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<p>In 2005, Cork is European Capital of Culture. In order to provide something that will make a long-term contribution to the development of the artistic community within the city, the National Sculpture Factory (NSF), together with invited curators, is presenting <em><strong>Caucus</strong></em>. This is an extended project beginning in late 2004, culminating in a meeting of Irish and international artists, scheduled through late June to August 2005. </p>
<p>The principle concept behind Caucus is that significant art proceeds from a discursive and critical culture. In Cork that culture is in a critical phase, its traditional bases being questioned by the city’s position within the shifting global order. Caucus seeks to bring to this site of questioning a high level of international information and exchange. </p>
<p>The National Sculpture Factory will bring artists and thinkers at the highest level to this city, as inspiration for the future, but also as physically present interlocutors within the local art scene for a fixed, intensive period. We are inviting emerging artists from Europe and beyond to live and work in Cork for a short time, taking part in the Caucus programme and activities in the city as a way to extend international links from this city on the western edge of the continent. </p>
<p>A key precedent for Caucus is Joseph Beuys’ bid to establish the Free International University in Ireland in the 1970’s. An application was made to the then EEC in 1975 by Caroline Tisdall, with the objective to explore ‘the contribution cultural and intellectual life can make to society’. Whilst never achieved and problematic in some of its ambitions, the FIU, as envisaged by Beuys, serves as a forerunner and critical point of departure for Caucus. Beuys’ view of the potential of Ireland was, (while romanticised); an indicator of what could be made possible with suitable vision and ambition. Caucus will try to forge a moment where local and international come together to exchange experiences and make plans for the future. </p>
<p>The relation between artistic and socio-political possibilities, (which Beuys proposed), will be an important question for Caucus. The notion of caucus suggests gathering together in order to discuss and influence political change. Can these notions of advocacy and empowerment go beyond their normal connections to national politics? Can the very structure and potential of this democratic forum be revisited and enacted in other ways today? What implications might this have for alternative educative Models?</p>
<p>Within Caucus, we will divide our attention between a number of issues that are significant for cultural production. Initially, we propose the following topics:<br>
<em><strong>States of Emergency, States of Possibility</strong></em>, under which we will look at the condition of the nation state as a cultural phenomenon that is inflected by globalism, while including or excluding possibilities for other forms of organisation and imagination. <br>
<em><strong>Communities and Art</strong></em> will consider the effects of art and urbanism as local activism or alternative service provision as well as how the term ‘community’ can be defined differently within art contexts. <br>
<em><strong>Another FIU?</strong></em> will examine art education models and suggest how they can play a role in social and political imagination and interdisciplinary conversations. These topics will be modified according to feedback and response during the initial phases of the project. New topics, as well, might arise in these stages, which could become the focus of certain quarters of the ‘nucleus’ event. </p>
<h3>The Organisers</h3>
<p><strong>The National Sculpture Factory</strong><br>
The National Sculpture Factory is a national contemporary art organisation, dedicated to Artists, based in Cork, Ireland. It provides and promotes a supportive environment for commissioning new work, collaborations, professional development, residencies and other artistic interventions. Through its program of lectures, seminars and symposia, the NSF maintains and encourages an ongoing discourse on contemporary culture and its issues.</p>
<p><strong>Art/not art</strong><br>
Art / not art was conceived and set up in 1999 by artists and cultural activists, David (Dobz) O’Brien and Fergal Gaynor and was founded to investigate and further conversation into cultural thinking and art making; of bringing into discourse art, art-making, creativity and its role within contemporary society. It sees itself as an educational, productive and discursive unit committed to the organisation of various inclusive and disparate art projects. To date Art / not art projects have manifested in many forms: Sculpture, Photography, Performance, Books, Multiples, Music, Poetry, Lectures, Exhibitions and Discussion Groups, and has been involved in projects in Ireland, Scotland, Germany and Italy. </p>
<p><strong>Charles Esche</strong><br>
Currently Director of van Abbemuseum, Eindhoven, Esche is interested in similar ideas to those around which Caucus is focused, having establishing the Protoacademy in Edinburgh in 1998 and organising two major ‘Community and Art’ workshops in Seoul (2002) and Yogyakarta (2003) with Asian and European artist groups. He is also currently a curator for the Biennale of Istanbul.</p>
<p>From 1993-1997 Esche was Visual Arts Director at Tramway, Glasgow. He was previously the Director of the Rooseum Center for Contemporary Art, Malmö and is a research fellow at Edinburgh College of Art where he works with the 'Protoacademy', an academic project aimed at discovering more conversational and effective models for advanced art education. He is also editor of ‘AFTERALL’, an art journal published twice-yearly by Central St.Martins College of Art and Design, London. </p>
<p>In 2000 Esche co-curated two large-scale exhibitions: Intelligence - New British Art at the Tate Gallery, London and Amateur - Variable Research Initiatives at Konst Museum and Konst Hall, Göteborg. He is an advisor at Rijksakademie, Amsterdam, curatorial advisor to the Foundation of Art and Creative Technology, Liverpool, co-curator of the UK section of ARCO 2001, Madrid, and is a board member of the Emanuel Hoffmann Foundation, Basel. He has written for numerous catalogues and magazines in Europe including: Douglas Gordon, Kunstverein Hanover, Otto Berchem, Artimo, Amsterdam, Hinrik Sachs, Moderna Museet, Stockholm, Mark Lewis, Film and Video Umbrella, London, Superflex, Kunstverein Wolfsburg and Simon Starling, GzK, Leipzig.<br>
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<p><strong>Annie Fletcher</strong><br>
Annie Fletcher is an independent Irish curator currently based in Amsterdam. She is also working at the Witte de With Institute in Rotterdam. She is interested in generating situations of active information exchange and knowledge production as a key dynamic in artistic practice.<br>
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In collaboration with Sarah Pierce she established the Paraeducation Unit based at Witte de With, which seeks to develop a new alternative mode of engagement with arts discourse through a non-instiutional, non-curricular model based on shared interactions with key texts and related issues. </p>
<p>Recent curatorial projects and collaborations include: ‘The Paraeducation Department’, at Witte de With /Tent., Rotterdam, 2004 , <em>Now What? Dreaming a better world in six parts</em>, BAK, Utrecht , 2003 , <em>A’dam and Eve, Sex, tolerance and other dependencies</em>, De Appel, Amsterdam, 2002, <em>Gerard Byrne Herald or Press</em>, The Douglas Hyde Gallery, Dublin, 2002, <em>Apolonija Sustersic Simulation Café and Visual Cookie</em>, Carlow 2002, How Things Turn Out, Irish Museum of Modern Art, 2002, <em>International Language</em>, Grassy Knoll Productions, Belfast 2001.<br>
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<h3>The Participants</h3>
<p> We have created three degrees of potential participation in Caucus:</p>
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<li><strong>Candidates</strong> - Invited artists and thinkers who will present lectures, and lead seminars or workshops. They will make propositions concerning their own work or working methods and stimulate discussion and production amongst the delegates. They will also be asked to suggest residents and to respond to the project through its various phases.</li>
<li><strong>Delegates</strong> - the artists and others taking direct part in Caucus. These would be based in Cork, based elsewhere in Ireland, or invited from elsewhere. The constituents will be expected to participate in the final two-three weeks of presentations and to form core partners for the discussions and activities within the Caucus Nucleus weeks.<br>
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<li><strong>Constituents</strong> - we will attempt as much as possible to provide access for all interested members of the public who would like to join in events and discussions during Caucus. Constituents are invited to come to major public lectures and activities, but also to become involved in smaller projects at the Caucus Centre. <br>
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<h3>The Phases</h3>
<p>The project will be realised in four phases:</p>
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<li>Phases one and two (research and grassroots development), are Cork-focused and chiefly realised by the collaborative group ‘Art / not art’ with NSF and invited curators Charles Esche and Annie Fletcher.<br>
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<li>Phases three and four (production and nucleus), will be developed conceptually by the whole group and enacted by NSF together with Art/not art and the curators.</li>
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<p>The intention of all phases is to stimulate the discursive environment within the city and to provide ways in which the ambition of art to intervene in social life and political thinking can begin to be realised. This is particularly significant given the Capital of Culture status of Cork, which provides a possible focus for culture to reach beyond its traditional interest groups. It is hoped that this model will impact on future activities and the way ongoing discourse operates within the city. </p>
<p><strong>Phase 1: Research</strong> (June 2004 - January 2005)<br>
Art / not art, in alliance with the NSF and the curators, will formulate and investigate certain basic questions concerning Caucus, its nature and realisation, so that from the outset the project’s parameters, aims and terms of discourse might be defined. </p>
<p><strong>Phase 2: Grassroots Activity</strong> (January 2005 - June 2005)<br>
Reading groups will be set-up in Cork, involving anyone, from any discipline, interested in the expansion of their concerns and understanding along the lines of the Caucus framework. The texts read and topics discussed would issue from the research phase and be led by the immanent dynamics of the groups, and be (ultimately) directed towards the interests of those thinkers expected to take part in the project. These may lead to small-scale projects or presentations and the topics will serve as a background for the June-August 2005 discussions. In particular, readings will focus on those thinkers and artists who will visit Cork in that period. </p>
<p>The meetings of these groups would be punctuated by the commissioned presentations of the invited Cork (mainly non - artistic), practitioners. Such presentations will be public events and will provide another occasion for recruitment. </p>
<p>The activities of these groups and the content of the public presentations will be recorded and made publicly available through the Caucus website and other forms. This will provide a mode of dissemination for the ideas being generated at this stage of Caucus, as well as an initial point of contact with eventual visitors - keeping them apprised of the progress of Caucus. </p>
<p><strong>Phase 3: Nucleus</strong> (June – July 2005)<br>
In a suitable site, there will be a shifting network of discussion spaces and working studios. The Cork Caucus delegates will meet with the candidates to continue the ongoing discursive activities in a more concentrated and intense fashion. Artists and interested individuals would gravitate towards certain thinkers who would be invited to set-up courses, give lectures or workshops and create discursive events. </p>
<p><strong>Phase 4: Production and Presentation</strong> (July - August 2005)<br>
This period will be committed to the staging of artistic projects, prepared within and inspired by the events of the previous three weeks, at various locations in the city. </p>
<p><strong>Phase 5: The Future</strong> (August 2005 onwards)<br>
In the aftermath of Caucus, a publication documenting, disseminating and digesting the project would also be produced. It is also planned that the energy created through the process would be continued after a suitable rest through ongoing meetings and invitations with individual participants.</p>
<h3>The Site</h3>
<p>Much of the activity of Caucus will be centred on the primary Caucus Site in Evergreen Street, Cork. This will be the base for a series of activities during Caucus as well as a central meeting point for Caucus participants and the artists and community of Cork as well as interested visitors from outside of Cork. </p>
<p><strong>More than anything else, Caucus should be about the real transformation of thinking and cultural practice in Cork. It is about the cultivation of a Cork international culture, to continue in existence, to continue growing in the city long after 2005.</strong></p>
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<h3>Charles Esche Introduction to Cork Caucus<br>
(transcript of an address given in Cork on 3 December, 2004)</h3>
<p>The opportunity for Cork Caucus came about after an invitation from Tara Byrne of the National Sculpture Factory to develop a project for the Capital of Culture. The problem with these ‘Capital of Cultures’ is that they are usually perceived to be about the culture of representation and spectacle. They often prioritise tourism and economic development rather than the speculative possibility of culture. They become representations of what the city is about to the outside world and its ability to be part of an international spectacular event culture. While they are all very enjoyable and satisfying on many immediate levels, they are less effective in terms of contributing to the critical cultural debate and to the development of local intelligences that can prosper in the years afterwards.</p>
<p>So the opportunity of this invitation was to see whether or not an event such a Capital of Culture could incorporate an attempt to propose something that would contribute to a critical discourse at the grass roots in the city and leave a legacy for the future.</p>
<p>Coming from the outside there are a lot of assumptions you bring with you, but one of the most important things to ensure is that you had an interest the intelligence that exists in the city itself. I was interested in the specific nature of Cork and the ability of this city to engage with certain questions that I have on a more abstract level about how to create and realise new possibility and how to orientate cultural encounters towards a process of thinking and re-thinking rather than consuming. To do such a project in this city means of necessity that it has to be collaborative. Firstly it was important to engage key collaborators both local and international as well as NSF. For that reason I was keen to involve a local art group (art/not art) and Annie Fletcher whose Irish but lives in NL. Further, in order for it to be really meaningful, it has to be a collaboration with the creative people across the city. Of course, that’s an extremely ambitious plan but it’s necessary to maintain an idea of openness and engagement right through between now, what we have called the ‘grassroots’ phase, the ‘nucleus’ of the event with many guests in Cork in June-July 2005 and the period beyond. I hope the ‘grassroots’ project in the city hall and elsewhere will begin to develop contacts across different groups here and that an intensity of engagement becomes possible through the work of NSF and art/not art in particular. Now desiring engagement is all very well and noble but it’s nothing unless it has some objective or some sense of where it might want to go.</p>
<p>That brings me to the reason why we began to play around with the notion of a democratic structure itself. The idea of Cork Caucus was initially based on two other workshops that I organised, one in Seoul, Korea in early 2002 and one in Indonesia in late 2003, both called ‘community and art’. Those two workshops were about ten days long and the idea was that groups from Asia and Europe were to come together and to present their activities. Their intention was to be meeting points across a large geographic divide and to see if they might spark collaborations or bilateral initiatives between individual groups that we had brought together in these two places. We concentrated on artist and curatorial groups because they are critical to organising activity in places that have little or no official institutional infrastructure.</p>
<p>I think those two workshops were quite successful and but along with achievements, there was also a certain amount of frustration about two things. Firstly they were too short; secondly they didn’t allow a considered and longer-term response to the presentations that were made. There were presentations followed by a question and answer session but that discussion didn’t get to where it might have because of the timetable of other presentations introducing other sets of issues that were all very different. This is inevitably what happens when you bring an international group of that diversity together. We replaced one set of issues with another but did not really open them up for analysis or development. There was no opportunity for working through the issues raised on the spot, perhaps not only through discussion but through productive activity or testing out ideas through projects that have time to develop.</p>
<p>This frustration combined with a lack of clarity about the agenda. Simply bringing people together, creating the possibility of meeting was extremely valuable, particularly in a situation where most information was gathered through the Internet, but it is not enough to get further – it only scratches at the surface. So the question was how can it be possible to make something that remained discursive but was more able to determine its own agenda or determine the questions that would form the agenda and then develop ideas within its own structure. We probably want to avoid a manifesto but at least we could see what solidarity or common purpose existed between us. These frustrations form one of the bases for the development of Cork Caucus.</p>
<p>A second motivation was that we wanted to discuss the relationship between art and democratic development. This was partly as a result of discussion in the two previous workshops where Asian democracy is still clearly a work in progress and partly because the issue of Europe and culture brings up the question for me of how art could contribute to the huge problems we now have with imagining new forms of collective decision-making and collective action. We seem to have in Western Europe a stable assumption that we achieved ‘democracy’ after 1945 and that it needs no serious critical examination. I think that is dangerous not only because it has made us lazy and apathetic but because it flies in the face of contemporary life. An important question for me is to question how far we have achieved a democracy in which we’re satisfied and in which art and cultural expression has a clear and defined role? If not, then how can art help to open up the question, given that it has played such a role in the past. For instance, we only have to go back to Joseph Beuys to find one crucial link between art and democratic thinking. Given that he wanted to start his the Free International University in Ireland, his perhaps flawed notions of art, democracy and education become a wonderful starting point for us. Beuys wrote a proposal (with Caroline Tisdall that was sent to the EEC (now the EU) as an application for funding for a new model of university to be situated in Dublin. Perhaps inevitably, given the imaginative chasm between bureaucracy and art, it was turned down. So this project came about as a confluence of these interests, the possibilities of Capital of Culture and the initial invitation from NSF.</p>
<p>The idea of calling the project ‘Cork Caucus’ was not only a nice wordplay but also a term that links directly to the process of making a decision. The origin is meant to come from the Native American tradition of taking decisions. In the US Democratic Party caucus’ you literally stand in various corners of the room and the biggest group of people gets the decision. It’s very primitive but very beautiful form of visual democracy. A caucus is then a democratic means of taking a decision and I think it differs from a workshop in that a workshop is a coming together for production or exchange while a caucus is a coming together in order to make a decision. That’s a subtle difference, but an important one. The logical next question is, of course, ‘what is the nature of the decisions we want to take’? Again, I think we have imposed answers based on our experiences and hopes for Cork Caucus. </p>
<p>One issue is how can an event like this contribute to the reserves of cultural capital of the creative community in Cork. If we really get it right, this area might produce a series of decisions that can be continued and enacted after the Caucus happens. The second major issue is how can we decide the forms of the relationship between what we are engaged in – the territory of visual culture – and political or cultural change as an pre-existing objective. Indeed we need to consider the development of the democratic model itself, given that we presume democracy to be underdeveloped. How can or could our kinds of discussions and material projects contribute to that development? This area might produce a statement or a series of proposals in a post-Caucus publication – or it might leave us still puzzling - we shall have to see. Personally, I am interested to see if such an old fashioned notion as solidarity could be revived here. Do we have enough common interests to declare that we share aims for which we can work in solidarity with each other?</p>
<p>Those may be the main questions that Caucus can raise but who takes that decisions about what form the proposals might take, how they are weighted and what contributions to the debate might actually look like? I think this is where the Caucus model becomes very interesting because what you have in the Caucus model are ‘candidates’ who put ideas forward for approval or rejection like in a classical US presidential election. The decision as to the value of the proposals is taken by the ‘constituents’ – by the people who come to Caucus – and of course candidates for one proposal become constituents for others. So what I think is interesting for Cork in bringing international people like Surasi Kusolwong, Catherine David, Shep Steiner, Giorgio Agamben, Gayatri Spivak, Maria Eichhorn and many others, who will be presenting arguments and projects for each others consideration. Hopefully their knowledge and experience will not be disabling but empowering in this context. There is always a danger of being ‘dumbstruck’ by experience and one way to avoid that is by giving the power back to the floor. So what I would suggest is that Caucus is an engagement with a series of propositions and indeed participation in these propositions, in order to consider what art has to offer a city community today. </p>
<p>Whether that participation is critical is one of the questions that could be determined by this model. The question then becomes ‘can people in Cork take some of these proposals forward on their own account. If they do, I think Caucus can present a model of engagement with art and individual artists that becomes very exciting. What’s interesting is that at the end of Caucus a decision is taken about in Cork, about Cork, for Cork if that doesn’t sound like democratic hyperbole. </p>
<p>What our job as organisers comes down to is, I think, to provide the proposals that the constituents feel able to choose or to reject and as a result to shift the pattern of creative behavior in the city towards something they all feel happier with.</p>
<p>Programme</p>
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<td><p class="headline">Event</p></td>
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<td valign="top">tests </td>
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<td valign="top">Cork Caucus was kindly sponsored by EU Culture 2000. </td>
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<td valign="top">Charles Esche - Talk </td>
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<td valign="top">Reading Group February 22 - 'Location, Location' -the biennale and the city </td>
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<td valign="top">Bik Van der Pol - Lecture </td>
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<td valign="top">Bik Van der Pol - Workshop </td>
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<td valign="top">Workshop by 'Static'
3pm Friday March 11
Caucus Centre, Cork </td>
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<td valign="top"><bNext Reading Group/b>
Wednesday March 16 at Caucus Centre, Evergreen Street, Cork
Jonathan Raban's 'Soft City' </td>
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<td valign="top">Vito Acconci - Screenings </td>
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<td valign="top">CORK CAUCUS LAUNCH !
and VITO ACCONCI LECTURE and PUBLIC CONVERSATION with JAN VERWOERT
6pm, 6:30pm AND 7:45PM
Saturday March 19
Lewis Glucksman Gallery </td>
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<td valign="top">First April Grassroots Event
Visit by Becky Shaw of Static between April 11 and 13. Becky Shaw will give a presentation at the Caucus Centre in Evergreen Street at 7:45pm on 12th April </td>
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<td valign="top"><bApril Grassroots Reading Group (with Becky Shaw of 'Static'). 8pm Wednesday April 13 at Caucus Centre, Evergreen Street, Cork.
TEXT: BORIS GROYS - 'Art as an Economic Avant-Garde/b>
Copies of this text available from National Sculpture Factory. Email to sean@nationalsculpturefactory.com if you would like a copy. </td>
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<td valign="top"><b>April Reading Group with Becky Shaw,(Static, Liverpool). 8pm Wednesday April 13 at Caucus Centre, Evergreen Street, Cork.
text: BORIS GROYS: 'ART AS AN ECONOMIC AVANT GARDE'Email Factory for text.</b>
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<td valign="top">Reading Group Photography
Thursday 21 April at 7:30 and every Thursday after, the Grassroots Photography Group will hold a Reading Group around relevant issues at the Caucus Centre. Texts from NSF via email </td>
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<td valign="top">Catherine David Lecture
Crawford Municipal Gallery Lecture Theatre
7pm, 28 April 2005
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<td valign="top">May Reading Groups - Philosopy and Photography, May 10 and 12 </td>
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MODELS OF RESISTANCE: A day of presentations and group dialogue about aesthetics and politics: Developed and moderated by Sarah Pierce, The Metropolitan Complex BOOKINGS ESSENTIAL
Saturday May 14th,10:30am - 5pm. Caucus Centre, Evergreen Street, Cork
See Context section this site for text information </td>
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<td valign="top">Grassroots Event - Kathryn Maguire 'Psychogeographic Map-making'- collaging experimental maps of the city. At Locus Caucus (Caucus Centre - Evergreen Street), 7pm, Wednesday May 25 </td>
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<td valign="top">International Street Art Presentations - with Zosen and Sonik at Caucus Centre, Friday 27th May at 6.30pm
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<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
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<td valign="top"><b>MAIN PROGRAMME BEGINS HERE</b> </td>
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<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
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<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
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<td valign="top">11:00 am Introductory Presentation - Cork Caucus curatorial and Project Team - Curators Charles Esche and Annie Fletcher, Art / not art and National Sculpture Factory </td>
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<td valign="top">3:30 pm Art/not Art </td>
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<td valign="top">6:00 pm (Introductory Presentation) Catherine David </td>
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<td valign="top">9:00 pm Artist </td>
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<td valign="top">10:00 am Catherine David </td>
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<td valign="top">8:00pm Lecture - Surasi Kusolwong - 'Question Painting'. </td>
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<td valign="top">2:00 pm (Workshop) / Shep Steiner : Readings Around the Coming Community </td>
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<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
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<td valign="top">11:00 am (Introductory Presentation) Shep Steiner </td>
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<td valign="top">3:30 pm (Workshop) Sarah Pierce: 'Artists Who Don't Want To Make Art' </td>
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<td valign="top">11am Bik Van der Pol: Introductory Presentation and introduction to the Ford Boxes research project </td>
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<td valign="top">Introductory Presentation - Bik van der Pol </td>
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<td valign="top">2:00 pm (Workshop) finger: Evolutionary Cells </td>
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<td valign="top">6:00 pm (Introductory Presentation) D.A.E. </td>
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<td valign="top">12:00 am (Introductory Presentation): Static </td>
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<td valign="top">3:30 pm (Workshop) Static: EXIT Cork </td>
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<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
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<td valign="top">12:00 am (Introductory Presentation) finger </td>
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<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
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<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
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<td valign="top">12:00 pm (Introductory Presentation) Can Altay </td>
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<td valign="top">3:30 pm (Workshop) finger: Contemporary Rural Societies </td>
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<td valign="top">6:00 pm (Workshop) D.A.E. (Donostiako Arte Ekinbideak) </td>
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<tr>
<td valign="top">6:00 pm (Introductory Presentation) Surasi Kusolwong </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>12:00pm - 10pm SURASI KUSOLWONG - 'BANGCORK'
JUNE 25,26 AND 27</b>
Bangcork will be a colourful, three-day market project in Bishop Lucey Park, Cork, which will reflect aspects of both Thai and Irish culture. </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) James Elkins </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) James Elkins: Why Art Cannot be Taught? </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">8:00 pm (Lecture) Jan Verwoert: The Beuys Caucus Context </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">12:00 pm (Introductory Presentation) Agung Kurniawan and Kunci </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">12:00 pm (Introductory Presentation) Kunci and Agung Kurniawan </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 pm (Introductory Presentation) Jeremiah Day </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Maria Eichhorn </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Jeremiah Day: Not A Delegate </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) James Elkins: Why Art Cannot be Taught? Part 2 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Lecture) Gerald Raunig: Art and Revolution </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>7:00pm Gayatri Chakravorty Spivak - Lecture - Art and Democracy, followed by a Panel Discussion with Gerald Raunig, Shep Steiner and James Elkins,</b> 7pm June 29, Smurfit Theatre, Firkin Crane Centre, Shandon, Cork </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Keri Jones </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Kunci: Participatory History: Youth/Family/Identity And The History Of Family Health. </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) Agung Kurniawan (and Aisyah Hilal: Short Wave, Human Migration (Mobility), Borders And Boundaries, A Visual Art Project In Southeast Asia. </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Haegue Yang </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Jan Verwoert: The Crisis Of History In The Moment Of Historical Experience </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Performance) Storage Piece - A collaborative performance by Haegue Yang </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Performance) MAQUIS - A performance by Jeremiah Day </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2.00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) WHW: Collective Creativity </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) Jan Verwoert: Re-Negotiating Modernism: New Histories Of The Future </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Introductory Presentation) Open / Grassroots </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>12:00pm - 8:00pm DISCURSIVE PICNIC</b> Bessborough House Gardens, Mahon Point, Blackrock
Saturday July 2. Chefs: the 'Domestic Godless' </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Phil Collins </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">12.00 pm (Introductory Presentation) International Necronautical Society </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>1:00pm </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) Simon Sheikh/Ashley Hunt /tv-tv: Representation, Narration And The Production Of Publics And Counter-Publics Part 1 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Introductory Presentation) Simon Sheikh with Ashley Hunt </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Introductory Presentation) Sound Eye </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">12:00 pm (Introductory Presentation) Paul O Neill </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>11.00 am Phil Collins </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Shane Cullen </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Keri Jones: The Ethics of Discomfort </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) Simon Sheikh/Ashley Hunt / tv-tv: Representation, Narration And The Production Of Publics And Counter-Publics Part 2 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm (Introductory Presentation) Open slot / Grassroots </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">8:00 pm (Performance) Keri Jones: The Ethics of Discomfort </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">7pm Embassy visit from Caucus to Sound Eye </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>7:00 pm (Lecture) Chantal Mouffe: Democratic Politics And Artistic Practices</b>
Venue: Smurfit Theatre, Institute of Contemporary Dance at the Firkin Crane, Shandon, Cork.
Fee: </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30 pm (Workshop) Simon Sheikh/ tv-tv: Representation, Narration And The Production Of Publics And Counter-Publics Part 3 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>12.00pm - Introductory Presentation - Chantal Mouffe </b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>Shane Cullen - 'Courage to Refuse'</b>
City Installations, Sound and Projection Installation at NSF, and Discussion - 7, 8 and July 9 at National Sculpture Factory </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>6:00 pm Launch of 'Courage to Refuse'</b> by Shane Cullen, John Buckley, David Crawforth and the Courage to Refuse group. Venue: The National Sculpture Factory. </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11.00 am (Introductory Presentation) Eoghan McTigue </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Static: EXIT Cork Part 2 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11.00 am Courage to Refuse </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">2:00 pm (Workshop) Shep Steiner: Readings Around the Coming Community </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:30pm (Workshop) Eoghan McTigue: Free Association </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">6:00 pm Presentation Open/Grassroots (Finale) </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">11:00 am (Introductory Presentation) Ibon Arranberri </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>LAUNCH OF FORD BOXES RESEARCH PROJECT<b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">3:00 pm Courage to Refuse </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">Bik Van der Pol: ongoing Ford Boxes research project </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">9:00pm: <b>MINGLE-MANGLED: A Critical Curating Party by Paul O </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>Eoghan McTigue Postcard Project - from September 2005 in selected cultural venues around Cork City</b> - See News Section for information </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top">The National Sculpture Factory presents ...
<b>REGATHERING ON THE GROUNDS OF ART</b>:
REVISITING CORK CAUCUS:
ON ART, POSSIBILITY & DEMOCRACY
SAT 21 JUNE 2008, CORK CITY </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"><b>Forthcoming Projects</b>
Cork Caucus has generated a number of Artists' Projects by Phil Collins, Maria Eichhorn, and Bik van der Pol, which will roll out over 2006. Eoghan McTigue's postcard project for Cork Caucus will be available throughout Cork Arts venues from September. The Ford Boxes project by Bik van der Pol, and an open invitation to supply further material to the artists is outlined in the following Artists' statement.
</td>
</tr>
<tr>
<td> </td>
</tr>
</table>
<p>Context</p>
<table border="0" cellpadding="1" cellspacing="0">
<tr valign="top">
<td><p class="headline">Title</p></td>
<td> </td>
<td><p class="headline">Author</p></td>
<td> </td>
</tr>
<tr>
<td colspan="4"><img src="images/spacer.gif" width="3" height="3"></td>
</tr>
<tr>
<td valign="top"> <b>Address to Cork Caucus From Los Angeles (Frederick Dewey)</b> </td>
<td valign="top"> </td>
<td valign="top">Frederick Dewey</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Art and Beauty - JJ Charlesworth<b/>
Key text for 'Models of Resistance' </td>
<td valign="top"> </td>
<td valign="top">JJ Charlesworth</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Charles Esche - Introduction to Cork Caucus - Transcript of Address presented in Cork December 3rd 2004</b> </td>
<td valign="top"> </td>
<td valign="top">Charles Esche</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Collectivity, Modest Proposals and Foolish Optimism</b>
</td>
<td valign="top"> </td>
<td valign="top">Charles Esche</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Inside the Capitalist Frame </td>
<td valign="top"> </td>
<td valign="top">Charles Esche</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Keri Jones
'The Ethics of Discomfort'</b>
This recent posting is a distillation of a talk/workshop/performance presented by Keri Jones at Cork Caucus on Tuesday July 5th, 2005. It is a critical reflection on some of the rhetorical and conceptual bases of the Cork Caucus event itself, and an attempt to evaluate the contrasting claims of the Capital of Culture organisers and the populist alternative, 'Where's Me Culture?'
Reproduced courtesy of Keri Jones </td>
<td valign="top"> </td>
<td valign="top">Keri Jones</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>LEARNING BY USING</b>
<b>JASON OAKLEY OFFERS AN ACCOUNT OF VITO ACCONCI TALKING AND IN CONVERSATION WITH JAN VERWOERT AT THE LEWIS GLUCKSMAN GALLERY, CORK, MARCH 19th, 2005</b>
</td>
<td valign="top"> </td>
<td valign="top">Jason Oakley</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>LEIRE VERGARA
Art, Possibility and Democracy. Interview with Charles Esche</b> </td>
<td valign="top"> </td>
<td valign="top">Charles Esche</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Modest proposals or why </td>
<td valign="top"> </td>
<td valign="top">Charles Esche</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Shep Steiner - Readings Around The Coming Community - Workshop Content Outline and Required Key Texts</b> </td>
<td valign="top"> </td>
<td valign="top">Shep Steiner</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Simon Sheikh - Representation Contestation and Power: The Artist as Public Intellectual<b/>
</td>
<td valign="top"> </td>
<td valign="top">Simon Sheikh</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Text: 'Free Association' by Eoghan McTigue(New posting)<b/> </td>
<td valign="top"> </td>
<td valign="top">Eoghan McTigue</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>THE COMBATANT'S LETTER</b> </td>
<td valign="top"> </td>
<td valign="top">The Courage to Refuse Gro</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Theses (for Culture and Conflict Group)</b> </td>
<td valign="top"> </td>
<td valign="top">Dan S Wang</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> Britain Ill informed about Sangatte
</td>
<td valign="top"> </td>
<td valign="top">Jon Henley</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> GREY ECOLOGY </td>
<td valign="top"> </td>
<td valign="top">Paul Virilio</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> Location Location </td>
<td valign="top"> </td>
<td valign="top">Claire Doherty</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> NOT EVEN WRONG </td>
<td valign="top"> </td>
<td valign="top">Jones Keri</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> Reading Analogous to the Conversations of the Cork Caucus. Grassroots Reading List
</td>
<td valign="top"> </td>
<td valign="top">Authors Various</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> Reading for 'Models of Resistance' </td>
<td valign="top"> </td>
<td valign="top">Sarah Pierce</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
<tr>
<td valign="top"> Reading Group March 16
Text: Jonathan Raban 'Soft City' </td>
<td valign="top"> </td>
<td valign="top">Jonathan Raban</td>
<td valign="top"> </td>
</tr>
<tr>
<td> </td>
<td> </td>
<td> </td>
<td> </td>
</tr>
</table>
<p>News</p>
<table border="0" cellpadding="0" cellspacing="0">
<tr>
<td><p class="headline">Headline</p></td>
</tr>
<tr>
<td><img src="images/spacer.gif" width="3" height="3"></td>
</tr>
<tr>
<td valign="top"> <b>Cork Caucus Publication NOW AVAILABLE</b>
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Launch of Maria Eichhorn Commission: "Publishing the fact that something will remain unpublished" </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> The National Sculpture Factory presents ...
<b>REGATHERING ON THE GROUNDS OF ART</b>:
REVISITING
<i>CORK CAUCUS: ON ART, POSSIBILITY & DEMOCRACY</i>
SAT 21 JUNE 2008, CORK CITY
11am-4pm: PARA-EDUCATION WORKSHOP
6-8pm: PUBLIC DISCUSSION </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> IN CONVERSATION: HOU HANRU & ANNIE FLETCHER
Venue: Dominican Biblical Institute, corner of Cecil and Dominic Street (near LCGA), Limerick
Date: 8 March 2008
Time: 3pm
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Do you speak art? (or where are you coming from?)</b>
seminar on globalisation and its impact on visual art practice
Sat 3 November </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Be[com]ing Dutch
three week international Caucus
from 10th November until 2nd December 2007
Van Abbemuseum, The Netherlands
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Report summary of Not Even Wrong </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> NOT EVEN WRONG
A critical participative workshop on the (ir)relevance of art administration
devised by Keri Jones
8th March 2007
6pm in the National Sculpture Factory
[see Context section for Keri Jones' short essay on the background of the phrase 'NOT EVEN WRONG'] </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Visit and Lecture
Bik van der Pol </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Discussion of Cork Caucus book on Eleventh Hour arts programme Radio 1 (23rd Nov 2006) </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> BOOK LAUNCH 25th November 6pm:
<b>Cork Caucus: on art, politics & democracy </b>
with keynote speaker Eamonn McCann
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> CORK CAUCUS BIRTHDAY PARTY </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> EXIT CORK 2006 PUBLIC DISCUSSION
in LEWIS GLUCKSMAN GALLERY
Tuesday 2pm 11th JULY 2006
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Jeremiah Day: D.I.Y. Body Politic - Artist's Self Organizing In The Public Realm</b>
Free Group Workshops: 4th - 7th May 2006 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Jeremiah Day - From Manet to Fugazi - Artists' Self-Organising</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Caucus Photo Archive now up on this Website<b/>
(See Home Page) </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Jeremiah Day - National Sculpture Factory Workshops - D.I.Y. Body Politic - Artists Self Organising In The Public Realm - April - May 2006<b/>
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>NEW POSTINGS -
1. Outcomes of Cork Caucus Public Meeting
2. Vito Acconci talk and conversation with Jan Verwoert - See Context Section</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>NEW TEXT POSTING
'The Ethics of Discomfort' by Keri Jones (See Context Section)</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Outcomes of Cork Caucus Public Meeting November 5th</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Eoghan McTigue - Helsinki Postcard Project -
As part of Cork Caucus, Artist Eoghan McTigue has developed a Postcard project for inclusion inthe Caucus Prohramme of ongoing activities. Postcards have been placed in key cultural sites around Cork City from September 2005. (Click here to see Artist's Statement)</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>PUBLIC MEETING TO CONSIDER OUTCOMES OF CORK CAUCUS - SATURDAY NOVEMBER 5th FIRKIN CRANE CENTRE, SHANDON, CORK 3pm - 5pm ALL WELCOME (See this section for further announcements and bulletins about other developments in Cork Caucus)</b>
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>See Context pages for latest articles and responses re Cork Caucus - new posting An Address to Cork Caucus from Frederick Dewey</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>The Caucus Programme is now over but this website remains active for comment and discourse</> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Mingle-Mangled</b>
A Club Night Like No Other </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Thursday 26th May, 7 pm: Non- Academy 'Nanotechnological Vistas'
An introduction to the cutting edge science with Guillaume Audoit and Mark Robertson</b>
</td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>Grassroots Event - Workshop - Kathryn Maguire - 'Psychogeographic Map-Making' - collaging experimental maps of the city, 7pm, Wednesday May 25th at Caucus Centre Evergreen Street </b </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>International Street Arts - Zosen and Sonik at Caucus Centre Friday 27 May at 6:30pm - All Welcome<b/> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>CATHERINE DAVID LECTURE
7PM THURSDAY APRIL 28, CRAWFORD GALLERY - SEE PROGRAMME LISTINGS FOR DETAILS<b/> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> <b>CORK CAUCUS LAUNCHED WITH VITO ACCONCI LECTURE</b> </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Bik van der Pol Workshop National Sculpture Factory, Tuesday 22 February, 2005. </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Charles Esche Lecture at Project Arts Centre, Dublin, 17 February 2005 </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Reading Group Update </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Caucus Grassroots Activity (January </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Sound Out </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Caucus Centre </td>
</tr>
<tr>
<td> </td>
</tr>
</table>
<p>Participants</p>
<table border="0" cellpadding="0" cellspacing="0">
<tr>
<td valign="top"><p class="headline">Name</p></td>
</tr>
<tr>
<td><img src="images/spacer.gif" width="3" height="3"></td>
</tr>
<tr>
<td valign="top"> Acconci, Vito </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Altay, Can </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Aranberri, Ibon </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Art / not art </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Bik Van der Pol </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Cemeti Art Foundation </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Collins, Phil </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Crawforth, David </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Cullen, Shane </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> D.A.E. (Donostiako Arte Ekinbideak) </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> David, Catherine </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Day, Jeremiah </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Eichhorn, Maria </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Elkins, James </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Esche, Charles </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> finger </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Fletcher, Annie </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> International Necronautical Society </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Irish Artists, Grassroots </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Jones, Keri </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Kunci </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Kurniawan, Agung </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Kusolwong, Surasi </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Laacher, Smaϊn </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Maharaj, Sarat </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> McTigue, Eoghan </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Mouffe, Chantal </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> O'Neill, Paul </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Pierce, Sarah </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Raunig, Gerald </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Sheikh, Simon </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Spivak, Gayatri Chakravorty </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Static </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Steiner, Shep </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Verwoert, Jan </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> WHW </td>
</tr>
<tr>
<td> </td>
</tr>
<tr>
<td valign="top"> Yang, Haegue </td>
</tr>
<tr>
<td> </td>
</tr>
</table>
</body>