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 2018-05-23T17:38:52+00:00 Point Blank Rachel Maclean: Just be yourself! 2018-05-31T00:00:00+00:00 2018-05-31T00:00:00+00:00 http://www.hughlane.ie/past/2031-rachel-maclean Michael Dempsey mdempsey.hughlane@dublincity.ie <p>The Hugh Lane is pleased to present the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who creates fantastic visual narratives using green-screen technology. She parodies fairy tales, children’s television programmes, advertising, internet videos, and pop culture to examine identities, power dynamics and consumer desire. All of the characters are played by the artist, who transforms herself through extravagant costumes and make-up.</p> <p>This exhibition includes <em>Spite Your Face</em> which Maclean exhibited at the 57th International Art Exhibition - La Biennale di Venezia in 2017, representing Scotland+Venice 2017, curated by Alchemy Film and Arts in partnership with Talbot Rice Gallery and the University of Edinburgh. The film refers to the Italian folk-tale <em>The Adventures of Pinocchio</em> and offers a powerful critique of contemporary society and its underlying fears and desire. <em>Spite Your Face</em> is a tale across two worlds - with a bright, glittering and ordered upper world, and a warped, dirty, impoverished lower world - where the lure of wealth, power and adoration entices a destitute young boy into the shimmering riches of the kingdom above.</p> <p>Maclean says of <em>Spite Your Face</em>: “With this film I set out to respond to significant changes in the political climate in the UK and abroad over the last 12 months - in particular the divisive campaigns in the lead up to the Brexit vote and the US Presidential election. These events have been central in heralding a new post-truth era, where politicians feel free to say what they want to help them gain popular support, with little regard for factual accuracy.”</p> <p>Based in Glasgow, Rachel Maclean was educated at Edinburgh College of Art. Maclean graduated in 2009 and her work came to public attention in New Contemporaries later that year. She has since risen to significant acclaim, with major solo shows at HOME, Manchester and Tate Britain, 2016-17. Her work <em>A Whole New World</em> won the prestigious Margaret Tait Award in 2013, she has twice been shortlisted for the Jarman Award, and achieved widespread critical praise for <em>Feed Me </em>(2016) in British Art Show 8.</p> <p>For more information on the artist see www.rachelmaclean.com</p> <p>The Hugh Lane is pleased to present the first solo exhibition in Ireland of Scottish artist Rachel Maclean, who creates fantastic visual narratives using green-screen technology. She parodies fairy tales, children’s television programmes, advertising, internet videos, and pop culture to examine identities, power dynamics and consumer desire. All of the characters are played by the artist, who transforms herself through extravagant costumes and make-up.</p> <p>This exhibition includes <em>Spite Your Face</em> which Maclean exhibited at the 57th International Art Exhibition - La Biennale di Venezia in 2017, representing Scotland+Venice 2017, curated by Alchemy Film and Arts in partnership with Talbot Rice Gallery and the University of Edinburgh. The film refers to the Italian folk-tale <em>The Adventures of Pinocchio</em> and offers a powerful critique of contemporary society and its underlying fears and desire. <em>Spite Your Face</em> is a tale across two worlds - with a bright, glittering and ordered upper world, and a warped, dirty, impoverished lower world - where the lure of wealth, power and adoration entices a destitute young boy into the shimmering riches of the kingdom above.</p> <p>Maclean says of <em>Spite Your Face</em>: “With this film I set out to respond to significant changes in the political climate in the UK and abroad over the last 12 months - in particular the divisive campaigns in the lead up to the Brexit vote and the US Presidential election. These events have been central in heralding a new post-truth era, where politicians feel free to say what they want to help them gain popular support, with little regard for factual accuracy.”</p> <p>Based in Glasgow, Rachel Maclean was educated at Edinburgh College of Art. Maclean graduated in 2009 and her work came to public attention in New Contemporaries later that year. She has since risen to significant acclaim, with major solo shows at HOME, Manchester and Tate Britain, 2016-17. Her work <em>A Whole New World</em> won the prestigious Margaret Tait Award in 2013, she has twice been shortlisted for the Jarman Award, and achieved widespread critical praise for <em>Feed Me </em>(2016) in British Art Show 8.</p> <p>For more information on the artist see www.rachelmaclean.com</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 Michael Dempsey mdempsey.hughlane@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>