Carissa Farrell reviews Hannah Fitz’s exhibition, ‘OK’ (23 April – 25 May), at Kerlin Gallery, Dublin.
The May – June 2019 issue of the Visual Artists’ News Sheet is out now. This issue includes a brief focus on prominent national art collections. Discussing the 60-year evolution of the Niland Collection, Emer McGarry, Director of The Model, highlights collecting and ‘keeping’ as active investments in building ‘living repositories’ of thoughts and ideas. As the Arts Council of Northern Ireland launches its new Art Lending Scheme, Suzanne Lyle, Head of Visual Arts, discusses their contemporary collection. Similarly, Eamon Maxwell offers insights into the evolution of the Arts Council of Ireland Collection, which was established in 1962. VAI NI Manager, Rob Hilken provides an overview of art collections in
JONATHAN CARROLL INTERVIEWS EVA ROTHSCHILD ABOUT REPRESENTING IRELAND AT THE 58TH VENICE BIENNALE. Jonathan Carroll: Your biography is the perfect antithesis of Brexit: you were born in Dublin; studied at University of Ulster, Belfast; live in London and have an MA from Goldsmiths; and you are being brought to Venice by Void Gallery in Derry, with a curator from Cork. Is it good timing for such a European endeavour? Eva Rothschild: We were not alone in being anxious about getting everything transported to Venice before the initial Brexit date. The Scottish, Welsh and British pavilions were all installing early, to avoid any difficulties. There is nothing in the show that
LILY CAHILL, WINNER OF THE VAI/DCC ART WRITING AWARD 2019, REVIEWS MICHELLE DOYLE’S SOLO EXHIBITION, ‘OBEDIENT CITY’, AT A4 SOUNDS GALLERY, DUBLIN. I recently hosted a visiting American friend. Spending the majority of their stay in suburban south Dublin prompted the query as to why the fashion is for graveled driveways as opposed to grass. This was one of the only notable differences between the modern metropoles of Dublin and Boston, apparently. Having never paid any particular attention to such ubiquitous assemblies in the past, I couldn’t speculate as to my fellow citizens’ preference for large gatherings of pounded stones surrounding one’s abode. The zealous tourist prompted pause for thought:
Irish Museum of Modern Art, Dublin15 February – 3 June 2019 ‘Nowhere Without No(w)’ highlights Walker and Walker’s longstanding interest in the Modernist canon – particularly Charles Baudelaire and Stephane Mallarmé, in this instance. The themes of the works presented – and the artists’ long-running collaborative practice – are diverse, but Romantic association predominates. The exhibition is exactingly prescriptive in its use of ideas and literary references. Its sleekly direct and literal translations of ideas into form invoke the aesthetic austerity of the conceptual tradition. However, its sensuous silvers and inky blacks exacerbate the cerebral quality into kitsch and fetish, helping to establish a sense of fraught disclosure. Pathos is
The Dock, Carrick-on-Shannon19 January – 9 March 2019 Stories of displacement are not aesthetic. These are rushed, unplanned, reactive situations, without much time or resources for calculation or intention. Perhaps this is part of the reason why many people find it hard to identify with asylum seekers; it is difficult for most of us to comprehend such an urgent need to escape danger and to find a safer place. Anita Groener’s recent exhibition at The Dock captured this challenge, before we even approached the work. The title, ‘The Past Is A Foreign Country’ – taken from the opening of L. P. Hartley’s novel, The Go-Between (1953) – highlighted this sense
Butler Gallery, Kilkenny17 March – 12 May 2019 ‘Poulaphouca’ at the Butler Gallery is Sam Reveles’s first large-scale solo exhibition in Ireland. The fourteen works on display in the four adjoining galleries include Reveles’s most recent paintings and works on paper. The exhibition is a journey of an experience which demonstrates the development and shifts in Reveles’s work over the last few years. In the first gallery space, one of the artist’s earlier works, Cill Rialaig 2, is an elemental example of his previous ‘grey’ period. The paper is approached episodically; an underlay of grey wash is erased by a lattice of horizontal scratchy marks. This method of creating through
Draíocht Arts Centre, Blanchardstown14 March – 18 May 2019 Immediacy, I’ve found, has always been an underlying characteristic of much contemporary painting. I’ve never tried to pull back the curtain of the canvas, in search of hidden meaning lurking beyond sight. Surely, I thought, there is no code to crack; what you see is what you get. However, this limiting preconception was unilaterally turned on its head by ‘MAKing Art:PAINTing’. Sitting with the paintings in this group exhibition – which includes work by Susan Connolly, Bridget Flannery, Geraldine O’Neill and Liz Rackard – I found nostalgia, warmth and physical engagement seeping out. ‘MAKing Art:PAINTing’ is the second instalment in a
Uillinn: West Cork Arts Centre, Skibbereen9 March – 10 April 2019 The crisp depiction of County Cork’s Fastnet Lighthouse – tall and erect yet submerged in a sea of blue – opens Geraldine O’Sullivan’s exhibition, ‘Light Keepers’ at Uillinn: West Cork Arts Centre. As one of 14 artworks on display, this painting immediately anchors the viewer in what unfurls as a world of green gushes, titanium white surf and brilliant blue horizons. O’Sullivan’s paintings are accompanied by 11 mixed-media collages that act as visual documentation of the information, stories and anecdotes the artist has encountered since commencing research into the history of lighthouse keeping in Ireland, over three years ago.
The March/April issue of the Visual Artists’ News Sheet is out now. In columns for this issue, Sarah Durcan outlines her ongoing research project, ‘The Memory-Image’, as well as a related screening event at the Irish Film Institute in January. Sara Greavu discusses the evolution of CCA Derry’s dedicated reading group, booksvscigarettes, which aims to bring concentration and care to a range of texts, through the attentive act of communal reading. The Skills Column for this issue comes from James L. Hayes, who discusses experimental casting processes, technologies and materials, as well as the most recent iteration of his ongoing ‘Iron-R’ project. Reflecting on the many uncertainties currently facing artists