A Name Unmade: Francis Ledwidge (1887 - 1917) Exhibition

http://nervecentre.org/events/other/name-unmade-francis-ledwidge-1887-1917-exhibition#.WXBgdoqQxE4

Nerve Centre
7-8 Magazine Street
Derry~Londonderry
BT48 6HJ

On the centenary of his death, A Name Unmade: Francis Ledwidge (1887–1917) is an exhibition of new and recent work by contemporary visual artists presented in response to the life and work of the Meath poet, naturalist, activist, nationalist, and soldier.

The location of the exhibition in Buildings Eighty81 has particular resonance. Ledwidge was stationed at Ebrington Army Barracks in 1916 and wrote a number of poems about the events of the Easter Rising during his time in Derry~Londonderry.

Featuring work by artists Patricia Burns, David Farrell, Clare Langan, Mick O'Dea, Niamh O'Malley and Sasha Sykes.

Sat 08 Jul 7:00pm to Sun 01 Oct 12:00pm

Opening times: Tues - Sat, 10am - 5pm & Sun, 12 - 6pm

http://responsetoarequest.com/

'It is very hard to arrange something that looks like it just happened. There is something within the very effort to produce a natural or accidental crumple that defeats it. Is it that time itself – embedded in this natural state and true slow momentum – cannot be replicated by twisting or throwing or pulling, just so?'

Niamh O'Malley's gorgeous 'Gathering space' is now online, and marks the end of this project (at least in this format). As always, you'll have two weeks to read:

http://responsetoarequest.com

Augmented Geology, 09.06.17 - 08.07.17, KARST, Plymouth →

Anna Estarriola / Nabb+Teeri / Maggie Madden / Lola Gonzalez / Niamh O'Malley

Curated by Laura Koonikka & Darja Zaitsev

09.06.17 - 08.07.17

Augmented Geology presents six international artists whose works study the immaterial and physical possibilities of build environments and rocks. The exhibition brings together installations, video works and sculptures through the thematics of representations, speculative entities and hybrids. Augmented Geology explores the possibilities of recreating natural and solid materials. It questions how does the man-made technology affect the physical and social environment we live in.

The exhibition revolves around the concept of the rock cycle, the dynamic and often violent transitions through the geologic time. A voyage through Niamh O'Malley's quarries and monumental ruins leads us to Anna Estarriola's performance for a rock contemplating on mankind's limited and helpless desires and attempts to embrace and conduct reality.

Lola Gonzalez' moments of synchronicity and bodily communication guide us to face outwards, towards the natural landscape, and to question is it only sound and fury, signifying nothing. Whereas Maggie Madden's collected materials accompany us to reflect on our spatial encounters in the urban landscape and the natural world. Watching Nabb+Teeri's imaginary minerals makes the raw-materiality surrounding humans corporeal, and substantiates the capitalistic dreams of exploitation leading to the end of resources.

As the rocks are forced to change as they encounter new environments, the exhibition opens a space for unpredictable and sometimes unwanted actions of human bodies, non-human creatures, and ecological systems.

Augmented Geology is supported by Arts Council England, The Finnish Art Agency, Lantoom Quarry, Marcelle Alix, Mothers Tankstation.


 

 

Douglas Hyde Gallery, Gallery 2 April 21st - May 27, 2017

Panel Discussion
 
On Tuesday, May 2 at 6pm, Isobel Harbison will lead a discussion on aspects of contemporary Irish sculptural practice with Niamh O’Malley, Aleana Egan, Caoimhe Kilfeather, and Isabel Nolan. All are welcome and there is no need to book a place.

NIAMH O'MALLEY

Gallery 2

April 21 - May 27, 2017

The Douglas Hyde Gallery is pleased to present an exhibition of new video, sculpture and drawing by Niamh O'Malley.
 
'shape' is a video work in which O’Malley feigns the role of choreographer. Flat abstract shapes enter the frame and move calmly across a grey plane. Occasionally lines and curves settle into what appear to be deliberate arrangements. These allusive compositions shift onwards, inevitably swallowed by some barely discernible rhythmic drift. This transient image-making is possible due to surface tension in the molecular space where sky meets water.
 
Surface tensions recur in O'Malley's sculpture and drawings, evident through a haptic, agitated quality to edges and appearances. She is drawn to materials that display traces of their own making, labouring the surfaces of polished wood and graphite to the point of distraction. Glass is a favoured material, which is sometimes tinted and encountered as slivers of translucent solidness, directing us to observe, re-observe and filter our gaze.

Niamh O’Malley previously held a solo show in Gallery 1 of the Douglas Hyde Gallery in 2014. She has also held exhibitions in the Contemporary Art Gallery, Vancouver; Bluecoat Gallery, Liverpool; and Project Arts Centre, Dublin, amongst many others. The Douglas Hyde Gallery would like to thank the artist for her commitment and enthusiasm; and John Hutchinson for initiating the project.

 
Panel Discussion
 
On Tuesday, May 2 at 6pm, Isobel Harbison will lead a discussion on aspects of contemporary Irish sculptural practice with Niamh O’Malley, Aleana Egan, Caoimhe Kilfeather, and Isabel Nolan. All are welcome and there is no need to book a place.

Selection of Current/Forthcoming 2017

Nov 5- April 2:          2116, Forecast of the next century, Group Exhibition, Eli & Edythe Broad Museum, Michigan

Feb 4-April 23:         ‘Public View’ Group Exhibition, Bluecoat Gallery, Liverpool, curated by Bryan Biggs

March 2 -April 26:   Drawing Biennial 2017, Group Exhibition, Drawing Room, London

April 1-Jun 18:          ‘Song of the Open Road',  Contemporary Art Gallery, Vancouver, curated by Nigel Prince

April 20-May 25:     ‘Rests’, Solo Exhibition, The Douglas Hyde Gallery, Dublin, Ireland

April 27- June 16:     ‘A Name Unmade’, Group Exhibition, Solstice Arts Centre in Navan, curated by Sabina McMahon

June 10- July 8:        ‘Augmented Geology’, Group Exhibition, KARST, Plymouth, curated by Laura Köönikkä

July 17-July 30:        ‘Golden Record’, Group Exhibition, Galway International Arts Festival

Sept-Oct 2017:        ‘Surface Tensions’, Group Exhibition,  Blackchurch Print Workshop, curated by Jaki Irvine

Ongoing 2017:         IMMA Collection: A Decade, Group Exhibition, Irish Museum of Modern Art, Dublin           

                 

 

Solo Exhibition 'Illuminations Gallery' Maynooth University, Nov 2016-Jan 2017

Illuminations is a digital-visual exhibition space in the School of English, Media and Theatre Studies at Maynooth University. Illuminations brings together work in the visual arts and in academia, celebrating innovation, ideas and creativity.

Situated in the Iontas building, the gallery space is built around eight LED screens, placed back-to-back in custom-designed cabinets. Supplemented by two display units which can exhibit physical artefacts, and a website which extends the gallery space, Illuminations aims to provide opportunities for education, investigation and enlightenment in and beyond the university.

Illuminations will promote work by artists, writers and researchers which stimulates ideas and provides new contexts for thinking and learning. The ART strand will promote national and international work through digital media. The IDEAS strand will highlight new research and fresh critical thinking. Illuminations will provide a place where art, writing, criticism, research and teaching co-exist.

June 2016. Writer Sue Rainsford reflects on Niamh O’Malley’s Memorial Gardens, 2008, featured in IMMA’s current exhibition IMMA Collection: A Decade. →

Niamh O’Malley |Memorial Gardens (2008)
IMMA Collection: A Decade Sue Rainsford, April 2016

What can we ascertain of the human gaze and the shadow it casts? Or of memory, that diaphanous veil that shrouds even the most vibrant recollections?

Niamh O’Malley’s Memorial Gardens (2008) draws on a place potent with remembering to literalise the act of looking, the residue left by even the most cursory glance. Aligning a projection with an oil painting, the work sees these disparate materials temporarily fuse in a hovering, ethereal composite. The moment they come apart underscores the constructed, illusory nature of the image, the memorial itself, and the fabrication entailed by the act of looking.

 

https://immablog.org/…/07/05/artists-voice-memorial-gardens/

 

2116, Glucksman Gallery Cork & Eli and Edythe Broad Art Museum, Michigan →

http://www.glucksman.org/2116.html

2116
Forecast of the next century
March 25–July 3, 2016

Lewis Glucksman Gallery
University College Cork
Cork
Ireland
Hours: Tuesday–Saturday 10am–5pm

T +353 21 490 1844
info@glucksman.org

www.glucksman.org
Facebook / Twitter

Artists: Amanda Coogan, Maud Cotter, Gary Coyle, Eleanor Duffin, Damien Flood, Siobhán Hapaska, Ramon Kassam, Sam Keogh, Ruth Lyons, Eoin McHugh, Ailbhe Ní Bhriain, Mairead O'hEocha, Niamh O'Malley, Darn Thorn, Lee Welch, and the Centre for Genomic Gastronomy

Curated by Chris Clarke, Caitlín Doherty, and Fiona Kearney

2116 has been organised in collaboration with the Eli and Edythe Broad Art Museum at Michigan State University, USA and will take place there from November 5, 2016 to April 2, 2017.

2116 is a forecast of the next century. It explores our predictions and projections of an increasingly globalised and technology-driven world, and asks how Ireland will look from both within the country and from outside. From our contemporary vantage point, halfway between the origins of Irish independence in 1916 and an unknown, imagined future, how do visual artists see the next 100 years?

The exhibition features 16 Irish artists whose works present a vision of our changing society, the technological advances, progress and decline that will shape the coming century. Taking place one hundred years after the Easter Rising, 2116 is a platform for what is rising now and a way for Ireland in all its definitions to begin to imagine what lies ahead.

Artists have long occupied the roles of visionaries, seers, and initiators of the avant-garde. However, future visions are necessarily contingent and this uncertainty, even impossibility, of accurately foretelling the future is evoked in several works in the exhibition; Niamh O'Malley's vertical glass screen clouded with pencil markings, Eoin McHugh's densely patterned, anxiety-infused woollen tapestry, and Lee Welch's intervention of painted swathes across the windows of the gallery.

The connection between the distant past and the unforeseeable future is addressed in Ailbhe Ní Bhriain's films relating to an idealized traditional version of Ireland reconstructed through a virtual, computer generated world. Darn Thorn digitally alters images of Irish 1960s modernist architecture while, in Gary Coyle's installation of wallpaper and charcoal drawings, 19th century motifs and contemporary subject matter create a claustrophobic, dystopian atmosphere. While new technologies might appear useful in forecasting the future, they are also predictive of their own, eventual obsolescence. The Centre for Genomic Gastronomy explores impending threats to food security, while Ruth Lyons reflects on the folly of attempting to ascertain the future within the means of the present.

The residual traces of our history and their preservation for subsequent generations is explored in a number of artist's works. Sam Keogh appropriates the children's television character Oscar the Grouch to reflect upon the overwhelming accumulation of materials, while Amanda Coogan's photographs capture one of her performance-based artworks: the artist's head breaching a sheet of taut, blue fabric. In Eleanor Duffin's installation, the crystallisation of a milky liquid recalls the petrification of human bodies in Pompeii.

This synthesis of disparate influences, objects and elements recurs throughout. In Siobhán Hapaska's work, an olive tree is suspended by a gilded crane and flanked by tree trunks and engine blocks, reflecting our contemporary condition of displacement and loss. Damien Flood's paintings create fictitious narratives through abstract images, while Ramon Kassam portrays spaces that are invented or re- imagined in the mind of a semi-fictional artist. Mairead O'hEocha references historical and contemporary painting, film and photography, in her canvases of semi-rural and urban spaces. Maud Cotter's sculpture of high-tension cables, plastic and steel responds to the architectural language of gallery itself, drawing on ideas of philosophy, politics and economy to explore the very idea of the future.

2116 features the Irish premiere of Amanda Coogan's performance Don't Push the River at 5pm on June 24 and 10am to 5pm on June 25.

2116 at the Glucksman is supported by University College Cork, The Arts Council Ireland, and private philanthropy through Cork University Foundation.