Sean Lynch projects biography news contact
Current and Upcoming:
Modern Art Oxford
Solo exhibition
February 2014
Dublin City Gallery The Hugh Lane
Solo exhibition
10 July - 29 September 2013
A blow by blow account of stonecarving in Oxford, 2013, production image
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.
A blow-by-blow account of stonecarving in Oxford is curated by Michael Dempsey, Dublin City Gallery The Hugh Lane, and Paul Luckraft, Modern Art Oxford, where the project will be extended in size and scope for exhibition in early 2014. Research and production is additionally supported by the Gasworks, London, University of the Arts Research Centre for Transnational Art, Identity and Nation, London, Cove Park, Scotland, and the Arts Council of Ireland.
Interview with Wayne Daly, Bedford Press
published in A Circular Journal no. 2
Irish Examiner
Comment Column
April 2013
Previous:
A Church Without A Steeple
The Model, Sligo
Solo exhibition, in conjunction with Into The Light, Arts Council collection exhibition
7 December 2012 - 24 March 2013
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.
Drawings & Photographs from the Permanent Collection
Limerick City Gallery of Art
24 January - 15 March 2013
Periodical Review
Group exhibition
Pallas Projects, Dublin
8 December - 26 January 2013
Turn to Red
Group exhibition
FLOOD, Dublin
Artists: Stephen Gunning, Maryam Jafri, Sean Lynch, Jim Ricks, Suzanne Treister
24 November 2012 - 26 January 2013
Curated by Paul McAree
The Hellfire Club
Talk and Book Launch
with Askeaton Contemporary Arts and Independent Curators International
Thursday October 4, 6:30–8pm
ICI Curatorial Hub, 401 Broadway, Suite 1620 New York, NY 10013Publication availible to order at Askeaton Contemporary Arts
Contours of the Common
Group exhibition
CCA Derry~Londonderry
21 September - 28 October 2012
Artists: Lara Almarcegui, Amy Balkin, Andrew Dodds, Andrea Geyer, Sean Lynch,
Seamus Nolan, Johan Tirén. Curated by Aileen Burns & Johan Lundh
Talk: Sean Lynch and Declan McGonagle on Saturday, October 27 at 3pm
Cove Park
Scotland
Residency
July - September 2012
Gasworks &
The University of the Arts Research Centre for Transnational Art, Identity and Nation, Chelsea College of Art and Design
London
Residency
April - July 2012
Sleepwalkers: Possibilities > Contingencies
Group exhibition
Dublin City Gallery The Hugh Lane
19 June 2012 - 12 May 2013
Artists: Clodagh Emoe, Lee Welsh, Sean Lynch, Linda Quinlan, Jim Ricks, Gavin Murphy
Curated by Michael Dempsey
Transformer
Washington DC
Solo exhibition in association with Solas Nua
June 9 - July 7 2012
Exhibition publication download and Washington Post coverage here
Review from Experiential Surprise website here
TALK
Gasworks
55 Vauxhall Street
London SE11 5RHTuesday, May 29, 6.30 - 8pm
An evening with artist Sean Lynch and author Kevin Barry, presenting a collection of interlinked readings and visual presentations detailing their individual practices along with common places of interest and investigation. 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
18 - 22 April 2012
Kevin Kavanagh Gallery
Dublin
Solo exhibition
23 March - 21 April 2012
Opening Thursday March 22, 6-8pm,
Preceded at 5.15pm with an public conversation with
Eamonn Maxwell, director of Lismore Castle Arts
The 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
The Use and Abuse of Monuments
availible March 2012
publication
A5, 24 pages with 28 b/w illustrations
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 here
The Hellfire Club
Group exhibition
Askeaton Contemporary Arts, Limerick
16 March - 25 October 2012
The Hellfire Club is a series of new commissions based upon the presence of an 18th century secret society house in Askeaton. Today, the building is inaccessible to the public, as a ruin in constant danger of collapse. Around this site of physical decay, 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. New commissions by Stephen Brandes, Diana Copperwhite, Tom Fitzgerald, Sean Lynch and Louise Manifold are accompanied by a publication with texts by Michele Horrigan, Padraic E. Moore and Brian O’Doherty.
In Sean Lynch's 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.
Que Sera, Sera (whatever will be, will be)
Artists project for Fugitive Papers, issue 1
Download here
Me Jewel & Darlin'
Public artwork, commissioned by Dublin City Council
O'Connell Street, Dublin
4 September 2011 - 30 April 2012
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
Solo Show
Catalyst Arts, Belfast
24 February - 17 March 2012
artist talk 24 February, 1pm
The Vermiculation of Belfast, projected video, 4 minutes
DeLorean Progress Report, installation details at Catalyst Arts
A Rocky Road
Crawford Art Gallery, Cork
An exhibition curated by Sean Lynch
18 November 2011 - 14 January 2012
DOWNLOAD EXHIBITION GUIDE Here
invitation card, A Rocky Road
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.
Eilis O'Connell, The Great Wall of Kinsale, 1987
John Carson, A Bottle of Stout in Every Pub in Buncrana
1978-9
Detail
Human/Nature: Topographic Photography from the State Art Collection
Farmleigh Gallery
Dublin
Group exhibition, catalogue
Curated by Davey Moor
27 October - 23 December 2011
Twenty
Irish Museum of Modern Art,
Dublin
Group exhibition, publication project
Curated by Enrique Juncosa
27 May - 31 October 2011
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 features a download of
DeLorean Progress Report, 2nd edition
DeLorean Progress Report, 2009-10, photograph
Convergence: Literary Art Exhibitions
Group exhibition
Curated by Christa-Maria Lerm Hayes
16 June - 5 August 2011: Golden Thread Gallery, Belfast
15 August - 1 October 2011: 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 at CNEAI, Paris
Centre National de l'Edition et de l'Art Imprimé, ParisThe 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.
17 September 2011
The Second Act
de Brakke Grond, Amsterdam
Photography festivalCurated by Chris Clarke
8 - 11 September 2011
“The older shop fronts of the Irish towns I sometimes see as the armorial bearings of imaginative knights forced by circumstance to don economic strait jackets!”
Public art project
Listowel, County Kerry
3 June – 27 August 2011
In summer 2011, The Maid of Erin premises re-opens in Listowel, Co Kerry, to function as an exhibition and study centre for the artworks of Pat McAuliffe. Prompted by the above 1971 quote by local writer Bryan MacMahon, the centre will consist of a collection of archival material, a reading area, a photographic display, workshop artefacts and an audio-visual presentation that all explore McAuliffe’s legacy in North Kerry and West Limerick. During the project, local painter and signwriter Freddy Chute will restore and repaint the facade which features one of McAuliffe’s most famous artworks, The Maid of Erin.
Pat McAuliffe lived and worked in Listowel from 1846 to 1921. In a career as a builder he applied exterior plaster, or stucco, upon shopfronts and townhouses. From the 1870s onwards he began to develop an ambitious and often exuberant style within the compositional framing of facades of everyday buildings in the region. In the streets of Listowel and Abbeyfeale, one can still a broad range of elements culled from the vocabulary of classical architecture and ornament along with an eclectic mix of art nouveau, Celtic and Byzantine styles. Over 35 buildings can be attributed to him. MacMahon, in typically poetic fashion, described him:
"In retrospect I see him quite clearly, great and black-bearded, his dark eyes alive under a cream-coloured straw hat. He came of an old-established family in the town. As a young man, Pat McAuliffe had in him a restless, imaginative streak that left him dissatisfied with the chores of plastering in an average Irish country town. After a span of run-of-the-mill work, he began, without any formal training in art, to experiment in casting in concrete in his little yard. These experiments gave him a new sense of power. Subsequently, when engaged to plaster the front of a house, he demanded a free hand with the design or else refused to execute the work."
All archival and research material will be freely reproduced and disseminated to the public. Detailed information on buildings where McAuliffe’s artworks are located will be available.
Also, the centre will continue to pro-actively gather further information and material related to the town’s architecture and stuccowork traditions. It will open to the public Thursday and Friday, 2-6pm and Saturday 12-6pm, and by prior appointment.
Further info at The Stuccowork of Pat McAuliffe of Listowel
Room Outside
Group exhibition
Kevin Kavanagh Gallery, Dublin
28 July - 13 August 2011
Artists: Karin Brunnermeier, Oliver Comerford, Michelle Considine, Gary Coyle, Patrick Jolley, Nevan Lahart, Stephen Loughman, Sean Lynch, Paul McKinley, Tadhg McSweeney,Sinead Ni Mhaonaigh, Paul Nugent, Dermot Seymour, Ulrich Vogl
Volta 7, Basel
Art Fair with Kevin Kavanagh Gallery
13 - 18 June 2011
Two person exhibition with Gary Coyle
5 Carrer Del Mar, Portbou, installation view at Volta, Basel
Eurofest 2011
DeLorean Owners Association international convention
Lecture
Grand Ballroom, Europa Hotel, Belfast
26 May 2011, 7pm
MICROSTORIA
Talbot Rice Gallery, Edinburgh
Group exhibition
Curated by MA in Contemporary Art Theory students, Edinburgh College of Art
27 May - 25 June 2011
Artists: Matheieu Kleyebe Abonnenc, Libia Castro & Olafur Olafsson, Oliver Laric,
Sean Lynch, Rachel McLean, Alexandre Singh, Helene Sommer, Kristoffer Svenberg.
A Preliminary Study for the Reappearance of HyBrazil:
A Reproduction of a seachart, c1560. Courtesy National Library of Scotland
Me Jewel & Darlin'
Public artwork, commissioned by Dublin City Council
O'Connell Street, Dublin
Next presentation from April 2011: Danny McCarthy, One-Hundred Bottles for James Joyce.
Interview with Danny McCarthy here
Danny McCarthy, installation view at Me Jewel & Darlin'
Solo exhibition
The Dock,
Carrick-on-Shannon, Leitrim
8 April - 11 June 2011
In a solo exhibition at The Dock, Sean Lynch presents two artworks related to the Irish landscape. Working in a manner akin to a historian, Lynch’s projects reflect on the representation and methods of articulating idiosyncratic moments of the recent past. This process considers instances mostly eradicated from popular consciousness that yet exist through a disparate series of objects, events and narratives swaying between the anecdotal and objective-informative.
Since 2005 Lynch has been searching for the remains of a monument to Flann O’Brien in the Kerry Mountains. Initiated by a letter written to The Irish Times by JJ Toomey of Bishopstown, Cork, the artist has assembled a variety of material uncovered in an ongoing investigation. Most prominent is the story of Michael Kellett, who in May 1983 carried a bicycle up Carauntoohil, Ireland’s highest mountain. The bicycle subsequently formed part of a monument at the summit dedicated to O’Brien’s novel The Third Policeman. Lynch’s story unfolds in a slide projection and audio work in the gallery space, around a collection of interrelated photographs, archival documents and artefacts. Michael Kellett will be in attendance on the opening night.
Also included in the show is Latoon, a video about the preservation of a whitethorn bush from the construction of the M18 motorway in Clare. In 1999, folklorist and storyteller Eddie Lenihan campaigned to save the bush, claiming it was an important meeting place for supernatural forces of the region. He warned that its destruction would result in death and great misfortune for motorists travelling on the new road. Following media coverage on CNN and in The New York Times, Clare County Council changed the direction of the road away from the site. In 2006, Lenihan agreed to further explain the significance of the bush. As a camera crew arrives at Latoon, they encounter the construction of another road nearby, and the bush once more seems to be in danger…
Dear JJ, I read with interest...
Dear JJ, I read with interest..., detail from slide projection
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
commencing January 2011
Visual Artists Ireland Newssheet article
Me Jewel & Darlin', installation view, O'Connell Street, Dublin
Artists Curate: When Flanders Failed
Royal Hibernian Academy, Dublin
Group Exhibition
Curated by Stephen Brandes & The Institute of Special Afflictions
14 January - 27 February 2011
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
Never the Same River (Possible Futures, Probable Pasts)
Camden Arts Centre
London
Group exhibitionCurated by Simon Starling
16 December 2010 – 20 February 2011Camden 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 bySean 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.
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
Residency at Centre Culturel Irlandais, Paris
September – December 2010
Events in the LandscapeScreening
Centre Culturel Irlandais, Paris, 25 November 2010
Mains d'Oeuvres, St Ouen, 11 December 2010.
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
1 - 29 October 2010
Lecture by Sean Lynch on Saturday, October 2 at 2pmDownload exhibition catalogue here
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
Lost and Found
neugerriemschneider, Berlin
Group exhibition
Linienstrasse 155, Berlin
April 30 - May 29, 2010
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
DeLorean: Progress Report
Other Project Space,Frankfurter Kunstverein,
Frankfurt am Main
May 10 - June 10 2010
curated by Oliver Heinzenberger and Shane Munro
DeLorean: Progress Report, installation view
Peregrine Falcons Visit Moyross
Crawford Art Gallery
Cork
15 April - 15 May 2010
Artists talk on Saturday May 8 at noon
review by Matt Packer in Enclave Review
Peregrine Falcons Visit Moyross, installation view
The Happy Hypocrite–A Rather Large Weapon, issue 4
Edited by Maria FuscoPublished by Bookworks, London
The Happy Hypocrite is a biannual journal led by artists’ writings.
Contributors: Bernadette Buckley, Jeff Derksen, Candice Hopkins, Anthony Iles, Daniel Kane, Yve Lomax, Robert Longo, Sean Lynch, Laura Oldfield Ford, Luke Pendrell, Rachelle Sawatsky, Mark von Schlegell, Natasha Soobramanien and Nick Thurston.
DeLorean: Progress Report
Solo exhibition
Kevin Kavanagh Gallery
Dublin
7 -29 January 2010
A public conversation with art critic Caoimhín Mac Giolla Léith will take place in the gallery on Saturday 23 January at 12pm.
DeLorean: Progress Report, photograph
Retrieval Unit
Exhibition catalogue
86 pages, 49 illustrations
essay: Gemma Tipton,
interview with Mike Fitzpatrick
Published by Limerick City Art Gallery, 2007
Available to download here
