Author Archive

Grande, feliz e invencible | Vanessa Donoso López | 30.06-23.07 2011

Written by Ingrid Lyons on . Posted in Exhibitions

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.




VOLTANY|NewYork|Paul Nugent| 2011

Written by Ingrid Lyons on . Posted in Art Fairs

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.

For more information please click for Volta Catalogue

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PREVIEW Berlin | Nevan Lahart | 2010

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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.



The Yellow Series | Amanda Coogan | 20.09 2010

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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.

VOLTA 6 | Basel | 2010

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Booth B1

Mark O’Kelly, Paul Nugent, Ulrich Vogl and Diana Copperwhite at VOLTA 6, Basel..

Mark O’Kelly

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

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.


Ulrich Vogl

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.


Diana Copperwhite

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.

For more information please click for Volta Catalogue

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Liebesgluck | Karin Brunnermeir | 10.06-26.06 2010

Written by Ingrid Lyons on . Posted in Exhibitions


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 


True Romance | Oliver Comerford | 05.11-28.11 2009

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True Romance

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 | Paul Nugent | 17.10-31.10 2009

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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.

Text by Catherine Marshall

Flying Crooked | Mark Swords | 02.09-24.09 2009

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Concurrently to this show, Mark is participating in the Royal Hibernian Academy’s Futures exhibition. RHA Gallagher Galleries, Ely Place, 4 – 27 September.

Mark Swords’ current work displays an increasingly intuitive engagement with various approaches to painting and art making. His practice is well described as an instinctive and ill-disciplined pursual of curiosities.
Craft, and specifically the idea of hand-making or building, play a central role in Swords’ work. There is a sense of the artist’s self learning and even re-learning through his engagement with materials, such that a piece of work may result from the solving of a self imposed problem.

This concept of ‘craft’ should not be confused with the more easily defined idea of skill. Swords’ work is constructed using ordinary materials, from paint to string to rags and there is no attempt to subvert or hide such acts as gluing or sewing. There is an openness and a questioning in this practice, the work itself often suggesting further problems as opposed to conclusions.


OFFCENTRE | Group Show | 30.07-29.08 2009

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Nevan Lahart | George Young | Yuko Nasu


Fragile yet strong and bold, this exhibition examines how three separate oeuvres work in a space to suggest stretched tensions and boundaries both spatially and conceptually. Materials, light, display and place all work to make a
unit, redolent of craft, experimentation and deftness, the ensemble examining notions of relationship in an exhibition between works.
The work of each of these artists is bold and striking, replete with messages and carefully crafted relationships with the space their work occupies, both spatially and conceptually.

For Nevan Lahart, materiality and the transforming nature of his art renders his made-objects absurd and potent. Both his paintings and floor pieces evoke messages of irony transmitted through his juxtaposition of materials and wit. Lahart is one of Ireland’s most innovative artists, defying the norms of display and challenging spaces with his physicality. He has exhibited internationally, and throughout Ireland.

With her oil on paper images pinned directly to the wall, Yuko Nasu evokes the Japanese sublime and then challenges it. She combines the fleshy faces of her disturbing subjects, paying homage to the strong influence of Francis Bacon. Yuko Nasu is London-based, and her work appears in international collections.

George Young positions his stretchers in a riddle, and his works on paper in an almost careless gesture in spaces, defying the viewer with their fragility and painterliness. He questions notions of communications and their presumed linear nature. London-based and from the UK, he has exhibited in Britain, the Czech Republic and in America.

Curated by London based Tamar Arnon and Dublin based Helen Carey, both independent curators who have worked extensively in Europe, America and Asia, Offcentre examines the norms of display working off centre, presenting a counterweight to the fragile, with a defiant strength. It suggests that physical and mental strength comes from stretching limits not always from the centre, a parable of our time.


Paintings | Sinéad Ní Mhaonaigh | 02.07-25.07 2009

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Paintings…the third show by Sinéad Ní Mhaonaigh this year (after solo exhibitions in the Galway and Wexford Arts Centres), builds on an artistic practice as profound as it is prolific. Ní Mhaonaigh 2004 show Deoraíocht was loosely based on Padáic Ó Conaire’s ‘Scothscealtha’, in that it explored the spaces depicted in the stories, specifically spaces of exile, but since that time her most constant reference has been to her own work. So impressive is this body of work that, despite the fact she is only thirty-one years old, both her 2006 show Eatramh and her 2008 show Platform referenced paintings from her previous shows. This is not to say that her work has not evolved, but rather that she has remained true to the concerns notable since the beginning of her career – the exploration of luminal spaces, whether in space or time; the tensions between a spare, pared-down aesthetic and a love of often lush colour; and the exploration of painting as a philosophical and performative endeavour.
The tensions and even imbalances between the graphic and richly coloured areas of the works have a strong emotive charge that lends the spaces and voids a metaphorical dimension. The fact that the forms in her work can evoke vessels that resemble ancient curraghs or modernist architectural designs, suggests a celebration of multiple forms of abstraction which can reference history or look forward but are always current.
Catherine Leen
Irish Arts Review | Summer 2009


The Fall | Amanda Coogan | 25.06 2009

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Performance between 4 & 8 pm
Thursday 25th June 2009

Amanda Coogan is to the forefront of Live Performance Art in Ireland. The Fall, her new performance, commissioned by the Manchester International Festival will be shown in the gallery on Thursday 25th June
prior to her participation in the Marina Abramovic presents…exhibition at the Whitworth Gallery, Manchester.

Over a four hour duration the artist will fall/jump/leap/fly on to a mound of matresses, refferencing Yves Klein’s leap into the void, re-investing it with the matresses. This major new piece of work is a continuation of Coogan’s investigation into the presence of the artist as performer and the effect duration and endurance has on the energy of live work. Coogan will also be showing a selection of photographs of her performance work.

The centrality of Coogan’s practice is durational live performance where powerful live events are fundamental to her videos and photographs. Her expertise lies in her ability to condense an idea to its very essence and communicate it through her body.

She was awarded the AIB prize 2004. She has performed and exhibited her work both nationally and Internationally including The Venice Biennale 03, Liverpool Biennial 04, PS1, New York, Galeria Safia, Barcelona, RHA, Dublin, Van Gogh Museum, Amsterdam Asiatopia, Bangkok, Centre Culturel Irlandais, Paris and MARTa Museum, Herford and IMMA, Dublin. In 2005 Coogan published the first monograph on her practice, A brick in the handbag in conjunction with her solo show at Limerick City Gallery of Art.


ID&A | Dublin | 2009

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The Kevin Kavanagh Gallery opened in 1999 at Great Strand Street in the centre of Dublin.

In September 2008 the Kevin Kavanagh Gallery will moved to a new 125 m²premises south of the river, designed by architect Philip Crowe of MCO Architecture, Dublin.

The gallery represents established Irish artists whilst actively supporting the work of emerging younger artists from Ireland and abroad.


Our Victory | Stephen Loughman | 29.05-20.06 2009

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As part of the In Conversation series, Stephen will be discussing his work with writer Stephen Walsh in the Gallery on Saturday 13 June at 12pm sharp.

In his latest show, Stephen Loughman again uses ‘screen-grabs’ from films as his source material – predominantly those set during WWII.  Together, the works act as a pseudo-narrative of a conflict, but when they piggyback on the existing storylines of the films they reference, their meaning becomes blurred.  By mixing these images with those based on a variety of non-military documentary sources the combination of “real” and film (myth) creates a skewed narrative – one which calls into question the linear, prejudiced reading of a history.

Stephen Loughman, born 1964, lives and works in Dublin.  He studied at the National College of Art & Design, Dublin, 1982–1987. Solo shows include: The Lake, Kevin Kavanagh, 2006; Stephen Loughman, 26th Sao Paulo Bienal, Brazil, 2004 (selected by Valerie Connor, Irish Commissioner); Acvariu, Kevin Kavanagh, 2003; 2C Langdale Rd BN3 4HN, Kevin Kavanagh, 2001; New Paintings, Kevin Kavanagh, 2000. Group shows since 1999 include: Stephen Loughman and Mark O’Kelly, Galway Arts Centre, Ireland, 2007; Contemporary Art from Ireland, European Central Bank, Frankfurt, 2005; New Territories, ARCO ’05, Madrid, 2005 (curated by Enrique Juncosa); En direct de Dublin, Centre Culturel Irlandais, Paris, 2003 (curated by Helen Carey); See it as it is, Draiocht, Blanchardstown, Dublin, 2001; Perspective 2000, Ormeau Baths Gallery, Belfast, 2000 (selected by Lynne Cooke); EV+A 99, Limerick City Art Gallery, Ireland, 1999 (selected Jeanne Greenberg Rohatyn).  He has received numerous Arts Council of Ireland bursaries and his work is in public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland & The Office of Public Works and private collections in Ireland, UK and Spain.


Perfect Near Miss | Diana Copperwhite | 30.04-23.05 2009

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Diana Copperwhite was born in Ireland in 1969. She studied Fine Art Painting at Limerick School of Art & Design and the National College of Art and Design, Dublin. She completed her MFA at Winchester School of Art, Barcelona in 2000.

She has exhibited widely in Ireland and abroad and has had solo exhibitions at Kevin Kavanagh (2005, 2006, 2009); Limerick City Gallery of Art (2007); Rubicon Gallery (1998) and Temple Bar Gallery (1996). Group shows have included Group Therapy, Kevin Kavanagh (2008); Martin Gale Selects, Fenton Gallery (2008); Other Visions (curated by Aidan Dunne), Purdy Hicks, London (2007); Presence (curated by Michael Fitzpatrick), Limerick City Gallery of Art (2007); From the Liberties to Parramatta, University of Western Sydney (2005); EV+A (curated by Jeanne Greenberg Rohatyn), Limerick City Gallery of Art (1999).

In 2007, she was the winner of the 2007 AIB Art Prize. In 2008, she was a finalist in the Guasch Coranty Fundació Painting Prize, Centre Cultural Metropolità Tecla Sala, Barcelona.

In 2008, she completed a Project Residency at Temple Bar Gallery and Studios and was elected ARHA by the Royal Hibernian Gallery in Dublin. Her work is in public and private collections including: Allied Irish Bank, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery and Mariehamn Stadbiblioteque, Finland.
Upcoming exhibitions include the group show Multiples:Papier (curated by Michael Woolworth & Daniel Clarke), Francois Besson, Lyon, France in 2009 and solo shows at Fenton Gallery, Cork and KraskaEckstein, Bremen, Germany in 2010.
Diana is a lecturer at the National College of Art, Dublin.


Art Cologne |2009

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Ulrich Vogl | Diana Copperwhite | Stephen Loughman | Tadhg McSweeney

Art Cologne || Stand 42

22 – 26 April 2009



Diana Copperwhite was born in Ireland in 1969.  She Studied at The Limerick School of Art and Design; National College of Art, Dublin and Winchester School of Art, Barcelona where she completed her MFA in 2000.  She currently lectures at The National College of Art, Dublin.  She has exhibited widely.  Recent group shows include: Guasch Coranty painting prize Tecla Sala, Barcelona; Purdy Hicks Gallery, London; Kevin Kavanagh, Dublin; Fenton Gallery, Cork; Limerick City Gallery.  She has had solo shows at Kevin Kavanagh Gallery, Dublin; Temple Bar Gallery, Dublin; Rubicon Gallery, Dublin; Limerick City Gallery.  She has received many awards, including the 2007 AIB Prize and was a finalist in the 2008 International Painting Prize, Guasch Coranty Fundacio, Barcelona.  In 2008 she completed a Project Residency at Temple Bar Gallery and Studios and was elected ARHA.  Her work is in public and private collections including: Allied Irish Banks, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery and  Mariehamn Stadbiblioteque, Finland.  Forthcoming solo shows include: KraskaEckstein, Bremen and Françoise Besson, Lyon, France.

Tadhg McSweeney, born Sligo, Ireland, 1978, lives and works in Dubin. Solo Exhibitions: Overworld, The Lab, Dublin, 2008; What Remains, Sligo Art Gallery, Ireland, 2007; Break-in at the museum and other paintings, Kevin Kavanagh, 2006; New Paintings, Kevin Kavanagh, 2004.  Group Exhibitions include: Group Therapy, Kevin Kavanagh, 2008; The BiG Store, Temple Bar Gallery & Studios, Dublin, 2007; Thirty Two Thousand Years Later, Pallas Contemporary Projects, Dublin, 2007; Iveagh Rooms, This is not a shop, Dublin, 2007; 7 Irish Artists, Load of Fun Gallery, Baltimore, USA, 2006; Invited Artist, Eigse, Carlow, Ireland, 2005.  In 2007, he undertook a one year residency at Red Stables, St. Anne’s Park, Dublin.  His work is in private and public collections in Ireland and Europe.

Stephen Loughman, born 1964, lives and works in Dublin.  He studied at the National College of Art & Design, Dublin, 1982–1987.  Solo shows include: The Lake, Kevin Kavanagh, 2006; Stephen Loughman, 26th Sao Paulo Bienal, Brazil, 2004 (Selected by Valerie Connor, Irish Commissioner); Acvariu, Kevin Kavanagh, 2003; 2C Langdale Rd BN3 4HN, Kevin Kavanagh, 2001; New Paintings, Kevin Kavanagh, 2000.  Group shows since 1999 include: Group Therapy, Kevin Kavanagh, 2008; Stephen Loughman and Mark O’Kelly, Galway Arts Centre, Ireland, 2007; Contemporary Art from Ireland, European Central Bank, Frankfurt, 2005; New Territories, ARCO ’05, Madrid, 2005 (Curated by Enrique Juncosa, Director Irish Museum Modern Art); En direct de Dublin, Centre Culturel Irlandais, Paris, 2003; See it as it is, Draiocht, Blanchardstown, Dublin, 2001; Perspective 2000, Ormeau Baths Gallery, Belfast, 2000 (Selected by Lynne Cooke, Curator, Dia Centre for the Arts, New York); EV+A 99, Limerick City Art Gallery, Limerick, Ireland, 1999 (Selected by curator Jeanne Greenberg Rohatyn).  He has received numerous Arts Council of Ireland bursaries and his work is in public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland, AXA Insurance & The Office of Public Works and private collections in Ireland, UK and Spain.His next solo show is Our Victory, Kevin Kavanagh, May-June 2009.

Ulrich Vogl lives and works in Berlin. He has recently been an artist in residence at the Irish Museum of Modern Art, where he exhibited in the Process Room.  He has also received a PARC del Ministero dei Beni Culturali scholarship, for his residency at Viafarini, Milan.Solo exhibitions  include: Gipfelstűrmer, Kevin Kavanagh, 2009; Ulrich Vogl, Dunamaise Arts Centre, Laois, Ireland; Ulrich Vogl / Benjamin Greber, Viafarini, Milan, 2008; Premiere, KraskaEckstein, Bremen, 2007 and Goldgräber, Kevin Kavanagh, 2006.Selected group exhibitions include: Group Therapy, Kevin Kavanagh, 2008; Villa Grisebach, Berlin, 2008; wohnen, sitzen, glauben, Kunstverein Regensburg, 2008; Better is Something You Build, Kevin Kavanagh, 2008; Windkanal, toilette 27, Berlin, 2007; s/w, bell street project space, Vienna, 2006; and Micro Universe, The Lab Gallery, New York, 2005.His work is in private and public collections in Ireland and Europe.

Blimp on the Horizon | Robert Armstrong | 02.04-25.04 2009

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Blimp on the Horizon

02 April 2009 – 25 April 2009

A public conversation between the artist and the critic Aidan Dunne will take place in the gallery Wednesday 8 April, 6.30pm sharp.
The In Conversation series is organised by Elaine Byrne

The floor, benches and tables in Robert Armstrong’s studio are stacked with books. One on Giotto, who lived between 1267 and 1337, carries the sub-title The Renewal of Painting. Most are about the usual suspects of early Renaissance Italian painting; a chunky volume on Sienese Painting, Pope-Hennessy on Piero della Francesca, Aldous Huxley’s Best Picture, ransacked collections of Fra Angelico. The books are stuffed with torn slips, Google images, Post-its and paper windows that mask details and fragments. From San Marco there’s a resurrection cloud. An oil refinery burns off gas, the ‘grace’ of the stigmata arrives, Saint Francis departs. A comet, Tuscan hilltops, telecommunication towers, the N11.
The scuffed books, the scraps of newspaper and the internet search histories are linked in some way to the paintings that line the walls, yet distinct from them: a psychological profile, standalone evidence of what looks like indiscriminate enquiry.
The paintings themselves bear forensic examination. The surfaces range from the velvety smooth to the brutally battered. A towel, originally used for cleaning up, is presented for examination. Skin is scored, abraded and patched-up. Brushes have been used to spread and to soften, to reveal. Marks have been left by unknown instruments – soft, sharp or blunt. Attempts have been made to mislead and cover up.
Sassetta was here. Lorenzetti’s Effects of Good Government in the Town and Countryside is not here. Mining in Barentsberg is here. Nietzsche’s mountaintops. Squat buildings. Blimps on the horizon.
Robert Armstrong is a founder member of Temple Bar Gallery & Studios, Dublin. In 2002 he became the head of painting at the National College of Art & Design, where he has lectured since 1991. Born 1953 in Gorey, Co. Wexford, he lives and works in Dublin.

Recent exhibitions include: Look Again: Recent Art from Ireland, selected by Aidan Dunne, Purdy Hicks, London, 2009; Winter Salon, Temple Bar Gallery, Dublin, 2008; Afterimages, Kevin Kavanagh, Dublin, 2007(solo); Fenton Gallery, Cork, 2007 (solo); The Big Store, Temple Bar Gallery, Dublin, 2007; A Moment In Time, Temple Bar Gallery, Dublin, 2006.


Gipfelstürmer | Ulrich Vogl | 05.03-28.03 2009

Written by Ingrid Lyons on . Posted in Exhibitions



Ulrich Vogl is a draftsman – a draftsman however, whose aim it is to project the art of drawing into other spheres.He deploys versatile techniques in order to emancipate the medium of drawing from its traditional boundaries. While Vogl’s overall theme would be the “extension of drawing”, his focus of the past three years has been on “drawing & light”, working with shadows, reflections and movement, such as his reverse painting on glass drawings.
Gipfelstürmer sees the artist as mountaineer (roughly translating to ‘one who masters a peak or goal’).At such imagined heights, nature’s influence becomes clearer, the views – of mountains, clouds and sea – less unobstructed.There are no shadows on the summit.

Ulrich Vogl lives and works in Berlin and has just recently been an artist in residence at the Irish Museum of Modern Art, where he exhibited in the Process Room.
Solo exhibitions include: Ulrich Vogl, Benjamin Greber, Viafarini, Milan, 2008, Premiere, KrasakaEckstein, Bremen, 2007 and Goldgräber, Kevin Kavanagh, Dublin, 2006.

Selected group exhibitions include: Villa Grisebach, Berlin, 2008, wohnen, sitzen, glauben, Kunstverein Regensburg, 2008; Better is Something you Build, Kevin Kavanagh, Dublin 2008, Windkanal, toilette 27, Berlin, 2007; s/w, bell street project space, Vienna, 2006; and Micro Universe, The Lab Gallery, New York, 2005.

The Garden | Margaret Corcoran | 05.02-28.02 2009

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Margaret Corcoran enters the landscape.  Bold brushwork, strong colours, expressive marks describe and celebrate being.

Flower gardens, cherry blossoms, castles, real but exotics locations allow a play of expectations, where we both enjoy and question what we are seeing.  Moreover, the way paint is applied prevents any simple reading of the work as representations of the surroundings they portray.

The Garden is Margaret Corcoran’s fifth solo exhibition with Kevin Kavanagh Gallery.  She lives and works in Dublin.

Gary Coyle – At Sea

Written by Ingrid Lyons on . Posted in Publications


Text: Patrick T. Murphy, Christa-Maria Lerm Hayes & Maeve Connolly
Design: Atelier
Photography: Gary Coyle and Paul McCarthy
Printed by : 1455 Fine Art printers, Belgium
Edition of 750
inclusive of limited edition of 100 copies, with original signed print
ISBN 978-0-9560538-0-0
Published by Kevin Kavanagh (2010)

Ugly Lovely | Nevan Lahart | 08.01-31.01 2009

Written by Ingrid Lyons on . Posted in Exhibitions


Blah Blah Blah
Circumventing the narrative
Gobble-d-gook, Gobble-d-gook,
non linguistic forms of
Yady, Yady, Ya.
active forces that
Blah Blah’s
subjective subliminal perception
yiddy, yiddy, ya
Contextualises the context of underlying structures
That navigate empathetic analoguious analogues
Put simply, Nevan won’t stray too far from flowers.

Nevan Lahart lives and works in Dublin.

Group Therapy | 28.11-23.12 2008

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Michael Boran| Mark O’Kelly | Oliver Comerford | Mark Swords | Sinéad Ní Mhaonaigh | Tadhg McSweeney | Diana Copperwhite | Geraldine O’Neill | Stephen Loughman | Ulrich Vogl | Mick O’Dea| Karin Brunnermeier | Gary Coyle

PREVIEW Berlin | Karin Brunnermeier | 2008

Written by Ingrid Lyons on . Posted in Art Fairs

Karin Brunnermeier | Booth B24

Preview Berlin | 30 October – 2 November 2008

The sculptures, installations and drawings of Karin Brunnermeier could be seen as a series of intricate portraits. Brunnermeier’s characters and the stories that she creates around them, are based on the real and imagined and are central to the understanding of her work. Sometimes darkly humourous, melancholic, surreal or symbolic, her interest is in the human psyche and moments of ‘fracture’, where injuries, both physical and emotional occur. Essentially a storyteller, the materials that Brunnermeier uses in her sculptures inform the narratives which she constructs. Materials are chosen for their symbolic potential as well as aesthetic form. In her 2004 work Sledge, she cast a sledge in glass to tell a story of immobility, whilst recent works have combined hoops constructed from steel with children’s clothing once worn by Brunnermeier and her brother, connecting her own history with that of the invented and imagined. The dichotomous nature of the clown, with its ability to convey humour and pathos, has become a recent focus in her work. In the first of her ring clown sculptures Hansi-Nummer (2007) the character Hansi has come to a sorry end after being squashed by a giant steel turquoise hoop. The soft bodied clown, made from fabric and children’s clothes and dwarfed by the scale of the enormous hoop, is a pitiful figure – did he try to balance the hoop on his head in an attempt to impress the crowd or has Hansi sacrificed himself for the sake of a punch line? Another character finds himself in equally dire straits in the sculpture Charlie (Ring Clown) (2007). A hoop is threaded through the neckline of his jumper, his arms replaced by the hoop itself, holding him in an inescapable situation. The implied motion that comes with these works – perhaps Hansi will peel himself off the floor and dust himself down, or Charlie will desperately rock from side to side in an attempt to escape – add to the slapstick but also to the desperateness of their situation. Brunnermeier is a sharp observer of human frailties, and when we laugh at her character’s situations, it is tempered by a sense of self recognition. Her works hold up a mirror to ourselves and the knocks in life that we all experience.


Jacqui McIntosh, 2008



Mark O’Kelly | 23.09-22.11 2009

Written by Ingrid Lyons on . Posted in Exhibitions

October 23 – November 22, 2008

Mark O’Kelly is showing a collection of paintings, collages and archives at the Kevin Kavanagh Gallery in Dublin.
This exhibition marks a new direction in Mark O’Kelly’s practice, these works on paper offer original insight into O’Kelly’s conceptual practice as an artist. The show includes a trilogy of installed vitrine pieces, providing context for his extensive process of assimilation and deconstruction of printed material; including source, written and drawn archives.
In this work, O’Kelly describes a research process that posits the importance of artistic action over the myth of the construction of a definitive image of contemporary culture. Through the presentation of cuts and slices of mediated imagery, his practice demonstrates the abundance of inherently editorial content ubiquitous in an image saturated and conscious society. Focusing exclusively on human form, O’Kelly presents bodies, poses and relationships that appear wholly recognizable while remaining equally enigmatic and ephemeral.
O’Kelly’s subject in question becomes one of how the individual consumes, relates to, and is defined by their relationship to the human form of others. In provoking the viewer’s reaction to choices of form and space and employing codified motifs of gendered, racial and socio-economic weight, the show investigates the proposition of media space as an appropriate location for public discourse. This emptying out of over determined content and style provides a pared back glimpse of the construction of the mediated visual dialogues which have dominated popular discourse since the invention of photography.
Through his extensive denuding of his printed source material, O’Kelly constructs a collection of visual epigrams which enunciate the pleasures of form, content and interpretation. In a collection which uses acts of painted gesture and inflection to execute rhyming figurative ideograms, the constituent parts of each work can both stand-in, and contribute to, the wider narrative project.
The presentation of elements of Mark O’Kelly’s archive continues a contextualization of his research, previously installed at the Limerick City Gallery of Art (2005)* and at The Cultural Foundation of the National Bank of Greece(2008)**, through printed reproduction in the Printed Project Issue No.5 (ed. Alan Phelan, 2005) and Selective Knowledge, The Institute for Contemporary Art and Thought, Athens, Greece (ed. Els Hanappe, 2008).
* Caged Archive, in collaboration with Sarah Pierce 2005, curated by Mike Fitzpatrick.
** Selective Knowledge, curated by Els Hanappe 2008


Geraldine O’Neill – Luan an tSleibhe

Written by Ingrid Lyons on . Posted in Publications, Uncategorized

Geraldine-o-neill2 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
ISBN 978-0-9555164-9-8
Published by Kevin Kavanagh (2008)

The world needs a narrative | Group Show | 26.09-18.10 2009

Written by Ingrid Lyons on . Posted in Exhibitions

Kevin Kavanagh is pleased to present The world needs a narrative, a group exhibition featuring Karin Brunnermeier, Henry Darger, Neil Farber, Tony Fitzpatrick, Michael Kalmbach, Basim Magdy, Jason McLean, Guy Richards Smit and Ken Solomon.

The world needs a narrative features works on paper by nine artists for whom the art of storytelling is central. The stories that they recount are varied – from autobiographical, psychological and fantastical modern day fables to sociological commentary and political satire.
Karin Brunnermeier’s drawings, sculptures and installations could be viewed as a series of intricate portraits. Brunnermeier’s characters and the stories that she creates around them, are based on the real and imagined and are central to the understanding of her work. Sometimes darkly humourous, melancholic, surreal or symbolic, her interest is in the human psyche and moments of ‘fracture’, where injuries, both physical and emotional occur.
Henry Darger was born in Chicago in 1892. Darger lived a solitary life, working as a janitor in a Chicago hospital from around the age of thirty until his retirement in 1963. During this time Darger created the work for which he is now known. Alone in his room, unknown to those around him, he gave tangible, visible form to an epic story of legions of pre-pubescent girls—with paper-doll faces and unexpected male organs—who battle for their lives against monstrous foes who seek to torture, kill or exploit them. This, his magnum opus, is commonly referred to as In the Realms of the Unreal, although Darger’s actual title is The Story of the Vivian Girls, in what is known as the Realms of the Unreal, of the Glandeco-Angelininian War Storm, Caused by the Child Slave Rebellion, and spans over 15,000 single-spaced typewritten pages. This expansive, complex narrative together with over 300 imaginatively constructed fantasy drawings have come to be regarded as one of the 20th century’s most original and unusual literary works.

Neil Farber´s surreal, obscure imagery with its varicoloured overpopulation of tiny people, frogs, rats, snakes, captured maidens, dragons, cats and ghosts belongs on the border line between childhood fear and grown-up fantasy and act as the basis for a dramatic description of the darker aspects of the human psyche. Aspects, which are disturbing and upsetting – perhaps even nightmarishly evil – but nonetheless serve as an integrated part of our identity.

Tony Fitzpatrick’s prints, drawings and collages are deeply autobiographical, defined, in part, by the gritty character of a working-class Chicago upbringing. His style is both dense and delicate, packed with fanciful imagery of animals and people. Fitzpatrick’s art typically blends cartoon-like drawings and found images such as baseball cards and matchbooks with poetic or narrative description. His stories, sometimes real sometimes imagined, involve monsters, call girls and gamblers – monsters, madness and vice – “the stuff they don’t put in the travel brochures” according to Fitzpatrick.

Michael Kalmbach’s watercolours and plaster sculptures have focused on the themes of family and childhood. Based on detailed original stories, his watercolours are populated with children and cherubs in dream-like states of weightlessness. Kalmbach’s picture worlds are anarchic and often politically incorrect, the more so since his protagonists are often children. But the fantasies which he realises in his pictures, sculptures and installations closely resemble those of children, growing up freely, filled with curiosity, tenderness but also cruelty.

Basim Magdy works with imagery derived from the mass media – images of conflict from TV, films, computer games and propaganda and the like- translating them, and finally reinterpreting them via the painting medium. Magdy’s generation never experienced war directly, instead growing up amidst naïve surrogates: violent toys – guns, knives, robots, tanks, soldiers, and computer games abound. Magdy capitalizes on the media-driven language, translating its imagery into contrived, attractive paintings, using a hyper-real aesthetic replete with bright, synthetic colours and simplistic motifs. He uses paint to question and redefine official versions of heroism, patriotism and collective memory.

The drawings of Vancouver based artist Jason McLean are heavily punctuated by humour, slogans and references to the mundane but specific details of everyday life. His frank impressions invite audiences to reconsider everyday experience as a dense psychological construct that unfolds over time and cannot be reduced to a single iconic image. His works could be seen to represent a mental space where the artist re-elaborates the flow of information which lays siege to us every day, a map of the neighbourhood as an urban space in flux.

Guy Richards Smit’s latest works create a stream of current political commentary, sexual innuendo and satire. As part of a larger ongoing series, Smit uses the layout of the cover and inside pages of The New York Times as the template for his watercolours and oils. Through headlines and article topics, Smit conveys his sharply observant cultural and political message. In these new works, Smit has directed his gaze firmly at the American political scene, his works undercut with philosophical observations and humour.

Ken Solomon’s recent work has explored the imagery and iconography of the U.S. postal system. At VOLTA NY 2008 Solomon set up an early voting bureau for the US Presidential elections, creating his own hand painted stamps of the Democratic and Republican nominees Barack Obama, Hillary Clinton, Mike Huckabee, John McCain, and Ralph Nader. He subsequently printed hundreds of sheets of stamps for the public to cast their vote. A meshing of mathematics and whimsy, for his envelope art works he uses an intensive process, pushing repetition to examine nuance. When each piece is finally complete the envelopes are subsequently mailed and disseminated to reconvene at the gallery, in certain instances having been on a long journey though the intricacies and idiosyncrasies of the US postal system. Solomon plays precise control and uncertainty together, allowing for third party mark making (the stamps, stickers or marker lines added by the post office) and the possibility of works getting lost. Each piece has its own special journey and individual story.