Tadhg McSweeney, Ulrich Vogl and Michael Boran at VOLTA 12.
June 13th – 18th 2016.
Kevin Kavanagh is pleased to present new work from Michael Boran, Tadhg McSweeney and Ulrich Vogl at VOLTA 12.
All three artists, though working in a variety of media and with differing methodologies, are all concerned with the mutable qualities of light and space, and with the meeting of the natural and artificial world. Both Tadhg McSweeney and Ulrich Vogl employ a wide variety of materials into their work, with a particular emphasis on the everyday and repurposed, turning often-overlooked elements into quietly beautiful forms that echo phenomena from the natural world, though ones that possess a very man-made delicacy and elegance. Michael Boran is a lens-based artist whose most recent body of work examines the overlap and interplay between flora and fauna, and the manmade interventions that populate contemporary landscapes. These landmarks and objects are presented in manipulated contexts, highlighting their inherent strangeness. All the artists have made new work especially for presentation at VOLTA 12.
Kevin Kavanagh is pleased to present a solo display of recent paintings by Sinéad Ní Mhaonaigh at VOLTA NY 2016. Booth F2, Pier 90, 2nd-6th March.
More information at www.voltashow.com
Kevin Kavanagh is pleased to present recent work by a number of artists at VUE contemporary art fair at the Royal Hibernian Academy from November 05, 2015 – November 08, 2015. The presentation will feature work by Paul McKinley, Nevan Lahart, Paul Nugent, Diana Copperwhite, Oliver Comerford, Mick O’Dea, Sinéad Ní Mhaonigh, Margaret Corcoran, Sonia Shiel and Robert Armstrong.
20th May – 23rd May
Kevin Kavanagh is pleased to present new work by Nevan LaHart at Art15, London.
Kevin Kavanagh is pleased to present new work by Michael Boran, Stephen Loughman and Paul Nugent at Art Brussels 2015.
25th – 27th April
Vernissage; 5pm, Friday 24th April
Hall 3, Booth 3A-31, Brussels Expo (Heysel), Place De Belgique 1, BE-1020 Brussels
More information on the fair can be found here.
Kevin Kavanagh presented a solo display of new and recent work by Robert Armstrong at VOLTA NY 2015.
More information at www.voltashow.com
Kevin Kavanagh was pleased to participate in VUE 2014 at the RHA, Dublin.
The gallery presented a small selection of Mick O’Dea’s work, in conjunction with his sh0w The Split showing in Chancery Lane.
Kevin Kavanagh was pleased to present new work ‘A Painful Excess of Pleasure’ by Vanessa Donoso López at SWAB Barcelona 2014. SWAB ran from 02 – 05 October at the Italian Pavilion, Barcelona, Spain.
More info here.
Mark Swords, Paul McKinley, Sinéad Ní Mhaonaigh & Robert Armstrong.
Kevin Kavanagh will present a unique show featuring four Irish contemporary painters with work focusing on landscape, architecture, object orientated philosophy and theology.
Sinéad Ní Mhaonaigh b. 1977, Contours at Kevin Kavanagh, Dublin, Farmleigh (forthcoming), Paintings, Centre Culturel Irlandais, Paris, Paintings Highlane’s Municipal Art Gallery, Drogheda, Ireland, Paintings, The Living Room Gallery, New York, Selective Perspectives, Kevin Kavanagh, Last, Douglas Hyde Gallery, Dublin. Mark Swords, b.1977, Hinterlands, Kevin Kavanagh, Flying crooked, Kevin Kavanagh, Mark Swords, John Martin Gallery, London, Mark Swords, Ashford Gallery, RHA Gallery, Dublin, I won’t say I will see you tomorrow, Mermaid, Wicklow, Periodical Review, Pallas Projects, Dublin, Making Familiar, TBG+S Dublin, Painting Now, Ron Mandos, Amsterdam. Paul McKinley, b.1973, RHA Gallery, Dublin, Operation Turquoise, Kevin Kavanagh, Palisade, Third Space Gallery, Belfast, CANADA, Kevin Kavanagh, Farewell Chestnut Avenue, Nissan Art Project, Royal Hibernian Academy, Dublin, So long and thanks for all the snow, Old Museum Arts Centre, Belfast, 6th Annual Art Salon, Matt Roberts Gallery, London, UK, Interlude,The Douglas Hyde Gallery, Dublin. Robert Armstrong, b .1953, Assumptions, Kevin Kavanagh, New Connections, Red Rua, Dublin, The Horse Show, Kinsale Arts Festival.
Fri 25 – Sun 27 April
Brussels Expo (Heysel)
Solo by Nevan Lahart (1973), lives and works in Dublin, Ireland.
For Art Brussels 2014 Kevin Kavanagh presents a series of works by the artist Nevan Lahart. The exhibition ‘Serf Vice Paintings’ encompasses a variety of painting techniques depicting the role of the artist and patron in art history and the artist within the market today. The stand will act as both a capsule of history and a questioning of contemporary art and politics
A brief synopsis of what to expect:
Fancy Forgery Series No. 26
The Phaidon 3 million $ Holographic Coffee table
Coffee with Rembrandt
Trouble with the Wi-Fi
Constable’s Cloudy Conspiracy
Art and Ammo @ the Armory
Portrait of the artist as an Elite Super Hero
The Blue Chips go shopping at the Degenerate Art fair
Richter pays homage to Def Leppard in the style of Oldenberg
Richard Prince has a Krieg böse moment
Malevich’s DNA fakes a PRADA
The L.S. Lowry Ultras
Monsanto Calendar Girls
Daumier’s Post Modern Poster Racket
AND MUCH MORE>>>>>>>>>>>>>>>>>>>………….
Vernissage, 6pm Thursday 6th March
Fair open to publin Friday 7th- Sunday 9th March, 2014
For VOLTA NY 2014, Sonia Shiel presents new paintings and sculpture.
Shiel’s work pitches mankind’s mighty and small aspirations for a better world, against their odds. Through comedic devices it also explores its own artifice and the propensity of ‘art’ to be effective in the real world. Eschewing ‘big’ ideas, this work lampoons myth; economic, social and art history; psychosexuality and fantasy; moral and political philosophy and propagandist pulp.
In recent work, paintings and sculptures are contracted together by innuendo where idyllic scenes of industry, nature and society are underscored with a perverse violence usually associated with cartoons. The inconspicuousness of ‘painting-on,’ allows her to caricature the epic, setting the human and artistic dilemma of everyday scenarios with elaborate costumes and role play, benign weaponry, subversion and inflammation of power and caricatures of virtue and vice, hero and villain.
Diana Copperwhite // Booth 2.07
Volta NY // Thursday 7th March – Sunday 10th March 2013
“Diana Copperwhite constantly mentions a musical logic and a sense of musical notation and tonality as she describes the act of painting. But, on the other hand, she insists that she does not pre-structure, that she allows one colour to suggest another, that the element of gesture and chance is essential as is the flash of insight and the swift ability then to structure it, to carry it out.”
“Diana Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.”
Ulrich Vogl | Diana Copperwhite | Sinead Ni Mhaonaigh | Mark Swords | Sonia Shiel | Paul Nugent
VOLTA 8 || BASEL
June 11 – June 16
Ulrich Vögl’s work comes across as bewilderingly heterogeneous in form, material and content. Pencil drawings on paper; animated film; sculptural installations made from recycled cardboard packaging and readymade objects; cardboard cut-outs; photographic collage; wall drawings; painted glass. Each of his projects is underwritten by a strong conceptual basis, and it could be that he chooses to realise each in the most appropriate manner, whatever that might be. But there are also persuasive consistencies to what he does that suggest a concerted engagement with certain core and processes and media, and it’s reasonable to suggest that this ongoing engagement is the dynamo that drives his work along a definite line of development
Diana Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.
In Sinead Ni Mhaonaigh’s work the seductive attraction of the painting lies in their extrovertly taciturn quality, and by the way in which the gutsy, even aggressive application of colour is countered by the sensitive, even delicately tentative, scoring of the paint in all its precise and potent hues. Rare is it to see paint being worked so sensually and yet often so brutally.
Paul Nugent’s works are influenced by photographic reproductions of eighteenth century paintings from art history books. Each painting painted 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.
In Mark Swords’ work the hand-made aspect is clearly evident, and together with the materials, forms and use of colour, relay a sense of curiosity and workmanship. The works are finely executed, and this curiosity is apparent in 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. Utilising materials that are often overlooked, including carpet, tent fabric, and string, and without attempting to hide the processes of making, the strength of Swords’ work resides in its fragility and careful informality.
Sonia Shiel’s installations, often composed of paintings, sculptures and videos, explore the propensity of art to be effective in the real world, while pitching mankind’s most earnest endeavors against their odds.
Stephen Loughman | Booth F9
VOLTA NY | 8 – 11 March 2012
Kevin Kavanagh is pleased to present, Stephen Loughman’s new series The Fisherman’s Widow, which takes its name from a print found on the wall of the room of one of Jack the Ripper’s victims. Each painting takes its source a “grab” from a film (Dressed to Kill, Klute and from the Life of the Marionettes). These images come preloaded with associations embedded within the narrative thread is the prelude to a violent act. For Loughman, the act of painting these images functions as a distilling method which slows down and fetishes what is only a few seconds of film time. The titles of the works are taken from the scripts of the respective films.
“Stephen Loughman visually reinforces that strangely seperate quality in which we experience our lives as part of some other narrative. We come to life in these landscapes which have been taken from realities elsewhere, versions of ourselves that have pre-existed us in imaginary form, in another medium, a cross – reference, fictionalised somewhere in the past by culture and commerce.”
Text by Hugo Hamilton, taken from Nothing is Real, Stephen Loughman & Mark O’Kelly (2008)
Kevin Kavanagh is pleased to represent Gary Coyle and Sean Lynch at VOLTA 7, Basel..
Gary Coyle has been visiting the well known 40 Ft swimming spot for the last decade. The 40 Foot is a promontory on the southern tip of Dublin Bay at Sandycove, where people have swum in the Irish Sea all year round for some 250 years. In former times it was kept solely as a gentlemen’s bathing place and the gentlemen’s swimming club was established to help conserve the area. Due to its isolation and gender-specific nature it became a popular spot for nudists, but in the 1970s during the women’s liberation movement, a group of female equal-rights activists plunged into the waters, now it is open to women and children as well. The gentlemen’s swimming club still exists and is open to both genders. The Forty Foot also featured in the novels Ulysses by James Joyce, At Swim-Two-Birds by Flann O’Brien and At Swim, Two Boys by Jamie O’Neill.
He has bottled the water ,recorded each experience in a diary, taken photographs of the coastline and has worked on large-scale drawings of the sea. To submerge yourself in this work is to submerge yourself in the experience of the daily swimmer. View the brooding skies; the crashing waves and occasionally the expanse of calm water as most of the photographs were taken while Coyle was in the water. The result of this investigation is AT SEA THE DAILY PRACTISE OF SWIMMING.
Sean Lynch’s artworks investigate and reflect upon the methods, understandings and representations involved in dealing with the contents of history. In recent years the idea of spotlighting idiosyncratic moments of the past has been his primary concern. This occurs through actions and gestures made around particular subjects that are identified from specific research and fieldwork. The photographs, installations and publications artworks generated in this process are speculative and open-ended in nature, engaging the contingencies of interpreting legacies of historical and cultural knowledge. Recent projects have included finding chalk from a Joseph Beuys blackboard that was erased after a lecture he gave in 1974; trying to document HyBrazil, a mythical island in the Atlantic; locating remnants of the DeLorean car factory at the bottom of Galway Bay; investigating alleged supernatural trees, in danger of destruction from Ireland’s new motorways; and working with peregrine falcons to develop alternative representations of a housing project.
The resulting artworks resist the notion of history as simulation. Instead they suggest the presence of an actual, although hidden, past, mostly eradicated from popular consciousness but briefly available in moments evoked through artistic practice. Extended narrative sequences are central to this approach, often moving between the anecdotal and objective-informative. In working in this manner, he views history not as a structure that anchors and legitimates everything, but rather as an amalgam of tropes and shifting viewpoints. The venture is to pick up fragments and renegotiate them into alternative configurations. Gallery presentations become an open space for this feedback to occur, and allow a place for the continued dissemination of tainted evidence and marginalia to be rehearsed and played out.
With support from
culture ireland | cultúr éireann
promoting the arts abroad cur chun cinn na n-eadaíon thar lear
Paul Nugent | Booth G11
VOLTA NY | 3 -6 March 2011
Paul Nugent’s works are influenced by photographic reproductions of eighteenth century paintings from art history books. Each painting painted in blue has the appearance of a print maker’s printing plate or of the early photographic process of cyanotypes. The photographic references are inverted through the painting process into negative images creating a kind of visual representation of the subconscious. This recalls Freud’s analysis of the photographic process of the negative plate being like the sub-conscious and the positive image the conscious. Like images from a storybook they show figures in conversation or preoccupied in their own thoughts. The backdrops from which the figures emerge are painted in layers of transparent Prussian blue, transforming these woodland environments into graceful interior worlds. That which is opened to us for viewing has the character of a dream or memory evoking what the biologist and theorist Gerald Edelman called the remembered present, “as if perception and conscious flourish only in the hazy light of memory”. Paul Nugent’s work has always explored notions of history, symbolism, time, perception and memory.
Nugent has recently exhibited at The Irish Museum of Modern Art, Dublin, 2010; Kerava Art Museum, Finland, 2009; Kevin Kavanagh, Dublin, 2009; Centre Culturel Irlandais, Paris 2007; Art Gallery of Newfoundland and Labrador, Canada, 2005; Shanghai Gallery of Modern Art & the Millennium Monument Museum, Beijing, China, 2004; University of Virginia, U.S.A.; and his work features in numerous private and public collections, including the Office of Public Works and Irish Museum of Modern Art.
We would like to acknowledge the support of culture ireland | cultúr éireann
Promoting Irish arts worldwide | cur chun cinn ealaíona na hÉireann ar fud na cruinne
Nevan Lahart | Booth 10
Preview Berlin | 8 -10 October 2010
Q. Write 5 sentences about your work for PR purposes.
It doesn’t seem like work.
I don’t like work.
Can I make it work for me.
Don’t take up a day job.
One last sentence and I’m done, for this seasons collection; sheer blacks with luminous earthy colours, overall a somber funerary collection with a dash of joie de vie.
Nevan Lahart was born in Kilkenny, Ireland in 1973. He studied at The Limerick School of Art and Design; National College of Art in Dublin where he completed his MA Virtual Realities in 2003.
He was exhibited widely. Recent solo shows include: Solas Nua, Washington DC, USA and A Lively Start to a Dead End at the Royal Hibernian Academy, Dublin in 2010; Heaven’s Full and the Fire Escapes are Locked at Heaven’s Full, London and UGLY LOVELY at Kevin Kavanagh, Dublin in 2009. He has taken part in several groups shows as Backwater Twenty-10 at Crawford Municipal Art Gallery, Cork and Ten Years Hunting [The Trophy Room] Parkers Box, Brooklyn, New York in 2010; Moraltarantualla III, The summer of the Vernunft at Valentinskamp 34A, Hamburg, Germany; The Gold Standard at NES, Skagaströnd, Iceland and Trouble in Paradise: Examining Discord in Nature and Society at Tucson Museum of Art, Arizona, USA in 2009.
Lahart has participated in several residencies include Solus Nua in Washington DC in 2010 and he undertook six months residency at Irish Museum of Modern Art, in Dublin in 2005.
His work is in various public and private collections in Ireland, Germany, France, Switzerland and the U.S.A.