Author Archive

Atonal Supersound | Kathy Tynan | 06.07 – 05.08 2017

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Kathy Tynan’s eye for idiosyncrasies and her ability to distil an essence from daily encounters lends her paintings a profundity that is interspersed with self-reflexive humour. Each painting captures a moment in which a feeling or mood prevails. In the making of these paintings, Tynan proffers a world in which chance encounters and oddities are elevated through their representation. In recent work, Tynan has referenced her painting practice as part of a routine and within Laughter in the Blood, the artists own studio becomes the focus of analysis. In this painting the artist’s supplies – turpentine, brushes and ink are laid out on a frugal looking table. A bundle of brushes with split hairs peak tentatively over a laptop. On the monitor a talking head, subtitled in French, speaks of introspection in a spell of melancholy shoegazing. To the right of the table, near the skirting board, a scrunched leaf of paper torn from a ring-bound notebook politely beseeches the studio occupants, ‘please don’t unplug’.

In Clarice Lispector’s mystical novel, The passion according to G.H, the protagonist becomes preoccupied with the interior of her own apartment and remains there for the duration of the story. In her rigorous questioning of every aspect of her immediate reality she begins to dissolve its solid materiality into an array of psychical absurdities. While much of Tynan’s paintings follow a similar tact of dissecting the seemingly mundane, she also references the Brazilian writer directly in her painting, Thick and Black Roots of the Stars, in which Lispector’s words appear scrawled across a wall. In the painting, grey skies loom over a church and its grounds but the focal point is the richly embellished wall. Across its cement surface, alongside Lispector’s lines, there are messages to missing family members, initials in bubble font, proclamations of eternal love and witty quips. On this graffitied wall, marks made by many different hands are presented together in the composition.

Such a device harks toward the latent impulse within people to make a mark, to give visual expression to a thought. This concept crops up time and again in Tynan’s paintings, posing questions on the nature of institutionalised art production and on the divide between various forms of artistic expression. In her paintings, which revel in the colour, texture and surface possibilities of paint, Tynan reflects on inconsistency and imbalance. Her paintings are often witty and playful but also inquisitive – imbued with their own revelatory purpose. Together the paintings in Atonal Supersound converse with and often contradict one another. They exist as counter points reaffirming the idea that meaning is both deduced and created. It is somewhere between these two activities that Tynan’s work gathers its momentum.

Kathy Tynan (b.1984) lives and works in Dublin. She graduated from the National College of Art and Design (NCAD) with a BA in Painting in 2008 and an MA also from NCAD (2010). Recent group exhibitions include Hands Laid On with Aileen Murphy, Kevin Kavanagh, Dublin (2016), There Are Little Kingdoms (2016), Mermaid Arts Centre, Bray, What Is And What Might Be, Highlanes Gallery, Drogheda (2015) and The Sky Is All Changed, Hendrons Collider, Dublin (2014). Tynan’s work is held in public collections including the Office of Public Works as well as private collections in Ireland and abroad.

Robert Armstrong and Aileen Murphy

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And Creatures Dream…A New Language

A two-venue show at Wexford County Council and Wexford Arts Centre ​3rd July – 25th August 2017

Exhibition Reception: Saturday 1st July at 1.30pm at Wexford County Council, Carricklawn

Followed by a talk at 3.15pm in Wexford Arts Centre, Cornmarket

Guest Speaker: Ruairí O Cuív, Public Arts Manager – Dublin City Council

Robert Armstrong and Aileen Murphy will take part in a group show alongside, Ciaran Bowen, John Busher, Eamonn Carter, Serena Caulfield, Helen Gaynor, Kate Murphy, Rosie O’Gorman, Emma Roche, Breda Stacey, George Warren and Michael Warren. ​And Creatures Dream…A New Language taken from Susan Stewart’s poem, A Language, explores the relationship of perception to conscious being, to knowing, and to human and aesthetic encounters. Much of the work hints at the instability of perception, which relies on memory – itself an unsafe faculty – and the fragility of the edifice of knowledge.

 

Kevin Kavanagh – Collecting: Who for What

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30 YEARS | ARTISTS | PLACES

Dunamaise Arts Centre, Portlaoise

Dunamaise Arts Centre, Portlaoise is proud to present the finale of the 30 Years Artists Places exhibition, after an extensive national tour, from Monday 10 June to Saturday 15 July. Following an 18-month national tour to venues in Clare, Mayo, Waterford, Cork, Tipperary, Limerick, Cavan, Louth, Dublin and Donegal – the exhibition, curated by Muireann Ní Chonaill, Laois Arts Officer- is a must see at Dunamaise and features an extraordinary line up of Irish artists.

On 29th June at 3pm at Dunamaise Arts Centre, a panel discussion to mark the exhibition, entitled Collecting: Who for What, will be chaired by Cliodhna Ní Anluain with contributions by Cristín Leach, Jacquie Moore, Kevin Kavanagh and Seán Cotter. A musical response to the exhibition by Andreas Balke will also take place.

Admission is free and all are welcome.

Further information available here.

Crooked Orbit | Diana Copperwhite | 01.06 – 01.07 2017

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‘As is well known, the word ‘orbit’ refers to a set route or path around a given point: we on earth orbit the sun, just as the moon orbits us. Perhaps less known, though, is that the word is etymologically coupled with a distinct sense of the optical: from a fourteenth century French word for ‘eye socket’. Seeing, in this understanding, is always underscored by a sense of movement or voyaging: when we look at someone or something, we simultaneously tread a track around it. Perhaps we come close to this object, but we don’t get to touch it.

I kept this double meaning in mind when thinking about Diana Copperwhite’s recent paintings. In this latest exhibition, Crooked Orbit, these are large and at least initially discordant works. It seems as though no colour has been left aside, from lurid fuchsias and cobalt blues, to neon yellow and swatches of minty green. Recurring throughout the canvases, there is also a gradient effect achieved by loading the brush with different shades of paint; and this has a consequence of suggesting that these paintings have almost outgrown the tools of their creation, those tools then being forced to convey, through colour, as much as they possibly can. Sometimes these gradient interventions are vertical and regular; at others, they are less uniform, cast in a halting semi-circle or upturned ‘u’. Throughout, they act to create the impression of space within the paintings: in one, a narrow swathe of grey, pink and white, has the look of an outstretched arm, a slight sag in the middle where the elbow could be; in another, a flat vertical plane of what looks like four gradient drags cuts a dint of architectural space. But, even when working in unison, each of these is just one gesture, loaded to capacity and worked until it dissipates, the paint run out or stopped short from further decline. Representation is at most, never quite; cast as it is though a series of distinct marks, the whole remains fragmentary, gestured towards but never quite pinned down’.

Extracted from Awkward Angle of Perception, by Rebecca O’Dwyer. The full essay will be available at the gallery from June 1st.

Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite’s work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.

Rebecca O’ Dwyer is an Irish art writer, critic, and PhD candidate at National College of Art & Design, Dublin. Her writing has been published in Paper Visual Art Journal, Enclave Review, Frieze, Eyeline, Fallow Media, and the Visual Artists’ New Sheet, amongst others, and she has written catalogue texts for artists including Kathy Tynan, Fergus Feehily and Barbara Knezevic. She is a previous winner of the VAI/DCC Critical Writing Award, and the editor of the online art-writing platform, Response to a Request, which was launched in August 2016.

Diana Copperwhite

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Thomas Jaeckel Gallery, New York

Opens May 11th

Diana Copperwhite will take place in a group exhibition with Mary Heilmann, Jill Levine, Chris Ofili, Danny Rolf, Rebecca Smith and Elio Rodriguez.

More information available here.

 

 

Alice Maher

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Zephyr, Works on Paper

Claremorris Gallery, Mayo

1 – 6pm, Wednesday to Saturday until May 27th, and then until June 1st by appointment (087) 791 2337.

Maher’s reference points include art history, mythic narrative and, more recently, medical textbooks. Her shape shifting figures call down and mischievously intervene with the oft times problematic representation of the feminine throughout all of these fields. Zephuros was the god of the west wind in Greek mythology, and appears on many archaic world maps, blowing ships off course and keeping civilisation confined to the ‘known world’. In Maher’s watercolour, Zephyr, a giant female figure with covered eyes exhales a storm from her open mouth, like a modern dragon in her yellow swimsuit, while in her hand she holds a mysterious amoeba-like object. This mix of mythic, contemporary and scientific imagery hints at a world of continuous flux, where overlapping elements and intermediate states hold sway.

More information available here.

Rectangle, a written thing | Sonia Sheil | 04.05 – 27.05 2017

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Rectangle, a written thing, 2017, is presented in four ensembles. These painted works conjure theatrical tropes without motion, containing performative moments within the stasis and composition of painting. Such poles of action and inaction, recurring throughout the installation, are echoed in an accompanying script. This written thing provides a space to situate the work in a critical context by exploring its own real and imagined materiality – and it tells the story of an artist who, in being mistaken for a tree, learns what it is to be expressive.

Sonia Shiel’s work examines her protagonists’ attempts to survive the odds of nature and the illusory world around them, through laws of their own making. Many of her works engage with each other symbiotically or con/sequentially within mixed-media installations, creating surreal narrative sequences. Often taking the form of scripted video, audio and live performances, Shiel’s works synthesise object, image and sound in self-reflexive stories of construction, exploring how real things in the world can simultaneously declare themselves fabrications and yet compel a shared make-believe.

Sonia Shiel is currently the Arts and Humanities’ Artist-in-Residence at UCD for 2017 and a recipient of the DLRCoCo and the Arts Council Visual Artist Awards for 2017. In 2014/2015, she completed the Art & Law Fellowship Program at Fordham Law School, the International Studio & Curatorial Program, in New York, and an artist’s residency at the Irish Museum of Modern Art, Dublin, with Arts Council Project Award support. Recent readings and performances include Temple Bar Gallery and Studios and ArtBox. She has had recent exhibitions at Rua Red, The Crawford Gallery, The Irish Museum of Modern Art, The Lewis Glucksman Gallery and the ISCP, New York, among others. Shiel has been the recipient of the Tony O’Malley and Hennessy Craig Awards, having had solo exhibitions at the Butler Gallery and the RHA Gallery I and II, which included a major publication and a collection of essays. Her work features in many international public and private collections, including the Arts Council, The City of Frankfurt, and the OPW.

Mick O’Dea

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A Name Unmade: Francis Ledwidge (1887-1917)

Solstice Arts Centre, Level 3 Gallery

28th April – 16th June, 2017, Tuesday – Saturday 11am – 4pm

Mick O’Dea will take part in a group exhibition marking the centenary of the death of Francis Ledwidge. The exhibition, titled A Name Unmade: Francis Ledwidge (1887-1917), will also feature work by Sven Anderson, Patricia Burns, David Farrell, Clare Langan, Niamh O’Malley and Sasha Sykes, Curated by Sabina Mac Mahon (Curator in Residence at Solstice Arts Centre).

More information available here.

Stephan Loughman

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DIG?

Connolly House – Marino College of Further Education.

30th March to 6th April

Stephan Loughman is currently exhibiting a series of paintings at Connolly House, Dublin.

Further information available here.

Mark Swords

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The Living and the Dead

15 April – 17 June 2017

Temple Bar Gallery + Studios presents a solo exhibition of recent works by Mark Swords. For Temple Bar Gallery + Studios, Mark Swords has created theatrically staged paintings that have come into being through a series of gestures that juxtapose the idea of making and unmaking. The paintings, often overwhelming in chromatic saturation and design denote the artist’s instinctive knowledge of colour. Layers of mark-making create a screen through which the buried undertones and colours emerge. He consistently moves between abstraction and figuration looking for discoveries and accidents in his works, appropriating painting conventions to create a stylistic collage.  The hand-made is a significant element in his practice, printed fabrics are stitched to the canvas creating layers of shapes and forms, while the paint application can be both refined or crudely impasto. Within some of the paintings he has used draped curtains to create a framing device. A painted backdrop pinned to the wall becomes the larger framework for the paintings. These framing devices anchor the work in a celestial sphere creating associations between the paintings while playing with ideas of display and exhibition making, Swords creates a complex mosaic of works that can be viewed as a whole or singularly.

Artist Mark Swords will participate in a public conversation with Programme Curator Mary Cremin, on the occasion of his solo exhibition The living and the dead at Temple Bar Gallery + Studios.

Saturday 22 April 2017 | 1pm

Free admission, booking essential. Further information available here.

Diana Copperwhite

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Virtú

Friday 7th of April – Sunday 21st of May, 2017

Diana Copperwhite will take part in a group exhibition at The Hunt Museum. Virtú is a curated exhibition that explores the ongoing relationship between The Hunt Museum and LSAD. The exhibition includes 18 contemporary artists working in various disciplines and a collection of drawings from several collections including IMMA and The Hunt Museum.

These two strands of the exhibition presented side by side provide a platform for creative dialogue and contemplation of the relevance of the Museum and its collection. These important collections of artists’ work spanning generations and cultures have had an influence on a younger generation of artists. This show aims to reveal that art among other things is a conversation.

Further information available here

Aspasia – An Influential Immigrant | Margaret Corcoran | 23.05 – 22.04 2017

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Aspasia was an influential immigrant to Classical-era Athens. She was the lover of the statesman Pericles and yet famed in her own right as an intellectual. As an outsider to the culture she entered, she thrived despite its restrictive citizenship laws.
Corcoran’s large, highly colourful canvases are bold and assertive, while the works on paper are sensitively rendered and acutely observed. She brings together an unlikely grouping of references celebrating love, creativity, ceremony and independence of thought.

The artist depicts figures such as Aspasia, Eileen Gray and D.H Lawrence alongside Sudanese courting couples and Bhutanese royalty. Their coexistence as subjects in the exhibition traces an idiosyncratic and tangential body of research that incorporates references to colonialism and to a striving for human dignity and equality. Aspasia – An Influential Immigrant celebrates unexpected congruence in the lives of people divided both historically and geographically.
As a complement to the wide-ranging subject matter, Corcoran utilises varying scales, techniques and paints to identify affinities and universal motifs in seemingly disparate lives.

A recent review of the exhibition in Frieze magazine can be read here.

Vanessa Donoso-López

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Vanessa Donoso-López, No Fixed Colour Continuum

CANDYLAND, | Gotlandsgatan 76 | 11638 Stockholm | Sweden

17.3–2.4 2017

No Fixed Colour Continuum represents this constant misconception leading to an often feeling of displacement, forcing oneself to look back at how life use to be or would be like back home.

Cross-cultural interaction begins and ends with difference; new places, new behaviour, new language. It may seem that the inherent variability of cross-cultural interaction and biculturalism prevents any patterns or generalisations from being established. What is established however, is not a universal model or fixed pattern, but a universal motion of balancing between two cultures, being near and far, being different and accepted.

The displacement of the individual to an unknown geografic space, as a deliberated act of placing oneself in an alien context, becomes a journey not only spatial but vital, it transforms the traveler in the fundamental protagonist of a challenge that often gets initiated with the acceptation of loneliness.

 

More information available here

Many-worlds interpretation…| Geraldine O’Neill | 16.02 – 18.03 2017

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The subjectivity of perception provides each individual with a measure of the world; the communication of these various measures defines reality. Each one of us is like an artist, continuously creating our own personal worldview often unaware of just how subjective it is. Heraclitus believed that the world was ‘one and many at the same time’; the tension held in this opposition is the tension inherent to life.
-Don Foresta, The many worlds of Art, Science and New Technologies, MIT Press, 1991.

Many-worlds interpretation agus rudaí eile nach iad is an exhibition of recent paintings by Geraldine O’Neill. Drawing on a wide variety of sources, she includes objects from within her household that have personal significance as well as images gleaned from the history of painting. Her emphatic use of children’s drawings, as well as the appearance of children as subjects within her compositions harks to the manner in which they come to terms with their world. Children often conflate playing, learning and dreaming and this is an important reference within the artist’s oeuvre. The content of O’Neill’s paintings constitute a collage through the history of image making as well as the personal history of the artist. These paintings are detailed and dense, replete with allegory and symbolism. Through her fascination with emblematic devices in northern renaissance painting O’Neill recalls motifs and iconography and considers them afresh.

In larger compositions she includes miniatures in the background – scenes unfolding and adding to the narrative of the painting. This device recalls the works of Dutch painter Hieronymus Bosch (1450-1515). In his paintings, a multitude of symbols contribute to the narrative. In Minion Man, O’Neill draws on the imagery from The Haywain Triptych by Bosch. On the closed exterior of the triptych, a wayfarer repels a dog with his stick. O’Neill pictures Bosch’s ‘wayfarer’ in a palimpsest of her own painted histories. While the wayfarer journeys forth, a young child looks outward; his eyes glazed in reverie. The appearance of the two figures together conjures ideas of exploration and the pursuit of knowledge through adventure and play. However there are also dangers lurking in the background and challenges ahead. The tension between these two worlds is a defining characteristic of the work and as such renders it both solemn and frivolous. As art historian Angela Griffith has noted in a recent article in Irish Arts Review;

Despite knowing the wider cultural, social and political contexts of the objects and artworks (re)presented, O’Neill does not create polemical works. Rather, through the beguiling visual properties of her paintings she seeks to draw the viewer out by drawing them in – compelling them to look, to see and, ultimately, think.

Within these paintings various realities co-exist creating a palimpsest where many worlds merge. By reproducing and combining images, as well as using different marks and gestures within the language of paint, O’Neill’s work adds a personal voice to an ongoing conversation that spans the history of western art to the present day.

Alice Maher

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Hybrid Histories: Alice Maher in conversation with Catherine Morris

Wednesday, March 15 at 6:00 PM7:00 PM

Mhairtin Ui Chadhain Theatre, AB 2041B, Trinity College, Dublin

Visarts will present world-renowned Irish artist Alice Maher, and author/former cultural co-ordinator of Trinity College, Catherine Morris, for a one of a kind event. ‘Hybrid Histories: Alice Maher in conversation with Catherine Morris’ will see two of Ireland’s most prominent names in Irish art and culture discuss Alice’s long and fruitful career in both Ireland and abroad, as well as her involvement with the Artist’s Campaign to Repeal the Eighth and other projects. There will be a Q&A session with the audience at the end of the talk whereby you are invited to ask questions of your own.

Admission is free, more information available here.

Aileen Murphy

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Aileen Murphy will take part in a group exhibition at Privateoffspace, Frankfurt am Main, Germany. The show curated by Henning Strassburger and titled Pressing your face in wet grass will also feature work by Stephanie Koesling, Elif Saydam, Anders Dickson, Maximilian Arnold, Jan Zöller and Zoe Field.

The exhibition runs April 7th until May 14th, 2017.

More information available here.

 

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Sean Lynch

The Douglas Hyde Gallery, Dublin

February 17 – April 5
Sean Lynch will present an exhibition of new work at the Douglas Hyde Gallery, Dublin. Lynch’s videos and installations bring attention to overlooked, misunderstood, farcical or fabricated chronicles and narratives. The photographs are accompanied by the Tau Cross of Kilnaboy, a national monument of great cultural significance, which has been temporarily relocated to the Douglas Hyde Gallery for the duration of the show.

More info

Altered Light | Kathlyn O’Brien | 12.01 – 11.02 2017

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Kathlyn makes detailed and idiosyncratic sculptures from a range of found and collected materials, often repurposing objects, salvaged and procured. Many of the structures appear shrine-like, maquettes that look like reliquaries to house treasured or sacred items. Altered Light presents a series of objects that have been transformed; they have borne metamorphosis through artistic intervention.

Many of these artworks offer us a glimpse into a world of making. They are the physical manifestation of thinking and dreaming through assemblage. Within these sculptures the external world and its structures mingle with the internal world of ideas. The work is buttressed by an instinctual understanding of architecture and carpentry. Kathlyn’s fluency with the handling of materials enables her to think through making and to project dream like structures directly from the inner eye into physical existence – she is a maker who thinks and dreams through the act of making.

Altered Light comprises a number of assemblages that are quiet and unassuming though powerful and resilient. This exhibition is the first solo exhibition of work by Kathlyn since 2011. Her work has often gone under the radar though not for her contemporaries. She has worked confidently over the years, untroubled by the flotsam and jetsam of art world trends. Within these strange objects is a world of ritual and respect that centers on the positive, regenerative aspect of destruction.

This is a particularly exquisite exhibition as the creation of these works span decades. Some works the artist has been developing gradually for years, some have been at stage of completion awaiting a final unknown component and others have been constructed in bursts of enthusiasm for fleeting thoughts. Kathlyn resurrects forgotten items and bestows on them a sense of renewed relevance. She gives them a second life.

 

Only connect | Ali Kirby & Christopher Mahon | 05.01 – 08.01 2017

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Kevin Kavanagh is pleased to present ‘only connect’, a two person exhibition of work from emerging artists Ali Kirby and Christopher Mahon.
The immediacy and ubiquity of digitized connectivity has revolutionized ways of interacting socially, romantically and in relation to inhabited spaces both public and private. Boundaries morph and fragment; between people, work, leisure, public and private space. Action, and experience, is fragmented.

Through a use of both traditional fine art techniques and materials, and those traditionally associated with architecture and building, Kirby and Mahon quietly underline the primal nature of, and need for, material connection: with our environment, and with others.

Through reliance on solid material and subtle architectural interventions, the seemingly paradoxical suggestion is made that to connect more, connect less: ground bodies – and all they can do – in visceral sensory experience.

Only connect!….Live in fragments no longer”

Ali Kirby (b. Dublin, Ireland) graduated in 2014 with first class honours in Fine Art from LSAD, specialising in Sculpture & Combined Media. Kirby is the recipient of the Fire Station Artist’s Studios Sculpture Workshop Award & Bursary 2016 and the RHA Studio Residency Award 2015. Recent exhibitions include all shimmers here (2016) MART Gallery, Dublin, Describing Architecture – Memory and Place (2015) City Assembly House, Dublin, the 185th RHA Annual Exhibition (2015) Royal Hibernian Academy, Dublin, Periodical Review #4 (2015) Ormston House, Limerick, Periodical Review #4 (2014) Pallas ProjectsDublin, Essays for the House of Memory (2014) Ormston House, Limerick, Single Channel (2013) Chartier Arts Venue, Connecticut, USA, Undertow (2012) the LAB, Dublin and Undertow (2011) Ormston House, Limerick.

Christopher Mahon (b.1988), recently completed an MA in Art and Research Collaboration, IADT (2016). Recent exhibitions include Illusions of Beloved Objects, Basic Space (2016), This is Public and Sexy, curated by RGKSKSRG, (2016).

Nevan Lahart & Paul McKinley

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Works by Nevan Lahart and Paul McKinley are included in this year’s Art of the State Exhibition 2016, entitled IAWATST. The exhibition opened in The Printworks, Dublin Castle in November and will travel to the The Alley Arts and Conference Centre in County Tyrone on December 13th before returning to The Lab in Dublin in February 2017.

Further information can be found here

 

Mick O’Dea

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Mick O’Dea will launch the exhibition, From Edge To Edge, in Glór, Ennis, Co.Clare on Friday December 9th at 6.30pm. The exhibition features work by Mick O’Dea, Aideen Barry, Brian Bourke, Barrie Cooke, John Gibbons, Seán Keating, Tom Molloy, Sidney Nolan, Deirdre O’Mahony, Jean Regan, Camille Souter and Samual Walsh.

More information can be found here

 

Alice Maher

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rwa_angela-carter_strange-worlds_alice-maher_cassandras-necklace_galleryWork by Alice Maher is being shown as part of Strange Worlds: The Vision of Angela Carter at the Royal West of England Academy, from December 10th 2016 – March 19th 2017.

More information can be found here.

Slips and Glimpses | Robert Armstrong & Anna Bjerger | 17.11 – 17.12 2016

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Painters have a complex relationship with their source material. While it provides them with vital information and can often stimulate certain illuminating reactions within them, it can also act as a self-imposed limit, which, once introduced, must be escaped from. Slips and Glimpses, an exhibition of new work by Anna Bjerger and Robert Armstrong delivers moments of both vivid immersion and profound escape.

Bjerger’s paintings often reference found imagery such as old magazine clippings. While the figures and objects which populate her paintings may seem largely unrelated, they are connected by a curious sense of timelessness. Or rather, that they exist in a time to which they do not belong. Through her paintings Bjerger provides a home for these displaced images, while simultaneously pointing to their outsider status. Their treatment is at once tender and removed. Cotton, for instance, depicts the torsos of two children wearing white t-shirts. One of the children’s t-shirts appears to be spattered with blood. But on closer inspection, the spatters extend extra-diegetically onto the t-shirt of the second child in a manner that could only have been made by the external hand of the painter. This deceptively simple gesture creates a mysterious tension between the world within the painting and that without. Such devices serve to both disorient and intrigue, allowing us glimpses into moments of great intimacy, to which we remain none the wiser.

Similarly, Armstrong’s paintings act as a space in which time and reality are made lusciously slippery. Drawing on sources such as masterworks from art history, ancient archeological sites and biblical narratives, Armstrong’s worlds both collide and withdraw. The cloud, a recurring motif in paintings such as A Cloud for Sigiriya and Humility after MW will often act as a unifier of these many worlds, bringing together earth and sky, figuration and abstraction, past and present, by floating or resting gently in their interim. Armstrong’s paintings search through the unknowable terrains of the past. But through his energetic and gleefully inventive use of paint, it is always the unforeseen, the strange, the new that emerges.

This exhibition combines the practices of two greatly accomplished painters, whose mutual admiration and respect for one another and for their chosen medium is distinctly evident. Through their work, both painters offer a surface on which content and materiality is treated with equal importance. Within these paintings, the origin and its varying forms of transition can safely co-exist, undisturbed by the passing of time and its consequences.

Anna Bjerger (b.1973) lives and works in Älmhult, Sweden. She has recently held solo exhibitions in David Risley Gallery, Copenhagen, 2016, Galleri Magnus Karlsson, Stockholm, 2015 and Galleria Monica de Cardenas, Milan, 2014. Her works are held in many collections, including Louisiana Museum of Modern Art (DK), Moderna Museet (SE), Zabludowicz Collection (UK) and Stedelijk Museum, (NE). Bjerger is represented by David Risley Gallery, Copenhagen and Galerie Magnus Karlsson, Stockholm.

Robert Armstrong (b.1953) lives and works in Dublin. Armstrong is Head of Painting in the National College of Art and Design and is a Founder Member of Temple Bar Gallery & Studios, Dublin. Recent solo exhibitions include a presentation at VOLTA New York (2015), and Assumptions (2014) Kevin Kavanagh Gallery, Dublin.

VUE | Dublin | 2016

Written by Harry on . Posted in Art Fairs

Kevin Kavanagh was pleased to participate in Vue Contemporary Art Fair at the Royal Hibernian Academy from November 3rd – 6th. The presentation featured work by Robert Armstrong, Dermot Seymour, Sonia Shiel, Sinéad Ní Mhaonaigh, Mick O’Dea, Diana Copperwhite, Alice Maher, Agnes De Vlin, Tadhg McSweeney and Kathy Tynan.

Ulrich Vogl

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ackk_rheinrad_abendsonne-web

Alongside Hannah Beck-Mannagetta, Ulrich Vogl has curated the exhibition Never Shown on Purpose, opening 4th November, running until 14th January in CIRCLE1, Berlin