Archived entries for


A new video installation by ACW alumni Lily Cahill & Rob Murphy

Open until Sunday 1st June | 12pm to 6pm

Accompaniment |

In 1827 the French Romantic composer Hector Berlioz purportedly watched Irish actress Harriet Smithson on two occasions at the Odéon Theatre in Paris, playing Hamlet’s Ophelia and Romeo’s Juliet, women created by English playwright William Shakespeare. These events incited Hector’s development of two intense infatuations. One with the actress, resulting in a doomed marriage. The other being the writer, proving the more lasting romance, developing into a lifelong love. Though the performances were in English, of which Hector knew practically none, this could not stop him grasping “the grandeur and sublimity of Shakespeare’s language along with the richness of the plays’ dramatic design.”

Hector would come to recognise ‘Romeo and Juliet’ as “the supreme drama of my life.” 1


See The Future

Masters in Fine Art and Masters in Art in the Digital World Exhibition.
Opening: Friday, June 13 at 5:00pm
The exhibition continues until Sunday 22nd of June.
Opening hours: Monday – Friday: 10am to 8pm, Saturday: 10am to 5pm and Sunday: 2pm to 5pm.


Kerlin Gallery is pleased to present Karen, an exhibition of new film, sculptural, photographic and print works by Mark Garry.

As a dialogue between the personal, the historical and the political, Karen marks a subtle, yet significant departure within Mark Garry’s practice. Central to the exhibition are three large- scale silkscreened prints that depict a repeated image of Karen Dalton, the tragic Cherokee folk singer from the 60s. Dalton’s delicate figure has her back turned to us, face obscured, her arm outstretched as if pointing to something that remains unspecified and out of our sight.

This physical reach for the unattainable is echoed in Garry’s new film, Bridges Burned and Backs Turned. Against an impenetrable darkness a tiny white feather begins to fall repeatedly. Being caught and held for the briefest of moments. Elsewhere in a series of new photographs the darkness is violently interrupted by the irrepressible vigour of the brief magnolia blossom.

Through each of these works and a series of new freestanding sculptures entitled History Windows, Garry weaves together ideas of loss and estrangement, and a muted sense of sorrow, resonating from the subjective, to a wider reflection upon civic care. Here is the suggestion that as individuals and again collectively as a nation, modern Ireland has repeatedly failed itself on many levels, through a lack of consideration, patience and co-operation. These human values are physically embodied by Garry’s artworks themselves, be it within the processes of their making, or in their inherent structure. His works are measured and quiet, often requiring meticulous systems of construction and collaborative practices. They combine physical, visual, sensory and empathetic analogues, creating arrangements of elements that intersect spaces, forming relationships between a given room and each other.

Mark Garry
Kerlin Gallery
23rd May- 28th June

Mark Garry’s practice is research-based and often embedded in music and musicology. Characteristics of this cultural field act as means for the artist to observe how certain historical, geographical and sociological forces have combined, shaping the contemporary psyche over time. With a lightness of touch, this line of research permeates the exhibition Karen. As the critic Declan Long has noted, “Mark Garry’s art thrives on a potential for connectibility: his is a hugely hospitable manner of practice, open to new collaborations and new translations between forms and ideas…These are tentative, tender realistions of evolving ideas: fragile forms based on unorthodox affiliations.”

Current and forthcoming exhibitions include City Gallery, Charleston South Carolina, USA (2014); Lafayette Projects, Marseille, France (2014) and Royal Hibernian Academy, Dublin (2015). Recent exhibitions include The Model, Sligo (2014); Sommer & Kohl, Berlin (2013); ENart Taichung, Taiwan (2013); Galleria Civica di Moderna, Milan (2013); a permanent commission for The MAC, Belfast, (2012); White Box, New York (2012); The Model, Sligo (2012); Cave, Detroit (2011); Centre Culturel Irlandais, Paris (2011); Middlesborough Institute of Modern Art, UK (2009); Dublin City Gallery Hugh Lane, Dublin (2009); Tai Turin Art International, CRAA Centro Ricerca Arte Attuale, Torino, Italy (2009); IMMA, Dublin (2008); The Mattress Factory Art Museum, Pittsburgh Pennsylvania (2008); Institute of Contemporary Art Newtown, Sydney (2008); Douglas Hyde Gallery, Dublin (2006). Garry represented Ireland at Venice at Venice Biennial (2005), which traveled to Lewis Glucksman Gallery, Cork (2006).

Eva Rothschild in Coversation

Eva Rothschild and Michael Dempsey in conversation on Friday 23rd May at 1pm in The Hugh Lane. Admission free.

Between Here and There

Group exhibition by NCAD MFA students opening tomorrow evening in Pallas Projects

The Inconceivable Thing

Art in the Contemporary World student, Deirdre Kearney reviews a recent exhibition, La Fine Di Dio, of work by Maurizo Cattelan and Lucio Fontana at the Gagosian Gallery, London, February 2014.

Quite by chance the curator of this exhibition, Francesco Bonami, was shown a portrait of Hitler, kept in storage at the US Army Centre of Military History in Washington DC. An allegorical painting called “The Standard Bearer” it depicts Hitler as Joan of Arc. It is by Hubert Lanzinger and dates from 1935. A US soldier defaced the painting, with a bayonet, following WW11. Frustrated by his inability to attack Hitler in person, the soldier attacked the painting, in a gesture of angry impotence and frustration.

This random, yet fortuitous, coalescing of circumstances has resulted in an exhibition at the Gagosian Gallery, London. I can only imagine that the cut inflicted beneath the eye of the portrayed Hitler must have struck a chord with Francesco Bonami. Following his viewing of the Lanzinger painting perhaps his word association chain went something like this; Cut> Canvas> Fontana> Hitler> Cattelan> HIM> Genius! >Me.

The exhibition contains two works. A painting by Lucio Fontana, entitled “Concetto spaziale, La fine di Dio” juxtaposed with the kneeling wax figure of a boy child, entitled “HIM”, by Maurizio Cattelan. The result; a face off, of epic proportions. Given their history, this side chapel in white, may be an aesthetic OK Corral.

White room.

Black Suits. (Security)

Max two persons to view.

Fontana, his egg shaped tabernacle, wall hung portal to the cosmos, maps infinity. The artist withholds the secrets of the universe from a tweed-suited ruffian, kneeling in supplication.

Closer inspection reveals the boy as changeling; the face of the Fuhrer revealed in the child.

Fontana discovered the void.

He pursued infinite knowledge, pushing the boundaries of the canvas, mapping the constellations. His aim was not to decorate a surface, but to discard its limitations.

The canvas is egg shaped. A painting, pregnant, it is the symbol of life.
Piercing holes through the canvas, in repetitive gesture, the artist is opening up the plain of the painting. In so doing, the history of painting is also laid bare.

Fontana envisioned the end of God. He saw the end of God as a direct result of our journey towards infinite knowledge. He explored the cosmos in the expanse beyond the canvas. With his gestural cuts he extended his quest outward towards the heavens and inward to the mind of man. Staring into the abyss his aim was to decipher its mystery.

Hitler represents such evil that Maurizio Cattelan cannot say his name. Kneeling for forgiveness, this wax figure, reduced exponentially, hides its identity. Cattelan asks whether it is possible to extend forgiveness to such a man.

Showing little respect for societal icons Cattelan has, over the years, desecrated their images mercilessly. From Popes, to artists, to political leaders, no one is safe from his ridicule. Seeking to deprive them of their standing within the community, he engages in parody, always intending provocation.

In his work “Untitled 1996”, Cattelan had a cut at Fontana. He sliced a large letter Z into a canvas. In this blasphemous, anarchic gesture, Cattelan continued his undermining of contemporary art and its canons.

It is part of this artist’s ongoing strategy to engage in excess. By zealous parody of political and artistic institutions, his aim is to shine a light on hidden power relations.

Paradoxically, in the process, Cattelan has become a very successful cog in the wheels of a system he has tried so hard to derail. Just as a virus is enveloped by white blood cells, the system has neutralized Cattelan, by clasping him to its bosom. Consequently, his rants may ring a little hollow.

Conversely, Fontana’s hot pink, egg shaped canvas, is imperious. It tolerates the presence of Cattelan’s Hitler only because he kneels. The tension between the two is palpable. In death Fontana has finally exacted retribution for the slight. There is a majesty and elegance to his work. The eyes of his canvas are averted from the corner boy, who begs forgiveness, on his knees.

Who’s sorry now?

Deirdre Kearney, May 2014

Aesthetics and Politics Revisited

Thursday 29 MAY | 2014
3 – 5p.m. | West Wing 5
University College Cork

Three scholars of art and politics of the 1930s revisit this pivotal moment to reconsider how the
contributions of this fraught period can be brought to bear on the present, while a contemporary critic reflects on current practices. Can visual culture still intervene in political discourse? If so, how?On what terms?

Dr. Nuit Banai, Tufts University (USA) and Inaugural Visiting Research Resident IMMA/NCAD Dublin: author of Yves Klein (Reaktion Books, 2014) and essays commissioned by the Georges Pompidou, Barbican Art Gallery, and Documenta Kassel among others.

Dr. Warren Carter, Open University: co‐author of Renew Marxist Art History (London: Art/Books, 2013).

Dr. Sabine Kriebel, University College Cork: author of Revolutionary Beauty: The Radical Photomontages of John Heartfield (University of California Press, 2014)

Dr. Jody Patterson, University of Plymouth: author of Modernism for the Masses: Painters, Politics, and Public Murals in 1930s New York (under review at University of Pennsylvania Press)

Moderated by Dr.Ed Krčma,University College
Cork: founding editor of Enclave Review.

Followed by a reception and book launch of Revolutionary Beauty: The Radical Photomontages of John Heartfield (University of California Press, 2014) by Sabine Kriebel, at the Wandesford Quay Gallery, 5:30p.m. All are welcome.

Art in the Contemporary World Co-director; Declan Long will be in conversaton with Aoife Tunney, Eva Rothschild and Aleana Egan on Tuesday May 20th at 5.30pm at the Irish Architectural Archive, Merrion Square.

Curated by Aoife Tunney Vestibule is a festival celebrating the work of internationally acclaimed contemporary artists Aleana Egan, Daniel Gustav Cramer and Eva Rothschild.

Sculpture by the artists will show in Merrion Square Park while a satellite show will take place simultaneously at well known cultural institutions on the Square: The Goethe Institut, The Irish Architectural Archive and the National Gallery of Ireland.

Satellite exhibitions

Daniel Gustav Cramer, XVI 2014 opens at The Goethe-Institut Irland, Saturday May 17 May–30 July.

Aleana Egan at the Irish Architectural Archive, Saturday 17 May–30 July.

Eva Rothschild at ESB Centre for the Study of Irish Art, National Gallery of Ireland, Saturday 17 May–30 July.

Other events:

The Square School

Artists-Rhona Byrne, David Beattie and Kevin Kirwan.
Workshops for children-May 29th/June 12th/September 11th, 2014.

Vestibule walking tour

Artistic Director Aoife Tunney
Tour on the square and satellite shows. Thursday June 26th & Thursday July 24th, @ 1pm. (with Donal Maguire and Leah Benson NGI)

Vestibule music event

Maria Somerville, White Collar Boy and more acts.
Saturday August, 23rd 4pm–9pm.

The Crisis of the Object Of Criticism

ACW & IMMA Research Residency & Public Lectures:
Nuit Banai on ¨The Crisis of the Object Of Criticism.”

21st and 28th May | 6pm
National College of Art and Design
100 Thomas street
Dublin 8

MA Art in the Contemporary World (National College of Art and Design, Dublin) in collaboration with the Irish Museum of Modern Art is delighted to welcome Nuit Banai as their inaugural Visiting Research Resident. Following an open call Nuit was invited to develop and present her research on the theme: “The Crisis of the Object Of Criticism.” This will involve graduate seminars, studio visits and two public lectures.

We are delighted to welcome Nuit to Ireland and host her in collaboration with the residency program at IMMA. Nuit is an art historian and critic who received her PhD in Art History from Columbia University before joining the Department of Visual and Critical Studies at Tufts University/School of the Museum of Fine Arts, Boston, in 2007. Her research interests focus on the the post-war and contemporary constructions of new publics through the visual arts, especially in Europe and the Middle East. She has published widely, including commissioned essays for the Schirn Kunshalle in Frankfurt, Centre Georges Pompidou and Musee d’Art Moderne in Paris, Barbican Art Gallery in London, Artists Space, Bronx Museum for the Arts, the American Society in New York City and Documenta in Kassel. She served as Assistant Editor of the journal RES: Anthropology and Aesthetics (2002-2005), is a regular contributor to Artforum International and a Contributing Editor to Art Papers. Her book on Yves Klein is forthcoming in the Critical Lives series published by Reaktion Books and she is currently developing a book project titled Imagining Europe: From Nation State to Border State.

Lecture 1: “Border Identity: The Manifesta Paradigm for Europe”
Wednesday May 21, 6pm, Harry Clarke Lecture Theatre, NCAD, Thomas Street, Dublin 8

In this lecture, Nuit will argue that one of the primary challenges of artistic practitioners and cultural institutions is imagining a uniquely European sphere that is still in the making, and envisioning new forms of sovereignty, publics, and models of citizenship within it. Using “Manifesta: The European Biennial of Contemporary Art” as a case study, she will suggest that transforming the modernist rubric of the nation state into a post-national project makes visible a proposition for a ‘border identity’ that may be both radical and reactionary.

Lecture 2: “Here and Elsewhere: Toward a Modernism of Exile”
Wednesday May 28, 6pm, Harry Clarke Lecture Theatre, NCAD, Thomas Street, Dublin 8

In the years surrounding the outbreak of World War II, the experience of exile was paramount as artists were dislocated from their site of life and work and transplanted into new cultural contexts. As a result, countless practices framed by this historical rupture have either been absorbed into national narratives or rendered invisible. In the contemporary period, meanwhile, the celebration of post-nationalism asserts the predominance of a global lingua franca and relegates those who embrace national idioms to particularistic concerns or outright obscurity. The case of Gertrude Goldschmidt, aka “Gego,” might help us develop a ‘modernism of exile’ that complicate these two prevailing historical models, which link modernism and modernization with stylistic ruptures within the parameter of the nation state and are organized within geopolitical power dynamics of ‘center’ and ‘periphery.’

Wine Soak No. 16: “mind the gap”

Our wine correspondent found himself at the Hacienda bar for the opening of The Luxury Gap after an illuminating stop at Translucent Flag the sculpture factory exhibition at the Mart Gallery and Studios Rathmines.

I was pottering down through Rathmines last Thursday when I came across a table of colourful looking beverages at the door way to the Mart Gallery. Like a scene from Alice in wonderland a sign attached to the table said something close to “drink me.” At least that was my interpretation of the sign. I received a warm welcome from the Artistic Directors Mathew Nevin and Ciara Scanlan who thrust a cup of the ruby punch into my hand and asked me if I could guess the ingredients just from tasting the fruity beverage. Immediately there were hints of Vodka and Gin but I had to be told about the rum. I had believed it to be a fruity schnapps or something similar. Disappointed with my deductive skills I wandered into the gallery with a cup in each hand determined to repeat the divination process until I was sure I’d never mistake a rum for a schnapps again. It struck me as peculiar the similarity between the rituals of science, the repetition of experiment until a standardised result is arrived at and then the other process of ritual that is performed in divination to convince the participant that what results is truth.

This cross examination of ritual and science in which I found myself was inspired by the work of James L. Hayes. The piece is called The Essence of taste and is a peculiar mixture of scientific research project, bronze sculpture, robotic engineering and cult ritual around the process of physis. Physis is a Greek theological, philosophical, and scientific term usually translated into English as “nature.” More specifically it relates to the creative energy by which natural processes transform living organisms. For example, how an acorn becomes an oak tree. In this case the plant under analysis is the asparagus plant or rather some bronze and iron cast asparagus. One metal represents organic farmed asparagus and the other a mass produced asparagus. They sit in a circular drill of clay and are sprayed with a liquid from a robotic arm that rotates above the drill. The liquid was made by extracting the active agent that causes human urine to smell strange after eating asparagus. This complicated process of separating urine was achieved in a centrifuge in University College Cork. A fascinating and highly scientific process but in the more lowbrow quarters that Ligvine is used to one might think of it as “taking the piss.”

The ritual of rotation and spray is completed by a motion sensor so the visitor becomes an element in the rapid oxidisation that transforms and breaks down the metal asparagus plants. I had recently eaten a meal of these delicious plants and was very upset that my natural pheromones had become unfamiliar as I held up the wall of a local hostelry draining the spuds (to keep the tillage parlance consistent). It is very disconcerting to be reminded of the constant chemical processes and cycles that make up our materiality. Seeking more spiritual and uplifting succour I turned my attention to Alex Pentek’s Transcending Column. A tower of folded paper that forms an archway at the gallery entrance. Every time I knocked back another glass of punch my eyes wandered up and back down the beautifully folded paper leading me on a merry visual dance that recalled Brancusi’s endless column.

As my eyes hit the floor I couldn’t help but see images of human nether regions that were part of a viscerally inspired piece that was more performance than sculpture. This was the work of James McCann titled Monomania 3. A disturbing collection of pornographic images and moulded body parts surrounded by a-frame towers of dirtied and sullied boards. This obsessive work of unconscious and perverse repetition reminded me that I needed another drink. After swigging a bit by the punch table I returned for one last look at the work of Amanda Rice, Looking Back at Endstal. This beautiful landscape of course has a dark underlying past as it was the area of holiday, recreation and retreat for the Nazi’s during world war two. Somewhere in the historic human narrative there is always an inevitable darkness, a horror hidden in the sublime, that process beneath the surface where transformation takes place. It is a border of reason and unreason, chaos and order, good and evil that is immune to the immutable beauty of the natural world. It is also a constant reminder to get more punch.

As I was about to leave full of punch and the wonders of the Sculpture Factory artworks I bumped into Ella de Burca, recently returned from a residency in Ballin Skelligs, who was on her way to an art opening in the Hacienda, a quirky little speak easy beside the fruit market on Little Green Street. The ritual process of the opening crawl had begun and nothing was going to stop the chemical transformation that had been initiated by the punch. I hot footed it across town and arrived at the door of the Hacienda, invigorated and pumped full of enthusiasm by the brief bout of exercise.

Standing in the street awaiting the entry bell at 8pm (one of the quirks of the establishment) I was in the company of Jonathan Mayhew one of the exhibiting artists and Pádraic E. Moore, the Curator of the exhibition. This cluttered quaint drinking house is riddled with extraordinary bric-a-brac and is festooned with a rouges gallery of famous persons’ photographs, all of whom have frequented the bar. Trying to find the artworks themselves was an exciting treasure hunt as the visitors were set the task of seeking out the small art gems amongst all the kitsch flotsam and jetsam that the bar owner had passionately accumulated over the years. The bar itself embodies something of the high luxurious lifestyle of the paparazzi evading celebrity, a speak-easy of sorts, that has a very strict door policy. The art gems hidden within were reluctant to reveal themselves hidden as they were around the bar and the two other rooms each home to a pool table. Some of the high kitsch objects were very distracting, such as the sphinx that glittered with fairy lights and the vintage brass diver’s helmet upon the bar.

The observant and intrepid visitor was treated to the opulent interiors of the palace of King Ludwig II in Andrew Vickery’s paintings; Jonathan Mayhew’s printed mash ups of luxury items, junk food and fashionable laces obscuring the portraits of famous celebrities; there were two high grade desirable opulent items rendered in extraordinarily detailed watercolour by Marcel Vidal: Raw Fillet and Grade D Diamond; and Lucy Stein’s poster offered an art historical perspective contrasting the decadent pursuit of pleasurable beauty and the sufferance of martyrdom in art. I decided to also be a martyr to the decadent pursuit of pleasure and attached myself to a stool at the bar.

The venue was packed within seconds and throwing myself into the exhibition’s theme, I luxuriated at the bar at what is known as bullshit corner. I proceeded to buy fine pints of porter and ales for those in my close proximity until I was challenged to engage in a pool tournament. The night wound up into a jovial celebration with a festive atmosphere that led to fainting ladies and flying pool balls cracking into peoples shins. Egos were inflated and crushed in the fine spirit of gamesmanship. There was much hugging and celebrating I even walked into the furniture on more than one occasion when distracted by the wink and nod from a friendly face. On this fine night there was no need to mind the gap between the luxurious and the real as both came together in a perfect storm of common place hospitality and exceptionally fine art.

Translucent Flag an exhibition featuring artists from the Sculpture factory: James L Hayes /James McCann / Alex Pentek / Amanda Rice runs at The MART, 190a Rathmines Rd Lwr from the 2nd to the 11th of May Open Daily: 1-6pm [closed Mondays]

The Luxury Gap featuring the work of Jonathan Mayhew / Lucy Stein / Andrew Vickery / Marcel Vidal is a site-specific exhibition at The Hacienda organised by Pádraic E. Moore and is open daily at The Hacienda, Arran St. East, Dublin 7 2nd May – 1st June 2014 (8pm to closing)

Real & Imaginative Worlds

Vivienne Byrne | Hilary O’Shaughnessy | Jonathan Sammon
Droichead Arts Centre
Narrow West street | Drogheda
Opening: Fri 2 May, 12pm.
Exhibition continues until Sat 21 June 2014

Gaming is the act of playing games. The person who plays games is called a Gamer. It generally refers to video game culture, an increasingly expressive medium within modern society. This group show features diverse art practices influenced by the theme Real and Imaginative Worlds and inspired by the multi-faceted nature of playing games. The exhibition will feature interactive works by three artists:

Vivienne Byrne

Do technological devices have human psyches?

Real and Imaginative Worlds has prompted Vivienne Byrne to examine manners of communication, with self and others. After a chance encounter with the book “Games People Play, The Psychology of Human Relationships,” by American psychiatrist Eric Berne MD, she became interested in the idea of applying human interactions to technological devices from her own history. Through the use of video projections, sculptural objects, drawings and online access to the GameOnDrogheda project which has been a big part of the investigation into this work, she will explore how digital objects might engage, resist each other or find ways to daydream.

Hilary O’Shaughnessy

Hilary O’Shaughnessy is an artist with a difference. She looks at the gaming industry and social media and responds by developing human interactions through street games. As part of the exhibition ‘Real and Imaginative Worlds’, artist Hilary O’Shaughnessy will be presenting a street game called Interference; about human computer interaction on the streets of Drogheda. During the gameteams will compete against one another to create a working social web. The information they will have to link is dotted along West Street and St. Laurence’s St. However, interference caused by slow signals, a malevolent hacker, poor legislation, and greedy firms all conspire to halt the flow of information and make teams social. We are looking for two teams of six to participate in this game on Friday 2nd May at 12pm. Be DARING and create your own interactive web. To play the game book online or contact 041 9833946.

Jonathan Sammon

For Real and Imagined Worlds Jonathan Sammon looks at ideas of identity, isolation and memory by presenting a fragmented, multi-authored and multi-layered account of a man trapped in an seemingly uninhabited city from which there appears to be no escape; a place he calls The Forever City. Through constructed archive materials such as drawings, journal entries and photographs we see this figure attempt to understand his position and the possible reasons for the condition he finds himself in. The archival pieces are accompanied by a fragment of a short video documentary entitled ‘scenes from the happening world’. The documentary attempts to provide a framework for understanding the psychology of this trapped man. The documentary piece is narrated by a fictional artist investigating accounts of The Forever City.

Opening times over Drogheda Arts Festival: Saturday 2nd May and Sunday 3rd May, 10am-5pm and Monday 4th May, 12pm – 5pm.

Copyright © 2004–2009. All rights reserved.

RSS Feed. This blog is proudly powered by Wordpress and uses Modern Clix, a theme by Rodrigo Galindez.