidden activities, often acting out individual trajectories away from any public attention. Taking the position that artistic work is not about fitting into a consensus or about desiring populist approval, it identifies attitudes that enjoy an undercurrent of improvisation and frugality, haphazard formality, and changeability. Their artworks create a grammar, a particular kind of dialect borne out of the methodologies of visual art, forms of speech that challenge assumptions of the generic, the typecast and the stereotype.


Images and a series of short essays written by exhibition curator Michele Horrigan detail artworks by Stephen Brandes, Berndnaut Smilde, aiPotu, Jeronimo Hagerman, Magdelena Jitrik, Fiona Larkin, Sean Lynch, Pilvi Takala & Lucy Lippard's ‘955,000'


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The Hellfire Club


52 pages, 265 x 190mm, with colour and b/w illustrations

ISBN: 978-0-9558630-5-9


Askeaton Contemporary Arts commissioned a selection of prominent Irish artists to produce new artworks based around the town’s Hellfire Club legacy, artworks by Stephen Brandes, Louise Manifold, Sean Lynch, Diana Copperwhite and Tom Fitzgerald are all detailed in this accompanying publication. Additional research material is featured alongside critical texts by Michele Horrigan, Padraic E. Moore and Brian O’Doherty.


Upon an island in the middle of Askeaton, the remains of a Hellfire Club from the 1700s can be seen. Known as a satirical gentleman’s club, those who met there considered it as a way of shocking the outside world. The supposed president was the Devil, although the members themselves did not apparently worship demons or the Devil, but called themselves devils. Ceremonial feasts took place, all washed down with alcoholic punch. While lurid tales are often recounted in local folklore of other outrageous rituals enacted, very little remaining information or evidence exists of the activities of the Askeaton Hellfire.


Today, the club building is inaccessible to the public, as heritage services currently try to stabilise the building from continued collapse since its abandonment in the 1800s. Around this site of physical decay, featured artists have considered the Hellfire history, its non-conformist allusions to the society of the 1700s, and its material presence as a crumbling ruin in the middle of a small Irish countryside town.

SOLD OUT – download digital pdf copy for free HERE