Please click on any photo gallery to open it to fullscreen and browse the images associated with the exhibition.
Previous – parks/ vase/ print council. See twitter for all pics and details
Here is a link also for some information about the next exhibition that is coming to Farmleigh Gallery. It is called Hi Fashion and it opens the end of November.
18th June – 30th September 2017
Touchstone celebrates the breadth of Irish ceramic practice featuring a variety of approaches to working with clay. It promises to be a visual feast exploring form, figure, function and installation based works. Touchstone will provide an opportunity for national / international visitors to experience a comprehensive body of contemporary Irish ceramics.
An independent panel of three selected from over 100 applications. The exhibition showcases the work of 36 makers of and from Ireland, representing a critical mass of practitioners. Through Touchstone, we will celebrate the highest quality craftsmanship; the selected group includes the work of established makers, the caliber of Frances Lambe, Cormac Boydell, Sara Flynn, Grainne Watts alongside makers who are embarking on their careers, Cathy Burke, Caroline Getty and Aisling McElwain.
Ceramics Ireland is an impactful membership organisation and this series of exhibitions in tandem with our other activities helps us to prioritise activation, education and promotion of our sector to guarantee the future landscape of ceramics in Ireland, while raising the international profile of Irish ceramics. This series of exhibitions is lead by curators Elaine Riordan and Tina Byrne.
It is the third exhibition in the Ceramics Ireland triennial series and will coincide with the 40th anniversary of the organisation, founded in 1977. Touchstone will include a selection of archival materials celebrating our history.
The exhibition will tour to the National Craft Gallery, Kilkenny, November 18th – January 21st 2018.
The selected group includes both the work of emerging and established makers: Cormac Boydell, Nuala Creed, Jack Doherty, Isobel Egan, Michael Flynn, Sara Flynn, Adam Frew, Peter Fulop, Jennifer Hickey, Alison Kay, Frances Lambe, Andrew Ludick, Claire McLaughlin, Deirdre McLoughlin, Lucy Morrow, Ingrid Murphy, Nuala O’Donovan, Marcus O’Mahony, Mandy Parslow, Owen Quinlan, Alex Scott, Grainne Watts, Katharine West, Elaine Riordan, Cathy Burke, Aisling McElwain, Tara Butler Frey, Caroline Getty, Susan O’Byrne, Mark Campden, Gus Mabelson, Ann McBride, Eleanor Swan, Markus Jungmann, Mike Byrne and Vicki Sutherland.
Sculptural Floral Arrangements: opens as part of VASE: Function Reviewed- Farmleigh Gallery
11th-17th February 2017
Master Florist Lamber de Bie will design a special floral installation, ‘Sculptural Floral Arrangements, which will run from Saturday 11th to Friday 17th February as part of VASE: Function Reviewed at Farmleigh Gallery.
Curator Brian Kennedy invited Lamber to select a number of vases featured in this exhibition, allowing their forms to influence the choice of flowers used to create sculptural floral arrangements in dialogue with the exhibition. VASE: Function Reviewed features the work of 29 artists from Europe, Africa and Asia, and exhibits at Farmleigh Gallery until the 26th of February. This exhibition was part of the Kilkenny Arts Festival in 2016.
Lamber de Bie is a Dutch national who studied in Holland for seven years to achieve the title of “Master Florist”. Since moving to Ireland in 1993 he has built a reputation for creative and innovative floristry throughout Ireland.
In ‘Sculptural Floral Arrangements’, visitors can expect to see an abundance of blooms on display in the exhibition’s stunning ceramic vases. A range of floral techniques will be embraced, from the traditional to the modern, reimagining the vases and reinterpreting them through use. The installation aims to explore the boundaries of art and craft; form and functionality; by addressing the debate: ‘only when flowers are in the vase does it become a complete object.’
The display will be in Farmleigh Gallery from Saturday the 11th until Friday the 17th of February.
VASE: FUNCTION REVIEWED
will run until Sunday, 26th February 2017.
Opening times : Wednesday – Sunday: 10am – 5pm.
Closed daily (1 – 2pm)
Closed: Monday and Tuesday.
Monday 13th and Tuesday, 14th will be open during the ‘Sculptural Floral Arrangements
For further information visit www.farmleigh.ie. & www.lamberdebie.ie
This Exhibition marks the first time that the Printmakers Council have exhibited in Ireland. The title Pushing Boundaries recognises that 2016 is a significant year for Ireland as the centenary of the Irish Revolution and the beginnings of a new nation. Many events are being held across the country to mark the year and this exhibition might be seen as a small but significant part of the living historical process, taking place between Ireland and the UK.
This collection of work by members of the Printmakers Council presents the very best of contemporary printmaking practice. Printmakers Council has no house style, embracing all forms of contemporary and traditional original printmaking. Their growing membership means that exhibitions are selected from an increasingly wider pool of artists keeping exhibitions lively and fresh. The exhibition will include film, installation, sound pieces, artists’ books, pushing the boundaries of what constitutes a ‘print’. The work will pursue a range of concerns from the political and social, the aesthetic and formal, to the self and the personal, creating a dynamic dialogue with other contemporary art practices.
Over fifty artists have been selected for the show.
Margaret Ashman, Jacki Baxter, Helen Benson, Alison Bernal, Kit Boyd, Pauline Bradley, Angela Brookes, Emma Buckmaster, Rob Chapman, Dawn Cole, Christina France Crews, Barbara Cropper, Sandra Daniel, Felicity Dunnett, Steve Edwards, Shuxiang Jin Farrall, Kate Fortune Jones, Eric Gaskell, Colin Gillespie, Anne Gournay, Lisa Gribbon, Michael Griffiths, Clare Grossman, Eleanor Havsteen-Franklin, Gloria Holden, John Hutton, Claire Hynds, Liz Kelleher, Michael Kennedy, Frances Kiernan, Sari Majander, Marie-Louise Martin, Amanda McAllister, Julia McNeal, Margo McNulty, Janet Milner, Antoinette Momtahan, Stephen Mumberson, Frances Murray, Geraldine O’Reilly, Bronwen Paterson, Richard Peacock, Sumi Perera, Irene Vee Riley, Andrea Robinson, Sarah Rogers, Hilary Rosen, Ian Scaife, Yoonjung Shim, Ewelina Skowronska, Tim Southall, Francesca Souza, Emma Tabor, Caroline Whitehead, Roy Willingham, Mary Yazhari, Johanna Zhang.
Photos: Mark Stedman
two birds / one stone is an exhibition primarily of sculptural work selected by artist Janet Mullarney focusing on how the choice of specific materials makes certain sculptures work.
The title refers to how the unity of both concept and the visual tangibility of the chosen material is imperative to the reading of the work, a quality that may often be overlooked. Rendered in any other material would deny significantly this poetic mystery.
The artists are many and varied, the work mostly sculpture, or certainly sculptural. Some of the work of older artists has been made in the nineties and juxtaposes well with work being made by younger artists now.
The artists are Cecily Brennan, Dorothy Cross, Maud Cotter, Aleana Egan, John Gibbons, Tony Hill, Mary Kelly, Alice Maher, Eileen McDonagh, Locky Morris, Paul Mosse, Helen O’Leary, Niamh O’Malley, Adrian Paci, Rachel Parry, Alan Phelan, Kathy Prendegast, Linda Quinlan, David Quinn, Eddie Rafferty, Charles Tyrrell, Michael Warren and Daphne Wright .
Portraits of a Nation
A selection of portraits from the State Art Collection at Farmleigh Gallery from 8 April to 29 May 2016
Portraits of a Nation is a selection of portraits from the State Art Collection which is managed by the Office of Public Works (OPW). The exhibition features 82 portraits by 54 artists. There are historic and contemporary paintings, photographs, original prints, sculpture and drawings on display. The portraits are of figures from different spheres of Irish life – the arts, sport, science, and politics.
The included artworks span five centuries – from a School of Rembrandt portrait dating to the 1630s to portraits created in 2016, such as eight prints of women involved in the 1916 Rising by David Rooney from his original illustrations created for the 1916 Portraits and Lives book (published recently by the Royal Irish Academy).
The work of many well-known artists are included in the exhibition such as Seán O’Sullivan, Albert Power, Rita Duffy, Carolyn Mulholland, Thomas Ryan, Mick O’Dea, James Hanley, Margaret Corcoran and Louis le Brocquy, alongside works created by recent graduates, such as Shane Keisuke Berkery.
Portraits of a Nation brings together a diverse range of artistic styles and offers visitors the opportunity to explore the genre of portraiture. It is an exhibition where past and present intertwine: where visitors can imagine conversations taking place between the sitters and the artists, in different visual art media and across time.
The sitters in the portraits include historic figures from Irish public life such as Lord Edward Fitzgerald, Henry Grattan, Daniel O’Connell, James Stephens, Seán Mac Diarmada, President and Bean de Valera, and William and Patrick Pearse. There are also contemporary portraits of well-known literary figures, sports people, and some artists’ self-portraits.
The exhibition will remain open to the public in Farmleigh Gallery until 29 May 2016.
Open Tuesday to Sunday 10am to 5pm (closes between 1-2 pm).
Sometimes the real world can look grey and mundane, enduring dreamless nights and days where nothing exciting happens. You wake up with the hope that the day ahead will be full of fun and interesting experiences but often find our lives are boring and colourless.
This exhibition offers you the opportunity to open the door to the fascinating and enchanting world of books and illustration and to take a journey through a land of fantasy. Experience the magical world of book illustration through the eyes of nine of Lithuania’s leading Book illustrators.
Phots: Mark Stedman
// BALTIC LINKS // 12 June – 6 September
Artists from Baltic States search for national identity in
contemporary costumes, jewellery and design objects
Farmleigh Gallery presents an embassy led project which draws together curators from Estonia, Latvia and Lithuania to bring ‘Baltic Links’ an exhibition in three parts.
Across a theme of shared heritage the exhibition showcases the work of designers and artists from the three Baltic countries and includes costume, fashion, jewelry, ceramics. Contemporary Baltic artists reflect the signs and messages carried by their cultural heritage while transforming them into new forms.
// BRIDGES //, the interpretation of ornament in Estonian folk art and applied art. The origins of symbols, their
relationships and design principles lie in various cultures and differ in their semantic fields and mentality.
Ornaments are like large and small bridges between cultures, countries and nations. These are stories that
surpass generations and span from North to South; stories passed from travellers to locals, from kings to
fools. These are signs that communicate Wisdom and Spirit.
// THE ART OF HOMECOMING //. Peaceful eternity and a powerful creative force lie in the depths of the souls of Lithuanian culture. It is silent and invisible until we seek it. But, as soon, with all due respect, we ask for reinforcement, it soothes, nourishes and inspires us for creativity, for work, for life. This uninterruptible energy, flowing through ages, reaches us by tangible and intangible signs, codes, symbols which each contemporary artist deciphers in the unique, original language of art.
// TIME SIGNS // is a collection of artworks showing Latvian design and contemporary traditional applied art from Latvia.The art has been created in line with traditional folk art techniques in weaving, jewellery making and ceramics. The works demonstrate modern approaches and innovations, where traditional materials have been applied to modern subjects. The idea behind the exhibition is to show different ways in which ancient signs, marks, symbols, colours, methods, and materials have survived up to the present day, and they have been adapted for contemporary use while preserving traditional ideas, thought and philosophy.
The exhibition explores ideas that inform artificial intelligence, pattern recognition (in neural networks), complex networks, coding, and how these factors have been used in seminal moments in our history.
I N T E L L I G E N T M A C H I N E R Y
Sofie Loscher // Jonathan Mayhew // Niamh O’Doherty
APRIL 3rd – MAY 31st
“A polarity is presently developing between the finite, unique work of high art, that is, painting or sculpture, and conceptions that can loosely be termed unobjects, these being either environments or artifacts that resist prevailing critical analysis. This includes works by some primary sculptors (though some may reject the charge of creating environments), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations. Looming below the surface of this dichotomy is a sense of radical evolution that seems to run counter to the waning revolution of abstract and nonobjective art. The evolution embraces a series of absolutely logical and incremental changes.” (1)
The exhibition ‘Intelligent Machinery’ explores ideas that inform artificial intelligence, pattern recognition (in neural networks), complex networks, coding, and how these factors have been used in seminal moments in our history. The classical grid of Art History has given way to the ‘system’, and modern forms of invention have to deal with a norm composed of complex inputs often concerned with redaction, obfuscation and reflection. Art that is made up of unitary incremental actions, reflects an innate logicism that is greater than the individual; each unit and each work, creating a full mechanism for that place and time of exhibition. “To understand art as software is to understand it in terms of codes and information rather than in material or medium-specific terms (2)”. A contemporary art-tech revolution now sees works created that play on this lack of transparency in collective agenda, ascribing a new form of mechanical perception within the confusion of digital avatars.
This exhibition is curated by Dr. Hilary Murray, Director of ArtBox for Farmleigh Gallery. This exhibition is part of the ArtBox Projects initiative.
Sofie Loscher (b. 1987) lives and works in Dublin. She holds an MFA in Sculpture from NCAD and a BA in Visual Arts Practice from IADT. Recent exhibitions include Neutral: Tulca Festival of Visual Arts, Galway (2014); EVA International, Limerick (2014) and Periodical Review #4, Pallas Projects/Studios, Dublin (2014).
Jonathan Mayhew (b. 1981) is currently based in Paris. He holds an MFA and BA in Painting from NCAD. Recent exhibitions include Elefants, The Joinery, Dublin (2014); Housing a Pig, Flood, Dublin (2013) and (((O))), Clonlea Studios, Dublin (2013).
Niamh O’Doherty (b. 1988) is a visual artist based in Dublin. O’Doherty graduated from Fine art at Chelsea College of Art and Design in 2010 and an MA in Art in the Contemporary World, NCAD in 2013. She was recently awarded a grant from She was selected to exhibited at Kilruddery House, Co. Wicklow (2013) and a had a solo exhibition at Broadstone Studios (2014) and has previously shown in London at the Wayward Gallery (2010) and at Slade School of Art (2011
1. Jack Burnham (1968) Systems Esthetics.
2. Francis Halsall, (2008) ‘Systems Aesthetics and the system as media’ taken from Francis Halsall, Systems of Art, (Peter Lang, 2008)
TOM MACKEN 1 MARCH – 27 MARCH at The Motorhouse
Tom Macken is a Dublin born artist who studied at the National College of Art. He was a member of the Graphic Studio Dublin and Trinity College Arts Society. Macken exhibited in the Oireachtas yearly exhibition, and
participated in many group shows. He had two solo exhibitions in the Peacock Theatre Gallery and his work is a part of many private collections. His art practice is influenced by German Expressionism of the Bruke period and Japanese wood block prints. His motivation
for the graphic arts among other things is his desire to communicate the manual aspect of his personality through mechanical means.
Exhibition at the MOTORHOUSE
// WHAT ELSE DOES AMBER HAVE IN MIND? //
23 January – 11 February
The Baltic Sea. White foaming waves expose amber. Amber, naked and saturated, newly born from the bosom of the waves, comes ashore. Mankind takes it in its hand, caresses, polishes it and creates a new wonder of the world – a delicate filament. The road goes on. The mystery remains. What else does amber have in mind?
The rich traditions of working with amber stretch back for thousands of years in Latvia and laid the foundation for the famous Amber Road trade route, designated by the ancient Romans as one of the five major routes. It is the exhibition what does amber offer today within the geography of the ancient Amber Road. Riga Technical University scientist Dr. Inga Lasenko has transformed amber using new technologies, she is the creator of amber thread. The full potential of amber thread is still being explored, but it is already clear that it has amazing medicinal properties and can be used in textiles. Amber thread has been transformed into works of art by Iveta Vecenane, a Latvian textile artist and internationally known for her tapestry. The exhibition supported by Latvia’s Foreign Ministry marks the opening of the cultural program of the Latvian Presidency of the Council of European Union,in Ireland. Latvia holds the Presidency in the first half of 2015.
image: Kristaps Kalns
// Groundbreaking exhibition of Father Browne’s Greatest Photographs comes to Farmleigh Gallery on 23 October //
Frank Browne took his first photographs during a European tour in 1897, just before joining the Jesuits. These pictures convey something of the remarkable talent of a man who was to emerge as the most significant Irish photographer in the first half of the twentieth century. In 1912 his Titanic photographs brought international fame and by 1916 he was a WW1 chaplain to the Irish Guards. In 1921 took his final vows and still suffering from war wounds he went to Australia to recuperate and made a superb series of photographs of life in that country. On his return to Ireland he continued to record aspects of Irish ways of life both personal and corporate which, when added to his pictures in South Africa, Sri Lanka, Egypt, Spain and England constitute a fascinating interpretation of a rapidly evolving world. He was active in the photo-exhibition world and wrote articles for “The Kodak Magazine”. During this time he made 41,500 negatives. He died in 1960 and his work was largely forgotten.
In 1985 Fr. EE O’Donnell SJ. came upon the trunk containing the negatives and quickly recognised that the pictures were exceptional but in many cases were deteriorating. This necessitated urgent action to conserve, duplicate and catalogue the entire collection. Edwin and David Davison of Davison and Associates carried out this work and now market the collection worldwide.
For twenty-five years they have believed that a definitive publication of Browne’s finest artistic works selected for their intrinsic merit alone would bring the photographer’s work to a worldwide audience. All these images have been re-mastered to print at a quality not possible twenty-five years ago and do justice to Browne’s marvellous photographs.
These pictures form the basis of this exhibition, which in conjunction with the Yale University Press publication, “Frank Browne, A Life Through the Lens”, will position him in his rightful place as one of the twentieth centuries great photographers //
// The Iron Harvest – Contemporary Approaches to Painting WW1 // Exhibition of paintings by Paul Woods // MOTORHOUSE (Farmleigh Courtyard) until 16 NOVEMBER
2014 marks 100 years since the start of the First World War. Warfare and conflict are the predominant themes in the work of the artist Paul Woods. He believes that events of the past, though often unresolved or misrepresented, have a great influence on our understanding of society and community now. Through his art he deals with past and present traumas from history and tries to engage the viewers in the process of deconstructing generally accepted opinions. “The Iron Harvest” deals with the scars and wounds left on the land and on the people in the aftermath of WW1. The exhibition follows the trail of the main battles fought on the Western Front, including the Marne, the Somme, Ypres and Verdun, taking a bird’s eye view of the pummelled landscape. The paintings themselves are depicted in an abstract expressionist style, which bonds well with the original sourced archival photographic imagery. Many of the photographic images sourced for the painting process come from aerial photography and topographical views of the landscape in war. These images often have an inherent surreal and abstract visual quality. The photographs from WW1 capture powerfully the iconic images of the soldier in his war torn landscape, therefore the figure in the landscape is an important and integral part of the visual imagery of many of the exhibited paintings.
The “Iron Harvest” is the annual “harvest” of unexploded ordnance, barbed wire, shrapnel, bullets and congruent trench supports collected by Belgian and French farmers after ploughing their fields. The harvest generally applies to the material from World War I, which is still found in large quantities across the former Western Front.
C O N T O U R S // Sinéad Ní Mhaonaigh //
Exhibition continues until 21 September in The Motorhouse (Farmleigh House courtyard)
Speaking recently about the power of painting, the American art critic Peter Schjeldahl noted:
“… there’s something irreducible about a rectangular surface covered with marks that are all absolutely on purpose and made of physical stuff like we are. When it’s good, it demands – and allows – the highest degree of refinement of our feelings and perceptions.” [i]
His words seem to apply directly to Sinéad Ní Mhaonaigh’s paintings, for her works extol both the dynamism and complex subtleties of her medium, and get us thinking about the world around us in entirely new ways. Wielding a palette primarily comprised of black, white, pinks and yellow-greens she creates resolute compositions that yield a potent optical charge and induce distinct moods in viewers. Moreover, a powerful sense of physicality adds to their impact. The way she brushes on, dabs, scratches into and scrapes away paint not only delivers striking juxtapositions of colour, texture, pattern and shape, but also impart tactile qualities that intensify each work’s presence.
Ní Mhaonaigh’s solidly structured pictorial statements hover somewhere between abstraction and representation. Referencing landscape, various types of structures and natural phenomena, the compositions range from the visually dense to austerely minimal and come in closed and open formats – with or without a painted surround that can intimate a window frame, proscenium stage, or the border of a television screen, instagram image or story board. But what the pictures truly convey is open to interpretation. On one hand her scenes propose fleeting glimpses, fragmented memories and discontinuous narratives; on the other the application and manipulation of paint appears to be their focus. One cannot easily skim over her work. At heart, something elemental resides in her blurred vistas, fluffy vehicles and oft kilter constructions, call it a force or tension, which captivates. Its vigour demands protracted engagement and, by necessity, viewing turns out not only to be durational; it also becomes a highly personal experience.
Ceramics Ireland celebrates the breadth of contemporary Irish ceramic practice with Centred, an exhibition of 35, Irish and Ireland based makers. Selected by an independent panel, Centred includes makers who are working across the spectrum of clay practice from functional and decorative vessels to sculptural and video installation.
Photos: Mark Stedman, Photocall Ireland
Exhibitors: Cormac Boydell, Tina Byrne, Nuala Creed, Gemma Dardis, Jack Doherty, Isobel Egan, Eva Farkasova, Michael Flynn, Sara Flynn, Adam Frew, Peter Fulop, Jennifer Hickey, Sinéad Glynn, Alison Kay, Christy Keeney, Frances Lambe, Andrew Ludick, Jane McCormick, Claire McLaughlin, Deirdre McLoughlin, Kathleen Moroney, Lucy Morrow, Ingrid Murphy, Nuala O’Donovan, Marcus O’Mahony, Mandy Parslow, Owen Quinlan, Neil Read, Alex Scott, Kathleen Standen, Grainne Watts, Katherine West, Andrew Whitelaw, Derek Wilson and Evelina Wojtowizc.
The exhibition of Estonian contemporary jewellery and textile art
Exhibition gives an insight into two fascinating phenomena in the field of Estonian applied art – smart textiles and art jewellery. Dealing with spaces – our daily life environment is the one feature that connects the artists represented in the exhibition.
Launch of photographic exhibition
** R E F L E C T I O N S ** by Irene Barry
at THE MOTORHOUSE GALLERY
(Farmleigh House Courtyard)
Irene Barry is an Irish artist and self taught photographer. Her art education commenced in NCAD in Dublin from which she graduated in 2007 with a BA in History of Art and Printed Textile Design. Irene also spent time studying the arts in Ecole Duperre in Paris.
‘REFLECTIONS’ is a collection of photography inspired by John Everett Millais Pre-Raphaelite painting titled ‘Ophelia’ (1852) Barry’s works plunge us into an underwater world of billowing fabrics, shimmering mirages and visions of the tragic heroine’s dream of an afterlife. The abstract distortions and reflections generated by light and colour on moving water suggest an otherworldly realm with a different sense of time.
Barry’s work has featured in a number of prominent group exhibitions both nationally and internationally including exhibitions in the RHA’s 182nd Annual Summer Show, PhotoIreland’s Canon Open Programme, The Peppercanister Gallery, and The OPW’s Art of the State travelling exhibition titled ‘Flow’.
Barry’s work is currently in a travelling exhibition titled 40/40/40. The works travelled to Madrid, Rome & Warsaw. The exhibition celebrates Ireland’s 40 years in the European Union & Ireland hosting the EU presidency. The exhibition is currently in Rathfarnham Castle during September and October 2013.
Photography and Print has always been her preferred method of expression. Barry lives and works as an artist in Dublin.
Exhibition continues until 27 September
FARMLEIGH GALLERY presents:
** R E F L E C T I O N S ** by Irene Barry
5th – 27th September 2013
at THE MOTORHOUSE GALLERY
(Farmleigh House Courtyard)
Irene Barry is an Irish artist and self taught photographer.
** REFLECTIONS ** is a collection of photography inspired by John Everett Millais Pre-Raphaelite painting titled ‘Ophelia’ (1852) Barry’s works plunge us into an underwater world of billowing fabrics, shimmering mirages and visions of the tragic heroine’s dream of an afterlife. The abstract distortions and reflections generated by light and colour on moving water suggest an otherworldly realm with a different sense of time.
Opening evening of Future Beauty? an exhibition of everyday and extraordinary objects – vessels, jewellery, sculpture and furniture – designed and made in twenty six independent studios, all exhibitors are linked by a connection to Ireland, through birth, training or place of residence.
// Future Beauty? // FARMLEIGH GALLERY until 29 September
Future Beauty? is a rare collision of materials, technologies and cultural influences, all linked by the experience of intelligent making.
This exhibition of everyday and extraordinary objects – vessels, jewellery, sculpture and furniture – designed and made in twenty six independent studios, all exhibitors are linked by a connection to Ireland, through birth, training or place of residence.
The show invites us to consider the current shape of art and design in Ireland, and, to consider the ways in which the thinking and the objects from these makers may influence our understanding of art and design in the future.
The focus on physical objects is, in some cases, complemented by drawings, photographs, text and film where these add an essential dimension to the understanding of the work.
The twenty six participating studios were originally selected as part of the Irish Craft Portfolio critical selection process initiated and organised by the Crafts Council of Ireland in January 2012.
Image: Derek Wilson, Void Series1
// To mark the beginning of the Lithuanian Presidency of the Council of the European Union The Office of Public Works and Lithuanian Embassy presents ‘Unseen Lithuania’ by Marius Jovaisa. The exhibition comprises selection of works from the largest, most unique and impressive collection of aerial photography of Lithuanian landscapes \\
** UNSEEN LITHUANIA **
by MARIUS JOVAIŠA
// 28 JUNE – 28 JULY // at The Motorhouse
(Farmleigh House courtyard)
To mark the beginning of the Lithuanian Presidency of the Council of the European Union The Office of Public Works and Lithuanian Embassy presents ‘Unseen Lithuania’. The exhibition comprises selection of works from the largest, most unique and impressive collection of aerial photography of Lithuanian landscapes.
*** K A L E I D O S C O P E ***
Contemporary Art from EU Member States
>>> 1 MAY – 30 JUNE <<<
This is an exhibition of contemporary artworks from the twenty-seven Member States of the European Union, selected with the purpose of bringing European visual art, created in recent decades, to an Irish audience and to provide these artists with a platform during Ireland’s EU Presidency.
The motto of the European Union ‘united in diversity’ is the only conceptual premise that informed the theme of the exhibition. Each Member State was invited to select one artist or one work for inclusion in the exhibition.
The works reflect current art practice of contemporary artists of many European nationalities, across a variety of media – video, drawing, sculpture, print and painting. The unique vision of each artist reflects the diversity of new work being created throughout Europe.
This exhibition has been organised by the Office of Public Works and the Department of Arts, Heritage and Gaeltacht in collaboration with the EU Member State Embassies and cultural organisations. It is funded through Culture Connects, the National Culture Programme that marks Ireland’s Presidency of the Council of the European Union ++
// Next Saturday 23rd February @ 2pm at the Farmleigh Gallery // ++ Ann Griffin BERNSTOFF, RESEARCHER and DESIGNER of the ROS TAPESTRY will give an entertaining and informative TALK on the dynamic history told in the fifteen panels ++
// Winter by The Blind Elephant Illustration Collective //
New show opening on 24 November in The Motorhouse
The Blind Elephant Illustration Collective is an artist collaborative that was formed in 2010 by a group of artists with backgrounds in differing art disciplines who wanted to work on set projects. The name Blind Elephant comes from a Hindu story of six blind men who encounter an elephant and all have different perceptions of the animal and describe it in wildly divergent ways. In a similar manner, the collective work on set projects which are based on a particular theme, word or phrase which result in a wide variety of different interpretations by members of the Collective. The theme chosen for the Farmleigh exhibition is ‘Winter’. The exhibition opens 24 November and continues until January 2013. 100% of the proceeds from any Christmas cards bought from the collective for the duration of the show go to Barretstown.
Short documentary about the Hall of Mirrors exhibition by Cleary + Connolly which was showing at Farmleigh Gallery, from March to July 2012. Video direction and production by Jurga Rakau
by CLEARY & CONNOLLY In collaboration with CLARITY: Centre for Sensor Web Technologie and Laboratoire Psychologie de la Perception, Université Paris Descartes & CNRS.
For almost two years now texts and emails have been bouncing back and forth between Paris, Dublin, Kilkenny,
Ardfert, San Francisco, Castlebar, London, and Limerick. The subject of all this buzz is an extraordinary collaboration between artists and scientists, leading to a four month exhibition at Farmleigh Gallery for Dublin, European City of Science 2012, which will then tour Ireland for the remainder of 2012. Sparked by a chance meeting in Paris between Anne Cleary & Denis Connolly, (Irish artists based there), and Prof. Patrick Cavanagh, a Professor at Harvard and the Université Paris Descartes of Irish descent, specialising in visual perception, Hall of Mirrors has grown to encompass organisations and communities all over Ireland and beyond. Children from Ardfert National School become Dot-People in The Dot Universe—an interactive Artwork inspired by Biological motion and created in collaboration with CLARITY using gaming technology and tracking devices. The Vision Lab at University Paris Descartes helped the artists create “binocular vision” viewing
posts, and a series of “binocular” films were shot with pupils of St. Josephʼs Secondary School in Castlebar.
Research on the phenomenon of Negative Afterimage at the Parisian laboratory inspired a series of Negative Afterimage Portraits, and CLARITY transformed android telephones into two Darth Vader-like headsets, allowing the public to revisit experiments in perceptual adaptation. The Railway Procurement Agency helped create a new video art work inspired by deformations in visual perception while moving at speed through the city. These are just a few of the spell-binding experiences that Hall of Mirrors holds in store, and each work will be
accompanied by background information on the scientific principles that informed the art.
Leonardo da Vinci suggested that we should “study the science of art and the art of science.” Taking this good advice student teachers from Mary Immaculate College in Limerick have chosen to make Hall of Mirrors the focus of their Visual Art Education elective. The students will respond to and engage with the exhibition with the aim of creating a blueprint for educational workshops that will accompany Hall of Mirrors as it tours the country, thus building a long-term legacy for the project through its connection with our young people.
Hall of Mirrors is curated by Vincent OʼShea, Independent Curator, and developed under the mentorship of Dr Sally Duensing, Visiting Professor at Kingʼs College London.