Maeve Connolly

  • View of “Sarah Browne,” 2011. Back left, and front: Second Burial at Le Blanc, 2011. On bench: On Hoarding, Accumulation, and Gifting, 2011.

    Sarah Browne

    Sarah Browne’s recent exhibition took its title from her work Second Burial at Le Blanc, 2011, which consists of a silent color 16-mm film projection and a glass-domed object identified as a “ticker-tape countdown clock.” The film documents an event staged by the artist in the French town of Le Blanc on April 1, 2011: Local residents carried the clock on a wooden bier, proceeding from the modern Hôtel de Ville or town hall to Château Naillac, a medieval castle that houses a small museum. The film ends with a close-up of the object in the museum, its ticker tape in silent motion. In the gallery,

  • View of “Dougal McKenzie,” 2011. From left: Through the Fog of History, Stumbling Metaphors Loom (Portrait of Lasse Virén), 2009–11; The Temperature of Black (1972), 2011.

    Dougal McKenzie

    Dougal McKenzie’s exhibition “Hot and Cool” explored both the continued significance of painting in an era characterized by the proliferation of screen imagery and the potential of history as a subject for painting. These concerns are neither new nor particular to McKenzie, but the show was notably forceful in its assertion of painting as a narrative form and inventive in its incorporation of other media, including collage and assemblage. Although the gallery space was dominated by four large paintings (all oil on linen, two also incorporating collage) the first work encountered was Otl’s Gift

  • Declan Clarke, We’ll Be This Way Until the End of the World, 2008, color film in 16 mm transferred to video, 4 minutes 5 seconds. Installation view.

    Declan Clarke

    We’ll Be This Way Until the End of the World, 2008, the eponymous work of Declan Clarke’s recent show, is a 16-mm film (transferred to DVD) that features details of a monument dedicated to Daniel O’Connell, an Irish political leader and celebrated orator active in the first half of the nineteenth century. Unveiled to the public in 1882, and located on the Dublin street now named after O’Connell, the sculpture incorporates four winged female figures representing the virtues of courage, fidelity, patriotism, and eloquence. Projected onto a large freestanding screen, Clarke’s film consists entirely

  • Phil Collins, marxism today (prologue), 2010, HD video installation, 35 minutes. Projection view.

    Phil Collins

    This exhibition, “Ich esse keine Bananen mehr und trinke natürlich keine Coca-Cola” (I don’t eat bananas anymore and of course I don’t drink Coca-Cola), consisted of two works developed within the context of last year’s Berlin Biennale. The title is a quotation from Petra Mgoza-Zeckong, one of three former teachers of Marxism-Leninism interviewed by Collins in marxism today (prologue), (all works 2010), a thirty-five-minute HD video linked to a feature-length project about radical education that Collins plans to undertake in Manchester, UK, next year. Mgoza-Zeckay was traumatized by the former

  • Katie Holten

    Katie Holten’s exhibition is the sixth installment in “The Golden Bough,” a suite of solo shows by different artists at the Hugh Lane that borrows its title from James George Frazer’s 1890 study of mythology and religion. Curator Michael Dempsey’s statement frames the series as a reflection on the institutional dynamics of the art world, envisaging the museum as a sacred site assailed by generations of artists—referring to myths discussed by Frazer, such as the “King of the Wood,” according to which a sacred tree is guarded by a pagan priest who has murdered his predecessor and is doomed to the

  • Fergus Feehily

    Situated on the Trinity College campus, the Douglas Hyde Gallery is distinctive within the Dublin context not only because of its university setting and Brutalist architecture but also because it has provided a particularly prominent platform for the articulation of a strong curatorial voice—that of John Hutchinson, its director since 1993. The addition of a second gallery in 2001 has allowed for parallel exhibitions of artworks and craft objects, further asserting the distinctiveness of this institution. “Pavilion,” Fergus Feehily’s exhibition in the first gallery, fittingly explored the idea

  • Garret Phelan

    Garrett Phelan is an avid birdwatcher, and his recent exhibition, “The Last Broadcast Revelations,” drew on both folklore and ornithology in its depiction of the mynah bird as a prophet. Noting that the mynah has the capacity to go beyond mere imitation of human speech to create new sentence constructions, Phelan explored the possibility that it could also predict the future. As the show demonstrated, much of Phelan’s current work integrates aspects of personal experience with esoteric research into history or natural science, paralleling the practices of various artists in the recent Tate

  • James Coleman

    A collaborative venture involving three institutions, this is the first major exhibition of James Coleman’s work in Ireland. It follows the successive presentation, over the past three years, of three projected image works in the Great Hall at the Irish Museum of Modern Art. In the new show at IMMA, the video So Different . . . and Yet, 1980, was presented on a large outdoor LED screen similar to those used at sporting events or concerts. Museum visitors tended to move around this structure, often drawing close to the screen to examine the grid of tiny blue, green, and red bulbs that make up

  • Lonnie van Brummelen and Siebren de Haan

    Lonnie van Brummelen and Siebren de Haan’s film installation Monument to Another Man’s Fatherland, 2008, is dominated by a large 35-mm projector, situated in the center of the gallery rather than hidden in a soundproof projection booth. While the workings of this machine are therefore audible as well as visible, the film it projects—a fine-grained monochromatic journey across a montage of the richly detailed surfaces of a sculptural relief—is silent. The images document a well-known monument depicting a gigantomachia, or struggle between gods and giants, built to celebrate a battle between the

  • Ulla von Brandenburg

    Taking its title from the “Angel-talks” of Magus John Dee, astronomer, occultist, and adviser to Elizabeth I, Ulla von Brandenburg’s exhibition “Whose beginning is not, nor end cannot be” was replete with references to doubles, ghosts, and the realm of the supernatural. At one point, the baroque chapel of the Royal Hospital Kilmainham, the seventeenth-century building that is now home to the Irish Museum of Modern Art, provided the setting for a performance titled Holes in the Light, 2008. This shadow play, created by von Brandenburg and Julia Hortsmann, introduced a live element into the