Forthcoming Dublin City Gallery The Hugh Lane houses the foremost public collection of contemporary art in Ireland; the gallery also has a dynamic temporary exhibitions programme often encompassing the permanent collection. http://www.hughlane.ie/forthcoming 2018-02-19T21:56:13+00:00 Point Blank Amanda Dunsmore: Keeper 2018-04-10T00:00:00+00:00 2018-04-10T00:00:00+00:00 http://www.hughlane.ie/past/1956-amanda-dunsmore-keeper Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Marking the 20-year anniversary of the Belfast/Good Friday Agreement—a major milestone in the evolution of peace in Northern Ireland—<em>Keeper </em>presents artist Amanda Dunsmore’s social and political portraits that reflect specific points in history from the late nineteenth century to the present day. The artist’s methodology is grounded in her interest in issues of social and political change and this body of work stems from her time as artist in residence at The Maze and Long Kesh Prison from 1998.</p> <p>Dunsmore’s exhibition includes silent, 20-minute video portraits of key political figures involved in the Belfast/Good Friday Agreement, providing unique new perspectives on familiar, high-profile figures. These include John Hume and Lord David Trimble, who were jointly awarded The Nobel Peace Prize in 1998 "for their efforts to find a peaceful solution to the conflict in Northern Ireland", and whose portraits will be exhibited for the first time at The Hugh Lane.</p> <p>Alongside these portraits will be works acknowledging the role of Mairead Corrigan Maguire, Betty Williams and Ciaran McKeown who founded the Peace People, a cross-community grassroots movement of citizens dedicated to ending the sectarian strife in Northern Ireland. Maguire and Williams shared the 1976 Nobel Peace Prize.</p> <p>Other works in <em>Keeper </em>expand this theme of portraiture and its role in social and political life and further reflect on the formal and informal processes through which memory and history are made. These include <em>Billy's Museum</em> (2004), a filmed record of a collection of items relating to various individuals, incidents and occurrences made by Prison Officer Billy Hull in HM Prison Maze. A new artwork entitled <em>The People's Portraits 1899-1918</em> will also be shown. It comprises 100 printed portraits taken from late nineteenth and early twentieth century glass plate negative prison photographs.</p> <p>Amanda Dunsmore works in art processes that explore representations of societal transformation through contextual portraiture and social historic projects. Over the past 25 years she has exhibited widely in Ireland and internationally and her artworks can be found in private and public collections.</p> <p>The exhibition will be accompanied by a catalogue featuring essays by Senator George Mitchell, Amanda Dunsmore, Fionna Barber and Cillian McGrattan.</p> <p> </p> <p><strong>Monday 9 April, 5pm</strong></p> <p><strong><span>Special Lecture: Senator George Mitchell, <em>The Good Friday Agreement: A Personal Reflection</em></span></strong></p> <p><span>Marking the 20th anniversary of the signing of the Good Friday Agreement we are delighted to welcome </span><strong>Senator George Mitchell</strong><span> who will deliver an address </span><em>The Good Friday Agreement: A Personal Reflection</em><span> in advance of the opening of Amanda Dunsmore’s exhibition </span><em>Keeper</em><span>.</span></p> <p>Marking the 20-year anniversary of the Belfast/Good Friday Agreement—a major milestone in the evolution of peace in Northern Ireland—<em>Keeper </em>presents artist Amanda Dunsmore’s social and political portraits that reflect specific points in history from the late nineteenth century to the present day. The artist’s methodology is grounded in her interest in issues of social and political change and this body of work stems from her time as artist in residence at The Maze and Long Kesh Prison from 1998.</p> <p>Dunsmore’s exhibition includes silent, 20-minute video portraits of key political figures involved in the Belfast/Good Friday Agreement, providing unique new perspectives on familiar, high-profile figures. These include John Hume and Lord David Trimble, who were jointly awarded The Nobel Peace Prize in 1998 "for their efforts to find a peaceful solution to the conflict in Northern Ireland", and whose portraits will be exhibited for the first time at The Hugh Lane.</p> <p>Alongside these portraits will be works acknowledging the role of Mairead Corrigan Maguire, Betty Williams and Ciaran McKeown who founded the Peace People, a cross-community grassroots movement of citizens dedicated to ending the sectarian strife in Northern Ireland. Maguire and Williams shared the 1976 Nobel Peace Prize.</p> <p>Other works in <em>Keeper </em>expand this theme of portraiture and its role in social and political life and further reflect on the formal and informal processes through which memory and history are made. These include <em>Billy's Museum</em> (2004), a filmed record of a collection of items relating to various individuals, incidents and occurrences made by Prison Officer Billy Hull in HM Prison Maze. A new artwork entitled <em>The People's Portraits 1899-1918</em> will also be shown. It comprises 100 printed portraits taken from late nineteenth and early twentieth century glass plate negative prison photographs.</p> <p>Amanda Dunsmore works in art processes that explore representations of societal transformation through contextual portraiture and social historic projects. Over the past 25 years she has exhibited widely in Ireland and internationally and her artworks can be found in private and public collections.</p> <p>The exhibition will be accompanied by a catalogue featuring essays by Senator George Mitchell, Amanda Dunsmore, Fionna Barber and Cillian McGrattan.</p> <p> </p> <p><strong>Monday 9 April, 5pm</strong></p> <p><strong><span>Special Lecture: Senator George Mitchell, <em>The Good Friday Agreement: A Personal Reflection</em></span></strong></p> <p><span>Marking the 20th anniversary of the signing of the Good Friday Agreement we are delighted to welcome </span><strong>Senator George Mitchell</strong><span> who will deliver an address </span><em>The Good Friday Agreement: A Personal Reflection</em><span> in advance of the opening of Amanda Dunsmore’s exhibition </span><em>Keeper</em><span>.</span></p> Rachel Maclean 2018-05-31T00:00:00+00:00 2018-05-31T00:00:00+00:00 http://www.hughlane.ie/past/2031-rachel-maclean Logan Sisley logan.sisley@dublincity.ie <p>The Hugh Lane is pleased to present the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who represented Scotland at the 57th International Art Exhibition - La Biennale di Venezia in 2017.</p> <p>The Hugh Lane is pleased to present the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who represented Scotland at the 57th International Art Exhibition - La Biennale di Venezia in 2017.</p> Doireann O’Malley: Prototypes 2018-06-22T00:00:00+00:00 2018-06-22T00:00:00+00:00 http://www.hughlane.ie/past/2029-doireann-omalley-prototypes Logan Sisley logan.sisley@dublincity.ie <p><em>Doireann O'Malley's film </em>Prototypes<em> brings together transgender studies, science fiction, bio politics, psychoanalysis, AI, and experimental music. She skilfully ties these to phantoms of modernist utopias, epitomized by the post-war architecture of Berlin, which serves as a dreamlike scenography for the main, protagonists' ghostly actions.</em> <br />- Jury Statement, Edith Russ Haus fur Media Art Stipendium, 2016.</p> <p><em>Prototypes</em> is a multi-screen film installation by Berlin-based Irish artist Doireann O’Malley.</p> <p><em>Prototypes I </em>focuses on female to male gender transition and the intra-actions of bodies, objects and drives. It is set in The Interbau Project, a modernist architectural housing project built in Berlin in the height of the cold war.</p> <p><em>Prototypes II </em>& <em>III</em> follow a further exploration of trans embodiments with trans female protagonists, going further into computer generated dream landscapes.</p> <p>The combination of film, CGI (computer-generated imagery) and Virtual Reality which O'Malley is developing in relation to the construction of trans bodies and subjectivities is an interesting layering of contemporary forms and complex identities in the digital age.</p> <p>The work is the result of a collaborative methodology. Part one comprised research, reading and writing sessions with the main protagonists. These included Jungian dream analysis sessions with the psycho-analyst Andrés Ocazionez and Social Dreaming workshops with gender psychiatrist Eva Sophie Philipps. Monologues were written in workshops exploring trans subjectivity with the protagonists.</p> <p>O’Malley’s work is a result of this exploratory methodology which generates new forms of knowledge, drawing on a wide range of feminist perspectives within queer theory, psycho-analysis, quantum physics, genetics, cybernetics and systems biology.</p> <p><em>Prototypes I</em> was made with the kind support of Stiftung Kunstfonds, Edith Russ Haus Stipendium: Lower Saxony Grant for Media Art, Xposed Film Festival Production Prize and 25P Cine Support. <em>Prototypes II</em> will be filmed in Berlin in spring 2018. Both parts will be shown as a five screen installation at The Hugh Lane in summer 2018.</p> <p>For more information on the artist see www.doireannomalley.com.</p> <p><em>Doireann O'Malley's film </em>Prototypes<em> brings together transgender studies, science fiction, bio politics, psychoanalysis, AI, and experimental music. She skilfully ties these to phantoms of modernist utopias, epitomized by the post-war architecture of Berlin, which serves as a dreamlike scenography for the main, protagonists' ghostly actions.</em> <br />- Jury Statement, Edith Russ Haus fur Media Art Stipendium, 2016.</p> <p><em>Prototypes</em> is a multi-screen film installation by Berlin-based Irish artist Doireann O’Malley.</p> <p><em>Prototypes I </em>focuses on female to male gender transition and the intra-actions of bodies, objects and drives. It is set in The Interbau Project, a modernist architectural housing project built in Berlin in the height of the cold war.</p> <p><em>Prototypes II </em>& <em>III</em> follow a further exploration of trans embodiments with trans female protagonists, going further into computer generated dream landscapes.</p> <p>The combination of film, CGI (computer-generated imagery) and Virtual Reality which O'Malley is developing in relation to the construction of trans bodies and subjectivities is an interesting layering of contemporary forms and complex identities in the digital age.</p> <p>The work is the result of a collaborative methodology. Part one comprised research, reading and writing sessions with the main protagonists. These included Jungian dream analysis sessions with the psycho-analyst Andrés Ocazionez and Social Dreaming workshops with gender psychiatrist Eva Sophie Philipps. Monologues were written in workshops exploring trans subjectivity with the protagonists.</p> <p>O’Malley’s work is a result of this exploratory methodology which generates new forms of knowledge, drawing on a wide range of feminist perspectives within queer theory, psycho-analysis, quantum physics, genetics, cybernetics and systems biology.</p> <p><em>Prototypes I</em> was made with the kind support of Stiftung Kunstfonds, Edith Russ Haus Stipendium: Lower Saxony Grant for Media Art, Xposed Film Festival Production Prize and 25P Cine Support. <em>Prototypes II</em> will be filmed in Berlin in spring 2018. Both parts will be shown as a five screen installation at The Hugh Lane in summer 2018.</p> <p>For more information on the artist see www.doireannomalley.com.</p> Niamh McCann 2018-10-04T00:00:00+00:00 2018-10-04T00:00:00+00:00 http://www.hughlane.ie/past/2030-niamh-mccann-2018 Michael Dempsey mdempsey.hughlane@dublincity.ie <p><em>Furtive Tears</em> is a project by Niamh McCann that explores the dynamic relationship between the audience, object and mode of display. In her new installation at the Hugh Lane, McCann brings together the protagonists Edward Carson (politician) and Hans Poelzig (architect and set designer) and the vestiges of their mythologies to portray the internal language of gesture, meaning, inference and allegiance.</p> <p>It is an exploration of the importance of a viewer’s perspective when confronted with the act of looking and the reading of objects within the context of a constructed landscape. Weaving fact, fiction and history, the installation reveals how we look and how we are looked upon. The work addresses how the mind navigates the perpetual process of coding and decoding our own behaviours when negotiating the positions we take up in society.</p> <p>Niamh McCann is an Irish artist living and working in Dublin. Recent solo exhibitions include La Perruque (Protest Song) at MAC Belfast and Just Left of Copernicus in Visual Carlow. Group exhibitions include: Future Perfect, Rubicon-Projects Brussels; Changing States: Contemporary Art and Francis Bacon’s Studio, BOZAR, Belgium; Time Out of Mind: Works from the IMMA Collection, Irish Museum of Modern Art; In Other Words, Lewis Glucksman Gallery, Cork; this little bag of dreams, Catherine Clark Gallery, San Francisco; and Without-Boundaries, Wäinö Attonen, Museum of Art, Finland Her work is represented in the collections of IMMA, The OPW, Limerick City Gallery, Swansea City Council, The London Institute, and Hiscox Collection, London.</p> <p>For more information on the artist see: http://www.niamhmccann.com</p> <p><em>Furtive Tears</em> is a project by Niamh McCann that explores the dynamic relationship between the audience, object and mode of display. In her new installation at the Hugh Lane, McCann brings together the protagonists Edward Carson (politician) and Hans Poelzig (architect and set designer) and the vestiges of their mythologies to portray the internal language of gesture, meaning, inference and allegiance.</p> <p>It is an exploration of the importance of a viewer’s perspective when confronted with the act of looking and the reading of objects within the context of a constructed landscape. Weaving fact, fiction and history, the installation reveals how we look and how we are looked upon. The work addresses how the mind navigates the perpetual process of coding and decoding our own behaviours when negotiating the positions we take up in society.</p> <p>Niamh McCann is an Irish artist living and working in Dublin. Recent solo exhibitions include La Perruque (Protest Song) at MAC Belfast and Just Left of Copernicus in Visual Carlow. Group exhibitions include: Future Perfect, Rubicon-Projects Brussels; Changing States: Contemporary Art and Francis Bacon’s Studio, BOZAR, Belgium; Time Out of Mind: Works from the IMMA Collection, Irish Museum of Modern Art; In Other Words, Lewis Glucksman Gallery, Cork; this little bag of dreams, Catherine Clark Gallery, San Francisco; and Without-Boundaries, Wäinö Attonen, Museum of Art, Finland Her work is represented in the collections of IMMA, The OPW, Limerick City Gallery, Swansea City Council, The London Institute, and Hiscox Collection, London.</p> <p>For more information on the artist see: http://www.niamhmccann.com</p>