Niamh O’Malley |Memorial Gardens (2008)
IMMA Collection: A Decade Sue Rainsford, April 2016
What can we ascertain of the human gaze and the shadow it casts? Or of memory, that diaphanous veil that shrouds even the most vibrant recollections?
Niamh O’Malley’s Memorial Gardens (2008) draws on a place potent with remembering to literalise the act of looking, the residue left by even the most cursory glance. Aligning a projection with an oil painting, the work sees these disparate materials temporarily fuse in a hovering, ethereal composite. The moment they come apart underscores the constructed, illusory nature of the image, the memorial itself, and the fabrication entailed by the act of looking.
RHA Annual, Invited artist, Contemporary Arts Society Prize-winner, work of distinction, RHA, Dublin
Forecast of the next century
March 25–July 3, 2016
Lewis Glucksman Gallery
University College Cork
Hours: Tuesday–Saturday 10am–5pm
T +353 21 490 1844
Facebook / Twitter
Artists: Amanda Coogan, Maud Cotter, Gary Coyle, Eleanor Duffin, Damien Flood, Siobhán Hapaska, Ramon Kassam, Sam Keogh, Ruth Lyons, Eoin McHugh, Ailbhe Ní Bhriain, Mairead O'hEocha, Niamh O'Malley, Darn Thorn, Lee Welch, and the Centre for Genomic Gastronomy
Curated by Chris Clarke, Caitlín Doherty, and Fiona Kearney
2116 has been organised in collaboration with the Eli and Edythe Broad Art Museum at Michigan State University, USA and will take place there from November 5, 2016 to April 2, 2017.
2116 is a forecast of the next century. It explores our predictions and projections of an increasingly globalised and technology-driven world, and asks how Ireland will look from both within the country and from outside. From our contemporary vantage point, halfway between the origins of Irish independence in 1916 and an unknown, imagined future, how do visual artists see the next 100 years?
The exhibition features 16 Irish artists whose works present a vision of our changing society, the technological advances, progress and decline that will shape the coming century. Taking place one hundred years after the Easter Rising, 2116 is a platform for what is rising now and a way for Ireland in all its definitions to begin to imagine what lies ahead.
Artists have long occupied the roles of visionaries, seers, and initiators of the avant-garde. However, future visions are necessarily contingent and this uncertainty, even impossibility, of accurately foretelling the future is evoked in several works in the exhibition; Niamh O'Malley's vertical glass screen clouded with pencil markings, Eoin McHugh's densely patterned, anxiety-infused woollen tapestry, and Lee Welch's intervention of painted swathes across the windows of the gallery.
The connection between the distant past and the unforeseeable future is addressed in Ailbhe Ní Bhriain's films relating to an idealized traditional version of Ireland reconstructed through a virtual, computer generated world. Darn Thorn digitally alters images of Irish 1960s modernist architecture while, in Gary Coyle's installation of wallpaper and charcoal drawings, 19th century motifs and contemporary subject matter create a claustrophobic, dystopian atmosphere. While new technologies might appear useful in forecasting the future, they are also predictive of their own, eventual obsolescence. The Centre for Genomic Gastronomy explores impending threats to food security, while Ruth Lyons reflects on the folly of attempting to ascertain the future within the means of the present.
The residual traces of our history and their preservation for subsequent generations is explored in a number of artist's works. Sam Keogh appropriates the children's television character Oscar the Grouch to reflect upon the overwhelming accumulation of materials, while Amanda Coogan's photographs capture one of her performance-based artworks: the artist's head breaching a sheet of taut, blue fabric. In Eleanor Duffin's installation, the crystallisation of a milky liquid recalls the petrification of human bodies in Pompeii.
This synthesis of disparate influences, objects and elements recurs throughout. In Siobhán Hapaska's work, an olive tree is suspended by a gilded crane and flanked by tree trunks and engine blocks, reflecting our contemporary condition of displacement and loss. Damien Flood's paintings create fictitious narratives through abstract images, while Ramon Kassam portrays spaces that are invented or re- imagined in the mind of a semi-fictional artist. Mairead O'hEocha references historical and contemporary painting, film and photography, in her canvases of semi-rural and urban spaces. Maud Cotter's sculpture of high-tension cables, plastic and steel responds to the architectural language of gallery itself, drawing on ideas of philosophy, politics and economy to explore the very idea of the future.
2116 features the Irish premiere of Amanda Coogan's performance Don't Push the River at 5pm on June 24 and 10am to 5pm on June 25.
2116 at the Glucksman is supported by University College Cork, The Arts Council Ireland, and private philanthropy through Cork University Foundation.
Niamh O'Malley: Glasshouse, Bluecoat, Liverpool, Lizzie Lloyd
Minister for Education, Jan O'Sullivan TD, will officially open BFEI on Friday 11 September.
We look forwarding to welcoming Minister for Education, Jan O'Sullivan TD, to our new campus, on Friday 11 September, when she will officiate at the opening of our new campus building before the new academic year commences on Monday 14 September. As part of the ceremony, Minister O'Sullivan will unveil a piece of art work, Canopy by artist, Niamh O'Malley, which was commissioned by Blackrock Further Education Institute and funded by the Department of Education and Skills Per Cent for Art Scheme, 2014.
This is an invitation only event.
Niamh O’Malley: Glasshouse
- Sat, 10 Oct 2015 - Sun, 10 Jan 2016
- 10.00 AM - 6.00 PM Free, entry
Bluecoat presents the first major solo show in a UK public gallery by Dublin based artist Niamh O’Malley. Working across video, drawing, painting, print & sculpture, O’Malley’s work is distinctive for her use of reflective surfaces such as mirror and glass through which images are constructed, revealed and obscured. At Bluecoat O’Malley has created new sculptural works that respond to the unique gallery architecture. Her sculptures and drawings chart and frame the marks made by gestures and processes, while the lens of her camera gives attention to the surfaces and nature of objects and places. In her videos O’Malley’s investigations into the construction of images has led her to working with sites, such as the hewn face of a quarry, rows of greenhouses, as well as a singular mountainscape and her own garden. O’Malley’s studies of anonymous yet evocative locations evoke the instant when fleeting moments coalesce as memory.
- See more at: http://www.thebluecoat.org.uk/events/view/exhibitions/3098#sthash.mh6CXruJ.dpuf
18 SEPT – 23 OCT | GALLERIES 1 & 2 | PREVIEW THURS 17 SEPT 6PM
Curated by Paul McAree and featuring Lorraine Neeson, Martin Healy and Niamh O’Malley
Deadeye presents a diverse range of work including sculptural, photographic and film work from 3 of Ireland’s most important artists – Martin Healy, Lorraine Neeson and Niamh O’Malley – which touches on issues from the personal to the universal, and in the interplay of various works in the gallery suggests and teases out how the individual exists within the global.
Deadeye acts a metaphor for television and the moving image on screen – the un-emotive presence in our rooms and homes, compelling us to react and connect with the outside world. The exhibition plays with the Romanticism of the dark image, the unseen presence of the tv or computer screen, and its invisible umbilical cord to the greater world and universe. What are we doing here? Are we really doing anything at all, only looking, making, spinning, touching, waving, drowning? What’s out there? Do we imagine our connection with the greater whole? How can we channel these questions? What metaphors can we use to simplify these questions? Is any of this remotely possible? Deadeye seeks to look at 3 artists whose work teases out these questions in various and unique ways.
Deadeye Talk and Tour
FRI | 17 SEP | 5.30PM | FREE
As part of Deadeye join curator Paul McAree with the artists Martin Healy, Lorraine Neeson and Niamh O’Malley for an informal walk through the exhibition before the exhibition launch