On the first weekend of each month, Project Arts Centre will publish a new work in partnership with RTÉ Culture.
Project have invited a number of artists and social activists, with a lived experience of intersectional discrimination and disadvantage, to produce a series of ambitious and provocative new works, encouraging crucial dialogue around the impact of social and economic inequality.
Find out more about our policy Towards Equality, Diversity and Inclusion (TEDI).
Find our TEDI Commissions in partnership with RTÉ Culture below as we announce them each month.
Booklet and video response to the TEDI Policy.
“[Artists Róisín Power Hackett, Emilie Conway and Sighile Hennessy] all know what it is like to negotiate inequality, exclusion, and ableism on a daily basis. Ableism is insidious, it is ingrained in public laws and policies, in all government departments, in our health care, public transport, and education. Every system is made ableist.
As a result of systems that ask the question ‘What is wrong with you?’, instead of ‘What is wrong with the system?’, people with disabilities live in the space between two realities. On one hand we are praised for just existing and on the other we are consistently forced into isolation.
The Towards Equality, Diversity and Inclusion (TEDI) Policy is a great first step towards reducing systemic ableism and we feel that other arts organisations across Ireland should be encouraged to examine and adopt the broader aspects of this policy. However, to prove its worth it must first be rigorously enforced by Project and exist beyond the pages.” – Róisín Power Hackett
A film by Dance Artist Tobi Omoteso and Social Activist Catherine Joyce
This film by Dance Artist Tobi Omoteso and Social Activist Catherine Joyce is the second work in this series. It explores the experiences shared by artists from the Black-Irish community and Travellers, and examines the barriers for these communities in accessing opportunities to make and present work.
The film also speaks to issues such as representation, resource allocation, appropriation and programming, and highlights the need for a more equitable and diverse range of artistic supports. In coming together through their consultation work at Project Arts Centre, the two found common ground in their experience and invited a number of artists to join them in conversation around their vision for the future.
A Two-Part Work – Video Piece & Long Form Written Piece
This work by artist Veronica Dyas, is the first in a series throughout 2022 to be platformed through this partnership. Dyas is an artist working through theatre, new text & installation. Facilitation, action & LOVE are crucial to her practice. She makes work to investigate contemporary living, acknowledging the visceral reality of past trauma while always focused towards healing.
In this two-part work for Project Arts Centre’s TEDI Commission, Veronica chose to work with artist and photographer Louis Haugh, whose work is informed by his interest in history, landscape, identity, micro-histories, story-telling & archives. His work often draws on his own identity as a queer working-class artist, and his aesthetic and lived experiences growing up and working in contemporary Ireland resonates deeply with her own.
Part I: SNAP
Part II: “We will examine…”: a class life in art
There’s a photograph, that I can’t find, but it definitely exists, of a march passing Marrowbone Lane. Taken from above, it’s skewed and at an angle, but I know what it is. It’s taken from the same perspective I remember seeing it, hearing it. From the top floor window of our flat. Maybe I took it, but it was probably my mother. Concerned Parents Against Drugs March. Circa 1984.
Another photograph, this one I can hold in my hand, taken from the balcony. The opposite side. The same skewed perspective, the odd angle but internal within the flats, within the bounds. It captures more of the industrial back end of the Guinness’s complex than it does the photograph’s intention. Blue steel and piping dwarf the band visible in the far ground, the flag on a pole obscures the graffiti on the wall, and the majorettes follow, marching from A Block towards C. St. Patrick’s Day Parade. Circa 1984.