Category Archives : Leinster – Dublin

John Fitzsimons at Olivier Cornet Gallery and City Assembly House

October 2 to October 30 | Opening: October 2 at 6pm
The Octagonal Room, City Assembly House, 58 South William Street, Dublin 2 – October 2 to October 13
JF Studios, 5 Cavendish Row, Dublin 1 – October 14 to October 30

The Olivier Cornet Gallery is delighted to present RECOLLECTIONS, an exhibition of new works by gallery artist John Fitzsimons.

The show will open on October 2 (all invited), 6 pm at The Octagonal Room, City Assembly House (home to the Irish Georgian Society), 58 South William Street, Dublin 2.
It will run there till October 13. The exhibition with then move to the gallery’s base at JF Studios, 5 Cavendish Row (Parnell Square), Dublin 1 where it will be shown till October 30.

Exhibition opening hours for both locations: 11 am to 6 pm, Mondays to Friday (till 8 pm on Thursdays); 12 noon to 5 pm on Saturdays and Sundays

For more information, please visit:

Nina Fischer & Maroan el Sani at MART

TheMART-square-vai1 – 26 October | Opening: 1 October at 6pm
MART Gallery, 109a Rathmines Road Lwr, Rathmines, Dublin 6

An exhibition of two video works in the Mart Gallery in October 2014 with promotional support by the Irish Museum of Modern Art, the Goethe Institut, The German Embassy and Japanese Embassy. This will include an opening talk and a participatory workshop run by the artists. There will also be other talks and seminars held during the course of the exhibition involving the National College of Art and Design and the Institute of Art Design and Technology Dunlaoghaire. During the four week run the two video works that will be shown are:

Narita Field Trip, looks at how two Tokyo teenagers deal with the experience of encountering a farming community that is fighting against the expansion of Narita airport, a development that threatens to swallow and destroy their farms, homes, livelihood and community. (HD, colour, stereo, 30 min. 2010)

Spelling Dystopia, is a film that explores a community’s memory of the abandoned coal mining centre, Hashima Island, once the most densely populated place on earth, now known as the backdrop for teen horror movie Battle Royale and as a home for Bond villains. (HD,16:9, 2 channel video installation, colour, stereo, 17:25 min)

Irish Film Institute Screening October 2014

There will be a single screening of I live in fear After March 11 hosted by the Experimental Film Club that concerns life in the aftermath of the Fukushima nuclear disaster to be held in the IFI with an artist talk and open discussion. |

Play / On Joue Sur La Terre at Alliance Française

Runs until 31st October

The theme of the 4th International photography competition of the Fondation Alliance française was “On joue sur la Terre” and the winner of our own competition, Tommie Lehane, was one of 20 international finalists selected by the Grand Jury! We are proud to present selection of the best works submitted by Alliances Françaises from all around the globe!

Details of the 5th annual competition in conjunction with the Fondation Alliance Française will be released shortly.

Show and Salon Event with Bláthnaid Ní Mhurchú at deAppendix

appendixSeptember 22nd – October 24th 2014
‘There is no smoke without fire’, watercolour on paper, 2014
Venue: deAppendix, 30 Ardagh Grove, Blackrock, Co. Dublin
Salon event: Mon 22nd September 2014, 6.30 – 8pm. Bláthnaid in conversation with Ciara McMahon will discuss her current body of work.

My artistic work is pre-occupied with nature and with a singular focus on the interaction between humans and the natural environment. I draw on my experience of the landscapes and environments that surround me, and I endeavour to express contemporary concerns regarding the ecological and sociological issues.

In this show, these works exhibited delve into both the documentary research carried out during my time working within The Natural History Museum store facility in Dublin and my time as artist in residence at the YWP, The Yukon, Canada. These two strands come together to provide the visitor with a taste of the multi-sensory experiences of this past year.

Chloe Brenan and Chanelle Walshe at NCAD Gallery

PRImagenotlifWEBNCAD Gallery presents:
not life / necessarily
Exhibition continues Friday 19th September – Friday 24th October 2014.

The National College of Art and Design Gallery is pleased to announce not life / necessarily, a two person exhibition featuring new work by artists Chloe Brenan and Chanelle Walshe.

In 2013 Brenan and Walshe undertook a residency in Dresden, Germany to explore the points of confluence in their respective practices in development for exhibition at NCAD Gallery. The exhibition composed of a range of media includes painting, photography and installed sound and sculptural work.

The evocative title, ‘not life / necessarily’, is a borrowed quote from the closing lines of the Samuel Beckett poem “Something There” (trans. 1974).  In reference here to Beckett’s poem, both artists’ practice considers and reflects on the subject of the unknowable, poetically pointing to moments likened to an oscillating point on a fulcrum; the pause in the fall of a breath, the point where consciousness gives way to slumber.


Mary-Claire Keogh at Draíocht Arts Centre

2014maryclairekeoghConcentrate On Your Breathing
19 September – 22 November
First Floor Gallery, Draíocht Arts Centre, The Blanchardstown Centre, Blanchardstown, Dublin 15

‘The motivation for my current body of work is an investigation of suppressed emotion and thought rediscovery, using printmaking (collographs, drypoints, monoprints) as a form of self-expression. It focuses on my reaction to the atmosphere around me, and is quite introverted: a personal reaction to my own private environment. The traditional processes, aesthetic allure and composition in each piece is very important to me. Throughout my work I intend to show the juxtaposition between strong, definite mark making and an almost fragile beauty. While they contain an element of delicacy and charm, many of the works can be seen as overpowering and uncomfortable. They give a sense of both anticipation and despondency. These abstract concepts are open to viewers’ personal interpretation, but for me they represent a personal sadness and inner turmoil.’

Mary-Claire Kehoe is an Irish printmaker based in Co Wexford. She graduated from Limerick School of Art & Design in 2005 and obtained a Masters in Printmaking from the University of the Arts, London in 2007. Since then she has worked as an art teacher and has recently set up her own studio where she concentrates solely on creating new work. Having exhibited in numerous group shows, her next upcoming solo show is in the Ulster Hall, Belfast in May 2015.

Draiocht’s Galleries are open Monday to Saturday 10am-6pm. Admission is Free.

Bernie Masterson at Draíocht Arts Centre

19 September – 22 November
Ground Floor Gallery, Draíocht Arts Centre, The Blanchardstown Centre, Blanchardstown, Dublin 15

Weather Masterson’s new body of paintings explores landscape as untamed nature.

‘As a painter, landscape has always been my place of interest, my starting point so to speak, layered with time, place, and memory. In this collection of new works my response to the landscape (both the beauty and the terrors of nature) is to ‘poeticise’ it, just like early nineteenth century artists did. Weather changes landscape, it shapes it, and subsequently our relationship and response to it.’

Bernie Masterson is an artist living and working in Dublin. She was born in Ballymoney, Co Antrim, Northern Ireland and graduated from Limerick School of Art and Design. She has had solo exhibitions with several galleries like the Hallward Gallery Dublin, Waterford Healing Arts Trust, the Custom House Gallery Westport, the Clothworthy Museum Co Antrim and the Hunt Museum Limerick to name some and is regularly selected and invited to several group shows like the Royal Ulster Academy, Royal Hibernian Academy, Eigse, Dunamaise Open and Rua Red Winter Open.

Draiocht’s Galleries are open Monday to Saturday 10am-6pm. Admission is Free.

Joe Scullion at RUA RED

Joe ScullionSettle
Curated by Paul McAree
20 September – 1 November | Preview: 18 September at 6pm
Gallery 2, RUA RED, South Dublin Arts Centre, Tallaght, D24

Although not entirely figurative or abstract, Joe Scullion’s paintings appear to be scenes from another world. Marks of paint form into fragments of architecture, lingering in deep atmospheres as if somehow suspended. The formations are almost monument-like except that they are incomplete; with no clear function they remain ambiguous. Joe graduated from NCAD in 2013 with a first class honours BA in Fine Art Painting and is the recipient of the 2013 RDS Taylor Art Award. He recently had his first solo show Waiting to Materialise at the Talbot Gallery.

Jacob Dahlgren at RUA RED

JacobDahlgrenAbstract Space in Concrete Terms
Curated by Paul McAree
20 September – 1 November | Preview: 18 September at 6pm
Gallery 1, RUA RED, South Dublin Arts Centre, Tallaght, D24

The exhibition brings together works by Swedish artist Jacob Dahlgren <> which have been reconfigured for RUA RED. Heaven is a Place on Earth is a large floor work comprising 195 polished bathroom scales in candy-pop colours, ranging from turquoise and lime to cerise and black. The Wonderful World of Abstraction takes its sculptural form from 1000’s of metres of multi-coloured ribbon, which are suspended uniformly from a metal frame – to kaleidoscopic effect. Visitors are invited by Dahlgren to step into his pictorial and sculptural world by walking across and through his artworks. |

Kevin Cosgrave at mother’s tank station

17 September – 1 November | Opening: 17 September at 6pm
mother’s tankstation. 41-43 Watling Street, Ushers Island, Dublin 8

The White Rabbit put on his spectacles. “Where shall I begin your Majesty?” he asked. “Begin at the beginning,” the King said gravely, “and go on till you come to the end: then stop.” …There was a general clapping of hands at this: it was the first really clever thing the King had said all day.” Alice in Wonderland, pg 182

If the term ‘remake’ is generally understood, in the context of film, as direct reference to something in the spectrum of reused material; from a line-by-line retake, to an entirely new version of an extant work: then what does it indicate for a young visual artist – where there is a standard expectation (cultural-peer-pressure) of work being predicated on vangardism and/or originative gesture – to launch a whole body of new work into the territory of pastness, or the not new, newly seen?

Realistically, and bravely spoken, there is, of course, nothing new about newness at all, and as the King of Hearts might justly point out, there is only the possibility of one beginning, an ongoing middle with a singular end. Once a beginning has begun, then we should know where we stand; that everything that stretches in-between this and that, stands as work ‘in progress’, a trajectory that arcs, ever-connectedly, from a given point into the unknown. ‘Remake’, being the third solo show with mother’s tankstation, by the gifted young, Irish depictive painter, Kevin Cosgrove, follows suggestions of an notioned importance placed upon continuance, on-goingness, tradition even. Cosgrove jokes, that he’s “so old fashioned that he’s almost cool”. Ideas implanted by his selection of previous show titles (N.B. not all remakes use the same title); the untitled first album (2008) – the White Rabbit’s dream of a 70s rock’n’roll entrance – and Just the Usual (2011), all seem to imbed directly to a real world; of music, everyday life, film, etc., rather than aiming at self-conscious artistic declamations. The brilliance of Cosgrove’s painting is… that they are just ‘that’; that they come from such as earthed-reality within his life and habitual understandings, that they seem as if they might have emerged fully-formed, with the conviction of inherent knowing; of feeling, hearing, touching, smelling. Cosgrove’s recent paintings move in close to his habituated places of work, empty, waiting, yet full of life, care. Order that looks like chaos; personal, taxonomies of things placed to hand – that get the most regular use – with the attendant, decreasing cycles of distance equals disfunctionalism. Cosgrove’s astonishing, painterly shorthand makes these densely textured spaces, the complex storage systems of tins, cables, and tubes, intertwined, light-revealed, dusty realities, all seem so easy, so approachable, so perfectly… beautiful.

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