Author Archive

Diana Copperwhite

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Diana Copperwhite’s exhibition, Depend on the Morning Sun, runs from October 27th till December 17th in  Gallery Thomas Jaeckel, 532 W 25th St, New York

Mick O’Dea

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m-cullen-2Work by Mick O’Dea is on show in Real Real, as part of the Imagine Arts Festival, Waterford from 20th – 30th October. More information can be found here.

WI | Stephen Loughman | 13.10- 12.11 2016

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Kevin Kavanagh presents WI, an exhibition of new paintings by Stephen Loughman

 

And did those feet in ancient time
Walk upon England’s mountain green?
And was the holy Lamb of God
On England’s pleasant pastures seen?
And did the countenance divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among those dark satanic mills?

– from Jerusalem by William Blake

 

WI comprises a suite of recent paintings by Stephen Loughman that take vintage postcards
issued by the Women’s institute as their source material and subject matter. The use of such
postcards, which were bought in bulk at online auctions, represent a departure from Loughman’s
previous method of painting from film stills and yet the work retains a filmic quality. Images of
the English countryside appear lushly detailed though curiously deadpan and while the source
material documents picturesque landscapes, their corresponding paintings appear densely
ominous, as plotted points within a broader narrative.

A history of the Women’s Institute spanning over one hundred years includes the suffragette
movement which began in 1913 as well as their contribution to the war effort during both World
War I and World War II. At the beginning of the 1920s the institution adopted Jerusalem as their
anthem. Originally written by William Blake in 1804, the poem celebrates ‘England’s green and
pleasant land’ and centers on rural countryside as the utopian ideal.

Within WI visual motifs become apparent; tunnels, bridges and arches reference architectural
intervention in the landscape as churches and thatched cottages are depicted amidst verdant
forests and gardens. In an art historical context the depiction of the English countryside has long
been bound up with national identity, and has continually acted as a cypher for collective
consciousness. In her book Wanderlust, Rebecca Solnit wrote, ‘At the beginning of the eighteenth
century, English aristocrats had linked nature with reason and the current social order, suggesting
that things were as they should be. But nature was a dangerous goddess to enthrone. At the latter
end of the century, Rousseau and romanticism equated nature, feeling, and democracy,
portraying the social order as highly artificial and making revolt against class privilege “only
natural” (Solnit, R, 2014, p109).

Loughman’s decision to work with postcards made by members of the Women’s Institute
alludes to the social history of an organisation in which the word ‘domestic’ has been applied not
only to the home but to the home country and the idea of nationhood. By referring to such
source material, Loughman connects aspirations towards patriotism and religion with the English
landscape and in this way the use of such imagery alludes to class structuring and social order.

Through time spent with Loughman’s paintings, it begins to emerge that a history has been
obfuscated or perhaps veneered. These seemingly idyllic images appear constricted – imbued
with a sense of unease or discomfort. The implication of such a device within WI attests to
Loughman’s ability to connect the depiction of rural England with its simultaneous social history
and, as in the artist’s previous work, to modify or drastically alter the mood or tone of an image
through the medium of paint.

Mick O’Dea

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odea-mick-stephen-821da1Mick O’ Dea’s portrait of Stephen McKenna is featured in ”Tradition and Innovation” a selection of work from the RHA collection as part of the Clifden Arts Festival. More information can be found here.

Alice Maher

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The Glorious Maid of the Charnel House, an exhibition of new watercolour drawings by Alice Maher, is at Purdy Hicks, London, from September 21st – October 15th. More information, including the new location of Purdy Hicks, can be found here.

Paul McKinley

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Work by Paul McKinley is included in COE ’16 New Century Retro – A Selection of COE Prizewinners, curated by Helen O’Donoghue. More info can be found here.

Disguise The Limit | Nevan Lahart | 08.09 – 08.10 2016

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Kevin Kavanagh is pleased to present Disguise the Limit, an exhibition of new work by Nevan Lahart.

The paintings in Disguise the Limit are serenely beautiful. Lahart pictures the vast expanse of the sky; initially appearing as traditional skyscapes, this contextualisation is swiftly derailed by the inclusion of strange and suspicious cloud formations. Jet streams left in the wake of unseen aircraft allude to nefarious activities and environmental interventions. Plumes, halos, and streams of condensation cling to currents at various altitudes to create an array of patterns in which peculiar anthropomorphic swirls occur and ominous shapes evoke changes in the atmosphere.

Through the medium of paint, Lahart illuminates the signs and signifiers in our immediate environment that often elude us. His work utilises a wide variety of materials to pose questions on topics that interest him. This recent suite of paintings, in which strange shapes appear in the sky incorporate his interest in alternative histories. Through the work, he emphasises the dynamic that exists between fabrication and fact. By considering Lahart’s practice in this context, it can be regarded as a means of discussing and challenging histories and mechanisms of power that are often determinately approved as fact.

Lahart challenges our propensity to form a consensus on events and thus relegate them to false history and through Disguise the Limit, he encourages us to question the avenues of information in which we blindly trust. Many of the installations and paintings within this exhibition urge us to consider other ways of knowing, other ways of coming to terms with the world around us. His work 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.

I really don’t feel them | Carl Giffney | 01.09 – 03.09 2016

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I really don’t feel them | Carl Giffney

1hr 37mins, HD video + stereo, (2016).

I really don’t feel them is a 3 day event at Kevin Kavanagh gallery. Its central work is a feature length documentary movie by the same name, shot in The Netherlands, Scotland and Finland, produced by Carl Giffney.

The movie will be screened on the big screen once each evening at a seated viewing starting at 18.00hr. Free tickets can be booked by contacting Kevin Kavanagh gallery directly. An exhibition of printed video stills expand the event. I really don’t feel them and its related projects were made across five residencies within Frontiers In Retreat (2013 – 2018), a five year collaborative residency project across seven EU countries funded by the EU Culture Fund.

For further information please visit www.carlgiffney.com and www.frontiersinretreat.org

You can view the full film here.

 

Mick O’Dea

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Imperial CityMick O’Dea’s The Foggy Dew, first shown in the Royal Hibernian Academy in early 2016, is touring to the Ballinglen Arts Foundation and the Ballina Arts Centre, Mayo until August 21st, 2016. More information on the exhibition can be found on Ballina Arts Centre’s website.

Sinéad Ní Mhaonaigh

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Dúil, a solo exhibition of new work by Sinéad Ní Mhaoaigh runs at Limerick City Gallery of Art from 29th July – 4th September 2016. More information can be found here.

Ozymandias | Vogl, Scullion & McSweeney | 04.08 – 27.08 2016

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Kevin Kavanagh is pleased to present Ozymandias, a group exhibition of new work by Ulrich Vogl, Joe Scullion and Tadhg McSweeney.

This exhibition comprises a series of works that approach the idea of fictional architecture; worlds within worlds. Each of the artists have cultivated a practice that incorporates the act of rendering. Constructed spaces, aspects of architecture and illusion are explored in various mediums.

Abstraction and fragmentation are used to describe and deconstruct space and the forms that occupy that space. McSweeney’s work often contains elements of older works, painted surfaces and parts of preexisting sculptures. They represent a history of the artist’s own practice contained within each new piece. Scullion creates maquettes and models, which recur in his paintings as fictional monuments. For both artists, each work gives rise to another work in a practice that is generative and reciprocal. In many of Vogl’s installations there is a similar preoccupation with fabrication and invention in which fragments are reorganised to create fictional narratives through light and shadow.

The work of the three artists appears to collide and merge. Figuratively, the works support each other and pose questions on the nature of building, invention, structure and composition. Surface, reflection and shadow each play a role in suggesting various realities and illusions. The exhibition explores a sense of the Utopian in its etymological meaning, ‘eu topos’ or ‘no place’ and evokes the Utopian as a fictional realm, questioning our assumptions around fragmentation and construction in the built environment and subsequently how we interact with that environment.

Ulrich Vogl

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Das Rheinrad, a gigantic “medieval film machine” by Ulrich Vogl will hang over the Rhine river in Constance, Germany until June 2017. The project is part of the official 600 year anniversary of the Council of Constance.

 

Ulrich Vogl and Elaine Byrne

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PERIPHERIES Centre for Creative Development, Gory School of Art.

The PERIPHERIES 2016 exhibition is a group show including the work of Elaine Byrne and Ulrich Vogl as well as a collaborative work from Oisin Byrne and Patrick Hough.

Opening Reception Friday 29th July 7.30pm. Gallery opening times 11am-6pm. Sat 30th July-Mon 1st of August

More information available in the PERIPHERIES programme.

 

Sinéad Ní Mhaonaigh

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THE MARMITE PRIZE FOR PAINTING V

OPENING & ARTISTS’ TALKS FRIDAY 8/9 JULY

8 Jul 2016 – 10 Sep 2016

Sinéad Ní Mhaonaigh will take part in a group exhibition at Highlanes Galley as part of The Marmite Prize for Painting V. Thirty nine works from artists from Ireland, UK, the US and mainland Europe feature in this year’s exhibition, and were selected from over 1,200 entries from painters at all stages in their practice.

The Marmite V exhibition features works by Albane Lamoril, Richard Baker, Sarah Ball, Anthony Banks, Juan Bolivar, Philip Booth, Eleanor Breeze, Hannah Brown, Jo Bruton, Michael Calver, Diane Chappalley, Emma Cousin, Billy Crosby, Chris Daniels, Amanda Doran, Tamara Dubnyckyj, Steven Gee, Max Gomes, John Greenwood, Mandy Hudson, Clare Jarrett, Sooim Jeong, Michael Johnson, Jessie Makinson, Lindsay Mapes, Kathryn Maple, José Batista Marques, Jo McGonigal, Sinéad Ní Mhaonaigh, Oliver Mulvihill, Helen O’Leary, Bernadette O’Toole, Selma Parlour, Alison Pilkington, Christiane Pooley, Sheila Rennick, Joan Sugrue, Suzy Willey, and Daniel Woolhouse.

The exhibition launches at Highlanes Gallery on Friday 8 July at 7.30pm, with opening remarks given by artist Mark O’Kelly. A talk, led by artist and Marmite co-founder Marcus Cope and featuring a number of exhibiting artists, including Emma Cousin, Alison Pilkington, Joan Sugrue and Steven Gee, Clare Jarrett will take place the following day on Saturday 9 July at 11am. The exhibition continues until 10 September.

More information available here.

Sean Lynch

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Sean Lynch Adventure: Capital, Ireland at Venice.
The Irish Tour at the Royal Hibernian Academy
July 08, 2016 – August 21, 2016
RHA Gallery II

Combining sculpture, video and graphic elements, Adventure: Capital explores the allegories and underlying narratives of the contemporary architectural and social environment through encounters with the sculptures of John Burke, the quarries of Cornwall, megalithic ‘cursing’ stones, urban vandalism, and Irish Free State banknotes.

Alongside Adventure: Capital, Lynch presents a new video installation, Campaign to Change the National Monuments Acts, 2016 that investigates the legal status of metal detectors in Ireland. Following national controversy around the finding of the Derrynaflan Hoard, a medieval treasure trove uncovered in the 1980s, the state hastily placed a blanket ban on the public use of all devices used to search for archaeological objects. This legislation effectively destroyed the fledgling Irish metal detectorist community of Ireland. Using the tropes of a promotional video, Campaign to Change the National Monuments Acts advocates for a change in these authoritarian laws, where ideas of nationhood, individual freedom, and the need for new forms of community-led heritage are all explored on a journey narrated by Lynch’s long-time collaborator Gina Moxley.

Diana Copperwhite

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Diana Copperwhite – Driven by Distraction at the Royal Hibernian Academy

July 08, 2016 – December 21, 2016
RHA Atrium, RHA Foyer

As part of her presentation for the RHA, Diana Copperwhite ARHA will show recent large-scale paintings and a site-specific wall drawing.

“Diana Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory.”

Noel Kelly , Director of Visual Artist Ireland

Scrapyard Carnival | Sean Lynch | 07.07-30.07 2016

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Kevin Kavanagh presents Scrapyard Carnival, a new installation by Sean Lynch.

As ever, Lynch’s new work evokes the role of narrative and allegory, this time spiraling out of an event in a scrapyard in Clondalkin, on the edge of Dublin City in 2011. There, a repossession company seized a BMW 3 series motor car from notorious Celtic Tiger banker Sean Fitzpatrick, and soon organised an eBay auction where the highest bidder would get the opportunity to crush the vehicle, as a form of revenge for the wrongdoings by the banking sector upon the good people of Ireland. The resulting scene, played out as a carnivalesque drama emphasising a form of folk ritual around the economic recession, is reimagined at Kevin Kavanagh, where a fragment of the actual car, video footage and slide projections all intermingle in the gallery space, alongside a new suite of graphic works released in a special collaboration between Lynch and London-based designer Wayne Daly.

Sean Lynch represented Ireland at the Venice Biennale in 2015, along with solo presentations at Modern Art Oxford in 2014 and at Dublin City Gallery the Hugh Lane in 2013, amongst many other exhibitions, publications and projects throughout Europe in recent years. In the last year he has curated exhibitions at Lismore Castle Arts and Flat Time House in London, and will present his first solo museum exhibition in the United States at the Rose Art Museum in Boston this September.

Alice Maher

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Farmleigh

Alice Maher will take part in a group exhibition at Farmleigh Gallery, Phoenix Park, Castleknock, Dublin 15.

June 10th-August 7th

The exhibition, in Farmleigh Gallery, Phoenix Park comprises mainly sculptural work selected by artist Janet Mullarney, focusing on how the choice of specific materials makes certain sculptures work. The title refers to how the unity of both concept and the visual tangibility of the chosen material is imperative to the reading of the work, a quality that may often be overlooked. The artists are many and varied, the work is sculpture or certainly sculptural. Some of the work of the older artists, which was made in the 1990s juxtaposes well with work being made by younger artists now.

The artists are Cecily Brennan, Dorothy Cross, Maud Cotter, Aleana Egan, John Gibbons, Tony Hill, Mary Kelly, Alice Maher, Eileen McDonagh, Locky Morris, Paul Mosse, Helen O’Leary, Niamh O’Malley, Adrian Paci, Rachel Parry, Alan Phelan, Kathy Prendergast, Linda Quinlan, David Quinn, Eddie Rafferty, Charles Tyrrell, Michael Warren and Daphne Wright.

Robert Armstrong

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Robert Armstrong will show new work at Fenderesky Gallery as part of a group show titled Island. 

June 17th-July 32rd 2016.

Opening 16th June from 6 to 8 pm, 31 North Street, Belfast.

More information available here.

Ulrich Vogl

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Ulrich Vogl at Konzilstadt Konstanz with a new installation titled Das Rheinrad.
Opening June 2oth, 2016 at Marktstätte 1, 78462 Konstanz, Germany. 
Ulrich Vogl presents a film machine connected with a medieval tower at the Rhine River in Constance which will be “illuminated” on June 20th. For 365 days a wheel will spin and for 365 nights wheel, tower, light and shadow will form a gigantic film machine. Das Rheinrad is part of official celebration of the 600-year anniversary of the Council of Constance.
More information available here.
Watch a short film relating to Das Rheinrad.