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. Sat, 24 Feb 2018 08:28:55 +0000 Point Blank en-gb Amanda Dunsmore: Keeper Marking the 20-year anniversary of the Belfast/Good Friday Agreement—a major milestone in the evolution of peace in Northern Ireland—Keeper 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.

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.

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.

Other works in Keeper 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 Billy's Museum (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 The People's Portraits 1899-1918 will also be shown. It comprises 100 printed portraits taken from late nineteenth and early twentieth century glass plate negative prison photographs.

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.

The exhibition will be accompanied by a catalogue featuring essays by Senator George Mitchell, Amanda Dunsmore, Fionna Barber and Cillian McGrattan.


Monday 9 April, 5pm

Special Lecture: Senator George Mitchell, The Good Friday Agreement: A Personal Reflection

Marking the 20th anniversary of the signing of the Good Friday Agreement we are delighted to welcome Senator George Mitchell who will deliver an address The Good Friday Agreement: A Personal Reflection in advance of the opening of Amanda Dunsmore’s exhibition Keeper.

]]> (Michael Dempsey) Tue, 10 Apr 2018 00:00:00 +0000 Tue, 10 Apr 2018 00:00:00 +0000 Sun, 22 Jul 2018 23:59:59 +0000
Rachel Maclean 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.

This exhibition includes Spite Your Face 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 The Adventures of Pinocchio and offers a powerful critique of contemporary society and its underlying fears and desire. Spite Your Face 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.

Maclean says of Spite Your Face: “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.”

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 A Whole New World won the prestigious Margaret Tait Award in 2013, she has twice been shortlisted for the Jarman Award, and achieved widespread critical praise for Feed Me (2016) in British Art Show 8.

For more information on the artist see

]]> (Logan Sisley) Thu, 31 May 2018 00:00:00 +0000 Thu, 31 May 2018 00:00:00 +0000 Sun, 16 Sep 2018 23:59:59 +0000
Doireann O’Malley: Prototypes Doireann O'Malley's film Prototypes 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.
- Jury Statement, Edith Russ Haus fur Media Art Stipendium, 2016.

Prototypes is a multi-screen film installation by Berlin-based Irish artist Doireann O’Malley.

Prototypes I 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.

Prototypes II & III follow a further exploration of trans embodiments with trans female protagonists, going further into computer generated dream landscapes.

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.

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.

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.

Prototypes I 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. Prototypes II 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.

For more information on the artist see

]]> (Logan Sisley) Fri, 22 Jun 2018 00:00:00 +0000 Fri, 22 Jun 2018 00:00:00 +0000 Sun, 30 Sep 2018 23:59:59 +0000
Niamh McCann Furtive Tears 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.

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.

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.

For more information on the artist see:

]]> (Michael Dempsey) Thu, 04 Oct 2018 00:00:00 +0000 Thu, 04 Oct 2018 00:00:00 +0000 Sun, 06 Jan 2019 23:59:59 +0000