This is the story of Gabrielle “Coco” Chanel, who begins her life as a headstrong orphan, and through an extraordinary journey becomes the legendary couturier who embodied the modern woman and became a timeless symbol of success, freedom and style.
Drink a little wine, speak a little French, and enjoy the film!!
The North Clare Historical Society will commence its new lecture series on Monday 29th September at 8 pm. with a talk by Eddie Lenihan entitled From Corofin to Lahinch: Footing it on the West Clare Railway.
Lenihan, author, storyteller, lecturer and broadcaster is a native of Brosna, County Kerry and currently resides in Crusheen, County Clare. He is a collector of folk tales, recording stories told by older people as passed to them in oral tradition, and then distributing them to a wider audience via print, audio and filmed recordings. He is currently working on a novel on The Civil War in County Kerry based on oral material he collected there in the 1970s.
In the late 1980s Lenihan accompanied by his son Keith undertook to walk from Ennis to Kilkee along the tracks of the West Clare Railway, the most famous of all the narrow gauge railways. This walk was the subject matter for his 1990 publication- In the Tracks of the West Clare Railway. He will revisit that walk, detailing his journey from Corofin to Lahinch in his upcoming talk to the North Clare Historical Society at the Courthouse Gallery, Ennistymon at 8pm.
Hard to believe now that the West Clare Railway (as opposed to the South Clare Railway) was built in just two and a half years. No one who walks it today could ever possibly imagine such. Not many have done that walk. But Eddie Lenihan has. And this month he will share his experiences on the above section of the line with us, a section that, he says, included some of the toughest, worst, most horrible landscapes he ever travelled through, made bearable during that walk only by the kindness of the people who made him welcome along the way.
If you’re interested in the Famine, the Civil War, the Good People, bad planning, mythology and much more this might well be an outing you’d enjoy.
Between the Reels and the Ragas is a new innovative collaboration between highly respected Irish percussionist Tommy Hayes and Australian born mongrel MattuNoone.
Mattu, an ex-indie rocker and well-known performer of the 25 stringed lute called sarode, has studied North Indian Classical music in Kolkata with Sougata Roy Chowdhury for almost a decade. More recently he has taken guidance from UK based sarodiya, K. Sridhar. He has performed Indian music across the globe and was a founding member of successful Galway group, The Bahh Band.
In a career that has exemplified diversity, Tommy Hayes has performed and recorded with most of the great names in traditional music and beyond and has been at the forefront of Irish music for over 30 years.
This unique project was formed after Mattu was awarded funds from Music Network Ireland to design and purchase a hybrid sarode for collaborations within the Irish music tradition. This project draws upon the slow lyrical style of East Clare music as well Indian drones, a plethora of percussion and experimental acoustic loops.
After nearly three months of artistic endeavours finally the end is in sight! – the notebooks will be shown in The Courthouse Gallery on Culture Night 19th September from 7 pm onwards.
They will be accessible for all to see, picked up, opened and touched. Everyone started with the same blank diary and it shows a timeline of creativity during the summer of 2014 in Co. Clare.
At 8 pm. Dr. Aoife TwohigM.I.C. Psych. will give a short talk on the qualities of keeping a notebook.
At 9.30 pm. Music with The Strap
A characterful 4-piece song band, also featuring the superb alto sax player PeadarTumilty. They are playing together for a year and have a wide repertoire that engages people very well.
Band members: Declan Hunt [eccentric troubadour for 40 years, with a voice unequalled, who now plays bass as well], Paul O’Brien[singer, guitarist] MarthaO’Brien [banjo and a very distinctive voice] and Mike O’Connor [keyboard, guitar and voice, also 40 years at it]
We look forward to seeing you all on what promises to become a fascinating & fun evening with music, sangria & nibbles!
Yoga for Strength-Flexibility-Vitality with Helga Himmelsbach
Starting: Tuesday 7th October from 10:15am-11:30am This series of classes is designed to show you how to strengthen your body in particular your back, core and joints while creating more space around the discs. You will learn how to relax and release tension so your body can realign itself. You can lead a more fulfilling, richer life with lots of energy instead of pain. Beginners welcome. Helga is a practicing Physical Therapist for 25 years and a 500 hour trained Yoga teacher. Pre-booking is essential at email@example.com or 086-8960959 Cost – 6 weeks €75 www.burrenwellness.com
Life Drawing Sessions from OCTOBER – NOVEMBER Starting on Wednesday morning 8TH OCTOBER from 10 am – 12 noon Bookings only for 4 week sessions – €40 or 8 week sessions – €80 If you are interested, please book as soon as possible as there are limited places at firstname.lastname@example.org or on Tel: 065-7071630
Spanish classes with Fatima Starting: Thursdays 2nd October Intermediate: from 1:30 – 2:30 pm Total Beginners: from 2:35 – 3:35 pm PRICE: €100 for 10 week term. For more INFO contact Fatima on 087 9604336 / email@example.com
Guitar Classes with Chris Woods Starting: Thursday, Sept., 18th at 4 pm Chris is a guitar player with 24 years experience, who teaches all ages, individuals or groups. Guitar Group with Chris Woods Starting: Thursday, Sept., 18th at 7:45 pm Please contact Chris at 086-3626002
THE COURTHOUSE UPSTAIRS ROOM IS STILL AVAILABLE FOR OTHER CLASSES AND WORKSHOPS ON TUESDAY AFTERNOONS, WEDNESDAY AND FRIDAYS ALL DAY. For more information please contact The Courthouse Gallery at 065 -7071630
‘New Paintings and Some Drawings’ by Samuel Walsh Opening Saturday, August 9th, 2014 @ 4 pm August 9 – September 4 The word ‘new’ in the title of this exhibition might happily be replaced with the word ‘newish’ except that the latter has an awkwardness that doesn’t fit with my way of thinking. The fact is that not all the paintings in this show are ‘new’ and the ‘new’ refers to what has become an established, stylistic consistency in the making of my art since about 2006. I have, for the first time in many years found a formula in which to lay down structure, line and colour in arrangements that reflect my observation of the world as I move through it and note its many variations and permutations.
These observations are not long studied examinations of situations. They are glances, glimpses, the edges and the ends of things, quick sightings of the world in very much the same way as most of us move through the places and spaces that make up our everyday experience. The difference is that I make a note of these experiences and consider turning them into something other than a memory. I make them into a story, a personal story that is unique to me and presents itself as a work of art. This is both the joy and the burden of being an artist; the ethical responsibility to see the world in a particular way and to document it in such a fashion that it can be universally experienced. The universality of art is not that it is the same to everyone but that each person sees it differently and therefore can experience that work of art exclusively to themselves sometimes shared using what is called language. Sometimes we see things the same; this is to be welcomed, but there are often subtle differences within that sameness. This way of looking at art and recognising it has been with us for many thousands of years but we live in an age of immediacy so we often confuse identification with understanding and ask the meaning of art where there is none or in some cases too much. These paintings (drawings, studies) do not mean anything other than what you see in them. They are square (there are two exceptions here), coloured and have linear elements. The colours come from observations but may change in the making of an individual work and the linear elements come from drawings made in situ of any number of things. Sometimes the paintings come from a passage in a book, an idea I might have about the world, a note made from an old master painting or a simple observation on my part, but mostly they come from just looking around me at what is going on or in some cases what is not going on. My work is often called abstract but I don’t see it like that. To me it is more like a new reality, a different reality and that turning a blank canvas into the illusion of a vase of flowers with the use of earth and mineral pigments and the hairs of a Chinese pig is real abstraction! We all see the world differently which makes our individual worlds unique to ourselves. I just happen to have a process by which I can share that individuality with a larger audience. Samuel Walsh, Cloonlara, Co Clare, June-July 2014 https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif
Piecing and Sorting by Mollie Douthit
Courthouse Gallery Red Couch Space 9th of August-4th of September Opening reception 9th August @ 4pm
The Ennistymon Courthouse Gallery and Mollie Douthit invite you to attend Piecing and Sorting, an exhibition in the red couch space opening on 9th of August at 4pm. The exhibition runs 9th August- 4th of September and features oil paintings and gouache on paper. Douthit’s practice entails sitting with and looking at objects, relaying what is viewed with paint or drawing materials. Featured in this exhibition are paintings of small food items that are personal reminders of people and places. Douthit values how the description of an object can be achieved through direct fresh mark making. The opacity of gouache encourages immediacy with material once it touches paper, marks left emulate what is being viewed immediately. The oil paintings are equally as demanding in their presence but begin to consider the space where the objects exist. The items are trapped within a new dimension of paint and no longer absent of that space, as in the works on paper. These works are meant to be an investigation of the colour and form of these objects, while enjoying the physical traits of something nostalgic, considering how it exists when it becomes something that is only to be viewed.