PhotoIreland Festival 2023
Critical Practice Reviews
PhotoIreland Festival’s Professional Weekend opens an opportunity to artists of all levels to meet with a number of invited international and Irish art professionals at the Critical Practice Reviews, on Friday 30th June and Saturday 1st July.
Bookings are now open for the two Critical Practice Reviews days on Friday 30th June and Saturday 1st July. This year, the Critical Practice Reviews take the format of one-on-one meetings. The timetable each day runs from 10am to 1pm, for three hours in total, with three session of 20 minutes each hour. The fee per session is €15 and this year they are arranged as private one-on-one meetings. This opportunity is open to artists of all levels.
The Professional Weekend takes place at The Printworks, Dublin Castle.
All artists must check-in to The Printworks and are brought to the meeting room. Once you book your sessions, you will receive a confirmation with all details including dates, location, and times. We ask that artists make time to read the FAQs below and find out about each curator before making the bookings.
Once artists have identified who they wish to meet, they should proceed to book using the links below.
WHAT LAST YEAR’S PARTICIPANTS SAID
“I wanted to thank you so much for introducing me to Sarah McAuliffe the curator from the Royal Hibernian Academy during the Professional weekend. I am delighted to share I am exhibiting in August 2023. I am absolutely thrilled!”
— Debbie Castro, Artist
This Professional Weekend, brilliantly organised, was a beautiful opportunity to meet fellow practitioners, from Ireland to Australia. The Critical Practice Reviews, small group meetings with Irish artists, were a wonderful platform for exchange. It also introduced me to Shane Hynan’s practice, whose work I was thrilled to include in an exhibition in Germany only half a year later. Thank you, PhotoIreland!
— Cale Garrido, Independent Photo Editor and Curator
“We are fresh from launching Bindi Vora’s major new book Mountain of Salt at Offprint London 2023 – a project that came to me/us via meeting Bindi at PhotoIreland. I’m so very grateful for my experience, I have been closely following a number of photographers that I met during that time”
— Justine Ellis, Director, Perimeter Books
INVITED ART PROFESSIONALS
I am interested in immersive technology, digital art, research informed artistic practice (scientific & technological)
Aisling Murray is the founder of the new art and technology festival in Ireland called Beta which is due to launch in November 2023. Most recently she curated the inaugural art and science stage at Electric Picnic and was Head of Programming at Science Gallery Dublin (the founding Science Gallery in the international network) up until its closure where she produced creative programmes converging art, science, technology and society from concept to full realisation in Ireland and internationally. She has been a jury member for the BioArt Design Awards (2019) and ARTificial Intelligence Lab (2019) and is a member of the World Economic Forum’s Expert Network since 2018.
Aisling is interested in work at the intersection of art, society and technology with specific interest in immersive technologies, artificial intelligence, industry collaboration and socially engaged work. She has extensive experience in public engagement and transdisciplinarity and has spoken on the subject internationally including MuseumNext (New York, 2019) on “Critical Thinking and Crucial Conversations with Audiences”, “Art & Science on Display: A Critical Perspective” at Medical Museion (Copenhagen, 2022) and was the keynote at the International Federation of Finance Museums Conference (Rome, 2022) speaking on “Art and Technology: A Transdisciplinary Approach”.
Aisling is available Friday 30th June.
I’m interested in women / queer / minority artists making work in all media, with a particular interest in the rural, textiles and costume.
Anne Mullee is Gallery Programme Curator at Mermaid Arts Centre (Bray, Co. Wicklow). Her practice spans research, exhibition making and collaboration, frequently working closely with artists to facilitate new work. She is the founder of the curatorial research platform Stuck Behind A Tractor (2021) and has initiated off-site group projects, produced artist’s moving image and curated Public Art commissions for local authorities including Fingal (Co. Dublin) and Clare Arts Office.
From 2016-19 she was curator The Courthouse Gallery & Studios, Ennistymon, Co. Clare. She has curated numerous exhibitions at Galway Arts Centre, The LAB and Ballinglen Arts Foundation as well as site specific projects including ‘All Bread Is Made Of Wood’ (Fingal Public Art 2017), ‘Folk Radio’ (Clare County Council Gaining Ground Public Art Project 2017-2020), ‘To Follow The Water’ (72M Barge, Grand Canal Dock, Dublin, 2016) and ‘The Artist’s Armada’ (Grand Canal Dock, Dublin 2015). In 2021 she produced Elisabeth von Samsonow’s film ‘A View, A Ceremony, A Gift’, curated by Kate Strain and commissioned by Rayne Booth as part of the Galway 2020 European Capital of Culture / Tulca Unselfing programme.
She has received awards and bursaries from Arts Council Ireland, European Connections in Digital Arts (EUCIDA), Clare County Council and Dublin City Council, and participated in residencies at Cow House Studios (Wexford, 2023) The Good Hatchery (Co Offaly, 2014) and Kooshk Residency (Tehran, Iran, 2015).
Anne is available Friday 30th June.
I am interested in contemporary visual art: sculpture, film, photography, print, textiles, mixed media, installation, performance.
Aoife Banks is a contemporary visual art curator, programme coordinator and researcher. Her curatorial practice is rooted in the exploration of visual, social, and political cultures through a queer, decolonial praxis. With a strong focus on collaboration with artists, curators, and writers, Aoife engages with and develops Irish contemporary art, through solo projects by Irish and international artists, alongside thematic group exhibitions.
Aoife is currently the Curator and Programming Coordinator of Luan Gallery. Previously, Aoife has curated contemporary visual art exhibitions and managed public engagement programmes for galleries and cultural institutions across Ireland. Aoife received her joint BA in Fine Art and Visual Culture in 2018 and MA in Visual Culture, Art in the Contemporary World, in 2020 at the National College of Art and Design.
Ben Krewinkel is a documentary photographer and teacher. His current project is Africa in the Photobook focusses on the changing visual representation of Africa as expressed through the medium of the photobook. Ben teaches, practices, and writes on photography and photobooks. He also works as a curator and book designer working with a.o. Bertien van Manen, Geert van Kesteren, Ringel Goslinga, Koos Breukel, Cynthia Boll, Dana Lixenberg.
He published two photobooks titled A Possible Life (2012) and Looking for M (2014) and has been commissioned to design exhibitions and photobooks. He works as a tutor in photography and research practices at the HU University of Applied Sciences / Media Institute and has worked for four years at the Royal Academy of Art in The Hague. As a judge he is involved in the Eiger Foundation African Photobook of the Year Award, the CAP Prize and a he is a member of the commission for Documentary Photography at the Stadsarchief Amsterdam.
Ben is available Saturday 1st July.
In my practice, I am interested in the Domestic, Site Specific work, Public versus private space, Artist Development
Ciara Hickey is a curator based in Belfast. She co-founded and is a co-Director of Household where she is currently working on two new projects, UPHOLD (a non-profit online platform for promoting and selling contemporary art) and Artists in Neighbourhoods (a public art programme delivered across Belfast). She is also curator of the Freelands Artist Programme at PS2 in Belfast.
She was previously curator at Belfast Exposed Photography where she commissioned new work by artists including Bertien van Manen, Michael Hanna, Martin Parr and Jan McCullough and delivered exhibitions with a host of local and international artists. She initiated the Belfast Exposed Futures programme, designed to support early career artists develop and exhibit new work and brought this work to an international platform at Peckham 24 (London), Unseen (Amsterdam), Centre Culturel Irlandais (Paris) and Landskrona Foto Festival (Sweden). From 2008-2010 Ciara co-organised the art Space Delawab in her home, and has continued to pursue an interest in the domestic space as a site for contemporary art which was most recently explored in the group exhibition ‘House Taken Over’ (2019) curated with Nora Hickey M’Sichili.
Ciara is available Friday 30th June.
Davey Moor is an Independent Curator and Registrar for the OPW State Art Collection. Davey has been curating both freelance and for organisations (Epoch, One Gallery, Monster Truck, Kevin Kavanagh, OPW) since 2004. He was a director of Kevin Kavanagh 2008-2010 before joining the Irish State Art Collection in 2010. Occasional writer and lecturer on art.
Davey is available Friday 30th June.
In my practice, I explore broad spectrum of contemporary practice including film, to reflect contemporary and historical survey programming. Interests include work that references socio-historical and contemporary responses to the geo-political and exploring new platforms for exhibition and presentation of artists’ ideas and practices that allow a wider frame for audience engagement.
Dawn Williams is a Curator at Crawford Art Gallery, Cork (2006-Present). Recent exhibitions and projects include: ‘Bodywork: Recent acquisitions from IMMA and Crawford Art Gallery’; Artists’ Film International (2023); Corban Walker: As Far As I Can See (2022); Saturation: The Everyday Transformed (co-curated with William Laffan) featuring Dragana Jurišić, Ruth Medjber, Audrey Gillespie, Michael Hanna, Eva O’Leary, Pádraig Spillane, Conor Clinch, Hazel Coonagh, Megan Doherty, Vittoria Colonna, Cáit Fahey, Ayesha Ahmad and Niamh Swanton (2022); ‘In Transit’ curated by Peggy-Sue Amison featuring Tanya Habjouqa, Stefanie Sofia Schulz, George Awde, Daniel Castro Garcia and Gohar Dashti (2020).
Dawn is available Friday 30th June.
Emese Mucsi is a Hungarian-born curator, and art critic. Emese curates exhibitions where photography is interpreted in the context of contemporary art and works with artists who have an expanded idea of photography and produce photo-based works. Her projects bring together artists and photographers with photojournalists, writers, and other thinkers to experiment with new approaches to photography.
She graduated from the Faculty of Contemporary Art Theory and Curatorial Studies at the Hungarian University of Fine Arts in 2013, and from the Faculty of Hungarian Literature and Linguistics at the University of Szeged in 2017. She is a member of the curators’ collective BÜRO imaginaire since 2012. Since 2013, she ran projects as a freelance curator. From March 2014 to January 2018, she was the Editor-in-Chief of Artmagazin Online. She is a curator of the Robert Capa Contemporary Photography Center, Budapest since 2018. She founded DOXA exhibition space and editorial den in 2023. She is a guest lecturer at the Moholy-Nagy University of Art and Design.
I am interested in emerging artists, risk taking, change of practice, overlooked practices, alternative art methodology and DIY work of all mediums interested in introducing their work ahead of upcoming opportunities at Pallas Projects/Studios.
Eve Woods is Curator/Programme Producer at Pallas Projects/Studios. She leads on the Artist-Initiated Projects programme, and special projects including; Chronic Collective, 2022, ‘Dubliners Reel’ at the 6th Biennial of Painting, Zagreb 2021; Ark Life workshop programme & exhibition with artist Celina Muldoon funded by the Arts Council Commission Award 2021; Irish Art Now: Contemporary Art Auction in support of PP/S 2019; Nasty Women Dublin 2017; & PP/S 20 Year Benefit Auction 2016.
She has also worked as Visiting Lecturer – Strategies for publicising cultural events – Dun Laoghaire Institute Of Art Design + Technology, 2021; Producer at Science Gallery Dublin (SGD) where she represented SGD at EXPERIMENTA, la Biennale Arts Sciences 2020 as part of the European Artificial Intelligence Lab; and Green on Red Gallery Dublin where she assisted at international art fairs including VOLTA NY, 2017.
Pallas Projects/Studios is a not-for-profit artist-run organisation dedicated to the facilitation of artistic production and discourse, via the provision of affordable artists studios in Dublin’s city centre, and curated projects. Pallas Projects collaborates with artists, curators and writers to engage and develop current Irish contemporary art, through solo projects by Irish and international artists, alongside occasional thematic group exhibitions, and initiated exchanges with artists’ groups around Ireland and abroad.
My curatorial practice aims to be a partnership with the artists that I work with, one that focuses on creativity, collaboration and support. I have a particular interest in showcasing a broad range of work and expanding audiences for the Arts in rural/regional locations.
As a publicly funded arts centre, I am not interested in work that is solely commercial in its focus.
Helena Tobin has been Artistic Director at the South Tipperary Arts Centre since April 2019. She is an artist, curator, researcher, and educator with almost 20 years experience working in the Arts. She is a graduate of the MA in Visual Art Practices, IADT and the BA in Fine Art, Crawford College of Art and Design. Helena has worked across a broad section of the Arts including, the Abbey Theatre, Kilkenny Arts Festival, Fenton Gallery, Cork and was co-founder and director of SITEATION, an artists’ collective and project space (formerly located in Dublin). During her time at the Fenton Gallery, Cork she was also assistant editor and project co-coordinator for the publication ‘Representing Art in Ireland’. Her artwork is in the public collections of the OPW and Cork Institute of Technology.
Helena is available Friday 30th June.
I am currently invested in socially engaged and collaborative art practices. I am exploring themes of identity/displacement/migration; questions around care and mental health; questions about public space and housing. I’m interested in practices around exclusion/marginalisation and in public interventions and disruptions.
Julia Moustacchi is a French-born Dublin-based curator and arts manager. She is working as Programme and Outreach Manager in Fire Station Artists’ Studios and as Curator and Artist Liaison for the eco festival Earth Rising in the Irish Museum of Modern Art. She is one of the co-directors of Basic Space, a voluntary arts organisation which supports marginalised and emerging artists, since 2019.
Julia previously occupied the role Public Engagement Curator for the temporary Dublin City Council programme, Sculpture Dublin, and has worked with arts organisations and local authorities such as The LAB Gallery, The Hugh Lane Gallery, Dublin City Arts Office, Dún Laoghaire-Rathdown County Council, The Arts Council. She is a graduate of the MA in Arts Management and Cultural Policy in University College Dublin.
My curatorial practice focuses on expanded publishing, textual scores and encounters where the visual meets the textual.
Kim Crowley is a curator and editor based in Cork City. She is a graduate of the Glasgow School of Art with an MLitt in Curatorial Practice (2022). Alongside her own practice she is a co-director at Bloomers, an arts organisation and publisher. Bloomers is an artist-led publisher, collaborating with artists and writers based all over Ireland to produce exhibitions, talks events as well as printed and digital publications.
Kim’s practice is concerned with expanded publishing, language and networks of communication. Examining generative methods of production, her research investigates how language can be translated across processes and procedures. The research looks at the page as a space for iteration, translation and potentiality. Projects include Licks Within the Lip (upcoming), Page / Process / Proceed (2022), Reach Out and Touch Me (2022), These Stately Hills (2022).
I am interested in artists pushing the boundaries of photography/experimental photography, art & technology.
Linda Shevlin is a curator/producer based in County Roscommon. Linda has curated, facilitated and managed both large and small-scale visual arts projects, including Tulca Festival in 2018. In 2017 she was the invited curator for the Hennessy Art Fund, purchasing new works for the IMMA collection and also curated the visual art programme for Bealtaine Festival 2017/2018. She received the Arts Council of Ireland’s curator in residence award for three consecutive years from 2013-2016 working with Roscommon Arts Centre and Arts Office. In 2016 she curated Radical Actions at RMIT Galleries, Melbourne as part of Culture Ireland’s 2016 International Programme ‘I Am Ireland’.
Linda was curator of Meta’s Open Arts program from 2019-2023, commissioning site specific artworks in their offices across Europe, The Middle East & Africa and programmed Meta Art Partnerships in 2023, working with partners including Times Square Arts New York and Superblue Miami.
Mary Conlon is the Director of The Dock, County Leitrim’s flagship arts centre, housed in a landmark, riverside venue in Carrick-on-Shannon, Ireland. Prior to this role, she was the founding Artistic Director of Ormston House (est. 2011) in Limerick city. In 2017, she was the inaugural International Curator-in-Residence at the Aarhus Billedkunstcenter in Denmark, and in 2020, she was selected for the Helsinki International Curators Programme by Frame Contemporary Art Finland. From 2018 to 2021, she was Artistic Director of the Creative Europe project, Memory of Water, in six international cities. She served three terms on the Board of Directors of EVA International, Ireland’s Biennial of Contemporary Art, and is an elected member of the Executive Committee of Trans Europe Halles since 2021.
Recent curatorial projects include the River Residencies (2020-2023) curated with Caimin Walsh in partnership with the Local Authorities in Cavan, Clare, Limerick and Tipperary; Rehearsing Hospitalities (2022) curated with Steve Maher in partnership with Pixelache and Frame Contemporary Art Finland at the Theatre Academy Helsinki; Women of Limerick (2021), a new mobile phone app with National Heritage Hero, Sharon Slater; The Lore of Water (2019) in partnership with the Municipality of Levadia in Greece; The Museum of Mythological Water Beasts (2017, 2018) curated with Niamh Brown at Ormston House; Le Moment Fabriqué (2017) by Alan Butler at Les Rencontres D’Arles in France; Murder Machine (2016) co-curated with Christine Eyene, editor at Creative Africa Network, in partnership with EVA International; and Against The Current (2015–2016) by Mark Dion at Ormston House, curated with Ian Russell, curator at Brown University, USA.
Mary is available Saturday 1st July.
In my practice, I explore ethnic identity and post-migration living, belonging and exile, intersectional feminism in Irish art, feminist artwork created on the spectrum between contemporary art practice, and traditionally-feminine creative crafts. I am more interested in lens-based work that exceeds the traditional practice of photography, towards the experimental, moving image, and three-dimensional installations and tactile aspects. I am less interested in the technical aspects of the work, the specs of images, print, framing etc. I am interested in artists work which take the material into account as part of the subject matter, and include a political story/commentary into their decision-making process.
Moran Been-noon is a Dublin-based visual artist and independent curator. She predominantly makes moving image installations, using animation, archived material, and non-traditional projections. Her practice has a subject matter focus on political identity and post-migration living. It incorporates manipulations of the body, its movement in a place of belonging, and a consideration of the link between folkloric places (real or imagined) and the self. She uses her own identity to explore how compound ethnicities influence one’s sense of belonging. As a curator she is primarily interested in multiplatform group exhibitions, with a commitment to expanded practice. Her current focus is on feminist artwork created on the spectrum between contemporary art practice, and traditionally-feminine creative crafts.
She has curated projects in gallery spaces and off-site for independent galleries throughout the island of Ireland. In 2022-2023, Moran curated a group exhibition for the Irish Arts Center in NYC. Moran is also a co-initiator of angelica.network, an Ireland-wide network which amplifies the voices of artists based on the island of Ireland who self-identify as women or minority genders, from underrepresented cultural or ethnic backgrounds.
In my role at British Journal of Photography I’m always looking to connect with visual artists who place storytelling at the heart of their practice. I cover new books, projects and exhibitions – including graduate shows – and enjoy meeting emerging photographers. I’m particularly interested in work with a focus on historically underrepresented experiences and communities. I’m always keen to see projects which challenge the role of the archive or push the boundaries of socially engaged photography. I’d be delighted to discuss a broad range of documentary or other narrative-lead practices.
Philippa is available Saturday 1st July.
I have an interest in documentary photography, conceptual practices and moving-image/time-based media.
Ravi Ghosh is a writer and critic based in London. His work—on photography, pop music, British politics and visual art—has appeared in The Guardian, The Economist, Tribune, i-D, Verso, Bandcamp, the LA Review of Books and many more. He also writes essays for photobooks and other non-journalistic arts publications. He is the deputy editor at the British Journal of Photography, where he writes and commissions stories on all aspects of contemporary photography, from theory to the medium’s ‘art world’ ascendency. He used to work for Elephant magazine and the FT’s Life & Arts supplement.
Ravi is available Friday 30th June.
In my practice, I explore ontology, performance practice, migrant identities.
Sara Muthi was born in Transylvania, Romania. Sara is a curator and writer. Currently a curatorial assistant at the Irish Museum of Modern Art, she spent three years as a teaching assistant in the department of Philosophy at Trinity College Dublin. As an independent curator her commissions attempt to establish new ontologies relating to sculpture, performance and interactive media. She is the recipient of Black Church Print Studio Emerging Curator Award 2022.
Sara is available Saturday 1st July.
I work almost exclusively with contemporary Irish and international artists on planning, designing and executing exhibitions, often focussing in the medium of photography (street, documentary and art photography). I am deeply interested in the relationship between photography and social politics.
Sarah McAuliffe is the Exhibitions Curator at the Royal Hibernian Academy, Dublin. She carried out her undergraduate and master’s degrees at University College Cork (UCC), 2011 – 2015, and over the past 8 years has worked in numerous roles in the museum sector, from education programming and curating to marketing and fundraising. Her expertise in Irish and international photography prompted the establishment of a collection of photography for the National Gallery of Ireland, where she worked as a Curatorial Fellow between 2018 and 2022. Sarah offers university talks and lectures on subjects such as, the role of the curator, contemporary art, and the history of Irish photography. She worked as a guest lecturer in the History of Art department at UCC between 2018 and 2022.
At the RHA, Sarah works with emerging artists, largely based in Ireland on exhibitions, talks and workshops. In addition to working within the museum sector in Ireland, she consults on exhibitions internationally, and works with private collectors in the United States and Europe on developing their collections.
In the context of my work for FOMU – the museum of photography in Antwerp, I am the coordinating editor of an independent magazine in English about photography and critique which publishes non-academic, historical and critical material, taking developments and challenges in photography and visual culture as a starting point.
Tom Viaene is coordinator of Trigger magazine for FOMU – the museum of photography in Antwerp (Belgium). Besides that, he teaches philosophy and aesthetics at Sint Lucas Antwerpen School of Art. He draws attention to the roles of neglected or forgotten philosophies and to the ways philosophical concepts run parallel to social, scientific and cultural histories (changes). His research interests are in intercultural philosophy, decolonial philosophies and postcolonial thinking in the arts. As a writer and curator he is interested in bringing critical theories and practices to bear on societal and environmental challenges.
A Critical Practice Reviews is a direct sit down opportunity between artists and other arts professional, such as a curators or editors. In previous editions, this took place in a group format. This year, the Critical Practice Reviews take the shape of one-on-one meetings. Artists and curators have individual approaches and expectations and these should be set out clearly from the start.
Some outcomes of a review may be:
-Feedback on projects, guidance and direction
-Direct and indirect opportunities
-References and connections
It is important to understand that although very often direct exhibition and publishing opportunities do occur from Critical Practice Reviews, they may also take a longer time of continued conversation to develop. Do not approach a review expecting an immediate offer, but approach it with an open and positive attitude, setting out your intention or questions at the beginning. Reviewers cannot always help in the way you may expect, but they can provide you with further points of research, contacts, and constructive advice.
Critical Practice Reviews are for artists at any stage in their career who may be looking for a direct connection with someone specific or meaningful feedback on a project. Artists of all ages and experience attend Critical Practice Reviews.
Preparation is important. Work can be presented digitally, through physical prints, or through publications. You need to bring your own materials such as a laptop, tablet, etc. WiFi may not be available on the day, so do not rely on an internet connection. Ensure your laptop is fully charged, and you tested the presentation or images in advance.
If you wish to present a video, be mindful of the time, select an excerpt or a very short piece. If you are showing physical prints, be mindful of their size, if they take too long to open and put away, or if they are too delicate.
If you want to have a conversation or receive feedback, make sure to leave room for that.
You can leave a business card or a postcard behind, but don’t overload the reviewer with books or prints. They are likely travelling lightly and may not be able to take any extra items with them.
The day moves fast. Artists should arrive at least 10 minutes before their review to identify themselves to the staff and be immediately available on time when the reviews change over.
Each meeting lasts 20 minutes and we are strict with this. This is in order to respect everyone’s time — the staff, your colleagues, and the reviewers. Each extra minute adds up and the whole day is strictly scheduled.
When it is your turn, you will be shown to your table where you can introduce yourself and immediately begin to show and speak about your work. There will be a 5 minute notice given to everyone before the end of the meeting. After 20 minutes, you will be asked to move from the table so the next artist has their opportunity.
If you are late to your review, you will lose the time you are late by: if you are 5 minutes late, your review will be 15 minutes etc.
Artists should do careful research into the reviewers and the organisations they represent. It is not productive for either party if the interests and missions don’t match.
The reviewers range between independent practices with specific research interests, to representatives of art institutions around Europe, to academically focused professionals who can provide informed feedback on your work. All reviewers were invited due to their range of interests and expertise, and their connection to contemporary visual arts.
You may choose to focus on one project or give an overview of your practice. We advise that artists present more recent work, or one they are currently engaged in, depending on what sort of engagement and feedback you are seeking.
Set your intention before the meeting, let the reviewer know what you wish to get out of the meeting – is it direct feedback, an opportunity, or just to inform them of your practice?
Remember to show images, don’t get carried away only speaking about the work.
Critical Practice Reviews are designed to be a quick meeting point, not an in-depth interaction. It is the beginning of a conversation and even of a potential relationship. They are designed to establish initial contact. An artist can follow up with a review later by sending them a quick email. During the Professional Weekend, there will also be other social opportunities to meet the reviewers and your peers.
If an unlikely event of a reviewer cancelling a session, the artist will be provided with an option to attend an alternative review, or be issued a refund.
Any cancellation must take place over 72 hours prior to the review to be eligible for a refund.
If an artist is a no-show on the day, the review will not be rearranged and a refund will not be issued.
All changes require sufficient and fair notice to the organisers.
Let us know and we can put you on a cancellation waiting list for the reviewer.
FESTIVAL KEY DATES
- 30 June Festival Launch
- 30 June to 2 July Professional Weekend
- 13 to 16 July TSUNDOKU Art Book Fair
Find out more about the festival programme for 2023 online.
PhotoIreland Festival is kindly grant aided by the Arts Council and Dublin City Council Arts Office and supported by The Digital Hub and Inspirational Arts. The Office of Public Works kindly facilitates The Printworks, Dublin Castle to host it.