Drag artists, sculptors, musicians, venue owners, actors, photographers, theatremakers, dancers, illustrators, DJs, curators, film-makers, painters, designers, rappers, club promoters, writers, visual artists, craftspeople and everything in between: all the way through 2024 this series has set out to shine a light on experimental, emerging and alternative art in and of Ireland.
The key message after hearing from dozens of emerging and experimental artists across Ireland, as well as Irish artists showing and making work internationally, is that things are much healthier than they may seem, at least in terms of imagination: creative vibrancy is brimming despite the financial and infrastructural challenges of working as a professional artist here.
The booming Irish culture being felt around the world did not arrive fully formed. Kneecap helped to create the underground scene in west Belfast from which they emerged. Paul Mescal came through the Lir Academy and productions at the Gate Theatre. Aby Coulibaly started a label with her friends and ended up sharing a stage with Coldplay. Jordan Adetunji made a track, Kehlani, in his bedroom in Belfast, and finishes the year as a Grammy-nominated artist.
The theatre company Malaprop, which earned plaudits from the New York Times this year, first made waves at Dublin Fringe Festival. A decade ago Fontaines DC were publishing DIY poetry collections in Dublin. Sally Rooney was published by the Stinging Fly, which she went on to edit. In 2016 Kojaque bounded on stage at a Thisispopbaby and Mother party at the now demolished Tivoli Theatre.
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At the beginning of 2024 one of What’s Next For?’s first subjects, Haus of Wig, were building a buzz at the Sugar Club. By September they were supporting Chappell Roan at the Olympia. Aisling Phelan drew this series’ attention with a music video she made for Sloucho. By autumn she and Viva Dean had their own arts space, Base, in the middle of Dublin. Oisín McKenna, who published one of the debut novels of the year, Evenings and Weekends, started out in Dublin’s spoken-word scene in recession-era squats and DIY spaces.
All this is to say that, by tracking what’s happening on the fringes and in the underground, we can begin to understand contemporary Irish culture more wholly. By offering recognition and a voice to what’s emerging, by appreciating the grass roots of cultural expression, in all its seemingly disparate, messy, incomplete and experimental forms, we begin to get a sense of a genuine ecosystem.
That ecosystem does exist. It is dealing with interventions and obstacles – mostly to do with space, funding and an economic and value system that doesn’t necessarily recognise its worth or work to enable it – that stymie its growth. But just because something isn’t tangible doesn’t mean it isn’t valuable. And just because something doesn’t go on to become the next big thing doesn’t mean its creative expression isn’t of worth.
There is a remarkable spirit of collaboration across the alternative and experimental arts scenes around Ireland. The overlap between collectives, artists and art forms speaks of a framework that artists themselves are creating, one that provides a safety net while new work finds its feet.
Some of the most important creativity in Ireland is happening at the edges. Many of the most interesting things I’ve encountered over the year were in unexpected places, such as Brown Mountain Diamond, in Kilkenny. The artwork that most excited me was Mega Dreoilín, at Pallas Projects/Studios in Dublin. The live-music performances that felt most essential were at Daylight, in Glasnevin in Dublin, and at Drop Everything, on Inis Oírr.
Office and apartment developments, however generic or imposing, are creating some space, thanks to policies such as the requirement in Dublin City Council’s development plan for 2022-28 for them to set aside at least 5 per cent of a big new building for community, arts and culture spaces. In the capital these include Throwing Shapes ceramics studio and Atelier Now.
But people are right to be sceptical. The basic action to turn prospective and existing neoderelict space over to the cultural activity it’s earmarked for is not being taken. Local authorities need to focus on practicalities, not just planning-application box ticking.
What remains incredibly important sounds obvious, but it’s about going out. Seeing all kinds of work in all kinds of places – stadiums and studios, gardens and galleries, parties and pavilions, clubs and cultural institutions, festivals, recitals, readings, theatres, pubs, concert halls, cinemas, back rooms and arenas – is what it’s all about. Many of us are still carrying the weight of pandemic-era stasis. It’s connection that lightens this load. It’s hard to regret going to a show of any kind, even a bad one, because each live encounter provokes thought.
The primary obstacle remains the housing crisis. Artists earn less than other professionals across the board; they also earn less consistently, and often work from project to project. Rent is crippling. It’s forcing a huge number of artists to leave Ireland.
Venues are also a big issue. We need more theatres, more clubs, more galleries, more studios, more live-music venues, more DIY spaces, more art-house cinemas, more markets, more rehearsal rooms and more late-night spaces not rooted solely in alcohol sales. That the richness of creativity in Ireland is being met with a poverty of cultural infrastructure is endlessly frustrating.
Another obstacle is money. The Arts Council’s budget needs to be far larger to fund all of the work it can’t currently stretch to. Artists and collectives should be able to access funding streams to rent spaces that aren’t just studios, in order to create and curate spaces for gathering, showing work and sharing work.
Speaking to so many artists, visiting their venues, studios and events, seeing their work and learning about their processes, ideas and intentions has been incredibly inspiring. Art helps us understand ourselves and our contexts, but it also enables connection and reflection. Thanks to all who have taken part.
