The Curfew Tower

Independent Republic of Užupis

Lithuania – 2022

Written & Spoken by Ken Bartley

THE SPOKEN WORD

THE WRITTEN WORD

Nov 2026 - Experience of the Curfew Tower – Curated by Independent Republic of Užupis, Lithuania, 2022

Is this conceptual art?

There is no art.

There is no artist.

There is a bicycle.

Are we in The Third Policeman by Flann O’Brien?

One of the artists who had been at the tower in 2022 has left a bicycle.

There is a bicycle, but no artists. None of the artists from the Independent Republic of Užupis, in Lithuania has been able to make it to the bonfire in 2023.

Zippy Kearney, the Keeper of the Keys of the Curfew Tower, has been made an Ambassador for the Independent Republic, and he is ceremonially awarded his title beside the bonfire, while the bicycle is held aloft.

Surely, this is not how the artistic residencies at the Curfew Tower might come to an end. With no art and no artists.

But, in fact, there is art, and there are artists, just not the residents from the previous year.

The Ghost of Elvis is coming, and Conor Garrett is recording everyone in the garden for a radio broadcast of “Graceland in the Glens”.

Around the fire Aidan O'Keeffe is performing a play inspired by an album by The Fall. He plans to do this in every county of Ireland.

Even though the BBC is here, this is not recorded. As far as I am aware, this is a choice of the artist. The event will only exist “in the moment”.

Later, this instigates a conversation about the “exclusive” nature of art.

There are many performers, exhibitions, events I have missed over the years because they did not come to my home town, or they clashed with another commitment or they were very expensive – is anyone worth a £100 ticket? No. I don’t think so.

Not everyone can afford to go to the Turner Prize, the Cannes Film Festival, the Venice Biennale. Not everyone is healthy enough to even make it to their local art centre.

At least every Shakespeare play is available from your local library. Many books, films and artworks are available in libraries, arts venues and online. Does art need to be exclusive, and therefore by definition, inaccessible to most people?

This is something I am conflicted about. I go to many live events, which by their nature are exclusive to those buying tickets. I buy exclusive edition records (though only when they contain new, unreleased music; not just when it comes with a new, not really “exclusive”, limited edition cover).

I know artists get paid a pittance for putting material on the internet, so that would not encourage them to make their art more accessible.

As always, this discussion is not resolved, though there does appear to be general agreement that if art is publicly subsidised then it should be available to the public; if it is not publicly funded, then the artist should be free to make it as exclusive as they wish.

As the evening passes on, and Conor records interviews for posterity, I mention to Bill that there ought to be a History of the Curfew Tower, also for posterity… and so, here we are; I am writing it, and anyone will be able to borrow it from Cushendall Library, if they haven’t already bought the exclusive limited edition version from Zippy Kearney’s Book and Record Emporium on Mill Street, Cushendall; just opposite the tower.

More information about Independent Republic of Užupis can be found at: https://www.fayr.org/gleb-divov/

More information about myself and Ann can be found at https://artisann.org/pages/about-us

I am currently writing a history of the Curfew Tower (And Make Art: A History of the Artistic Residencies at the Curfew Tower, Penkiln Burn, Forthcoming). If you were part of the tower’s story, as an artist / contributor / visitor / family / friend, please get in touch [ mail@artisann.org ]

Ken Bartley