All at Sea, an exhibition developed in partnership with the Art Committee at St Patrick’s University Hospital and the Irish Museum of Modern Art’s National Programme, opens to the public at the Art Gallery at St Patrick’s University Hospital, Dublin 8 on Thursday 30 August 2012. The Art Gallery at St Patrick’s University Hospital was opened in February 2011. It had been developed over the previous two years by the members of the Art Committee at SPUH. The purpose in developing the gallery was to facilitate the appreciation of visual art by the SPUH community, its staff, service users and visitors. Many great Irish artists have suffered from mental health and addiction problems during their lives, and yet they have risen above their difficulties to produce engaging, expressive and uplifting visual art that has enriched those who view it. The gallery has hosted exhibitions from leading Irish artists and galleries, from the permanent art collection at SPUH. This exhibition features leading Irish and British artists who have produced work with a nautical theme. The works are varied in influence ranging from literature and social/political to the pure depiction of nature and the landscape in which we live.

For centuries, the Irish landscape has been a source of inspiration for artists. One such artist is Barrie Cooke, whose fascination with Ireland has informed his work since moving here from England in 1954. Water and Rocks is part of an early series of studies of water from the 1960s focussing on lakes, streams and rivers, where drips and splashes of paint capture the surface of the water.  Cooke carries a sketchbook with him and constantly records scenes, which he will refer to in his paintings whether it is a rock, a stream or an animal. In the absence of a sketchbook he has stated that he traces the line on his hand with his finger, training the eye to capture and record the image through memorising the line, which later becomes the brushstroke.  Cooke’s other passion is fishing which is also a major influence on the work of John Bellany, one of the leading Scottish colourists. 

Bellany’s father and grandfather were both fishermen and growing up in the seaside town of Port Seton, and Avail demonstrates how the sea and the special light effects of a seaside environment influenced all of his paintings. His work is strongly autobiographical and narrative with strong, and often symbolic, references to the forces that dominated his life. Nowhere is this more apparent than in The Old Man and The Sea a series of 14 prints inspired by the Ernest Hemingway novel. The story tells of a fisherman who has caught nothing for weeks and then hooks the largest marlin he has ever seen and the struggles he has to land the fish. It can be seen as a parable of self-discovery. The gallerist Charles Booth-Clibborn invited Bellany to make a publication of his own choosing and this theme of a man being driven to the brink of death seemed apt as Bellany was seriously ill at the time. Bellany later commented that the ‘imagery itself just flowed like a tidal wave from start to finish; the passion in the work was magnified by the fact that I was struggling for my own life at the time.’

Like Bellany, William Crozier was also raised in a sea side town. Mediterranean Night is a wonderful example of his expressive painting and is the result of nine months that he spent in Malaga during 1963. This experience was to prove pivotal to Crozier‘s development as an artist, in particular his concerns with the landscape and the painting of the human figure. While based in West Cork he travelled extensively gaining inspiration and often treating the Mediterranean and Irish landscapes with the same vibrancy. This vibrant palette challenged the traditional muted shades employed by many artists while depicting Ireland.

Also an inveterate traveller, Michael Mulcahy, creates highly abstracted paintings of the many remote places he has lived through an intense use of abstract form and sizzling colour. The Navigator is at once figurative and autobiographical with a very sketchy, but accurate self-portrait of the artist in the title role. The title of the painting may be a play on the name given to the sixth-century Irish saint, Brendan The Navigator, so called because of the belief that he sailed the then uncharted waters of the Atlantic. As such, it recalls a world where man, nature and religion were more closely entwined. This story supports Mulcahy’s vision of the artist as the Shaman or healer who suffers for, and guides society to a better state. In The Navigator the grandeur of his task is suggested by the mysterious landscape and the fiery cave opening ahead contrasted with the ghostly pallor of the artist.

The use of the historical to convey a contemporary message is also deployed by Stephen McKenna in The Irish Coast. McKenna combines the classical and academic approaches to painting with the great, 17th century Dutch tradition of marine painting, to comment on a very contemporary, yet universal subject. Painted in 1981 during the height of ‘the Troubles’ in Northern Ireland, The Irish Coast, brings together two different layers of conflict – a huge battle between the forces of nature, land, sea and sky – and the smaller, but no less dogged struggle, between two men on the jetty. In the immediate foreground a bird, like the narrator in a Greek tragedy, appears oblivious to their petty quarrel.

All at Sea is the result of a collaboration between St Patrick’s University Hospital and the IMMA National Programme. The National Programme is designed to promote the widest possible involvement with the Museum’s Collection and programmes, through creating access opportunities to the visual arts in a variety of situations and locations in Ireland. IMMA’s Collection is the focal point for each project. The National Programme is also committed to working with venues normally outside the scope of the contemporary art world. This core principle involves a process of encouraging people to view and enjoy ownership of their national collection, as held by IMMA, in their own locality and on their own terms.

All at Sea continues until 1 November 2012. Admission is free.

St Patrick’s University Hospital,
Steeven’s Lane,
Dublin 8
Email: [email protected]
Tel: 01 249 3200

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900, Email: [email protected]

27 August 2012

A unique film-based installation, Not I, directed by Neil Jordan and featuring the American actress Julianne Moore, opens to the public in the Irish Museum of Modern Arts temporary exhibition space in the Annex at the National Concert Hall site in Earlsfort Terrace on Friday 10 August 2012. The private view for Not I takes place on Thursday 9 August at 6.00pm, Neil Jordan will discuss his work in conversation with Dr Maeve Connolly before the opening at 5.00pm. As part of the ongoing IMMA Collection exhibition Time out of Mind, a film installation by Clodagh Emoe, Parodos, 2009, is presented in the entrance space of the Annex.

Based on Samuel Beckett’s play Not I, 1972, the film installation presents an actress seated on a stage with just her mouth visible. The mouth then delivers a long monologue, a constant stream of consciousness. Beckett’s friend, and one of his favourite interpreters of his work, Billie Whitelaw recalled her performance of the original work: “I defy anyone to come up with a more intense theatrical experience than Samuel Beckett’s Not I.  In otherwise complete darkness, a disembodied female mouth, known as Mouth, about eight feet above the stage, delivers a hyper-rapid stream of consciousness, a mixture of reminiscence and evasion, an existentially terrifying babble, hinting at deep trauma and extinction of self”.

Neil Jordan filmed his interpretation, which is 13 minutes in duration, from multiple angles in long, complete, 13-minute takes, since the piece only reveals itself through the pressure and physical demands of the uninterrupted performance of the text. Realising that each take had its own integrity Jordan developed his original film version into a multi-screen installation in which Moore’s mouth appears on six screens arranged in a circular configuration. For this installation while the artwork maintains its essentially circular configuration, the scale of the Annex, enables the use of especially large screens to create an enhanced, spatially immersive experience.

Jordan describes the process: “We had these enormous two-thousand foot film rolls and we filmed Julianne from different perspectives. They all were a different record of the same event…each angle was also the complete version…If  I could pull them all into one synch and present each angle, simultaneously, to the viewer, the multiplicity with which cinema presents the world would be accessible to the viewer in a unique manner.  Artists have long engaged themselves in a dialogue with the grammar and aesthetics of cinema, but the dialogue has rarely gone the other way. And Beckett’s luminous piece could be presented in a context that was neither cinema nor theatre, but something different”.

Maria Pramaggiore, Professor of Film Studies at North Carolina State University, has written about how, more generally in his work, Neil Jordan uses citation and repetition, borrowing and recycling, to critically engage with postmodernism’s challenge to authenticity and originality, and to address the complex relationship between cultural boundaries, art and violence.  Jordan’s realisation of Not I acknowledges Beckett’s notion of a divided self.  It emphasizes the multiplicity and dividedness of postmodern identity and the capacity of cinema to represent that fragmentation. The individual cannot resolve herself into a single image or a valid sentence because the forces of instability are too great.

Not I is part of a unique and ambitious project, Beckett on Film, the brain-child of Michael Colgan, Director of the Gate Theatre, in which each of Becketts’s 19 plays were committed to film in 2000-2001. Each had a different film director, charged with adapting the demands of Beckett’s plays to film while adhering to his exacting stage directions. Not I was adapted for film by Neil Jordan as part of the project and donated to IMMA in 2001.

Born in 1950 in Sligo, Neil Jordan began his career as a writer. His first book of stories, Night In Tunisia (1976) won the Guardian Fiction prize.  Since then he has published five novels, The Past (1979), The Dream Of A Beast (1983), Sunrise With Seamonster (1994), and Shade (2005). His most recent novel, Mistaken was published in early 2011. Neil Jordan’s film career began with the role of creative consultant on John Boorman’s Excalibur in 1981. In 1982 Jordan wrote and directed his first feature film Angel. Since then he has written, directed and produced more than fifteen films, including Company of Wolves (1984), Mona Lisa (1986), The Crying Game (1992), Interview With The Vampire (1994), Michael Collins (1995), The Butcher Boy (1996), The End Of The Affair (1999), The Good Thief (2002), Breakfast On Pluto (2005) and Ondine (2009). His films have been honoured with numerous awards worldwide, including an Oscar, BAFTAs, Golden Globes, A Golden Lion from The Venice Film Festival and a Silver Bear from Berlin. He has been awarded five honorary doctorates and in 1996 he was appointed Officer of the French Ordres des Artes et des Lettres. Neil Jordan has more recently written, directed and produced the television series The Borgias, with Octagon Films, and Showtime.  His latest film Byzantium is currently in post-production.

As part of the ongoing IMMA Collection exhibition Time out of Mind, a film installation by Irish artist Clodagh Emoe, Parodos, 2009, is presented in the entrance space of the Annex. Emoe works within this transitional area of the building to create an atmospheric installation where sight, sound and heady scent combine. The term liminality plays a significant part in informing Emoe’s work. Liminality is derived from the Latin limen, meaning threshold, and foregrounds some kind of departure or crossing over of boundaries. Liminality is understood in ritual theory as a temporary symbolic suspension of normative structures that become mobilised through staging and forms of gathering or collective assembly. Emoe seeks to evoke a similar ‘threshold’ state in her work by using strategies associated with ritual. In aligning the space of art with the symbolic realm of ritual, Emoe’s works seek to prompt a consideration of art as a moment of encounter that, like ritual, can potentialise new forms of thought and experience.

Parodos is drawn from Emoe’s larger project Cult of Engagement in which Emoe deals with the dramatic tradition of Tragedy. Parodos is the term used for the entrance song of the chorus introducing the event that is about to take place. The processional chorus in Emoe’s film is, however, silent – an absence suggesting the role of the viewer within this dynamic to imagine what unfolds. Cult of Engagement, 2009, was commissioned by the Project Arts Centre and donated to IMMA in 2010.

In Conversation
At 5.00pm on Thursday 9 August Neil Jordan will discuss his work in conversation with Dr Maeve Connolly, in the Lecture Room at the NCH building. Admission is free but booking online is essential at www.imma.ie/talksandlectures

The film installations Not I and Parodos are co-curated by Christina Kennedy, Senior Curator: Head of Collections, IMMA, and Marguerite O’Molloy, Assistant Curator: Collections, IMMA.

Not I: An installation by Neil Jordan and Parodos by Clodagh Emoe continue until 9 September 2012. Admission is free. Late opening on Thursday evenings until 7pm.

Opening hours at the NCH:
Tuesday: 10.00am – 5.30pm
Wednesday: 10.30am – 5.30pm
Thursday: 10.00am – 7.00pm
Friday and Saturday: 10.00am – 5.30pm
Sunday and Bank Holidays: 12noon – 5.30pm
Monday: Closed

For further information and images please contact Monica Cullinane at Tel: +353 1 612 9900; Email: [email protected]

23 July 2012

NEW FAITH LOVE SONG gets underway in Dublin City Centre and IMMA

A new project by leading Irish artist Garrett Phelan involving the bell-ringers of two cathedrals and a site-specific installation at the Irish Museum of Modern Art gets underway on Thursday 21 June 2012. NEW FAITH LOVE SONG begins with a live sound work with the bell-ringers of both Christ Church Cathedral and St Patrick’s Cathedral in Dublin city centre, which can be heard along Nicholas Street from 9.00 to 9.25pm on Thursday 21 June.  Following on from the performance, an exhibition of drawings, sculptures, animations and photographic documentation by Garrett Phelan will open at the New Galleries at IMMA on Friday 22 June.

NEW FAITH LOVE SONG is a striking embodiment of the modern day dilemma that many feel in relation to faith and the quest for an explanation for the mystery, marvel and miracle of the world around us.  As two of Dublin’s most iconic institutions, Phelan sees the cathedrals as transmitters pronouncing the arrival of ‘new faith’. The ambient sound work becomes a living sculpture intertwined with the existing fabric of Dublin’s frenetic soundscape. It is ephemeral, at times distinct and at times fused with the sounds of Dublin city, it reveals itself in different ways to the listener as they make their way along Nicholas Street, but at all times the conversation continues between these two great monuments. The bell towers broadcast this sound beyond its natural limits, staving off its own decay. The sound waves are projected into the ether, with the message that ‘All is OK’ – a modest yet reassuring affirmation of faith. 

Phelan views both the live sound work and the exhibition as one piece, the exhibition at IMMA acting as an artefact of the temporal live performance. Exhibited are drawings, sculptures, animations, and photographic documentation of the bell-ringers torsos, ropes and mechanisms within the bell towers. A number of the drawings are a meditation on the process of arranging the sound work; visually rendering the ropes, and notation. ¬The exhibition is an extension of Phelan’s sentiment of NEW FAITH LOVE SONG; a testimony and celebration of our very own mortality and our humanity in these uncertain times.

Born in 1965 in Dublin, Garrett Phelan has exhibited widely in Ireland and internationally, including the 11th Lyon Biennial, France; 4th Auckland Triennial, New Zealand; SMART Project Space, Amsterdam; ICA, London; The Fruitmarket Gallery, Edinburgh; Kunstverein, Hanover; Art Statements, Basel 39; Manifesta 5, San Sebastián, Spain; and previously at IMMA.

This exhibition was commissioned by former Director of IMMA Enrique Juncosa, and is co-curated by him and Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA.

This exhibition is accompanied by publication designed by Peter Maybury.

The St Patrick’s Cathedral Amateur Society of Change Ringers:
Web http://www.stpatrickscathedral.ie

The Christ Church Cathedral Bell Ringers:
Web http://www.christchurchdublin.ie  

Admission is free.

Public Tours
These are informal tours providing a general introduction to the exhibition on Tuesday 4.00pm, Wednesday 2.30pm, Thursday 4.00pm, Friday 2.30pm, Saturday 12 noon and 4.00pm, Sunday 2.30pm. Each tour lasts approximately 20 minutes. No booking required.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sunday & Bank Holidays: 12noon – 5.30pm
Monday: Closed

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected] 

15 June 2012

A striking film work inspired by the siege of Sarajevo will go on show as part of the Irish Museum of Modern Art’s inaugural programme in its temporary exhibition spaces at the National Concert Hall in Earlsfort Terrace on Thursday 31 May 2012. 1395 Days Without Red, by Albanian artist Anri Sala and American composer Ari Benjamin Meyers, will occupy the Annex at the NCH. The film takes as its subject the siege of Sarajevo, one of the most emblematic events of the violent breakup of the former Yugoslavia. The siege began 20 years ago this year, in 1992, and lasted for 1,395 days making it the longest siege in modern warfare.

During the siege thousands of citizens had to cross streets threatened by snipers everyday: to go to work, to buy food, to visit a relative. The citizens wore dark colours, for fear of alerting the snipers watching from the hills to their movements. In Sala’s film an elegant young woman makes her way through an empty city. At every crossing she stops, looks and listens. Should she wait or should she run? Should she wait for others or take the risk on her own? The city is Sarajevo, and the route the woman takes became known as Sniper Alley. Played by Spanish actress Maribel Verdú, she relives the trauma experienced by the citizens over almost four years. The 43-minute film is her individual journey through the collective memory of the city.

Throughout the siege, the Sarajevo Symphony Orchestra continued to play. In Sala’s film, the orchestra rehearses Tchaikovsky’s Sixth Symphony, the Pathétique. The musicians stop and start, repeating different sections of the symphony, just as the woman stops and starts in her journey across the city. Hearing the music in her head, she finds the courage to carry on.

On Friday 22 June at the NCH the RTÉ National Symphony Orchestra, in a first collaboration with IMMA, will performing Tchaikovsky’s ravishingly beautiful Pathétique symphony, heard to such effect in Sala film. Being presented under the title Beauty and brilliance, the concert is conducted by Christian Kluxen and also includes Rachmaninov’s soaring Third Piano Concerto performed by prize-winning Korean pianist, Ann Soo-Jung. The concert, part of the NSO’s Summer Evening Concert Series, begins at 8.00pm and will be broadcast live on RTÉ lyric fm. Tickets from €10.

Born in Tirana, Albanian, in 1974, Anri Sala is one of the most outstanding young artists working today. His works are meditations on slowness in which camera movement is practically non-existent. In contrast with the speed of images in the media, Sala often freezes scenes into still-shots in order to highlight apparently trivial details. Anri Sala was educated at the National Academy of Arts, Tirana; at the Ecole Nationale Supérieure des Arts Décoratifs, Paris; and at Le Fresnoy, Studio National des Arts Contemporains, Tourcoing.  Sala has exhibited extensively, including the Tate Gallery, London, 2004; ARC, Musée d’Art moderne de la Ville de Paris, Paris, 2004; Kunsthalle Wien, Vienna, 2003; the Dallas Museum of Art, Dallas, 2002; and the Ikon Gallery, Birmingham, 2002. He is the recipient of numerous prizes, including the Young Artist Prize at the 49th Venice Biennale, 2001; the Prix Gilles Dusein, Paris, 2000; the Best Documentary Film Award from the Tirana International Film Festival (TIFF), 2000, and the International Film Festival +in Santiago de Compostela, 1999.

Artist Talk
At 6.00pm on Wednesday 30 May Anri Sala and Ari Benjamin Meyers discuss their collaboration with Declan Long, Lecturer in Visual Culture at the NCAD, in the Lecture Room at the NCH building. Admission is free but booking online is essential at www.imma.ie/talksandlectures

1395 Days Without Red, 2011, was made in collaboration with Liria Begeja, from a project by Šejla Kameriæ and Anri Sala in collaboration with Ari Benjamin Meyers. It was commissioned by Artangel. It is curated by Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA.

An exhibition guide accompanies the exhibition.

1395 Days Without Red, 2011, continues until 15 July 2012. Admission is free.

The exhibition is supported by the Conrad Hotel Dublin and Feast Catering.

Opening hours at the NCH:
Tuesday: 10.00am – 5.30pm
Wednesday: 10.30am – 5.30pm
Thursday: 10.00am – 7.00pm
Friday and Saturday: 10.00am – 5.30pm
Sunday and Bank Holidays: 12noon – 5.30pm
Monday: Closed

For further information and images please contact Monica Cullinane at Tel: +353 1 612 9900; Email: [email protected]

14 May 2012

An exhibition exploring connections between art and science will mark the Irish Museum of Modern Art’s first presence in a city centre location when some 35 works mainly from the IMMA Collection go on show in the Museum’s temporary exhibition spaces at the National Concert Hall site in Earlsfort Terrace on Thursday 31 May 2012. Time out of Mind focuses on the many and varied ways in which artists have engaged with ideas about time, memory, space, perception, change and similar concepts. The exhibition is being organised in celebration of Dublin City of Science 2012. IMMA’s inaugural programme at the NCH also includes a striking film project by the Albanian artist Anri Sala and the American composer Ari Benjamin Meyers, inspired by the siege of Sarajevo, which is being shown in the nearby Annex.

Time out of Mind brings together the work of 27 leading Irish and international artists, mainly in works created from the 1990s onwards. These include Lynda Benglis, Dorothy Cross, Michael Craig-Martin, Marcel Duchamp, Barry Flanagan, Isaac Julien, Cristina Iglesias, Callum Innes, William McKeown, Elizabeth Magill, Eva Rothschild, Grace Weir and Daphne Wright.

Installed in the 14 galleries on the ground floor of the North Wing of the NCH building, the exhibition responds to the various cultural and intellectual layers of Earlsfort Terrace, in particular the building’s former scientific function as part of the National University’s Medical School.

Works are installed so as to offer new encounters and readings. For example, affinities may be felt between the filmed Liquid Archive animations of Carlos Amorales and the black Perspex sculpture Stalker by Eva Rothschild; while Tree by Niamh McCann, of reconfigured oars that arch over the space complete with a gilt-bronze flock of humming birds and white neon twig, relates to the minimally treated white panel diptych of Michael Craig-Martin, with small ‘readymade’ landscape paintings inserted in the top corner of each.

Since the 1960s many artists have adopted the type of serial methodologies associated with the objectivity of science. Some range across diverse scientific fields such as biology, chemistry, mathematics, physics, astronomy, acoustics and computer science. Yet while they may draw on scientific concerns and ideas, the artist’s central aim is to remain open to the experiental and to the possibility of failure, that turns out to be enabling rather than disabling: what the artist Tacita Dean calls ‘objective chance’.

Time and associated notions of permanence, impermanence and metamorphosis occur at many levels in contemporary art and are variously reflected in the exhibition. Tacita Dean, in Presentation Sisters, 2005, which is on loan from the Crawford Art Gallery in Cork, and Isaac Julien, in his three-screen video Paradise Omeros, 2002, demonstrate an awareness of the complexities of memory and time, such as the ambiguity of actual versus ‘felt’ time, and question assumptions about how memory operates. They are also concerned with how knowledge and ideas are transmitted within cultures and across time. Grace Weir’s film work, made at Dunsink Observatory, employs natural phenomena to investigate complex scientific theories of time and space. While Marie Foley’s sculptures, including The Last Judgement, 1991, explore the spirit within natural and man-made forms that reveal an inexorable transformation across time. 

Dorothy Cross’s video piece Medusae, 2000, is inspired by her research in marine biology in collaboration with her brother, the scientist Professor Tom Cross. While Cristina Iglesias in Untitled (Vegetation Room X), 2002, and William McKeown in Hope Painting (Going Through the Looking Glass), 2005, make materially manifest that which is there but not always noticed in the physical world. They demonstrate an understanding of biological life-forms, not just in terms of appearance, but also in how they interact with the world around them. Like scientists both are drawn to these forms by a metaphysical agenda, such as the quest to understand the essence of life.

Art and science through the ages have been affected by the development of mirrors and optics. Through strategies and motifs of mirroring, reflection, distortion, duplication and proliferation, the effect on one’s perception of the world and of the self within it are explored in the works of Marcel Duchamp, Carlos Amorales, Lynda Benglis, Cristina Iglesias, Eva Rothschild, Mark Manders, Elizabeth Magill, Anita Groener, Stephen McKenna and Chung Eun-Mo. Some of these phenomena are seen in literal resemblances within and among artworks, others through subjective speculation. In other works notions of time, space and memory are signalled by the use of  music or sound – either as structural elements or, implicitly, by means of  a perceived cadence in works by artists such as Fergus Martin and Sean Scully.

As part of the exhibition programme, IMMA will invite artists to reflect on their works in the exhibition in the context of current developments and new directions, through discussions around the cultural aspects of science, the impact of science on art, and their ideas and personal philosophies. Curator Jobst Graeve has been invited to make a selection of works by Marie Foley in an installation which will accompany her sculpture The Last Judgement, 1991, which is in the IMMA Collection.

Cult of Engagement, 2009, by Clodagh Emoe will go on exhibition as part of Time out of Mind in the Annex at the NCH from 1 August, coinciding with the opening of Not I by Neil Jordan, also in the Annex building.

Time out of Mind is curated by Christina Kennedy, Senior Curator: Head of Collections, IMMA, assisted by Brian Cass, Curatorial Co-ordinator, Collections Department, IMMA.

To coincide with the exhibition, the first in a series of public seminars entitled ART + will explore the subject of collaboration between art and science on Tuesday 10 July 2012 at Earlsfort Terrace. This includes a keynote address by Siân Ede, Arts Director of the Gulbenkian Foundation, followed by a discussion with panel speakers including Dorothy Cross and Tom Cross, Marie Redmond from Creative Technologies at Trinity College, Michael John Gorman, Director of the Science Gallery, and Mick Wilson, GRADCAM Fellow at NCAD.

In addition, to mark IMMA’s tenure in the NCH building, a series of lectures continues under the title Agents of Architecture in collaboration with the Irish Architecture Foundation. High profile international speakers have been invited to represent their involvement in the subject, their understanding of its definition, from the typical to the most unorthodox views. International speakers confirmed to present in the Autumn series 2012 at Earlsfort Terrace, include Anne Lacaton, Lacaton Vassal, Paris; Eva Franch, Director, Storefront for Art and Architecture, New York; alongside other national and international participants.

Admission to talks and lectures is free but booking is essential on www.imma.ie/talksandlectures

As part of a new audience building initiative for the NCH site, free guided tours of the exhibition for individual visitors and small groups will be available on Tuesday and Saturday at 4.00pm, Wednesday and Friday at 1.15pm and Thursday at 6.00pm. The exhibitions will remain open until 7.00pm on Thursdays.

An exhibition guide with texts by Georgie Thompson, Acting National Programmer, IMMA; Hilary Murray, Collections Online Project Co-ordinator, IMMA, Marguerite O’Molloy, Assistant Curator: Collections, IMMA, and Brian Cass, will accompany the exhibition, with an introduction by Christina Kennedy. 

The exhibition and related programmes are sponsored by Dublin City of Science 2012.
The exhibition is supported by THE IRISH TIMES and Feast Catering.

Time out of Mind continues until 2 September 2012. Admission is free.

Opening hours at the NCH:
Tuesday: 10.00am – 5.30pm
Wednesday: 10.30am – 5.30pm
Thursday: 10.00am – 7.00pm
Friday and Saturday: 10.00am – 5.30pm
Sunday and Bank Holidays: 12noon – 5.30pm
Monday: Closed

For further information and images please contact Monica Cullinane at Tel: +353 1 612 9900; Email: [email protected]

14 May 2012

What Do You See When You Look At Me?, an exhibition developed in partnership with the Burren College of Art and the Irish Museum of Modern Art’s National Programme, opens to the public at the Burren College of Art, Ballyvaughan, Co Clare, at 3.00pm on Saturday 12 May 2012.  This exhibition comprises some 20 artworks from the IMMA Collection specifically curated for children and explores ideas around representation, both in the form of portraiture and in less conventional ways, posing questions about how we view ourselves and others. Artists featured include John Doherty, David Godbold, Brian Duggan, Robert Ballagh, Louis le Brocquy, Andrew Folan, James Hanley, John Kindness, Nevan Lahart, Alice Maher, Caroline McCarthy, Nick Miller, Tom Molloy, Isabel Nolan and Martin Parr. 

The works range from self-portraits by Tom Molloy and Isabel Nolan, to portraiture of others, some famous for cultural or political reasons such as Louis le Brocquy’s portrait of Samuel Beckett and Nevan Lahart’s depiction of former Israeli nuclear technician Mordechai Vanunu. As well as looking at the representation of a subject’s environment, the exhibition explores portrayals of objects, references to the history of art, and questions what is represented through absence or missing information in portraits. A series of workshops for primary school children from the Burren area will take place during the exhibition facilitated by members of IMMA’s Mediator team. 

The works forming Irish artist Nevan Lahart’s ongoing Static TV series, from 2001, are set in isometric TV structures, a framing device for referencing his personal feelings, art history and things as seen on TV, particularly socio-political media images. Included in the series and this exhibition are Ch.26: Sub-Commandant Marcos, The Friendly Terrorist (After R. Hamilton), 2002, and Ch.76: 3 Cheers for the Psalms of Mordechai Vanunu (Before R. Hamilton), 2007. Both these titles reference the British artist Richard Hamilton, frequently known as the Father of Pop, who, like Lahart, uses appropriated media imagery in his work. The former alludes to Hamilton’s The Citizen, 1981–3, from his Northern Ireland series. The latter was conceived and painted as a contemporary update of Hamilton’s Swingeing London 67, 1968–9, depicting the arrest of Mick Jagger and the art dealer Robert Fraser following a drug raid. Coincidentally, Hamilton’s Unorthodox Rendition, 2009–10, used the same media images of Vanunu’s arrest as Lahart had.

Scraping the Surface and Dulce et Decorum est…, both 1990, are part of a series by Belfast-born artist John Kindness, made during his residency at PS1 in New York. Kindness is interested in the detritus of human life, in Scraping the Surface he has etched a familiar New York taxicab bonnet that he found abandoned in the street. The yellow paint of the door was scraped away and then darkened with a metal oxide resulting in a black image on a yellow background – deliberately reminiscent of classical Greek Attic vases. Throughout his career Kindness has used traditional methods of working such as mosaic and fresco painting; exploring contemporary themes and defying conventional notions of the fine art object while drawing on established traditions. By deliberately mimicking the visual styles of ancient Greek vase-painting that survive through archaeological excavation, Kindness suggests that the residues of contemporary life will be the artefacts of the future.

In the double screen video work Greetings, 1996, by Irish artist Caroline McCarthy, the artist inserts herself abruptly and repeatedly into a typical Irish landscape, familiar to us from tourist brochures and traditional Irish art, in a deliberately awkward and comic way. The reference to picture postcard messages in the title suggests the artist is only visiting the location. McCarthy questions where she belongs in our rapidly changing culture from the once rural to the new urban focused contemporary Ireland.

IMMA’s National Programme is designed to create access opportunities to the visual arts in a variety of situations and locations in Ireland. Using the Collection of the Irish Museum of Modern Art and exhibitions generated by the Museum, the National Programme facilitates the creation of exhibitions and other projects for display in a range of venues around the country. The National Programme establishes the Museum as inclusive, accessible and national, de-centralising the Collection, and making it available to communities in their own localities, on their own terms, in venues with which the audience is comfortable and familiar.

What Do You See When You Look At Me? continues until 2 June 2012. Admission is free.

Burren College of Art
Ballyvaughan, Co Clare
Opening Hours: Monday to Saturday from 9.30am to 5.30pm
Tel: 065-707 7200.
Website: www.burrencollege.ie

For further information and images please contact Monica Cullinane at Tel: +353 1 612 9900, Email: [email protected]

8 May 2012

The Chairman, Board, Director and staff of the Irish Museum of Modern Art today (Thursday 26 April 2012) extend their sympathies to the artist Anne Madden, wife of the great Irish artist Louis le Brocquy, and their sons Pierre le Brocquy and Alexis le Brocquy, on the death of Louis Le Brocquy.

In terms of his own work, and in what he has done for art in this country, Louis le Brocquy has been a defining figure for more than 70 years. His work has received much international attention and many accolades over a lifetime of creative practice. He has been widely acclaimed for his evocative heads of literary figures and fellow artists, including his friends Samuel Beckett, Francis Bacon and Bono. In recent years his early Tinker and Family series have attracted headline attention on the international art market, placing him in the same select group as Bacon, Lucian Freud and David Hockney. His work has been celebrated by museum retrospectives worldwide, including the Musée d’Art Moderne in Paris, the New York State Museum, the National Gallery of Victoria in Melbourne and here at the Irish Museum of Modern Art in 1996. In 2006 IMMA celebrated the artist’s ninetieth year with a display of seven major works by the artist.

Louis le Brocquy’s work is represented in the collections of numerous museums in the USA, the UK, France, Switzerland, Italy, Portugal, the Czech Republic, Brazil, Japan, India, Korea, New Zealand and, of course, Ireland. IMMA holds some 40 works by le Brocquy in its Collection. Highlights of his career include winning the prestigious Premio Acquisto Internationale at the Venice Biennale in 1956, where he represented Ireland, and the first IMMA Glen Dimplex Award for a sustained contribution to the visual arts in Ireland in 1998. In 1975 he was made a Chevalier de la Légion d’Honneur. He holds Honorary Doctorates from the University of Dublin, the National University of Ireland, Dublin City University, Queen’s University, Belfast, and in 1994 he was elected Saoi of Aosdána. He was awarded the Freedom of the City of Dublin in 2007 and was conferred with an Honorary Associate from NCAD in 2006. In all of this he has had the unfailing support of his wife, the distinguished artist Anne Madden, and of his sons Pierre and Alexis.

In addition to being the perfect ambassador for Irish art abroad, he has also been a wonderful representative of his chosen profession among his fellow countrymen. His painting A Family is included in the RTE documentary Masterpiece: Ireland’s Favourite Painting. He is greatly loved and admired not only for his outstanding body of work but also for himself – for his graciousness and courtesy, seen to such effect in Joe Mulholland’s major documentary on his life and work.

26 April 2012

A series of talks aimed at expanding the public’s understanding of the wider role of architecture in society is being curated by the Irish Architecture Foundation, in partnership with IMMA, in a number of venues in Dublin over the coming months. Starting on Wednesday 25 April and continuing into the autumn, Agents of Architecture, marks IMMA’s use of the exhibition spaces at the National Concert Hall site in Earlsfort Terrace, beginning on 31 May next. High profile national and international speakers have been invited as agents of architecture to represent their involvement in the subject, their understanding of its definition, from the typical to the most un-orthodox views. The series aims to uncover architecture’s impact on society, analyse architecture’s connection to culture, and reveal new critical approaches to engaging audiences.

25 April, 7.30pm, Beatrice Galilee, Curator Lisbon Architecture Triennale
Harry Clarke Lecture Room, National College of Art and Design
Beatrice Galilee is a London-based curator, writer, critic, consultant and lecturer in contemporary architecture and design. Trained in Architecture at Bath University and in History of Architecture at the Bartlett School of Architecture, UCL, Gallilee specialises in the dissemination of architecture through media, curatorial practice, research, editing and teaching. She is the Chief Curator for the 2013 Lisbon Architecture Triennale, co-founder and director of The Gopher Hole, an exhibition and event space in London, architectural consultant and writer at DomusWeb, and associate lecturer at Central St Martins. She was a curator at the 2011 Gwangju Design Biennale in Korea, directed by Ai Wei Wei and Seung H-Sang, and is a freelance contributor to a number of international publications on architecture and design.

24 May, 7.30pm, Zoë Ryan, John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago
Samuel Beckett Theatre, Trinity College
Zoë Ryan is the Chair and John H. Bryan Curator of Architecture and Design at the Art Institute of Chicago. Ryan had previously been Senior Curator at New York’s Van Alen Institute, an independent not-for-profit architectural organisation dedicated to promoting inquiry into the processes that shape the design of public spaces. While at the Van Alen, Ryan organised numerous exhibitions and conferences including The Good Life, New Public Spaces for Recreation; VARIABLE CITY: Fox Square; OPEN: New Designs for Public Space; Renewing, Rebuilding, Remembering; and The Politics of Design: Competitions for Public Projects, and was also the editor of the Van Alen Report. Prior to joining the Van Alen, she served as a curatorial assistant at The Museum of Modern Art, New York and the Victoria & Albert Museum, London.

18 September, 7.00pm, Anne Lacaton, Lacaton Vassal, Paris
IMMA @ NCH, Earlsfort Terrace
Anne Lacaton was born in 1955 in Saint Pardoux la Rivière, France. She has a degree in town planning and is part of Lacaton & Vassal Architects, founded in 1987 with Jean Philippe Vassal. The practice has gained numerous awards and international recognition. One of their most emblematic and famous buildings is the Palais de Tokoyo in Paris. This talk is supported by the Institut Français.

1 November, 7.00pm, Eva Franch, Director Storefront for Art and Architecture, New York
IMMA @ NCH, Earlsfort Terrace
Eva Franch is a Catalan architect, researcher, teacher and founder of OOAA (office of architectural affairs). She has spent the last two years at Rice University where she was awarded the Worthman Fellowship and has been teaching as the Masters Thesis studio director. Previously she taught at the University of Buffalo. Franch’s work has been exhibited at the Center for Architecture, New York, Korean Institute of Architects, Daegu, FAD Barcelona, NAI Rotterdam, Shenzen Biennale of Architecture, SOA Princeton, COAR Rioja and ETSA Barcelona. Selected publications include Terminal B Barcelona Creative Database, 2008, CityThemeCity and Content A, 2006-7, Dementia, 2004, Pause Pavillion, 2004, Generative Metaphors, 2007 and R.E.D. studies, 2007. Awarded the Howard Crosby Butler Travelling Fellowship, 2006 by Princeton University, Franch also received an Akademie Schloss Solitude research grant, 2009, the Incubadora del FAD prize for emerging architects, 2007, a Pasajes-iGuzzini prize, 2004 and a Dragados Foundation prize, 2005.

Other national and international participants will also be invited to contribute to this talk series during spring and autumn 2012.
Booking is essential. Tickets are free and available online at www.imma.ie/talksandlectures 

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

13 April 2012

An exhibition from IMMA’s Collection engaging with scientific themes in celebration of Dublin City of Science 2012; the  famous Ned Kelly paintings by the renowned Australian artist Sidney Nolan; a mid-career retrospective of the work of leading Irish artist Alice Maher, and a series of lectures on major developments in architecture to mark its tenure at the NCH site, are all part of wide-ranging programme being presented throughout 2012 by the Irish Museum of Modern Art and announced today (Thursday 29 March) by Fergus O’Dowd, TD, Minister of State with Responsibility for the NewERA Project, in the National Concert Hall. The 2012 programme also includes a film work inspired by the siege of Sarajevo by Albanian artist Anri Sala; an ambitious project by prominent Irish artist Garrett Phelan, involving the bell ringers of Christchurch and St Patrick’s Cathedrals; and a Neil Jordan film installation based on Samuel Beckett’s play Not I. The exhibitions and associated events are being presented across the NCH and RHK sites, due to the closure of the main building in Kilmainham for major refurbishment works during 2012.

Speaking at the launch of the programme in the NCH, Minister O’Dowd said: “This exciting programme offers an ideal opportunity to showcase this prime city centre location. Today’s announcement is only the beginning of what will prove to be an innovative and stimulating programme. The fact that these diverse and engaging exhibitions will be spread across two wonderful and contrasting sites both here in Earlsfort Terrace and the Royal Hospital sites will ensure that IMMA’s 2012 programme can be enjoyed and accessed by a much wider audience.” 

Exhibitions – IMMA @ NCH

The programme at the NCH begins on 31 May with two contrasting exhibitions. In the ground floor spaces in the main building IMMA will present Time out of Mind, drawn from the Museum’s own Collection. Taking its location in the former UCD Medical School as its starting point, the exhibition explores connections between the worlds of art and science to mark Dublin City of Science 2012. Exhibition-making from a collection creates its own particular temporality; revealing new qualities and relationships in and among a selected group of artworks, while also recalling past associations. Time out of Mind focuses on the many and varied ways in which individual artists have engaged with time, space, perception, change and similar concepts. The exhibition, which is kindly sponsored by Dublin City of Science 2012, presents the work of 30 leading Irish and international artists, including Dorothy Cross, Grace Weir, Marcel Duchamp, Isaac Julian and Cristina Iglesias. An important work by Tacita Dean is being loan from the Crawford Art Gallery collection for the exhibition.

Alongside Time out of Mind, a collaborative film project entitled 1395 Days Without Red, by Albanian artist Anri Sala and American composer Ari Benjamin Meyers, will occupy the Annex at the NCH. The film takes as its subject the siege of Sarajevo, which lasted for 1,395 days between 1992 and 1996. We see the horror of this situation through the eyes of an elegant young woman as she makes her way through an empty city, along what came to be known as Sniper Alley. She is given the courage to carry on by hearing in her head excerpts from Tchaikovsky’s Sixth Symphony, being played by the Sarajevo Symphony Orchestra, which had continued to perform throughout the siege.

This will be followed on 1 August by another film-based project Not I, a strikingly original multi-screen film installation directed by Neil Jordan and based on the play of the same name by Samuel Beckett. It features American actress Julianne Moore in the role originally made famous in the legendary stage performance by Billie Whitelaw. The camera focuses only on the actress’s mouth, which is shown from multiple angles delivering a stream of consciousness monologue.  The work, which was part of the celebrated Beckett on Film project, was donated to IMMA by Neil Jordan in 2000.

Also at the NCH from October we will have Becoming, a mid-career retrospective of the work of Alice Maher, one of Ireland’s most respected and influential visual artists. Including painting, sculpture, photography and animation, the exhibition will present a number of Maher’s seminal works, such as Berry Dress, 1994 and Familiar, 1995. The title Becoming points to some of the artist’s main preoccupations and to the themes that will be explored in the exhibition. It indicates a point of transformation, where something becomes something else. Maher’s work has always placed itself at this nexus, a point of metamorphosis as states shift and the familiar becomes otherworldly or unknown – where the inappropriate and the unacceptable are constantly called into play.

Exhibitions – IMMA @ RHK

Meanwhile in the New Galleries at the Royal Hospital, Conversations: Photography from the Bank of America Collection continues until 20 May. This exhibition documents the evolution of photography since the 1850s and presents the work of some of the most notable photographers of the 19th and 20th-centuries. These are displayed so as to create “conversations” – between images by individual artists and also across a wide range of themes, such as portraits, landscapes and abstraction.

Following on from this and beginning on 21 June is NEW FAITH LOVE SONG by prominent Irish artist Garrett Phelan, whose distinctive art practice embraces a wide spectrum of media. This ambitious project, commissioned by former IMMA Director Enrique Juncosa, involves Phelan working with the bell ringers from both Christchurch Cathedral and St Patrick’s Cathedral to create a live dialogue between these two iconic religious monuments. Taking place on Mid-Summer’s Evening (21 June) it is designed to signal the arrival of New Faith, which follows a loss of faith and period of faithlessness. The project is accompanied by a site-specific installation in the New Galleries.

From 24 October, the New Galleries will present Sidney Nolan: Ned Kelly Series, by the renowned Australian artist Sidney Nolan, who died aged 75 in 1992. Painted in 1946-47, the series takes the form of a stylised depiction of the exploits of the notorious bushranger Ned Kelly in the Australian outback, which Nolan uses for a meditation on the universal themes of injustice, love and betrayal. Sidney Nolan was of Irish extraction and made several visits to Ireland where he painted his Wild Geese series, inspired by the soldiers who had fled Ireland after the Jacobite wars in the 1690s. Six of these paintings were donated to IMMA on its foundation in 1991. A further work, Gallipoli, 1955, was donated the following year.

Education and Community

IMMA continues to make its activities ever more accessible, with specially-designed programmes for children, young people, families and adults through free guided tours; talks, lectures and seminars; gallery and studio-based workshops.

Starting in June 2012 a new series of public discussions entitled ART + will be initiated. The first discussion in this series, Art + Science will be presented in association with the Collection exhibition, Time out of Mind. This will comprise a keynote address by Siân Ede, Arts Director of the Gulbenkian Foundation, followed by a panel discussion on the subject of collaborations between art and science. This new ART +  strand of talks will have resource material developed in association with the exhibition and will coincide with Dublin City of Science events in July 2012.

Other new initiatives for 2012 include a family programme being developed in collaboration with The Ark, the Children’s Cultural Centre, Temple Bar, to mark the link between art and science. There is also a new children’s trail of IMMA’s artworks in the grounds written by Siobhán Parkinson, Laureate na nÓg, with an accompanying video on IMMA’s website, while a number of collaborations are in development with the National Concert Hall.

To mark IMMA’s tenure in the NCH building, a series of lectures under the title Agents of Architecture is being organised in collaboration with the Irish Architecture Foundation. High profile international speakers have been invited to represent their involvement in the subject, their understanding of its definition, from the typical to the most unorthodox views. The series will uncover architecture’s impact on  society and will explore its connection to culture, revealing new critical approaches to engaging audiences.

National and Artists’ Residency Programme

In addition to the programmes at the NCH and the RHK, more than 80 works from the Museum’s Collection are already selected to be shown in locations around Ireland through IMMA’s National Programme. These include the Wexford Arts Centre; the Burren College of Art, Co Clare; the Clifden Arts Festival, Co Galway; the Linenhall Arts Centre, Co Mayo, and the Roscommon Arts Centre.

One of the exhibitions being facilitated by the programme is 474: the aesthetics of restriction, showing from 29 March at The Drawing Project, Dun Laoghaire.  The result of a collaboration with Dun Laoghaire Institute of Art, Design and Technology (IADT), 474: the aesthetics of restriction features works from IMMA’s Collection and responses to these works, selected by a curatorial team of final year students from IADT from works considered, in one way or another, as having been generated according to the logic of a set of definite restrictions. 
 
In May, the National Programme will collaborate with the Burren College of Art to present Who do you see when you look at me?, an exhibition which aims to promote greater engagement with, and access to, the visual arts within primary schools. The exhibition will provide an opportunity for a younger audience to discuss and engage directly with representations of people, portraiture and notions of identity.

IMMA’s Artists’ Residency Programme (ARP) provides opportunities for artists, curators, critical writers and art professionals to research and develop their practice, it supports both emerging and established professionals, working in any medium, participation is by application or invitation and is open to Irish and international applicants.

In 2012 the ARP is introducing a new online application process, which will be open to prospective applicants for the 2013 programme for six weeks from Friday 18 May and will be accessible through IMMA’s website, with supporting application guidelines. For the duration of 2012 the ARP will focus on developing its resources for 2013 onwards. Due to the refurbishment, activities will be limited, however, the full provision of facilitating art professionals living and working on-site will recommence following the reopening of the main building.

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

29 March 2012

IMMA-ginary Space, an exhibition developed through the continued successful partnership between Art Alongside and the Irish Museum of Modern Art’s National Programme, opens to the public at Wexford Arts Centre on Tuesday 13 March 2012.  Art Alongside is an initiative of Wexford County Council Arts Department and is co-funded by the Arts Council and participating primary schools, in partnership with the Wexford Arts Centre and IMMA’s National Programme. Art Alongside is a visual arts programme carried out in an education setting which brings together artists and children in local Co Wexford primary schools to work ‘alongside’ each other based on a chosen theme. Its primary purpose is to allow a framework where artists can work authentically as artists while contributing to the local community.

In IMMA-ginary Space a selection of the children’s work, created during the Art Alongside 2011-2012 programme, is exhibited alongside works by Art Alongside artists Helen Robbins and Mary Claire O’Brien, and works from the IMMA Collection.

For this project primary school pupils from Our Lady of Fatima School, Wexford, and St Senan’s National School, Enniscorthy, were shown high quality reproductions of art works from the IMMA Collection. Guided by artists Mary Claire O’Brien and Helen Robbins, the children were facilitated in looking carefully at each of these reproductions to make their choice of works to be included in the exhibition. Following this period of research, the classroom art projects were devised, based on the students’ understanding of and responses to their chosen piece of work.

The pupils selected works from the IMMA Collection by Irish based artists Stephen Brandes, Maud Cotter and Grace Weir, and international artists Antonio Dias, Stefan Kürten and Jesús Rafael Soto. The focus for selecting the art works was to explore notions of scale, imagination and the universe.

Referencing the visual language associated with cartography, diagrams, fairy-tale illustration and comic books, Stephen Brandes’ practice frequently explores the notion of a perpetually developing fictional world. In Chandelier, 2004, one of a series of large-scale marker pen drawings on lino, the artist explores the journey his grandmother took to escape the pogroms in Romania in 1913.

Grace Weir often uses natural phenomena such as clouds, water and wind in her works, and engages with ordinary events, to illustrate complex scientific theories. In the film work Dust Defying Gravity, 2003, Weir uses a single unedited tracking shot, which takes the viewer on a slow contemplative journey of enquiry through the tranquil interior spaces of Dunsink observatory. The solitude of the space is intensified by the acoustics, and as the camera passes down the corridor a clock ticks loudly in the stillness. The medium of film allows the artist to record movement in relation to space and time. As with many of Weir’s works there is an element of portraiture or human presence in this piece.

This year’s Art Alongside continued its hugely successful partnership between Wexford County Council, the Arts Council of Ireland, the National Programme of the Irish Museum of Modern Art, Wexford Arts Centre and primary level schools. Art Alongside provides an exciting opportunity for participating classes to become familiar with the IMMA collection, and in a meaningful way the children explore a piece of contemporary art of their choice.

IMMA’s National Programme is designed to create access opportunities to the visual arts in a variety of situations and locations in Ireland. Using the Collection of the Irish Museum of Modern Art and exhibitions generated by the Museum, the National Programme facilitates the creation of exhibitions and other projects for display in a range of venues around the country. The National Programme establishes the Museum as inclusive, accessible and national, de-centralising the Collection, and making it available to communities in their own localities, on their own terms, in venues with which the audience is comfortable and familiar.

Wexford County Council and the Arts Council have co-funded the Art Alongside programme since 1999. Its ethos is embedded in Wexford County Council’s Arts Strategy which promotes investment in youth arts. Such investment acts as a key driver in enhancing a young person’s development by cultivating individual expression regardless of background, in a safe environment.

IMMA-ginary Space continues until 31 March 2012. Admission is Free.

Wexford Arts Centre
Cornmarket, Wexford
Opening Hours: Monday to Saturday 10.00am to 5.30pm.
Tel: 053 9123764, Email: [email protected]
Website: http://www.wexfordartscentre.ie/

Wexford County Council Arts Department
County Hall, Carricklawn, Wexford
Tel: 053 9196000 ext 6369 / 6440
Email: [email protected]
Website: http://www.wexford.ie/arts

For further information and images please contact Monica Cullinane at Tel : +353 1 612 9900, Email : [email protected] 

27 February 2012