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Current and Upcoming

Douglas Hyde Gallery, Dublin

Solo exhibition

February - April 2017



Charles H Scott Gallery, Vancouver

Solo exhibition

23 November 2016 - 5 February 2017



Audain Distinguished Artist-in-Residence

Emily Carr University, Vancouver

Autumn 2016

Public lecture on Thursday October 6, ECU Theatre



Rose Art Museum, Boston
Solo exhibition
10 September –  11 December 2016


Golden Thread Gallery, Belfast

Solo exhibition

1 September - 16 October 2016



Royal Hibernian Academy, Dublin
Solo exhibition
8 July – 20 August 2016
See RHA website here



Campaign to Change the National Monuments Act, video stills, 2016





Scrapyard Carnival
In collaboration with Wayne Daly
Kevin Kavanagh Gallery, Dublin
7 July – 6 August 2016
Opening Wednesday, 6 July 2016


Kevin Kavanagh presents Scrapyard Carnival, a new installation by Sean Lynch.

As ever, Lynch’s new work evokes the role of narrative and allegory, this time spiraling out of an event in a scrapyard in Clondalkin, on the edge of Dublin City in 2011. There, a repossession company seized a BMW 3 series motor car from notorious Celtic Tiger banker Sean Fitzpatrick, and soon organised an eBay auction where the highest bidder would get the opportunity to crush the vehicle, as a form of revenge for the wrongdoings by the banking sector upon the good people of Ireland. The resulting scene, played out as a carnivalesque drama emphasising a form of folk ritual around the economic recession, is reimagined at Kevin Kavanagh, where a fragment of the actual car, video footage and slide projections all intermingle in the gallery space, alongside a new suite of graphic works released in a special collaboration between Lynch and London-based designer Wayne Daly.



About Face
National Portrait Gallery, London
Friday 1 July, from 4pm
Symposium in collaboration with the University of the Arts London,

With Jo Melvin, Sandy Nairne, Eileen Hogan, Sean Lynch and more

Info here


Curating Projects
Workshop at Tabakalera, San Sebastian
Led by Catalina Lozano, with Caterina Riva, Michele Horrigan and Sean Lynch
20-24 June 2016

Info here


The Weight of the World
Solo exhibition at Spacex, Exeter Phoenix and Royal Albert Memorial Museum, Exeter
14 May – 2 July 2016

Info here

installation view, Campaign to Change the National Monuments Act


The Model, Sligo
Solo exhibition
9 April – 12 June 2016



Bandits Live Comfortably in the Ruins
Curated exhibition
Flat Time House, London
March – April 2016
Flat Time House website here   
This is Tomorrow Review here    


Stadelschule, Frankfurt

Lecture at Rundgang

February 2016


Limerick City Gallery of Art
Solo exhibition
January – March 2016
Read Aidan Dunne’s Irish Times review here


Adventure: Capital -

Irish representation at the 56th International Art Exhibition,

La Biennale di Venezia

solo exhibition

56th Venice Biennale

9 May - 22 November 2015

commissioner: Mike Fitzpatrick

curator: Woodrow Kernohan

Adventure Capital website here

See the Venice exhibition at Google Cultural Institute here

Article by Chris Fite-Wassilak in May's Art Review issue here

Interview with Artslant here

Interview with Art Review here

e-flux announcement here

Interview with Sherman Sam at Ocula here



Group exhibition curated by Sean Lynch

Lismore Castle Arts

23 October - 6 December 2015

Lismore Castle Arts presents Reverse!Pugin, an exhibition curated by artist Sean Lynch.

Playfully titled after nineteenth century architect and critic Augustus Welby Pugin, Lynch’s exhibition explores the attitudes that underpin human relationships to the environment. Pugin’s catholic sensibilities, as expressed through large-scale architectural and ornamental design (seen throughout Lismore Castle and London’s Houses of Parliament) promoted the idea of glorified unity and strict coherence to a singular vision. With this belief, all the forces of nature, human perseverance and morality would fuse together into an energised whole. Reverse!Pugin imagines a different kind of legacy, deconstructing Pugin’s ideals to dwell in the conflicts and frictions found in how environments are shaped and mediated. There’s no hierarchical masterplan or spiritual identity to be found here - rather the artworks and objects selected by Lynch bargain, hustle and improvise with a variety of particular locations and social formations. In this accumulation, featuring postindustrial landscapes and garden design, Hollywood movies and Internet infrastructure, casinos and antiquarian watercolours, there is little holistic certainty. Rather, the devil resides in the details...

An overview of filmic representations of Skellig Michael rock is presented, contextualising the Irish governments’ capitulance of the World Heritage site to Disney’s latest installment of the Star Wars franchise. Celtic Tiger recollections include a large model of 1996’s proposed Sonas (translated as “Happiness”) Centre in Dublin, featuring a bespoke replica of a megalithic stone circle. Fiona Marron and Sam Keogh question today’s communication systems and devices. Stephen Brandes, John Latham and Diarmuid Gavin exhibit various approaches to the construction and ideology of monuments. Stonemason Philip Quinn presents materials he uses each day in restoration work at Lismore Castle and Michele Horrigan updates antiquarian representations, while Daniel Knorr fervently collects rubbish from around the streets of Ireland and turns it into books. In these and other instances, Reverse!Pugin proposes a version of geography far away from tranquil uniformity and the comforts of identifying with history and heritage. Instead, everything constantly mutates and nothing ever stays the same.

Reverse!Pugin features contributions by Gabriel Beranger, Stephen Brandes, Burke Kennedy Doyle architects, Central Bank of Ireland, Kenneth Clark, Diarmuid Gavin, Werner Herzog, Sam Keogh, Daniel Knorr, Michele Horrigan, John Latham, Fiona Marron, David A. Paton, Philip Quinn, Augustus Welby Northmore Pugin and Bold Puppy Multimedia Productions. A fully illustrated publication with an essay by Sean Lynch and designed by Paul McAree accompanies the exhibition.

See Lismore Castle Arts website here


with Wayne Daly, Bedford Press

published in A Circular Journal no. 2




Ce Qui Ne Sert Pas S’oublie (What is not used is forgotten)

group exhibition

CAPC musée d'art contemporain de Bordeaux

22 January - 3 May 2015

Artists: Mathieu Kleyebe Abonnenc, Sven Augustijnen, Mariana Castillo Deball, Sean Lynch,

Pauline M'Barek, Wendelien van Oldenborgh, Uriel Orlow, Beatriz Santiago Muñoz,

Jorge Satorre, Museo Comunitario del Valle de Xico.

curated by Catalina Lozano

The exhibition explores how objects, along the circulation that constitutes their life, accumulate

information thus becoming part of a historical process marked by the effects of colonialism.

Even though objects do not strictly carry meaning, it cannot be said they are not significant.

It is through language however that we as humans try to integrate them in the constant creation of

meaning we embark ourselves on. This exhibition tries to celebrate their agency and capacity to

affect others, both human and non-human. What cannot be used is forgotten seeks to understand

how our relation to the material world entails endless processes of assimilation, acculturation,

re-appropriation, and ritualization.


DeLorean Progress Report

solo exhibition

Ronchini, London

22 May - 27 June 2015

See more information and installation images here


VISUAL Centre for Contemporary Art


solo exhibition and publication

A new commission, For The Birds, is based upon the Irish myth of Buile Suibhne, or the Frenzy of Sweeney.

Set in the year 637 in the midst of tensions between ancient Celtic traditions and the newly arrived Christian domination,

Sweeney is cursed to be half-man, half-bird. From that point on, he leaps from place to place, naked, lonely and hungry.

At every stop in his flight, he pauses to recite a poem describing the countryside and his unfortunate plight.

Eventually after years of wandering, Sweeney began to radiate towards a farm at St. Mullins in Carlow where,for the first

time since being cursed, he found kindness and supper made for him each evening. There the cook Muirghil would sink

her heel into the nearest cow-dung, shaping a bowl and filling it up to the brim with fresh milk. He would then sneak in from

nearby trees and lap it up. In collaboration with sculptor Tom Fitzgerald, Lynch reimagines this scene in the context of Carlow’s contemporary agricultural industry.

An accompanying catalogue designed by Wayne Daly features installation images, an essay by critic and lecturer

Caoimhin Mac Giolla Leith, along with text contributions on the legacy of Buile Suibhne from Trevor Joyce,

Alexandra Bergholm, James G. O’Keefe and Pádraig Ó Riain.

36 pages, hardback, 34 colour images, 4 b/w images

Purchase here for 15 euro including post and packaging

Read Darren Caffrey's review here




Making Ireland Lecture

Trinity College, Dublin

Wednesday February 18, 6.30pm

More info here

The Kingcat of Keshcorran

Collaboration with Liam Byrne, Michael Holly, Sean Lynch

Roscommon Arts Centre

21 November 2014 -  6 February 2015

more info here


with Michael Asbury, TrAIN Research Centre, London

See here


A blow by blow account of stonecarving in Oxford

A publication exploring the oeuvre of nineteenth century stonecarvers John and James O’Shea, who carved monkeys, cats, owls and parrots on buildings in Oxford and Dublin.

A photonovel tells a story about the O’Sheas and their many encounters on their travels, and associates the O’Shea’s work as being alive with diverse allegorical and associative meanings.

The artist’s research notes and documents are published, alongside with contributions by Stephen Burke (stonecarver, Dublin), Michael Dempsey & Logan Sisley (Dublin City Gallery the Hugh Lane), Ben Roberts (Modern Art Oxford), Simon Woodley (Favorite Chicken & Ribs, Essex) and Freek Wambacq (artist, Amsterdam).

Accompanying installation images record the placement of sculptures, photographs, archival material and projections in museums in Dublin and Oxford.

266 x 189mm in size

144 pages, 56 colour and 69 b/w illustrations.

Designed by Wayne Daly

Published by Modern Art Oxford &

Dublin City Gallery The Hugh Lane

Purchase here with PayPal €20 including post and packaging



The Unturned

Online artist platform,

Featuring Laura Prouvost, Margaret Salmon,

Guido van der Werve, Sean Lynch and others

Curated by Alejandro Alonso Díaz & Thomas Stokmans

See here


Lo Informe (Formless)

Workshop at Halfhouse, Barcelona

curated by Catalina Lozano

featuring Sean Lynch, François Bucher, Lina López,

Jorge Satorre, Leire Vergara

LO INFORME is a week long workshop with the aim of providing a platform for co-learning and tuition, where Halfhouse becomes a kind of retreat for the exchange of ideas, presentations and workshops delivered by artists and curators whose practice is extra-disciplinary, to develop projects which question the limits imposed on knowledge by modern epistemology.

More info here


The Bandits Live Comfortably in the Ruins

as part of Summer School

Flat Time House, London


Starting from a series of photographs taken by John Latham of Bellenden Road in Peckham in 1986, Sean Lynch's workshop will speculate about how urban space and environment is constructed, and what allegories and associations we can draw from it.

Over two days the group will discuss and diverge from this topic, taking several walks around the local area. Participants should bring a story to share about a public place they often think of or experience. It could be a fact, a rumour, an opinion or an action played out on the street. Participants will knit together these threads into a collection of thoughts and ideas as a challenge to the ever-increasing privatisation of public space.

See more at Flat Time House's website



John Latham's photograph of Bellenden Road, 1986






A blow by blow account of stonecarving in Oxford

Exhibition graphic, designed by Fraser Muggeridge Studio


The Cat Window,

Oxford University Museum of Natural History,


by James O'Shea

Chuckie logo of

Favorite Chicken and Ribs


unknown artist





Modern Art Oxford

Solo exhibition

14 April - 8 June 2014

More information and programme of accompanying public events at

Modern Art Oxfords website

Read The Oxonian Review's coverage here

See more about Ed Hall's banner for Oxford here

A blow-by-blow account of stonecarving in Oxford is an installation by Sean Lynch exploring the work of the nineteenth century stone carvers, John and James O’Shea, whose naturalistic renditions of animals and plants are still visible in the architectural detail of buildings in Oxford and Dublin. Sean Lynch investigates distinctive and often overlooked moments in history that have left fragments of evidence, objects and narratives. He explores these sidelined histories through photographic and sculptural installations, prefabricated or found artefacts and small-scale publications.

The O’Shea brothers had completed a series of notable stone carvings in Dublin during the 1850s before accepting an invitation from the University of Oxford to work on the new Natural History Museum. Controversy quickly surrounded the O’Shea’s carvings of primates on the museum’s facade, as many people interpreted the work as a representation of Darwin’s theory of evolution, a contentious and powerful subject within theological, intellectual and social debates of the time. Following a quarrel between the O’Sheas’ and the University, James O’Shea attempted a series of impromptu carvings on the entrance to the museum intended to caricature the authorities of Oxford as parrots and owls. These carvings are still visible on the building today.


Lynch activates this story through a variety of objects sited throughout the exhibition. Subtly placed into the shop and café, a collection of material is exhibited about Favorite, a fried chicken outlet now found on what was once the site of Britain’s first public museum, the Ark, in Lambeth, London. Artefacts from the Pitt Rivers Museum, the Natural History Museum and stone carvings by Dublin-based Stephen Burke each evoke the playfulness of the O’Sheas’ work. In Lynch’s accompanying slide projection, these seemingly unrelated objects come together to weave a narrative about museum culture, public space, individual agency and the construction of history.




Stonecarving symposium

at Modern Art Oxford

with Stephen Burke and Andy Tanser