St Carthage Hall Exhibition Programme 2019

St Carthage Hall is the project space of Lismore Castle Arts.

A Space for Lismore: January To March 2019

Every Spring Lismore Castle Arts runs the A Space for Lismore project, which seeks to invite an artist to work with the local community in Lismore. In 2019 artist Carol Anne Connolly will work in Lismore exploring ideas of the local, history, community and collaboration. The artist will visit Lismore several times over the project and will use St Carthage Hall as her base for the project.

Carol Anne Connolly's work examines the development of current cultural, civic and social ideas relating to place. She employs a variety of mediums, strategies and techniques to produce work that reimagines or represents ideas pertaining to contemporary landscapes and environments. Her approach to making work develops into interdisciplinary, socially engaged and collaborative projects and has involved working with diverse communities and individuals.

Connolly’s current projects include Ground Work, a collaborative project with Greywood Arts in the community owned woodland of Glenbower, Co. Cork. Aerial Sparks, an interdisciplinary project curated by Louise Manifold in partnership with the Marine Institute with work produced from an artist residency at sea on board the research ship the Celtic Explorer, for Galway European Capital of Culture 2020. Recent projects and shows include The Water Glossary, as part of TULCA Festival of Visual Art, The More Closely You Look at the World, the More Distant it Becomes, solo show at The Black Mariah Gallery, Triskel Arts Centre Cork, For I Is Someone Else, solo project at Pallas Projects, Dublin and WerkStadt Kulturverein e.V, Berlin.

Image: Carol Anne Connolly, 2018. Image courtesy the artist.

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Michael Dean, 31 March – 19 May

Preview Saturday 30 March, 3-6pm

Michael Dean was born in 1977 in Newcastle Upon Tyne and now lives and works in London.

Michael Dean’s immersive sculptural installations begin with his own writing, which he translates into physical form, from letter-like human-scale figures to self-published books deployed as sculptural elements within his installations. His materials are readily available, and include concrete and steel reinforcement bars. His sculptures are exposed to the elements as he works on them outdoors.

For his Turner Prize exhibition at Tate Britain in 2016, the artist flooded the gallery with penny coins totalling £20,436, the UK government’s stated minimum at that time for two adults and two children to survive for a year. By removing one penny during the installation of the work, he plunged his family of corrugated iron and concrete figures below the poverty line. In his most recent solo exhibition at Baltic Centre for Contemporary Art, Gateshead in 2018, his materials in an installation called Having you on included the emergency food bank allowances currently provided to families in the UK.

Image: Michael Dean, LL (Working Title), 2017 Vinyl stickers, cable ties, scene tape (sorry), (tender tender), books (ILO VEY), heart shaped balloons, steel reinforcement and concrete 241 x 89 x 76 cm / 94.8 x 35 x 29.9 in. Courtesy the artist; Herald St, London and Mendes Wood, São Paulo.

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Niamh O’Malley, 2 June – 25 August

Preview 1 June, 3-6pm

Born Co Mayo, Ireland, currently living and working in Dublin, Ireland.

O’Malley has made numerous solo exhibitions in recent years including Grazer Kunstverein, (2018), Douglas Hyde Gallery, Dublin (2017) & (2014), Bluecoat Liverpool, (2015). She works with drawing, sculpture, painting, video, and recently also hand-made coloured glass. She is drawn to materials that display traces of their own making, labouring the surfaces of polished wood and graphite to the point of distraction.

Originally trained as a painter, the artist’s interest in the construction of images has extended spatially through the medium of glass. Rather than treating it as an invisible barrier, O’Malley emphasizes its physicality – its thickness, its surface, its opacity – giving attention to properties that might more usually be overlooked. In one key moving image work glass filters pass across the lens of the camera, bringing scenes in and out of focus, while in another, the camera shoots through broken panes allowing us to alternately look through and directly at the gardens behind.

This gesture, of looking both at and looking through continues in her sculptures which frame internal architectural features, views of exterior spaces and visitors as they pass through the gallery. Painted marks suspended on the surface of the glass also become part of ever shifting compositions. The device of layering continues with the drawings and monoprints. Often framed with dense glass, they are so completely saturated with graphite and ink it is difficult to tell where one surface ends and another begins. Through her body of work, the artist asks us to consider our role in the exhibition as an active viewer who makes as well as perceives images.

Image: Niamh O’Malley, Shelf, 2017, Oil on glass, coloured glass, beech, h950 x w1018 x d74mm. Image courtesy the artist.

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Oisín Byrne Feat. Gary Farrelly, 8 September – 22 September

Preview 7 September, 4-6pm

GLUE is the first feature-length film by Irish artist Oisín Byrne, with artist and collaborator Gary Farrelly. Told through manic and confessional monologues and dialogues, Gary – a cross-dressing narcoleptic – delivers a comic insight into our shattered subjectivity.

As Gary comes off the mood-enhancing drugs used to treat his narcolepsy, time and identity are dislocated between places real and imagined: Gary’s flat in Brussels, a disintegrating Irish country house, the ‘floating train’ in Wuppertal, Gary’s own grave, and a maternity ward. Gary himself is linguistically pyrotechnic, quick-witted, and provocative, but it is the hesitations, slow-time and the intimate space of filmmaking that produce a portrait which is both tender and brutally touching.

The film articulates Byrne’s ongoing interrogation of identity formation through linguistic models of naming, shaming, interpellation and performativity, particularly in relation to queer experience. In Farrelly’s dextrous performance, at turns good humoured and desperate, we see the shuttling of subjectivity between belonging and alienation, identification and wilful refusal of categorisation. The psychic rupture caused by these breaks is palpable.

Long term collaborators Byrne and Farrelly periodically placed themselves in proximity to each other, inventing and instituting game spaces and terms over a period of five years. These itinerant meeting-places provided a series of elsewheres from what Samuel Beckett describes as ‘the danger [of… ] the neatness of identifications’.

Image: Oisín Byrne Feat. Gary Farrelly, GLUE, 2018, Image courtesy the artist.

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Origins – graduate solo award. 13 October – 10 November

Preview 12 October, 4-6pm

Lismore Castle Arts is delighted to present ORIGINS, selected from the 2019 undergraduate shows across Ireland. In June the curatorial team from LCA will visit the degree shows across the country to choose one artist whose work they felt merits a solo exhibition at St Carthage Hall.

This exhibition programme is funded by the Arts Council.
Featured image: Michael Dean, The Hepworth Prize for Sculpture, Installation View, The Hepworth Wakefield, Wakefield, UK, Image courtesy the artist Herald St Gallery, London.

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