Green on Red Gallery is pleased to present the Irish premiere of Homme à Femmes (Michel Debrane), a video project by Irish artist Gerard Byrne. This will be Byrne's third solo exhibition at the gallery.

Homme à Femmes (Michel Debrane) is a single channel video projection, which documents an attempt to dramatically re-enact a 1977 interview conducted between the French intellectual Jean-Paul Sartre, and journalist Catherine Chaîne, which was published in 'Le Nouvel Observateur' journal. The project develops from a number of previous projects Byrne has realised, each of which similarly engage a collective amnesia about our shifting cultural history, through dramatic re-enactments of culturally loaded conversations and interviews gleaned from discarded popular magazines. Previous works have delved into the forlorn double page spreads of issues from 'National Geographic' and 'Playboy' during the seventies and eighties; with Homme à Femmes (Michel Debrane) Byrne focuses on a generically candid encounter with Sartre, which discusses his relationship with women throughout his life, at a moment towards the end of that life.

In the original exchange Sartre, the emblematic European intellectual of the twentieth century, embodies a whole modernist patrimony under the scrutiny of a younger feminist journalist. In Byrne's project, a journeyman French actor (real name Michel Debrane) struggles to re-construct that edifice under the gaze of a camera, while being questioned from off-screen by an actress who plays the journalist Chaîne. Separated by age, and by gender, and formed by different epochs, Sartre a Marxist Modernist, and Chaîne a post '68 feminist, the schism between the two is dramatised in Byrne¹s project through the use of surround sound technology. In Homme à Femmes (Michel Debrane), Sartre never escapes the gaze of the camera, his alienated voice emanating from within the rectangular image. The voice of Chaîne emerges from outside and at odds with that projected image, from somewhere behind the viewer, mingling with both the noisy presence of the film crew in the space behind the camera, and the actual noise of viewers in the space of the gallery. The formal rupture between audio and image within the work, mirrors both the profound historical differences between the conversants, and the gap cleaved by the camera between those before it - Debrane, isolated in his struggle to personify Sartre, and those who stand behind and watch.

Homme à Femmes (Michel Debrane) was commissioned by BAK (Basis voor Actuele Aunst, Utrecht) and was co-commissioned and produced by Anna Sanders Films, Paris in 2004
Gerard Byrne has recently had solo exhibitions at Project, Dublin, BAK, Utrecht, both 2004, Frankfurter Kunstverein, Frankfurt, 2003, and at the Douglas Hyde Gallery, Dublin, 2002. He has participated in group shows at Kiasma, Helsinki, the Istanbul Biennale, the Whitney Museum of American Art, New York, and FRAC, Nord Pas-de-Calais, all 2003, and at Manifesta 4, Frankfurt, 2002. A monograph Books, magazines, and newspapers with a critical essay by George Baker, Assistant Professor of Art History at UCLA, was recently published by Lukas & Sternberg, New York.

This is Niamh O'Malley's first solo exhibition with Green On Red Gallery and heralds her return to Ireland from New York where she participated in the prestigious International Studio Programme at PS1, MoMa.

O'Malley's practice involves an investigation of structures for the perception and appraisal of visual qualities in nature as landscape. In particular, her most recent visual works address the positioning of the viewer as he/she employs particular modes of appreciation. O'Malley has stated about her work, the dene, 'vignette' "it can be read as a slowly moving painting producing a visual tension between the still, painted landscape and the real-time filmic space." She explores the disparity between representational devices such as painting and video and the understanding they propose.

In the dene,'vignette' the image is constructed through the precise alignment of a projected image and its painted counterpart. The work began as a video shot in New York City's Central Park. The stillness of the generic scene of grass, trees and lamppost is interrupted by passing pedestrians and traffic. The video slowly fades to reveal the painting behind the projection.

In reviewing O'Malley's PS1 exhibition, critic Tim Maul wrote: "as the two silent pictures dissolve in and out of each other, an odd effect is produced, a shifting between the rendered and the real. There is something mildly irrational about the hold this work has over those who encounter it. Perhaps some secret pictorial rule was broken allowing this fragment of cinema to operate in the space of a painting.

Most recently O'Malley has exhibited in European Space, Riga, Latvia, Visa for Thirteen, PS1, New York, No particular place to go, Apt Gallery, London, and EV+A, Limerick. She will participate in a residency at Biz Art, Shanghai in 2005.

The artist will give a talk on her work in the gallery on Thursday 14th October at 7pm. Please contact the gallery to reserve seating.

Should you require further information please contact Jerome O'Drisceoil, Caoimhe Kilfeather or Jennifer Phelan at Green On Red Gallery, 26-28 Lombard Street East, Dublin 2. The next exhibition at Green On Red Gallery is Gerard Byrne's most recent work entitled Hommes à Femmes, 11 November - 23 December, 2004

Fergus Feehily, John Graham, Tom Hunter, Caroline McCarthy, Fergus Martin, Mariele Neudecker, Corban Walker

This autumn seven artists will be exhibiting at Green On Red Gallery in an exhibition entitled September and including the work of Fergus Feehily, John Graham, Tom Hunter, Caroline McCarthy, Mariele Neudecker and Corban Walker. A month of complicated and often conflicting emotions and expectations, September marks the end of lazy summer days bringing poignancy and a certain sadness, while the anticipation of future projects and events promises new beginnings.

Mariele Neudecker's Another Day renders in lightbox what began as a film project. Synchronistically capturing the sun setting and the same sun rising from opposite ends of the globe would seem a futile activity, if by this process we are expected to experience something of the sheer scale and breadth of this event. Neudecker typically forces a double-take, a reassessment of some of the clichéd relationships between viewer and subject, in this case the confrontation with the unknown and the infinite as represented by sundown/sunrise over a vast immeasurable sea. Caroline McCarthy continues her exploration of everyday objects and delves into the deep freeze. Promise puts the thinly veiled conceit of convenience food packaging under laboratory lighting and gets some unexpected results. Corban Walker shows new computer-aided drawings on paper that repeatedly surprise with their intricate, optical results. Tom Hunter's series, Swan Songs, are extraordinary formal yet poignant portraits of his east London neighbourhood, Hackney, made by reference to its rivers. They snake filthily through industrial ground and move us, more than anything else, by their unnatural beauty. John Graham, for the first time, has created a series of oil and pastel drawings on paper which he has described as more sensual and immediate than his prints and which evolved out of his exploration of themes of ritual and chance. Fergus Feehily's work consistently blurs the line between non-representation and image, between text and drawing, painting and print. His new paintings continue to explore the multifarious possibilities of painting by mark-making with unexpected found equipment. Fergus Martin questions the relationship between central and peripheral, form and energy, realising a floor sculpture as part of his ongoing Pipe Dreams series. These works appear concurrently futuristic, utopian and down-to-earth.

Paul Doran, Fergus Feehily and Fergus Martin will show together in a 3-person exhibition in Galerie Michael Sturm, Stuttgart, September 18 - November 6 2004.

A group of four artists Kirstin Arndt (GER), Leonardo Drew (USA), James Hyde (USA), Paul Mosse (IRL), will be exhibiting at Green On Red Gallery in an exhibition entitled Material Pleasures. This show, which is curated by Molly Sullivan, explores how these artists - often through an obsessive and rigorous manipulation of found objects and everyday materials question the conventions of 'looking' that we bring to works of art. In particular these works often present conflicting or overlapping experiences for the viewer. They each acknowledge that the act of looking is typically an intersection of understanding what the work is physically comprised of, while simultaneously bringing a personal experience and memory to the act of giving the work meaning - or not. From Arndt's installations of packing boxes and tape and wall drawings of yarn; to Drew's vitrines of glass with enclosed fetishistic paper sculptures and Baroque paintings made from rust pigments; through to Hyde's assemblages of glass, and packing web, and tempera and styrofoam paintings; to Mosse's sculptural accretions of sawdust, glue, acrylic and paint, each has an immediate and provocative physical presence. Yet with passion, humour, obsession, and beauty they also suggest conceptual disclaimers are part and parcel of the viewing process.A group of four artists Kirstin Arndt (GER), Leonardo Drew (USA), James Hyde (USA), Paul Mosse (IRL), will be exhibiting at Green On Red Gallery in an exhibition entitled Material Pleasures. This show, which is curated by Molly Sullivan, explores how these artists - often through an obsessive and rigorous manipulation of found objects and everyday materials question the conventions of 'looking' that we bring to works of art. In particular these works often present conflicting or overlapping experiences for the viewer. They each acknowledge that the act of looking is typically an intersection of understanding what the work is physically comprised of, while simultaneously bringing a personal experience and memory to the act of giving the work meaning - or not. From Arndt's installations of packing boxes and tape and wall drawings of yarn; to Drew's vitrines of glass with enclosed fetishistic paper sculptures and Baroque paintings made from rust pigments; through to Hyde's assemblages of glass, and packing web, and tempera and styrofoam paintings; to Mosse's sculptural accretions of sawdust, glue, acrylic and paint, each has an immediate and provocative physical presence. Yet with passion, humour, obsession, and beauty they also suggest conceptual disclaimers are part and parcel of the viewing process.

The works heighten our awareness of the gallery as a stage from which each piece enacts a specific drama. Depending entirely upon our reading of the materials used and our expectations of what we think we should see, each artist's work offers the viewer paths of possible discovery. These artists all hold in common an obsession with the art-making process and the de-stabilizing and ultimately seductive effect this has on our understanding of their work.

With thanks to Galerie Michael Sturm, Stuttgart, Galerie Les Filles Du Calvaire, Paris, Kirstin Arndt, Leonardo Drew, James Hyde, and Paul Mosse.

Green On Red Gallery is pleased to host the third solo exhibition of new paintings by Patrick Hall. Entitled, Stone, the exhibition consists of approximately three large-scale works, eight smaller canvases and a number of works on paper. Hall last exhibited to great acclaim at the Butler Gallery, Kilkenny and at the Green On Red Gallery in 2002.

As Hall has observed about his working methods, he will often, almost incidentally note a subject, and then gradually return to it over a period of years. This latest body of work evolved from a drawing he made two years ago of a particular stone. Out of such a simple subject Hall has created an enigmatic and powerful body of work which seamlessly weaves biblical references, still-life motifs, and depictions of vast celestial landscapes with a rigorous exploration of painterly abstraction. The resulting work, with its muted palette, extremes of scale and haunting imagery, both perplexes and seduces. Hall¹s work has defied easy categorisation and by extension, easy assimilation, because it straddles two planes of visual engagement. On the one hand, these are contemplative, spiritual paintings and the viewer engages with the works much as a Renaissance audience might have contemplated a votive or altar painting. Equally, these works are a highly personal and contemporary exploration of memory and experience and of how memory is informed by meaning and, ironically, forgetfulness.

A major work in the exhibition is End of the Inferno (for W.M.). With its deep indigo night blue sky and sea of sparkling stars that float across its celestial expanse, one immediately draws parallels to Vincent Van Gogh¹s work, Starry Night (1889). In Hall¹s painting, the sky is painted as a brilliant and vast cosmos, but unlike Van Gogh¹s village which is nestled at the bottom of the canvas, Hall has depicted two miniature white angels hovering in the night sky holding a tablet on which writing is partially discernable. Is this intended as a heavenly warning or a message of hope and redemption? It all depends on the viewer¹s perspective in relation to meaning and identity.

In another large-scale work, Stone Held in A Sheet by Angels, Hall¹s painting first confronts the viewer with its bold brushwork and intense palettes of ochre and rust. Its immediate and visceral impact is as an abstract form ­ that is until one begins to focus on the imagery as a whole. Then, the viewer might notice the slight stick figures of the angels in either corner of the canvas as they strain to hold onto the corners of the sheet which carry the weight of the stone. That weight is palpable and uncomfortable. It is an anxiety-provoking, intimate and beautiful painting and is representative of Hall¹s work at its most formidable and arresting best.

The next exhibition at the Green On Red Gallery is a group exhibition of new sculpture, painting and installation, entitled The Space Between. Should you require further information please contact Jerome O Drisceoil, Molly Sullivan or Georgina Jackson at Green on Red Gallery 26-28 Lombard Street East Dublin 2 T: 671 3414/ 671 3448 F: 01 672 7117 E: info@greenonredgallery.com W: greenonredgallery.com

If you require jpegs or further information, please do not hesitate to contact the GalleryGreen On Red Gallery is pleased to host the third solo exhibition of new paintings by Patrick Hall. Entitled, Stone, the exhibition consists of approximately three large-scale works, eight smaller canvases and a number of works on paper. Hall last exhibited to great acclaim at the Butler Gallery, Kilkenny and at the Green On Red Gallery in 2002.

As Hall has observed about his working methods, he will often, almost incidentally note a subject, and then gradually return to it over a period of years. This latest body of work evolved from a drawing he made two years ago of a particular stone. Out of such a simple subject Hall has created an enigmatic and powerful body of work which seamlessly weaves biblical references, still-life motifs, and depictions of vast celestial landscapes with a rigorous exploration of painterly abstraction. The resulting work, with its muted palette, extremes of scale and haunting imagery, both perplexes and seduces. Hall¹s work has defied easy categorisation and by extension, easy assimilation, because it straddles two planes of visual engagement. On the one hand, these are contemplative, spiritual paintings and the viewer engages with the works much as a Renaissance audience might have contemplated a votive or altar painting. Equally, these works are a highly personal and contemporary exploration of memory and experience and of how memory is informed by meaning and, ironically, forgetfulness.

A major work in the exhibition is End of the Inferno (for W.M.). With its deep indigo night blue sky and sea of sparkling stars that float across its celestial expanse, one immediately draws parallels to Vincent Van Gogh¹s work, Starry Night (1889). In Hall¹s painting, the sky is painted as a brilliant and vast cosmos, but unlike Van Gogh¹s village which is nestled at the bottom of the canvas, Hall has depicted two miniature white angels hovering in the night sky holding a tablet on which writing is partially discernable. Is this intended as a heavenly warning or a message of hope and redemption? It all depends on the viewer¹s perspective in relation to meaning and identity.

In another large-scale work, Stone Held in A Sheet by Angels, Hall¹s painting first confronts the viewer with its bold brushwork and intense palettes of ochre and rust. Its immediate and visceral impact is as an abstract form ­ that is until one begins to focus on the imagery as a whole. Then, the viewer might notice the slight stick figures of the angels in either corner of the canvas as they strain to hold onto the corners of the sheet which carry the weight of the stone. That weight is palpable and uncomfortable. It is an anxiety-provoking, intimate and beautiful painting and is representative of Hall¹s work at its most formidable and arresting best.

The next exhibition at the Green On Red Gallery is a group exhibition of new sculpture, painting and installation, entitled The Space Between. Should you require further information please contact Jerome O Drisceoil, Molly Sullivan or Georgina Jackson at Green on Red Gallery 26-28 Lombard Street East Dublin 2 T: 671 3414/ 671 3448 F: 01 672 7117 E: info@greenonredgallery.com W: greenonredgallery.com

If you require jpegs or further information, please do not hesitate to contact the Gallery