PHOTOGRAPHED 13 APRIL 2025
Magical new artwork ‘Full Moon’ by Spanish artist Sara Maneiro Rey @sarosky.studio Artwork located at Winetavern Street/Cook Street @thelibertiesdublin 8.
There Is Much To See Here
by infomatique
by infomatique
PHOTOGRAPHED 7 FEBRUARY 2025
Victoria Avenue is a charming, quiet street located in the heart of Donnybrook, Dublin 4. It’s known for its beautiful redbrick Victorian and Edwardian houses, many of which have been lovingly maintained and retain their original period features.
Here’s what makes Victoria Avenue a desirable location:
Prime Location: Situated just off Morehampton Road, residents enjoy easy access to the vibrant villages of Donnybrook and Ranelagh. These areas offer a wide array of amenities, including boutiques, cafes, restaurants, delicatessens, and shops.
Proximity to Herbert Park: The 32-acre Herbert Park is a stone’s throw away, providing residents with a beautiful green space for leisurely walks, picnics, and recreational activities.
Excellent Schools: The area boasts a superb selection of Dublin’s premier schools and colleges, including UCD and Trinity College, making it an ideal location for families with children.
Excellent Bus Service: Victoria Avenue benefits from frequent and reliable bus routes passing through Donnybrook and Ballsbridge, providing easy access to the city centre and other areas of Dublin. This is the primary public transport option for residents.
Peaceful Atmosphere: Despite its central location, Victoria Avenue maintains a quiet and peaceful atmosphere, making it a sought-after residential area.
by infomatique
LEGACY PHOTO COLLECTION 2016
The Tivoli Theatre and Car Park: A Lost Canvas for Dublin’s Street Art
The Tivoli Theatre, a cherished cultural landmark in Dublin, has a rich and fascinating history. Originally built as a meeting place for Daniel O’Connell’s Repeal Association in the 1830s it was located on Burgh Quay. In 1897, the theatre was rebuilt and renamed the Grand Lyric Hall, later becoming the Lyric Theatre of Varieties. Finally, in 1901, it adopted the name “Tivoli.” This original Tivoli Theatre, with a seating capacity of 1,252, closed in 1928 and was eventually taken over by the Irish Press newspaper group.
A new Tivoli Theatre opened on Francis Street in 1934, designed by architect Vincent Kelly with seating provided for 700. Initially a cine-variety theatre, it transitioned to full-time cinema use in the late 1930s, becoming the Tivoli Cinema. After a fire in 1964, the cinema remained derelict until former footballer Anthony “Tony” Byrne purchased and transformed it into a theatre and music venue in 1987. Over the years, the Tivoli Theatre hosted a diverse range of performers, from renowned musicians like Jeff Buckley, Blur, and Oasis to comedians, drag queens, and even wrestlers.
However, the Tivoli Theatre’s story took an unexpected turn when it faced financial difficulties and ceased operations in 2015. The site was subsequently earmarked for redevelopment, leading to the demolition of the theatre and its adjacent car park in 2019. While the theatre’s closure marked the end of an era, it was the fate of the car park that sparked particular concern among Dublin’s art community.
The Tivoli Car Park: An Urban Canvas
In the years leading up to its demolition, the Tivoli car park had become an unlikely hub for Dublin’s vibrant street art scene. Its walls, once drab and unremarkable, transformed into a dynamic outdoor gallery, showcasing a diverse array of styles and techniques. Established and emerging artists, both local and international, flocked to the car park, drawn by the freedom of expression it offered. The car park became a space where artistic boundaries were pushed, and where the city’s urban culture found a visual voice.
The art that adorned the Tivoli car park walls was not merely decorative; it was a reflection of Dublin’s evolving identity. The murals captured the spirit of the city, its people, and its stories. They ranged from highly detailed photorealistic works to signature characters and graffiti writing, creating a constantly evolving tapestry of urban art. The car park became a popular destination for art enthusiasts, photographers, and curious passers-by, drawn by its unique atmosphere and ever-changing displays.
Adding to the dynamic nature of the Tivoli car park’s art scene was the All-City Jam. This annual event saw graffiti artists gather to cover the car park walls in a day-long jam, showcasing their skills and collaborating on new works. The All-City Jam brought together artists from across Ireland and beyond, further solidifying the car park’s reputation as a hub for urban creativity.
Planning Permission and the Promise of Preservation
When the redevelopment of the Tivoli Theatre site was proposed, the fate of the car park and its street art became a key concern. Recognising the cultural significance of the artwork, An Bord Pleanála, the Irish planning appeals board, included a condition in the planning permission requiring the developer to preserve the graffiti. This condition stipulated that a professional photographer should document the artwork before demolition, and that a written and digital report of the photographic survey be submitted to Dublin City Council for distribution to public libraries.
The inclusion of this condition was a significant step in acknowledging the value of street art as a form of cultural expression, especially considering that Dublin City Council spends around €1 million a year removing graffiti around the city. It reflected a growing awareness of the need to preserve urban art, which often faces the threat of destruction due to redevelopment or changing attitudes towards graffiti. However, the reality of the preservation efforts at the Tivoli site has fallen short of expectations.
A Lost Legacy: The Current State of the Art
Following the demolition of the Tivoli Theatre and car park, the site was redeveloped into Liberty Plaza, a complex that includes a StayCity Aparthotel. While the developer was obligated to preserve the street art, the extent to which this obligation has been fulfilled is questionable. The once vibrant and extensive collection of murals has been reduced to a small number of pieces confined to a less visible wall near a bike shed. This raises concerns about the developer’s commitment to honouring the site’s artistic legacy.
Furthermore, public access to the remaining artwork is limited, further diminishing its visibility and impact. The art that once enlivened a public space and engaged a diverse audience is now largely hidden from view, accessible only to those who venture into a specific area of the new development. This raises questions about the effectiveness of the preservation efforts and whether they truly capture the spirit and essence of the original Tivoli car park art.
Adding to the disappointment, one of the conditions for planning permission set by Dublin City Council was that the new premise would retain a “performance and exhibition space” where entertainers and artists could continue to perform. However, after the new site’s construction, news media in 2023 reported that the area was used for little more than storage space. The aparthotel complex was also to include a new outdoor theatre space but it remains to be seen how this space will be utilised and whether it will truly compensate for the loss of the car park’s artistic vibrancy.
Public Discourse and Disappointment
The perceived loss of the Tivoli car park’s street art has sparked public discourse and disappointment among various stakeholders. Local artists, community members, and cultural heritage advocates have voiced their frustration over the perceived lack of effort in preserving and showcasing the artwork. Many question the developer’s commitment to honouring the site’s artistic legacy, and criticise the current presentation of the murals as inadequate and hidden from public view.
“It’s a shame to see what has become of the art,” lamented one local artist. “The Tivoli car park was a unique space, and the murals were a vital part of Dublin’s cultural landscape. It feels like a piece of our city’s identity has been erased.”
These sentiments reflect a broader concern about the tension between urban development and the preservation of spontaneous cultural expressions like street art. While redevelopment is often necessary for urban renewal and economic growth, it can also lead to the loss of valuable cultural assets. The Tivoli car park case highlights the need for a more balanced approach, one that recognises the importance of preserving cultural heritage while pursuing urban development goals.
Preserving Street Art: Challenges and Opportunities
The Tivoli car park case raises important questions about how we preserve street art in a rapidly changing urban environment. While the inclusion of a preservation condition in the planning permission was a positive step, its implementation has highlighted the need for a more comprehensive and nuanced approach.
One key challenge is the ephemeral nature of street art itself. Unlike traditional art forms, street art is often created in public spaces without formal permission and is subject to change, decay, or removal. This makes its preservation inherently complex. Another challenge is the tension between preserving the authenticity of street art and integrating it into new developments. Simply relocating or replicating murals can strip them of their original context and meaning.
Despite these challenges, there are opportunities to develop more effective strategies for preserving street art. These include:
Proactive documentation: Creating comprehensive archives of street art through photography, videography, and oral histories.
Community engagement: Involving local artists and communities in decision-making processes related to street art preservation.
Creative integration: Exploring innovative ways to incorporate street art into new developments, such as creating dedicated art spaces or incorporating murals into building designs.
Legal frameworks: Developing clear guidelines and policies for the protection and preservation of street art.
By learning from the Tivoli car park case and adopting a more proactive and collaborative approach, Dublin can ensure that its vibrant street art scene continues to thrive and contribute to the city’s cultural richness.
Conclusion
The Tivoli Theatre and its associated car park were more than just physical structures; they were spaces that held cultural and artistic significance for Dublin. The theatre, with its long and varied history, played a vital role in the city’s entertainment scene, evolving from a meeting place for political discourse to a venue for diverse artistic performances. This echoes the car park’s later role as a space for artistic expression, highlighting the site’s continuous role as a platform for free expression.
The loss of the car park’s street art, despite the preservation condition in the planning permission, underscores the need for a more holistic approach to preserving cultural heritage in the face of urban development. Key takeaways from the Tivoli car park case include the importance of:
Clear and enforceable preservation guidelines: Ensuring that preservation conditions are specific, measurable, achievable, relevant, and time-bound.
Community involvement: Engaging local artists and communities in the planning and implementation of preservation efforts.
Creative integration: Exploring ways to incorporate preserved art into new developments in a meaningful and accessible way.
By learning from this case and adopting a more proactive and thoughtful approach, Dublin can ensure that its vibrant street art scene continues to thrive and contribute to the city’s cultural richness for generations to come.
by infomatique
DUBLIN STREET ART
The Icon Factory, a vibrant hub of creativity nestled in the heart of Dublin’s Temple Bar, left an indelible mark on the city’s cultural landscape. More than just a gallery, it was an artist’s cooperative, a non-profit collective run entirely by artists and volunteers passionate about celebrating Ireland’s rich cultural heritage. The Factory aimed to reach a broader audience through its online presence, popularising Irish culture and offering a unique experience. This article delves into the history of the Icon Factory, explores its relationship with Atelier, and examines the factors that led to its closure.
A Collaborative Vision
The Icon Factory was the brainchild of Barney Phair and Aga Szot. Phair, inspired by similar Bohemian art projects he had witnessed in New York, envisioned a space where artists could come together and contribute to the city’s cultural identity. Szot, a visual artist with an MA and MS from Krakow Pedagogical University, brought her artistic expertise and leadership to the project. Together, they transformed an abandoned post office into a thriving gallery and studio space.
The Icon Factory was more than just a place to display art; it was a multifaceted platform that used commercial products like fine art prints, t-shirts, and posters to convey messages, share knowledge, and spark curiosity about Irish culture. It also sold colourful, unique souvenirs celebrating the very best in Irish music and literature, with every sale going towards supporting the artists themselves. Szot, a full-time artist herself, saw the Factory as a way to popularise Irish culture and offer a unique experience that was missing from the market.
The Icon Factory played a crucial role in promoting a sense of community and encouraging interaction with art. It provided a space for artists to connect, collaborate, and share their work with the public. The Factory’s events and exhibitions further fostered this sense of community, bringing people together to celebrate Irish culture and artistic expression.
The Icon Walk: A Celebration of Irish Identity
Central to the Icon Factory’s mission was the creation of the Icon Walk, an open-air art installation that transformed the neglected laneways of Temple Bar into a vibrant celebration of Irish icons. These laneways, once considered unsafe and avoided by many, were given new life through the Icon Walk. The Walk featured original images of individuals who had made significant contributions to Irish culture, from rock stars and sporting heroes to writers and television personalities. It became Ireland’s largest open-air art installation, attracting tourists, locals, and student groups to the area.
The Icon Walk was initially trialled as an exhibition along the Liffey boardwalk before Phair and Szot secured a permanent space in Temple Bar. Their aim was to revitalise the area and encourage visitors to engage with the soul of Ireland. The result was a captivating blend of pop art, subversive messaging, and modern iconography that drew tourists, locals, and student groups to the area. The Icon Walk has also been endorsed by Dublin’s UNESCO City of Literature Department as an important site for the celebration of Irish literary talent and culture. The Icon Factory’s efforts not only transformed the physical appearance of the laneways but also helped reduce the crime rate in the area.
The Icon Walk was also closely associated with the work of Aga Szot, whose studio, possibly referred to as ‘Atelier’, played a key role in the Factory’s activities.
The Atelier Connection
While the research material does not explicitly define “Atelier” in the context of the Icon Factory, it does reveal a close relationship between the Factory and Aga Szot’s own studio. It seems likely that “Atelier” refers to Szot’s studio, which functioned as a creative space within the larger Icon Factory collective. Located right next to the Icon Factory, Szot’s studio allowed her to work on her art while also overseeing the Factory’s operations.
The close proximity of Szot’s studio to the Icon Factory fostered a dynamic environment where artistic creation and cultural celebration intertwined. Passersby could observe Szot at work through the large shop window, witnessing the creative process firsthand. This live painting installation further enhanced the Icon Factory’s appeal as a hub of artistic energy and cultural engagement.
Community Engagement and Events
The Icon Factory was deeply involved in community engagement, hosting a variety of events that brought people together and enriched the cultural fabric of Temple Bar. These events included:
Annual Christmas markets with local artisans and crafts.
Music and art festivals showcasing local and international talent.
Community projects like repainting the Icon Walk, engaging locals in creative endeavours.
Student internships offering hands-on experience in the arts and culture sector.
These activities solidified the Icon Factory’s position as a cornerstone of cultural engagement in Dublin.
Love the Lanes Initiative
Around the same time that the Icon Factory was operational, Dublin City Council organised a programme called “Love the Lanes”. This initiative, a joint effort with the Temple Bar Company, aimed to bring new life to the back lanes of Temple Bar by reactivating them for public use and enjoyment.
“Love the Lanes” focused on four laneways in Temple Bar: Crampton Court, Adair and Bedford lanes, and Copper Alley. The programme launched a public call for ideas, receiving over 60 submissions for artworks, installations, and events. Successful projects had the potential to become permanent and be repeated in other laneways citywide.
One notable project was the transformation of Crampton Court into “Love Lane” by artist Anna Doran. Doran adorned the lane with love letters to Dublin, words from famous writers, and witty ceramic tiles. In 2018, “Love Lane” was revamped with new ceramic tiles featuring quotes about love and heartbreak submitted by the public via social media. The lane has become a popular spot for Instagram users, showcasing the power of art to revitalise urban spaces.
Challenges and Closure
Despite its success in revitalising the laneways and promoting Irish culture, the Icon Factory faced significant challenges. A lack of public funding hindered its growth and limited its ability to reach its full potential. This lack of funding might be attributed to various factors, including funding priorities within the arts sector, bureaucratic hurdles, or a lack of awareness about the Factory’s valuable contributions. The creative and committed group behind the Icon Factory continued to bring positive changes to the city. Their work gained international recognition, with Phair and Szot being invited to recreate the Icon Walk in other cities like London, Boston, and Seattle.
The COVID-19 pandemic also dealt a blow to the Factory, as lockdown restrictions and the closure of pubs in Temple Bar led to a significant fall in business for many local establishments, including the Icon Factory. Ultimately, the Icon Factory was evicted from its Temple Bar location after 13 years of operation. Plans were submitted to Dublin City Council to convert the building into a restaurant and retail unit, a proposal that sparked outrage among local artists and residents.
This proposed conversion raises concerns about the increasing commercialisation of cultural areas like Temple Bar and the potential loss of valuable community spaces. Despite objections and appeals to preserve the Factory as a vital cultural space, the redevelopment plans went ahead, leading to its closure.
Impact on Anti-social Behaviour
While the Icon Factory and initiatives like “Love the Lanes” aimed to improve the laneways and reduce anti-social behaviour, specific data on their impact in this regard is limited. Further research would be needed to assess the long-term effects of these projects on crime rates and public safety in the laneways.
Cooperation with Dublin City Council
While the Icon Factory and Dublin City Council shared a common goal of revitalising the laneways of Temple Bar, no concrete evidence of formal cooperation between the two entities was found in the research material. However, it is possible that informal collaborations or consultations took place, especially regarding the Icon Walk and its integration into the urban landscape.
Synthesis and Conclusion
The Icon Factory was a unique and valuable cultural asset to Dublin. It successfully combined artistic creation, community engagement, and the celebration of Irish heritage. Its closure represents a loss not only for the artistic community but also for the city as a whole. The Factory’s presence in Temple Bar contributed to the area’s vibrancy and fostered a sense of community, offering a space for artists to connect and for the public to engage with art in a meaningful way.
The conversion of the Icon Factory space into a commercial entity raises concerns about the increasing commercialisation of Temple Bar and the potential displacement of artistic and cultural initiatives. This trend towards commercialisation can erode the unique character of a neighbourhood and diminish its appeal as a hub for creativity and community interaction.
The story of the Icon Factory highlights the challenges faced by independent art spaces, particularly in navigating urban development pressures and securing sustainable funding. It underscores the importance of public support and community engagement in ensuring the survival and flourishing of such initiatives. The Icon Factory’s legacy serves as a reminder of the transformative power of art and the need to protect and nurture spaces that foster creativity and cultural expression.
by infomatique
JANUARY 2025
A Mural in Dundrum: A Glimpse into the Past
A striking mural by French artist Claire Prouvost now adorns the former moving walkway of the original Dundrum Shopping Centre, built in 1971. This vibrant artwork, featuring Prouvost’s signature bold style inspired by Cubism, adds a contemporary artistic touch to a piece of Dundrum’s history.
Prouvost is renowned for her work with prominent brands like Gucci and Guinness, and her art often explores themes of human interaction and celebrates diversity. She is also a member of the Minaw Collective, an all-female Irish street art group.
The original Dundrum Shopping Centre, while facing challenges like design flaws, served the community for decades. However, with the rise of the much larger modern shopping center in the late 2000s, it gradually fell into disuse. The old center, a relic of a bygone era, stood vacant for a time, a testament to the evolving landscape of retail.
Today, the revitalized space houses Lidl and other retailers, welcomed by the community as a positive transformation of a previously derelict structure. The mural by Claire Prouvost, situated near an EV charging station, adds a contemporary artistic perspective on the area’s history, reminding us of the past while embracing the present.
by infomatique
PHOTOGRAPHED 28 DECEMBER 2024
Artist – Shauna Heron
This piece features a cat relaxing and surveying its kingdom from the comfort of its flower bed. The area in which the artwork is located is a thriving Dublin suburb with people (and pets) from all walks of life, and the artist wanted to create a pleasing piece that would appeal to as many people as possible. Cat owners will instantly recognise the attitude of their four-legged family members, while the daffodil flowers create something bright, colourful, and comforting to look at as people go about their day in suburbia.
Kimmage Road Lower, located in Dublin 6W (and partially D6), Ireland, is a long, primarily residential road that stretches roughly from the KCR (Kimmage Cross Roads) down towards Harold’s Cross and the Grand Canal. It’s a well-established area with a mix of housing, businesses, and community facilities