Author Archive

Alice Maher

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Vox Materia

Crawford Art Gallery, Cork

Emmett Place, Centre, Cork

7 September – 24 November 2018

Vox Materia comprises a multi-part installation of sculpture and works on paper. Stemming from Maher’s consideration of a 12th Century mermaid carving at nearby Kilcooley Abbey, this show meditates on voice and silence. The mermaid is a hybrid creature that transgresses boundaries between human and animal, and is often associated with traumatic loss of voice. Maher deploys the mermaid not as a motif, but as an ambiguous and powerful conceptual tool to explore ideas of language, embodiment, agency, and autonomy.

For further information please visit Crawford Art Galleries website.

Vanessa Donoso López

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The Forest of Cedar, a new work by Vanessa Donoso López will be exhibited in Untitled [Landscape]: Organised by the OPW and the Department of Finance.

Untitled [Landscape] The exhibition focuses on the theme of landscape, and the thirty artworks chosen reflect the variety of this genre in each collection. The show will tour four venues and began in September in the Bridewell Centre Magherafelt. It will then travel to Rathfarnham Castle, Dublin in November. The third venue in February is the Luan Gallery, Athlone, and the final venue is Roe Valley Arts & Cultural centre Limavady, in April to May 2019.

More information available here

borderline | Elaine Byrne | 06.09-29.09.2018

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Elaine Byrne

borderline

6th -29th September, 2018

Why do nation-states desire walls? What do walls promise to secure, protect, contain or keep at bay? These are questions Elaine Byrne interrogates in her new work, borderline.

As nations are building fortified boundaries at an accelerating rate, Byrne uses photography and sculpture to examine the anxieties of sovereign impotence such “walling” betrays. Her work layers impossible perspectives and excavates the motivations for constructing these barriers. Traversing boundaries from Tijuana, Mexico to Melilla in Spain, Byrne reflects that, on the surface, these walls vary in what they aim to deter –workers or asylum seekers; drugs, weapons, terror; ethnic or religious mixing—yet there are common dimensions to their proliferation at this moment in world history.

Often, the true purpose for constructing fortified barriers is not one of national security but economics. Each of the new boundary can be seen to issue from certain pressures on states exerted by globalisation, where a globalised world harbors fundamental tensions between opening and enclosing. These tensions materialise a contradiction between increasingly liberalised borders on the one hand, and the devotion of unprecedented funds and energies to border fortification on the other.

Apart from what they purport to ‘do,’ border walls respond to the effect of declining sovereignty and in part to fantasies and anxieties by generating a national imaginary. Plumbing the visual and psychic dimensions of these forms, borderline examines how the spectacle of a wall gratifies a wish for sovereignty to be restored to the people and the state.

Byrne’s artwork has been exhibited nationally and internationally. She has presented work at Rosenbach Museum and Library, Philadelphia; Slought Foundation, Philadelphia; Elizabeth Foundation, New York; ISCP, New York; Montoro12 gallery, Rome; Limerick City Gallery, UAM, Mexico amongst others. She was awarded the RHA Curtin O’Donoghue Emerging Artist Photography prize and was winner of 8th Arte Laguna Venice sculpture prize (2014) and the TINA prize (2015). She was awarded a studio at ISCP in NY as part of their ground floor program. Her work is in permanent collections including: the Philadelphia Museum of Art, Pennsylvania; the Rosenbach Museum and Library, Pennsylvania; Office of Public Works and The Department of Foreign Affairs, Ireland. She has an MA in Visual Arts Practices from IADT, Dublin and was a 2014-2015 Fellow at the Whitney Independent Study Program.

Diana Copperwhite

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Diana Copperwhite’s painting, Original of the Species Features as part of More than Bricks and Mortar: Works from the IMMA Collection

Selected by the pupils from Room 13 Inquiry, in association with Draíocht
Ground Floor Gallery
and Carrier of Memories by Ella Bertilsson and Ulla Juske
Draíocht’s inaugural INCUBATE commission, curated by Sharon Murphy
First Floor Gallery

HOME consists of two distinct yet related exhibitions focusing on the theme of home.

More than Bricks and Mortar: Works from the IMMA Collection is a collaboration between Draíocht and the children from Room 13 Inquiry, providing a unique and exciting opportunity to reflect on meanings of home for children in contemporary Dublin 15, which has a very young, diverse and multi-ethnic population. It has, in fact, the fastest growing young people’s population under 30 in Ireland, with 26% of the population under 15 years of age. Nearly 25% of the population are described as the ‘new’ Irish which is double the national average. Through sharing experiences of home and exchanging skills and knowledge of contemporary art, collections and curating, this collaboration will result in an exhibition that expands perceived notions of home at personal, social and cultural levels and give voice to a new generation of Irish children. The Irish Museum of Modern Art Programme is designed to promote the widest possible involvement with the Museum’s Collection and programmes, through supporting access opportunities to the visual arts in a variety of situations and locations in Ireland. Room 13 Inquiry is an initiative of Fingal County Council’s Arts Office under the direction of Julie Clarke and led by resident artists Orla Kelly and Anne Cradden. Room 13 studios based in Scoil Bhríde Cailíní NS Blanchardstown and Tyrrelstown Educate Together NS are the first such school-based studios to open in the Republic of Ireland.

Stephen Loughman

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Stephen Loughman at Temple Bar Gallery + Studios, Dublin

Conversation: Stephen Loughman and Valerie Connor

Wednesday 12 September 2018 | 6.30pm

This informal discussion will take in Stephen Loughman’s current exhibition Proven Answers and his wider practice. Proven answers continues until 15 September 2018

Valerie Connor is a curator​ and educator. She works on artists’ commissions and projects ​in the visual arts and lectures in photography at the School of Media, DIT. As the commissioner at the 26th Bienal de São Paulo, she invited Stephen Loughman to be part of Ireland’s participation, leading to the exhibition of his paintings in the Ciccillo Matarazzo pavilion. She maintains voluntary advisory roles with the ​National Irish Visual Arts Library and PhotoIreland, and is the recipient of a Residential Language Bursary awarded by the Centre Culturel Irlandais, Paris, 2018.

Further information available on the TBG+S Website.

 

Aileen Murphy

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Aileen Murphy will take part in a group show titled, THE SAME AS EVER, BUT MORE SO at Braunsfelder, Cologne.

Curated by Miriam Bettin

September 8th 2018 – October 28th 2018

Opening September 7th From 2pm

More information available here.

Alice Maher

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Vox Materia 

Crawford Art Gallery Emmet Place Cork

7 September – 24 November 2018 
Modern Galleries & Screening Room

Vox Materia comprises a multi-part installation of sculpture and works on paper. Stemming from Maher’s consideration of a 12th Century mermaid carving, this show meditates on voice and silence. The mermaid is a hybrid creature that transgresses boundaries between human and animal, and is often associated with traumatic loss of voice. This new work is presented alongside Cassandra’s Necklace (2012), Maher’s first live-action film, in which the mythical protagonist wanders an arid, glittering landscape in search of her voice, literally a necklace of unspeaking tongues.

Both bodies of work demonstrate Maher’s ongoing exploration of the burdens of silence and silencing in her recent practice.

Vox Materia was commissioned by The Source Arts Centre, Thurles, with support from Creative Ireland and Tipperary County Council.

More information available here.

Neven Lahart

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WIELS Art Book Fair 2018

WIELS
Avenue Van Volxemlaan 354
1190 Brussels (BE)

8-9.9.2018

Vic Sims of the Hollow Gram by Nevan Lahart will feature in WIELS Art Book Fair 2018*, alongside new and recent works by Pauline Curnier Jardin, Stefaan Dheedene, Ben Van den Berghe & Alexey Shlyk, Andrew Norman Wilson – and some Fremdkörpern.

Saturday 8** & Sunday 9.9.2018, 11:00-18:00
Free entrance
www.wiels.org

* WIELS organizes for the 4th time the WIELS Art Book Fair presenting artists, publishers & collectors who offer art books, artists’ books, catalogues, periodicals & other printed matter to the public.
** WIELS won the AICA-Belgium’s Best Exhibition Award 2017 for ‘The Absent Museum’. The prize will be awarded on the first day of the WIELS Art Book Fair at 11:30, accompanied by a speech and reception.

Elaine Byrne

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Elaine Byrne will take part in a group exhibition opening tonight at the ISCP, New York

Artists in the exhibition: Elaine Byrne, Danilo Correale, Simone Couto, Alexis Dahan, Furen Dai, Jude Griebel, Joshua Liebowitz, Martha Skou, and Raul Valverde.

Never Take a Vacation with an Artist Who Collects the Same Stuff You Do is a group exhibition featuring the work of the nine artists in residence in ISCP’s Ground Floor Program. The presentation focuses on vacation and leisure time, a premise that the artists developed in collaboration. Works include Martha Skou’s audio-visual interpretation of a recent summer road trip, where she entered a community as a foreigner and left as a member; Simone Couto’s cross-stitch of a surveillance sign which reminds the viewer that privacy is a rare and precious commodity even while on vacation; and Danilo Correale’s 1001 Ways to Live Without Working (after Tuli Kupferberg), a performance activated by a screensaver, which liberates the ISCP front desk staff from working for a period of time. Set to open during the leisurely days of summer, this exhibition aims to lull the viewer into a state of relaxation.

More information available here.

Bounty | Diana Copperwhite and Aileen Murphy | 09.08-01.09.2018

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Diana Copperwhite and Aileen Murphy

Bounty

August 9th – September 1st, 2018
Opening reception Thursday August 9th

Bounty comprises recent work by Diana Copperwhite and Aileen Murphy. The impetus to show the work side by side has arisen from the mutual admiration and affinities that exist between the two artists in their subject matter and their handling of the medium of paint.

Both Copperwhite and Murphy create works that incorporate aspects of abstraction and figuration and both painters are fully taken up with the act of painting and the materiality of paint. There are also similarities in their approach and while the paintings often appear intuitive and whimsical, they evolve through layers of assertion and contradiction. Their scale and the movement within these works demonstrate a spontaneous and frenetic pace of activity that is further heightened by their relation to each other in the space.

Island Life | Summer Group Exhibition 18 | 05.07-28.07.2018

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Island Life

Summer Group Exhibition 2018
5th – 28th July
Opening Reception Thursday 5th July at 6pm

Sonia Shiel, Kathy Tynan, Marcel Vidal, Mark Swords, Salvatore of Lucan, Joe Scullion, Robert Armstrong, Julia Dubsky, Lesley-Ann O’Connell, Pat Byrne, Stephen Loughman, Cecilia Danell, William O’Neill and Stephanie Deady

Island Life comprises work by artists who are making and showing paintings at the moment. It is intended as a celebration of where painting is at now in Ireland, with a mixture of emerging and more established artists.

Painting exists in an increasingly sophisticated visual world that sometimes seems to have a diminishing interest in the possibilities of paint. Island Life is concerned with the idea that, within the medium of paint there are opportunities for the individual to question the situation we live in and the resources we share. The paintings in this exhibition address the human condition and each of the artists suggests the capacity of the medium of paint to encompass both personal and universal concerns.

Stephen Loughman

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Proven Answers

Exhibition Launch:
Thursday 19 July 2018 | 6pm
Exhibition Continues: Friday 20 July – Saturday 15 September 2018
Admission: free

Stephen Loughman will present a solo exhibition incorporating painting, sculpture and video at Temple Bar Gallery + Studios with an opening reception on the 19th of July. Proven Answers takes its title from the opening lines to the 1969 film version of Ray Bradbury’s short story The Illustrated Man and uses narrative strands from this film as its basis.

Full press release available on the Temple Bar Gallery + Studios website.

Ulrich Vogl

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Ulrich Vogl will take part in the group show BLANK BLANK in Alte Sparkasse, Berlin, opening June 22 at 7pm and running until July 1.

Other artists include A/A, Halil Altindere, Carsten Becker, Ekaterina Burlyga, Catch a Falling Knife Collective, Yvon Chabrowski, Mark Clare, Merve Çanakci, Ali M. Demirel, Maurice Doherty, Mona El Gammal, Ingo Gerken, Ivana Franke, Caroline Kryzecki, Pierre-Etiene Morelle, Özgür Erkök Moroder & Steffi Weismann, Barbara Müller, Sladjan Nedeljkovic, Jakob Roepke, Nicolás Rupcich, The Swan Collective, Pilvi Takala, Philip Topolovac & Markus Proschek, Chompunuch Vanichayanguranon & Theerawat Klangjareonchai, and Maria Viftrup. The exhibition is curated by Ece Pazarbasi and Stephan Klee.

 

BANK,
BLANK
– about new authenticity –
There is an empty bank at Karl Marx Straße, it still stands as the relict of the financial vision of the past centuries. Now the employers have left the building, the vaults are open and the cash machines are dismantled. This institution of faith in cash, trust in money and illusion of prosperity for the many not for the few has moved out. Within this empty shell, one cannot help asking, what else is substantial nowadays, what else is echt?
In a world interspersed with spectacle, illusions, hollow visions and unfulfilled dreams, it does not get only harder to authenticate a thing, but also echt changes its meaning dynamically. Using the bank as a collective laboratory of visions and statements regarding the meaning of realness today in our society, the exhibition brings together 32 works from 25 artists and groups around the sub themes of matter, body and authenticity.
Further information can be found here

 

 

Mick O’Dea

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Portraits by Mick O’Dea feature as part of Seamus Nolan’s Traveller Collection at the Hugh Lane

DUBLIN CITY GALLERY THE HUGH LANE

21 June 2018 – 23 September 2018

In 2017, Dublin City Gallery The Hugh Lane and Create, the national development agency for collaborative arts, came together for the first time to commission a significant socially engaged artist’s project in Dublin. Following submissions by artists from all of the CAPP partners, Irish artist Seamus Nolan’s proposal was successful. Seamus Nolan’s exhibition will comprise of archival material that forms the Irish Travelling People: a Resource Collection and which is borrowed from the Special Collections of Ulster University as well as paintings by Mick O’Dea from the Martin Folan collection at Pavee Point.

In the early 1990s, community activist Martin Folan approached artist Mick O’Dea about working with Travellers. O’Dea painted a series of nine close-up portraits of Traveller men and women, without any props or background identifying them as members of the Traveller community. He painted them, in his own words ‘without any emphasis on their status in life.’ Photo: Left to Right Artist Mick O’Dea with Martin Collins, Director Pavee Point.

More information available on the Hugh Lane website and on the Pavee Point website.

Kilkenny Festival Portraits 2015-17 | Mick O’Dea | 07.06-30.06.2018

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Kilkenny Festival Portraits 2015-17

Mick O’Dea

7th –  30th June, 2018

From 2015 -17 Mick O’Dea was visual artist-in-residence at Kilkenny Arts Festival.  For this unique three-year project he painted daily oil portraits of leading Irish and international artists, performers, actors, musicians and writers taking part in the Festival, while also documenting performances with action sketches. An audience joined Mick in the studio each day to observe and participate, discussing the work in progress with the artist and his sitters. 
-Eugene Downes, Director of Kilkenny Arts Festival

This series of portraits began as part of a project with the Kilkenny Arts Festival and continued to grow as a series of collaborative events between the artist, the subject and the audience. Over the course of the festival Mick O’Dea painted the portraits of numerous public figures associated with the festival including poets Paula Meehan and Paul Muldoon, musicians Denis Cahill and Martin Hayes, seán nós dancer Colin Dunne and actors Simon Callow and Marie Mullen. The psychiatrist Ivor Browne also sat for O’Dea and can be seen in the above image taking a break from the intense sittings, which often lasted up to seven hours. Artist, Richard Gorman who attended as an audience member noted comically, that contradictory to the adage, it was most interesting to watch paint dry! Thus highlighting a curiosity about O’Dea’s painting process as well as the dynamic between the artist, the sitter and those who have come to watch.

In the creation of a portrait painting, a durational dialogue that incorporates both conversation and body language arises between the artist and the sitter. The audience bears witness to the subtleties and nuances that occur in the process of capturing the details that make a convincing portrait – an intensity of eyes, the clasping of hands and the crossing of ankles. Each sitter’s pose differing in myriad ways. O’Dea has long described the process of portrait painting as a reciprocal one that requires a mutual understanding and a certain level of trust where each sees eye to eye – very much in a literal sense, but this dynamic is broadened by the presence of an audience, many of whom are aware of the character of those being painted through their creative output. The process evolves organically as gestures and flourishes appear on the canvas and the audience glimpse aspects of the artist’s methods.

During the first two years the sittings took place in the James Stephens Military Barracks and in the final year of the residency they took place in the only remaining Home Rule Club in the country. Throughout Kilkenny Festival Portraits, O’Dea makes reference to the history of portrait painting and its role as a social signifier to display wealth and prestige. Ireland is a country, which significantly does not have a history of patronage in the same way that other European countries do. O’Dea subtly alludes to this by celebrating the countries literary figures and poets, in a gesture that suggests that the traditions of literature, music and art in this country have a unique history and legacy that is upheld by those depicted in these vibrant portraits.

Alice Maher

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And still, like dust, I’ll rise

Curated by Vivienne Dick

June 1st – July 6th 2018

Galway Arts Centre

47 Dominick Street, Galway City

Alice Maher will take part in a group exhibition titled And still, like dust, I’ll rise. The show curated by Vivienne Dick at Galway Arts Centre opens on Friday 1st of June. Taking its title from Maya Angelou’s poem Still I Rise, the exhibition presents new and existing work in various media from a range of Irish and international artists: Alexis Adler, Dara Birnbaum, Vivienne Dick, Olivia Eberstadt, Dragana Jurisic, Breda Lynch, Eileen MacDonagh, Margaret Maiorana, Selma Makela, Isabel Nolan, Kathy Prendergast and Suzanne Walsh.

Further information available here.⠀⠀⠀⠀⠀⠀⠀

Ulrich Vogl

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D MUSEUM

Seoul, South Korea

2018/05/03 – 2018/10/28

Ulrich Vogl is currently showing work at D MUSEUM, Seoul, South Korea alongside Martin Parr and Yoshinori Mizutani.

The exhibition, titled ‘Weather:오늘, 당신의 날씨는 어떤가요?’ Continues until the 28th of October 2018.

More information available here.

Sonia Shiel

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Elevate

Luan Gallery

Grace Park Rd, Athlone, Co. Westmeath

6:00 PM, Thursday the 31st of May

Sonia Shiel will take part in a group exhibition titled, Elevate. The exhibition will officially be opened by the Director of the Arts Council Orlaith Mc Bride

Elevate also includes works by: Jenny Brady, Willie Doherty, Damien Flood, David Godbold,
Katie Holten, Jesse Jones, Eithne Jordan, Clare Langan, Eoin Mc Hugh,
Julie Merriman, Richard Mosse and Daphne Wright

Achar | Sinéad Ní Mhaonaigh | 26.04-26.05.2018

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Achar

Sinéad Ní Mhaonaigh

April 26th – May 26th 2018

We again observe the complete preoccupation with paint itself, with the simple play of colours against one another. Many of the recent paintings pulled out from stacks that afternoon in Bray seemed to follow this logic, canvases filled to bursting with dragged daubs of complementary colours: swampy greens and starchy whites, mauves and greys. Within these busy spaces, something like a pattern emerges, aided along by the imperfect repetition of brush strokes — the natural drag of the hand, perhaps, or the physical impact of brush against the canvas skin. Typically, this patterned plane sits within another, bounded in by the sharp border of a second limit point. A border within a border, then, again bringing our attention of the weird leaps of fancy made possible by colour and line. Even within this doubly negated space, space and time appear to happen as though by accident. The eye tracks a line from colour to line, generating a weird rhythm that is something very close to a second kind of, painterly, sight. Incidences like these mean I am constantly surprised when I look and think about painting. Not by the technical skill required to paint, exactly, but the way that skill is communicated through paint. Often, this process — something like the way water tenses with cold, becoming ice — remains indistinct: we are only left to say, this is a good painting, or such and such paints well. Perhaps, then, when we describe someone as a painter’s painter it is exactly this mystery that is being brought centre stage. The point at which paint itself assumes something like autonomy, becoming a conduit for skill. And, when I look at and think about Sinéad Ní Mhaonaigh’s paintings, I have to remind myself of this point: while painting might be a preoccupation of mine, her works prompt me to accept the limits of my own understanding. And probably to fasten me still further to paint’.

Extracted from an essay titled, A Painter’s Painter by Rebecca O’Dwyer

Alice Maher

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EVA International

14th April — 8th July 2018

LIMERICK CITY

Alice Maher will be showing new work at EVA International as part of the Artists’ Campaign to Repeal the Eighth Amendment.

The Artists’ Campaign to Repeal the Eighth Amendment was set up in 2015 by Cecily Brennan, Alice Maher, Eithne Jordan, and Paula Meehan. It began as an online campaign appealing to fellow artists, writers, musicians, and actors to put their names to a statement calling for a repeal of Eighth Amendment of the Constitution of Ireland (Article 40.3.3) that equates the life of a pregnant woman with that of the foetus. Three thousand artists have signed the petition so far, demanding the repeal of a law that has caused great mismanagement of women’s health care in Ireland and is a violation of international human rights. The aim of the campaign group is to promote national and international awareness of the restrictive reproductive laws of Ireland and to encourage and inspire other groups and activists to use cultural means to promote social change.

More information here.

Sonia Shiel

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DOUBLE TAKE

The Glucksman

Collections and Context

30 March – 8 July 2018

Sonia Shiel will exhibit work alongside Amanda Coogan, Martin Healy, Fiona Kelly, Alice Maher, Suzanne Mooney, Brian O’Doherty, Garrett Phelan, The Project Twins, and Sonia Shiel Curated by Chris Clarke and Fiona Kearney

Over the past 14 years, the Glucksman has been privileged to show many ambitious site-specific works by Irish artists. DOUBLE TAKE: Collections and Context looks back to some of these innovative moments within our exhibition history by recreating displays by artists who are also represented in the UCC Art Collection. From dramatic gallery interventions to intimate moments of architectural response, art installations from previous Glucksman exhibitions are now shown together with the artist’s work from the UCC Art Collection. In doing so, DOUBLE TAKE invites viewers to consider how we see and understand art in different contexts. The significant presentation of Brian O’Doherty’s works in the Sisk Gallery is part of a larger focus on the artist’s work generated through the One, Here, Now restoration project at the Sirius Arts Centre which is on display in Cobh throughout 2018. DOUBLE TAKE is funded by University College Cork, the Arts Council of Ireland and private philanthropy through Cork University Foundation.

Find out about visiting the Lewis Glucksman Gallery here.

Vanessa Donoso López / Stephanie Deady

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An Act of Hospitality can only be Poetic

Group Exhibition at Highlanes Gallery,

Drogheda

‘An Act of Hospitality can only be poetic’ – Jacques Derrida

Stephanie Deady and Vanessa Donoso López will exhibit work in a group show alongside Samuel Laurence Cunnane, Willie Doherty, Anthony Haughey, Dragana Jurisc, Ronan McCrea, Isabel Nolan, Mairead O’hEocha, Kathy Prendergast, Tamsin Snow & Sarah Tynan.

Inspired by a quote by Jacques Derrida, this exhibition curated by Linda Shevlin and Aoife Ruane seeks to present works that responds to themes of hospitality, identity, friendship and the multitude of journeys and conflicts encountered to attain them.

Organised in association with Age and Opportunity as part of the nationwide Bealtaine Festival – celebrating the arts and creativity as we age.

More information here.

Sean Lynch

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Groundwork

International  Art in Cornwall

Sean Lynch will take part in an exhibition titled, Groundwork alongside Francis Alÿs, Janet Cardiff, Adam Chodzko, Tacita Dean, Manon de Boer, Andy Holden and Rosemary Lee.

Groundwork has four strands: a season of international contemporary art opening in May 2018, field trips, residential workshops and an ambitious learning programme. Supported by funding through Arts Council England’s Ambition for Excellence scheme, Groundwork is organised by CAST (the Helston-based Cornubian Arts and Science Trust) in partnership with Kestle Barton, Newlyn Art Gallery & The Exchange and Tate St Ives. With an emphasis on moving image, sound and performance, the programme of exhibitions and events in 2018 includes presentations of important new commissions and acclaimed works by internationally celebrated artists in venues and outdoor sites across West Cornwall.

More info here.

I shall change the way things are ordered | Vanessa Donoso López | 22.03-21.04.2018

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Vanessa Donoso López

I shall change the way things are ordered

March 22nd – April 21st, 2018

Opening reception Thursday March 22nd at 6pm.

‘Initially transcribed in Sumerian on 12 clay tablets, the material link between Gilgamesh and its birthing substance is further compounded in this exhibition. It is also fitting that this most pliable of mediums is paired with a piece of fictive narrative that, having undergone countless translations, exists now as a series of conflicting versions. Donoso López’s interpretations are straightforwardly depictive. In both drawing and sculpture, the characters regard us with uniform expressions; we see Gilgamesh, known to be a cruel king, exert his authority with a brute physicality. We see Utnapishtim and his wife – depicted alongside the animals they ushered onto the ark – who Gilgamesh approaches in his search for the youth restoring flower. The flower itself is portrayed as a simple floral substance without reference to its potential magical attributes.

Concurrent with this literal quality, however, is a marked blend of textual interpretation and embodied experience, the substantive crux of the work being the clay retrieved from the three sites across Spain. Integral to how they function in the gallery is the extended movement through space their making entailed, a repeated transitioning across borders geographical and political. Now directly embodying these locations, the works are rich with incidental detail and haptic content, with close and recurring contact: the viewer’s experience, though primarily ocular, is tangibly charged with the artist’s travels, with each micro-instance of petrichor in the studio as the clay, upon being wettened to be mixed with ink, releases a rain-rich scent’.

-Extracted from On Clay and Transitional Spaces, an essay by Sue Rainsford. On Clay and Transitional Spaces was commissioned on the occasion of I shall change the way things are ordered. 

Full text available here.

Alice Maher

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Vox Materia

The Source Arts Centre,
Cathedral Street,
Thurles,
County Tipperary.

Curated by Pluck Projects.

Exhibition opening at 7.30 p.m. on Thursday 29th March.

Vox Materia comprises a multi-part installation of sculpture and works on paper. Stemming from Maher’s consideration of a 12th Century mermaid carving at nearby Kilcooley Abbey, this show meditates on voice and silence. The mermaid is a hybrid creature that transgresses boundaries between human and animal, and is often associated with traumatic loss of voice. Maher deploys the mermaid not as a motif, but as an ambiguous and powerful conceptual tool to explore ideas of language, embodiment, agency, and autonomy.

For further information please visit the Source Arts Centre website.

 

Elysian Fields | Paul McKinley | 15.02-16.03.2018

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Elysian Fields

Paul McKinley

February 15th – March 16th 2018

‘Elysian Fields’ refers to an afterlife in Greek mythology, a place where the souls of gods and heroes as well as those associated with them would remain after death. Greece is a country dealing with mass displacement of people from war torn countries and though economically unstable, their contribution to aiding those who have crossed the Aegean Sea merited a nomination for the Nobel Peace Prize in 2016, dedicated to all Greek Islanders.

Within this exhibition, Paul McKinley considers modern conceptions of Greece as compared with its ancient history. His paintings feature aspects of Greek landscape; islands, mountains and cliff edges, often informed by compositions within art historical paintings. These landscapes are created from an amalgamation of various places and as such they are not one specific location, but rather an essence of place.

Within Elysian Fields, McKinley’s work charts the present-day representation of Greek landscape while the titles of the paintings subtly refer to parallels between heroes of ancient Greek mythology and the unwritten contemporary epic, fashioned from the plight of individuals in exile.