Stephen Loughman’s latest exhibition takes it’s title from Woody Allen’s 1978 film, “Interiors” which is considered to be heavily influenced by the work of Ingmar Bergman.
Bergman’s films such as “Winter Light”, “Cries and Whispers”, “Fanny and Alexander” and “Scenes from a Marriage”, are the source for the paintings in Loughman’s latest series Interiors. The paintings depict a single frame of film and reference sub narratives of suicide, illness, clerical abuse and marital breakdown. By referencing these narratives and painting a single frame of film, Loughman creates a new context for these images. Each painting is titled using original Swedish dialogue from the respective film and brings to mind another famous Swedish export.
‘Stephen Loughman visually reinforces that strangely separate quality in which we experience our lives as part of some other narrative. We come to life in these landscapes which have been taken from realities elsewhere, versions of ourselves that have pre-existed us in imaginary form, in another medium, a cross-reference, fictionalised somewhere in the past by culture and commerce.’
Text by Hugo Hamilton, taken from Nothing is Real, Stephen Loughman & Mark O’Kelly (2008)
Stephen Loughman (b.1964 Dublin) lives and works in Dublin. His work is currently featured in Exiles curated by Alison Pilkington at the Lab, Foley St., Dublin. Loughman continues to work on his project The Fisherman’s Widow. Recent Solo shows include; VOLTANY 12, solo presentation, New York (2012); Fisherman’s Widow, Cake Contemporary Arts, Kildare, Ireland (2010) and Our Victory, Kevin Kavanagh, Dublin (2009).
Recent Group shows include; Last, Douglas Hyde Gallery, Dublin (2012); Collecting the New: IMMA, Dublin and What Happens Next is a Secret curated by Marguerite O’ Molloy ,IMMA, Dublin (2010), Surface and Reality, Kilkenny Arts Festival curated by Oliver Dowling (2010) something tells me it’s all happening at the zoo curated by Davey Moor, Kevin Kavanagh (2010) and Summer Show Galerie Bugdahn and Kaimer, Düsseldorf, Germany (2009).
He has received numerous Bursaries from the Arts Council of Ireland and his work is in private and public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland and The Office of Public Works.
With thanks to Minerva Jormola and Brian Kelly for translations.
Luan an tSleibhe
2 October – 22 November 2008
Draoicht, Blanchardstown, Ireland
Text: Brian Maguire & Medb Ruane
Design & Production: Tom Feehan
Photography: Vincent Lestienne, Ronan McCrea, Jaqui McIntosh
Edition of 750
Published by Kevin Kavanagh (2008)
Sli na Firinne
05 May – 02 June 2006
Text: Dr. Yvonne Scott
Photography: John Kellett
When Francisco Goya etched Yo Lo Vi across the bottom of one of the harrowing images from his Disasters of War series (1810-12), he was making a declaration about the primacy of presence in the authenticity of narrative. “I saw it”, says Goya, therefore you must accept this as truth. These days we realise that it’s not quite that simple. We bring our own agendas to understanding what we see.
Paul McKinley’s Operation Turquoise turns on these dynamics, where seeing isn’t necessarily believing, and each new piece of knowledge changes how we view what is in front of our eyes. Working from photographs, taken in Rwanda, by Trinity College ecologist, Shane McGuinness, McKinley’s closely observed images of this beautiful country are of lush forestry, active volcanoes and exotic flora and fauna: including rare gorillas and the prehistorically knowing face of the ancient shoebill. They are also meditations on the impossibility of ever truly knowing a place.
Today, Rwanda is usually understood through the prism of the 1994 genocide; a framing knowledge that infects every image. Did something terrible happen in this place? Under these epiphyte-hung trees? In this clearing? Dark tourism is a booming industry, but what can going in person reveal? And what do travellers hope to discover or to feel? We bring our own stories to the places we visit, and a tree is nothing more than a tree until it is shaded by our own imaginations. Paul McKinley’s paintings are beautifully wrought, stunning reflections on seeing and meaning.
Publlished on the occasion of the exhibition of the Nissan Art Project, Paul McKinley Farewell Chestnut avenue at the Royal Hibernian Academy.
16 March – 22 April 2007
Text: Patrick T. Murphy, Gaerard A. O’Toole + Declan Long.
Design: Studio : Muse
Photography: Gillian Buckley, Ronan Mc Crea, Dennis Mortell.
Printed by : Inglis Allen
Diana Copperwhite // Booth 2.07
Volta NY // Thursday 7th March – Sunday 10th March 2013
“Diana Copperwhite constantly mentions a musical logic and a sense of musical notation and tonality as she describes the act of painting. But, on the other hand, she insists that she does not pre-structure, that she allows one colour to suggest another, that the element of gesture and chance is essential as is the flash of insight and the swift ability then to structure it, to carry it out.”
“Diana Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.”
The Mind Was Dreaming. The World Was its Dream
Curated by Jacqui McIntosh
Solstice Arts Centre
19 January – 25 February 2012
Design – Lorenzo Tonti
Text and Photography – Jacqui McIntosh
Printing and Reproduction – Impress Printing Works
Edition: 200 Copies
This publication is co-produced by West Cork Arts Centre and Highlanes Gallery to on the occasion of the exhibition Diana Copperwhite – Eclips of a title, at West Cork Arts Centre.
Text: Colm Tóibín + Skye Sherwin
Photography: Jaqui McIntosh, Davey Moor, Amelia Stein + Roland Paschoff
Design: David Joyce, www.language.ie
Printed by : 1455, Belgium
Diana Copperwhite – Flat Earth
Published to coincide with ARCO Madrid 07
Photography: Jaqui McIntosh
Design: Stephen Nolan
Printed by : Drukkerij Rosbeek BV
Diana Copperwhite- Eclipse of a Title
Published by West Cork Arts Centre 2009
Essays: Colm Toibin, Skye Sherwin
Photography: Jacqui McIntosh, Davey Moor, Amelia Stein and Roland Paschhoff
Design: David Joyce
Diana Copperwhite- New Paintings
Published by Galleri Kakelhallen 2001
Design and Layout: Patricia McNamara
Photography: Eamon O’Mahony
Printing: Thermofoil, Ennis, Ireland
The Fold: A Painting Show- Diana Copperwhite, Gabhann Dunne, Mark McGreevy, Shelia Rennick
Published by VISUAL Centre for Contemporary Art & the George Bernard Shaw Theatre
Visual: VISUAL Centre for Contemporary Art & the George Bernard Shaw Theatre
Photography: Louise Daly, David Monaghan, Jacqui McIntosh, Davey Moor, Amelia Stein
Publication Design & Production: Tom Feehan
Nevan Lahart (b. 1973, Kilkenny. Lives and works in Dublin)
Lahart graduated in 2003 with an MA in Virtual Realities from the National College of Art and Design, Dublin.
Upcoming Shows: Gothenburg Biennial 2013, Measures of Saving the World _ Part 1< rotor > Graz, Austria., To Have and Have Not, HALLE 14 Leipzig , ACC Galerie Weimar, COEXIST, Kevin Kavanagh Gallery, Dublin
Lahart’s solo shows include; Won-Nil, Temple Bar Gallery and Studios, Dublin (2012); HD Softcore, Steve Turner Contemporary, Los Angeles, USA (2011); A Colonial Subject in Washington DC, Solus Nua, Washington DC, USA (2010); A Lively Start to a Dead End, Royal Hibernian Academy, Dublin, Ireland (2010); Heaven’s Full and the Fire Escapes are Locked, Heaven’s Full, London, UK (2009) and UGLY LOVELY, Kevin Kavanagh, Dublin, Ireland (2009).
Group exhibitions in 2012 included; Newtopia, Mechelen, Belgium, Cutting a Door, The Eastlink Gallery, Shanghai, China; Last, Douglas Hyde Gallery, Dublin; Into the Light: The Arts Council – 60 Years of Supporting the Arts, Crawford Art Gallery, Cork. Others include Dublin Contemporary, Dublin (2011); Memory of a Hope, Ceri Hand Gallery, Liverpool (2011); Twenty at the Irish Museum of Modern Art (2011); Grin & Bear It:Cruel Humour in Art and Life, Glucksman Gallery, Cork, (2009); and Trouble in Paradise: Examining Discord in Nature and Society, Tucson Museum of Art, Arizona (2009).
Curated by Pádraic E. Moore
25 August – 16 September 2006
Text: Catherine Leen
Photography: Clare Pocock
Printed by: Future Print
Curated by Pádraic E. Moore
27 October – 25 November 2006
Text: Armelle Skatulski, Tamsin Snow & Pádraic E. Moore
Photography: Jaqui McIntosh
single channel video projection
11 minutes (with credits)
Screening January 4th 2013 7pm
This a short film about a couple having an argument over the destruction and recycling of their DVD collection. The script was developed from a catalogue essay on Phelan’s work by Tony White who used notes given by the artist to constructed a parallel narrative about Phelan’s practice. The film’s seemingly ordinary narrative is complicated by an intense internal monologue which shifts the tension to address the cyclical nature of ideas and how process implicates content. While the characters could represent Phelan, the story is not so literal and it is more the process they engage in that makes the connection.The dialogue and voice-over is not so straight forward however as the narrative described above as the writer, Tony White, has a unique approach to writing fiction. He uses chunks of appropriated text derived from non-fictional sources, as he describes it “cutting-up, remixing and renarrativising fragments”. These included the Žižek notes plus chunks from a recycling website, an Indian site explaining papier-mâché, a text about motoring in the Balkans, and partial transcripts from the Slobodan Milosevic war crimes tribunal.
The design of the film also adds a further narrative layer. The styling, costumes and music soundtrack are based on Gattaca, the 1997 science fiction film yet share none of the genetic –determinist content that the film grapples with. There is however an interesting connection to the debate the film stirred through its flawed science and heroic tragedy not unlike some of the key arguments made by Žižek. Overall the piece takes on the diegesis of the cinematic narrative, only to fall short and end with full closure.
There is a humorous irony to these works which are so saturated in symbolism they cease to be about any singular narrative or at least from any one perspective. The physical canvases are themselves paradoxes, questioning their own nature within the systems they depict. The segmented layers of foreground and background dismissively demonstrate the ease at which illusion can be created and laugh at us for celebrating it. It would be too easy and dismissive then of Geraldine’s wit and ability to suppose the works are operating as a sort of moral compass, aiding us to see a righteous way. Instead they mock our appetite for public forecast and desire for guidance.
O’Neill’s painterly explorations are encompassing of object, metaphor and constructs, any image being given to us in canvas form becomes closer to the essence of the thing than their physical counterpoints could retain. It is through the act of being carriers [of metaphor] that the representations of physical items slink between our world and another, fictions and reality, utopian, dystopian but also heterotopias. The T.V in Untitled I is threshold of virtual space, a junction where the real and un-real must pass through, like mirror, or canvas “connected with all the space that surrounds it, and absolutely unreal”.
The divergent styles of paint application suggests the speak of several active voices, each with alternate outlooks on the same world. This brute amalgamation of perception makes the works of no particular time and as such belonging of any time. Through this we are given the gift of subjectivity, to become a neutral observer in what might well be a version of our own tale. The removal of self-instils an urgency to come to terms with personal and group consequence, introduced to us through the entrance of the vulnerable youth as protagonist. In Bird pie, the chalkboard acts as place to level out any such equation. But we are given the endless and ungraspable to equate.
There is a similarity of subject matter in the works and of those made by Hieronymus Bosh, symbolic depictions of birds, butterflies and cadavers. Bosh was regarded as “the inventor of monsters and chimeras” O’ Neill’s monsters however are of a very real kind, an awareness and yet incomparability of one’s mortality. The food substances are rotting the symbols of hope and aspiration are either dead or deflating. There is a passive albeit overriding conversation about the futility and fragility of life which all of the pickles and preservatives can merely frame. However-O’Neill’s Brute framework by its very nature does not impose a trump or didactic view so even futility can become counterpoint to itself, a liberating thing perhaps?
An Island from the Day Before
“Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.”
Noel Kelly , Director of Visual Artist Ireland
Diana Copperwhite was born in Ireland in 1969. She studied Fine Art Painting at Limerick School of Art and Design and The National College of Art and Design, Dublin. She completed an MFA at Winchester School of Art, Barcelona in 2000.
In 2007 she was winner of the AIB Art Prize and in 2008 she was a finalist in the Guasch Coranty Fundacio Painting Prize, Centre Cultural Metropolita Tecia Sala, Barcelona. In 2008 she also completed a Project Residency in Temple Bar Gallery and Studios and was elected ARHA by the Royal Hibernian Academy , Dublin.
She has exhibited widely, her recent shows include The Fold at Visual Centre for Contemporary Art (Carlow), New Works Visiting Artists at Graphic Studio Gallery (Dublin), Graphic Studio: 50 Years in Dublin at Irish Museum of Modern Art (Dublin) in 2011; Collecting the New: Recent Acquisitions to the IMMA Collection at Irish Museum of Modern Art (Dublin) in 2010. Forthcoming shows include a group show: Michael Kalmbach, Hiraki Sawa & Diana Copperwhite at Solstice Art Centre (Navan) curated by Jacqui McIntosh in 2012.
Her work is in public and private collections including: Irish Museum of Modern Art, Allied Irish Banks, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Dublin Institute of Technology, Jefferson Smurfit, KPMG, Arthur Andersen Plc, International Red Cross Netherlands, Aland (Finland), The President of Ireland, Jean Cherqui Paris and Arthur Cox.
The Spanish Armada is for us, Spaniards “La gran y felic ísima Armada which, ironically translates to the great and very happy armada.
This super happy Armada was a fleet of about 130 ships that sailed form Lisbon in August 1588 with the purpose of escorting an army from Flanders to invade England. It met with armed resistance in the English Channel and was scattered into the North Sea.
Following its defeat, the Armada attempted to return home through the North Atlantic, when it was driven from its course by violent storms and toward the west coast of Ireland. Most of the survivors of the multiple wrecks were put to death, and the remainder fled across the sea to Scotland. It is estimated that 5,000 members of the fleet perished in Ireland.
In 1596, an envoy of King Philip II of Spain arrived in Ireland to make inquiries of survivors and was successful in only eight cases. I bet there were way more.
This nearly 500 years old historical fact had too many things in common with me, like the way a bunch of Spaniards end up in Ireland by accident after trying to conquer England, like I did…
This exhibition wants to be a wink to those ones that suffer such an adventure and particularly to the ones who finally, stayed on Irish land.
Vanessa Donoso López was born in 1978 in Barcelona (Spain). She studied Fine Arts at the University of Barcelona and Winchester School of Art in Winchester (UK). Previous solo exhibitions include Where there is Hair, there is Happiness, Blue Wall Gallery, Cavan, Techno-color-moving-science, M’atuvu art space, Josworld, Brussels (Belgium) in 2010; Mysteries of contemporary inspiration and other wonders. Stone Gallery, Dublin in 2008, Establishing a Mission, Ashford Gallery, Royal Hibernian Academy, Dublin in 2007; The blessed virgin of helpless artists. Stone Gallery, Dublin in 2006; Prints, plants, water and colours. Foreseters, Winchester (England) in 2004; From Iberia to Scandinavia , Ariman, Lund (Sweden) & Iron Frames, La Cereria, Barcelona (Spain) in 2002.
She has also participated in several groups shows as Spooky Action at a Distance, Monster Truck Gallery, Dublin in 2010; Paper Work, Pallas Contemporary Space, Dublin & The Great Redundan, Guinness Sebastian Gallery, Dublin, Compulsive Collections, Pecha Kucha, Belfast Exposed, Belfast (UK) in 2009; The big store and Winter Saloon at the Temple Bar Gallery in 2007 and 2008 &…Scape. The Irish Arts Centre, London (UK) in 2007; 176th & 177th Annual Exhibitions at the Royal Hibernian Academy, Dublin in 2006 and 2007. Impressions, Galway Arts Centre, Galway in 2006; Precaution, Irish Museum of Modern Art, Dublin in 2005; Sense titol III, University of Barcelona Gallery, Barcelona (Spain) in 2003; European Meeting of Sculpture, Mountoban (France) & Germinart , Cultural Centre Can Xarracan, Montornes del Valles (Spain) in 2001.
Donoso López’s work features in numerous private collections in Spain, UK, Sweden and Ireland and public collections as Office of Public Works, Microsoft Art Collection and Wicklow City Council.
Paul Nugent | Booth G11
VOLTA NY | 3 -6 March 2011
Paul Nugent’s works are influenced by photographic reproductions of eighteenth century paintings from art history books. Each painting painted in blue has the appearance of a print maker’s printing plate or of the early photographic process of cyanotypes. The photographic references are inverted through the painting process into negative images creating a kind of visual representation of the subconscious. This recalls Freud’s analysis of the photographic process of the negative plate being like the sub-conscious and the positive image the conscious. Like images from a storybook they show figures in conversation or preoccupied in their own thoughts. The backdrops from which the figures emerge are painted in layers of transparent Prussian blue, transforming these woodland environments into graceful interior worlds. That which is opened to us for viewing has the character of a dream or memory evoking what the biologist and theorist Gerald Edelman called the remembered present, “as if perception and conscious flourish only in the hazy light of memory”. Paul Nugent’s work has always explored notions of history, symbolism, time, perception and memory.
Nugent has recently exhibited at The Irish Museum of Modern Art, Dublin, 2010; Kerava Art Museum, Finland, 2009; Kevin Kavanagh, Dublin, 2009; Centre Culturel Irlandais, Paris 2007; Art Gallery of Newfoundland and Labrador, Canada, 2005; Shanghai Gallery of Modern Art & the Millennium Monument Museum, Beijing, China, 2004; University of Virginia, U.S.A.; and his work features in numerous private and public collections, including the Office of Public Works and Irish Museum of Modern Art.
We would like to acknowledge the support of culture ireland | cultúr éireann
Promoting Irish arts worldwide | cur chun cinn ealaíona na hÉireann ar fud na cruinne
Nevan Lahart | Booth 10
Preview Berlin | 8 -10 October 2010
Q. Write 5 sentences about your work for PR purposes.
It doesn’t seem like work.
I don’t like work.
Can I make it work for me.
Don’t take up a day job.
One last sentence and I’m done, for this seasons collection; sheer blacks with luminous earthy colours, overall a somber funerary collection with a dash of joie de vie.
Nevan Lahart was born in Kilkenny, Ireland in 1973. He studied at The Limerick School of Art and Design; National College of Art in Dublin where he completed his MA Virtual Realities in 2003.
He was exhibited widely. Recent solo shows include: Solas Nua, Washington DC, USA and A Lively Start to a Dead End at the Royal Hibernian Academy, Dublin in 2010; Heaven’s Full and the Fire Escapes are Locked at Heaven’s Full, London and UGLY LOVELY at Kevin Kavanagh, Dublin in 2009. He has taken part in several groups shows as Backwater Twenty-10 at Crawford Municipal Art Gallery, Cork and Ten Years Hunting [The Trophy Room] Parkers Box, Brooklyn, New York in 2010; Moraltarantualla III, The summer of the Vernunft at Valentinskamp 34A, Hamburg, Germany; The Gold Standard at NES, Skagaströnd, Iceland and Trouble in Paradise: Examining Discord in Nature and Society at Tucson Museum of Art, Arizona, USA in 2009.
Lahart has participated in several residencies include Solus Nua in Washington DC in 2010 and he undertook six months residency at Irish Museum of Modern Art, in Dublin in 2005.
His work is in various public and private collections in Ireland, Germany, France, Switzerland and the U.S.A.
Over the past two years Amanda Coogan has been working on a series of ‘Yellow’ performances; Yellow, The Yellow Mountain, The Fall, Cutpiece, Yellow-expanded, Eating Yellow, and finally, as part of the Ulster Bank Dublin Theatre Festival, Coogan will present the exploratory Yellow-Reperformed in collaboration with five other performers.
At the Kevin Kavanagh Gallery for the first time we can see artworks from the series together. This exhibition of photographs and video is made to accompany Coogan’s final work of the series; Yellow-Reperformed. These yellow works have been shown and performed as widely as, The Oonagh Young Gallery, Dublin; Artists Space, New York; Trace Gallery, Cardiff; The Kevin Kavanagh Gallery, Dublin; The Whitworth Gallery of Art, Manchester; The West Cork Art Centre, Skibereen; VISUAL Centre for Contemporary Art, Carlow; The Dingle Film Festival, Siamsa Tire, Tralee; The Plymouth Art Centre, Plymouth; Tulca 09, Galway; Point d’Impact festival, Geneva.
Coogan’s recent intense focus on the colour yellow began with her 2008 solo live durational performance, Yellow. An exploration of a repeated action over a long period of time. From Coogan’s studio Yellow alludes to many things, the Magdalene laundries, bathing infants, female sexuality, contemporary performance practice, endurance and trance. It is a physically challenging performance. Over the duration it throws the performer into an endurance related vertigo. Through this physical challenge the audience collude with the performer. The performance reflects back at the audience, offering a plethora of personal references that complete the reading of the piece.
The Yellow Mountain celebrates youth and vitality. In this irreverent Art Video the performers proclaim youth’s reign eternal. Up ending Beckett’s Happy Days, the performers are embedded in an out-sized and garishly painted aran jumper. With heads protruding they lip-synch to the Alleluia chorus from Handel’s Messiah.
The Fall was a longitudinal durational performance. Over 17 days in Manchester’s Whitworth Gallery of Art Coogan jumped of the staircase installing a yellow mound to break her fall. The piece began with reference to Yves Klein’s Leap into the void and developed into an attempt at flying.
For Cutpiece Coogan ‘wore’ twenty meters of painted canvas and methodically ripped her way out of it. The title refers to Yoko Ono’s iconic performance but in Coogan’s case it is the artist herself who activates the ripping.
All of these pieces are from live, durational performance. Coogan works in collaboration with photographers Colm Hogan (Cutpiece), Marco Anelli (The Fall, Manchester) Davey Moor ( The Fall, KKG & Flying) and John Roch Simon (Yellow, 2008) and from their documentation of the live performances Coogan chooses a key image that she produces as Artwork.
Mark O’Kelly, Paul Nugent, Ulrich Vogl and Diana Copperwhite at VOLTA 6, Basel..
Mark O’Kelly’s glamorously coloured paintings are the outcome of a practice of image research which exploits the space between photographic document and the cosmetic image. Providing a critique of the exchange relations inherent in the spectacle of the painting exhibition, his work self -consciously pictures large epic spaces, the grammar of which invoke the erotics of cinematic narrative. In addressing the reciprocal voyeurism and poetics of display, his painting’s, vitrines and installations implicate the viewer’s complicity in the construction of sensational social values and ethics. He has recently exhibited in Temple Bar Gallery, Dublin, 2010; The Black Mariah, Cork, 2009 and Institute of Contemporary Art and Thought / National Bank of Greece Cultural Foundation, Athens 2008.
Paul Nugent’s paintings weave back into history to explore ideas about memory, veracity of representation, the use and proliferation of imagery and the place of painting in contemporary representation. What the paintings tell us is that memory is not just a repository where we store things we might want to revisit for pleasure but also the place where the ghosts of history, benign or otherwise, hover, like the negative waiting to be printed into something positive, like the images that emerge from beneath the surface in Paul Nugent’s paintings. He has recently exhibited at the Irish Museum of Modern Art Dublin, 2010 and Kerava Art Museum, Finland, 2009.
The technique of drawing is at the core of Berlin-based artist Ulrich Vogl’s œuvre. Using a process-based and analytical approach however he takes this technique into new spheres: drawings in the classical sense – works on paper – are the exception. Instead, his works are mainly films, objects or installations. While Vogl’s overall topic would be the “extension of drawing”, his focus of the past three years has been on “drawing and light”, working with shadows, reflections, movement and drawing. Many of his works are playful and interactive, creating its own magic without ever hiding the simplicity of its creation.
Combining site specific wall paintings and collage with drawing and painting, Copperwhite is interested in making work that plays with space ,interior and exterior , psychological and physical. “Like portals between two worlds abstraction and figuration or reality and imagination, her works are like half remembered dreams evoking a sense of what could exist beyond the visual.“ Skye Sherwin, 2009. Recent shows include Collecting the New, Irish Museum of Modern Art, Dublin and The Marienbad Palace, The Highlanes Municipal Gallery/Droichead Arts Centre curated by Jacqui McIntosh.
With support from
culture ireland | cultúr éireann
promoting the arts abroad cur chun cinn na n-eadaíon thar lear
10 – 26 June 2010
Karin Brunnermeier’s practice, initially focusing on performance and literature, now incorporates video, installation and drawing.
Brunnermeier has thoughtfully developed characters in which she plays out spiritual, psychic and physical dramas of the human condition in multilayered explorations spanning everyday life, family, childhood and the search for identity. Examining societal roles and the dynamics of relationships with a critical, but humorous eye, her imagery is infused with a curious visual poetry where waking and dream states are blurred.
Karin Brunnermeier lives and works in Berlin. Previous exhibitions include Maco Se Permuta, Museo de Arte Contemporáneo de Oaxaca, Mexico, 2009; Betty und Paul, (with Michael Kalmbach), Kunstverein Speyer, Germany, 2008; Se Permuta, ExTeresa Arte Actual, Mexico-City, 2008; The World Needs a Narrative, Kevin Kavanagh, Dublin, 2008; LOOP, Video Art Festival, Miscelanea, Barcelona, 2007 and High Noon, (with Gabi Hamm), Albrecht Dürer Gesellschaft, Kunstverein Nürnberg, Germany, 2006.
She will take part in forthcoming exhibition The Borrowed Loop, Man&Eve Project Space, London, July 2010.
With the kind assistance of
Mick O’ Dea / Mark Swords / Robert Armstrong / Tadgh Mc Sweeney / Stephen Loughman / Sean Lynch / Nevan Lahart / Margaret Corcoran / Diana Copperwhite / Sinéad Ní Mhaonaigh / Gary Coyle / Geraldine O’ Neill
5 – 28 November 2009
Kevin Kavanagh Gallery is delighted to present True Romance, an exhibition of new paintings by Oliver Comerford. The title of the exhibition derives from a 1996 painting by Comerford. In it we see, in the evening light, the outside of an art deco cinema in the West of Ireland, where Tony Scott’s film ‘True Romance’ is showing.
Comerford’s paintings are derived from a vast personal archive of photographs. Each is meticulously selected and highly considered. The varied and specific mood generated by a particular light, weather, time of year or time of day is a central element to each painting. This is balanced by the presence of the physical nature of paint itself and the inventiveness of its application. While he does not share the locations depicted in the works, they are places we know, everywhere/nowhere places. They present psychological space rather than topographical description. Each painting depicts the landscape of remote communities and outposts, viewed from a distance or on the move. Each of these new paintings depicts a building or buildings set in the landscape. They are seen in the distance against the dusk sky, horizon, mountain, road, coniferous woodlands, the edge of town.
Comerford offers us romantic landscape – mediated through photography and film – presenting to us a vernacular sublime, true romance.
Comerford’s work will be exhibited in Terror and Sublime: Art in the Age of Anxiety, Crawford Gallery, Cork, November 20 2009 to February 27 2010 and a mid-career retrospective at the RHA Gallagher Gallery in March 2010.
Oliver Comerford’s solo shows include I Can See Your House From Here, Kevin Kavanagh (2008) ; Night and Day, Kevin Kavanagh (2005); Out Here at Temple Bar Gallery, Dublin (2003); Get Here at Kevin Kavanagh (2002) and Talk To Me at The Living Art Museum in Reykjavík, Iceland (1999). Group shows in which he has participated include 10,000 to 50, Irish Museum of Modern Art, Dublin (2008); Alternative Nature at Cavan County Museum (2008), Tir na nOg at the Irish Museum of Modern Art, Dublin (2005), After the Thaw at the Crawford Municipal Art Gallery, Cork (2005) and Eurojet Futures, An Anthology of Emerging Art at the Royal Hibernian Academy, Dublin (2005). Comerford’s work is represented in many collections, both public and private in Ireland and abroad including the collections of the Irish Museum of Modern Art, Dublin City Gallery: The Hugh Lane and the Office of Public Works.
Remembrance Part I was shown in April at Kerava Art Museum, Finland.
Just as these paintings were slow to conceive and create, they necessitate measured, contemplative readings. References include the chapel at the Salpêtrière – the Paris prison, poorhouse and asylum turned teaching hospital – as well as one of its illustrious physicians (and a father of neurology) Jean-Martin Charcot: the authority the medical profession wielded in the nineteenth century being analogous to that of the church. Kerava Art Museum director said of the work, that “Nugent speaks about the quiet disintegration of historical knowledge, meaningful places and religious symbols into mere memories”.
Opening the afternoon of Saturday 17th October, Part II sees the artist using his mother as model for paintings which reference nineteenth century photographic printing processes and fourteenth century Dutch painting. Working from personal photographs, every aspect of which have been staged, the artist layers pigments and glazzes to connect the physical aspect of making with the idea of reaching back historically.