Rachel Botha

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	<title>Rachel Botha</title>
	<link>https://rachelbotha.cargo.site</link>
	<description>Rachel Botha</description>
	<pubDate>Thu, 29 May 2025 16:14:46 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://rachelbotha.cargo.site/Home</link>

		<pubDate>Fri, 28 Apr 2023 21:03:21 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

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		<title>About</title>
				
		<link>https://rachelbotha.cargo.site/About-1</link>

		<pubDate>Fri, 28 Apr 2023 21:04:00 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

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		<description>
	I am a curator, art historian and arts administrator. My expanded curatorial practice responds to the local context and investigates how people perceive their social framework. I believe that the responsibilities of a curator are twofold; a facilitator for the artist and a mediator for the viewing audience.I hold a BA in History of Art &#38;amp; Architecture from Trinity College Dublin, and a MA in Visual Culture &#38;amp; Critical Studies from Technological University Dublin. I was the Provost’s Curatorial Fellow at The Douglas Hyde, Trinity College Dublin, a co-director of Catalyst Arts, Belfast, and the Emerging Curator in Residence at the Kilkenny Arts Office. I was appointed the Emerging Editor of Bloomers Magazine, and the Early Career Curator in Residence at the Regional Cultural Centre and Glebe House &#38;amp; Gallery in Donegal. Recently I was the assistant curator at the Project Arts Centre, and supported the Irish Pavilion in the Venice Biennale 2024. I am currently the curator of the Tea Houses, a newly activated space to host a responsive public art programme situated by the river Nore in Kilkenny.

→ CV


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		<title>Work</title>
				
		<link>https://rachelbotha.cargo.site/Work-1</link>

		<pubDate>Wed, 10 May 2023 00:07:06 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

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		<description>2024
	&#60;img width="7200" height="5760" width_o="7200" height_o="5760" data-src="https://freight.cargo.site/t/original/i/170dd245fab3ca691aca2e70a1498d9a0bf90c74394d8d768def5f44f84e4102/20240510-Project-Arts-Centre-045.jpg" data-mid="233894225" border="0"  src="https://freight.cargo.site/w/1000/i/170dd245fab3ca691aca2e70a1498d9a0bf90c74394d8d768def5f44f84e4102/20240510-Project-Arts-Centre-045.jpg" /&#62;
sun, waiting for flawlessness
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Tea Houses, Kilkenny
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The Nore Review, No.1


2023
	

&#60;img width="2099" height="1680" width_o="2099" height_o="1680" data-src="https://freight.cargo.site/t/original/i/03980de47853b97c2bf0cf4338167d935090d1a609ce7ecb41a141f1516afb8c/samir-mahmood-exhibition.jpg" data-mid="207523839" border="0"  src="https://freight.cargo.site/w/1000/i/03980de47853b97c2bf0cf4338167d935090d1a609ce7ecb41a141f1516afb8c/samir-mahmood-exhibition.jpg" /&#62;Of Other, and Possibility
	&#60;img width="5400" height="4320" width_o="5400" height_o="4320" data-src="https://freight.cargo.site/t/original/i/3fb06ff0aa803dafb8b8cb4c4ed37254e0758d969740f6f26305e8b24f480e66/glossariesforforwardness_lowres-22.jpg" data-mid="219253746" border="0"  src="https://freight.cargo.site/w/1000/i/3fb06ff0aa803dafb8b8cb4c4ed37254e0758d969740f6f26305e8b24f480e66/glossariesforforwardness_lowres-22.jpg" /&#62;Glossaries for Forwardness
	&#60;img width="5400" height="4320" width_o="5400" height_o="4320" data-src="https://freight.cargo.site/t/original/i/aaa93f4e06f98e5c53b9eccaa1d0b9c7bbae78dbf4a03e7b5f664530378eeaba/Takehold-v4.png" data-mid="219253800" border="0"  src="https://freight.cargo.site/w/1000/i/aaa93f4e06f98e5c53b9eccaa1d0b9c7bbae78dbf4a03e7b5f664530378eeaba/Takehold-v4.png" /&#62;
Take hold


	&#60;img width="5400" height="4320" width_o="5400" height_o="4320" data-src="https://freight.cargo.site/t/original/i/8490965a6af9e467e3e1322bb71ba5062075dd9d255c2d8422bafc2c056cfca5/20231004-Locky-Morris-020.jpg" data-mid="219253811" border="0"  src="https://freight.cargo.site/w/1000/i/8490965a6af9e467e3e1322bb71ba5062075dd9d255c2d8422bafc2c056cfca5/20231004-Locky-Morris-020.jpg" /&#62;Last chance for a dark wash

	
&#60;img width="5400" height="4320" width_o="5400" height_o="4320" data-src="https://freight.cargo.site/t/original/i/5dd374e5959c6bcb4bfe25a3d1cd77de9786acaa4292e767740eccaf33e1188b/DSC00187-copy.jpg" data-mid="219539728" border="0"  src="https://freight.cargo.site/w/1000/i/5dd374e5959c6bcb4bfe25a3d1cd77de9786acaa4292e767740eccaf33e1188b/DSC00187-copy.jpg" /&#62;&#38;nbsp;Branching Out
	
2022
	&#60;img width="1264" height="842" width_o="1264" height_o="842" data-src="https://freight.cargo.site/t/original/i/3eda0f4f35d396a3f4211865d6e18999047b52682c0876bbd95637a56fff8e45/20221018-Swallowing-Geography-Glebe-House-008.jpg" data-mid="184103652" border="0"  src="https://freight.cargo.site/w/1000/i/3eda0f4f35d396a3f4211865d6e18999047b52682c0876bbd95637a56fff8e45/20221018-Swallowing-Geography-Glebe-House-008.jpg" /&#62;
Swallowing Geography
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Genuinely Seeking
	

2021
	&#60;img width="1783" height="1189" width_o="1783" height_o="1189" data-src="https://freight.cargo.site/t/original/i/4b4089176c97a67dfb1495b3130b6fd8986e0cb8b4656ce95db5cd49261e29cd/20210806-Catalyst-Concealed-In-The-Half-Light-002.jpg" data-mid="184104243" border="0"  src="https://freight.cargo.site/w/1000/i/4b4089176c97a67dfb1495b3130b6fd8986e0cb8b4656ce95db5cd49261e29cd/20210806-Catalyst-Concealed-In-The-Half-Light-002.jpg" /&#62;
Concealed in the half light
	&#60;img width="2567" height="1711" width_o="2567" height_o="1711" data-src="https://freight.cargo.site/t/original/i/282c626f9cf5b4e33fb8badd0f7088c6bb108ea9d5f9fcdd0ea4222a646f45d2/Student_Forum_III_300DPI-14.jpg" data-mid="186320882" border="0"  src="https://freight.cargo.site/w/1000/i/282c626f9cf5b4e33fb8badd0f7088c6bb108ea9d5f9fcdd0ea4222a646f45d2/Student_Forum_III_300DPI-14.jpg" /&#62;
Rendering New Realities: Access and Alterity
	&#60;img width="1464" height="974" width_o="1464" height_o="974" data-src="https://freight.cargo.site/t/original/i/418cf0809171981d0666991a780f2f16ac5a3c32f131210ead91bae16b672464/Brian-Cregan-0895.jpg" data-mid="184105016" border="0"  src="https://freight.cargo.site/w/1000/i/418cf0809171981d0666991a780f2f16ac5a3c32f131210ead91bae16b672464/Brian-Cregan-0895.jpg" /&#62;the limits of my language


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(the site + ruin)


2020
	&#60;img width="1921" height="1280" width_o="1921" height_o="1280" data-src="https://freight.cargo.site/t/original/i/5f14eefec3cd4223b9ccbf26cae3dca8dbc8c4f770e0af0404bc9602171a077e/less_stress_more_success_0010-copy.jpg" data-mid="184104739" border="0"  src="https://freight.cargo.site/w/1000/i/5f14eefec3cd4223b9ccbf26cae3dca8dbc8c4f770e0af0404bc9602171a077e/less_stress_more_success_0010-copy.jpg" /&#62;Less Stress More Success


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		<title>The Nore Review</title>
				
		<link>https://rachelbotha.cargo.site/The-Nore-Review</link>

		<pubDate>Thu, 29 May 2025 16:14:46 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

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		<description>The Nore Review, A Kilkenny Art Journal, No.1
Launched on Saturday 14 December 2024 at the Tea Houses“The idea for this publication germinated from the ‘Branching Out’ event that my friend/fellow curator Leah Corbett and I hosted in Rothe House in 2023. The event entailed serving a foraged feast from the sixteenth century gardens while facilitating a conversation between artists and practitioners about the joys and challenges of being an artist in Kilkenny. A lot was learnt during this session and it motivated even deeper research down the line, but one of the things that had immediate possibility and could be actioned straight away was responding to the lack of art criticism and writing on a local, albeit national level. This issue was discussed amongst other things, the lack of opportunity to share work or research, the lack of shared studio spaces and facilities, the list goes on. The ramifications of this and other struggles is a disconnection within the art community in Kilkenny, artists are feeling isolated – working at the kitchen table, in the spare room or in the garden shed – as well as undervalued in a place that often promotes itself on its arts scene. 
The Nore Review is a small and considered gesture that platforms artists and art practice in Kilkenny, it includes invited contributions from Brown Mountain Diamond and Kasia Kaminska, commissioned texts from Emily Cooper in response to the work of Sinéad Lucey and Sorcha McNamara to response to Robert Dunne’s studio practice. The aim was to give a flavour of the exciting work that is being created in this county. In its printed form it can be shared and has the possibility to travel, to celebrate the making of art that is happening here, and tell the folks over there all about it. It’s been a small way of bringing people and practices together in an effort to strengthen connections and encourage future collectivity.

In my curatorial practice I’ve always tried to incorporate writing. I see it as a companion to an exhibition or artwork, an approach to expand on ideas, introduce other voices or different positions. Writing offers an alternative avenue; shares the research and development of an artist; can be critically challenging and allows for an arts community to grow. Overall these pages demystify the making and elevates artistic process, shining light on the mundane reality of running the artist residency Brown Mountain Diamond; Kasia gives insight into an ecological photography practice, and hints at our conversations about the difficulty of doing anything creative during the ongoing genocide in Palestine.

This is the first of The Nore Review and I hope it’s something that can continue annually. It's an opportunity to break the cycle of applications, project deadlines, and production, to take a minute to dwell and reflect on practice and process. This publication encapsulates the hours in the studio, the constant tentative thoughts, the all-consuming research and reading, and the blurred line of the personal and working life of an artist. 
I’m excited to launch The Nore Review in the Tea Houses situated by the river Nore, a site that is being activated as visible spaces for a public art programme that invites artists to respond and engage with Kilkenny, while encouraging a sense of community and active citizenship. We’re only a few months in, slowly developing a programme that has been shaped by deep listening and conversation in this local context, stay tuned for more to come. “&#38;nbsp;

Kindly funded by ArtLinks and the Kilkenny Arts Office.→  Available to purchase [SOLD OUT]
 

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		<title>Tea Houses, Kilkenny</title>
				
		<link>https://rachelbotha.cargo.site/Tea-Houses-Kilkenny</link>

		<pubDate>Thu, 29 May 2025 15:31:27 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

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		<description>Tea Houses, exhibition programme
Everything Flowing by Sinéad Fahey Thursday 8 – Sunday 18 August 2024
Everything Flowing is an exhibition by artist Sinéad Fahey. Works have been selected from her expansive art practice in response to the site of the Tea Houses, acknowledging the River Nore and the habitat of the area. Sinéad passionately captures our entangled connection with the natural world. Several paintings and works on paper burst with gatherings of fish, birds and flowers, conveying a palpable flow of energy and togetherness. Sinéad talks about these ecological groupings as having the power “to give strength”, recognising our indisputable dependence in the fine-balanced ecosystem we inhabit. When people are depicted in these compositions, they are shown tending to plants, watering flowers, and demonstrating acts of care to our botanical companions. In other scenes people are placed in relation to their surroundings, establishing a non-anthropogenic position or priority. 
Everything Flowing reminds us of our place in the world, among multiple species and complex systems, emphasising a respect and appreciation for symbiotic relations with nature. 
→ Exhibition Handout


.

Toil and Moil by Emma Swan including Celebrate People’s History ProjectFriday 20 September – Saturday 26 October 2024
Toil and Moil is a solo exhibition by artist Emma Swan and includes a showcase of the Celebrate People’s History poster series, a project initiated by Josh MacPhee. 

Toil and Moil is an exhibition featuring painting, sculpture and sound, exploring the significance of time and labour in the work environment. Swan investigates how the introduction of the Henry Ford assembly line revolutionised manufacturing, industry, and society by accelerating productivity. By looking at the repetitive and monotonous nature of industrialised labour, Swan references these practices to protest against the regimented structure of the working day, highlighting the limitations imposed and its prevailing influence.
This exhibition prompts a conversation about labour and workers’ conditions, while facilitating an opportunity to platform strike action and global protest. The Celebrate People’s History poster series demonstrates a DIY tradition that centralises principles of democracy, inclusion and collective action. The project has been organised and curated by Josh MacPhee since 1998, he is a founding member of the Justseeds Artists’ Cooperative and Interference Archive, a public collection of cultural materials produced by social movements based in Brooklyn, NY. Justseeds Artists’ Cooperative is a decentralised network of 41 artists from the U.S., Canada, and Mexico, committed to social, environmental and political engagement. The collection is kindly borrowed from artist and organiser Kate O’Shea.


→ Exhibition HandoutDesign by Emmet Brown.→&#38;nbsp;Online Talk with Josh MacPhee

	
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	<item>
		<title>sun, waiting for flawless</title>
				
		<link>https://rachelbotha.cargo.site/sun-waiting-for-flawless</link>

		<pubDate>Thu, 29 May 2025 14:26:18 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

		<guid isPermaLink="true">https://rachelbotha.cargo.site/sun-waiting-for-flawless</guid>

		<description>sun, waiting for flawless&#38;nbsp; / an ghrian, ag feitheamh le foirfe
Thursday 9 May – Saturday 29 June 2024Project Arts Centre, No.39 East Essex Street, Temple Bar, Dublin

Robin O’Shea and Ronan Smyth and Francis Whorrall-Campbell 

sun, waiting for flawless &#38;nbsp;/ an ghrian, ag feitheamh le foirfe includes a wide range of sculptural approaches, including metalwork, woodturning, drawing, collage, printed media and writing. It looks at the presentation of self and the subjective potential of materials, their expressive and affective power. The title ‘sun, waiting for flawless’ is inspired by the lyrics of a George Michael song and refers to the aspirational pursuit of flawlessness and perfection, while highlighting the impossibility of this.

An interest in industrial and craft processes is a through-line in the exhibition. Here, however, these methods and materials have been co-opted to explore personal landscapes. Standardised storage units have been softened by private memories and intimate details; uncanny magnetic souvenirs decorate fabricated steel sheets. Surfaces have been polished, buffed, obscured, smeared, embellished and scratched, as a way to activate the states between detail and distance, transparency and opacity, knowing and unknowing.

Robin O’Shea’s work engages with their family’s history of farming in rural south-west Wexford, and explores our relationship with nature and labour. Recently O’Shea discovered a collection of their father’s academic drawings from the early 1970s made as part of his apprenticeship to become an agricultural mechanic. These appropriated images hang on imposing structures that act as ‘set pieces’, staging personal history on a dense background of pattern and repetition.

Ronan Smyth investigates relationships between the amateur maker and the decorative surface, prioritising the histories of DIY, self-taught and hobbyist pursuits while blurring distinctions between fine art, craft and design-led disciplines. Smyth aims to disrupt our understanding of cultural authenticity, proposing a series of improvised material strategies that explore the decorative surface as a site of novelty, excess and anxiety.

Francis Whorrall-Campbell’s THE REVOLUTION WILL NOT HAVE BEEN DOWNLOADED is a zine consisting of the first three instalments of a serialised novella-in-progress. Reprinted with a new addition, the zine presents the story so far, introducing us to the two protagonists – a trans influencer living in the year 2034, and a fictionalised version of Kurt Cobain in 1994 – as the pair travel in opposite directions across the USA, looking for the source of the paranormal phenomena disrupting their lives.

→ Exhibition Handout
	
&#60;img width="7200" height="5400" width_o="7200" height_o="5400" data-src="https://freight.cargo.site/t/original/i/9514e6a531557ccb4684d8479d4066bb79296dbd4ed81c0d189b1229255ed562/20240510-Project-Arts-Centre-002.jpg" data-mid="233893620" border="0" alt="sun, waiting for flawless, Project Arts Centre, 2024, installation view. Photography by Simon Mills. " data-caption="sun, waiting for flawless, Project Arts Centre, 2024, installation view. Photography by Simon Mills. " src="https://freight.cargo.site/w/1000/i/9514e6a531557ccb4684d8479d4066bb79296dbd4ed81c0d189b1229255ed562/20240510-Project-Arts-Centre-002.jpg" /&#62;
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&#60;img width="5760" height="7200" width_o="5760" height_o="7200" data-src="https://freight.cargo.site/t/original/i/9c944b77b0c5abbfef40bd1e8671440464ffe8ccfc444cd43d1088e2fffe68e2/20240510-Project-Arts-Centre-025.jpg" data-mid="233894111" border="0" alt="sun, waiting for flawless, Project Arts Centre, 2024, installation view. Photography by Simon Mills. " data-caption="sun, waiting for flawless, Project Arts Centre, 2024, installation view. Photography by Simon Mills. " src="https://freight.cargo.site/w/1000/i/9c944b77b0c5abbfef40bd1e8671440464ffe8ccfc444cd43d1088e2fffe68e2/20240510-Project-Arts-Centre-025.jpg" /&#62;
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	</description>
		
	</item>
		
		
	<item>
		<title>Of Other, and Possibility</title>
				
		<link>https://rachelbotha.cargo.site/Of-Other-and-Possibility</link>

		<pubDate>Thu, 20 Apr 2023 21:10:20 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

		<guid isPermaLink="true">https://rachelbotha.cargo.site/Of-Other-and-Possibility</guid>

		<description>Of Other, and Possibility

Saturday 11 March – Friday 24 March 2023
MART Gallery, Rathmines Rd Lower, Rathmines, Dublin 6

Samir Mahmood
Of Other, and Possibility is Samir Mahmood’s first solo exhibition of new and existing artwork including painting, digital collage and photography. The exhibition explores experiences of identity, migration and spirituality. Mahmood bravely uses the queer body to consider human vulnerability and assess its connection to the world. In doing, the work is an attempt to offer a liberating new reality. Summarised in the words of José Esteban Muñoz “Queerness is essentially about the rejection of a here and now and an insistence on potentiality or concrete possibility for another world.”Ghair, the Urdu word for 'other’ or ‘stranger’, is articulated throughout the exhibition – it is an attempt to confront the negative distance and separation a person or group experiences in society. In this context, there’s an ownership over otherness. At the centre of Mahmood’s art practice is the philosophy of ‘non-duality’, the human experience of oneness with all things and the importance of interdependence. This exhibition is an opportunity to reflect and imagine new ways of looking and thinking about how we live, in the hope to transcend it.
Samir Mahmood is a member of Backwater Artists Network and studio member at MART Studios, Galway. 

Kindly supported by the Arts Council, Cork City Council, MART Gallery and Backwater Artists Studio.

→ Exhibition Handout


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	<item>
		<title>Last chance for a dark wash </title>
				
		<link>https://rachelbotha.cargo.site/Last-chance-for-a-dark-wash</link>

		<pubDate>Mon, 25 Mar 2024 11:18:56 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

		<guid isPermaLink="true">https://rachelbotha.cargo.site/Last-chance-for-a-dark-wash</guid>

		<description>Last chance for a dark wash 

Saturday 30 September – Saturday 11 November, 2023Regional Cultural Centre, Letterkenny, Donegal


Locky Morris&#38;nbsp;Last chance for a dark wash is a new site-specific exhibition by artist Locky Morris. The exhibition reflects the artist’s current practice and process, with elements drawn from the video project residency at the Regional Cultural Centre (2021 – 22).

Over the last two decades, Morris has adopted a daily routine of walking and wandering, probing at the edges of the city and coastline. Gleaning his material from liminal spaces, we are invited to look differently, beyond the actuality of what we might see and perhaps consider the sublime in the most ordinary.

The exhibition includes an installation of found-sculptural assemblages, video and photographic work. The artistic approach, mostly improvisational as witnessed on his Instagram feed, is situated between a certain order and spontaneous energy. Playful, succinct and often discordant, the work suggests another way of looking and interacting with the world, while questioning notions of intrinsic value.

Over the course of developing this body of work Morris has invited the artist and musician Jaki Irvine to contribute written and sonic elements to the exhibition.

Locky Morris was born in Derry City where he continues to live and work. Renowned for his early work that explicitly dealt with the conflict in Northern Ireland – most notably from a socially embedded perspective – he has gone on to develop another working vocabulary that moves fluidly between the personal, public and political. While still informed by the complexities and intricacies of his immediate landscape, this work extends across photography, video, gallery installation and incorporates the social media platform Instagram.

Morris’ practice, born in part out of a fascination for what confronts him in the often chaotic details of the everyday, is rich, inventive and marked by a visual playfulness that feels distinctly his own. Running parallel to this have been numerous large-scale works and interventions in the public realm. The work has also been influenced by his active musicianship.


→ Exhibition Handout


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	<item>
		<title>Glossaries for Forwardness</title>
				
		<link>https://rachelbotha.cargo.site/Glossaries-for-Forwardness</link>

		<pubDate>Tue, 19 Mar 2024 20:53:31 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

		<guid isPermaLink="true">https://rachelbotha.cargo.site/Glossaries-for-Forwardness</guid>

		<description>Glossaries for Forwardness
Thursday 27 April – Saturday 23 September 2023
Museum Building, Trinity College Dublin 

Marie FarringtonGlossaries for Forwardness is a multi-platform project by Marie Farrington, examining convergences between landscape and memory through the architecture of the Museum Building in Trinity College Dublin. This project arose from Farrington’s artist residency at Trinity Centre for the Environment (2021–22) where her research approached geological sampling methods as ways to explore our interpretation of landscape, and how land can be implicitin its own representation and display.
The Museum Building (1853–57) is a seminal work of Ruskinian Gothic architecture. The building itself can be thoughtof as a geological collection; it is constructed from a vast catalogue of stone types. Glossaries for Forwardness presents site–responsive works installed throughout the foyer of the Museum Building. Sculptural and textile interventions present an extensive material glossary that reference the building’s interior, repurposing geological sampling methods such as thin-sectioning, microscopic imaging and resin-mounting into modes of making in the studio. In collaboration with Stanislaw Welbel, a spatial audio installation emanates from the ventilation shafts, composed on a synthesiser by translating the building’s various stones into a strata of layered sound. The exhibition is accompanied by a publication with texts by Dr. Quentin Crowley, Anneka French and Marie Farrington, and a public engagement programme including talks, screenings, listening sessions and an event in collaboration with the Department of Ultimology. 
Glossaries for Forwardness offers an invitation to reimagine human relations to land, making space for the active agencyof landscape to emerge. As deep-time materials intersectwith momentary human gestures, the geological actions that formed the Museum Building’s architecture – layering, folding,stacking, accumulation and erasure – become concentrated in the act of making. The exhibition is a call for forwardness, a linear push across one state of being and into another, encouraging a critical engagement with the representative frameworks through which the climate crisis is mediated.Supported by the Arts Council, Trinity College Dublin, Trinity Centre for the Environment, Adam Mickiewicz Institute, Dublin City Council and Fire Station Artists’ Studios.
Design by Models &#38;amp; Constructs.&#38;nbsp;


→ Exhibition Handout→ Public Programme 1→ Public Programme 2
→ Publication


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</description>
		
	</item>
		
		
	<item>
		<title>Take hold</title>
				
		<link>https://rachelbotha.cargo.site/Take-hold</link>

		<pubDate>Fri, 28 Jul 2023 09:27:06 +0000</pubDate>

		<dc:creator>Rachel Botha</dc:creator>

		<guid isPermaLink="true">https://rachelbotha.cargo.site/Take-hold</guid>

		<description>
	Take hold
Take hold is a publication of art and writing that explores the idea of hope as a way of processing our present in order to allow us to think about our future. It includes invited contributions from Husk Bennett,  Dreambean, Laura Fitzgerald, Cecelia Graham, Marielle MacLeman, Aifric Prior Beliere&#38;nbsp;and Michaela Razafima. Nash. A collection of responses that encourage a vulnerability to reflect on our conditions as artists and humans, and to develop an interconnectedness to look forward collectively.&#38;nbsp;
A special thanks to the design collective Models and Constructs (Adam Carr and Jamie Smyth), and copy editor Dean Fee. 

Kindly supported by the ArtLinks Professional Bursary Award and the Agility Award, Arts Council of Ireland. Stockists:&#38;nbsp;︎︎︎&#38;nbsp; Good Press (Glasgow)
︎︎︎ TACO! (London)
︎︎︎ CCA Derry~Londonderry︎︎︎ The Library Project (Dublin)

︎︎︎ The Douglas Hyde Gallery (Dublin)
︎︎︎ VISUAL Carlow&#38;nbsp;


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&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/9198055dee76750f07bed82bb35d1c95f87cd9223b2e3084b18f104684db4142/Takehold-v4.png" data-mid="207513496" border="0"  src="https://freight.cargo.site/w/1000/i/9198055dee76750f07bed82bb35d1c95f87cd9223b2e3084b18f104684db4142/Takehold-v4.png" /&#62;
&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/dbe355e5bfdc9002a77617f1bdf05a3afa41dad5737c9a1809fdb625410dcab6/Takehold-v1.png" data-mid="207513493" border="0"  src="https://freight.cargo.site/w/1000/i/dbe355e5bfdc9002a77617f1bdf05a3afa41dad5737c9a1809fdb625410dcab6/Takehold-v1.png" /&#62;
&#60;img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/31e5f88e69455d19c91ffbf2f8a216ed2a67b6a557340067086c1bbe3b577ae7/Takehold-v2.png" data-mid="207513494" border="0"  src="https://freight.cargo.site/w/1000/i/31e5f88e69455d19c91ffbf2f8a216ed2a67b6a557340067086c1bbe3b577ae7/Takehold-v2.png" /&#62;

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