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ARCHIVE

featuring exhibition details, weblinks and downloads

 

2013

 

Dublin City Gallery The Hugh Lane

Solo exhibition

A blow-by-blow account of stonecarving in Oxford is an installation exploring the oeuvre of nineteenth century stonecarvers John and James O’Shea, whose naturalistic renditions of animals and plants are still visible in locations in Dublin and Oxford.

From an artisan working class tradition, the O’Sheas completed a series of notable stone carvings in 1850s Dublin before relocating to Oxford. While specific historical circumstance remains unclear, controversy occurred when monkeys were carved on the new Museum of Natural History. Popular belief claimed the O’Sheas were carving a rendition of Darwin’s theory of evolution, a taboo subject within theological and social debate of the time. As a result of a resulting quarrel, a series of impromptu carvings were attempted by James O’Shea intending to transgressively caricature the authorities of Oxford as parrots and owls, and are still visible at the site today.

A focal point of the exhibition is a carving of a monkey set within an architectural setting, completed by carver Stephen Burke following the style and working ethos of the O’Sheas. Accompanying photographs and a slide projection with a scripted narration polemically argue for the ethnographical relevance of the O’Sheas to the identities and urban infrastructures of both Dublin and Oxford.With a comprehensive conservation programme in Dublin complete, the work of the O’Sheas can now be seen more prominently on the Museum Building in Trinity College, while more monkey carvings on Kildare Street have often been credited to James O’Shea. The exhibition at the Hugh Lane alludes to these sites as being alive with diverse allegorical and associative meanings.

Irish Examiner review here

 

A blow by blow account of stonecarving in Oxford

2013, production image

A blow-by-blow account of stonecarving in Oxford is curated by Michael Dempsey  and Logan Sisley, Dublin City Gallery The Hugh Lane, and Paul Luckraft, Modern Art Oxford.

Research and production is additionally supported by Gasworks, London, University of the Arts Research Centre for Transnational Art, Identity and Nation, London, Cove Park, Scotland, and the Arts Council of Ireland.

 

 

The Cornwall Workshop

International conference

with Simon Starling, Hamish Fulton, Martin Clark, Teresa Gleadowe, Ellen Mara De Wachter and more

Cornwall Workshop website

 

From Weather to Weather

Walking tour in conjunction with Freek Wambacq's Rain after Snow exhibition

 

Objectif Exhibitions, Antwerp

Objectif Exhibitions website

.

 

The Voyage, or Three Years at Sea

Group show: Marcus Coates, Beau Dick, Angus Ferguson, Glenn Kaino, Sean Lynch, Susan Philipsz, Duke Riley. Curated by Cate Rimmer

Charles H Scott Gallery, Vancouver

Charles H Scott Gallery Website

 

 

 

 

 

 

 

Labour and Lockout

Group show

Limerick City Gallery of Art

 

 

DeLorean Progress Report,

Installation views

 

 

Undercover: A Dialect

VISUAL Centre for Contemporary Art, Carlow

Group show

Artists: Stephen Brandes, Aaron Lawless,Berndnaut Smilde, aiPotu, Jeronimo Hagerman, Magdelena Jitrik, Fiona Larkin, Sean Lynch, Pilvi Takala & Lucy Lippard. Curated by Michele Horrigan

Download exhibition catalogue here

 

Coexist

Kevin Kavanagh Gallery

Dublin

Group show:

Artists: Ailbhe Ní Bhriain, Gerard Byrne, Amanda Coogan, John Gerrard, Nevan Lahart, Sean Lynch. Curated by Eamonn Maxwell

 

Aberdeen Granite Festival

& Scottish Sculpture Workshop

Artist in residence / Commission

 

Curated by Emily Wyndham Gray and Nuno Sacramento

Scottish Sculpture workshop website

 

Irish Examiner Newspaper

 

Comment Column

 

Download here

 

 

2012

A Church Without A Steeple

The Model, Sligo

Solo exhibition, in conjunction with Into The Light,

Arts Council collection exhibition

 

Curated by Emer McGarry and Karen Downey

 

In A Church Without A Steeple, research material gathered by Lynch informs a series of anecdotal observations that focus on public reactions to, and rhetoric surrounding the introduction of modern ideas and forms in Ireland. These range from newspaper cartoons of the 1950s, satirically incorporating abstract sculpture, to a bard in County Kerry composing verse referring to Knockanure church, built without a steeple to the apparent bewilderment of the local population.

 

Presented as a slide projection with a scripted voiceover performed by Gina Moxley, sites depicted include The Model’s own art storage area, an architectural department at the University of Limerick, a now destroyed mural by Louis le Brocquy and Scott Tallon Walker’s church in Knockanure.

 

In this assembly, it becomes apparent that any one coherent version or viewpoint on the history of modernism in Ireland is far from possible. Rather, the narrated sequence is reflective of the uneven ground that modern progress is played out upon, where local circumstance and specific social and economic constructs shape any provisional understanding. The notion of the modern as a programmatic history with a desire to recode and to rationalise seems hard to locate in this context. Instead it seeps into common consciousness, placed between all that came before and after it.

 

 

 

Periodical Review

Group exhibition

Pallas Projects, Dublin

curated by Eamonn Maxwell

Pallas Projects website

 

Que Sera, Sera

(whatever will be, will be)

 

Artists project for

Fugitive Papers publication

Download pdf here

 

Turn to Red

Group exhibition

FLOOD, Dublin

Stephen Gunning, Maryam Jafri, Sean Lynch, Jim Ricks, Suzanne Treister. Curated by Paul McAree

FLOOD website

 

The Hellfire Club

Talk and Book Launch

Independent Curators International,

New York


ICI website

Publication available at

Askeaton Contemporary Arts

 

 

The Use and Abuse of Monuments

Publication

A5, 24 pages with 28 b/w illustrations, edition 300

Consider the functions of these objects: the traditional monument as a site of empowered remembrance or imagined collective expression, the modern sculpture as a signifier of the physicality of space and urbanity, and the contemporary art installation as a shifting social and discursive entity often reactive to audience and context. Beyond the conventions of spectatorship proposed in these definitions, what is determined by daily treatment and active public participation?


Research on this topic is collected here. There is no attempt at a survey or inclusion of all acts of public artistry in Dublin; instead there is identification of a select few where attitudes existing between action and commentary, creation and decay, serenity and disruption are apparent.

Download pdf version here

 

 

 

Contours of the Common

Group exhibition

CCA Derry~Londonderry

Artists: Lara Almarcegui, Amy Balkin, Andrea Geyer, Sean Lynch, Seamus Nolan, Johan Tirén. Curated by Aileen Burns & Johan Lundh

exhibition details here

Talk: Sean Lynch and Declan McGonagle information here

 

Cove Park

Scotland

Residency

 

Cove Park website

 

Sleepwalkers:

Group exhibition

Dublin City Gallery The Hugh Lane

 

Artists:Clodagh Emoe, Lee Welsh, Sean Lynch, Linda Quinlan, Jim Ricks, Gavin Murphy. Curated by Michael Dempsey

 

Transformer

Washington DC

Solo exhibition

 

Exhibition publication download and Washington Post coverage here

Review from Experiential Surprise website here

 

 

 

 

The Hellfire Club

Group exhibition

Askeaton Contemporary Arts, Limerick

Askeaton Contemporary Arts website

The Hellfire Club is a series of new commissions based upon the presence of an 18th century secret society house in Askeaton. Featured artists have considered the Hellfire history, its non-conformist allusions to the society of the 1700s, and its material presence as a crumbling ruin in the middle of a small Irish countryside town. Commissions are accompanied by a publication with texts by Michele Horrigan, Padraic E. Moore and Brian O’Doherty.

In A Glossolalia, a Latin slogan appears as a relief sculpture upon a gable end in the East Square, Askeaton’s most prominent meeting place. While seemingly appearing as an eloquent use of language, discovery of its translation quickly deflates any sense of grandeur. The text, Ecce Signum, is translated as Behold, The Sign.

A sign about a sign? The bibliography on Hellfire Clubs sometimes reports the use of obscure classical phrases and language by its members. Daniel P Mannix, in The Hellfire Club (London, 1978) writes of a “macaroni Latin,” “macaroni being the slang name for an elegant young gentleman (“Yankee Doodle stuck a feather in his hat and called it macaroni”). Macaroni Latin was a sort of bastard language in which Latin words were twisted to make puns in English or combined in such a way as to create a ridiculous effect.” In this manner, Lynch’s work might well be a linguistic reaction to the relatively recent dominance of Latin in the Catholic Mass, the mainstay of a small rural community in Ireland. Perhaps it acts as a disruption to other signage on Askeaton’s streetscape. Alternatively, it might simply be a glossolalia: a method of speaking in tongues, lacking any comprehension of meaning.

 

 

Gasworks

&

The University of the Arts Research Centre for Transnational Art, Identity and Nation,

Chelsea College of Art and Design

London

Residency

Gasworks website

 

Catalyst Arts,

Belfast

solo exhibition

 

Gasworks

London

Talk

An evening with artist Sean Lynch and author Kevin Barry, presenting a collection of interlinked readings and visual presentations. A casual discussion between the two will consider the use of storytelling as a contemporary idiom.

 

Zona Maco

Mexico City

Art Fair

with galerie mor charpentier, Paris presenting Julieta Aranda, Milena Bonilla,Oscar Munoz, Mohamed Namou, Sean Lynch and Yoshua Okon

 

 

Kevin Kavanagh Gallery

Dublin

Solo exhibition

Opening preceded with an public conversation with

Eamonn Maxwell, director of Lismore Castle Arts.

 

Kevin Kavanagh Gallery presents Sean Lynch’s second solo exhibition at the gallery, consisting of five artworks involving photography, slide projection, sculpture and a freely distributed publication.

 

A story can be told and described so many times until it begins to narrow down to a particular narrative and content. Lynch investigates the loose ends of this process: footnotes that tend to get lost, misplaced or unnoticed, eradicated from popular consciousness. His work points the existence of such material within a flexible public sphere, as a disparate series of objects and narratives swaying between the anecdotal and objective-informative.

 

Photographs detail 28 Angelsea Street in Temple Bar, focusing on architectural ornamentation on the building’s facade where the stonemason’s skill of vermiculation is evident. Here, irregular holes have been carved, intended to resemble the process of worms eating their way through the building until it collapses into rubble. This symbolic digression of all that is built will fall into ruin might be viewed in light of the building’s current tenants, the Irish Stock Exchange.

 

Dear JJ, I read with interest… is an ongoing investigation undertook since 2006 by Lynch in the Kerry Mountains to find a monument to Flann O'Brien. A sixteen-minute slide projection show in the gallery details ongoing progress. Another photographic series details the current condition of a large abstract sculpture by John Burke, found upside down in a hole on the edge of Cork City in autumn 2011 after being removed from a nearby housing estate following protests by residents. In addition, a free publication details public interaction with a varied collection of Dublin’s public monuments and sculptures.

 

48 bricks arranged in various sculptural forms obliquely reference an incident in the centre of a traffic roundabout in Wexford town on 1st March 2008, where stack of paving bricks were covertly removed from the ground and neatly piled on top of each other on a Saturday night. The scene was photographed and appeared in the Irish Daily Mirror later that week, with an accompanying editorial endorsing it as an unusual and successful piece of public art. The event, which went unnoticed in any local or national art criticism, marks a significant editorial shift in the Mirror’s stance on the use of bricks in art. In 1976 the paper famously led with the headline WHAT A LOAD OF RUBBISH, reacting angrily to the Tate purchasing Carl Andre’s brick sculpture Equivalent VIII for their collection.

 

Vandals Get Arty, installation view, 2012

Dear JJ, I read with interest..., installation view, 2012

 

 

 

 

 

 

2011

Me Jewel & Darlin'

Public artwork, commissioned by Dublin City Council

O'Connell Street, Dublin

Curated by Aisling Prior

A sculpture, exhibition programme, and website project

Me Jewel & Darlin' webpage

Visual Artists Ireland Newssheet article

 

Me Jewel & Darlin', installation view, O'Connell Street, Dublin, featuring Harry Clarke's Last Hour of the Night

 

 

Eilis O'Connell, The Great Wall of Kinsale, 1987

John Carson, A Bottle of Stout in Every Pub in Buncrana, 1978-9

 

A Rocky Road

Crawford Art Gallery, Cork

An exhibition curated by Sean Lynch

DOWNLOAD EXHIBITION GUIDE Here

 

A Rocky Road is an exhibition investigating artistic production and its reception in Ireland. With an emphasis on the social realities that cultural invention has encountered in the country, several topics repeatedly arise: conservative reactions and protest to the growth of modern art, vandalism of artworks, and the newsworthy character of artists with their many creative ideas and schemes are all prominent.

Through existing artworks, artifacts, and new commissions, the exhibition considers the underlying attitudes of what could be termed an ‘aesthetics of reception.’ Public response and the subsequent afterlife of an artwork are considered as themes of enquiry, as relevant as the creative intentions that bring the artwork into being. Populist reaction to exhibits, media coverage and reactionary politics have often opposed various forms of artmaking in Ireland over the last forty years. By focusing on and gathering together a selection of these instances into a common heritage, they can be considered more than occasional oddities in the progress of history. Instead their presentation might be viewed as a recurring antagonism that evidences the challenges art has posed to the public realm and Irish society at large.

A new series of photographs, Enosis, by Gerard Byrne document an empty space where an Irish Pavilion for the Venice Biennale once was proposed to be built. John Carson’s A Bottle of Stout in Every Pub in Buncrana presents an artistic effort to obtain sponsorship from the Guinness brewery to distribute a poster about the consumption of alcohol. A new video by Nigel Rolfe reacts to a newspaper report of the 1970s of his sculptures being attacked in County Wexford. An overview is presented of alterations to and public controversy surrounding Eilis O’Connell’s The Great Wall of Kinsale, the largest sculpture in Ireland and the UK in 1987. Danny McCarthy sprinkles chalkdust erased from a Joseph Beuys blackboard after his lecture in 1974 around the gallery spaces of the Crawford. A collection of archival material from national broadcaster RTE charts the development of the formats in which art is presented on TV. Other presentations include a print by David Lilburn, the Tau Cross of Kilnaboy, Tim Rollins and KOS with Charles Haughey, the Irish Daily Mirror newspaper and the opinions of Pierre Restany

 

 

Convergence: Literary Art Exhibitions

Group exhibition

Curated by Christa-Maria Lerm Hayes

Golden Thread Gallery, Belfast

Limerick City Gallery of Art

Artists: Julie Bacon, Ecke Bonk, Pavel Büchler, Davide Cascio, Tacita Dean,

Cerith Wyn Evans, Maria Fusco, Rodney Graham, Joanna Karolini, Sean Lynch,

Simon Morris, Brian O’Doherty, Tim Rollins, Andrea Thei

 

The Reading Room
Centre National de l'Edition et de l'Art Imprimé, Paris

The Reading Room deliver a lecture - performance that presents a selection of publications, including those by Stephen Brandes, Peggy Buth, Sarah Browne, Wayne Daly, Christian Jankowski, Susanne Kriemann, Sean Lynch.

 

Artists Curate: When Flanders Failed

Royal Hibernian Academy, Dublin

Group Exhibition

Curated by Stephen Brandes &

The Institute of Special Afflictions

Artists: Maarten Baas, Deborah Browne, Bonnie Camplin, Charlie Hammond, Sarah Iremonger, Gert Jan Kocken, Gene Lambert, Sean Lynch, Daniel MacDonald and Tony Millionaire.

Royal Hibernian Academy website

   

 

   

Eurofest 2011

DeLorean Owners Association international convention

Grand Ballroom, Europa Hotel, Belfast

26 May 2011, 7pm

 

Human/Nature: Topographic Photography from the State Art Collection

Farmleigh Gallery, Dublin

Group exhibition, catalogue

Curated by Davey Moor

 

The Second Act

de Brakke Grond, Amsterdam
Photography festival

Curated by Chris Clarke

The Second Act website

 

 

 

 

Twenty

Irish Museum of Modern Art,

Dublin

Group exhibition

Curated by Enrique Juncosa

Artists: Orla Barry, Stephen Brandes, Nina Canell, Fergus Feehily,John Gerrard,David Godbold, Katie Holten, Paddy Jolley, Nevan Lahart, Sean Lynch, Niamh McCann, Willie McKeown, Perry Ogden, Liam O'Callaghan, Niamh O'Malley, Alan Phelan, Garrett Phelan, Eva Rothschild, Corban Walker.

Twenty at Irish Museum of Modern Art

 

 

DeLorean Progress Report, 2009-10, photograph

 

 

MICROSTORIA

Talbot Rice Gallery, Edinburgh

Group exhibition

Curated by MA in Contemporary Art Theory students, Edinburgh College of Art

Artists: Matheieu Abonnenc, Libia Castro & Olafur Olafsson, Oliver Laric,Sean Lynch, Rachel McLean, Alexandre Singh, Helene Sommer, Kristoffer Svenberg.

Talbot Rice Gallery website

 

Me Jewel & Darlin'

Public artwork,

O'Connell Street, Dublin

New Presentation: Danny McCarthy, One-Hundred Bottles for James Joyce.

Interview with Danny McCarthy here

 

The Dock,

Carrick-on-Shannon, Leitrim

solo exhibition

Irish Times review

Dear JJ, I read with interest...

 

 

Me Jewel & Darlin'

Public artwork, commissioned by Dublin City Council

O'Connell Street, Dublin

 

Me Jewel & Darlin’ is a public artwork on O’Connell Street, Dublin. Inside a display case positioned metres north of the Spire of Dublin, an exhibition programme showcases images and artefacts selected by artist Sean Lynch that evoke a variety of the city's artistic and social histories. Following displays of artworks by Harry Clarke and Danny McCarthy, the next presentation is unveiled in September 2011, consisting of a fragment of a tail light from a BMW car, found in a scrapyard in Clondalkin, west Dublin, earlier this year.

 

BMW 3 Series, Registration 92D38478, Tail light (section)

More information here

 

 

 

2010

 

Never the Same River (Possible Futures, Probable Pasts)

Camden Arts Centre

London
Group exhibition

Curated by Simon Starling

Camden Arts Centre is delighted to present a new exhibition curated by British artist Simon Starling, the latest in a series of artist-selected shows.

Conflating works already exhibited at Camden Arts Centre during the past five decades, the works in Starling’s exhibition will be installed in the exact position they occupied the first time around. These fragments of the Centre’s history will be staged alongside new works by Sean Lynch, Michael Stevenson and Jeremy Millar, which represent an imagined prospective programme: the probable past and possible future of Camden Arts Centre momentarily coming together in an unstable present. Never The Same River will redeploy fragments of exhibitions such as Hampstead in the 30’s (1975), Photography into Art (1973), Environments Reversal (1969) as well as a number of previous artist-selected exhibitions.


Artists: Francis Alÿs, Francis Bacon, Christian Boltanski, Matthew Buckingham, Harry Burton, Tony Carter, Keith Coventry, Andrea Fisher, Stefan Gec, Ernö Goldfinger, Graham Gussin, Susan Hiller, Douglas Huebler, Des Hughes, ISOKON / Marcel Breuer, Patrick Keiller,
Hilma af Klint, David Lamelas, Sean Lynch, Mary Martin, Jeremy Millar, Jacques Monory, Henry Moore, William Morris / Liberty & Co., Mike Nelson, John Riddy, Michael Stevenson, Katja Strunz, Paul Thek, Francis Upritchard

Artforum review by Martin Herbert

Camden Arts Centre website

review at Criticismism blog

review at Ferris Spiel blog

DeLorean Progress Report: Sediment Profile Imaging of a DeLorean tooling press and

a crab (Cancer pagurus), located 18 metres below sea level at 53.29938N & 9.76344W.

Epson digital print, 22 x 32cm, edition of 3, available from Camden Arts Centre

Edition details here

 

Lost and Found

neugerriemschneider, Berlin

Group exhibition

Artists: Franz Ackerman, Pawel Althamer, Lothar Baumgarten, Nina Beier, James Benning, Tacita Dean, Jeremy Deller, Mark Dion, Jimmie Durham, Pierre Huyghe, Louise Lawler, Sharon Lockhart, Sean Lynch, Mike Nelson, Jorge Pardo, Manfred Pernice, Simon Starling, Mario Garcia Torres, Danh Vo, Ai Weiwei

 

 

The Dublin Review

Essay by Kevin Barry entitled DeLorean redux

Appears in the Dublin Review, issue 39, Summer 2010

Read the essay here at the Dublin Review website

 

DeLorean: Progress Report

Solo exhibition

Kevin Kavanagh Gallery

Dublin

A public conversation with art critic Caoimhín Mac Giolla Léith took place in the gallery.

Irish Times review


 

DeLorean: Progress Report
Other Project Space,

Frankfurter Kunstverein,

Frankfurt am Main

solo exhibition

         

The Happy Hypocrite–A Rather Large Weapon, issue 4
Edited by Maria Fusco

Published by Bookworks, London

The Happy Hypocrite is a biannual journal led by artists’ writings.

Bookworks website

 

Events in the Landscape

Screenings

Centre Culturel Irlandais, Paris,

Mains d'Oeuvres, St Ouen

Curated by Caroline Hancock.

Artists: Willie Doherty, Seamus Harahan, Jaki Irvine, Sean Lynch, Anne Tallentire, Grace Weir.

 

It Happened That

St Paul St Gallery,

Auckland

Group exhibition

Curated by Charlotte Huddleston.

Artists: Christian Capurro, Maddie Leach, Sean Lynch, Sriwhana Spong

St Paul St Gallery Website

Download exhibition catalogue here

 

 

Peregrine Falcons Visit Moyross

Crawford Art Gallery

Cork

solo exhibition

review by Matt Packer in Enclave Review

 

Peregrine Falcons Visit Moyross,

installation view

 

 

 

 

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