Mats Stjernsted per i Padiglioni Nordici

Mats Stjernstedt è stato nominato curatore per il Padiglione dei Paesi Nordici (Norvegia, Finlandia e Svezia), ne ha dato notizia il Moderna Museet 

English

Mats Stjernstedt will curate the joint exhibition of Finland, Norway and Sweden in the Nordic Pavilion at the 57th International Art Exhibition, La Biennale di Venezia 2017. The exhibition marks the rejuvenation of the Nordic collaboration between the three countries.

The art in the Nordic Pavilion will be presented as a joint project, where the three countries are represented on equal terms. As before, the countries will take turns as principal commissioner and manager of activities at the Nordic Pavilion as follows:

2017: Moderna Museet, Sweden

2019: Frame Visual Art Finland, Finland

2021: Office for Contemporary Art (OCA), Norway

Moderna Museet has thus appointed Mats Stjernstedt to curate the Nordic Pavilion in 2017. Stjernstedt is the artistic director of Kunstnernes Hus in Oslo since 2011. He has curated numerous exhibitions internationally over the years.

“Being asked to assemble an exhibition for the Nordic Pavilion is an honour and a challenge. I appreciate being entrusted this assignment and look forward to combining my experience with research over the next few months. I also look forward to presenting interesting artists who are active in the Nordic countries, within the compelling framework of La Biennale di Venezia,” says Mats Stjernstedt.

The Nordic Pavilion for the Venice Biennial was completed in 1962 and has since been a space for collaboration between three nations – Sweden, Finland and Norway. Built on a plot between the pavilions of the United States and Denmark, it is situated in the Biennale grounds at Giardini in Venice. For the last three biennials of 2011, 2013 and 2015, a format was developed which involved the solo commissioning by each country of a project. For the period 2017–2021 the agreement entailing that all three countries are represented on equal terms, will be resumed.

Frame Visual Art Finland received 96 proposals

Frame Visual Art Finland received 96 proposals for the exhibition to be staged in the Pavilion of Finland at the forthcoming Venice Biennale in 2017.

In its Open Call Frame sought project proposals that examine independence as something formed through complex processes of dependence. Applicants were also requested to consider how the logic of exclusion, forgetting and silencing is recognised as foundational in the construction of national identity.

“The curators and artists who submitted proposals had developed interesting concepts from a wide variety of perspectives and in a diverse range of artistic media. The proposals were conceptually diverse and of a high level of quality,” says Raija Koli, Director of Frame.

The proposals are being processed by an international jury chaired by Raija Koli, Director of Frame. Her fellow jury members are Taru Elfving, Head of Programme at Frame, Curator Katerina Gregos, Professor Sarat Maharaj, Leevi Haapala, Director of the Kiasma Museum of Contemporary Art, Curator Maaretta Jaukkuri and artist Patrik Söderlund.

68 proposals for the Dutch entry to Venice Biennale 2017

The Mondriaan Fund’s request for proposals for the Dutch entry to the 57th edition of the Venice Biennale has received a wide response. 68 proposals were submitted by curators and curator collectives. Along with freelancers, curators and directors of various museums, presentation spaces and art initiatives also entered proposals. Proposals for solo versus group presentations are evenly balanced.

The director of the Mondriaan Fund, Birgit Donker, considers this a good harvest of promising proposals. It highlights (demonstrates) the amount of talent and ambition in the Netherlands, and selecting the very best plan will be a considerable task for the jury, she added.

The proposals will be evaluated by an internationally oriented jury of experts, who will submit a selected shortlist of no more than 5 by the end of February. The selected curators will be assigned a budget with which to further elaborate their plan, and will present their plans to the jury at the end of May.

The jury consists of Lorenzo Benedetti (curator, e.g. Nederlands Paviljoen in Venice 2013), Nathalie Hartjes (director showroom MAMA), Aernout Mik (artist, participant in e.g. exhibitions in the Nederlands Paviljoen in 1997 and 2007) and Mirjam Westen (curator of contemporary art Museum Arnhem). Birgit Donker is chairperson, with no right of vote.

The jury members will select the most suitable plan after the presentations, and will subsequently formulate their choice of curator of the Dutch entry for the Mondriaan Fund. The Venice Biennale opens on May 13, 2017.

Call Rationale for Malta

Call Rationale 

Arts Council Malta, in its capacity as Pavilion Commissioner, and in collaboration with MUŻA (Malta’s National Museum of Fine Arts, Heritage Malta), under the auspices of the Ministry of Justice, Culture and Local Government is publishing an international call for the engagement of a curator/curatorial team to curate the Malta Pavilion at the 57th International Art Exhibition at the Venice Biennale in 2017.

The Malta Pavilion 
Malta is officially returning to the Venice Art Biennale after an absence of 17 years. It has so far participated with a special exhibition of Maltese Artists in 1958 and a National Pavilion in 1999.
In October 2015, Arts Council Malta initiated discussions with the Venice Biennale Foundation with a view to securing Malta’s participation in 2017. Malta’s participation has been subsequently confirmed and the venue secured. The Malta Pavilion is approximately 300 square meters with exposed brick walls. It will be located at the Artiglierie in the Arsenale Area. Details of the chosen venue can be found in the image.

The International Art Exhibition will be held from 13th May to 26th November 2017.

Arts Council Malta is now seeking proposals from curators/ curatorial teams to curate the 2017 Malta Pavilion. Expressions of interest can be submitted in the form of a concept proposal for the visual language and design of the exhibition. The declared aim of the Malta Pavilion is to offer a platform through which Maltese contemporary artistic practices understood within the broadest sense of the term can be exposed, contextualised and presented to an international audience.

The Maltese Pavilion will also be part of the Cultural programme of the Maltese Presidency of the Council of the European Union in 2017. The project will also bridge with the contemporary art programme of Valletta as European Capital of Culture in 2018.

Curatorial Profile and Requirements 
The call is open to Maltese and international curators with a strong curatorial track record. Multi-national curatorial teams including Maltese will be favourably considered.
The curator/ curatorial team shall be answerable to the Malta Commissioner (Arts Council Malta) and shall: 
• Develop, articulate and define both concept and themes of the Malta Pavilion;
• Select the contents and artists for the Malta Pavilion, including artworks and other requirements chosen in response to theme/s and concept, with the support of recourses and expertise made available by Arts Council Malta as required; 
• Liaise with representatives of the Venice Biennale with regards to logistics and transfer of Pavilion contents, including set-up in Venice as required by the Biennale Regulations for National Participations; 
• Curate the exhibition catalogue including choice of contributors, and liaise directly with the publishing house with regards to layout and other editorial requirements as necessary; 
• Assist and support marketing and PR requirements as required by the Malta Commissioner.

The current allocated budget is EUR150,000. This amount excludes the rental of the space that will host the Malta Pavilion, as this will be covered by Arts Council Malta. Additional funding may be sourced through private sponsorship as required in response to the submitted proposal.

The lead applicant shall be engaged on contract by Arts Council Malta for the National Participation of Malta at the 57th International Art Exhibition. Such contract shall define curatorial remit and other requirements that the candidate agrees to deliver in response to this brief.

Proposals 
The proposal in response to this brief is to be submitted to Arts Council Malta, in the form of a concept proposal, including themes and proposed visual language for the Malta Pavilion. It also needs to include the following, but not exclusively: 
• An understanding of the Maltese contemporary artistic scene;
• The proposed curatorial strategy, guiding the selection methodology; 
• A detailed CV highlighting previous experience on similar high-profile projects; 
• Tentative budget breakdown of the proposed concept including curatorial and proposed artist’s fees, transport and insurance, mounting and dismantling, marketing and PR, catalogue, including contents and production and any other requirements that may arise. If additional budgets are required, the proposal shall also include how these ought to be sourced. This should also include a strong track record on how additional alternative resources for past similar projects were acquired. 
• Any other information relevant to and required for a better and comprehensive understanding and evaluation of the submitted proposal.

Proposal Submission and Assessment Criteria 
Proposals are to be submitted via email by noon, Wednesday 30th March 2016 onvacancies@artscouncilmalta.org indicating ‘Curatorial Proposal for the National Participation of Malta at the 57th International Art Exhibition at the Venice Biennale’ as subject. 
Submitted proposals will be assessed by a panel of experts, purposely appointed and chaired by Arts Council Malta. Shortlisted candidates will be invited to pitch their project and discuss it in more detail during an interview to clarify any information submitted as required. The final decision will be announced by 30 April 2016.
The panel shall be guided by the following criteria throughout the process leading to the final selection: 
1. The strengths and merits of the exhibition concept;
2. The methodology to select and/or commission the artist (s) for the Pavilion;
3. The profile and exhibition records on a national and international level of the curator (s);
4. The logistical and financial viability of the proposed curatorial strategy as presented in the general breakdown of costings and budget allocation for each of the proposed components; 
5. The preliminary understanding of the Maltese artistic ecology, including its broader connections and relations beyond Maltese territory, and how the proposal intends to highlight and contextualise it; 
6. The track record for completing projects on time and on budget.

Should you have any questions as a result of reading this brief please contact
Romina Delia, Internationalisation Associate at Arts Council Malta onromina.a.delia@artscouncilmalta.org

Venice Biennale and the Art Market

The Venice Biennale and the Art Market, the Venice Biennale as an Art Market: Anatomy of a Complex Relationship

3-5 February 2016

CONFERENCE PROGRAMME

Wednesday 3rd February 2016
Location: 11 Bedford Square, London WC1B 3RF

• 18.00 Keynote Lecture: Dr. Olav VELTHUIS (Amsterdam), ‘The Role of the Venice Biennial in the Emergence of Art Markets’
  Chair: Julian STALLABRASS, The Courtauld Institute of Art
• 19.00-19.30 Question and Discussion

Thursday 4th February 2016
Location: The Institute of Historical Research, London, Senate House, Malet St, London WC1E 7HU

9.00 Registration

• 9.30 Welcome and Introductory remarks: Marie Cambefort-Tavinor
• 9.40 PANEL ONE: MARKET OR NO MARKET: THE EVOLUTION OF THE BIENNALE’S STRATEGIC POSITIONING
  Chair: Dr. Derrick CHONG, The Royal Holloway, University of London
• 9.50 Stefania Portinari (Venice)’Exhibition in Real Time’: Attacks to the Art Market and Capitalism at the Venice Biennale in the 1970s’
• 10.10 Vittoria Martini (Turin) ‘The Dematerialisation of Biennale’s Exhibitions 1976: the Birth of the Thematic Biennale and The Issue of the Market’
• 10.30 Clarissa Ricci (Venice) ‘To Sell or Not to Sell, is this the question? Attempts at reopening the Venice Biennale’s Sales Bureau’
• 10.50 Dorothy Barenscott (Vancouver) ‘Objects and Events: the Emergence of the Venice Biennale as Global Spectacle’

11.10 Break

• 11.40 PANEL TWO: ADDED VALUE: THE BIENNALE’S SYMBOLIC CAPITAL
  Chair: Dr. Mark WESTGARTH, University of Leeds
• 11.50 Monica Sassatelli (London) ‘Georg Simmel at the Venice Biennale: perennial exhibitions, forms of value and contemporary culture
• 12.10 Elena Granuzzo (Padua) ‘Harald Szeeman’s Biennials: the Relationship between Criticism and the Market’
• 12.30 Discussion

13.00-14.30 Lunch break (not provided)

• 14.30 PANEL THREE: MARKETING STRATEGIES
  Chair: Adriana SCALISE, Independent Scholar, Venice
• 14.40 Francesca Castellani (Venice) ‘1895-1899. Market, Collectors, Criticism at Venice Biennale’
• 15.00 Silvia Madeddu (Paris) ‘Retrospectives of Artists and Market Interests at the Biennale: the Case of Enrico Piceni (1901-1986)
• 15.20-15.40 Break
• 15.40 Luca Pietro Nicoletti (Milan) ‘Merchant, Critic, Poet: the Story of Jean Fautrier at the 30th Venice Biennale’
• 16.00 Marco Delogu (London), ‘The relationship between photography and the Biennale’
• 16.20-17.00 Discussion

19.00 Talk followed by a reception at the Italian Cultural Institute of London (TBC)

Friday 5th February 2016
Location: The Institute of Historical Research, London, Senate House, Malet St, London WC1E 7HU

9.30 Registration

• 9.50 PANEL FOUR: THE BIENNALE AS ITALY’S COMMERCIAL AND IDEOLOGICAL PLATFORM
  Chair: Dr. Giuliana PIERI, The Royal Holloway, University of London
• 10.00 Cristina Beltrami (Venice) ‘The Venice Biennale and the Market for Murano Glass: 1895-1930’
• 10.20 Giuliana Tomasella (Padua) ‘1940-1942: The Contemporary Art Market during the War’

10.40 Break

• 11.00 PANEL FIVE: FITTING IN THE BIENNALE FRAMEWORK: THE RE-BRANDING OF OUTSIDERS
  Chair: Dr. Chloe PREECE, The Royal Holloway, University of London
• 11.10 Ana Bogdanovic (Belgrade) ‘Yugoslavia at the Venice Biennale 1950-1952: Strategic Positioning between East and West’
• 11.30 Nicola Foster (London) ‘Thailand and China at the Venice Biennale’
• 11.50 Salimata Diop and Liz Lydiate (London) ‘Do the Venice Biennale national pavilions still impart special status? A reflection on the composition, development and influence of the pavilions, taking developing contemporary art practice throughout Africa as a case in point’
• 12.20-12.50 Discussion

13.00-14.00 Lunch Break (not provided)

14.00 PANEL SIX: EMERGING MARKETS AT THE VENICE BIENNALE: SPECULATION OR DEMOCRATISATION?
Chair: Dr. Anthony GARDNER, The University of Oxford

• 14.10 Estelle Bories (Paris) ‘The Complex Relationship of the Venice Biennale and China’
• 14.30 Kathleen Ditzig (Singapore) ‘The Significance of the Venice Biennale for the Southeast Asian Art Market’

14.50-15.20 Break

•  15.20 Leonor Veiga de Oliviera Matos (Leiden) ‘The Venice Stamp: South-East Asian Artists and the Venice Biennale’
• 15.40 Valerie Kabov (Harare) ‘The role of the Venice Biennale partnership with the art market in real and perceived democratization of the art world – African contemporary art case-study in the context of the Global South’
• 16.00-16.30 Discussion and Closing Remarks

Christine Macel curatrice Biennale Arte Visive 2017

English below

Oggi è stato comunicato il nominativo del prossimo curatore della Biennale di Arti Visive 2017, si tratta di Christine Macel 

Eccovi il comunicato stampa 

Il Cda della Biennale di Venezia si è riunito venerdì 22 gennaio 2016 e, su proposta del PresidentePaolo Baratta, ha deliberato di nominare Christine Macel Direttore del Settore Arti Visive con lo specifico incarico di curare la 57. Esposizione Internazionale d’Arte del 2017.

Dopo gli studi nel campo della storia dell’arte, Christine Macel è stata conservatrice del patrimonio e ispettore della creazione artistica nella “Délégation aux Arts Plastiques” del Ministero della Cultura francese (dal 1995). Dal 2000 ricopre l’incarico di Curatore capo del Musée national d’art moderne – Centre Pompidou di Parigi, dove è responsabile del Dipartimento della “Création contemporaine et prospective” che ha creato e sviluppato. È stata curatrice del Padiglione Francese alla Biennale Arte 2013 (Anri Sala) e del Padiglione Belga alla Biennale Arte 2007 (Eric Duyckaerts).

In occasione di questa decisione, il Presidente Baratta ha dichiarato quanto segue:  

“Dopo una Biennale Arte diretta da Okwui Enwezor incentrata sul tema delle fratture e delle divisioni che pervadono il mondo, e da una constatazione del tempo presente come age of anxiety, la Biennale trova in Christine Macel una curatrice protesa a valorizzare il grande ruolo che gli artisti hanno nell’inventare i loro universi e nel riverberare generosa vitalità nel mondo che viviamo. La sua esperienza al Dipartimento della “Création contemporaine et prospective” del Centre Pompidou di Parigi, la trova da tempo in un punto di osservazione quanto mai ricco di potenziale per l’individuazione di nuove energie dalle varie parti del mondo.”

Il Cda ha deliberato anche le date della 57. Esposizione Internazionale d’Arte che si terrà dal 13 maggio al 26 novembre 2017; vernice 10, 11 e 12 maggio; inaugurazione al pubblico sabato 13 maggio.

English

The Board of La Biennale di Venezia met on Friday 22 January 2016 and, at the suggestion of the President Paolo Baratta, approved the appointment of Christine Macel as Director of the Visual Arts Sector, with specific responsibility for curating the 57th International Art Exhibition to be held in2017.

Following her studies in art history, Christine Macel was a curator of the heritage and inspector of artistic creation for the “Délégation aux Arts Plastiques” of the French Ministry of Culture (from 1995). Since 2000 she has been Chief Curator at the Musée national d’art moderne – Centre Pompidou in Paris, where she is responsible for the Department of “Création contemporaine et prospective”, which she founded and developed. She was the curator of the French Pavilion at the Biennale Arte 2013 (Anri Sala) and the Belgian Pavilion at the Biennale Arte 2007 (Eric Duyckaerts).

On the occasion of her nomination, President Paolo Baratta declared:

“In the wake of the Biennale Arte directed by Okwui Enwezor, centred on the theme of the rifts and divisions that pervade the world, and aware that we are currently living in  an age of anxiety, La Biennale has selected Christine Macel as a curator committed to emphasizing the important role artists play in inventing their own universes and injecting generous vitality into the world we live in. Her experience in the Department of “Création contemporaine et prospective” at the Centre Pompidou in Paris has long offered her a vantage point rich in potential from which to observe and identify new energies coming from various parts of the world”.

The Board also approved the dates of the 57th International Art Exhibition to be held from May 13th to November 26th, 2017; Press Preview May 10th, 11th and 12th; Opening to the public Saturday, May 13th.
 

Interviw from Vimeo from Art For Breakfast - Le Royal Mon

Christine Macel (from Artsy.net )

Chief Curator at the Musée national d’art moderne–Centre Pompidou (Paris) since 2000, Christine Macel has recently curated Anri Sala’s exhibition at this institution (May-August 2012). Heading the department of Contemporary and prospective creation, she has curated a number of exhibitions, including Dance your life (with Emma Lavigne), Promises of the Past, Airs de Paris, Dionysiac as well as various solo shows, among which those of Raymond Hains, Sophie Calle, Philippe Parreno and Gabriel Orozco. She presented many young artists in the Espace 315 of the Centre Pompidou, from Koo Jeong-A in 2004 to Tobias Putrih in 2009. She furthermore curated shows outside this museum, such as John Bock at the FRAC in Marseille or Ziad Antar at the Sharjah Foundation (2012). She acted as advisor for the project Based in Berlin in 2011. Christine Macel is a contributing author in many catalogues, as well as an art critic for various magazines (Flash Art, Artforum, etc.) and has published an essay on contemporary art entitled “Time taken, the work of time in the work of art” (Monografik/Centre Pompidou) in 2007.

Info da Centre Pompidou 

• Michael Fried, Christine Macel, Jessica Morgan, et al., Anri Sala, 2012
  Notice d'un document
• Roger Garaudy, Emma Lavigne, Christine Macel, et al., Danser sa vie, 1973
  Notice d'un document
• Alice J. Anderson, Christine Macel, Alice Anderson, 2003
  Notice d'un document
• Anna Hiddleston, Christine Macel, Damian Ortega, et al., Damián Ortega, 2008
  Notice d'un document
• Bernard Blistene, Douglas Crimp, Marc Dachy, et al., Danser sa vie, 2011
  Notice d'un document
• Pawel Althamer, Christine Macel, Joanna Mytkowska, et al., Au Centre Pompidou, 2006
  Notice d'un document
• Klaus Biesenbach, Angelique Campens, Aurélia Defrance, et al., Based in Berlin, 2011
  Notice d'un document
• Daniel Birnbaum, Valérie Guillaume, Christine Macel, et al., Airs de Paris, 2007
  Notice d'un document
• Alain Bublex, Christine Macel, Aerofiat, 1996
  Notice d'un document
• Quentin Bajac, Georges Didi-Huberman, Georges Didi-Huberman, et al., A fleur de peau, 2001
  Notice d'un document

Preview Talk | What We Call Love - Christine Macel at  IMMA

Christine Macel (Chief Curator at Centre Pompidou) explores how love is represented in art since the beginning of the twentieth century and is indicative of an evolution of the very concept of love over a period of 100years, taking you on a journey from Surrealism to now. This talk is was moderated by Rachael Thomas (Head of Exhibitions, IMMA) on the occasion of the exhibition preview of What We Call Love - From Surrealism to Now, at IMMA.

Portrait courtesy of Jean-Claude Planchet, Centre Pompidou.

Strategie di selezioni al padiglione australiano

Molto interessante il recente articolo del sito http://dailyreview.com.au/ di informazione australiana sulle dinamiche delle selezioni presso il Padiglione Australiano, eccovi una parte del testo il resto lo trovate nel sito 

In the US last year there was widespread consternation when it was revealed that nearly one third of all museum shows there came from artists represented by just five commercial galleries.

In Australia a similarly small coterie of commercial dealers and collectors act as cultural gatekeepers for our taxpayer funded arts institutions. The commercial Sydney gallery Roslyn Oxley9 has during the past 33 years  provided a staggering 11 artists from its stable as Australia’s representatives at the Australia Council- funded Australian pavilion at the Venice Biennale.

In Daily Review last year John Kelly caused a storm when he looked at the small circle who determined the choice of artist as our representative at the 2015 Venice Biennale. Our 2017 choice is no different. While Kelly admires the selection of Tracey Moffatt, he asks in the essay below, why, given such a small group of people have influenced our choice of artists for Venice for decades, it has taken them so long to choose an indigenous artist in a solo show as Australia’s representative?

.....

Adventure: Capital

You are warmly invited to the official launch of Ireland at Venice the Irish Tour by Chair of the Arts Council, Sheila Pratschke at Limerick City Gallery of Art on Thursday 21 January from 6–8pm.

 

Limerick City Gallery of Art, in partnership with Ireland at Venice, is pleased to present The Irish Tour of Adventure: Capital, a new artwork by artist Sean Lynch that was commissioned for Ireland at Venice 2015, the Irish Pavilion at the 56th International Art Exhibition – La Biennale di Venezia. Visited by over 400,000 people during the world’s most prestigious visual arts exhibition, Adventure: Capital now begins its national tour of Ireland.

 

Adventure: Capital is Sean Lynch’s most ambitious project to date and traces a journey from myth to minimalism around Ireland and Britain, combining Greek river gods; public art at regional airports; quarries and the art of stone-carving; an abandoned sculpture in Cork; and a traffic roundabout, on a storytelling journey that unravels notions of value and the flow of capital through an anthropological lens.

 

Alongside Adventure: Capital at Limerick City Gallery of Art, Sean Lynch will present a selection of previous artworks, including A Church Without A Steeple (2012, Arts Council Collection), A Rocky Road (2011), Peregrine Falcons Visit Moyross (2008), Bill Clinton (2007), and Latoon (2006–2015). Subsequent presentations of Adventure: Capital in Sligo, Dublin and Belfast will also be individually configured with existing and new artworks, giving audiences multifaceted perspectives on Lynch’s practice.

 

The exhibition is accompanied by the Adventure: Capital exhibition publication, freely available with an essay by the curator Woodrow Kernohan and additional texts by Sean Lynch and Michele Horrigan.

 

For further information please see: www.adventure-capital.ie or www.irelandvenice.ie

 

 

Irish Tour dates:

Limerick City Gallery of Art

21 January – 24 March 2016

 

The Model, Sligo

9 April – 5 June 2016

 

Royal Hibernian Academy, Dublin

30 June – 14 August 2016

 

Golden Thread Gallery, Belfast

1 September – 15 October 2016

 

 

The Irish tour of Ireland at Venice is supported by The Arts Council / An Chomhairle Ealaíon as part of its commitment to promote the visual arts to Irish audiences. The Commissioner for the Irish Pavilion in 2015 is Mike Fitzpatrick, Director of Limerick’s European Capital of Culture 2020 bid and Head of School, Limerick School of Art and Design, LIT. The Curator is Woodrow Kernohan, Director of EVA International – Ireland’s Biennial, Limerick City. Adventure: Capital and the Irish tour of Ireland at Venice have been made possible through additional support from partners: Culture Ireland; Limerick City Gallery of Art; The Model, Sligo; Royal Hibernian Academy, Dublin; Golden Thread Gallery, Belfast; Arts Council Collection; Limerick City and County Council Arts Office; Limerick, Candidate City for European Capital of Culture 2020; Limerick Institute of Technology, Limerick School of Art and Design; EVA International – Ireland’s Biennial; Maurice Ward Art Handling; Wexford County Council; British Council Northern Ireland; Kevin Kavanagh Gallery, Dublin; Ronchini Gallery, London; Askeaton Contemporary Arts; Irish Wire Products.

www.adventure-capital.ie 

www.irelandvenice.ie 

www.seanlynchinfo.com