Ann Murphy: Fugue State – Mermaid Arts Centre, Bray, 19 September – 8 November 2014

Image: Ann Murphy, Lumen 2014 Porcelain; Silver-plated copper wire, dimensions variable, courtesy of the artist

















Fugue State

Christine Lebeck and Ann Murphy

19 September to 8 November 2014


Mermaid Arts Centre

Main St. Bray, Co. Wicklow



Fugue state is a psychiatric term for a state of dissociation and disorientation, in which a person temporarily loses the sense of who and where they are, a kind of rupture in the sense of continuity and identity. In the daily transition from sleeping to waking, we may likewise briefly experience the undoing of our sense of self, before we gradually reassemble the fragments of our identity and recover ourselves.


The artists in this two-person exhibition are both concerned with investigating such states of mind and such moments in time. Christine captures those moments of transformation, when the play of light renders the domestic space suddenly unfamiliar, or the familiar abstract. She is interested in the inter-play between interior and exterior, light and shadow, and those in-between areas where light and shadow blend, known as the penumbra, the indistinct outer-region of a shadow.


Light is incorporated as a crucial element in Ann’s fragile sculptural installations, which seem to be absorbed into the space, the play of light both revealing and concealing as it changes throughout the day. The delicacy and transparency of the materials - silk paper, porcelain and silver wire - contributes to the illusion that they are hovering between emerging and dissolving, between unity and fragmentation, becoming and un-becoming.


The two person exhibition will be opened by Gerry Watson, Board Member of the Graphic Studio, Dublin, at 6pm on Thursday 18 September, 2014. All are welcome.


Special thanks to the Embassy of France, Christopher Pingeon and Doireann Ní Bhriain. Mermaid Arts Centre’s exhibition programme is supported by Craft Picture Framing, Dublin Road, Bray, Co Wicklow.


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Colin Crotty: Make yourself ready, my spirit – Spinnerel Gallery, Leipzig 13-14 Sept. 2014



















“Make yourself ready, my spirit”. The exhibition title is derived from Johann Sebastian Bachs` first cantata he composed in Leipzig. Also inspired by the city our international awardees will show their works made during their residency stay. Darren Munce an Australian painter who also teaches painting in Melbourne, artist Cameron Gill and Irish artist Colin Crotty will be showing new body of work. Sadia Sadia as director, editor as well as producer will present a two channel video installation and premiere her recent 30-channel sound project. Los Angeles based artist Piper Mavis will present two new video works.


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Isabel Nolan: ‘An answer about the sky’ Sean Kelly Gallery New York, September 13 – October 18, 2014

Image: An answer about visible light 2014, ©Isabel Nolan, Courtesy of Sean Kelly, New York.























Isabel Nolan

An answer about the sky


Sean Kelly Gallery

475 Tenth Avenue
New York NY 10018


September 13 – October 18, 2014

An answer about the sky will include new hand-made sculptures, paintings, a text piece and Nolan’s newest large-scale textile work, The emptied room: A rug for the 20th Century. The works are exemplary of the artist’s restless investigation of the omnipresent aesthetic compulsion to find order, to generate a material record of place and time and thus secure an understanding of the world.

The exhibition title is from the Strugatsky Brothers’ novel Definitely Maybe (1974), referring to a thwarted effort to find the answer to one question and receiving information on an entirely different matter. Nolan sees this as a metaphor for productive artistic research:

“Artworks thrive in a space of necessary failures and missed objectives. They are willful and stubbornly refuse to be fully instrumentalised or to ever be wholly in control of their own meaning or ends. I thought I was making a show that considered disintegration and failure. In the process, I learned more about the treachery of beauty than disintegration. For instance, I wanted to make a rug prompted by the meditative, virtually monochrome painting Convolvulus by Paul Nash. Made in 1930, the painting alludes to the demise of civilizations and of nature’s vitality and indifference to culture. Yet somehow I conceived a sumptuous rug rich in colour and an almost obscenely lovely vision of a deliquescent, defunct architectural space.”

The fracturing of representational form and structure into poetic abstraction is common to many of the featured works in the show. The hand-tufted wool rug occupies both the wall and floor. The architectural imagery of the upper section seems to melt, dripping to the lower half where pattern solidifies into an irregular floor-scape. The sculptures are presented on solid stone plinths but have a quality of cultivated uncertainty. In their oscillation between representation and abstraction the paintings also conjure a sense of unease or shifting perspectives.

In the text work, A Sun So Hot, a central theme of the show is elucidated. Nolan writes, “It is wise to beware beauty. It is treacherous. It aids in reconciling us to living in an irrational, thrilling, difficult and dull world and quite often beauty makes bearable and thinkable that which is quite rightly very difficult to bear or think.”

An answer about the sky is an exhibition precipitated by the seductive narratives of brilliant failures and the way in which art contrives to make the world more beautiful. Nolan again, “I asked a question about disintegration and the answer I got was art.”

Nolan’s exhibition at Sean Kelly coincides with the artist’s solo exhibition, The weakened eye of day, on view at The Irish Museum of Modern Art, Dublin, through September 21, 2014. The museum exhibition will then travel to the Contemporary Art Gallery, Vancouver and Mercer Union, Toronto. Recent solo exhibitions by Nolan include: Musée d’art moderne de Saint Etienne, France (2012); and the Return Gallery, Goethe Institute, Dublin (2012). Other solo shows include: Project Arts Centre (2005), Dublin: the Studio, Glasgow International (2006); and Artspace, New Zealand (2008). She represented Ireland at the 2005 Venice Biennale in a group exhibition, Ireland at Venice 2005. Her work has been presented in group exhibitions at institutions internationally, including the Irish Museum of Modern Art, Dublin and Palais de Tokyo, Paris, as well as international biennials including The Yugoslav Biennial for Young Artists, Vrasc, Serbia-Montenegro, and Mediation Biennale, Poznan, Poland.


Further information available at:




ART FOR GAZA, a benefit exhibition in response to the situation in Gaza at Oonagh Young Gallery Dublin, 26 August – 5 September 2014














Image  MARK CLARE, Mainly people, photograph, 2003


Art for Gaza

A benefit exhibition in response to the situation in Gaza



1 James Joyce Street,

Dublin 1


Preview: Tuesday, August 26th, 6-8pm

Exhibition runs until September 5th


David Beattie, Mark Clare, Mark Cullen, Mark Garry, Una Gildea, Martin Healy, Caoimhe Kilfeather, Gillian Lawler, Nevan Lahart, Isabel Nolan, Liam O’Callaghan, Niamh McCann, Dennis McNulty, Ciarán Murphy, Gavin Murphy, Alan Phelan, Sonia Shiel.

All proceeds of sales go to Unicef: Gaza Appeal


The exhibition will be opened by Raymond Deane

This is a benefit exhibition in response to the situation in Gaza. We feel that this crisis is a humanitarian issue and want to make some effort to support the people and, in particular, the children. We invited a group of established Irish artists to generously donate a work to the exhibition, the sales of which go directly to the Unicef: Gaza Appeal.


Please come and support the exhibition.


Mary Cremin & Oonagh Young



Opening hours:

11.00am – 1.00pm & 2.00pm – 6pm, Wed -Fri

12 – 5 pm – Saturday










Gerard Byrne: A late evening in the future – Frac des Pays de la Loire, France 5 July – 21 September 2014

Image: Gerard Byrne, extract "A thing is a hole in a thing it is not" 2010, courtesy of Lisson Gallery London, Nordenhake Gallery Stockholm and Green on Red Gallery Dublin
















Gerard Byrne

A late evening in the future


Frac des Pays de la Loire

Boulevard Ampère
44470 Carquefou


5 July – 21 September 2014


In the frame of Songe d’une nuit d’été (Midsummer night’s dream) a contemporary art & heritage trail in the loire valley – from march to november 2014


Gerard Byrne has spent his career revisiting our cultural history: his carefully-documented film productions show public figures of the twentieth century – artists, writers, businessmen – discussing social and political issues of their day.  Byrne looks to the media world of his youth (whether publications, television or advertising) for the raw material of his dialogues and conversations. As such, 1984 and Beyond (2005-07) refers to 1960s’ America and its vision of the future, through a discussion organized by Playboy in 1963, and which brings together some of the leading figures in science fiction such as Isaac Asimov and Ray Bradbury. In the midst of these turbulent times, this butch band foresees with complete confidence the end of communism, intergalactic space travel, a society of plenty and complete sexual freedom. Evoking a future yet to happen from a bygone age, the scene is as fascinating as it is disturbing.


Byrne’s twentieth century is full of men, and these men speak mainly about art and sex (women), between revolutionary aspirations and moral conservatism. A thing is a hole in a thing it is not calls upon, through some chequered episodes in its history, some of the major players of Minimalism and the American modern art scene: Robert Morris, Tony Smith, Franck Stella discover, discuss and implement a new vision of the artwork, a pure spatial object.  In A Man and a Woman make love (2012), a group of phallocentric surrealists – including André Breton and Raymond Queneau – descant learnedly on pleasure and the mysteries of the female orgasm. Staged on a sitcom set very much in the style of the Belle Epoque, this dialogue published in 1928 in La Révolution surréaliste (The Surrealist Revolution) appears all the more shocking. Between these two issues we glimpse the question of objectivity of forms and of the subjugation of women and nations, a common desire for control, and a form of complicity, which leave their mark on our cultural history.

Deliberately theatrical, Gerard Byrne’s films constantly blur the boundaries between document and fiction, between History and histories. At the FRAC Pays de la Loire, the artist has chosen to bring them back into play in a setting that draws as much on the language of minimalist sculpture and romantic ruin as on the theatre stage. The large gallery, immersed in shadow, is dotted with monumental slabs propped up against one another and with viewing devices. The slabs and screens come alive and switch off; the films are fragmented according to the switching whims of the software controlling the whole installation, and the movements of roaming visitors. Somewhere within the gallery space stands enthroned the reconstruction of the white tree created by Giacometti for a set of Samuel Beckett’s Waiting for Godot. Also borrowed from Beckett is the exhibition’s title: A late evening in the future is the first stage direction in Krapp’s Last Tape, which sees Krapp, a failed writer reduced to vagrancy, soliloquize while listening once again to an old tape spool, a kind of record of “blessed, blissful days” cut short by a distressing break-up. Like the example of Beckett’s set, Gerard Byrne’s exhibition seeks to be an enigmatic twilight zone devoted to recollection, subject to a random and discretionary order. It is therefore for the roaming visitor to reconstruct meaning out of the modernist narratives cleverly deconstructed by the artist.

Text: Julien Zerbone







Isabel Nolan: DEEP ONE PERFECT MORNING – Kerlin Gallery Dublin, 18 July – 30 August 2014














Image: Isabel Nolan: What remains of an occasion that had not lasted. 2013

mild steel and PU Satin Lacquer, archival pigment print on Hahnemühle paper, framed
element one: 572 x 295 x 55 cm, element one 225.2 x 116.1 x 21.7, courtesy of the artist and Kerlin Gallery




Caroline Achaintre, Aleana Egan, Mark Francis, Liam Gillick, Sam Keogh, Isabel Nolan and Jan Pleitner


Kerlin Gallery

Ann’s Lane

Dublin 2


18 July – 30 August 2014



…a perfectly crowded scene of sorts, with fences and screens, a heron, chairs, permanent marker, Fruit Loops, mild steel and powder coated aluminium, wire, balls, leather, Plexiglas®, more chairs, glass beads, a mask, puke, Gena Rowlands, Leonardo and Krang, more puke, ceramic, jesmonite, a performance maybe, butt hole surfers, neon cord, toxic waste, carefully diffused light, paint, Skittles, rubbish, electrical cable, frozen pizza, three A0 posters and of course, Mel Brooks.




Liam O’Callaghan: If and then…(again) Galway Arts Centre 14 July – 27 July 2014















Liam O’Callaghan

If and then…(again)


Galway Arts Centre

47 Dominick Street



14 July – 27 July 2014


Galway Arts Festival & Galway Arts Centre present if and then…(again) a multi-media exhibition by Dublin based artist Liam O’Callaghan.

The process of O’Callaghan’s work is one that leaves time and space for continued inventiveness, experimentation and play. A continuing process of thinking by hand, with a make shift, make-do aesthetic is apparent in each work. O’Callaghan’s performative process explores the poetry of objects and the act of making, leading to a collision of sound and object and a sense of experience, for both the artist and the audience. This performative and experimental process creates work that the viewer can question and consider. It frames a darker side to society and the struggles of the human condition in a world striving for a homogenized idealism.


Liam O’Callaghan (b. 1968, Ireland) is based in Dublin; he studied at Dun Laoghaire Institute of Art, Design and Technology. He has exhibited widely both nationally and internationally. Recent solo shows include: If and Then…, Butler Gallery, Kilkenny, 2014; Bit Symphony, Temple Bar Gallery Dublin 2011; Rasche Ripken Gallery Berlin, 2009 and Made to Make do Royal Hibernian Academy Dublin, 2006. Selected group shows include: O Brave New World, Rubicon Projects Brussels, 2013; Terrible Beauty, Dublin Contemporary 2011 and Twenty, IMMA Dublin & Redefine: Readymade, Kunstverein Schwerin, 2011. Liam O’Callaghan is represented by the Rubicon Gallery.


Image Credits:
Liam O’Callaghan Companion Structures 2014 digital photograph courtesy Rubicon Gallery


Ella de Burca: OTHERWISE – Wyspa Institute of Art, Gdansk, Poland, 11 July – 15 September 2014

Image: Ella de Burca ' Sometimes its like being trapped in a snow globe Eblana' 2014 courtesy of the artist




















Wyspa Insti­tute of Art / Wyspa Pro­gress Foundation

Doki 1 / 145 B
80–958 Gdańsk, Poland


11 July – 15 September, 2014


OTHER­WISE: Ken­nedy Browne, Marta Fer­nan­dez Calvo, Ella de Burca, Jesse Jones, Seamus Nolan, Ela­ine Ray­nolds.


Con­ti­nu­ing the deba­tes aro­und the notion of For­mer West and the com­plex impli­ca­tions of the poli­ti­cal and eco­no­mic shi­fts post- 1989, the group show OTHER­WISE aims to explore the geo­po­li­ti­cal meaning of the term West in the con­text of migra­tion and pre­ca­rity within post­in­du­strial socie­ties.

OTHER­WISE will inve­sti­gate this sense of limi­ta­tion and the restric­tions deri­ved from one’s geo­gra­phi­cal posi­tio­ning and the strug­gles one faces upon ente­ring the cycle of migra­tion. It will focus on the con­di­tions of con­tem­po­rary wor­kers and the rise of the pre­ca­riat in the con­text of histo­ri­cal chan­ges bro­ught about by the events of 1989 in order to reflect on the short- lived poten­tial of a com­mon world free from the hege­mony of any sys­tems; the once- imagined possi­bi­lity of things hap­pe­ning otherwise.


Sho­uld we agree that the West is exhau­sted as a poli­ti­cal con­struct, then it must also be ack­now­led­ged that it rema­ins in force as a geo­gra­phi­cal con­fi­gu­ra­tion, with migra­tion as the move­ment which nowa­days rein­for­ces its for­mat. Tho­ugh tech­ni­cally the phy­si­cal and ide­olo­gi­cal bor­ders between the for­mer East and the West were lifted in 1989, the real fre­edom of move­ment and access to the labour mar­ket is still restric­ted. EU agen­cies such as Fron­tex have been esta­bli­shed to rein­force the bor­ders between the EU and non- EU coun­tries, thus cre­ating a new East and West division.




ELLA DE BURCA’s cre­ative out­put focu­ses on sculp­tu­ral respon­ses to the the­mes of lan­gu­age, gra­vity, labour and per­for­mance.  Star­ting from a sub­jec­tive van­tage point, she works outwards to encom­pass local and glo­bal con­stel­la­tions of inter­pre­ta­tion and relevance.

She works mainly with objects and poems, altho­ugh it sho­uld be sta­ted that she con­si­ders these poems to take form as objects in them­se­lves, occu­py­ing a page or a wall in a way that refers to their own phy­si­ca­lity. Usu­ally wor­king in response to immediate sur­ro­un­dings, de Burca views exhi­bi­tion making as the phy­si­cal mani­fe­sta­tion of the tho­ught pro­ces­ses inspi­red by being pre­sent in a place. In questio­ning of the expe­rience and poten­tial of an art piece, she plays with form and line to over­lap histo­ri­cal con­scio­usness with live visual awareness.

Group shows inc­lude ‘Slow Future’ Cen­tre for Con­tem­pro­ary Art Ujaz­dow­ski Castle’ War­saw 2014, Cram­po­gra­phies’ KW Insti­tute of Con­tem­po­rary Art, Ber­lin 2014,  Rebu­il­ding Uto­pia The Emer­gency Pavi­lion at The 53rd Venice Bien­nale 2013, Play­ing Nature, special pro­ject at The 5th Moscow Bien­nale 2013, and Vienna Art Fair 2013, both cura­ted by Katia Krup­pe­ni­kova, Dublin Con­tem­po­rary 2011, Out on a Boat Were a Group of People Sin­ging at The Lab 2011, Disa­vow at The Joinery 2011 and the cloud at Dra­iocht in 2010

Solo shows inc­lude:
Haha Har­co­urt Street, ArtLot Dublin, 2013
Illu­mi­na­ting  Kun­stho­les at Coffre- Fort, Brus­sels, Bel­gium, 2013,
Aviary Aste­rism at Air Antwer­pen, Antwerp, Bel­gium 2012,
DeFacto, Spring­break Gal­lery, Miami, The Reality Show, The Banff Cen­tre, Canada 2011,
Duino, Place Gal­lery, Wexford and Silent Vibra­tions at the Irish Museum of Con­tem­po­rary Art 2010.

De Burca was the reci­pient of the Eve­lyn Wood Memo­rial Award (The Banff Cen­tre) in 2011, as well as the Amharc Fhinne Ghall Award (Fin­gal County Coun­cil) in 2010. She has also rece­ived the Tra­vel and Tra­ining Award from The Irish Arts Coun­cil in 2011 and 2010, and has been the reci­pient of an Arts grant from Fin­gal County Coun­cil and Cul­ture Ire­land in 2013. In 2006 de Burca won the Samuel Bec­kett Cen­te­nary Award. In 2014 de Burca was the reci­pient of an arts bur­sary from The Irish Arts Council.


For further information:







Genieve Figgis: Yes Captain – Harper’s Books NY, 5 July – 6 August, 2014















Genieve Figgis

Yes Captain


Harper’s Books

87 Newtown Lane
East Hampton, NY


July 5 – August 6, 2014



Harper’s Books NY presents their highly anticipated exhibition of recent work by Irish painter Genieve Figgis, titled Yes Captain. The show will open with a reception, attended by the artist, on Saturday, July 5, from 6:00 to 8:00pm, and will be on view in the main level and mezzanine galleries through August 6. Featuring work created earlier this year, the display will include a selection of acrylic and oil paintings executed in vibrant color on both board and canvas. While Figgis has been honored with solo exhibitions in Europe, Yes Captain marks the first public presentation of her work in the United States.


Painting at the intersection between abstraction and portraiture, Figgis unites an abiding interest in history with a penchant for the macabre. As critic David Rimanelli notes, “the figures populating Genieve Figgis’s paintings emanate from some luminescent netherworld, suspended between life and death, or living life and death or life through death in a land of the willingly lost, enchanted and menacing by turns.” Laden with both humor and anxiety, her work is at once wrought with emotional intensity and haunted by psychological deviance, rooted in her ethereal caricatures of genteel society gone awry.


Incorporating sourced imagery of royalty from the seventeenth and eighteenth centuries, Figgis engages in an ongoing dialogue with the court painter tradition, exploring the absurdity of history and power dynamics — subjects deeply related to her Irish heritage — through depictions of English aristocracy, grandiose architecture, and baroque fashion. By means of her distinctly anti-academic aesthetic, which features motifs that are, at turns, psychedelic and grotesque, Figgis’s work implies a sense of distrust in authority figures and accepted dogmas, instead relegating them to a place of ridicule and farce.


Indicative of current trends in communication, in which social media has the power to engender changes in public perception, Figgis’ induction into the American art scene was largely through the Internet, where she first gained recognition in New York circles on Twitter and Instagram. Through her autonomous self-promotion and resoundingly positive public reception, Figgis has acquired a reputation as a rising talent in contemporary art, whose unique style has garnered the attention of notable collectors and art enthusiasts worldwide.


A native of Dublin, Ireland, Figgis has exhibited extensively since completing her BFA and MFA degrees at The National College of Art and Design. During the past two years, she has contributed work to group shows at Flood Gallery in Dublin, Angell Gallery in Toronto, and Mall Galleries in London, and has been featured in solo shows at Transition Gallery in London, Talbot Gallery in Dublin, and Studio 9 in Wexford. In fall 2014, Half Gallery will organize a solo exhibition of her work in New York. She is currently represented by Fulton Ryder.

Genieve Figgis: Yes Captain will coincide with the release of the artist’s first book, Making Love with the Devil, published by Fulton Ryder and featuring an essay by David Rimanelli.

For information on available works, please contact the gallery at or (631) 324-1131.


Ella de Burca: SLOW FUTURE – Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland, 27 June – 14 September 2014














Centre for Contemporary Art Ujazdowski Castle
ul. Jazdów 2, 00-467 Warsaw, Poland


27 June – 14 September, 2014

David Adamo
, Bigert & Bergström, Bianca Bondi, Tania Bruguera, Fernando Bryce, Ella de Búrca, Luis Camnitzer, Jota Castro, Joachim Coucke, James Deutsher, Maarten Vanden Eynde, Kendell Geers, Nuria Güell, Patrick Hamilton, Cinthia Marcelle, Tiago Mata Machado, Gordon Matta-Clark, Ingrid Wildi Merino, Mariele Neudecker, Wilfredo Prieto, Aleksandra Wasilkowska, David Zink Yi

Curator: Jota Castro

The theme of the exhibition SLOW FUTURE is degrowth, a social movement advocating that we should abandon the current model of compulsory economic growth and search for ways to improve the quality of life within the limits of capacity of natural environment. The promoters of degrowth, also known as degrowthists, question the supreme value of material possessions and propose alternative models of economy – barter, cooperatives, co-ownership, and community exchange. According to them, it is mistaken to think that economic growth is indispensable for development and that it is the most important goal that everyone should pursue. Supporters of the idea of degrowth believe that it is precisely unrestrained consumption that aggravates social inequalities, not to mention irreversible damage to natural environment. Through their lifestyles, they are trying to oppose the universal pursuit of growth (in development and in economics), which according to them, creates far more social harm than objective benefits. In order to cut down consumption, we don’t have to make sacrifices or reduce our quality of life. It would be enough to use alternative means and methods at a larger scale, such as: recycling, green transport, converting deserted buildings into flats; and finally – to engage local organizations in decision-making processes relating to changes in public space. In times of economic crisis, such concepts become highly appreciated and inspire artists from all over the world.

The exhibition is a follow-up of the “Emergency Pavilion – Rebuilding Utopia” (2013) show in Teatro Fondamenta Nuove during the last year’s Venice Biennale. Its curator, Jota Castro (born in Lima, Peru, 1965) is a French-Peruvian artist-activist. In his work, he often reveals the mechanisms of contemporary consumption and examines social issues in the context of sustainable development, ecology, as well as alternative models of economic exchange. The majority of works presented at the Slow Future exhibition are new works by about twenty artists.

The exhibition is accompanied by a bilingual catalog containing texts by such authors as Michał Augustyn, Jota Castro, Claudia Pareja, Pierre Raahbi.

The exhibition SLOW FUTURE opens in conjunction with the commencement of the third edition of the project “Green Jazdów.Green Market.”

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Institutional Partners: Embassy of Switzerland, National Council of Culture and the Arts (CNCA), Chile / Consejo Nacional de la Cultura y las Artes, Chile, The British Council, Embassy of the Kingdom of the Netherlands



Further information available at: