Exhibitions 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/whatson-exhibitions 2017-12-18T07:12:33+00:00 Point Blank Eithne Jordan: Tableau 2017-10-12T00:00:00+00:00 2017-10-12T00:00:00+00:00 http://www.hughlane.ie/past/1667-eithne-jordan-tableau Logan Sisley logan.sisley@dublincity.ie <p>Over the past three decades Eithne Jordan has worked from her roots in neo-expressionism and developed her practice into a considered and meditative representation of space and light. Whether it is the darkness of a February afternoon, the reflected light of a fresh snowfall, or the distinctive hue of Halogen Street lights, her paintings are charged with content that is either to come, or else is taking place just out of view. Her work in recent years focuses on the contemporary city, looking at places such as Paris, Rotterdam, Madrid, Vienna, and most recently Dublin.</p> <p>In her new series of paintings depicting interiors, Jordan invites us to look closely at the multi layered histories woven through the spaces of institutions and public buildings in our cities. Many of these are museums, or historic buildings that often contain art as a backdrop to civic, educational or cultural activities</p> <p>In Jordan's exhibition at The Hugh Lane, <em>Tableau</em>, her works inhabiting the rooms of Charlemont House, once domestic, now public, become a Gesamtkunstwerk – a total work of art. These paintings, like a strange mirror, are observing us, and reflecting a repetition of lives lived. Jordan is working in the realm of the extraordinary, the humdrum extraordinary, bringing to the fore the details and perspectives of our reality, She creates an idea, not of contrast, but rather of dialogue, an indication of the continuity between the past and the present, between old and modern.</p> <p><strong>The exhibition will be lit by daylight as weather conditions permit.</strong></p> <p>Eithne Jordan was born in Dublin where she studied at Dun Laoghaire Institute of Art, Design & Technology from 1972-76. She was awarded a DAAD scholarship in 1984 to study at the Hochschule der Künste in West Berlin, where she subsequently lived for several years. Since 1990 she has worked between Languedoc in the south of France and Ireland. Her work is in major public and private collections in Ireland, Europe and the US and she is a member of Aosdana and the Royal Hibernian Academy.</p> <p>A catalogue on Eithne Jordan's work will be published in November 2017.</p> <p>Over the past three decades Eithne Jordan has worked from her roots in neo-expressionism and developed her practice into a considered and meditative representation of space and light. Whether it is the darkness of a February afternoon, the reflected light of a fresh snowfall, or the distinctive hue of Halogen Street lights, her paintings are charged with content that is either to come, or else is taking place just out of view. Her work in recent years focuses on the contemporary city, looking at places such as Paris, Rotterdam, Madrid, Vienna, and most recently Dublin.</p> <p>In her new series of paintings depicting interiors, Jordan invites us to look closely at the multi layered histories woven through the spaces of institutions and public buildings in our cities. Many of these are museums, or historic buildings that often contain art as a backdrop to civic, educational or cultural activities</p> <p>In Jordan's exhibition at The Hugh Lane, <em>Tableau</em>, her works inhabiting the rooms of Charlemont House, once domestic, now public, become a Gesamtkunstwerk – a total work of art. These paintings, like a strange mirror, are observing us, and reflecting a repetition of lives lived. Jordan is working in the realm of the extraordinary, the humdrum extraordinary, bringing to the fore the details and perspectives of our reality, She creates an idea, not of contrast, but rather of dialogue, an indication of the continuity between the past and the present, between old and modern.</p> <p><strong>The exhibition will be lit by daylight as weather conditions permit.</strong></p> <p>Eithne Jordan was born in Dublin where she studied at Dun Laoghaire Institute of Art, Design & Technology from 1972-76. She was awarded a DAAD scholarship in 1984 to study at the Hochschule der Künste in West Berlin, where she subsequently lived for several years. Since 1990 she has worked between Languedoc in the south of France and Ireland. Her work is in major public and private collections in Ireland, Europe and the US and she is a member of Aosdana and the Royal Hibernian Academy.</p> <p>A catalogue on Eithne Jordan's work will be published in November 2017.</p> The Ocean After Nature 2017-09-07T00:00:00+00:00 2017-09-07T00:00:00+00:00 http://www.hughlane.ie/past/1666-the-ocean-after-nature Logan Sisley logan.sisley@dublincity.ie <p><strong style="font-size: 12.16px;">Artists</strong><span style="font-size: 12.16px;">: Ursula Biemann, Elaine Byrne, CAMP, Yonatan Cohen & Rafi Segal, Mati Diop, Drexciya, Peter Fend, Renée Green, Peter Hutton, Hyung S. Kim, Manny Montelibano, Philip Napier, Deimantas Narkevičius, The Otolith Group, Maria D. Rapicavoli, Allan Sekula & Nöel Burch, Supersudaca, UNITED BROTHERS.</span></p> <p><span style="font-size: 12.16px;">Curated by Alaina Claire Feldman and produced by Independent Curators International (ICI).</span></p> <p><span style="font-size: 12.16px;">For centuries, the ocean has prompted awe, figuring as a vast unknown space loaded with notions of the sublime and the exotic. In the past fifteen years however, global technological and economic shifts have triggered new concerns and understandings of the ocean. As we consider the future of our planet, today’s oceans reveal more about the consequences of human actions than ever before. The ocean and humanity, no longer thought of as separate, exist in a relationship of mutual and potentially destructive influence.</span></p> <p><em>The Ocean after Nature</em> considers the ocean as a site reflecting the ecological, cultural, political, and economic realities of a globalized world through the work of twenty artists and collectives. These internationally established and emerging artists explore new ways of representing the seascape as a means to identify and critique the various interrelated and chaotic systems of power, such as land-sea divides, the circulation of people and goods, and the vulnerabilities of our ecosystems.</p> <p>Invoking personal themes of identity and migration, alongside more universal concerns related to tourism, trade, and the exploitation of natural resources, the artists in <em>The Ocean after Nature</em> respond to the intertwined factors that define this new understanding of the ocean. The exhibition proposes that seascapes do not only reflect power but can be instruments of power themselves.</p> <p>In September 2017 <em>The Ocean After Nature</em> continues its international tour at Dublin City Gallery The Hugh Lane. The exhibition features work in a wide variety of media—including photography, video, sculpture, music, and design. At every hosting site, a new work by a locally based artist is added to the exhibition in order to further contextualize the exhibition for diverse global audiences. Dublin City Gallery The Hugh Lane has invited artists Elaine Byrne and Philip Napier to contribute to the project.</p> <p><em>The Ocean after Nature</em> is a travelling exhibition curated by Alaina Claire Feldman and produced by Independent Curators International (ICI), New York. The exhibition and tour are made possible, in part, with the generous support from ICI’s International Forum and the ICI Board of Trustees.</p> <p><strong style="font-size: 12.16px;">Publication</strong><span style="font-size: 12.16px;">: Accompanying the exhibition is a catalogue edited by Alaina Claire Feldman, published by ICI, and designed by Geoff Kaplan / General Working Group. It includes texts by Alaina Claire Feldman, Lucy R. Lippard, Allan Sekula and Noël Burch, Yonatan Cohen & Rafi Segal, Lanka Tattersall, Ursula Biemann, May Joseph, Amanda Parmer, Virgil Taylor, Kodwo Eshun, Negar Azimi, Ed Halter, Patrick Flores, CAMP, Andrey Misiano, Sarah Wang, Maria del Carmen Carrion, among others.</span></p> <p><strong>About the Curator</strong>: Alaina Claire Feldman is a curator and Director of Exhibitions at Independent Curators International (ICI). Over several years, Feldman has worked with the Centre Audiovisuel Simone de Beauvoir to translate and distribute videos in the archive, culminating in exhibitions at The Kitchen (New York) and SPACE (London). With Stephen Vitiello, she curated New York’s Hidden Noise at Anthology Film Archives in 2014. Along with Martha Wilson, she curated the four-day performance, film and discursive program Performing Franklin Furnace at Participant Inc. (with Coco Fusco, Michael Smith, Erika Beckman, Nicolas Dumit Estevez, Robert Longo and others) in 2015. She oversees the ICI Sourcebook publication series and has edited books with Martha Wilson, Allan Ruppersberg, and Apichatpong Weerasethakul. She recently curated the internationally traveling exhibitions <em>The Ocean after Nature</em> (and edited the subsequent catalogue) and <em>Publishing Against the Grain</em>. Her writing has appeared in several art journals and in the exhibition catalogues for <em>BLESS N°41 Retroperspektives Home</em> (Kunsthaus Graz), <em>Self-Timer Stories</em> (Museum der Moderne Salzburg and Austrian Cultural Forum NY), <em>Apichatpong Weerasethakul: The Serenity of Madness</em> (ICI) and <em>Partenza: Renata Poljak</em> (Galerije Umjetnina, Split). She was previously Assistant Editor at <em>May Revue</em>.</p> <p><strong>About Independent Curators International (ICI)</strong>: Independent Curators International (ICI) produces exhibitions, events, publications, research and training opportunities for curators and diverse audiences around the world. Established in 1975 and headquartered in New York, ICI is a non-profit organization that connects emerging and established curators, artists, and art spaces, forging international networks and generating new forms of collaborations. ICI provides access to the people and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art. News about the tour, programming schedule and updates are available on <a href="http://curatorsintl.org/exhibitions/the-ocean-after-nature" target="_blank" title="ICI">ICI’s website</a>.</p> <p>If you have visited <em>The Ocean After Nature</em> in Dublin, please send us feedback by completing this very <strong><a href="https://www.surveymonkey.com/r/2GPJ95V" title="Survey">short survey</a></strong>.</p> <p><strong style="font-size: 12.16px;">Artists</strong><span style="font-size: 12.16px;">: Ursula Biemann, Elaine Byrne, CAMP, Yonatan Cohen & Rafi Segal, Mati Diop, Drexciya, Peter Fend, Renée Green, Peter Hutton, Hyung S. Kim, Manny Montelibano, Philip Napier, Deimantas Narkevičius, The Otolith Group, Maria D. Rapicavoli, Allan Sekula & Nöel Burch, Supersudaca, UNITED BROTHERS.</span></p> <p><span style="font-size: 12.16px;">Curated by Alaina Claire Feldman and produced by Independent Curators International (ICI).</span></p> <p><span style="font-size: 12.16px;">For centuries, the ocean has prompted awe, figuring as a vast unknown space loaded with notions of the sublime and the exotic. In the past fifteen years however, global technological and economic shifts have triggered new concerns and understandings of the ocean. As we consider the future of our planet, today’s oceans reveal more about the consequences of human actions than ever before. The ocean and humanity, no longer thought of as separate, exist in a relationship of mutual and potentially destructive influence.</span></p> <p><em>The Ocean after Nature</em> considers the ocean as a site reflecting the ecological, cultural, political, and economic realities of a globalized world through the work of twenty artists and collectives. These internationally established and emerging artists explore new ways of representing the seascape as a means to identify and critique the various interrelated and chaotic systems of power, such as land-sea divides, the circulation of people and goods, and the vulnerabilities of our ecosystems.</p> <p>Invoking personal themes of identity and migration, alongside more universal concerns related to tourism, trade, and the exploitation of natural resources, the artists in <em>The Ocean after Nature</em> respond to the intertwined factors that define this new understanding of the ocean. The exhibition proposes that seascapes do not only reflect power but can be instruments of power themselves.</p> <p>In September 2017 <em>The Ocean After Nature</em> continues its international tour at Dublin City Gallery The Hugh Lane. The exhibition features work in a wide variety of media—including photography, video, sculpture, music, and design. At every hosting site, a new work by a locally based artist is added to the exhibition in order to further contextualize the exhibition for diverse global audiences. Dublin City Gallery The Hugh Lane has invited artists Elaine Byrne and Philip Napier to contribute to the project.</p> <p><em>The Ocean after Nature</em> is a travelling exhibition curated by Alaina Claire Feldman and produced by Independent Curators International (ICI), New York. The exhibition and tour are made possible, in part, with the generous support from ICI’s International Forum and the ICI Board of Trustees.</p> <p><strong style="font-size: 12.16px;">Publication</strong><span style="font-size: 12.16px;">: Accompanying the exhibition is a catalogue edited by Alaina Claire Feldman, published by ICI, and designed by Geoff Kaplan / General Working Group. It includes texts by Alaina Claire Feldman, Lucy R. Lippard, Allan Sekula and Noël Burch, Yonatan Cohen & Rafi Segal, Lanka Tattersall, Ursula Biemann, May Joseph, Amanda Parmer, Virgil Taylor, Kodwo Eshun, Negar Azimi, Ed Halter, Patrick Flores, CAMP, Andrey Misiano, Sarah Wang, Maria del Carmen Carrion, among others.</span></p> <p><strong>About the Curator</strong>: Alaina Claire Feldman is a curator and Director of Exhibitions at Independent Curators International (ICI). Over several years, Feldman has worked with the Centre Audiovisuel Simone de Beauvoir to translate and distribute videos in the archive, culminating in exhibitions at The Kitchen (New York) and SPACE (London). With Stephen Vitiello, she curated New York’s Hidden Noise at Anthology Film Archives in 2014. Along with Martha Wilson, she curated the four-day performance, film and discursive program Performing Franklin Furnace at Participant Inc. (with Coco Fusco, Michael Smith, Erika Beckman, Nicolas Dumit Estevez, Robert Longo and others) in 2015. She oversees the ICI Sourcebook publication series and has edited books with Martha Wilson, Allan Ruppersberg, and Apichatpong Weerasethakul. She recently curated the internationally traveling exhibitions <em>The Ocean after Nature</em> (and edited the subsequent catalogue) and <em>Publishing Against the Grain</em>. Her writing has appeared in several art journals and in the exhibition catalogues for <em>BLESS N°41 Retroperspektives Home</em> (Kunsthaus Graz), <em>Self-Timer Stories</em> (Museum der Moderne Salzburg and Austrian Cultural Forum NY), <em>Apichatpong Weerasethakul: The Serenity of Madness</em> (ICI) and <em>Partenza: Renata Poljak</em> (Galerije Umjetnina, Split). She was previously Assistant Editor at <em>May Revue</em>.</p> <p><strong>About Independent Curators International (ICI)</strong>: Independent Curators International (ICI) produces exhibitions, events, publications, research and training opportunities for curators and diverse audiences around the world. Established in 1975 and headquartered in New York, ICI is a non-profit organization that connects emerging and established curators, artists, and art spaces, forging international networks and generating new forms of collaborations. ICI provides access to the people and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art. News about the tour, programming schedule and updates are available on <a href="http://curatorsintl.org/exhibitions/the-ocean-after-nature" target="_blank" title="ICI">ICI’s website</a>.</p> <p>If you have visited <em>The Ocean After Nature</em> in Dublin, please send us feedback by completing this very <strong><a href="https://www.surveymonkey.com/r/2GPJ95V" title="Survey">short survey</a></strong>.</p> Artistic Migration: Frank O'Meara and Irish Artists Abroad 2016-12-20T00:00:00+00:00 2016-12-20T00:00:00+00:00 http://www.hughlane.ie/past/1672-artistsabroad2 Jessica O'Donnell jodonnell.hughlane@dublincity.ie <p><strong><span>Artistic Migration: Frank O'Meara and Irish Artists Abroad</span></strong><span> </span></p> <p><strong><span>On view in galleries 12 and 13</span></strong></p> <p><span><span>Curated by Jessica O'Donnell</span></span></p> <p><span>As part of our theme<span> </span><em><span>Artist as Witness: Migrations</span></em>, this display of paintings in galleries 12 and 13 explores the work of  Irish artists who, influenced by innovative new developments in<span> </span><em><span>en plein air</span></em><span> </span>painting on the Continent travelled abroad to develop their art practice.  The Taylor prize set up in 1860 provided monetary support for artists who wished to travel and study abroad. It enabled many Irish artists to experience at first hand the pioneering developments occurring in France where the art movements of Realism, Impressionism, Symbolism and Post-Impressionism were to the fore of revolutionary art practice. In Britain, artists including Philip Wilson Steer, whose work is also on view here, promoted modern French painting through the New English Art Club. A rare self portrait by Frank O'Meara which was recently acquired by the Gallery with the financial support of Mary Stratton-Ryan is also on display following  conservation treatment by Lucia Fabbro, Conservator. </span></p> <p><span>In Belgium, the reputation of the Academie Royale des Beaux Arts at Antwerp during the 1870s and 1880s attracted students internationally and Walter Osborne and Roderic O’Conor were among the Irish artists who studied there. The Academy’s teaching philosophy was led by Charles Verlat, Professor of Painting. He emphasised excellence in draughtsmanship alongside a vigorous handling of paint and encouraged students to paint rapidly out of doors using bold colours.  From Antwerp, many of the Irish artists such as Roderic O’Conor and John Lavery, headed to the artists’ colonies in Brittany including Pont Aven and Beg-Meil while others favoured the French countryside around the rural village of Barbizon at the edge of the forest of Fontainebleau as well as the picturesque villages in Britain.</span></p> <p><span>In Paris, numerous new academies emerged in opposition to the academic teachings of the École des Beaux Arts. To advance their practices, many of the artists taking advantage of the new public transport system headed off by train to the artists’ colonies which had sprung up around Fontainebleau. These colonies were thronged with those seeking to live the bohemian dream and capture idyllic subject matter drawn from rural life.</span></p> <p><span>The Irish artist Frank O’Meara studied at the<span> </span><em><span>atelier</span></em><span> </span>of Carolus-Duran in Paris. There, he became friends with John Singer Sargent who joined him for a time in the artists’ colony of Grez sur Loing near Fontainebleau.  O’Meara and fellow artist William Stott of Oldham’s preference for autumnal light and even, muted colours in their paintings is in marked contrast to the sun-filled exuberance of the paintings of Walter Osborne, William Leech, John Lavery and May Guinness. These differing sensibilities, one wistful and melancholic and the other bolder and more joyous reveals how specific qualities of light and place can enrich our perception of the landscape surrounding us.</span></p> <p><span>Included in The Culture Trip's top shows to see in Dublin this Spring: https://theculturetrip.com/europe/ireland/articles/must-see-dublin-gallery-shows-this-spring/</span></p> <p><strong><span>Artistic Migration: Frank O'Meara and Irish Artists Abroad</span></strong><span> </span></p> <p><strong><span>On view in galleries 12 and 13</span></strong></p> <p><span><span>Curated by Jessica O'Donnell</span></span></p> <p><span>As part of our theme<span> </span><em><span>Artist as Witness: Migrations</span></em>, this display of paintings in galleries 12 and 13 explores the work of  Irish artists who, influenced by innovative new developments in<span> </span><em><span>en plein air</span></em><span> </span>painting on the Continent travelled abroad to develop their art practice.  The Taylor prize set up in 1860 provided monetary support for artists who wished to travel and study abroad. It enabled many Irish artists to experience at first hand the pioneering developments occurring in France where the art movements of Realism, Impressionism, Symbolism and Post-Impressionism were to the fore of revolutionary art practice. In Britain, artists including Philip Wilson Steer, whose work is also on view here, promoted modern French painting through the New English Art Club. A rare self portrait by Frank O'Meara which was recently acquired by the Gallery with the financial support of Mary Stratton-Ryan is also on display following  conservation treatment by Lucia Fabbro, Conservator. </span></p> <p><span>In Belgium, the reputation of the Academie Royale des Beaux Arts at Antwerp during the 1870s and 1880s attracted students internationally and Walter Osborne and Roderic O’Conor were among the Irish artists who studied there. The Academy’s teaching philosophy was led by Charles Verlat, Professor of Painting. He emphasised excellence in draughtsmanship alongside a vigorous handling of paint and encouraged students to paint rapidly out of doors using bold colours.  From Antwerp, many of the Irish artists such as Roderic O’Conor and John Lavery, headed to the artists’ colonies in Brittany including Pont Aven and Beg-Meil while others favoured the French countryside around the rural village of Barbizon at the edge of the forest of Fontainebleau as well as the picturesque villages in Britain.</span></p> <p><span>In Paris, numerous new academies emerged in opposition to the academic teachings of the École des Beaux Arts. To advance their practices, many of the artists taking advantage of the new public transport system headed off by train to the artists’ colonies which had sprung up around Fontainebleau. These colonies were thronged with those seeking to live the bohemian dream and capture idyllic subject matter drawn from rural life.</span></p> <p><span>The Irish artist Frank O’Meara studied at the<span> </span><em><span>atelier</span></em><span> </span>of Carolus-Duran in Paris. There, he became friends with John Singer Sargent who joined him for a time in the artists’ colony of Grez sur Loing near Fontainebleau.  O’Meara and fellow artist William Stott of Oldham’s preference for autumnal light and even, muted colours in their paintings is in marked contrast to the sun-filled exuberance of the paintings of Walter Osborne, William Leech, John Lavery and May Guinness. These differing sensibilities, one wistful and melancholic and the other bolder and more joyous reveals how specific qualities of light and place can enrich our perception of the landscape surrounding us.</span></p> <p><span>Included in The Culture Trip's top shows to see in Dublin this Spring: https://theculturetrip.com/europe/ireland/articles/must-see-dublin-gallery-shows-this-spring/</span></p>