14th April — 8th July 2018
Alice Maher will be showing new work at EVA International as part of the Artists’ Campaign to Repeal the Eighth Amendment.
The Artists’ Campaign to Repeal the Eighth Amendment was set up in 2015 by Cecily Brennan, Alice Maher, Eithne Jordan, and Paula Meehan. It began as an online campaign appealing to fellow artists, writers, musicians, and actors to put their names to a statement calling for a repeal of Eighth Amendment of the Constitution of Ireland (Article 40.3.3) that equates the life of a pregnant woman with that of the foetus. Three thousand artists have signed the petition so far, demanding the repeal of a law that has caused great mismanagement of women’s health care in Ireland and is a violation of international human rights. The aim of the campaign group is to promote national and international awareness of the restrictive reproductive laws of Ireland and to encourage and inspire other groups and activists to use cultural means to promote social change.
More information here.
Collections and Context
30 March – 8 July 2018
Sonia Shiel will exhibit work alongside Amanda Coogan, Martin Healy, Fiona Kelly, Alice Maher, Suzanne Mooney, Brian O’Doherty, Garrett Phelan, The Project Twins, and Sonia Shiel Curated by Chris Clarke and Fiona Kearney
Over the past 14 years, the Glucksman has been privileged to show many ambitious site-specific works by Irish artists. DOUBLE TAKE: Collections and Context looks back to some of these innovative moments within our exhibition history by recreating displays by artists who are also represented in the UCC Art Collection. From dramatic gallery interventions to intimate moments of architectural response, art installations from previous Glucksman exhibitions are now shown together with the artist’s work from the UCC Art Collection. In doing so, DOUBLE TAKE invites viewers to consider how we see and understand art in different contexts. The significant presentation of Brian O’Doherty’s works in the Sisk Gallery is part of a larger focus on the artist’s work generated through the One, Here, Now restoration project at the Sirius Arts Centre which is on display in Cobh throughout 2018. DOUBLE TAKE is funded by University College Cork, the Arts Council of Ireland and private philanthropy through Cork University Foundation.
Find out about visiting the Lewis Glucksman Gallery here.
An Act of Hospitality can only be Poetic
Group Exhibition at Highlanes Gallery,
‘An Act of Hospitality can only be poetic’ – Jacques Derrida
Stephanie Deady and Vanessa Donoso López will exhibit work in a group show alongside Samuel Laurence Cunnane, Willie Doherty, Anthony Haughey, Dragana Jurisc, Ronan McCrea, Isabel Nolan, Mairead O’hEocha, Kathy Prendergast, Tamsin Snow & Sarah Tynan.
Inspired by a quote by Jacques Derrida, this exhibition curated by Linda Shevlin and Aoife Ruane seeks to present works that responds to themes of hospitality, identity, friendship and the multitude of journeys and conflicts encountered to attain them.
Organised in association with Age and Opportunity as part of the nationwide Bealtaine Festival – celebrating the arts and creativity as we age.
More information here.
International Art in Cornwall
Sean Lynch will take part in an exhibition titled, Groundwork alongside Francis Alÿs, Janet Cardiff, Adam Chodzko, Tacita Dean, Manon de Boer, Andy Holden and Rosemary Lee.
Groundwork has four strands: a season of international contemporary art opening in May 2018, field trips, residential workshops and an ambitious learning programme. Supported by funding through Arts Council England’s Ambition for Excellence scheme, Groundwork is organised by CAST (the Helston-based Cornubian Arts and Science Trust) in partnership with Kestle Barton, Newlyn Art Gallery & The Exchange and Tate St Ives. With an emphasis on moving image, sound and performance, the programme of exhibitions and events in 2018 includes presentations of important new commissions and acclaimed works by internationally celebrated artists in venues and outdoor sites across West Cornwall.
More info here.
Vanessa Donoso López
I shall change the way things are ordered
March 22nd – April 21st, 2018
Opening reception Thursday March 22nd at 6pm.
‘Initially transcribed in Sumerian on 12 clay tablets, the material link between Gilgamesh and its birthing substance is further compounded in this exhibition. It is also fitting that this most pliable of mediums is paired with a piece of fictive narrative that, having undergone countless translations, exists now as a series of conflicting versions. Donoso López’s interpretations are straightforwardly depictive. In both drawing and sculpture, the characters regard us with uniform expressions; we see Gilgamesh, known to be a cruel king, exert his authority with a brute physicality. We see Utnapishtim and his wife – depicted alongside the animals they ushered onto the ark – who Gilgamesh approaches in his search for the youth restoring flower. The flower itself is portrayed as a simple floral substance without reference to its potential magical attributes.
Concurrent with this literal quality, however, is a marked blend of textual interpretation and embodied experience, the substantive crux of the work being the clay retrieved from the three sites across Spain. Integral to how they function in the gallery is the extended movement through space their making entailed, a repeated transitioning across borders geographical and political. Now directly embodying these locations, the works are rich with incidental detail and haptic content, with close and recurring contact: the viewer’s experience, though primarily ocular, is tangibly charged with the artist’s travels, with each micro-instance of petrichor in the studio as the clay, upon being wettened to be mixed with ink, releases a rain-rich scent’.
-Extracted from On Clay and Transitional Spaces, an essay by Sue Rainsford. On Clay and Transitional Spaces was commissioned on the occasion of I shall change the way things are ordered.
Full text available here.
The Source Arts Centre,
Curated by Pluck Projects.
Exhibition opening at 7.30 p.m. on Thursday 29th March.
Vox Materia comprises a multi-part installation of sculpture and works on paper. Stemming from Maher’s consideration of a 12th Century mermaid carving at nearby Kilcooley Abbey, this show meditates on voice and silence. The mermaid is a hybrid creature that transgresses boundaries between human and animal, and is often associated with traumatic loss of voice. Maher deploys the mermaid not as a motif, but as an ambiguous and powerful conceptual tool to explore ideas of language, embodiment, agency, and autonomy.
For further information please visit the Source Arts Centre website.
February 15th – March 16th 2018
‘Elysian Fields’ refers to an afterlife in Greek mythology, a place where the souls of gods and heroes as well as those associated with them would remain after death. Greece is a country dealing with mass displacement of people from war torn countries and though economically unstable, their contribution to aiding those who have crossed the Aegean Sea merited a nomination for the Nobel Peace Prize in 2016, dedicated to all Greek Islanders.
Within this exhibition, Paul McKinley considers modern conceptions of Greece as compared with its ancient history. His paintings feature aspects of Greek landscape; islands, mountains and cliff edges, often informed by compositions within art historical paintings. These landscapes are created from an amalgamation of various places and as such they are not one specific location, but rather an essence of place.
Within Elysian Fields, McKinley’s work charts the present-day representation of Greek landscape while the titles of the paintings subtly refer to parallels between heroes of ancient Greek mythology and the unwritten contemporary epic, fashioned from the plight of individuals in exile.
‘Stephanie Deady works from photographs, found images and from memory to create paintings of her surroundings, both experienced and recalled. On wooden panels, the paintings depict part of Deady’s studio, the counter top in the kitchen of a friend’s house and the corner of a living room in Italy, among other alcoves. Within these compositions small and precise brush strokes present austere and pared back scenes. To counter this, other paintings present landscapes and interiors, fragmented by gestural brushstrokes. Deady often focuses on one image and through close observation; she presents various iterations of the same space. In this way, subtle changes in the representation of the space become apparent. Minor adjustments to the perspective and horizon allude to a concern and curiosity with how a place is transformed in its representation.’
Extracted from Primed Vision by Ingrid Lyons
Links to previos shows
Aileen Murphy at Deborah Schamoni, Frankfurt
Naked Cheerleaders in My Chest, a solo show by Aileen Murphy is on view from 02.12.17- 17.02.18 at Deborah Shamoni, Frankfurt.
More info and text by Ingrid Lyons available here.
Diana Copperwhite at dlr Lexicon
Opens Saturday 3rd of February at 2pm
Diana Copperwhite will present new work in a joint exhibition at dlr Lexicon. This highly anticipated series will be presented alongside design pieces by Shirley Copperwhite in a collaboration that has evolved from both sisterhood and art/design crossover. The exhibition, titled Double Vision will take place at dlr Lexicon on Saturday the 3rd of February at 2pm. An informal talk and tour with the artists will take place before the opening at 1.30pm.
Artist in Conversation
Wednesday 21 February, 6.45-7.45pm Project Room
Join Diana Copperwhite in conversation with TCD Professor in Art History and Director of TRIAC Yvonne Scott; they will talk about the themes and concepts in Diana’s work.
More information available on the dlr Lexicon website.
Cité Internationale Des Arts Winners 2018
TBG+S Nominated Artist Kathy Tynan
Kevin Kavanagh, Dublin and Temple Bar Gallery + Studios are delighted to announce that artist Kathy Tynan has been awarded a residency in Paris as part of the Cité Internationale des Arts programme.
More than 60 artists from around the world will be in residence in 2018 at the Cité Internationale des Arts in Paris. The residency programme is open to foreign artists, who wish to develop a project of research in Paris during a period of three or six months. These artists may be identified by the Institut Français, Alliances Françaises, cultural services of the French Embassies or French and foreign cultural organisations.
Kathy will work from a studio in Paris for three months in 2018. During her residency, Kathy will spend time discerning the recurrent motifs and patterns of the City. She will focus particularly on interventional man-made marks which feel strange or out of place within the urban landscape.
More information available here.
‘Dead Her’ (2018)
The Void, Derry
Saturday 20th January, 4pm
Image Credit:Courtesy of the Artist, Sonia Shiel
Still from Dead Her, 2018 – a narrated presentation.
Sonia Shiel is a Dublin born visual artist, whose works synthesise object, image and sound in performative and immersive installations. At Void, Shiel will premiere Dead Her, a narrated visual presentation, written, directed and performed by the artist. Dead Her is one of a number of recent narrative works that will feature in her new book of short stories each exploring the pursuit of creative agency, – or living – with and without art. It will be published in 2018, by UCD‘s Parity Studios Press.
Shiel has had exhibitions at The Crawford Art Gallery, Cork; the Irish Museum of Modern Art, Dublin; the Lewis Glucksman Gallery, Cork; ISCPNew York; Temple Bar Gallery and Studios, Dublin; Kulturbunker, Frankfurt; Rua Red, Dublin; the Butler Gallery, Kilkenny and the RHA Gallery I and II, among many others. Recent performances and readings include Treeline, TBGS, Artbox and the NCAD Gallery. She has been the recipient of many awards, and international residencies, with the support of the Arts Council and Culture Ireland, and has completed recent fellowships at Fordham Law School, New York and the School of English, Drama and Film at UCD.
More information available here.
Omega Workshop: An Experiment in Counter-Fashion
January 26 – March 10, 2018
Elizabeth Foundation of the Arts,
323 W. 39th St., 2nd Floor
Elaine Byrne will take part in a project alongside Carmen Argote, Nick Cave, Sky Cubacub, Frau Fiber, Friends of Light, Abigail Glaum-Lathbury, Ruby Hoette, Project KOVR, Fawn Krieger, Jennifer Moon, Marloes ten Bhömer, Marisa Williamson, Andrea Zittel.
Opening Reception: Friday, January 26, 6 – 8 PM
Curated by: Rational Dress Society
Since the birth of fashion in the 19th century, counter-fashion—the practice of dressing to signal political solidarity—has been a site for critical intervention and utopian experimentation amongst activists, artists, and designers. Fashion is often mobilized to effect political change in moments of unrest. Omega, the last letter of the Greek alphabet, continues this tradition, suggesting clothing for “end times.” In Omega Workshop, our clothes are reconceived as an act of resistance in dark times—a collective reimagining of our relationship to dress.
For Omega Workshop, the members of the Rational Dress Society bring together artists, designers and activists who mobilize the language of clothing to critique the existing fashion system and offer alternatives. The exhibition will function as an archive and a laboratory, intended both as a tool to spur the production of future counter-fashion, and a resource for artists and designers interested in pursuing alternative dress. The run of Omega Workshop coincides with New York Fashion Week, offering a necessary counterpoint to the consumer-driven spectacle of the fast fashion in New York’s historical (and diminishing) Garment District.
More information available here.
Songs of Peace: Francis Ledwidge
Centre Culturel Irlandais, Paris
25/01 – 13/05Opening night: Thursday 25 January, from 6.30 to 8pm
Mick O’Dea will show work alongside Sven Anderson, Patricia Burns, David Farrell, Clare Langan, Niamh O’Malley, Sasha Sykes
The Irish poet, naturalist, activist, nationalist and soldier, Francis Ledwidge, died in Ypres in 1917 shortly before his thirtieth birthday. A century later, curator Sabina MacMahon has selected work by seven visual artists in response to the life and work of Ireland’s soldier poet. Ledwidge’s final volume of poems ‘Songs of Peace’ illustrates his poignant longing for the countryside of his home county of Meath. This intimate connection with landscape together with the conjoined themes of love and loss are explored in different ways by each artist presented in the show – an ode to the contemporary relevance of the poet’s oeuvre.
This exhibition is presented in conjunction with the Solstice Arts Centre, Co Meath.
The curator Sabina MacMahon will give a guided visit of the exhibition at 6pm on the opening night (reservation recommended).
Further information available here.
Quotidian Tensions between the Domestic and the Unexpected
Thu 11th January – Sat 17th February
Solo exhibition by Vanessa Donoso López
Thursday 11th January 2018 – Saturday 17th February 2018
The Golden Thread Gallery is delighted to be starting the New Year with a new exhibition by Dublin based artist Vanessa Donoso López. There is an opening reception on Thursday 11th January between 6.00 & 8.00pm.
The following day between 1.00 & 2.00pm (Friday 18th January) the gallery will host a public session featuring the artist in conversation with Gallery Director Peter Richards. The conversation is aimed at those of you who would like to find out more about the artist’s concerns, motivations and her approach to making this exhibition.
More information available on the Golden Thread Gallery Website.
January 11th – February 10th, 2018
Opening reception January 11th at 6pm.
Stephanie Deady works from photographs, found images and from memory to create paintings of her surroundings, both experienced and recalled. On wooden panels, the paintings depict part of Deady’s studio, the counter top in the kitchen of a friend’s house and the corner of a living room in Italy, among other alcoves. Within these compositions small and precise brush strokes present austere and pared back scenes. To counter this, other paintings present landscapes and interiors, fragmented by gestural brushstrokes. Deady often focuses on one image and through close observation; she presents various iterations of the same space. In this way, subtle changes in the representation of the space become apparent. Minor adjustments to the perspective and horizon allude to a concern and curiosity with how a place is transformed in its representation.
There is a sense of transience and solitude, as traces of figures and furniture appear to populate the compositions momentarily. Three panels show a studio space in differing stages of use. Each presents evidence of artistic activities, though the architecture remains the emphatic focus. Viewed together, the panels become a sequence-an archive of evolving spaces. They are deceptively simple looking and in sequence they move incrementally towards abstraction. Though areas of the compositions often reveal an intense dedication to the depiction of incidental detail within the architecture. Such nuance in the rendering of light fixtures, pipes and skirting boards reveals a preoccupation with precision and an almost ascetic approach to the final touches that complete the paintings.
Deady has a way of imbuing blank spaces, whitewashed walls, ceilings and floors with texture and atmosphere. The paintings contain a kind of warmth that belies their colour palette as well as their, often frugal, composition. Regardless of the objects and figures that may appear fleetingly, there is a reassuring presence within the spaces that provides a constant.
X X V I
The props assist the house
Until the house is built,
And then the props withdraw –
And adequate, erect,
The house supports itself;
Ceasing to recollect
The auger and the carpenter.
Just such a retrospect
Hath the perfect life,
A past of plank and nail,
And slowness, – then the scaffolds drop –
Affirming it a soul.
Stephanie Deady (b.1990) Limerick, graduated with a BA Honours in Fine Art specialising in painting from Limerick School of Art & Design in 2014. Her work has been exhibited as part of the Temple Bar Gallery + Studios 6th Annual Book Fair. Her work has also been purchased by the OPW State Art Collection and was selected as part of last years 186th RHA Annual Exhibition. Moving from Dublin, where she spent her time in Jaja’s Studios, Stoneybatter as well as receiving an Artist Summer Studio initiative at DIT Grangegorman, Deady is now based in Callan, Kilkenny having been the recipient of the prestigious Tony O’Malley residency.
Editor – Stijn Maes
Design – Jedidja Samyn
Texts – Sebastián Gonzalez de Gortari, Nevan Lahart
Photography – Gillian Buckley, Nevan Lahart
Edition of 400
Published by KRIEG, Belgium in collaboration with Kevin Kavanagh, Dublin (2017) €15
The Devil in the Detail
24 NOVEMBER 17 — 20 JANUARY 18
Ronchini Gallery, 22 Dering Street, London.
Ronchini Gallery, London presents a solo exhibition titled The Devil in the Detail by Sean Lynch.
For more information please visit the Ronchini Gallery website.
DUBLIN CITY GALLERY – THE HUGH LANE
Wednesday 29 November – 11am
Artist Elaine Byrne will discuss her work on view in The Ocean After Nature.
During these discussions participants are invited to join Gallery curators and guest speakers in an exploration of the Gallery’s permanent collection, exhibitions and conservation projects, followed by tea or coffee with the speaker to allow for further discussion.
Fee for talk €5 and refreshments included. No booking required, although places are limited.
More information available here.
To read a recent review of Byrne’s piece by Gemma Tipton please visit The Irish Times website.
Sean Lynch at Ronchini Gallery, London
Sean Lynch will present a new exhibition Devil in The Detail at Ronchini Gallery, London, opening 23rd November 2017 and running until 20th January 2018.
Periodical Review at Pallas Projects & Rectangle Squared at NCAD Gallery
As part of Dublin Gallery Weekend Sonia Shiel will present the installation of the audio work Rectangle Squared at NCAD Gallery on the 24th November, 2017, 5-9pm. Copies of the new publication Rectangle Squared will be available from the gallery. Shiel will also take part in this year’s Periodical Review at Pallas Projects. Periodical Review is an annual survey of recent Irish art. The exhibition opens 24th November 2017, 6-8pm and runs till 20th January 2018.
the nature of drifting
November 23rd – December 23rd, 2017
Land lies in water; it is shadowed green.
Shadows, or are they shallows, at its edges
showing the line of long sea-weeded ledges
where weeds hang to the simple blue from green.
Or does the land lean down to lift the sea from under,
drawing it unperturbed around itself?
Along the fine tan sandy shelf
is the land tugging at the sea from under?
-Elizabeth Bishop (1935)
Ulrich Vogl presents a series of new works across a variety of media. He takes 3D maps as his starting point, playing and working with them he changes their context. In day and night / night and day, the ragged edge of a landmass contrasts with the rigid boundary between one day and the next represented by the international date line. Vogl explores the aesthetic of these mapping techniques to consider the passage of time and various discrepancies that occur in its representation.
For the piece Alpen – half restored, Ulrich Vogl commissioned the conservator for contemporary art in Hamburg and Berlin, Claartje van Haften, to restore a map of the Alps by removing streets, cities and other symbols of civilisation using the same restoration techniques often used to repair damaged paintings. In doing this, he suggests a landmass free from human colonisation. The ‘ready-made’ map gets almost completely over-painted and thus becomes a painting. ‘Back to nature’ in this case actually means leaving many human traces behind. In the process of overlaying the map, manipulating it and altering it gradually through the medium of paint, familiar topographies are subverted.
The fifteen maps in the exhibition will be presented alongside a previous installation by Vogl that has also centered on the issue of land and territory as well as a film by Vogl titled, House West.
House West / Dokumentation, installation, 2 Min, 2004. Available to watch here.
Nevan Lahart: Vic Sims of the Hollow Gram [Book Launch]
30.11.2017 (7 pm)
KRIEG, Belgium presents a new publication titled, Vic Sims of the Hollow Gram. This is the first monographic publication on the work of Irish artist Nevan Lahart and it features an autonomous text by Sebastián Gonzalez de Gortari.
Lahart’s artistic practice spans a career of more than twenty years, including numerous monumental projects, full of word plays, (art) historical references, and life as he finds it. In his more recent work, he beckons us to pay attention to alternative theories and their potential to tell us truths that have been obscured in the past for reasons both benign and malevolent.
Meanwhile, you can still visit Nevan Lahart’s solo exhibition ‘Liberty Party Shop’, which runs until 30.11.2017.
Hours are 9am–6pm, Monday through Friday. Admission is free. Late openings: November 20 & 30 (until 8pm).
More information available at the KRIEG website.
‘These paintings take the viewer across the dystopian notion of a Brexit on the border’.
Dermot Seymour, born in Belfast (1956), lives and works in Mayo. Recent solo exhibitions include Fliskmahaigo, Kevin Kavanagh, Dublin (2014), Fish, Flesh & Fowl, Golden Thread, Gallery, Belfast (2011) and at Centre Culturel Irlandais in Paris (2012). Seymour has also exhibited with Solstice Art Centre, Navan (2012), Millennium Court Arts Centre, Portadown, Co. Armagh (2004) and at Westport Arts Festival, The Custom House gallery, Westport (2003). Recent group exhibition include Instant Crush, Kevin Kavanagh, Dublin (2014), The Horse Show, Kinsale Arts Week, curated by Gemma Tipton and Patrick T.Murphy (2011), In the Mind’s Eye, State Art Collection Touring Exhibition (2009), The Happiest Country in the World, An t-Oireachtais Exhibition, Curated by Cliodhna Shaffrey and Ruairi O’Cuiv (2005) and Art for Amnesty, In the Time of Shaking, Irish Museum of Modern Art, Dublin (2004). Dermot Seymour is an elected member of Aosdana and is the recipient of numerous awards including the Marten Toonder Award (1996) and the Cultural Relations Committee / An Roinn Gnothai Eachtracha award (1994). Seymour’s work is held in numerous public and private collection including the European Central Bank, AXA Insurance, the Office of Public Works, the University of Ulster, the National University of Ireland, Galway and the Arts Council of Ireland.
Night Table, an exhibition within Constellations
Curated by Fergus Feehily
3rd – 11th November, 2017 / Project Room, the Exhibition Laboratory Project Room, Lönnrotinkatu 35 Helsinki.
Night Table is an exhibition with work by Emma Ainala, Andrew Vickery, Liisa Karintaus, Kathy Tynan, Jon Verney, Laura Wesamaa, Christina Read and Lewis Miller.
Conversations In Light And Dark, a two day symposium will run 8th and 9th November, 2017 / Exhibition Laboratory, Merimiehenkatu 36 C, inner yard, 00150 Helsinki.
There will be presentations and panel discussions from Terry Winters, Declan Long, Alex Olson, Yuki Okumura, AGF aka Antye Greie-Ripatti, Kukka Paavilainen, Jonatan Habib Engqvist, Daniel Werkmäster and Aino Lintunen.