Author Archive

Kathy Tynan

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Cité Internationale Des Arts Winners 2018

TBG+S Nominated Artist Kathy Tynan

Kevin Kavanagh, Dublin and Temple Bar Gallery + Studios are delighted to announce that artist Kathy Tynan has been awarded a residency in Paris as part of the Cité Internationale des Arts programme.

More than 60 artists from around the world will be in residence in 2018 at the Cité Internationale des Arts in Paris. The residency programme is open to foreign artists, who wish to develop a project of research in Paris during a period of three or six months. These artists may be identified by the Institut Français, Alliances Françaises, cultural services of the French Embassies or French and foreign cultural organisations.

Kathy will work from a studio in Paris for three months in 2018. During her residency, Kathy will spend time discerning the recurrent motifs and patterns of the City. She will focus particularly on interventional man-made marks which feel strange or out of place within the urban landscape.

More information available here.

Sonia Shiel

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‘Dead Her’ (2018)

The Void, Derry

Saturday 20th January, 4pm

Image Credit:Courtesy of the Artist, Sonia Shiel
Still from Dead Her,  2018 – a narrated presentation.

Sonia Shiel is a Dublin born visual artist, whose works synthesise object, image and sound in performative and immersive installations. At Void, Shiel will premiere Dead Her, a narrated visual presentation, written, directed and performed by the artist. Dead Her is one of a number of recent narrative works that will feature in her new book of short stories each exploring the pursuit of creative agency, – or living – with and without art. It will be published in 2018, by UCD‘s Parity Studios Press.

Shiel has had exhibitions at The Crawford Art Gallery, Cork; the Irish Museum of Modern Art, Dublin; the Lewis Glucksman Gallery, Cork; ISCPNew York; Temple Bar Gallery and Studios, Dublin; Kulturbunker, Frankfurt; Rua Red, Dublin; the Butler Gallery, Kilkenny and the RHA Gallery I and II, among many others. Recent performances and readings include Treeline, TBGS, Artbox and the NCAD Gallery. She has been the recipient of many awards, and international residencies, with the support of the Arts Council and Culture Ireland, and has completed recent fellowships at Fordham Law School, New York and the School of English, Drama and Film at UCD.

More information available here.

Elaine Byrne

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Omega Workshop: An Experiment in Counter-Fashion
January 26 – March 10, 2018

Elizabeth Foundation of the Arts,
323 W. 39th St., 2nd Floor

Elaine Byrne will take part in a project alongside Carmen Argote, Nick Cave, Sky Cubacub, Frau Fiber, Friends of Light, Abigail Glaum-Lathbury, Ruby Hoette, Project KOVR, Fawn Krieger, Jennifer Moon, Marloes ten Bhömer, Marisa Williamson, Andrea Zittel.

Opening Reception: Friday, January 26, 6 – 8 PM

Curated by: Rational Dress Society

Since the birth of fashion in the 19th century, counter-fashion—the practice of dressing to signal political solidarity—has been a site for critical intervention and utopian experimentation amongst activists, artists, and designers. Fashion is often mobilized to effect political change in moments of unrest. Omega, the last letter of the Greek alphabet, continues this tradition, suggesting clothing for “end times.” In Omega Workshop, our clothes are reconceived as an act of resistance in dark times—a collective reimagining of our relationship to dress.

For Omega Workshop, the members of the Rational Dress Society bring together artists, designers and activists who mobilize the language of clothing to critique the existing fashion system and offer alternatives. The exhibition will function as an archive and a laboratory, intended both as a tool to spur the production of future counter-fashion, and a resource for artists and designers interested in pursuing alternative dress. The run of Omega Workshop coincides with New York Fashion Week, offering a necessary counterpoint to the consumer-driven spectacle of the fast fashion in New York’s historical (and diminishing) Garment District.

More information available here.

Mick O’ Dea

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Songs of Peace: Francis Ledwidge

Centre Culturel Irlandais, Paris

25/01 – 13/05Opening night: Thursday 25 January, from 6.30 to 8pm

Mick O’Dea will show work alongside Sven Anderson, Patricia Burns, David Farrell, Clare Langan, Niamh O’Malley, Sasha Sykes

The Irish poet, naturalist, activist, nationalist and soldier, Francis Ledwidge, died in Ypres in 1917 shortly before his thirtieth birthday. A century later, curator Sabina MacMahon has selected work by seven visual artists in response to the life and work of Ireland’s soldier poet. Ledwidge’s final volume of poems ‘Songs of Peace’ illustrates his poignant longing for the countryside of his home county of Meath. This intimate connection with landscape together with the conjoined themes of love and loss are explored in different ways by each artist presented in the show – an ode to the contemporary relevance of the poet’s oeuvre.

This exhibition is presented in conjunction with the Solstice Arts Centre, Co Meath.

The curator Sabina MacMahon will give a guided visit of the exhibition at 6pm on the opening night (reservation recommended).

Further information available here.

Vanessa Donoso Lopez

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Quotidian Tensions between the Domestic and the Unexpected

Thu 11th January – Sat 17th February
All Day

Solo exhibition by Vanessa Donoso López

Thursday 11th January 2018 – Saturday 17th February 2018

The Golden Thread Gallery is delighted to be starting the New Year with a new exhibition by Dublin based artist Vanessa Donoso López. There is an opening reception on Thursday 11th January between 6.00 & 8.00pm.

The following day between 1.00 & 2.00pm (Friday 18th January) the gallery will host a public session featuring the artist in conversation with Gallery Director Peter Richards. The conversation is aimed at those of you who would like to find out more about the artist’s concerns, motivations and her approach to making this exhibition.

More information available on the Golden Thread Gallery Website.

Primed Vision | Stephanie Deady | 11.01-10.02.2018

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Stephanie Deady

Primed Vision

January 11th – February 10th, 2018

Opening reception January 11th at 6pm.

Stephanie Deady works from photographs, found images and from memory to create paintings of her surroundings, both experienced and recalled. On wooden panels, the paintings depict part of Deady’s studio, the counter top in the kitchen of a friend’s house and the corner of a living room in Italy, among other alcoves. Within these compositions small and precise brush strokes present austere and pared back scenes. To counter this, other paintings present landscapes and interiors, fragmented by gestural brushstrokes. Deady often focuses on one image and through close observation; she presents various iterations of the same space. In this way, subtle changes in the representation of the space become apparent. Minor adjustments to the perspective and horizon allude to a concern and curiosity with how a place is transformed in its representation.

There is a sense of transience and solitude, as traces of figures and furniture appear to populate the compositions momentarily. Three panels show a studio space in differing stages of use. Each presents evidence of artistic activities, though the architecture remains the emphatic focus. Viewed together, the panels become a sequence-an archive of evolving spaces. They are deceptively simple looking and in sequence they move incrementally towards abstraction. Though areas of the compositions often reveal an intense dedication to the depiction of incidental detail within the architecture. Such nuance in the rendering of light fixtures, pipes and skirting boards reveals a preoccupation with precision and an almost ascetic approach to the final touches that complete the paintings.

Deady has a way of imbuing blank spaces, whitewashed walls, ceilings and floors with texture and atmosphere. The paintings contain a kind of warmth that belies their colour palette as well as their, often frugal, composition. Regardless of the objects and figures that may appear fleetingly, there is a reassuring presence within the spaces that provides a constant.

X X V I

The props assist the house
Until the house is built,
And then the props withdraw –
And adequate, erect,
The house supports itself;
Ceasing to recollect
The auger and the carpenter.
Just such a retrospect
Hath the perfect life,
A past of plank and nail,
And slowness, – then the scaffolds drop­ –
Affirming it a soul.

-Emily Dickinson

 

Stephanie Deady (b.1990) Limerick, graduated with a BA Honours in Fine Art specialising in painting from Limerick School of Art & Design in 2014. Her work has been exhibited as part of the Temple Bar Gallery + Studios 6th Annual Book Fair. Her work has also been purchased by the OPW State Art Collection and was selected as part of last years 186th RHA Annual Exhibition. Moving from Dublin, where she spent her time in Jaja’s Studios, Stoneybatter as well as receiving an Artist Summer Studio initiative at DIT Grangegorman, Deady is now based in Callan, Kilkenny having been the recipient of the prestigious Tony O’Malley residency.

Nevan Lahart – Vic Sims of the Hollow Gram

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Editor – Stijn Maes

Design – Jedidja Samyn

Texts –  Sebastián Gonzalez de Gortari, Nevan Lahart

Photography – Gillian Buckley, Nevan Lahart

ISBN 978-90-8268972-3

Edition of 400

Published by KRIEG, Belgium in collaboration with Kevin Kavanagh, Dublin (2017) €15

Sean Lynch

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The Devil in the Detail 

24 NOVEMBER 17 — 20 JANUARY 18

Ronchini Gallery, 22 Dering Street, London.

Ronchini Gallery, London presents a solo exhibition titled The Devil in the Detail by Sean Lynch.

For more information please visit the Ronchini Gallery website.

Elaine Byrne

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DUBLIN CITY GALLERY – THE HUGH LANE

Wednesday 29 November – 11am

Artist Elaine Byrne will discuss her work on view in The Ocean After Nature.

During these discussions participants are invited to join Gallery curators and guest speakers in an exploration of the Gallery’s permanent collection, exhibitions and conservation projects, followed by tea or coffee with the speaker to allow for further discussion.

Fee for talk €5 and refreshments included. No booking required, although places are limited.

More information available here.

To read a recent review of Byrne’s piece by Gemma Tipton please visit The Irish Times website.

Sean Lynch

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Sean Lynch at Ronchini Gallery, London

Sean Lynch will present a new exhibition Devil in The Detail at Ronchini Gallery, London, opening 23rd November 2017 and running until 20th January 2018.

 

more info

 

Sonia Shiel

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Periodical Review at Pallas Projects & Rectangle Squared at NCAD Gallery

24.11.17

As part of Dublin Gallery Weekend Sonia Shiel will present the installation of the audio work Rectangle Squared at NCAD Gallery on the 24th November, 2017, 5-9pm. Copies of the new publication Rectangle Squared will be available from the gallery. Shiel will also take part in this year’s Periodical Review at Pallas Projects. Periodical Review is an annual survey of recent Irish art. The exhibition opens 24th November 2017, 6-8pm and runs till 20th January 2018.

 

the nature of drifting | Ulrich Vogl | 23.11-23.12.2017

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Ulrich Vogl

the nature of drifting

November 23rd – December 23rd, 2017

 

The Map

Land lies in water; it is shadowed green.
Shadows, or are they shallows, at its edges
showing the line of long sea-weeded ledges
where weeds hang to the simple blue from green.
Or does the land lean down to lift the sea from under,
drawing it unperturbed around itself?
Along the fine tan sandy shelf
is the land tugging at the sea from under?

-Elizabeth Bishop (1935)

Ulrich Vogl presents a series of new works across a variety of media. He takes 3D maps as his starting point, playing and working with them he changes their context. In day and night / night and day, the ragged edge of a landmass contrasts with the rigid boundary between one day and the next represented by the international date line. Vogl explores the aesthetic of these mapping techniques to consider the passage of time and various discrepancies that occur in its representation.

For the piece Alpen – half restored, Ulrich Vogl commissioned the conservator for contemporary art in Hamburg and Berlin, Claartje van Haften, to restore a map of the Alps by removing streets, cities and other symbols of civilisation using the same restoration techniques often used to repair damaged paintings. In doing this, he suggests a landmass free from human colonisation. The ‘ready-made’ map gets almost completely over-painted and thus becomes a painting. ‘Back to nature’ in this case actually means leaving many human traces behind. In the process of overlaying the map, manipulating it and altering it gradually through the medium of paint, familiar topographies are subverted.

The fifteen maps in the exhibition will be presented alongside a previous installation by Vogl that has also centered on the issue of land and territory as well as a film by Vogl titled, House West. 

House West / Dokumentation, installation, 2 Min, 2004. Available to watch here.

Nevan Lahart

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Nevan Lahart: Vic Sims of the Hollow Gram [Book Launch]

30.11.2017 (7 pm)

KRIEG
Elfde-Liniestraat 25
3500 Hasselt (BE)
KRIEG.pxl-mad.be

KRIEG, Belgium presents a new publication titled, Vic Sims of the Hollow Gram. This is the first monographic publication on the work of Irish artist Nevan Lahart and it features an autonomous text by Sebastián Gonzalez de Gortari.

Lahart’s artistic practice spans a career of more than twenty years, including numerous monumental projects, full of word plays, (art) historical references, and life as he finds it. In his more recent work, he beckons us to pay attention to alternative theories and their potential to tell us truths that have been obscured in the past for reasons both benign and malevolent.

Meanwhile, you can still visit Nevan Lahart’s solo exhibition ‘Liberty Party Shop’, which runs until 30.11.2017.

Hours are 9am–6pm, Monday through Friday. Admission is free. Late openings: November 20 & 30 (until 8pm).

More information available at the KRIEG website.

VUE | Dublin | 2017

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Kevin Kavanagh was pleased to present new work by Stephanie Deady, Aileen Murphy, Richard Proffitt, Joe Scullion and Kathy Tynan at VUE 2017 at the Royal Hibernian Academy, Dublin, November 2-5.

Hidden dips, Blind summits -The road to Brexitaria | Dermot Seymour | 19.10-18.11.2017

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‘These paintings take the viewer across the dystopian notion of a Brexit on the border’.

-Dermot Seymour

Dermot Seymour, born in Belfast (1956), lives and works in Mayo. Recent solo exhibitions include Fliskmahaigo, Kevin Kavanagh, Dublin (2014), Fish, Flesh & Fowl, Golden Thread, Gallery, Belfast (2011) and at Centre Culturel Irlandais in Paris (2012). Seymour has also exhibited with Solstice Art Centre, Navan (2012), Millennium Court Arts Centre, Portadown, Co. Armagh (2004) and at Westport Arts Festival, The Custom House gallery, Westport (2003). Recent group exhibition include Instant Crush, Kevin Kavanagh, Dublin (2014), The Horse Show,  Kinsale Arts Week, curated by Gemma Tipton and Patrick T.Murphy (2011), In the Mind’s Eye, State Art Collection Touring Exhibition (2009), The Happiest Country in the World, An t-Oireachtais Exhibition, Curated by Cliodhna Shaffrey and Ruairi O’Cuiv (2005) and Art for Amnesty, In the Time of Shaking, Irish Museum of Modern Art, Dublin (2004). Dermot Seymour is an elected member of Aosdana and is the recipient of numerous awards including the Marten Toonder Award (1996) and the Cultural Relations Committee / An Roinn Gnothai Eachtracha award (1994). Seymour’s work is held in numerous public and private collection including the European Central Bank, AXA Insurance, the Office of Public Works, the University of Ulster, the National University of Ireland, Galway and the Arts Council of Ireland.

Kathy Tynan

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Night Table, an exhibition within Constellations

Curated by Fergus Feehily

3rd – 11th November, 2017 / Project Room, the Exhibition Laboratory Project Room, Lönnrotinkatu 35 Helsinki.

Night Table is an exhibition with work by Emma Ainala, Andrew Vickery, Liisa Karintaus, Kathy Tynan, Jon Verney, Laura Wesamaa, Christina Read and Lewis Miller.

Conversations In Light And Dark, a two day symposium will run 8th and 9th November, 2017 / Exhibition Laboratory, Merimiehenkatu 36 C, inner yard, 00150 Helsinki.

There will be presentations and panel discussions from Terry Winters, Declan Long, Alex Olson, Yuki Okumura, AGF aka Antye Greie-Ripatti, Kukka Paavilainen, Jonatan Habib Engqvist, Daniel Werkmäster and Aino Lintunen.

 

Richard Proffitt

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Richard Proffitt will show new works as part of the 15th TULCA Festival of Arts, curated by Matt Packer.

November 3rd-19th, 2017

The exhibition, titled They Call Us The Screamers, features the work of Fabienne Audeoud, Sam Basu and Liz Murray, Kian Benson Bailes, David Beattie, Oisin Byrne, Ciarán Ó Dochartaigh, Vicky Langan and Maximilian Le Cain, Liz Magic Laser, McGibbon O’Lynn, Yvette Monahan, Yoko Ono, Plastique Fantastique, Bob Quinn, Florian Roithmayr (with Meredith Monk), Kaspar Oppen Samuelsen and Marie-Louise Vittrup, and Lucy Stein, including 13 new commissions and projects. The exhibition is presented across six venues in Galway: Galway Arts Centre, 126 Artist- Run Gallery, Nun’s Island Theatre, Connacht Tribune Print Works, Barnacles Hostel, and University Hospital Galway. The official launch will take place at the Connacht Tribune Print Works at 19:00 on Friday 3rd November, preceded by a performance by Plastique Fantastique at Nun’s Island Theatre at 18:00.

For further information please visit the TULCA Festival website.

Tadhg McSweeney & Seán Lynch

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Solstice Arts Centre presents The Otherworld Hall

Curated by Sabina Mac Mahon

27th October – 22nd December, 2017

Tadhg McSweeney and Seán Lynch will show work as part of a group exhibition titled, The Otherworld Hall alongside Aoibheann Greenan, Seán Hillen, Lucy McKenna, Doireann Ní Ghrioghair and Nano Reid.

This diverse exhibition brings together painting, sculpture, installation, photographic collage and video work by artists investigating the ancient myths associated with the Boyne monuments and Brúg na Boinne, the Otherworld mansion or “hall” on the Boyne.

Opening Talk Other Worlds: A Travel Diary

Join writer and documentary-maker Manchán Magan during the opening of The Otherworld Hall for a captivating journey through some of the elusive other worlds – mythological, physical, historical, cultural and archaeological – that he’s encountered on his travels, both in Ireland and abroad. Thursday 26 October 2017, 7:30pm Please note corrected date in this updated email Admission free but pre-booking is required

For further information please visit the Solstice Arts Centre website.

Aileen Murphy

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FRIEZE LONDON 2017

W/DEBORAH SCHAMONI,
München

JUDITH HOPF   AILEEN MURPHY

Focus, Booth H16

05.10. – 08.10.2017

Aileen Murphy has shown her 2016 painting Mildred Rasher Bean alongside work by Judith Hopf at Frieze, London ahead of her upcoming solo exhibition with Deborah Schamoni, Munich in January, 2018.

 

For further information please visit Deborah Schamoni website.

Stephen Loughman

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Temple Bar Gallery + Studios

Supporters Club Talk #12 | Alison Pilkington and Stephen Loughman

Tuesday 17 October 2017 | 6.30pm

To attend join Temple Bar Gallery + Studios Supporters Club here and book your place by emailing muriel@templebargallery.com

The donation fee for non-Supporters Club members is €5

Alison Pilkington and Stephen Loughman will converse around themes of contemporary painting and their own painting practices. In this two-way conversation, these two distinct and vital contemporary Irish painters explore ideas from the uncanny to the subject of imagery and the various influences on their art, from commercial film to art history. In her quasi figurative paintings, Alison Pilkington seeks to explore the interaction between the ‘intrinsic qualities’ of paint as a material, and how they can be manipulated by the artist; utilising subject matter that has the ability to be both familiar and disorientating. Stephen Loughman utilises imagery usually sourced from commercial films or post cards purchased online. The act of freezing these images in painted form allows him to distil and re-edit them to form (as Hugo Hamilton has written) “a cross reference fictionalised somewhere in the past by culture and commerce”.

For further information please visit Temple Bar Gallery + Studios Website.

Sonia Shiel

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Crawford Art Gallery, Cork

Thursday 19th October at 1pm

Sonia Shiel will take part in a conversation with Dawn Williams at Crawford Arts Gallery, Cork. The conversation will centre on the Artist’s practice, particularly in relation to her exhibition Rectangle, Squared. 

 

Rectangle, Squared continues until 28th October, 2017.

 

For more info please visit the Crawford Art Gallery website.

Margaret Corcoran

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Emergence

Claremorris Gallery, Co. Mayo

30th September – 14th October 2017

A solo show, Emergenceby Margaret Corcoran will open Saturday September 30th at 7.30pm. The show will run until October 14th during gallery hours, 1 – 6pm, Weds – Sat, after which the show can be viewed by appointment until October 14th.

“We see the past in terms of representational strategies used to describe it. This idea has been integral to the rationale of Margaret Corcoran’s work. Her paintings have revisited historical eras with the aim of illuminating the world views implicit in the images and the ways they were constructed, generally with particular regard to the role of women, of looking, of seeing and making. Her engagement has been broadly critical and analytical”

– Aidan Dunne, Irish Times, 2009

For more information visit the Claremorris Gallery website.

Image: Margaret Corcoran, The Disruption, 2017

Obscura | Paul Nugent | 14.09 – 14.10 2017

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 Obscura

The Pitié-Salpêtrière Hospital is an institution in Paris that interned and treated patients deemed mentally ill by the state from the 17th century onwards. It was known for its poor living conditions and crude experiments. The Salpetriere in its current manifestation is a university hospital. Gaining notoriety as one of Europe’s largest insane asylums during the Belle Époque, the Salpêtrière became the sight of French neurologist Jean-Martin Charcot’s famous Tuesday morning lectures.

These lectures were renowned for their theatrical presentations in which Charcot’s patients performed their conditions to crowds of spectators that included important physicians and neurologists as well as wealthy members of the public. The spectacle of such events was driven by a morbid curiosity that also spurred the circus shows, travelling magicians and hypnotists of the same era. In fact it was noted that Charcot’s lectures were attended by the famous French stage actress, Sarah Bernhardt who purportedly took inspiration form the repertoire of gestures and intensity of performance presented by patients at the Salpêtrière.(Heroes and Legends of Fin-de-Siècle France: Gender, Politics, and National Identity, Venita Datta, 2011 Cambridge University Press, p156).

Charcot initially believed that hysteria was a neurological disorder and throughout his career he searched for the ‘seat’ of hysteria – hoping to find a physical location for the disorder. He later concluded that hysteria was a psychological disease. Using medical apparatus and hypnosis, Charcot and his contemporaries conducted experiments on the – almost exclusively – female patients. During this time he had a number of patients whom he favoured and in the performance of his lectures, Charcot often relied on his more ‘experienced’ patients. Namely those who understood, and were cooperative in, the theatrical nature of the events. Patients such as Louise Augustine Gleizes and Marie ‘Blanche’ Wittmann became complicit in the performance of their condition in a way that transformed them into icons of their hysteria.

In many cases, Charcot’s patients became famous in their own right; Gleizes and Wittmann for example were well known hysterics in the 19th century and became the subject of novels, newspaper articles and works of art. Jane Avril was a dancer and hysteric who became the muse of Toulouse-Lautrec. In her book, Medical Muses: Hysteria in Nineteenth-Century Paris, Asti Hustvedt details rivalries that existed between the young women who hoped to achieve fame by performing in Charcot’s lectures.

Charcot, in his search for the seat of hysteria in the female body, employed what he deemed the most up to date technology to aid his research. He believed that the forensic use of the camera would allow him to locate and distil the essence of hysteria. However as photographic technology developed, the state, hospitals, Gendarmerie and the Académie des Beaux-Arts became complicit in a fiction. Art students, physicians and doctors often worked together with favoured subjects to create the most convincing iteration of the suspected condition. The photographs became increasingly staged and ornate, blurring the already delicate line between documentation and fabrication.

In his most recent series of paintings, Paul Nugent returns to iconography as it pertains to the history and architecture of the asylum chapel. During the 19th century, Charcot relied heavily on photography to decipher and archive cases of hysteria-a disease that no longer exists despite being suspected to affect more than half of all women during the 19th century. (Medical Muses: Hysteria in Nineteenth-Century Paris, Asti Hustvedt, 2012, Bloomsbury Press).

Throughout Obscura, Nugent responds to his photographic source material and the interior of the chapel by closely observing and depicting its interior – the site of the hysteric performances. Séance IV depicts an altar presided over by a statue of the Virgin Mary in her iconic pose, head at a gentle tilt, hands loosely by her side with palms facing upwards. A large painting, of which the subject matter is undecipherable, dominates the wall space of the chapel. In the repetition of these compositions, Nugent simultaneously clarifies and obscures certain details within the chapel to consider various aspects of its architecture. Within the series Nugent also directly references phases in the development of photography as a medium, including the inversion of negatives and the uniform colour of cyanotype.

This alludes to the manner in which the Camera was invested with the belief that it could shed light on the misunderstood phenomenon of hysteria. By creating an extensive archive, Charcot and his associates at the Salpêtrière hoped to find a common physical feature or expression that would help them to identify those that suffered from the condition. George Didi – Huberman in his book Invention of Hysteria, speaks about the ‘True Retina’, an emotionless gaze that presents the patient in the most neutral and objective manner possible through meticulous documentation of the women. The use of this new technology was believed to provide an unprecedented insight into the condition.

In Obscura III, Nugent creates a painted illusion of the photographic image –as though blurred by motion or poor exposure, a trompe l’oeil that denies its medium specificity. However in Obscura I this illusion is shattered. The spatial element of the painting and the objects within it are jarred by the application of thick bars of glossy paint in the uniform Van Dyke brown of the composition. These seemingly impulsive marks contrast with the controlled and nuanced application of paint that form the backdrop. Similarly in Hysteria the measured manner in which the surface has been applied appears to have been compromised by a sudden agitated gesture. The gesture however, is self-reflexive.

The works in Obscura consider the role of the camera in diagnosing and treating patients at the Salpêtrière. By referencing techniques in the development of photography, and in his depiction of various angles of the asylum chapel, Nugent considers the relationship between photography and painting to imply a presence or semblance of place associated with historical and institutional environments.

 

– Ingrid Lyons.

 

Paul Nugent lives and works in Dublin. Recent solo exhibitions include NIGHTSHADE, Kevin Kavanagh, Dublin (2015), a solo presentation at VOLTANY, New York (2011), Remembrance Part I & II, Kevin Kavanagh, Dublin and Remembrance, Kerava Art Museum, Finland (2009). Selected group exhibitions include Many Worlds, Centre Culturel Irlandais, Paris (upcoming Sept, 2017), Golden Record, Galway International Arts Festival, Galway Arts Centre (2017), Trove, Irish Museum of Modern Art, Dublin, curated by Dorothy Cross (2015), In Darkness Let Me Dwell, Solstice Arts Centre, Navan (2015), Prelude Speaker, Group show, Castletown House, OPW in partnership with Crawford Art Gallery (2013), Last, Douglas Hyde Gallery, Trinity College Dublin (2011) The Painter, the Draughtsman, the Dealer and their Lovers, Voges Gallery, Frankfurt, Germany (2011) and What Happens Next is a Secret, Irish Museum of Modern Art, Dublin, curated by Marguerite O’ Molloy (2010). Nugent was awarded a residency at the Centre Culturel Irlandais, Paris in 2005 and he has been the recipient of the Visual Arts Bursary, multi-annual award, The Arts Council/An Chomhairle Ealaíon in 2004-2006 and 2008. His work is held in numerous public and private collections both in Ireland and internationally including the Office of Public Works, the Irish Museum of Modern Art and DCU (Dublin City University).

Michael Boran and Stephan Loughman

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Dunamaise Arts Centre,

Co. Laois

12th October – 11th November, 2017

Dunamaise Arts Centre, Co. Laois and Kevin Kavanagh, Dublin present an exhibition of recent work by Stephan Loughman and Michael Boran.

Michael Boran and Stephan Loughman are two artists of the same generation with family ties to Co. Laois. Within each of their practices they investigate the changing dynamic between our perception of the natural landscape and the ever expanding built environment.

In viewing Boran’s photographs and Loughman’s paintings side by side we are presented with divergent forms of media that approach similar subject matter. Loughman’s paintings feature tunnels, bridges and arches amidst verdant foliage, referencing architectural intervention in the landscape. Boran’s photographs span the undergrowth of the garden to the heights of telegraph poles. As the works relate to one another, we can observe a multitude of connections and affinities. Throughout (Exhibition Title), both artists consider the softening boundaries between rural and urban.

More information available on the Dunamaise Arts Centre website.

Nevan Lahart

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K R I E G
Elfde-Liniestraat 25
3500 Hasselt
BELGIUM

28.9 – 30.11.2017

Opening: Thursday 28.9 (6 pm)

The title of Nevan Lahart’s first solo exhibition in Belgium, Liberty Party Shop, was found on the side of a van a few doors down from his studio in The Liberties, Dublin.

Naivety is the new newspeak for courage. But what to expect, if not bunting, helium filled balloons and personalised flags? The following word salad is an appetizer of what’s on the menu.

Green Screams on Tarpaulin Travesties rendered in Payne’s Gray. History is a low rendered CGI poly mesh search engine, to add colour and form to the unconvincing backdrop of our lives. Unfashionably fathomable. Cured in el-blow grease. Distilled in despair. Gastronomically speaking it’s flavoured with some wholesome stables of Flemish liquid colour, dressed in a stodgy drizzle of Gaelic Island belligerence.

For more information please visit the KRIEG gallery website.

Sonia Shiel

Written by Harry on . Posted in News, Uncategorized

Sonia Shiel at The Crawford Art Gallery, Cork

9th September – 28th October, 2017

Sonia Shiel’s exhibition Rectangle, squared. invites the viewer into a series of performative spaces, where-in the action is painted, built, written, presented, intimated or provoked in chapters titled by shape and interspersed with props, some still, some moving. The exhibition tells the story of a fictional artist’s surreal encounters with the illusory world she finds herself in, and the tremendous challenges it throws her. Shiel’s work contemplates the mundane drama of living, in a series of large scale works that appear to be peripatetic but are connected through their surreal narrative imagery. Bold, yet enigmatic, Shiel’s works conjures theatrical connotations both through their life-size scale, and in their staged scenarios which allow us to interrogate, dream and hold empathy with the characters portrayed by the artist.

More information available here.
Image: Sonia Shiel, Still Life with Bouquet, 2017