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MOORE STREET LENDING LIBRARY index 05–06

THIS SERIES:– TEXTS:2......................................BEATTIE/CLARE/CROWLEY/desperate3......................................desperate/GOGAN4......................................GREAVU 5–6..................................[INDEX] 7–8..................................[McCABE]9......................................GROUP/HEALY10....................................INDYMEDIA11....................................KENNY12....................................McELLIGOTT13....................................MAGEE14....................................METROPOLITAN15....................................NÍ CUILIBIN16....................................POTLATCH 17....................................[JEWESBURY] 18–19..............................[MULLOY] 20....................................[PHELAN]21....................................SANKEY22....................................SLOAN/WALSH23....................................WALSH/end

24....................................[COLOPHON]

Beattie, John

JohnBeattieatMSLL,anappendagetoaconversation,or,extendedExtensions

ForMSLLJohnBeattietookonastudioinMooreStreet.Hisinitialintent,thathispresencetherewouldprovokequestioning, faced a turnabout and this fired a need to exploremoredirectexchangesthansomevagueexpressionofcuriosity.

Thislivelystreetdemandedofhimamoredirectengagement,buy,sell,browse,chat…

Conversationswithtradersinitiatedamoreinformalapproachtoresearch.Withhisperspectivefacingoutwardhebecamemoreresponsivetotheeverydaydiscussionsandtransactions:someonehandshimaphotoofthelimeyardsandthisprovidesfodderforaperformance/drawing…someoneelsecallsout“phonecardphonecardphonecard”incessantlyandsoherecordshercallingandbuysacard.Theartactionandtheeverydayactionrunningparallel.

Beingacceptedintotheeverydaymilieuofthischangingstreetprovidedachallengetotheartistandanextensiontohispractice.Didhisaudienceexperiencethesameshiftthroughhisbeingthere?PerhapsthisiswhereExtensionbecomesconversationbecomeswrittenwordbecomes…

Somequestionsasextensions…..

Howareyou?(youanswer….aconversationensues…)

Howdoesthisprocessextend?Andtowhereandwhatend?Outofonespracticeandintothelivesofothers?Isthat quantifiable and how? From practice to the written word?Fromthewrittenwordto…?

FionaLarkin

AB

CClare, Mark

see Potlatch Foundation, The

Crowley, Duncansee Indymedia

left:Extension(hand)top:Extension(trace)above:Extension(hand)DVD

2MOORESTREETLENDINGLIBRARYINDEX BEATTIE–DESPERATE

NB

NameindexattopofpagePrintoutattributesforeachentry-images+textPhelan&CrowleyonCDMcCabe

desperate optimists (see also McCabe, Martin; and Healy, Amanda)D

Gogan, SusanEFG

DESPERATE – GOGAN INDEX MOORESTREETLENDINGLIBRARY3

Greavu, Sara

4MOORESTREETLENDINGLIBRARY INDEX GREAVU

NA BUACHAILLÍ BÁNA 1 & 2

DuringtheSouthAfricanWarof1899-1902tworegimentsof Irish nationalist volunteers were raised to help fight the Englishfor‘selfgovernment’andlanguagerights.Irishpeople identified strongly with the Boers in this ‘White Man’sWar’.InEaster1916theinsurgentsworeBoer-style‘de Wet’ caps and a number of Boer rifles were captured upontheirsurrender.

InJuly1984,10MandateunionmembersemployedintheHenryStreetbranchofDunnesStoressupermarketwenton official strike in support of a colleague who had been suspendedforrefusingtohandleSouthAfricanproduceinaccordancewiththeirunion’santi-apartheidpolicy.ThestrikelastedfortwoyearsandninemonthsuntiltheIrishgovernmentintroducedsanctionsbannningtheimportationofallSouthAfricanagriculturalproduce.

INDEX MOORESTREETLENDINGLIBRARY5

Moore Street Lending LibraryIndex

ThislistindicatestheexactorderofcontentsastheyarelistedintheMSLLindexcardbox.Itisaneccentric,non-alphabeticarchivelist,whichcorrespondstothefivefileboxesthatcontainthevariousitemswhichmakeuptheMooreStreetLendingLibrary.Thecontentswereindexedandfileduponreceiptofeachdonation.

AUDIO VISUAL:

MSLL/AUDIOVISUAL1.FILM:THESTREET,LIAMNOLAN,2003MSLL/AUDIOVISUAL2.FILM:LOOKINGON,SÉMERRYDOYLEMSLL/AUDIOVISUAL3.FILM:CIVICLIFE:MOORESTREET,DESPERATEOPTIMISTS,CHRISTINEMOLLOYANDJOELAWLORMSLL/AUDIOVISUAL5.9AUDIOCASSETTETAPESDOCUMENTINGDAILYBUSINESS&PRICEREDUCTIONSINMARTIN’SBUTCHERSATNUMBER55MOORESTREETSINCE1937MSLL/AUDIOVISUAL6.DVD.O’RAHILLYMEMORIALPROJECT31/3/06(SHANECULLENANDMARKPRICE)MSLL/AUDIOVISUAL7.2xMINIDVTAPES:MSLLDOCUMENTATION(WEEKS1,2AND3).

KEY TEXTS:

MSLL/KEYTEXTS1.IRISHORIENTALISM,ALITERARYANDINTELLECTUALHISTORY:ABOUTMSLL/KEYTEXTS2.WHEREEASTANDWESTAREONE:COLINGRAHAM;THEIRISHREVIEW,JUNE25TH,2005MSLL/KEYTEXTS3.PRODUCINGSOCIALSPACE,AUTHORUNKNOWNMSLL/KEYTEXTS4.PILGRIMAGETOAL–MADINAHANDMECCAH;RICHARDBURTON;FROMCHAPTERFIVETHERAMAZANp81–84MSLL/KEYTEXTS5.VISUALCULTUREANDTOURISM;EDITEDBYDAVIDCROUCHANDNINALÜBBREN;BERG;OXFORD,2003.ISBN1859735886MSLL/KEYTEXTS6.OCTOBER80;SPRING1997;MITPRESSANDINTRODUCTIONTOACRITIQUEOFURBANGEOGRAPHY;GUYDEBORDMSLL/KEYTEXTS7.IRISHORIENTALISM;ALITERARYANDINTELLECTUALHISTORY;SYRACUSEUNIVERSITYPRESS;REVIEWMSLL/KEYTEXTS8.NEGOTIATINGTHE‘DOUBLEPOSITION’;ROBINWESTCOTTMACQUAIREUNIVERSITY/AUSTRALIANNATIONALUNIVERSITYMSLL/KEYTEXTS9.EXILEMOORESTREET,POLÓCONGHAILE,31STJULY2004,IRISHINDEPENDENTMSLL/KEYTEXTS10.CULTURALIDENTITYANDDIASPORA,STUARTHALL‘FRAMEWORK’(NO.36)MSLL/KEYTEXTS11.THETHIRDSPACE.INTERVIEWWITHHOMIBHABHAMSLL/KEYTEXTS12.THEBINARYCITY.DAVIDSIBLEY.URBANSTUDIESVOL38,NO2,P239–250,2001MSLL/KEYTEXTS13.IDENTITY,DIVERSITYANDCITIZENSHIP.ISSC,GEARYINSTITUTE.UCD,16THSEPTEMBER.2004MSLL/KEYTEXTS14.CHINESENEWYEAR.WWW.SOCIALSTUDIESFORKIDS.COM/ARTICLES/CULTURES/CHINESENEWYEAR1.HTMMSLL/KEYTEXTS15.RAISETHEREDLANTERNS.ZHANGQIAN.SHANGHAISTAR.18/1/2001MSLL/KEYTEXTS16.RE-DEVELOPMENTPLANSUNVEILEDFORTHEILACCENTREINDUBLIN.BRITISHLAND.8/2/05MSLL/KEYTEXTS17.TROUBLEDTIMESFORTRADITIONAL

TRADERSONMOORESTREET.ROSEDOYLE.THEIRISHTIMES.WEDJULY13TH,2005MSLL/KEYTEXTS18.GHOSTSOFMOORESTREET,THEDUBLINROVER,TARABOOKS,DUBLIN1991,SEAMUSSCULLYMSLL/KEYTEXTS19.SCULLYSEAMUS,REPORTREADTOTHEOLDDUBLINSOCIETY,14THDECEMBER1983MSLL/KEYTEXTS20.RYAN,PAUL,DUBLINWIT,THEOBRIENPRESS.MSLL/KEYTEXTS21.O’CASEY,SEAN,THEPLOUGHANDTHESTARS,FABERANDFABER

MEMBERS:

BEATTIE, JOHNMSLL/MEMBERS/BEAT1.ARTIST’SPROPOSALANDPHOTOGRAPHICDOCUMENTATIONOFACTIVITIESFORMSLLMSLL/MEMBERS/BEAT2.ARTIST’SCVMSLL/MEMBERS/BEAT3.DOCUMENTATIONOFPERFORMANCEANDACTIONSONMOORESTREETMSLL/MEMBERS/BEAT4.VIDEOPIECEINSTALLEDINDOYLE’SSHOP,NO.5MOORESTREETMSLL/MEMBERS/BEAT5.SLIDEPROJECTIONONSHOPFRONTAT‘OCEANICSUPERSTORE’,MOORESTREETMSLL/MEMBERS/BEAT6.DOCUMENTATIONOFMONITORANDHISTORICALPHOTOGRAPHINSTALLEDINILACCENTRE,5THOCTOBER2005(PERFORMANCE).CLARE, MARKMSLL/MEMBERS/CLARE1.ARTIST’SCVMSLL/MEMBERS/CLARE2.MOORESTREETL.E.T.S.INFORMATIONMSLL/MEMBERS/CLARE3.MSLLANDPOTLATCHFOUNDATION–ADVERTISEMENTINFOINMETROÉIREANNNEWSMSLL/MEMBERS/CLARE4.MOOREL.E.T.SVIDEO/DVD13.29MINUTES(TALKEVENTANDPOSTERDISTRIBUTION)–PUBLICWEREINVITEDTOATTENDATALKIN‘TOPCHAPEL’ONMOORELANE.KERRYE’LYNLARKININTRODUCED‘LOCALEXCHANGETRADESYSTEMS’DURINGANINFORMALSESSION.CULLEN, SHANEMSLL/MEMBERS/CULL1.FLYERFORO’RAHILLYMEMORIALSCULPTURE’MSLL/MEMBERS/CULL2.HISTORYIRELAND,JULY/AUGUST2005,ARTICLEABOUTO’RAHILLYMONUMENT,P11.MSLL/MEMBERS/CULL3.DVDDOCUMENTARYFILMOFO’RAHILLYPROJECT(SEEALSOAUDIOVISUALINDEXCARDNO.6)DUNNE, DOMINICMSLL/MEMBERS/DUN1.CONVERSATIONBETWEENSALLYTIMMONSANDDOMINICDUNNEINMSLL29/9/05(HANDWRITTENNOTES)FARRELL, IMELDAMSLL/MEMBERS/FAR1.NOTESFROMVARIOUSVISITSANDCONVERSATIONSWITHIMMELDAFARRELLTOMOORESTREETLENDINGLIBRARYSPACE.(FARRELLISAMEMBEROFTHEO’LEARYFAMILYWHORANABUTCHER’SSHOPONMOORESTREET)

MSLL/MEMBERS/FAR2.PHOTOGRAPHOFJANEO’LEARY(AUNTOFIMELDAFARRELL)OFO’LEARY’SBUTCHERSONMOORESTREET(SEEALSOMSLL/MEMBERS/CURATORS1.FORSCANNEDPHOTOGRAPHSFORMFARRELL’SPERSONALARCHIVE)CROWLEY, DUNCANMSLL/MEMBERS/CRO1.‘RADIOBROADCAST’SEEMINIDVTAPESWITHDOCUMENTATIONOFACTIVITIESINMOORESTREETLENDINGLIBRARY(SEEINDEXCARD:MSLL/AUDIOVISUAL7)CURATORSMSLL/MEMBERS/CURATORS1.FOLDERCONTAININGORIGINALPROJECTPLANFORLENDINGLIBRARYONMOORESTREET.CONTAININGCDsWITHIMAGES,ORIGINALPHOTOGRAPHS,MESSAGESANDNOTESFROMLIBRARYSPACE.DESPERATE OPTIMISTSMSLL/MEMBERS/DESP1.DESPERATEOPTIMISTSARTISTS’INFORMATION(SEEALSO,MSLL/AUDIO/VISUAL3.DVDOFFILM:‘CIVICLIFE’MOORESTREETGOGAN, SUSANMSLL/MEMBERS/GOGA1.ARTIST’SPROPOSAL,CDROMOFIMAGESANDARTISTSCVMSLL/MEMBERS/GOGA2.EMAIL:BIBLIOGRAPHICALREFERENCESMSLL/MEMBERS/GOGA3.ARTIST’SSTATEMENTGREAVU, SARAMSLL.MEMBERS/GREA1.NABUACHAILLÍBÁNA1MSLL/MEMBERS/GREA2.NABUACHAILLÍBÁNA2HEALY, AMANDAMSLL/MEMBERS/HEAL1.ARTIST’SPROPOSALMSLL/MEMBERS/HEAL2.RESEARCHFILECONTAININGVARIOUSDOCUMENTATIONOFMOORESTREETHISTORIESMSLL/MEMBERS/HEAL3.13:1LOOSELEAFPUBLICATION:AUTHORMSLL/MEMBERS/HEAL4.‘SAFE’THEPROLIFERATIONOFGATEDCOMMUNITIESINDUBLINCITY:AUTHORMSLL/MEMBERS/HEAL5.FLYERPROMOTINGSCREENINGSWHICHTOOKPLACEOVERTHREEWEEKSINMSLL(SEEALSO:MSLL/AUDIOVISUALINDEXCARDFORSCREENINGCONTENT)JEWESBURY, DANIELMSLL/MEMBERS/JEWE1.CDROMWITHARTIST’SCV,BIOGANDARCHIVEOFIMAGESKENNY, SARAHMSLL.MEMBERS/KENN1.ARTIST’SPROPOSALMSLL.MEMBERS/KENN2.ARTIST’SCVLOUGHRAN, GLENNMSLL/MEMBERS/LOUG1.ARTISTSPROPOSALMSLL/MEMBERS/LOUG2.POSTCARDDEPICTINGIMAGEOFROSIEJOHNSON:THEFIRSTQUEENOFMOORESTREET.‘GROUPFIDELITY’(GLENNLOUGHRANANDEMERO’BOYLE)-AWORKINGRESEARCHGROUPBASEDINTHEMOORESTREETLENDINGLIBRARY-DISTRIBUTEDTHEPOSTCARDSAMONGLOCALTRADERSTONOMINATECANDIDATESFORAMOORESTREETTRADERSPAGEANT(SEEALSO,DOCUMENTATIONINMSLLPUBLICATIONANDNATIONWIDETELEVISIONPROGRAMME,RTE,SCREENEDIN2005)MAGEE, ALANMSLL/MEMBERS/MAGE1.ARTIST’SPROPOSALMARTIN, EAMONMSLL/MEMBERS/MART1.PERSONALPHOTOGRAPHALBUMDOCUMENTINGMARTIN’SBUTCHERSAT55MOORESTREETSINCE1937.SOMEPAGESHAVEBEEN

6MOORESTREETLENDINGLIBRARYINDEX

SCANNEDASDIGITALIMAGES(ALBUMINPOSSESSIONOFEAMONMARTIN)MSLL/MEMBERS/MART2.AUDIOCASSETTETAPESDOCUMENTINGDAILYBUSINESSINMARTIN’SBUTCHERS(SEEALSOMSLL/AUDIOVISUALINDEXCARDNO.5)METROPOLITAN COMPLEXMSLL/MEMBERS/METR1.PAPERNO.5(DOWNLOADEDFROMWEBSITE:WWW.THEMETROPOLITANCOMPLEX.COM)MSLL/MEMBERS/METR2.PAPERNO.1(DOWNLOADEDFROMWEBSITE:WWW.THEMETROPOLITANCOMPLEX.COM)MSLL/MEMBERS/METR3.PAPERNO.7(DOWNLOADEDFROMWEBSITE:WWW.THEMETROPOLITANCOMPLEX.COM)MSLL/MEMBERS/METR4.PAPERNO.11(HARDCOPY–CONVERSATIONWHICHTOOKPLACEINTHEMOORESTREETLENDINGLIBRARYBETWEEN,SARAHPIERCE,SALLYTIMMONS,KENMC’CUE,JESSEJONESANDWESWILKE)MCELLIGOTT, MAEVEMSLL/MEMBERS/MCEL1.ARTIST’SCVANDSTATEMENT(SEEALSOMSLL/MEMBERS/MO&MCINDEXCARD)MCELLIGOTT,MAEVE-MORLEY,MEGSMSLL/MEMBERS/MO&MC1.EIGHTPOLAROIDPHOTOGRAPHSOFARTWORKSONMOORESTREETMSLL/MEMBERS/MO&MC2.CDROMWITHPHOTOGRAPHSMSLL/MEMBERS/MO&MC3.STENCILOF‘MOORESTREETLENDINGLIBRARY’MANDARINSCRIPTSIGNMSLL/MEMBERS/MO&MC4.ENVELOPECONTAININGCDROMWITHPHOTOGRAPHICDOCUMENTATIONOFPROJECTONMOORESTREET(WITHLETTERTOSALLYTIMMONS)SLOAN, LOUISAMSLL/MEMBERS/SLOA1.ARTIST’SPROPOSALMSLL/MEMBERS/SLOA2.DOCUMENTATIONOF‘RROLLING’PRACTICESESSION/DATERECORDED5/10/2005,TIMERECORDED8AM–8.30AMMSLL/MEMBERS/SLOA3.THETRILLED‘R’ANDTHEGENETICSITRODEINONMSLL/MEMBERS/SLOA4.TIPSFORROLLING(ANDPRONOUNCING)THESPANISH‘R’AND‘RR’MSLL/MEMBERS/SLOA5.TRILLCONSONANTMSLL/MEMBERS/SLOA6.ALVEOLARTRILLMSLL/MEMBERS/SLOA7.BILABIALTRILLMSLL/MEMBERS/SLOA8.CDROMWITHDOCUMENTATIONOF‘R’ROLLINGPROJECT,BROADCASTFROMTHEMOORESTREETLENDINGLIBRARY,OCTOBER2005.SANKEY, KATHERINEMSLL/MEMBERS/SANK1.ARTIST’SPROPOSALMSLL/MEMBERS/SANK2.CVANDDOCUMENTATIONOFPREVIOUSWORK(SEEALSO:MSLL/MEMBERS/CURATORSINDEXCARDFORDOCUMENTATIONIMAGESOFVIDEOPROJECTIONONMOORESTREET)TIMMONS, SALLY - CLARKE, DEARBHLAMSLL/MEMBERS/TIMCLAR1.NOTESANDDESIGNSFORSIGNSONMOORESTREET.PROPOSEDRE-DESIGNOFGENEVIVEKEARINSCHIROPODYCLINICSIGNSATNO.55MOORESTREET.WALSH, CIARANMSLL/MEMBERS/WALS1.HANDDRAWNANDWRITTENPROPOSAL‘PROPOSEDMOORESTREETAGORA,INRELATIONTOEXISTINGPARKSANDMAINRETAILAREA,30/9/05’(SEEALSO:MSLL/MEMBERS/CURATORSINDEXCARDFORDOCUMENTATIONIMAGESOFMODELASSEMBLYINMOORESTREETLENDINGLIBRARYSPACE)

ORGANISATIONS/BUSINESS DIRECTORY:

MSLL/ORGANISATIONS/INSTITUTIONS/BUSINESSES1.BUSINESSDIRECTORYOFMOORESTREET(BOUNDIMAGEDIRECTORYCOMPILEDBYSANDRAGROZDANIC)

PRESS:

MSLL/PRESS1.VARIOUSNEWSITEMS:a)THEMOORESOFMOORESTREETANDOTHERS(TWOHUNDREDYEARSAGOANDLESS),CITYTIMES,VOL3,JUNE1991b)MOORESTREETDECLINEANDFALL?13/8/1974c)THELASTSADDAYSOFAFLEAMARKETd)FROMMOORESTREETTOTHEGREEN(NEWPLACES)e)MOORESTREET,FRANCISDRAKEDRAWINGS,THEIRISHTIMES,DECEMBER28TH,1972f)BIGNEWPLANFORMOORESTREETAREA,OFFERSTOPROPERTYOWNERSg)HOWMOORESTREETPROJECTWILLLOOKWHENCOMPLETED.MSLL/PRESS2.TENDERSFORMASSIVEMOORESTREETPROJECTMUSTBEINBYMAY25TH(16/5/1973)MSLL/PRESS3.MOORESTREETMARKET,PATLIDDY,4THSEPTEMBER1995(2COPIES)MSLL/PRESS4.VARIOUSNEWSITEMS:a)DUBLINSMOSTFORGOTTENSTREET(‘TATTYIMAGERUINSTHECITY’SFAIREST)b)MOORESTREETPLANSPATHETICc)TRADERSPLEADWITHQUINNTOSAVEMOORESTREETMSLL/PRESS5.VARIOUSNEWSITEMS:a)MOORESTREET,GOOD,BAD,ORINDIFFERENT?JANUARY1973b)TIMESPAST,FAMOUSMARKETDROPSANOLDCUSTOMc)FRUITYFACEFORFIESTA21/4/1993IRISHTIMESMSLL/PRESS6.VARIOUSNEWSITEMS:a)DISCOVERINGTHENATIONALMUSEUM,MAIREADREYNOLDS,DECEMBER17TH1982b)MOORESTREETTRADERSUNHAPPY,ELGYGILLESPIE,DECEMBER1ST1982c)PLANSTODEVELOPMOORESTREETMSLL/PRESS7.SOMETIMESSHELTERISONLYCOMFORT…(PHOTOGRAPH)DONALDOHERTYMSLL/PRESS8.VARIOUSNEWSITEMS:a)MOORESTREETSCHEMEINPLANNINGCRUX?b)ILACCENTREPURCHASESWILLBENEFITPUBLICMSLL/PRESS9.STUDENTSAREANGRYOVERRAGINGOFMOORESTREET.KEVINMOORE,IRISHINDEPENDENT,FRIDAY,MAY2ND.MSLL/PRESS10.VARIOUSNEWSITEMS:a)MAJORBRITISHCHAINSFAILTOWINSPACEINNEWILACCENTRE,DAVIDPATE1/11/1981b)£20MSCHEMEFORDUBLINCENTREMSLL/PRESS11.VARIOUSNEWSITEMS:a)FACELIFTBOOSTFORCITYCENTRE7/8/1992b)PROPERTYPLANDECISIONSOON16/2/1974c)ADVERTFORAUCTIONOF‘SHEILS’8/9MOORESTREET,DUBLIN1MSLL/PRESS12.BATTLEFIELDIRELAND,IRELAND’STOPTENHERITAGEBATTLES,WILLIAMHEDERMAN,VILLAGE20–26MAY2005MSLL/PRESS13.O’RAHILLYMEMORIALUNVEILLEDINDUBLIN,ALISONHEALYMSLL/PRESS14.1916MEMORIAL:PLAQUETOBEUNVEILEDTOTHEO’RAHILLY,KILLEDINTHEEASTERRISING,ALISONHEALYMSLL/PRESS15.FRINGEHIGHFLYERTAKESTHEPLUNGE,BELINDAMCKEON,AUGUST9TH,2005.THEIRISHTIMESMSLL/PRESS16.HISTORICMOORESTREETHOUSEMAYHAVEBEENRE-NUMBERED.COUNCILTIMO’BRIENANDRUADHANMACEOIN,AUGUST24,2005,THEIRISHTIMESMSLL/PRESS17.NURSE’SGRIPPINGSTORYPROMPTSMINISTERTOSAVE‘RISING’SLASTSTAND’,TRACYHOGAN,25THAUGUST2005,IRISHINDEPENDENTMSLL/PRESS18.COUNCILSEEKSADVICEOVER1916HOUSE,JAMESFITZGERALD,AUGUST22,2005,THEIRISHTIMESMSLL/PRESS19.MOREORLESSMOORESTREETBYRINOBREEBAART,9FEBRUARY2005,POPMATTERS,COLUMNS(2COPIES)MSLL/PRESS20.TROUBLEDTIMESFORTRADITIONALTRADERSONMOORESTREET,ROSEDOYLE,THEIRISHTIMES13/7/2005(2COPIES)MSLL/PRESS21.TAOISEACHOPENSJURYSINNHOTELONMOORESTREET,28OCTOBER2004,DUBLINBUSINESSASSOCIATION(2COPIES)MSLL/PRESS22.PRESSRELEASES:BRITISHLANDSUBSIDARIESPROFITFROMILACCENTRESALE30/8/2005.

BRITISHLANDMSLL/PRESS23.PATRICKGEDDES–MAKEROFTHEFUTURE,KENMCCUE,THEVISUALARTISTSNEWSSHEET,JAN/FEB2004,MSLL/PRESS24.3XPROMOTIONALREVIEWSOFTHEMOORESTREETLENDINGLIBRARY:a)EVENTGUIDE21/9/2005b)IRISHTIMESOCT2005c)VISUALARTISTSNEWSSHEET,NOV/DEC2005

URBAN PLANNING:

MSLL/URBANPLANNING1.MOORESTREET:AREPORT,PUBLISHEDBYSCHOOLOFARCHITECTURE,UCD1974(2COPIES)MSLL/URBANPLANNING2.DCCPLANNINGAPPLICATIONSADDITIONALINFORMATIONREFNO.5950/04MSLL/URBANPLANNING3.STREETMAPS,PLAN1AND2MSLL/URBANPLANNING4.‘LOMBARD’ESTATEAGENTBROCHUREMSLL/URBANPLANNING5.BUILD,VOL10,NO.12,JUNE1974MSLL/URBANPLANNING6.MOORESTREETDEVELOPMENTPLAN,BUILDINGANDCONTRACTJOURNAL,NOVEMBER23,1972MSLL/URBANPLANNING7.IRISHARCHITECTURALARCHIVE,STREETPHOTOGRAPHSMSLL/URBANPLANNING8.ARCHITECTURALMODELS–NEWDEVELOPMENTS,UNREALISEDMSLL/URBANPLANNING9.MOORESTREETRE-DEVELOPMENT–IRISHLIFEASSURANCECOMPANYLTD,(REPORT)MSLL/URBANPLANNING10.TENDERFORTHERE-DEVELOPMENTOFTHEMOORESTREETCHAPELLANEAREAMSLL/URBANPLANNING11.CORPORATIONOFDUBLIN,MOORESTREET/CHAPELLANEAREA,BRIEFFORRE-DEVELOPMENT,NOV1972MSLL/URBANPLANNING12.PROPOSEDELEVATION–MOORESTREET.ASTONDALECONSTRUCTIONLTDMSLL/URBANPLANNING13.URBANPLACEMAP,ORDNANCESURVEYIRELAND

Index /contd.

‘The city teaches us the arts, techniques, and the tactics of living in the present.’1

Inrecenttheorisingofurbanculture,experienceandrepresentation,BenHighmoreandJamesDonaldsuggestwayswemightread,addressoranalysethecity.DrawingonBaudelaireanmodernity,theurbansociologyofSimmelandhisstudentsKracauerandBenjaminandtheanalysesofLefebvreamongstothers,theyargueforaconsiderationofboththephysicalandimaginarycityingrapplingwiththecomplexitiesoftheurban.Highmorepositsamethodologicalapproachtothecityandurbanexperiencebyarguingfor“treatingculturaltextsnotastextsrequiringanalysisbutasanalytictexts”2themselveswhichcanmakesenseof,produceamapof,thecity.Deployingcriticalinsightsfromurbangeographyandsociology,ethnographicmodesofanalysisandculturalstudies,Highmoreemphasises“theinextricableconvergenceoftheimaginationandhardfacticityofurbanlife”3throughLefebvre’ssimultaneousdoubleregisteringofthe‘representationalspace’whereexperienceandrepresentationcannotbeproductivelyseparatedout.ForLefebvre,representationissimultaneouslysymbolicandpracticalactivitywherethosewhohavethesocialandeconomicpowertogenerateandproducespace[representationsofspace]suchaslocalcitymanagers,urbanplanners,architects,etc.asagainstthosewhohavefarfewerresources[spacesofrepresentation]allconstituteastruggleoverandwithinspace.Lefebvrearguesthatdirectlivedexperienceisalwayspenetratedbysymbolsandimages.Representationalspaceis“thedominated–andhencepassivelyexperienced–spacewhichtheimaginationseekstochangeandappropriate.Itoverlaysphysicalspacemakingsymbolicuseofitsobjects”.4Itisconsequentlyonthesideoftheotherandislinkedtotheclandestineandunderground.ForLefebvre,thesymbolicisalwaysatthesametimepracticalphysicaluse.

Similarly,JamesDonaldoffersapointofdepartureandarguesourexperienceofthecityismediatedthroughrepresentationsofthecitysomuchsothathecontendsthenotionofthe“urbanimaginary”.Hearguesthatrepresentationofthecity(inallitsforms)literallyteachesushowtoseethecityand how to make sense of it. “It defines”, he says “theco-ordinatesforourimaginativemappingofurbanspace”.5ForDonald,theroleofthecityasrepresentation,thecityasathingandasastateofmindallproduceablurringoftheboundariesbetweentherealandtheimaginedcity.“Itistruethatwhatweexperienceisnevertherealcity,‘thethingitself’.Itisalsotruethattheeverydayrealityofthecityisalwaysaspacealreadyconstitutedandstructuredbysymbolicmechanisms”.6AnotherpertinentaspectofthediscourseofthemoderncityiselaboratedbyRobertParksinthemappingofclassandethnicdifferenceontothegeographyofthecitywhichDonaldfurtherpointstointheconstructionthecityasarchive.Hearguesthereisadialecticatworkwherethecityoftheimaginationandtheexperienceofthecitymutuallyshapeandinformeachotherandaremediatedbythisarchivecitywiththeexperiential

andimmediacyoftheurbanmediatedthroughthepedagogicsandaestheticsofthecity.

Inthiscontext,thequestion‘whatisMooreStreet?’or‘whatdoesMooreStreetmean?’hasnooneanswer.ItisanurbanphysicalspacewhosefunctionisinseparablefromthenetworkofspacesthatmakeupthecityofDublin,acityundergoingrapid‘regeneration’.Itistheresidueandtraceofhistoricaldevelopmentsinurbanplanninganddesignanditistheproductoftheinstitutionsandsocialinteractionsthatbindacitytogether.Itisatheatreofsounds,sightsandsmells,voices,visualandauraldistractionscharacteristicoftheinformalcommerceand economy that it exemplifies. Depending on the particulardiscursiveframeinwhichitisrepresented,itconstitutesa‘problem’fortownplannersandmanagers as it clogs the smooth flow of bodies and hencecommercialactivityinitslackofconformitytoregulationandobduracytomanagement,oran‘obstacle’tomultinationalretailconglomeratesanddeveloperswhoundoubtedlyviewitaprimerealestatesitefortheirencroachingenterprises.Itisa‘siteofresistance’forlocalactivists,historicalconservationistsandthetraderswhohavemountedandcontinuetomountcampaignsagainsttheseforcesof‘modernisation’and‘regeneration’.Anditisaspaceusedandpracticed,madeandremadebyitsinhabitants,traders,theirclientsandthosewhoconsumeitastouristicexperienceandspectacle.Anditismorethanallofthese.

Ofallthepartsofthecity,MooreStreethasbeensothoroughlymythologisedastherepositoryof authentic community, that it seems difficult todisentangleitfromhowweimaginethecityandconsequentlyhowweconceive,useorreadthecity.Throughpopularsongandfolkmemory,lore,literatureandhistoricalaccounts,cinematicnarrativesandtelevisiondocumentaries,calendars,brochures,postcards,thestreethasbecomeanoverdetermined signifier for the city. It functions in establishingarelationbetweenidentityandplace,bindingthemtogetherinwhatDerridareferstoasontopology.

Thevisualrepresentationofthestreethas,inmore recent times, become a trope that figures it as a metonymforthe‘new’Irelandoftheso-calledCelticTigereconomy.Thetransformationsundergoneoverthelastdecadeinitscommunitiesofresidents,users,tradersandcustomersmarkashiftinhowtheimageofMooreStreetrepresentsthemodernglobalisedcityofethnicdiversityanddifference.ThepresenceofmigrantcommunitiesfromEasternandSouthEasternEurope,SouthandEastAsiaandSub-SaharanWestAfricaastradersandclientsofthestreet’svariousretailoutlets,andtheplanstomoderniseandconvertthestreetaspartofawiderurban‘regeneration’processinthenorthinnercitymakeitarelativelydynamicbutunstablesite.

Thevalencyofthestreetasmetonymisrepresentedintwoexamplesthatmarkintimethisshift.SéMerryDoyle’sdocumentary“AliveAliveO:ARequiemforMooreStreet”(1999),locatesthestreetintermsofthestruggleofthewomentraderstomaintaintheirrighttotradeintheareathroughthe1980sand1990s.7Clearlyexceedingtheliteraldenominationofastreet,itelaboratesitthroughwiderissuessuchastheravagesofheroinabuseinnorthinnercitycommunities,thedocklands

redevelopmentandtheopeningoftheIrishFinancialServicesCentre.Alternatingbetweenarchivalphotographs,contemporaryfootage,interviewswithprotagonistsinsituandtheevocativesingingofFrankHarte,itsaestheticreliesonconventionaldocumentarystructureswithpoeticinterludeswhosetoneshuttlesbetweentheelegiacandthenostalgic.Itmovesbetweenthesewithoutbeingsentimental,resistingatsomelevelitsrecuperationintotheDublinofthe‘rare‘oultimes’,animagewhichhasbeendominantintheheritageandtouristindustries.Asanhistoricaltext,itperformsa significant memory-work against the erasures of traditionalculturalandsocio-economicactivitywroughtbyDublinCorporationpolicyanditseffortsto‘modernise’andtheforcesofnationalandinternationalcapital.

Incontrastwiththis,Iwanttorefertothetelevisionadvertisementproducedthreeyearsagowhichevidencesthe‘new’Irelandrepresentedthrough a commodification of ethnic difference. InacampaignforJacobs’‘ThaiBitesCrackers’,twotouristsareonholidaysinThailandeatingsaidsnacksbutintheirnavigationofthecity,theirverbalinteractionwiththenativeThaisisastartling[butreassuring]encounter,astheyturntothevisitorstoexchangebanterwithaDublininnercityaccent–clearlyreferringtotheMooreStreet‘experience’.8Thiswasaccompaniedbythetext“AuthenticThaiWith An Irish Accent”. The accent on ‘flavour’ and thealimentaryasmarkersofethnicdifferencebutadifferencethatisdomesticatedandnon-threatening,isamediationthatistouristicinitsmodeofconsumption.Thiscampaignwassymptomaticofthekindsoftransformationsthatthestreethadundergoneatthelevelofrepresentation.Itcouldalsobereadassuggesting,ascontemporarytheoristsofthecityandurbanexperienceargue,thatthecitycannotbeanalysedapartfromthemassiveupheavalwroughtbyglobalrestructuringwithitsgeographiesofpower:“[a]saconsequence,urbanisationhascometomeaninthiscontext,thespatialcomponentofsocialchangeratherthansimplytheformation,transformation,anddevelopmentofcities”.9

Further,therepresentationofthestreetcirculatesinexistingvisualarchivesinaglobalcontext.Theinformalarchivalformationsoftheweb-basedserviceFlickrrepresenttheprocessesofglobalisationthroughtherealtimecommunicationandtheintensification of travel and its tourist gaze. This shiftisdiscernableinacursorysurveyofitsvisualrepresentationsacrossthesite.TextsandcommentsaccompanyingthephotosvariouslycompareittoChinatownandNewYork“…withsomanydifferentnationalitiesandshops”;surpriseatthechangesisrecorded:“YesthisisDublin(MooreStreet)”;aswellasacomparisonwithastreetmarketinAsia:“Beckypondersoversomespices.MooreStreetNepal”.Whiletheseimageareunremarkable,indeedthey are the tourist gaze manifest in cliché form, thispreciselymarksthemoutasthegroundofcommonsensearoundthinkingandimaginingMooreStreet.10Theyoperatewithinatouristicdiscoursewhichisreproducedthroughbrochures,websitesand guides to the city. Significantly these kinds ofimagesareregularlyusedinthepublicityandpromotionalmaterialsofNGOs,governmentalandstate-sponsoredbodiesrepresentingissuesaround

TEXT: McCABEINDEX MOORESTREETLENDINGLIBRARY7

“Cities belong to no-one in particular...” dislocating and relocating Moore Street

Martin McCabe

8MOORESTREETLENDINGLIBRARYINDEX TEXT: McCABE

‘multiculturalism’,migration,humanrights,etc.Inthesecontexts,theimageofthestreetisavisual-ideological construct now officially framed within thenowstate-sanctioneddiscourseofdiversityandmulticulturalism.

ThisneedstobeconsideredaspartofawiderglobalbrandingofIrelandInc.signallingitatolerant,cosmopolitanandglobalisedsociety.Notwithstandingthe‘enforcedrepatriations’andmismanagementofmigration,thestateisnowshowingsigns,intermsofpolicy,ofprioritisingtheeconomicimperative.Thisshouldnotbeunderestimated,asinwardinvestmentandeconomicgrowtharenowseenascruciallycontingentontheRepublic’saccommodationofdiverselanguageandethniccommunities.ItisthesecommunitiesthatmakeupthereservemigrantlabourforceservicingthekindsofindustriesredolentoftheglobalisedIrisheconomy.11 It seems difficult then to separate this traffic in images, their circulation and use from its politicaleconomicorsocio-culturalcontextsbutitisclearthattherepresentationofthestreetisasiteforcontestandstruggle.Burdenedwithrepresentationswhosemotivesandinterestsarefragmentary,discontinuousandcontradictory,the‘reality’andmeaningsofthestreetareoverdeterminedbyitssymbolicvalueanditsmetonymicstatus.

Relatedbutinadifferentcontext,thestreetconstituteswhatMaryLouisePrattcalls,inhertheorising of transculturation, a “contact zone” or“socialspaceswhereculturesmeet,clash,andgrapplewitheachother”.12Thesearesitesofcontestation,exchangeandrecombination,wherehybridityandtransculturationareexperiencednegotiated and lived. The significance of the street is “spaceasapracticedplace”.

Moore Street: the MovieInlate2005,desperateoptimistscompletedaseriesof short films entitled ‘Civic Life’.13Thematically,thisseriesexploresurbanexistenceandsocialrelations,thenotionofcommunityandleisuretime.AccordingtoSukdhevSandhu,whatisproposedintheseriesisamodelofciviclifethatisneitherutopianordystopia,butanunfoldingdrama,aprocess“ideallyanunceasingconversation–afractious,whimsical badly translated audio-flow – rather thanastaticthingwhosecontoursornaturecanbetakenasagiven”.14‘CivicLife’asaseriesisthena self-conscious reflection on the republican polis, the city as agon with its notion of the citizen as its politicalandsocialactor,andthelivedcityspaceasits determining horizon.

MooreStreetisoneinthisseries.Shotinonesingle take lasting five and a half minutes, it takes placeinsaidlocationwiththeprotagonist,anamelessyoungAfricanwoman,makingherwayuptheemptystreetindarkofnightforsomesortof rendezvous.15Thestreetisde-familiarisedbyitssettingandisemptiedofallbutthedetritusandremnantsoftheearlierday’sbusiness.Againstthearchiveofexistingdominantimagesofthestreet,thecontrastisclear.Thebusymarketwithitsenergyandactivity,thechatter,calls,slagging,appealsanddeal-makingwiththerobustandcausticwitforwhichDublinstreet-sellersarefamousarereplacedwithaquiet, dark, evacuated streetscape. The lone figure navigatesherwaywithouttoomuchurgency.Thisstartlingimageappearsastrategicabnegationasitrelieves itself of the exoticising reflex of mainstream mediarepresentations.Usingtheavailablestreetlighting,themise-en-sceneandtheuseofthesteadicamglidingeffortlesslyoverthecobbled

pavingofthestreetsummonanatmosphereofpotentialthreat,albeitambiguously.However,suchconnotationsareshort-circuitedbywhatseemstobetherelativeeaseandcomfortthatthislonewomandisplays.Onawet,darknightshefeelscomfortableenoughtowaitaround,toletherhairdownandcheckhermake-upinastore-frontmirror.Clearlyshehasmadethestreetherown.

Theprotagonist’sinternalmonologueintheformofavoiceoverishushedandwhispered,suggestinganintimacywhichisborneoutinitscontents.SpokeninSwahili,andtranslatedintoDublin-accentedEnglish,ittakestheepistolaryformofaloveletteraddressedtoanabsentintimate.Thusmigrantsubjectpositionisarticulatedaroundthetensionofpresenceandabsence–“ifyouwerehere”–andseparationfromtheother,throughdistanceanddislocation.Walkinginthecity,itisthesmellofthemarket,theintoxicatingandsensuousaspectsofurbanexperiencethatserveasamnemonicforherloverandheroldhome.Hernewhomehoweverisoneshotthroughwithambivalence.Whilesheeven“soundslikealocal”,shesees“advantagestobeinganoutsider”andinsistentlyvoicesasuspicionaround“belonging”andsaysthat“citiesbelongtonooneinparticular”.Shesensesin‘belonging’astasisandnostalgiathatistroubling.Establishingarelationshipbetweenplaceandidentityhasbeenpartoflocalpoliticalstrugglesagainsttheforcesoftransnationalcapitalasmuchasithasbeenaxenophobicresponse.Theprotagonistrecognisestherisksinvolvedinsucha drive to fix the meanings of places, or as Doreen Masseyargues“toencloseanddefendthem;[they]construct singular, fixed and static identities for places,andtheyinterpretplacesasboundedenclosedspaces defined through counter position against the Otherwhoisoutside”.16

Hercommitmenttothecityisconditionalandnegotiated.Shedoes‘belong’butonherterms.She embodies how Donald figures the metropolis as“theconceptuallocationofasplitbetweenthesubjectivecultureandobjectivecultureproducedbymoneyeconomyandthedivisionoflabour”17ashernoctambulationsaffordheralevelofinvisiblityandallowherasshesays“togetonwithherlife”butalsopracticethe‘willtocommunity’whichurbanculturesenable.Sheispartofacommunitybutitisnot one fixed by geography or place. It is the survival strategyofthemigrant.

Themise-en-scenefunctionslikeaninterspacewhichthenarratormovesthroughlinguistically,psychicallyandphysically;itdoessobydefamiliarisingthedominantandreceivedimageofthestreettostartlingeffect.ItdoesnoterasethearchiveofMooreStreet’srepresentationbutitdoesrefusethedominantmediarepresentationanditsuseinservingadepoliticisedstate-friendlymulticulturalistdiscourse.ThearticulationofthemigrantsubjectpositiongoessomewaytodemythologisingMooreStreetbyvoicinganambivalenceandresistancetothedomestic,thenationalandthehomely,throughthespatialpracticesofthesubaltern,inasitethatisburdenedwithmeaning, symbolism and history. The film dislocates MooreStreetandrelocatesitinapresentthatspeaksbacktothishistorywithnewunfoldingpossibilities.

Notes1.JamesDonald,1999,ImaginingtheModernCity,Minneapolis:Minnesota,p.72.BenHighmore,2005,Cityscapes:culturalreadingsinthematerialandsymboliccity,Basingstoke:Palgrave,p.xiii3.Highmore,p.864.HenriLefebvre,1991,TheProductionofSpace,Oxford:Blackwell,p.395.Donald,p.26.Donald,p.87.AliveAliveO:ARequiemforMooreStreet,dir.SéMerryDoyle,1999,Dublin:LooplineProductions.ThiswasshownaspartofAmandaHealy’sprogrammeofscreeningsfortheMooreStreetLendingLibrary.(seeHealy,Amanda)8.ThiscampaignwasproducedfortheBritishmarketandtheversionbroadcastinIrelandwasalocalisedone.Notsurprisinglybutworthmentioningasitisgermanetothisdiscussion,theaccentsforthisoriginalversionwereCockney,reinforcingtotheauthenticLondon‘native’throughaccentalone.Seehttp://www.visit4info.com/static/advertiser_pages/JacobsThaiBitesCrackers.cfm?return_page=com_j.cfm9.MiwonKwon,1995,‘ImaginganImpossibleWorldPicture’inStanAllenwithKyongPark,eds.,SitesandStations:ProvisionalUtopias;ArchitectureandUtopiaintheContemporaryCity(Lusitania#7)NewYork:Lusitania,p.7810.WhilstmostoftheimagesonFlickrcanbecategorisedinthismanner,therearesomethatfocusonthepoliticalhistorical significance of the street, in particular around the preservationofNo.16,MooreStreet,whichwaswheretheleadersof1916decidedtosurrender.11.Inlate2006,Googleannounced500newjobsinDublinforthenewyear.Thesewillpredominantlybeintheinternationalcustomerservicesareawherethefacilitiesarelinguisticallydivided.Intheaccompanyingpressinterviews,aspokespersonforGooglewentsofarastocallIreland“theEllisIslandofthe21stCentury”.seehttp://www.entemp.ie/press/2006/20061115c.htm12.MaryLouisePratt,1999,‘ArtsoftheContactZone’inDavidBartholomaeandAnthonyPetrosky,eds.,WaysofReading:AnAnthologyforWriters,Boston:St.Martin’s,p.584.IamindebtedtoDr.AineO’Brienforbringingthisreferencetomyattention.13.desperateoptimists,2006,CivicLifeASeriesofSevenShortFilmsbyChristineMolloyandJoeLawlor,London:ArtsCouncilofEngland.Formoreinformationseewebsitewww.desperateoptimists.com.(seedesperateoptimists)14.SukdhevSandhu,2006,‘OnceOurBeerWasFrothy:CivicLifeandNostalgia’inCivicLife,p.2315.MooreStreetwasoriginallycommissionedbyValConnortorepresent,alongwithStephenLoughmanandDennisMcNulty,Irelandatthe2005SaoPaoloBiennaleandwasoriginallyshownasashortbeforeafeatureincinemasinSaoPaolo.16.DoreenMassey,1992,‘APlaceCalledHome?’inNewFormations17,Summer,p.1217.Donald,p.10

Ratherthanproduceaself-congratulatorytextindefenceofourprojectorTheMooreStreetLendingLibrary,thegrouppreferstooutlinesomeofthequestionsposedbytheproject:

What are the skills that artists need in order to fully engage in popular experimentation in the social field?

Does the artist find common ground with participants in such popular expressions or is separation necessary?

What sort of division is fundamental for the development of global capital itself, and do artists feed those divisions?

Is it possible that, due to their temporary nature, such interventions never realise their potential for engagement with the issues at the heart of such projects?

What is the potential of artistic/political fidelity to such interventions?

Group Fidelity

GROUP – HEALY INDEX MOORESTREETLENDINGLIBRARY9

Healy, AmandaH

AmandaHealy’sscreeningsforMooreStreetLendingLibrarywerearesponsetothevisualhistoryofMooreStreet.Thefreescreeningsofthreedocumentaries,ashortfilm and a film montage took place in two venues, the Libraryitselfandthecentralpubliclibrary,locatednextdoortoMooreStreet,intheILACshoppingcentre.

ThescreeningsasaneventencouragedpeopletoparticipateintheLibraryanddeveloprelationshipswiththeparticipatingartists,andalsogainaninsightintotheculturalterrainthattheLibrarywishedactivelytomap.ThescreeningsstimulatedunexpecteddebatesexploringtheroleandpositionoftheparticipantsinMooreStreetLendingLibrary

MichealRyan

Filmsscreened:CivicLife(desperateoptimists)TheStreet(LiamNolan)LookingOn(SéMerryDoyle)MooreSt.Montage(assembledfromtheIFIarchives,withthankstoSunnivaO’Flynn)

Group FidelityareGlennLoughran,EmerO’Boyle,CicaMoraes,RaulArojo,

10MOORESTREETLENDINGLIBRARYINDEX INDYMEDIA

IndymediaI

ReviewofSarahKenny’sworkinMooreStreetLendingLibrarybyHarasYnnek

Kenny’sworkis,inonesurmisingword,‘juvenile’;thatisprobablythekindestthingthatcanbesaidaboutthechildishmini-theatreswhichshehadinstalledonthestairwayleadinguptheLendingLibrary.InthecontextofothermorecerebralartistsMsKennyisveryoutofsynchwithwhathercontemporariesareupto.Sheseemstobestuckinsome nostalgia-influenced type of visual narrative, theimagesareliteral,thereisnobroadhinted-atconceptbehindthem.ItreallyseemsthatwhilstKennyasanartistishavingfunwiththework,sheishavingperhapstoomuchfun:whereisthemisery?Artcan’tallbeaboutfun,therehastobesomeevidencethattheartistwentthroughsomesortofmentalpainandsuffferingtoarriveattheirconclusions.Shemightbewelladvisedtotakeupdécoupageasaleisurelyhobby,andleave‘thinkingart’tothethinkingartist!

Images:laserprintonboard,20cmx12cm.

Kenny, SarahJK

KENNYINDEX MOORESTREETLENDINGLIBRARY11

UrbanIntervention

The‘MooreStreetLendingLibrary’signinMandarinChinesewaserectedasanurbaninterventionintoMooreSt.Thesignwasanalmostunnoticeablealterationtotheeverydaylifeofthestreet,andproposedthecreationofaninvisiblenetwork.Thesignbravedtheotherwiseever-controlledpublicspaceofDublincity.Urbanenvironmentsareforeverchanging,howeverboththeproblematicdisappearanceofpublicspace,andfreedomofmovement,areurgentproblemswithinthisspace.Asignissimplyanindicatortoaplacebuttheactofmakinganderectingitcanbethoughtofassociallyhelpfulorautilitariancivicduty.

AlaminatesignofaspaceshipwasalsoinstalledonabuildingsiteonMooreSt.Thesignwasapunonpublicspaceandperhapswhatlandsthere:aconcretemassofurbanrenewal.

Theseactsarenottofunctionastemplatesofstrategiesforpublicspace,butrathertoexaminethefreedomoftheindividualinpublicspace,andtheinterestsoftheauthoritiestoregulateandcontrolpublicorder.Thiswasnotananarchistactionbutanattempttohighlightsomeoftheseconcerns.Whatare my responsibilities as a citizen in the urban environmentandwhatare‘our’rightswithinpublicspace?

WhichleavesmewonderingifanyofthishadaninputintothelifeofMooreStandit’sinhabitants?Twomonthsaftererectingthespaceshipsign,thewords‘themothership’werescrawledunderneathit.Others,makingtheworksomewhatmorerelevanttothemandthecommunityofMooreStreet,hadalteredandclaimedthesign.

McElligott, MaeveMc12MOORESTREETLENDINGLIBRARY INDEX McELLIGOTT

Interviews:June13th2006

SecurityGuard,IlacShoppingCentre

How‘reyoudoing.I’mjustgivingyouarundownonmyopinionofthesculptureoutsidetheMooreStreetdoors...Therewasthingslikepeoplecomingincrackingjokesaboutthefellagoingtojumpoffthesideofthebuilding.Thingslikethat,whichwasabitofcraicandgaveabitofkicktotheplace.Ehm,therewasactuallytimeswhenthesecurityhadtorunsomeyoungladsawayfromit,theystoneditwithapplesandoranges.Hehheh.Wegotthecraicgoing.There’salotofbuildersworkingonsitehere,toldtheforemantherewasachapworkingonthesideofthebuildingwithnosafetyharness,runningoutleft,rightandcentreforthesafetypeoplepanicking,crackingthejokes.

TheMooreStreettradersgotgreatcraicoutofitasthe

daywenton,itwouldcomeintoit….itwaspartofthedailytradingandthingslikethat.

G4Cleaner

Ithinkthe‘21stCenturyFlaneur’projectwasafabulousidea.I’dliketoseeprojectsdoneinthisparticularpartofthecityonamoreregularbasis.Agreatsuccess,absolutelyfabulous.

MooreStreetCouncilMember

Everybodyenjoyedthisbecause,nooneseenitgoingupandeveryonewantedtoknowhowitgotthere…Soafterthatworeoffinitiallythejokesstarted,thathewasuptherefor3daysandhehasn’tgonetothetoiletyet.Andeveryonewantedtoknowwashereal.Alotofpeoplethoughthewasreal.Peoplethoughthewasgenuinelyreal at first. A lot of tourists were amused by it as well. They thought that it was, well, they couldn’t figure it out really. Nobody knew, nobody could quite put their finger onitandthebiggestlaughofthewholelotwaswehadalittledrugsissuehereinMooreStreetfromsomeforeignnationalssellingdrugsandtheythoughtthatitwassomesortofundercoversurveillancecamerabuiltintohisheadandtheyclearedoff.IsweartoGod,theyclearedoff.Ihadn’tseenthemforabout2weeksandthenastimeprogressedtheycreepedbackagainandtheyrealiseditwasn’tanundercovergardasittingonachair,goingacoupleofweekswithoutgoingtothetoilet.Buttheamountofinterestthatitgatheredwasphenomenal.Nobodyhadanyanswers‘cosnobodyknewhowitgotthereincludingmyselfandIamamemberofthecommittee,soIwentto the Residents Committee and said ‘Could we find out whathappened?’SowewenttotheIlaccentre,andweaskedthem,andtheyexplainedtousthatyouseneededpermissiontoputitup,anditwasanartsprojectandsoon.

So,weleteverybodybelievethatitwasbelongingtothegards.Anditworkedwondersforus.Thestreetwasgrandforagoodperiodoftime.But,Ithinkmostofall,washowrealisticitlookedandhowrealitlooked.Peoplewouldtalkforhoursifyouwouldtalktothembutyoujustdidn’thavethetimeworkingonthestallsandthat.Ifoundthatmostofthetime,theconversationwas,‘Ishereal,orishenotreal?’That’swhatitwas.Andthewindcaughtitonedayandblewitadifferentdirectionandweweretotallyconvinced that there was definitely some sort of remote control system in it, it was definitely real and didn’t know whattodo.Everydaytherewasatleasttwentytothirty

conversationsaboutit.

Trader

Well,wethoughtitwasgreatinterestinthestreet.Everyonecamealongandhadalookatitandkeptsaying‘Whoisit?’,‘Whoisitsupposedtobe?’,‘Ishereal?’Andthenalotofthemthatdobedownherethoughtitwasacameraforthegardswatchingthemandtheywereabsolutely terrified and they moved away. Some of them weredealingdrugsanditkeptthemoutofthestreetwhichwasgreatandwewanteditleftupthere‘costhendecentpeoplecamebackintothestreet.And,itwasreallyinteresting,itreallywas.Everyonewhocamealong,‘Whowashe?’‘Didheusedtoworkhere?’WetoldthemthatheusedtoworkintheHorseandCartyearsagoandthehorsediedthereandnowhe’safterdying.Hahahaha.Itwasabitoffunandthenwejusthadthebitofbanteraboutit.Itwasinteresting.Maybeyoucoulddoanotheroneandleaveitthereallthetime.

Magee, AlanM

MAGEE INDEX MOORESTREETLENDINGLIBRARY13

The Metropolitan Complex

FrontcoverfromPaperNo.11inaseriesofdiscussionspublishedbyTheMetropolitanComplexthatcirculateasfreepublications.

Roundtablediscussion:WesWilkie,SallyTimmons,KenMcCue,JesseJonesandSarahPierce.

PrintedontheoccasionofTheMooreStreetLendingLibrary, curated by Sandra Grozdanic, Declan Sheehan,andSallyTimmons,27September–15October,2005,at55MooreStreetinDublin.

Frontcover:MooreStreet,Dublin,2005

TheMetropolitanComplexisaDublin-basedprojectby Sarah Pierce. It organizes around a range of activitiessuchasexhibitions,talksandpublications.Thesestructuresoftenopenuptothepersonalandtheincidental.

14MOORESTREETLENDINGLIBRARYINDEX METROPOLITAN

Metropolitan Complex, The

Minewasaspontaneouscontributiononthelastdaythatthelibrarywasopentothepublic,andcameaboutthroughconversation with Sandra Grozdanic, taking the form of a kind ofmindmapofideasandfreeassociationsgeneratedfromtheideaofMSLL.ImetwithSandrasometimelateranddiscussedpossibledevelopmentofmycontribution...toextendanddevelopthemappingofassociationsinconversationwiththeotherartistsinvolved.Icouldnotcontinueinthatvein,however,duetootherpressuresanddemands.

Akindofperformanceofthinking,consciousoftheimmediateenvironmentandinteractingwithothersistracedinthepost-itsandbitsofpaperthatremainofthatmoment.

IhaveattachedadigitalimagethatIhavetodocumentwhathappened.Iamnotcertainyetifitwouldbehelpfulorappropriatetoredoakindofmindmaptomakethingsclearer.

http://www.freewebs.com/erinog/MSLL.html

Ní Cuilibin, SharonN

NÍ CUILIBIN INDEX MOORESTREETLENDINGLIBRARY15

InSeptember2005thePotlatchFoundationincollaborationwiththeMooreStreetLendingLibraryinvitedthelocalresidentsandtradersofMooreStreettoavailofanunprecedentedopportunitytoestablishaLocalExchangeTradeSystem(LETS)fortheMooreStreetarea.Anumberofadvertswereruninlocalnewspapers,whileaselectionofhand-printedpostersadvertisingtheprojectwerepostedaroundtheMooreStreetarea.

LETS are local, non-profit exchange networksinwhichallkindsofgoodsandservicescanbetradedwithouttheneedformoney.ALETSnetworkusesaninterest-freelocalcreditorcurrencysodirectswapsdonotneedtobemade.LETScanhelpawidecross-sectionofthecommunity–individuals,smallbusinesses,localservicesandvoluntarygroups–tosavemoneyandresourcesandextendtheirpurchasingpower.Other benefits include social contact, health care,tuitionandtraining,supportforlocalenterpriseandnewbusinesses,andarevitalisedcommunity.

OnOctober12th2005thePotlatchFoundationinvitedallinterestedpartiestoattendafreepublictalkontheestablishmentofaLETSintheMooreStreetarea,tobegivenbyKerryE’lynLarkin,afoundermemberoftheGalwayCityLETS.

Potlatch Foundation, TheP16MOORESTREETLENDINGLIBRARY INDEX POTLATCH

TEXT: JEWESBURY INDEX MOORESTREETLENDINGLIBRARY17

On the drawbacks of artistic ‘vision’

What are you doing here?Throughoutitsrecenthistorytheideaof‘threat’hasconstantlybeenlinkedtoMooreStreet,asthequickestglancethroughthepressclippingslistedintheMSLLIndex confirms. While 1966’s celebrations for the fiftieth anniversaryoftheEasterRisingwerestillfreshinthememory,planswerebeingdrawnupfordemolitionsandclearances, shopping centres and pedestrian zones, plans whichhavethemselvesbeenconstantlyregeneratedandrenewed, such that the denizens of the street complain of thefatiguethatthisstateofpermanentcapitalistrevolutionbrings,andthenewspaper-readinginhabitantsofthecityatlargetut-tutastheylearnofthelatestspeculativedevelopmentsdreamedforthearea.Thisongoing‘threat’tothestreetwasitself,inpart,aresponsetotheperceivedthreatfromthestreet–MooreStreetbeingregularlycharacterisedasdirtyandchaotic,linedwithtotteringbuildingsthatsheltertheundesirableandtheundocumented,aplacewhereillegalimmigrantsanddrugdealersconcentratetheirerosionoftherespectablecity,seeminglywithoutcheck–aplace,inshort,inneedofagoodhosingdown.Andboththeseideas,ofthethreattoandthethreatfrom,lingeronstill,feedingandsustainingoneanother,andinformingorcolouringanycontemporaryconversationaboutthestreetandits‘character’

Earlierinthispublication,MartinMcCabeliststhemultiplicityofwaysinwhichMooreStreetoperatesandisread–asplaceofwork,asphysicalresidueoftheoverlaidgenerationsofurbanplanninganddesign(likesomeabove-groundarchaeologyofcivicfailure),aseconomic,culturalandpoliticalbattleground,astheatre.Inthinkingaboutthislastsense,MooreStreetcanseemsomehowtemporallyadrift,bothanachronistic–asortofpreserved‘modern’urbanbourgeoisspace,wheredistinctlynon-bourgeois‘uses’andtheirattendantbustleandnoiseserveasspectacle–andcontemporary–forwhoisthespectatorbut the financially reinvigorated Irish flâneur? McCabe writes,

It seems difficult then to separate this traffic in images, theircirculationandusefromitspoliticaleconomicorsocio-culturalcontextsbutitisclearthattherepresentationofthestreetisasiteforcontestandstruggle.Burdenedwithrepresentationswhosemotivesandinterestsarefragmentary,discontinuousandcontradictory,the‘reality’andmeaningsofthestreetareoverdeterminedbyitssymbolicvalueanditsmetonymicstatus.

Therepresentationsofthestreetthataredocumentedinthisindexbothquestionandcontributetothisalready‘burdensome’archiveofimagesandassociations.Theyareoddlydoubledinthisway,balancingwithinthemselvesthe‘productivetension’betweenbeingreiterations(repetitions)ofrepresentations,andrearticulations,newconstructions,ofMooreStreet.ButperhapswecandrawoutLefebvre’sdistinctionbetweenthe‘representationofspaces’andmoremarginal,interruptive‘spacesofrepresentation’.Thespeculators,developersandcityplannersallhavetheirowncompeting‘alternative’representationsofthestreet(whichtheyallcustomarilyreferto,usingthatappropriatedreligiousimagerythatcomessoeasilytocapital,astheir‘visions’).Wearenotfaced,then,withapuredichotomy–betweenauniformcentrecomposedofallthosewhowouldimposechangeorredevelopment,andamultiple,radicalperiphery,engagedinsymbolicallyandcreativelyundoingandunravellingtheseimposed‘representations’.Thecentreisalsomultiple;radicality,wecansee,belongstocapitaltoo–ittooseekstosubvert,butitstargetisregulationandstateprovisionandbureaucracy(whichisperhapstheonly‘centre’thereis,caughttryingtoregulatebetween the the citizens and the market). The impossible view,thethirdspace,mightjustaseasilybean‘artist’s

impression’(theyhaveartiststoo,aswellasvisions)ofanewdevelopmentrenderedintoanimpossibleperspective,orseenfromanimpossiblevantagepoint,inordertomakeitmorespectacular.

InB.S.Johnson’snovelChristieMalry’sOwnDoubleEntry,thehero,whohasbeennurturinganascentbadfeeling at the wrongs inflicted upon him by the world, pausestoconsiderwhoitwasthatdecidedthataparticularEdwardian office block in Hammersmith should be erected exactlywhereitwas,thusforcinghim,manyyearslater,toskirtarounditinordertoreachhisdestination.Christiepondersthatallsuchdecisionsmusthavebeentakenbysomeone,eveniftheylivedcenturiesago;andsincealldecisionsaretheresultofsomeonehavingownedtheland,orhavingtherighttograntpermission,wecancontinuethetrainofChristie’sthinkingandconcludethateverythinginthemoderncityisthevisibleresultofacontest,veryoftenonethattookplacefarinthepast.Allurbanspaceisthenaturalisationofaparticularlymundane‘violence’ofownershipandexclusion.Christie’sresponsetothisancientviolenceistotakefromhispocketasharp50pencepieceandtoholditinhishandashewalksalongthestreet,scratching a line along the facade of the offending edifice.1

WemightviewChristie’sactionasart,andifwewereto,wemightcommentthatitisaparticularlysubtleformofinterventioninpublicspace,onewhichnotonlydoesnotaddunnecessarilytothatwhichisalreadythere,butwhichactuallyremovessomethingfromit–afewmicronsof Portland stone from an Edwardian office building – in ordertomakeitsmark.Thecontemporaryartist,walkingunsuspectingintoMooreStreetwithanintentiontointeract with it somehow, enters a zone where the multiply-contested‘visions’and‘revisions’sofardiscussedare,perhapsonlyforashorttime,morevisiblethanisusualelsewhereinthecity.The‘interruptions’madebytheparticipantsintheMooreStreetLendingLibrarywereall,byandlarge,transientexpressionsofsome‘potentialstate’of the street; one would not wish them to be fixed or made permanent,asiftheynowwerethemselvestobecomethesubjectsoffuturerepresentationsofthestreet.Thebestofthemhelpedtofocusattentiononthatwhichwasalreadythere;somehadnophysicaltraceatall,exceptinthememoryofaconversationoraninteraction.

Learning by doingAgainandagain,in‘white’,workingclass,urbancommunitiesacrosswesternEurope,fearsaboutregeneration and gentrification, rather than focusing on theincreasingprivatisationof‘public’spaceandthepublicsphere,aresublimatedintoracistresentmentofuninvited‘newcomers’,evenwhenthecommunitiesthustargetedarerelativelysettled.Ratherthanexploringthecommonideologicalandinstitutionalunderpinningsofbothracismandworkingclassdisenfranchisementor‘deterritorialisation’(andthussuggestingthatactiveanti-racismmightactuallybehelpfulinbuildingbroadersolidaritiesbasedonbothraceandclass),manycritics,commentatorsandevensociologistshaveinsteadtriedto‘understand’expressionsofracismasarisingfromaperfectlyreasonablefearofthe‘manychanges’inthesocio-economicorderthathavebeenthrustonworkingclasscommunitiesinthelasttwentyorsoyears.Ofcourseitiseasier,asanartistmakinganethnographicforayintotheurbanenvironment,to‘idealise’one’sworkingclasssubjects,andtosuggestthatworkingclassracismisn’t‘really’racismatall,butmerelyamisplacedmisarticulationofotherworries,aconfusedreactionagainstaperceivedlackofconsultationorinvolvementinimportantmatters.AndsoitcouldhavebeeninMooreStreet,whereracisttensionscertainlyexist,andwheredifferentgroupsstaketheirclaimstobeIrish,ormoreIrish,orasIrish.WiththeStatestilloperatinginanexplicitly

racistwayinitsframingnotonlyoflaw,butalsoinitsconceptualisationofwhat‘Ireland’isandwhotheIrishare,itisnotsurprisingthatthissimplisticunderstandingofracismissowidespread,andsonaturalisedinourthinking.

WithsomanyparticipatingartistseachexperiencingdifferentaspectsofMooreStreet’smanysites,theLendingLibrary,asacollectiveentity,becametheaccumulationofallthesesometimes‘contradictory’contacts.Initsmultidisciplinarity,anditsmultivocality,itsowninternalinconsistencyandmessyinconclusiveness,theLendingLibrarythusfoundawaytocounterthedemandforuniform‘visions’,andreplaceditwithamodelofintervention,onewhichisthebasisforfurtherengagementandnotan‘end’initself.

The result is not a lazy pseudo-situationism, a detached gaze at the street as ‘theatre’, but a short-lived, focused communityofartistslearningaboutthelifeofoneofthecity’smanystreetsthroughengagementwithitsday-to-dayconflicts and contests. One example serves to illustrate this. Aparticipatingartist,havingnegotiatedthesitingoftheirwork(aphotographofthestreet)inaChinesegrocer’sshop, was dismayed to find it defaced with a small strip ofblackinsulationtape.Uponenquiringoftheownerswhathadhappened,thecuratorslearnedthatthetapewascoveringoveranilluminatedsigninthephotograph,thesignofacompetingshopfurtherdownthestreet.Theowner-notwithstandingthepossibilitythatthetwotradersmayhavebeenfriends-didn’twanttoadvertisethecompetitioninhisownshop.

Whatisstrikingaboutthisisthemannerinwhichitmovestheartobjectfromsomethingwhich‘frames’theChineseinhabitantsofthestreet,tosomethingwhichisframedbythem,forthey,andnottheartistorcurators,areabletoreadthesmallpieceoftextthatuntilthenwasanincidentaldetail.Thus,thequestionofwho‘belongs’inandtothisstreet,andwhoisconstructedastheoutsider,isopenedupinanextremelyimmediateway.

Art must meet and respond to these conflicts that the contemporarycitythrowsupifitistohaverelevanceasapublicform,onethatiscapableofexertingsomeleverageonthetiredformulationsofwho,andwhere,weare,andwhatwe’redoinghere.

Notes1.B.S.Johnson,1973,ChristieMalry’sOwnDoubleEntry,London:Collins.

Daniel Jewesbury

Theregulationofbodiesandthemanagementofpopulationsarekeyissuesincontemporarysocietiesandcultures,dominatingbothpoliticsandthearts.Asaresult,metaphorsofthebodycanbeausefulstartingpointforexploringcurrentproblemsaroundimmigration,‘race’,communityandthelocal,especiallyinsofarastheyimpactonartpractices.Inparticularourphysiologicalmodeldetermineshowwereadthebody,whatwethinkitisandwhatwebelievecreatesadiseasedstate.IstheIrish‘bodypolitic’,thepoliticsofIrishness,astaticautonomoussystem,orcanitbere-envisionedaspartofachaotic,non-lineardynamicwhole?Canartpracticesthatfocusonmarginalisationbeunwittinglycomplicitinthestate’sproductionofnationalidentitythroughcategorisationandexclusion?

EdgarAllanPoeinhisclassicGothichorrorstoryoftheInquisition,‘ThePitandthePendulum’(1843)suggeststhat “He who has never swooned, is not he who finds strangepalacesandwildlyfamiliarfacesincoalsthatglow; is not he who beholds floating in mid-air the sad visionsthatthemanymaynotview.”The‘swoon’beginswith a ‘deadly nausea’ followed by a thrill in every fibre ofhisbody“asifIhadtouchedthewireofagalvanicbattery”.Inessence,Poe,incommonwithmuchRomanticthought,isascribingtherootsofcreativitytoepilepsyandotherformsof‘divinemadness’usuallyassociatedwithnotionsoffreedomandautonomy–ablastofnon-rationalinspiration.Recentshiftsinthinkinginphysiologyandpathology however suggest that epilepsy “is finally being recognized for what it is: an acute attack of order.”1

Thebasicconceptinmodernistphysiologywasthatof‘homeostasis’,themaintenanceofmetabolicbalancewithinananimalbyatendencytocompensatefordisruptingchanges.Theoriginatorofthisconcept,ClaudeBernard(1813–1878)insistedthat“theconstancyoftheinternalenvironmentistheconditionforfreeandindependentlife.”2Thisideaofaconstantinternalenvironment,unrelatedtotheexternalworld,inturnsuggestedthatdiseasealwayscamefromtheoutside,from an invasion by some unspecified Other. Homeostasis impliesthattheautonomousorganismisessentiallypassive–ratherthanbeingproductiveofitsenvironment,itisonlycapableofminorresponsesandadjustmentstoexternalchanges,andthefocusofmedicineasaresultswitchedtoidentifyingnewcategoriesofexternalthreatanddevelopingnewstrategiestoeliminatethem.Theroleofthephysicianalsochanged,becomingautonomousfromthepatient,practicinginaninterventionistandexperimentalmanner.Theconceptofhomeostasiswasalsoappliedtosociology,referringtothemaintenance

ofequilibriumwithinasocialgroup.Inparticular,thereisacoreethnoswithinanation-statethatisseenaseternalandunchanging.AsJohnO’Donoghueputitrecently,“everynew state needs definition.”3Thehomeostatic‘nation’isdefined by its citizens, those who, in Irish terms, possess ‘Irishness’. Michael McDowell has helpfully defined for us justexactlywhatthisis:“IrishnessisacomplextapestryofGaels,Scandinavians,Normans,English,ScotsandAnglo-Irish. Irish culture reflects that complexity and diversity.”4ThustheIrish‘bodypolitic’wasbornintheperiodaround1000-1600andhassupposedlyremainedunchangedsince,andofcoursealwaysexcludedtheideaofTravellershavingtheirownspacewithinthisstaticconcept.

Inthemid-19thcentury,attheperiodwhenPoewaswritinghishorrorstoriesandBernardwasdevelopinghistheory,Irelandwasroutinelyportrayedasaprostratebodysufferingtheravagesoffamineandmassemigration.Metaphors of fluidity, which commonly dominate discussionsofmigration,tookonGothicovertonesamongnationalistwriterslamentingthedrainingofthelife-bloodofthecountry,thehaemorrhagingofthenation’syouthandthesplinteringofitsboneandsinew.5ThealternativetothisviewwasaformofprovidentialSocialDarwinism,mainly confined to writers from England, suggesting that it wasa“sterndecreeofProvidence”thattheIrishalongwithalltheother“feebletribes”shouldmeltaway“likesnowbeforethesun.”6JasonKingpointsoutthatboththeSocialDarwinistandGothicmethodologiesweredialecticallyrelatedtooneanother,“asenlightenmentandcounter-Enlightenmentdiscoursesthatillustrateeithertherigidsocialapplicationorobversereactionagainsttheriseof‘instrumentalrationality’.”7

Asglobalisationhasdevelopedapatternoftransnationaleconomicsandlaw-making,thepowerofthenation-statehasdeclined,particularlywithintheEU,increasinglyrestrictingitssphereofactiontothecultural,withanintensefocuson‘nationalidentity’andthedefenceofexternalborders.Exacerbatedbytheso-called‘WaronTerror’,thishasfedintoaresurgenceofracism,particularlyinthedevelopedcountries,andanobsessionwiththesupposedperilsofimmigration.Duringthesameperiod,theRepublicofIrelandhastransformedintoalocationofnetimmigration,producingashiftfromthedominanceofGothicimageryindiscussingemigrationtoSocialDarwinismindiscussionsofimmigration.Thuswe are now suffering from ‘floods’, ‘tides’ and other naturaldisasters.Gothicismisstillaroundthough,withthe‘haemorrhage’ofoldgivingwaytothe‘vampires’,‘spongers’and‘parasites’oftoday.Thekeyissueinbothsetsofimageryis“thefundamentalpassivityoftheIrishnationbeforemigratorypressuresthatrenderitprostrate.”8

Thispassiveentity,homeostaticallyconceived,istherefore prone to attack by all sorts of alien influences, which have to be defined and categorised so that the Irish nationcanbeinoculatedagainstthevariousformsof‘non-nationals’.Thestatehasdevelopedawholebarrageofpowersofexclusionandcontrol,fromDirectProvisionforasylum-seekerstothemyriadofworkpermits,workvisas,safe third country agreements, ID cards for non-EU citizens andsoforth,withthelevelofriskofeachgroupcarefullybalancedandmanagedbythecentralisedbureaucracy.Thestateisthereforecontinuallyproducingnewvarietiesof‘non-nationals’,allofwhomrequirespecialmeasuresand

attention.ThisendlessdivisionofpeopleintocategoriesisbasedontheLiberalvaluethatsuggeststhatrecognitionofdifferencewillaffordrespect.InpracticeitreplicatesthepowerstructuresofWesternimperialisminnewformsofmulticulturalismand‘tolerance’–‘puttingupwith’theOther.TheonethingitguaranteesisthattheJews,theNigerians,thePolish,theRumanians,theChineseandalltheOtherscannevertakepartfullyinIrishness–homeostatically fixed as it is at the status quo of four hundredyearsago.

RonitLentinarguesthatthemulticulturalistapproach,basedonthispoliticsofrecognition,“isfailingtointerveneintheuneasyinterfaceofminorityandmajorityrelationsinIreland”,andarguesfora“politicsofinterrogation”.9Thepoliticsofrecognitionhaspervadedcontemporaryartpractices,especiallythosethatseektobedialogicor‘sociallyengaged’,suchasthecommunityartsmovement.Theproblemsofsuchartpracticesarelinkedtothoseofallmovementsthatseektousecollectiveactionforsocialchange,suchasbeingpronetoexaggeratingitsownbenefits, being inefficient and even counter-productive. Muchofthisstemsfromtherootideathatdialogueissufficient: “The multicultural illusion is that dominant andsubordinatecansomehowswapplacesandlearnhowtheotherhalflives,whilstleavingthestructuresofpowerintact.Asifpowerrelationscouldbemagicallysuspendedthroughthedirectexchangeofexperience,andideologydissolveintothethinairofface-to-facecommunication.”10

Thispoliticsofrecognitionunderpinsmanyideasincontemporaryaesthetics.Inadetailedexplorationofthenotionoffragmentationinart,followingtheideasofJean-LucNancy,SimonMalpasconcludesthatartrespondstocontemporaryfragmentationbyactivatingasenseof difference – “Art, whether it is classified as high or popular,activatesthesensethatdifferenceis.Ifitdoesn’tdothis,itisn’tart.”11Thisdifferenceissupposedtoshowusthenecessityofbeingincommon,similartotherhetoricofmulticulturalism.Whileheargues

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thatthisrecognitioncanthenbeusedasagroundforquestioningtherulesandconventionsthatgovernthisdifferentiatedworld,experiencewouldseemtoteachotherwise.Relyingonthemeansofdistributiongeneratedbytheexistingartworldtopromoteculturaldemocracyseemsveryunwise,andmaybesimplyreprisingthecolonialexperience,as“sitesofculturaldifferencetoo easily become part of the globalizing West’s thirst for itsownethnicity,forcitationandsimulacralechoesfromElsewhere.”12

Theinsistenceondifferenceandfragmentationisnotnewtothearts,andwasparticularlychampionedbytheGoncourtbrothersinthemid-19thcentury.ClosefriendsofClaudeBernard,theyarguedthat“whentheNovelhasundertakenthestudiesanddutiesofscience,itisabletoclaimthelibertiesandimmunitiesoftheformer.”13Thisautonomyfortheartistwouldthenenablehimtodisplayto“thefortunateonesofParis…miseriesthatitisgoodnottoforget”,andthisisdirectlycomparedtotheactionsof“ladiesofcharity.”14Thustheartist,likethescientistcaninterveneandexperiment,guidedbyaspiritofbenevolenceandpaternalismtowardshispassivesubjects.Aspartofthistheypromotedtheobsessionwithdifferenceinherenttomodernism,settingtheGothicandOrientaltogetherandendlesslyexaminingsupposed‘nationaltypes’–creatingthecategoriesofOthernessbeloved of ‘scientific’ racism. In their personal lives they “madeafetishoforderlyhousekeeping”andsufferedfromneurasthenia,theclassicdiseaseofthe19thcenturybourgeoisie.15Neurastheniawasregardedasadiseaseofcivilisation,causedbythebodybeingunabletocopewiththestressesofurbanlife.

Inpostmodernphysiology,whichapplieschaostheoryandrelativitytothehumanbody,suchmulti-systemconditionsarecharacterisedas“dynamicdisorders”,characterisedbyalossofdeterministicchaosorcomplexity.Inthismodel,ahealthysystemischaotic,andnon-linear,byitsveryvariabilitycapableofwithstandingjoltsandchangesinenvironmentalconditions,beingatonceconstitutiveofandresponsivetoitsenvironment.16Incontrast,adiseasedstateischaracterisedbyorder,predictability and stasis. Thus an epileptic seizure can be predictedbytrackingthedecreaseinchaosandanincreasein order in the epileptic’s brain “as neurons at the seizure’s focus begin to entice other neurons to fire in sync with them.Thiscondition,calleddynamicalentrainment,canstartdaysbeforetheattack.”17The‘blastfromGod’isthusexposedasanattackoforderonthedynamic,

chaoticbody.Inthesameway,institutionalracismcanbeseenasanattackoforderonthehealthilydynamic,chaoticbodypolitic,causedbyamisreadingofvariableenvironmentalchangesasanalienattackonahomeostaticstate.

Thearts,byfocusingobsessivelyondifference,andbyusingthecategoriesdevelopedbythestateapparatusinordertocreate‘targetgroups’whichattractfunding,canexacerbatethismisreading.BychoosingoneormaybetwocontingentaspectsofidentityinordertocreatewhatGrantKestercalls‘politicallycoherentcommunities’,18andthenperformingtheiractivitiesinanorthopedicmanner,asifparticipationintheartsweresomehowinherentlyamoralgood,artistsmayinfactbeoperatingincontradictiontotheirmostcherishedprinciples.Bybecomingpartofa‘targetgroup’involvedinanartproject,peopleinmarginalized groups may lose some of their freedom ofmanoeuvre,andhavetheirpositionofinequalityemphasisedandrenderedvisible.Thusrealequalityofdialogueisrenderedimpossiblewhileofferingtheillusionofaccesstoit.Theencounteristhenaestheticised,madeintoart,andbecomesarepresentationofdialogue.Theimageofdialoguecanevenbeconfusedwiththeconceptofdialogue,aconfusionLevinasdescribesasamphibology.19Dialoguesdialogue,butrepresentationsofdialoguejustrepresent.

Thisreadingofartisticcomplicitywiththeracialstatetakesarelativelybenignview,rootingitinmistakescausedbypragmatismwhenfacedwithpressurefromfunders,fromfailuresinanalysisandalsotheactiveandongoingattemptsbythehegemonicsystemstoincorporateandneutraliseoppositionaltendencies.Itispossibletobeevenmoredepressinglycynicalhowever.Forexample,JuliaKristevawrotein1995thatcultureandartwerenow“impossible”,andthatnewformswerenecessary.Hersolutionlayina“cultureofrevolt”,because“ifthe deprived abandoned by the standardizing order, the joblessyoung,thehomeless,theunemployed,foreignersandalltherest,havenocultureofrevolt,theyturntovandalism.”20Theroleofthiscultureofrevoltwastoensure“thesurvivalofthemostfreeandenlightenedelements of our civilization”, by enabling a cathartic releasethatwouldensurethemaintenanceofthestatusquo.21Therevolutioncanthenbecontinuallyperformedandrepresentedtoensurethatitwillneverreallyhappen,thusprotectingthehomeostaticelite.Intheend,canaestheticactsbeseenasanattackoforder,interruptingthehealthofalocallyself-managedchaoticsystem?Is‘art’asymptomofadiseasedstateofbeing?

Notes1.CrystalIves,HumanBeingsasChaoticSystems,onlineathttp://www.physics.orst.edu/~stetza/COURSES/ph407h/Chaos.pdf2.ClaudeBernard,1865,AnIntroductiontotheStudyofExperimentalMedicine,quotedinJonathanTreasure,PhysiologyandParadigm1,2000,AmericanHerbalistsGuildSeminar,Chicago,onlineathttp://www.herbological.com/herblog/?p=103.JohnO’Donoghue,MinisterforArts,SportsandTourism,speakingonRattlebag,RTERadio1,25thAugust2006.4.MichaelMcDowell,2006,‘Freefromtheshacklesofnationalistrhetoric’,SundayIndependent,April16.5.JasonKing,2000,‘Asylum–SeekersandIrishNationalSovereignty:Globalisation,InternationalMigration,andIreland’s“RefugeeCrisis”’inRopes(ReviewofPostgraduateStudies)8,Galway:NationalUniversityofIreland,pp.39-53.6.SirFrancisB.Head,1852,AFortnightinIreland,JohnMurray,London,p.148.7.King,‘Asylum–SeekersandIrishNationalSovereignty:Globalisation,InternationalMigration,andIreland’s“RefugeeCrisis”’,p.43.8.Ibid.9.RonitLentin,2002,‘Anti-racistresponsestotheracialisationofIrishness:Disavowedmulticulturalismanditsdiscontents”,inRonitLentinandRobbieMcVeigh,eds.,RacismandAnti-racisminIreland,Belfast:BeyondThePale,p.228.10.PhilCohen,1988,‘Perversionsofinheritance:studiesinthemakingofmulti-racistBritain’inPhilCohenandH.Baines,eds.,Multi-RacistBritain,Macmillan,London,quotedinLentin,p.229.11.SimonMalpas,2003,‘Touchingart:aesthetics,fragmentationandcommunity’,inJohnJ.JoughinandSimonMalpas,eds.,Thenewaestheticism,Manchester:ManchesterUniversityPress,p.93.12.HomiK.Bhabha,2003,‘Postmodernism/Postcolonialism’inRobertS.NelsonandRichardShiff,eds.,CriticalTermsforArtHistory,Chicago:UniversityofChicagoPress(2ndEdition),p449.13.EdmondandJulesdeGoncourt,1864,PrefacetoGerminieLacerteux,quotedinCharlesHarrison,PaulWoodandJasonGaiger,eds.,1998,ArtinTheory,1815-1900:AnAnthologyofChangingIdeas,Oxford:Blackwell,p.419.14.Ibid.15.EncyclopaediaBritannica(15thEdition),1993,Chicago,Vol.5,p.356.16.Ives.17.Ives.18.GrantH.Kester,2004,ConversationPieces:Community+CommunicationinModernArt,Berkeley:UniversityofCaliforniaPress,p.150.19.B.C.Hutchens,2004,Levinas:AGuideforthePerplexed,London:Continuum,pp.60-61,141-143.20.JuliaKristeva,“WhatGoodAreArtistsToday?”inChambert,ed.,StrategiesforSurvival-Now!,p.32.21.Kristeva.,p.33.

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Assomeonewhoworkspart-timeasanarchivist,therecentpopularityofarchivepracticewithinarthasalwaysbeenofinteresttome.Ihavemyselfevenusedthearchiveconcept,foroneprojectinparticularwhichutilisedarchiverecordsandasawholepresenteditselfasakindof‘livingarchive’.Generallyarchivesarerepositories,meaningplaceswherestuffgoesto‘repose’orliedormant.Butarchivesarealsoplaceswhereinformationcanbeaccessed–nothermeticallysealedforposterity.

Thewaymucharchivematerialispresentedintheartcontexthastodowithpresentingrawinformation.Thereissomethingstrangely‘objective’,itwouldseem,abouttheimplicationsofthearchive.Ireckonthiscanbetracedbackthroughcontemporaryhistorytotheearlydaysofconceptualart,whenlistsandindexcardswerealltherage.Withinmostofthisworktherewastheurgetopresentpureinformationwithoutanydecorativenonsense.Stanley Brouwn’s filling drawer piece springs to mind, one ofwhichwaspurchasedbyTateModernlastyeartothehorrorofthepressandblogcommunity,whichcontains1,000blankindexcards.

Buttherehavealwaysbeencolourfuldebatescriticisingearlyconceptualworkbymanyofitsproponents.MelBochner,forexample,nevertrustedinthetransparencythatwasbeingmootedbytheseartists.Ashesawittherewasnonewobjectivitybeingforgedthroughthese‘languagegames’.Otherattemptsinthe1980storeviveobjectivityby,forexample,curatorJeanFrancoisChevrier,provedtobeshort-livedandsomewhatfaddish.Hisfetishfor the large, over-sized photograph, provided another possibletrajectoryfromtheBechers’deliberatedescriptiveimages,butartphotoshavelongsinceshrunk.MaybeIambeingharshhere,asideasdochangeandareplayedoutoractedoutoveronlyalimitedamountoftime.Tokeepthingsfreshideasaretweakedandmorphedintonewones–whichsometimessaythesamestuff,butatleastthenewlanguagegameskeepthingsinteresting.

Thearchiveisausefultoolormodelinthepresentationoffactualinformation.Thepedanticprofessionalarchivistinsideme,however,looksatmanyoftheseartarchivesandscoffs.Toooftenthe‘archive’getsusedtolocateafewfiles or documents and this in no way resembles the reality ofanyarchive,whichgenerallyisstuffedtotheseamswithhundredsofthousandsofdocuments,manylyingarounduncataloguedornon-retrievablefordecades.Whatthearchivistdoesisprovideroutestoandintothismassofinformationfortheresearcher.

Withartthough,it’salldifferent.Theartistisnottryingtobeanarchivist,andtheaudiencearenotresearchers.Butinrealitythatiswhatisbeingproposed,asmanyoftheactivitiesaresimilar.Withmucharchive-relatedartpractice,aselectionofrecordsareordered,ornumbered,andsometimescataloguedoratleastlisted.Thekeyhere

istheselectionwhichispresentedtoanaudience.Callingtheselectionan‘archive’impliesthatthereismuchmorestuffsomewhereelse,buttheartisthasselectedarangeofmaterialfortheaudience.Rarelyarethereenoughrecordstocreatethatthecriticalinformation-massthatanarchiveshouldcontain.

Whattheseselectionsorpartialarchivespresentistheoppositeofobjectiverawinformation,butratherasubjectiveglimpsefortheviewer/researcher.Ifthearchivemodelistakentothenextlogicalturn,theviewer/researchersurveysthematerialandgoesoffandwritesuptheresearch.Nowthisisfoolishinanartcontext,aswhathappensisthattheviewerhastodecidewheremeaningliesfromthecluespresentedbytheartist.Thenarrativeisnotdirectlycentredontherawmaterialbutinthespacearoundandbetweenit.

Therehavebeenmanyincidentsrecentlywherethishasworkedandotherswherethearchivebecomessomethingelseentirely.TheGeneralIdeaarchivematerialpresentedatProjectrecentlycreatedanoddhagiographytoqueerartpractice,andalthoughdubbed‘apartialretrospective’,itleftoutdecadesofactualpracticetomakeitsfewbutinterestingobservations.NevaElliot’sArchivingLimerickprojectaspartoftheFreshcollectionsshowatLCGAusedthearchivemodeltodocumentnumerousencounterstheartisthadwithlocalleisureandhobbyistgroups.Manyofthe files however were pretty empty and it was far more interestinghearingfromtheartistherselfabouthermanystrangeandwonderfulexperiencesrangingfromyouthdramatoretiredwritingclubs.TheMooreStreetLendingLibrarycollectedinformationratherthanpresentinganexistingarchive–similartoElliotbutwithtightersocio-geographicallimits.Theresultswerealsopresentedonsiteandnotinagallery,maintainingastronglinkbetweensiteandcontent.Thisiswherethelivingarchiveremainsastrueaspossibletoitsparticipants,andwherethereis

noattempttotranslateordistilthematerialforanartaudience.WhathappensnextwiththeMSLLwillbeinterestingtosee.

ItwasalsorefreshingtoseeSarahPierce’sapproachinherrecentProjectshowincomplicatingfurtherthenotionofthearchive,bymixingremakesoficonicsculptureswithborrowedmaquettes,drawingsfromhermotherandlettersfromaKentStateUniversityarchive.TheodorAdornomayhavedescribedthemuseumamausoleumofartworks,butwhenthereisagoodrangeofmaterialpresented,lifecanbeagaininfusedintodeadoldrecords.

First published in the Sept / Oct 2006 edition of the Visual Artists News Sheet, published by Visual Artists’ Ireland. www.visualartists.ie

Memory is more than an index card Alan Phelan

20MOORESTREETLENDINGLIBRARY INDEX TEXT: PHELAN

IvisitedtheMooreStreetLendingLibrary,hostedbyTheFirestationArtists’Studios,duringtheautumnof2005.Thearchiveelementoftheprojectappearedtobeintegratingsuccessfullywiththelocalshopsandtraders,withcommercialephemeraandoldphotographsbeingdonated.KatherineSankey,anAustralianartistwholivesinthearea,hadinitiatedtheproposalforapublicstreetartproject,inthisbusyshoppingprecinct.Thelatercuratorialstructuresoftheproject,whenappliedbytheteamatFirestationStudios,appearedtoseparatetheelementsofthestreetintoadistinctlyarticulatedprocess.Thestreetperformancecharacteristicsweresubsumedinsomesenseintoformalsensibilitiesofaninterestingarchiveproject.

HavingaconversationwithKatherineSankeyaboutherwork,andvisitinghervideoinstallationinanearbyChinesesupermarket,persuadedmethatIshouldfurtherthisconversationatherstudio,whichisinSummerhill.Theinitialinterpersonalelementsofthevideo,whichwasprojectedinternallyontoanellipticalscreeninthefrontwindowoftheshop,involvedcollaborationandnegotiationwiththeChineseowners.Iwasstruckbythesenseofenjoymentandrespectwithwhichthesepeopleassistedwiththeinstallation.Sheexplainedthelongprocess,wherebynotonlytheshop,butalsothestallholdersonthestreetwereanelementofthenegotiation, for the flower- and vegetable-sellers essentiallycontrolthespaceinfrontoftheshop,the

streetitself.Toallowtheviewerstowatchthevideo,it was necessary to stand in the middle of the flower-sellers’streetspace.ThesenegotiationsandpersonalinterventionswiththelocalcommunityareanessentialelementofSankey’spractice,accentuatedbyherpersonalinvolvementovertheyearswiththelocalcommunityinthesociallydiversevicinityofthenorthinnercity.

Inherstudio,therewasarealsenseofdevelopment,fromperformanceworkshehadmadeinPoland,to more fine art-orientated subject matter of her Parisperiod.Theseappearedtocoalesce,throughaprocessofobservationandintegration,aroundherownpersonalexplorationofidentity.HavinganAustralianmother,andanIrishfather,beingbroughtupandeducatedinSydney,andafterwardstravellingandlivinginEurope,herartprocessseemedtoreflect these diverse elements. These multi-layered culturalandgeographicalsourcesofherpracticearelatentcharacteristicsofsuchexperiences.Thediversemotifsofaniconographicalnatureinherolderwork,whereAboriginalsymbolsappearorganicallytointerfacewithasenseofrememberedplace,alsoespousealandscapetradition,distinctly

related to the fine art practices of Western art. This evocationofotherelementsnotnotionallyconsideredsympathetichave,inherformaltwo-dimensionalwork,intriguinglydiverseappropriationsofmaterialand ritual objects, which coalesce into a personalized motif,withinthecontextoficonographyandsymbolicstructure.

IthinkthatthisprocessappearstohavediscovereditsownmethodologyinthepracticeofPublicArt.Theintegrationofmultipleperspectivesfromdiversegroupsofpeopleinagivenplace,orspace,directlyreferenceherowninternaldynamic.CiaranBennettPresident,InternationalAssociationofArtCritics/AICA(Ireland)

Sankey, KatherineQRS

SANKEYINDEX MOORESTREETLENDINGLIBRARY21

An informal opportunity arising out of the first few daysoftheMSLLprojectledtomespendingaboutaweekandahalfofOctober2005downinthespaceworkingonasortofaspirationalmodelfortheMooreStreetarea.AlotoftimewasspentinteractingwiththeactivitiesoftheMSLLspaceonsite,aswellasconversingwiththeotherartists,localpeopleandcuriouspassers-by.

Partofthepointofthemodelprojectwastosourceallthematerialsfromthestreetitself;thethickgauge,gaudily-colouredcardboardofthefriutpackagingthatdictatedanaestheticthatwasalmostchild-likeinitsrepresentation.Amemoryofthechildhoodjoyexperiencedintheconstructionofthiskindofmodelformspartoftheappealofsuchawork,andthisprovidesforaninterplaywiththecoreconcepts of local concerns over gentrification and publicspaceuse.

For me, these kind of models, fictional architecture basedonexistingandfamiliarlocations,operateas

partofatriangleoflocations:

Location1Therealworldfamiliarlocale-let’scallitplaceX.

Location 2 The modified represenation (incorporating fictional architectural or geographic elements) of placeXintheformofamodelorarchitecturalsketch.

Location3Asynthesisofthetwointhemindoftheviewer,creatingafusedthirdspace.Thisthirdspacehasbinaryproperties;itisatonetimeanegotiationofthedrawing/modelinrelationtotheviewer’sownmemoryandexperienceofplaceX,andthenalsoamemoryofthemodel/drawingonthenextoccasionthattheviewerisactuallyinplaceX.

Louisa Sloan

Walsh, CiaranTUVW

22MOORESTREETLENDINGLIBRARY INDEX SLOAN – WALSH

text:SusanGogan

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www.ciaranwalsh.com

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Clodagh Kenny & Liz Burns at Firestation; Finola Jones;Imelda Farrell; Eamon Martin; Mannan; Songa; Genevieve Kearins; Margaret Buckley; May Gorman, Queen of Moore Street;Val Connor; Liam Nolan; Se Merry Doyle; Shane Cullen; Ken McCue; Sunniva O’Flynn; Mandy O’Neill; Ethna O’Regan. Richmond Marketing; Dublin Fringe Festival; AOS Planning; Jane Speller + City Arts Archive.

And to the sellers, buyers, dealers, traders, footpads, patriots, pickpockets, heroes, drunks, idlers, scholars and passers-by of MOORE STREET, DUBLIN ONE.

Our thoughts are with the family and friends of Sarah Kenny: her work on msll was just one part an art career full of memorable work looking at contemporary ireland with a uniquely caustic, incisive, and savagely funny vision: her death is a real loss to us all.

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Moore Street Lending Library was initiated by Firestation Artists’Studios and Katherine Sankey, and curated by Sandra Grozdanic, Declan Sheehan and Sally Timmons, assisted by Minna Oberg. It was open from September 27th to October 15th 2005, at 55 Moore Street, Dublin 1.

This index was designed and edited by Daniel Jewesbury, and printed by Spectator Newspapers, Bangor, Co. Down.

Thanks to all of the artists and writers who participated:John Beattie, Mark Clare, Duncan Crowley, desperate optimists, Susan Gogan, Sara Greavu, Amanda Healy, Daniel Jewesbury, Glenn Loughran, Emer O’Boyle, Cica Moraes, Raul Arojo, Feme Latief, Katherine Sankey, Sarah Kenny, Maeve McElligott, Alan Magee, Sharon Ni Cuilibin, Sarah Pierce, Louisa Sloan, Ciaran Walsh, Martin McCabe, John Mulloy, Alan Phelan, Fiona Larkin, Micheal Ryan, Haras Ynnek and Ciaran Bennett.

MSLL/CREDITS 1

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