Niamh McCann at Hugh Lane

Niamh McCann
Furtive Tears

Artist Talk on Wed 3 October @5pm
General viewing 6-8pm
Free admission. 
FURTIVE TEARS continues until 6 January 2019

Dublin City Gallery The Hugh Lane
Parnell Square, Dublin, Ireland D01 F2X9

Gallery artist Niamh McCann presents FURTIVE TEARS at Dublin City Gallery The Hugh Lane opening Wednesday 3 October 2018.

FURTIVE TEARS brings together the mythologies of Sir Edward Carson (Irish unionist politician and barrister) with Hans Poelzig (German architect, painter and set-designer) to explore the interplay of fact and fiction and the dynamic relationship between the audience, object and mode of display.

Featuring the bronze cast nose of Michael Collins (from the original statue by Seamus Murphy), a taxidermied deer with inflated latex mask & neon, a reimagining of a panda bear and a stunning bronze balaclava titled False Prophet, this show combines the surreal, the bizarre and the perverse, inviting remnants of the past into the present and the things of the present into the future.

Furtive Tears features is an installation in four galleries and is a composite of mixed materials that appropriate utopian ideas of fluid relationships between Art/Architecture/Design in early modernism. Expect assemblages and interventions as well as a newly commissioned video-work with soundscape Furtive Tears, Salomé’s Lament.

This exhibition is accompanied by a fully illustrated catalogue.

Artist Talk on Wed 3 October @5pm
General viewing 6-8pm
Free admission. 
FURTIVE TEARS continues until 6 January 2019

Niamh McCann is an Irish artist living and working in Dublin. Recent solo exhibitions include La Perruque (Protest Song) at MAC Belfast and Just Left of Copernicus in Visual Carlow. Group exhibitions include: Future Perfect, Rubicon-Projects Brussels; Changing States: Contemporary Art and Francis Bacon’s Studio, BOZAR, Belgium; Time Out of Mind: Works from the IMMA Collection, Irish Museum of Modern Art; In Other Words, Lewis Glucksman Gallery, Cork; this little bag of dreams, Catherine Clark Gallery, San Francisco; and Without-Boundaries, Wäinö Attonen, Museum of Art, Finland Her work is represented in the collections of IMMA, The OPW, Limerick City Gallery, Swansea City Council, The London Institute, and Hiscox Collection, London.

www.niamhmccann.com

The exhibition will be launched by Deputy Lord Mayor Cllr. Cathleen Carney Boudon behalf of Ardmhéara Nial Ring

For more info see the event.

Gallery News: August 2018

Tom Hunter preview September 6th
Ronan McCrea shortlisted for MAC International
Niamh McCann – Furtive Tears at The Hugh Lane
Damien Flood at Sea Change, IADT 21 years & Museum of Mythological Water Beasts
Kirstin Arndt – Notre Dame Les Fleurs

Tom Hunter, Aphrodite, 2018 C-type print edition of 5 91.5 x 122 cm

Green On Red Gallery are proud to bring Tom Hunter's Figures in a Landscape to Dublin.

"Figures in a Landscape is a personal odyssey which transports the viewer through a world imbued with myths and legends. On this magical journey, from the hillsides of the West Country to the Marshes of Hackney, the viewer encounters ancient gods, goddesses and mythical monsters which inhabit the landscape and battle for supremacy between the other worlds and the here and now..."

until Saturday 13th October

For more information see our event.

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Ronan McCrea is among 13 artists shortlisted far the MAC International 2018.
 

The MAC Belfast is pleased to announce the 13 artists shortlisted for the MAC International 2018: Anca Benera & Arnold Estefan / Ali Cherri / Larissa Fassler / Nikolaus Gansterer / Invernomuto (Simone Bertuzzi & Simone Trabucchi) / Ronan McCrea / Aisling O’Beirn / Vesna Pavlović / Renata Poljak / Larissa Sansour / Özge Topçu.

Chosen from more than 800 submissions the shortlist includes artists from Ireland, Italy, Romania, Hungary, Croatia, Canada, USA, Palestine, Austria, France and Turkey, working across a range of mediums including photography, film, installation, sculpture and drawing.

MAC International is the largest arts prize in Ireland and one of the few major art prizes in the UK, offering artists from around the world an opportunity to exhibit at the MAC in Belfast.

Now in its third edition, MAC International presents a snapshot of the most exciting and ambitions art practices from across the world.

The exhibition runs from November 9, 2018–March 31, 2019.

The winner of MAC International will be announced at the exhibition launch on November 8, 2018
Read More here.

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Sea Change, IADT 21 years: 14th Sept – 4th Nov

Opening 14th September 

Sea Change IADT; 21 years of Art, Film and Animation
This anniversary exhibition includes contributions from alumni in the specialist fields of art, film and animation. The exhibition is curated byOonagh Youngand highlights the diversity of artistic practices that have been developed over twenty one years by graduates. The ‘sea change’ signifies a shift away from the traditional role of the creative industries, in-line with advancements in technology and is evident in the wide range of exciting and innovative professional artistic practices featured in this exhibition. 

The exhibition features art works and films by David Beattie, Jenny Brady, Alan-James Burns, Nina Canell, Anita Delaney,Damien Flood, Mark Garry, Adam Gibney, Jesse Jones, Vera Klute, Mateusz Lubecki, Bea Mac Mahon, Maser, Fiona Marron, Ciaran Murphy, Gavin Murphy, Isobel Nolan, Meadhbh O’Connor and Sonia Shiel, and books by Sarah Baume, Fiona Gannon, James Merrigan, Chris Fite Wassilack, Sue Rainsford and Ciaran Walsh. Read more here.

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Damien Flood, ‘Pullover’, 2018, Oil on linen, 50 x 60 cm

Museum of Mythical Water Beasts

Ormston House

Opening September 6th, runs until September 21st

The Museum of Mythological Water Beasts is a multi-year project inspired by the River Shannon and the people of Limerick. We began with an open research process, working with local catchment custodians – including artists, boat-builders, historians, and scientists – through a series of events, workshops and field trips about, along and on the river. In 2018, we have returned indoors to develop a series of artistic commissions and exhibition-environments at Ormston House. See more here.

Damien Flood’s research is grounded in early writings on philosophy, alchemy and the natural sciences. His paintings are maps to different worlds or states of mind. These new geographies can offer a meditative space or balance precariously close to chaos. You can visit his website here.

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Niamh McCann – Furtive Tears, 4th October 2018 – 6th January 2019

Furtive Tears is a project by Niamh McCann that explores the dynamic relationship between the audience, object and mode of display. In her new installation at the Hugh Lane, McCann brings together the protagonists Edward Carson (politician) and Hans Poelzig (architect and set designer) and the vestiges of their mythologies to portray the internal language of gesture, meaning, inference and allegiance.

It is an exploration of the importance of a viewer’s perspective when confronted with the act of looking and the reading of objects within the context of a constructed landscape. Weaving fact, fiction and history, the installation reveals how we look and how we are looked upon. The work addresses how the mind navigates the perpetual process of coding and decoding our own behaviours when negotiating the positions we take up in society.

Niamh McCann is an Irish artist living and working in Dublin. Recent solo exhibitions include La Perruque (Protest Song) at MAC Belfast and Just Left of Copernicus in Visual Carlow. Group exhibitions include: Future Perfect, Rubicon-Projects Brussels; Changing States: Contemporary Art and Francis Bacon’s Studio, BOZAR, Belgium; Time Out of Mind: Works from the IMMA Collection, Irish Museum of Modern Art; In Other Words, Lewis Glucksman Gallery, Cork; this little bag of dreams, Catherine Clark Gallery, San Francisco; and Without-Boundaries, Wäinö Attonen, Museum of Art, Finland Her work is represented in the collections of IMMA, The OPW, Limerick City Gallery, Swansea City Council, The London Institute, and Hiscox Collection, London.

For more information see here. 

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Image courtesy of the artist, Kirstin Arndt

NOTRE DAME DES FLEURS
8–9, 15–16th, September

Opening 8th September, 5pm

Abstracte presents
Notre Dame des Fleurs
De Huiskamer, Kalkmarkt 8 Amsterdam.

Artists:
Kirstin Arndt (DE)
Iris Bouwmeester (NL)
Henrik Eiben (DE)
Jan Willem van Welzenis (NL)

Abstracte was founded in 2015 by Arjan Janssen and Jan Willem van Welzenis. It is an initiative led by two painters which places abstract art on the center stage. The ambition of the project is to be international - by realizing projects through cooperation with external parties, it hopes to establish a broad network. The goal of each collaborative work is to present and preserve the vitality of abstract art. The purpose of the projects is to display abstract art in all it’s vigor. Unruly to the Art-scene’s order. abstracte.eu

Gallery News: Arno Kramer: CHALK

Arno Kramer
Chalk
at 

Kunsthal KAdE

Eemplein 77, (Eemhuis)
3812 EA, Amersfoort

May 26, 2018 to Aug 19, 2018

Arno Kramer, In the time changing light, 2018. Courtesy of the artist. Photo by Peter Cox.

The focus of this group exhibition is the drawing material CHALK. Artists have been asked to produce new work with blackboard chalk and there are (inter)national loans of Joseph Beuys, Rudolf Steiner, Juan Muñoz and Nemanja Nikolić.

CHALK

The focus of this group exhibition is the drawing material CHALK. Artists have been asked to produce new work with blackboard chalk and there are (inter)national loans of Joseph Beuys, Rudolf Steiner, Juan Muñoz and Nemanja Nikolić.

Curated by Kunsthal KAdE with advice from Arno Kramer

The nostalgia evoked by the act of writing and drawing on a chalkboard is the central focus of a group exhibition showcasing the new work of seventeen Dutch artists. There are also several pieces by artists such as Joseph Beuys and Rudolf Steiner on loan from international collections. The upper gallery will be hosting a guest exhibition of works by local artists exploring the theme of chalk presented by Blauwdruk 033.

Marjolijn de Wit, To What Remains, 2018. Photo: Mike Bink

Chalk evokes memories and feelings of nostalgia in people of all ages. With the invention of black and green chalkboards in the 18th century, whole generations grew up watching letters, figures, sentences, diagrams and formulas being written and drawn on the panels of the board – and then wiped off again. Teachers used white or coloured chalk, and sometimes large rulers, compasses and set squares. These materials and the act of writing on a blackboard are now almost history, having been replaced in schools by whiteboard markers and computers. 

Kunsthal KAdE invited Dutch artists to work in chalk on a blackboard background. The exhibition includes works by figurative and abstract artists and features a wide range of styles and forms. There is a large mural by Arno Kramer, a study of the green triptych as an altarpiece by Roland Sohier and a pavement chalk drawing on a set of paving slabs by Lenneke van der Goot, which will take viewers back to the school playground. KAdE is also showing several works by Joseph Beuys, Rudolf Steiner and Juan Muñoz on loan from international collections and an animation created entirely in chalk by Serbian artist Nemanja Nikolić in 2016.

Participating artists:
Marijn Akkermans (NL, 1975) | Jitske Bakker (NL, 1982) | Joseph Beuys (DE, 1921 - 1986) | Nik Christensen (GB, 1973) | Marcel van Eeden (NL, 1965) | Hanneke Francken (NL, 1976) | Lenneke van der Goot (NL, 1979) | Susanna Inglada (ES, 1983) | Arno Kramer (NL, 1945) | Bart Lodewijks (NL, 1972) | Romy Muijrers (NL, 1990) | Juan Muñoz (ES, 1953 – 2001) | Marc Nagtzaam (NL, 1968) | Mayke Nas (NL, 1972) | Nemanja Nikolić (RS, 1987) | Thomas Raat (NL, 1979) | Hans Schuttenbeld (NL, 1991) & Jilles de Man (NL, 1990) | Roland Sohier (NL, 1950) | Rudolf Steiner (HR, 1861-1925) | Guy Vording (NL, 1985) | Witte Wartena (NL, 1976) | Marjolijn de Wit (NL, 1979) | Marthe Zink (NL, 1990) | Students HKU

CHALKroom. Photo: Mike Bink

Special guest: Blauwdruk 033
Kunsthal KAdE invited Blauwdruk 033 to curate guest exhibition at CHALK. The first ‘Blueprint/Blauwdruk’ exhibition opened on 16 February 2014. It was the last exhibition hosted by kunsthal KAdE at the Smallepad building and the first joint art event presented at kunsthal KAdE by StadsGalerij, Haren Majesteit, BV De Gasten en De Observant as guest curators. The organisers Ron Jagers, Martin Honings and Adinda van Wely feel it is important to maintain ties with artists from Amersfoort as their careers unfold. In summer 2018 Blauwdruk 033 will be presenting works by some of the artists featured in previous Blauwdruk exhibitions in the upper gallery at kunsthal KAdE. These Blauwdruk artists also explore the theme of chalk. Participants: Elsemarijn Bruys (NL, 1989) | Eva Hoogenberg (NL, 1999) | Marije Koelewijn (NL, 1991) | Jippiet (NL, 1988) | Inge Vaandering (NL, 1993) | Corine Zomer (NL, 1983).

This exhibition is supported by the Mondriaan Fund, K.F. Hein Fonds, StadsGalerij and the municipality of Amersfoort.

https://www.kunsthalkade.nl/en/exhibitions/chalk

New Beginnings / Summer Hours

New Beginnings

Summer Opening Hours:

Friday 27th July, 10am–6pm & Saturday 28th, 11am–3pm
Wed. 1st – Friday 3rd August, 10am–6pm
Wed. 8th & Thursday 9th August, 10am–6pm
Wed. 15th & Thursday 16th, 10am–6pm

Kirstin Arndt 
Alan Butler
Damien Flood
Caroline McCarthy
Emma Roche
Nigel Rolfe
Aoife Shanahan
Xavier Theunis

Green On Red Gallery, Park Lane, Spencer Dock, Dublin 1.

Nigel Rolfe , Dark Pool, Prussian blue and ivory black pigment and lard on Fabriano paper , 2018

Don't miss out on the final days of our group exhibition, New Beginnings. 

The exhibition includes new work by gallery artists and artists showing in the gallery for the first time, including the work of Xavier Theunis, Emma Roche and Aoife Shanahan along with gallery artists Damien Flood, Nigel Rolfe, Caroline McCarthy and Alan Butler.

Damien Flood has an upcoming two person show with Herbert Warmuth at Thomas Rehbein Cologne, 14th July - 18th August, 2018.
Xavier Theunis will present a solo show in Green On Red Gallery in 2019. 
Alan Butler will present a new body of work during a solo exhibition in Green On Red Gallery in 2019. He is showing at When Facts Don’t Matter, St Carthage Hall, Lismore Castle, until July 8th and upcoming Traces, Kasteel Wijlre, The Netherlands, 01 July - 18 Nov, 2018. For more info see alanbutler.info.
Kirstin Arndt is showing with Thomas Rehbein Gallery, Cologne at 'Backstage - die Rückseite the rear side' until July 7th. 

D.Flood At Thomas Rehbein Koln

DAMIEN FLOOD / HERBERT WARMUTH

At Thomas Rehbein Galerie : Koeln
Aachener Str. 5, 50674 Köln | www.rehbein-galerie.de

14. Juli – 18. August 2018

D. Flood, 'Shape of Things', oil on reversed black primed canvas, 80 x 100 cm

Green On Red Gallery artist Damien Flood presents his two-person show with Herbert Warmuth at Thomas Rehbein Galerie, Köln, opening Saturday, 14. July 2018, 2-6pm.

In Damien Flood´s (*1979) paintings formal fragments float beyond a continuity of space and consistency of illusion. There is no unifying order to which these single elements can be attached, no congruous narrative into which they are embedded. In fact, the free arrangement of entities and pictorial excerpts proves to be a programmatic statement involving the disintegration of affiliations and thematic boundaries. Wheras some of the „traces“ bear a figurative semblance that allows for a certain degree of recognition, still others remain exempt from any obvious traceable traits and thus removed from any context. These primarily abstract pictorial marks appear to be puzzle pieces on a plain, merely primed canvas surface, loosely recalling a former composition, a patch of paint, or conveying a fleeting impression of reality. Overcoming any objective specificity, inherent in a quick perception of a hand or a vessel, these seemingly familiar forms now appear as primeval pictorial components or even cryptic signs that can be distinguished only through the interaction with their immediate surroundings within the structure of a new pictorial space. In detaching these elements from a previous symbolic realm, they gain independence and valor of their own. Their existence becomes meaningful within a new formative plane, which however remains unstable. Flood´s arrangements of disparate fragments seem to illustrate  the futility of illusion, emphazising instead the aspect of painting through multiple stylistic variations, each of these conveying distinct and often conflicting ideas and ideals. A reliable reading based on the unifying story of a „grand narrative“ (Jean-François Lyotard)  is undermined. 

Due to their color specific compositional structure, the paintings of Herbert Warmuth often recall the appearance of a flag. Their pictorial plane is divided into strictly separated monochrome segments. Some of the blocky stripes prove to be smooth, even color fields, emphazising the surface without any illusionistic spatial effect. Thus the real conditions and essential prerequisites of painting, reduced to mere color and surface, are visualized here. In turn, other color areas induce an irritation, reaching beyond the essentialist parameters of a self-referential, medium-reflective painting. This manifests itself through disturbances in the surface, which seems to be ruffled and thus engaged in a movement. Such folds and creases are achieved with painterly means, so that in the imitation of materiality the textile quality, the concrete texture of cloth or canvas, is being evoked. This step into a three-dimensional space is realized on the level of depiction. At the same time, such superficial „disturbances“ accentuate the external reality, the autonomous existence of the medium carrying the painting: the canvas stretched on a frame. Herbert Warmuth also ventures into three-dimensionality on the level of objective reality. In former „flag paintings“ seams, and even buttonholes, creases and other signs of wear were often included as part of the fabric´s reality, which is draped so as to conceal the shape of the stretcher and directly refers to its obvious purpose as an item of clothing. In recent works, Herbert Warmuth goes one step further, breaking through the medium, slitting plexi glass panes or aluminium panels, in order to squeeze pieces of fabric through the emerging razor-thin openings, so that their ruffles and frills appear to burst through the surface. 

Damien Flood would like to acknowledge the support of Culture Ireland and the Arts Council of Ireland. 

Alan Butler: WHEN FACTS DON'T MATTER Until 8th July & TRACES 5th July - 18th November

Alan Butler 

WHEN FACTS DON’T MATTER

Until 8th July

'Surprise Party Breath',2015, Contents of Tamerlan Tsarnaev's Amazon.com Wish-list, Dimensions variable

WHEN FACTS DON'T MATTER

It’s the last chance to see the current exhibition at St Carthage Hall, When Facts Don’t Matter, which closes this Sunday 8 July.

Gallery artist Alan Butler joins Constant Dullaart, Eva & Franco Mattes, Trevor Paglen & Suzanne Treister at Lismore Castle Arts' presentation of When Facts Don't Matter, a group exhibition exploring how artists are responding to internet surveillance and data capture.

The exhibition looks at various aspects of online data capture – highlighted in recent times by Facebook data controversies, we are now more aware than ever of how our personal data can be shared, used, manipulated or deleted. We have assumed in the past that our subscription to social media platforms, or indeed any other form of data capture online, from banking to shopping, means companies will respect our rights to privacy or secrecy, however this is becoming less certain as news stories gather of data compromises.

In his book Psycho-politics: Neoliberalism and New Technologies of Power, Byung-Chul Han writes: Today, we are entering the age of digital psychopolitics. It means passing from passive surveillance to active steering. As such, it is precipitating a further crisis of freedom: now, free will is at stake. Big Data is a highly efficient psychopolitical instrument that makes it possible to achieve comprehensive knowledge of the dynamics of social communication. This knowledge is knowledge for the sake of domination and control…. For human beings to be able to act freely, the future must be open. However, Big Data is making it possible to predict human behavior. This means the future is becoming calculable and controllable.

The exhibition seeks to ask what takes place online and what is the nature of the exchange between the user and the other side of the screen – and in the process looks to the bigger picture – who controls data, who controls information, and ultimately, who controls the digital versions of ourselves. Are we offering up our own autonomy in the new virtual world we inhabit, and are we enslaving ourselves in a neo-liberal virtual reality?

ALAN BUTLER

Alan Butler (born 1981) conceptually reflects and refracts the inner-workings of the internet, the implications of new media technology, and the politics of appropriation. Butler’s work is such that you are made to question your grasp of the world around you, itself in the grip of systems of knowledge and coding that is never far away from the override or delete button. For Lismore Castle Arts, he will show Surprise Party Breath, the collection of the contents of Tamerlan Tsarnaev's Amazon.com Wish-list, the elder of the Boston bombers. A seemingly benign stack of books that were ‘curated’ through the online browsing habits of Tsarnaev, meditating upon the relationships between the corporate web and surveillance.

CONSTANT DULLAART

Constant Dullaart (born 1979) is a Dutch conceptual artist whose work is deeply connected to the Internet. He is known for his work series Jennifer in Paradise, which seeks to expose the technological structures that inform modern visual culture. He is also known for distributing 2.5 million bought Instagram followers amongst a personal selection of active art-world Instagram accounts. He was awarded the Prix Net Art in 2015. For Lismore Dullaart will show one of his sim card works, a work referencing minimalist modern artwork made up of sim cards originally used to create fake accounts on social media.

EVA & FRANCO MATTES

Eva and Franco Mattes (both born 1976) are a duo of artists based in New York City. Since meeting in Berlin in 1994, they have never separated. Operating under the pseudonym 0100101110101101.org, they are counted among the pioneers of the Net Art movement and are renowned for their subversion of public media. They produce art involving the ethical and political issues arising from the inception of the Internet. For Lismore they will show Dark Content (2015), A series of video installations about internet content moderators. Contrary to popular belief, the removal of offensive material from the Internet is not carried out by sophisticated algorithms. It is the nerve-wracking, demanding job of thousands of anonymous human beings: people disguised as algorithms.

TREVOR PAGLEN

Trevor Paglen (born 1974) is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. At St Carthage Hall, Paglen displays two key photographs – Keyhole Improved Crystal from Glacier Point (Optical Reconnaissance Satellite; USA 186), 2008, which documents satellites circulating the earth’s orbit, while They Watch the Moon, 2010, which depicts. A classified ‘listening station’ in. West Virginia. The listening station, which forms part of the global ECHELON system, was designed in part to take advantage of a phenomenon called “moonbounce.” Moonbounce involves capturing communications and telemetry signals from around the world as they escape into space, hit the moon, and are reflected back towards Earth.

SUZANNE TREISTER

Suzanne Treister (born 1958) is a British artist based in London, where she studied at Saint Martin's School of Art (1978-1981) and Chelsea College of Art and Design (1981-1982). Treister will display a selection of 18 prints from the series Hexen 2.0 Tarot, alchemical drawings depicting interconnected histories of the computer and the Internet, cybernetics and the counterculture, science-fiction and scientific projections of the future, government and military research programmes, social engineering and ideas of the control society; alongside diverse philosophical, literary and political responses to the advance of technology including the claims of anarchoprimitivism, technogaianism, and transhumanism. Through representing and re-examining these subjects and histories through the lens of occult belief systems and ideas of the supernatural, the 'HEXEN 2.0 Tarot' takes us to a hypnotic, mesmerising space from where one may imagine and construct possible alternative futures. Acknowledging precedents such as the traditional tarot deck, The Rider-Waite Tarot Deck and Aleister Crowley's Thoth Tarot Deck, Suzanne Treister has here produced a new Tarot.

P2_TEX_0070_0_A_1, 2018, Cyanotype 91cm x 61cm

TRACES

Jean-Marc Bustamante – Alan Butler – Ger van Elk – Anne-Charlotte Finel – Michel François – Noémie Goudal – Martin Healy – Siobhán Hapaska – Tony Matelli – Giuseppe Penone – Diana Scherer – Thomas Trum – Sanne Vaassen – Michael John Whelan

Kasteel Wijlre presents, in collaboration with Lismore Castle Arts, the international group exhibition Traces. With works by 10 contemporary artists, whose contributions are interwoven with artworks from the (former) collection of Jo and Marlies Eyck, Traces explores relationship between art and nature. The exhibition is presented in the Hedge House, the Coach House and the Garden at Kasteel Wijlre, The Netherlands.

The designed gardens, planting, and surrounding landscapes of Kasteel Wijlre and Lismore Castle Arts are in a continuous state of change that is both respectful of tradition and always open to contemporary developments. It is this dynamic of the past and present, of management and conservation, of reflection and provocation, and of growth and decay that is reflected in the exhibition’s artworks. Walking around the country estate, Traces subtly reveals the idea of conflict: a battle that leaves its mark and is constantly present in nature.

Curators: Paul McAree and Brigitte Bloksma

Congratulating Nigel Rolfe on his survey show at Red Brick Art Museum, Beijing

Nigel Rolfe

The Time Is Now

Red Brick Art Museum, Beijing

From February 1 to February 25, 2018

Extraordinary success specially for his live four performances 

Congratulations to gallery artist Nigel Rolfe on his survey show at Red Brick Art Museum, Beijing opening 31st January 2018 and running until February 25th.
 

Large turn out and warm receptoin for Nigel Rolfe with Living in the moment, pushing boundarieshttp://usa.chinadaily.com.

Press release
 

The Red Brick Art Museum will present one of the most iconic characters in the history of performance art from February 1 to February 25 - the "The Time Is Now" solo exhibition by Nigel Rolfe (born in Isle of Wight, England in 1950) , Opening on January 31st, curated by Jonas Stampe, a senior curator at the Red Brick Art Museum. For nearly 50 years, Nigel Rolfe has been one of the most important practitioners in the field of performance art since 1969. This exhibition attempts to trace back and collate the artist's artistic practice since 1973, including historical works, site-specific photography and new work done at the Red Brick Art Museum. In addition to 20 performance art pictures, the exhibition will also showcase his important video works.

The performance artist has come to Beijing and will act on the spot according to the local conditions in the Great Wall and the Red Brick Art Museum. As a large-scale ancient defense project and an important relic in the history of human civilization, the Great Wall often becomes an element of artist creation, especially the birthplace of contemporary performance art. With his usual analytic perspective, Nigel Rolfe will have a dialogue with the multi-cultural connotation and symbolic meaning of the Great Wall's evolving history and will reflect on and pursue his application in the context of contemporary performance art. Red Brick Art Museum's garden is the modernization of Chinese classical landscape mapping, a unique oriental space aesthetics, which will provide artists with a wide range of cultural context. The three acts, which have been handed over in the context of both the ancient and modern dimensions of space and time and the fields that carry Chinese tradition and contemporary culture, will bring a unique experience of participation for Chinese audiences.

As curator Jonas Stapf said: "Experience Rolfe's behaviour at the scene is to spend a moment of rich detail and presence. As the owner of the body and spirit, his behaviour is not only about where and how The most important thing to do is to move, when to rest, to watch, and, above all, how to use space in all dimensions. There is no limit to his artistic vocabulary, and though his interaction with the material and intellectual worlds is transient, his images are powerful and breathtaking. "

Nigel Rolfe's performance art works have their roots in the tradition of Viennese Actionism in the 1960s and Body art in the early 1970s. He often uses the body as a "Sculpture in Motion" and painting tool to directly interact or counter with raw material and environment such as water, fire, air, earth and wood, to find and establish balance, violence and the violent dynamic visual process of collapse, and appear above the body. He always uses the personal body as a place to challenge the physical and psychological limits and reveal the vulnerability of life. In recent years, he has created large-scale productions of images, videos and sound works based on his performance-art images, on-site remnants and related studies.

As one of the outstanding practitioners of performance art and a man of profound knowledge and analytical skills, Nigel Rolfe is now a professor at the Royal College of Art in London. He has had survey shows at the Irish Museum of Modern Art (Dublin) and the Musée d'Art Moderne de la Ville de Paris, as well as Venice, Italy , Sao Paulo, Brazil, Busan and Gwangju, South Korea, and the Biennale of Contemporary Art. In 1988, at the release of Nelson Mandela concert at Wembley Stadium, London, 600 million viewers around the world watched Rolfe's video work.

Kirstin Arndt: Tight corners Loose lines

Kirstin Arndt

Tight corners Loose lines

Opening: February 23rd – April 6th, 2018

Reception: Thursday 22nd February, 2018, 6–8pm

Kirstin Arndt, Untitled, 2007, truck tarpaulin, 135 x 135 x 30 cm. Photo: Achim Kukulies

Green On Red Gallery is delighted to present the first solo show in the gallery and in Ireland by Kirstin Arndt (b. Germany, 1961) called Tight corners Loose lines

Arndt brings to her mixture of sharp and flowing industrial materials a predilection for clean and colourful forms, at times inviting the viewer to interact with or even to recompose her work. Her sculptures, made from a wide variety of readily available industrial materials, fold, bend, fall or crease in space depending on the support or the effects of gravity on her limp or resistant forms.   

She has previously exhibited with Green On Red Gallery in Material Pleasures, in 2004 and Future, 2017

Ralf Christofori has written how Kirstin Arndt has a very keen sense of the aesthetic in
everyday things. She searches for and finds her materials among common or garden building supplies – shielding fleece, barrier tape, plastic containers, shower curtains, and the like. And throughout this the Düsseldorf artist references the historical sources of Concrete Art. Kirstin Arndt does not simply present the materials she uses, they are as it were “re-informed” by her: She releases the things from their original functional contexts, gives them form, and lends them a new purpose.
In her untitled piece from 2007, she has taken industrially manufactured truck tarpaulins, complete with their functional hooks and eyes, and hung them on the wall. Quite profane, but composed most exactly to produce a charged effect. A tarpaulin coated in matt silver in the shape of a square hangs directly on the wall; to the right the silver gives way to a shiny green, thus loosening up the feeling of a two-dimensional panel painting.
Kirstin Arndt manages to approach found objects with a heightened sensitivity and attention, as both an artist and a beholder. The silver tarpaulin advances to become a monochrome picture surface, the green tarpaulin is fixed in such a way that its right-hand side evokes a Baroque arrangement of folds. In this way the work literally evolves an inner dynamism that does not simply distract our gaze on second sight from perceiving a mere “thing in itself”. The effect is astonishing – not least because this art undermines the viewer’s expectations by the simplest of means. This is clearly one of the great visual or aesthetic strengths in Kirstin Arndt’s works. But the true consequence of this piece only reveals itself once one leaves the perceptual level in order to bring to mind the artistic concept behind it. The artist draws on the underpinnings of Concrete Art and transgresses them by taking them literally and enriching them by a clever marriage with the concept of the readymade. That this marriage may truly be made in heaven and not of the shotgun variety is revealed impressively in Kirstin Arndt’s works.

Hommage an das Quadrat,  2009, . p. 70/71, Museum Ritter, Waldenbuch, Germany. (Translated from German.)

Kirstin Arndt, Untitled, 2015, stainless steel (1mm), powder-coated (signal white), per module 120 x 40 x 40 cm

Select Solo Shows
2018 Green On Red Gallery, Dublin, Ire, LOODS12, Gent, B (mit Vincent de Roder) Galerie Gisela Clement, Bonn, PS projectspace, Amsterdam, NL, 2016/17 Fuhrwerkswaage, Köln (Kat.), 2015 Galerie Kim Behm, Frankfurt, 2012 Galerie Gudrun Fuckner, Ludwigsburg, DE (with Philippe Richard), 2011Galerie Olschewski & Behm, Frankfurt a. M., DE (with Stephen Bambury), 2010 Galerie 5räume, Ludwigsburg, DE (with Andreas Reiter Raabe), 2009 Projektraum, Galerie Hamish Morrison, Berlin, DE Kunstverein Nürtingen, DE (cat.), 2008 Retour de Paris, Institut Francais, Stuttgart, DE (cat.), 2007 Studio A, Museum Gegenstandsfreier Kunst, Otterndorf, DE (cat.), 2006 process room, Irish Museum of Modern Art, Dublin, IRE,2005 Galerie Michael Sturm, Stuttgart, DE, 2004 Musée des Beaux-Arts de Mulhouse, FR (cat.), 2003 Galerie BURO EMPTY, Amsterdam, NL Kunstverein Neuhausen/Fildern, DE, 2002 Galerie der Stadt Fellbach, DE, 2001 Heidelberger Kunstverein, DE (cat.), Galerie Michael Sturm, Stuttgart, DE, 2000 Musée de Valence (Art 3), FR (cat.), Städtische Galerie Villingen-Schwenningen, DE (cat.)

Select Group Shows
2018 Backstage 2, Galerie Mehdi Chouakri, Berlin, orten, E-Werk, Freiburg (cat.), Backstage 3, Galerie Thomas Rehbein, Köln,MOMU (Fashion Museum), Antwerpen, B, 2017 Future, Green On Red Gallery, Dublin, Ire, Vier Positionen aus vier Orten, Kunstverein Nürtingen (cat.), Backstage 1, Galerie Sofie van de Velde, Antwerpen, B, Reduzieren als Verdichtung, Galerie Mathias Güntner, Hamburg, Triple point, FONDATION FIMINCO, Paris, 2016 Modi des Minimierens, Galerie Gisela Clement, Bonn, From Scratch, Picura, Dordrecht, NL, 2015 Paper V, Zeichnung, Clement & Schneider Galerie, Bonn, Standard International, Post Spatial Devices #2, Berlin, Petra Rinck Galerie, Düsseldorf, Museum gegenstandsfreier Kunst, Otterndorf (cat.), INTRO, Clement & Schneider Galerie, Bonn, Thoughts Around the Black Square, Museum Vasarely, Budapest, HU (cat.), that’s all, Galerie Sofie van de Velde, Antwerpen, B , Die Kunst der Faltung, Kunstraum Alexander Bürkle, Freiburg (cat.) Construct!, Deutscher Künstlerbund, Berlin, just that, Galerie Martina Detterer, Frankfurt a. M., Die Kunst der Faltung, Museum für Konkrete Kunst, Ingolstadt (cat.), Collector‘s Choice Only! - MATERIAL, Kunstraum Alex. Bürkle, Freiburg (cat.), Das, was man so hat. No. 2, „Dahlhausen viral“, Kunstmuseum Ahlen, 2014 Schwarz, Galerie Rehbein, Köln, DE, Beyond the wall, Kunstverein Bochum, DE, Papier/Paper IV, Collage, kunstgaleriebonn, Bonn, DE, 2013Kunstraum Düsseldorf, 5x3, Düsseldorf, DE, Wieder sehen, Museum gegenstandsfreier Kunst, Otterndorf, DE, PLASTIK, kunstgaleriebonn, Ausstellungsprojekt in Köln, DE, Novecento mai visto/ Highlights from the Daimler Art Collection,Museo di Santa Giulia, Brescia, I, 2012 DRAWING QUOTE! Pigna Project Space, Rom, I (digitaler Kat.), Arndt/Fock/Oberthaler/Schulz - Andratx open II, CCA Museum, Andratx, Mallorca, ES, Arndt/Craig/ Pfeifle, Galerie Gudrun Fuckner, Ludwigsburg, DE, Zeigen. Audiotour von Karin Sander, Kunsthalle Karlsruhe, DE, 2011 Private/Corporate VI, Daimler Art Collection, Berlin, DE, American Abstract Artists/Deutscher Künstlerbund/Galerie oqbo, Berlin, DE, Professorale, Schloss Untergröningen, DE, Galerie Gudrun Fuckner, Ludwigsburg, DE

Kirstin Arndt is represented in Germany by Galerie Gisela Clement, Bonn and Galerie Kim Behm, Frankfurt.