Talking In Brackets: Research And Reaction In Painting - Damien Flood And James Merrigan by info

Damien Flood and James Merrigan

Talking in Brackets: Research and Reaction in Painting

Saturday, November 26 at 1.15pm

Green On Red Gallery
Park Lane
Spencer Dock ( Luas Stop to Rear of Apartments )
Dublin 1

Parting , 2016, Oil on canvas, 180 x 140 cm

Parting, 2016, Oil on canvas, 180 x 140 cm

On the penultimate day of Damien Flood's current exhibition at Green on Red Gallery, and almost three years on from their legendary discussion 'Painting in Parentheses (In Brackets!)', Damien Flood and James Merrigan return to the gallery to critically discuss Flood's current work and critically explore painting practice in general. 

The hook for the last discussion was: painting can no longer be just painting anymore, it also has to be an Idea, or at the very least, dress itself in an Idea. The hook for this discussion is: what is the difference between a painting born of research and a painting born of instinct? 

In this discussion we want to explore how research affects painting and the painter, from its compulsory adoption in art college to its necessary adaptation in the studio after art college. In the case of Flood's emotionally and physically reactive painting process, is research a lie, a mask, a case of painting fitting into a conceptual context that is "no longer its own"? Is painting's context instinctual rather than intellectual? Or does reactionary painting stem from research? When it comes to being a painter, are intellect and instinct two sides of a tossed coin? 

What complicates things further is, research and reaction also come into play in the verbal reception of painting, whether casually in spoken word or carefully in the written review. How do 'you' talk and think about painting? Do you embrace painting at the base level of the medium or the elevated stage of the message? Is painting just for painters, and for painters to discuss alone? If so, how do painters deal with the inadequate response, and in most cases, the silent reaction?

Like last time around we ask you to come armed with your own opinions and questions, because like you, we are looking for answers to the questions posed, and in some ideal cases, solutions. 

James Merrigan is an artist turned art critic. He has written for many art periodicals, art institutions and artist catalogues, but his role as art critic at is where he has found the freedom to play with a more visceral, confessional, fun and sometimes polemical art criticism. Merrigan was selected for EVA International Biennale of Visual Art (2014) as a fugitive art critic; he was co-editor of the printed quarterly on Irish art, Fugitive Papers; and was Guest Editor of two issues of Visual Artists’ News Sheet in 2016. Current projects include DEEP-SEATED which takes as its starting point the psychoanalytic promotion of the ‘talking cure’; and All or Nothing, a film that looks at the current landscape of Irish painting told through his eyes as a lapsed painter. Most recently he was invited to curate PERIPHERIES 2017 at Gorey School of Art. He is co-ordinator and lecturer for the MPhil module Psychoanalysis and Art at Trinity College Dublin, and a tutor at Gorey School of Art. A collection of his art criticism was published in 2013 entitled Agents of Subjectivism. 

John Cronin ZXX At RHA Gallery II by info

John Cronin 

RHA Gallery II

Opening reception :  Tuesday, November 15, 6 - 8pm 
Exhibition :  November 16th - December 21st 2016,

Royal Hibernian Academy
15 Ely Place,
Dublin 2

ZXX , 2016 Oil on aluminium 183 x 386 cm

ZXX, 2016
Oil on aluminium
183 x 386 cm

Green On Red Gallery is proud to announce the forthcoming solo exhibition  by John Cronin at the Royal Hibernian Academy upstairs in Gallery II. This would be the artist first museum survey exhibition of recent and new works, and an opportunity to see afresh and in one location the largest collection of his oil on aluminium paintings to-date.
In the words of the artist: 

" ZXX, my latest body of work is a logical development of Augmented Reality and Standard Deviation as it sees me trying to take control of their corrupted elements and deviations while reflecting my continuing concerns about the processing of information. The name ZXX comes from a system the US Library of Congress uses to denote a book’s written language. In this context ZXX means “No linguistic content” which in itself is a beautiful metaphor for Abstraction. "

A new monograph on the artist published by the Royal Hibernian Academy will  follow this survey exhibition.
For more information on events during the exhibition consult the RHA Gallery website:
For more information on the artist consult

Ramon Kassam | Works: Artist's Talk by info

Ramon Kassam | Works 

Artist's Talk  

Wednesday, 6 July 2016, 6.30-7.30pm.
All welcome for wine reception and talk.

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

Ramon Kassam,  Talk , 2016, Acrylic on linen, 41 x 51 cms.

Ramon Kassam, Talk, 2016, Acrylic on linen, 41 x 51 cms.

The Green On Red Gallery is very pleased to announce the forthcoming Artist's Talk by its newest exhibitor, Ramon Kassam, in the Spencer Dock gallery on Wednesday 6 July, 2016, at 6.30pm.   The talk coincides with the artist's first solo show in the gallery calledWorks.  The exhibition, originally scheduled to finish on July 2, will extend for a further week giving you all another chance to view and to learn about this intriguing exhibition of paintings and its author.  

For another opinion see :

Works will finish on Saturday, July 9th, 2016.  The next exhibition,Summertime, will open to the public on Thursday, 14 July and run until August 20, 2016.

Kassam's work can also be seen in the curated exhibition 2116currently running at the Glucksman, UCC, Cork and touring to The Broad Museum, Michigan, November 2016 - May 2017.  See :  

He is the recipient this year of the Arts Council/An Chomhairle Ealaíon 16 x 16 Next Generation 2016 Award and the Askeaton Residency Award.

Mark Joyce: Bee Loud Glade Launch by info

Mark Joyce
Bee Loud Glade Launch

At Royal Hibernian Academy

29 June 5:30 pm
Friends Room

Bending Light , 2015, ink on Hahnemuhle paper, 30 x 25 cm

Bending Light, 2015, ink on Hahnemuhle paper, 30 x 25 cm

Irish artist Mark Joyce will launch Bee Loud Glade, MM Art Books, Brussels 2016.

The publication contains recent works concerning the phenomenological experience of light and colour. Texts by James Merrigan, Sara Baume, Liam Ó Muirthile, Ana Bonaca, Barbara Ehrenreich, Michel Pastoureau, and related historical pieces by Du Fu, Marcel Minnaert, Robert Grosseteste and John Tyndall, including an interview with Michael Dempsey.
Copies of the book will be available on the night for €10.
Artists talk “The trouble with light” examines the uneasy alliance of Physics and Chemistry in the artists studio.
Mark Joyce studied in NCAD, Dublin and the Royal College of Art, London. His work concerns  physical light and colour, and a curiosity about how we apprehend the physical world and the anomalies and phenomenological strangeness of our optical experiences.   
He has received numerous awards for his work, including the Guinness Peat Aviation award (1990) British Council Award (1993) the Thomas Damman Award (2009) and bursaries from the Arts Council of Ireland and Culture Ireland. In 1998 he represented Ireland at theFestival Interceltique in Lorient, France and has had solo exhibitions in Ireland, UK and the USA. He has curated exhibitions in the Petit Port, Leiden, and Sydney Non Objective. His work can be found in the Irish Museum of Modern Art and Arts Council of Ireland collections.

He has been Artist in Residence at the Bemis and Albers Foundations, USA, the Icelandic Centre for the Arts,  Nanyang Academy, Singapore, RHA Studios, Heinrich Boll Cottage, Achill Co. Mayo, and Facebook HQ, Dublin.

He was a founder of The Drawing Project, IADT-Dunlaoghaire, and is currently inaugural Professor of Humanities (Art) at Yale NUS College in Singapore.

Niamh McCann at Limerick City Gallery of Art by info

Just Left of Copernicus

(A Prologue) 

Niamh McCann 

Limerick City Gallery of Art 
Carnegie Building 
Perry Square


Just Left of Copernicus (A Prologue)
Niamh McCann  

January 22nd-March 24th 2016

Green on Red Gallery is proud to support gallery artist Niamh McCann on her solo exhibition opening tonight at LCGA.  

Courtesy of Limerick City Gallery of Art :

Niamh McCann’s practice looks to the visual cultural landscape to invite a reconsideration of our relationship to the world around us, questioning how this world constitutes us as subjects, and how we, in turn, give this world form.  As an artist, her exploration of these themes takes the form of concise multi-media work, presented within larger installations and site-responsive pieces. 

McCann has been collaborating uniquely and extensively with Limerick architects Jack Byrne and Séamus Baireadinon the development of a new large scale structure/object.  This aspiring structure/object entitled Copernicus for Now is made of industrially produced cardboard tubes and plywood.  Copernicus for Now

Emerged from a previous piece by the artist entitled Occupy that referenced a section of background landscape in the infamous photograph of Armstrong on the moon, and created that horizon line as a series of interlocking pentagons.  Here McCann references the aspirational moment that allowed this event to take place, its cultural (near fictional) potency as image, and the ideas contained within B Fuller’s ‘Spaceship Earth’ (hence the use to pentagon as reference to the geodesic).  Copernicus for Now is both object and event, a crater-like landscape for visitors to occupy and events to take place.

The interchange and flow of fact and fiction, and the overlapping layers of history and fable within the work of German architect Hans Poelzig is of particular interest to McCann.  Poelzig is perhaps best known for his design and build of the Poelzig Building (IG Farben building), Frankfurt Germany, a site of dramatic historic 20th century importance.  Poelzig was also a painter and scenographer. Edgar Ulmer, film director cited Poelzig as a mentor and claimed that they worked together on The Golem: How He Came Into the World(1920). Ulmer subsequently honoured Hans Poelzig as nom de guerre of main villain Hjalmar Poelzig in Ulmer’s 1934 film ‘The Black Cat’.

The changing subtitles of Just left of Copernicus in each gallery, reflect a changing site specific manifestation within each reiteration that will also comprise of archive material, wall drawings, process based work and smaller concise sculptural pieces.

For Artist