An exhibition comprising a series of 111 small-scale paintings by the Belgian-born artist Francis Alÿs, one of the most original artists working today, opens to the public at the Irish Museum of Modern Art on Friday 26 February 2010. Francis Alÿs: Le temps du sommeil has been described as a storyboard or archive of Alÿs’s highly imaginative oeuvre, much of which takes as its starting point simple actions performed by the artist and documented in photographs, film or by other means such as postcards. These actions, involving strange objects and fruitless exercises, frequently suggest the dreamlike state of the exhibition’s title, which could translate as “sleep time”. They are also incorporated into the exhibition in the form of accompanying texts, many derived from the artist’s postcards.

Le temps du sommeil was begun in 1995 and continues today as an ongoing body of work. The technique is consistent throughout. The figures or other images in the paintings begin as drawings on tracing paper, which are then transferred onto a miniature oval landscape with golden green grass and a darkened, olive green sky. In each case this scene is surrounded by a rich Venetian red ground, built up in layers with the whole measuring no more than 11.5 by 15 cms. Alÿs compares the oval with the veduta of early Italian Renaissance paintings, a special distant scene inserted into a larger landscape. Each painting is dated with a rubber stamp, underlining the narrative aspect of the series and providing a kind of diary of the artist’s fantasies and obsessions.

Several of the paintings have an obvious connection with Alÿs’s recorded actions. The man walking along carrying a leaking can of paint, echoes the artist’s 1995 action  The Leak, in which he roamed the streets of Ghent with a punctured paint can leaving a trail back to the gallery, where he mounted the empty can on the wall. Another painting calls to mind Alÿs’s epic 2002 project, When Faith Moves Mountains, which took place near the Peruvian capital Lima. This involved 500 volunteers who, armed only with shovels, moved a 1,600-foot sand dune just four inches from its original location. The change in the landscape was minute, but Alÿs ‘s concern was with its relationship to the prevailing social and political situation at once “futile and heroic, absurd and urgent”.

In 2004 the artist described the place of painting in his work: “What justifies my recourse to painting is that it’s the shortest way – or the only way – to translate certain scenarios or situations that cannot be said, that cannot be filmed or performed. It’s about entering a situation that could not exist elsewhere, only on the paper or canvas. They are images, and I want for them to live as such. Like in a children’s book.” In June of this year the series will travel to Tate Modern, London, as part of a retrospective of Alÿs’s key works, which will also be shown at Wiels, Brussels, and at MoMA, New York.

Born in Antwerp, Belgium, in 1959, Francis Alÿs studied architecture at the Institut d’Architecture de Tournai in Belgium and at the Instituto Universitario di Architettura in Venice. Since 1986 he has made his home in Mexico and has been particularly associated with Mexico City’s historic centre where his studio is located. His work has been extensively shown worldwide, recent exhibitions include in 2009 – Shanghai Art Museum; The National Museum of Modern Art, Tokyo, and Centro Galego de Arte Contemporánea, Santiago de Compostela; in 2008 – KW Institute for Contemporary Art, Berlin; San Francisco Museum of Modern Art; Kiasma Museum of Contemporary Art, Helsinki, and Istanbul Museum of Modern Art. As Alÿs’s international reputation has grown many of his projects have taken place at the invitation of museums, for example, The Modern Procession, created in 2002, to mark the temprorary move of The Museum of Modern Art, New York, from Manhattan to Queens.

The exhibition is curated Catherine Lampert, independent curator and former Director of the Whitechapel Art Gallery.

The exhibition is accompanied by a fully-illustrated catalogue, with an afterword by Enrique Juncosa, Director, IMMA. This artist’s book, co-published with Charta, Milan, provides an essential key to understanding Alÿs’s singular imagination.

The exhibition has received assistance from the Embassy of Mexico in Dublin. The opening reception is supported by Corona Extra

Francis Alÿs: Le temps du sommeil continues until 23 May 2010. Admission is free.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays and Good Friday 2 April:  Closed

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

16 February 2010

A survey exhibition of key works by Irish artist Anne Tallentire, created over the last ten years, opens to the public at the Irish Museum of Modern Art on Wednesday 17 February 2010. This, and other things, 1999-2010 brings together two of Tallentire’s earlier works as well as four of her most recent pieces, created in response to the environment at IMMA. Nowhere else, The Readers, Document and Drift: diagram xi, working with architect Dominic Stevens (all 2010), are shown for the first time; alongside Instances, 1999, and a staging of Manifesto 3 (… instead of partial object), 2004, in collaboration with artist John Seth, with whom Tallentire has frequently collaborated since 1993, in a practice formalised as ‘work-seth/tallentire’.

Nowhere else, 2010, invites the viewer to navigate hundreds of images depicting peripheral glimpses of daily life and detritus taken from sites identified by overlaying a chart of the night sky onto a map of London. This work refigures earlier pre-occupations with interrogating the apparatus of mapping and naming, and plays upon the relationship between the specific and the general; social control and urban occupations.

While much of Tallentire’s work has made use of staging and recording her own actions, in Drift the artist documents solely the actions of others in 21 short video clips that portray various routine activities carried out in association with the maintenance of a city’s infrastructure. For Drift: diagram xi, 2010, Tallentire has collaborated with Irish architect Dominic Stevens to present an eight-screen video installation encased within a freestanding scaffolding structure. Each installation is devised specifically for the demands of the space and identified as a numerical ‘diagram’ in order to emphasise the necessity for a critical consideration of context.

A text work developed specifically for this exhibition, The Readers, 2010, attests to the identities, activities and interests existing alongside the shared day to day work practices of those who work in IMMA.

Earlier works include Instances, 1999, produced when Tallentire represented Ireland at the Venice Biennale in 1999. This contemplates the passing of time in relation to perception and meaning. In three parts, it consists of a video projection which depicts, in real time, dawn breaking over a nondescript city landscape, a series of improvised actions and a single image video loop.
 
Since 1993, Tallentire has also worked on many collaborative projects with John Seth, under the collective name ‘work–seth/tallentire’. A version of their work Manifesto 3 (… instead of partial object), 2004, reconfigured specifically for the space at IMMA, exploits the ordering and disordering of things and the juxtaposition of action, object and image. This play between image and object is further explored in Document, 2010, a new work that questions the relationship between things and the significance of things.

Anne Tallentire was born in Co Armagh and has lived and worked in London since 1984. She studied Fine Art Media at the Slade School of Art from 1986 to 1988 and is currently a Professor of Fine Art at Central Saint Martins College of Art & Design and co-convener of the Double agents project based at CSM.

Solo exhibitions and projects include Instances, Venice Biennale as the sole representative for Ireland, Lux Gallery, London, 1999; Dispersal, Orchard Gallery, Derry, 2000, (work-seth/tallentire); Drift, Void Gallery, Derry, Arena Industriale, Reggio Emelia, 2005, and A Pursuit of Happiness, Gallery 3, Douglas Hyde Gallery, Dublin, 2007. Group exhibitions, projects and screenings include Neue Welt, Frankfurter Kunstverein, Frankfurt, 2001; Sum of the Parts, South London Gallery, London, 2002, (work-seth/tallentire); Out of Place, Hatton Gallery, Newcastle, 2003, Densité + 0, (work-seth/tallentire); ENSBA, Paris and Fri-art, Fribourg, Switzerland, 2004; labour to Arbeit *, Galerie im Taxipalais, Innsbruck, Austria, 2005; To Here, Bloomberg Space, London, 2006; and Species of Spaces and Other Pieces, Hollybush Gardens, London, 2007.

The exhibition is curated by Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA, and co-curated by Karen Sweeney, Assistant Curator: Exhibitions, IMMA.

A fully-illustrated catalogue designed by Åbäke, with a foreword by IMMA Director, Enrique Juncosa and new texts by Charles Esche, Director of the Van Abbemuseum, Eindhoven; Vaari Claffey, independent curator; Rachael Thomas, and an interview with the artist by Hans Ulrich Obrist, Co-Director, Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London, accompanies the exhibition.

The exhibition is supported by Central Saint Martins, University of the Arts, London, and the British Council.

Artists’ Talk:
Tuesday 16 February at 5.30pm, West Wing Galleries, IMMA
To mark the exhibition preview Anne Tallentire presents an informal talk in the galleries on her approach to, and use of, materials and media such as found objects, text, video and performance; exploring some of underlining concepts that have informed the works featured in this exhibition. Please note places are limited for this talk. Booking is essential. Please book online at www.imma.ie

Discussion and Screening:
Thursday 22 April
Anne Tallentire will discuss works in the exhibition in the context of her overall practice in a conversation with Jake Irvine at IMMA. This will be followed by an outdoor screening of a series of single screen video works in Meeting House Square, Temple Bar. Please visit www.imma.ie for further information. 

This, and other things, 1999-2010 continues until 3 May 2010.

Admission is free.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays and Good Friday 2 April:  Closed

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

9 February 2010

The Cuban-American artist Jorge Pardo, widely regarded as one of the most influential artists of his generation, returns to the Irish Museum of Modern Art (IMMA) with his first major solo exhibition in Ireland on Wednesday 17 February 2010. Jorge Pardo is a challenging retrospective that uses the architecture of the Museum to embrace the world of swiftly changing technology and question how art can be innovative and relevant in the 21st century. The exhibition, which follows the artist’s notable participation in the group exhibition .all hawaii eNtrées / luNar reGGae at IMMA in 2006, comprises a single work in the form of photomural wallpaper covering the walls of the entire East Wing Galleries.

Jorge Pardo depicts, in chronological order, all of the artist’s work since the late 1980s, ranging from sculpture and installations to design and architecture. It includes such major projects as Oliver, Oliver, Oliver, an outdoor cinema pavilion created in Braunschweig, Germany, in 2004, and Untitled (Pleasure Boat), a luxury cruise boat built as a functional sculpture in 2005. Every aspect of the exhibition, including labels and wall texts, is incorporated into the wallpaper. On entering the gallery space the viewer is taken on a journey not only through Pardo’s career but also through a social history of his adopted city of Los Angeles, with headlines from the LA Times and photographs of exhibition openings and the architecture of Los Angeles.

Pardo operates at once inside and outside of the art world. He views art largely through the perspective of design and architecture, and making no hierarchical distinctions between his paintings, sculptures, installations, buildings or lamps. Equally important is the framework within which his works are seen, be that a museum or a café. In this, Pardo’s practice taps into a long history of the intersection of art, design and architecture, seen as early as the 1920s and ‘30s in the work of the Hungarian artist László Maholy-Nagy, in whose spacial design project, The Room of Our Time, 1930, all works are presented as reproductions. Pardo extends this line of enquiry, challenging the notion of public and private space and how we use it. Other influences include artist Robert Smithson, exhibition designer Lilly Reich, architects Bruce Goff and Tadao Ando, and the 20th-century Finnish designer Alvar Aalto.

A prominent feature in Pardo’s work is his use of domestic materials in a non-domestic space, thus prompting a re-evaluation of space by the viewer. In 2000, Pardo installed Project in the Dia Art Foundation lobby, bookshop and gallery, New York. By cladding the floor and walls in coloured tiles, he transformed the white-cube space, forcing the viewer to consider whether it was still a gallery space. Social interaction is another key concern, and Pardo uses his furniture and beautifully coloured lamps as a means of transforming everyday spaces into aesthetic environments. Bars, restaurants and even public squares are transmuted into hybrids of high-end interior design, gallery spaces and functional social areas. For example, in 2003 Pardo redesigned the interior of The Mountain Bar, a trendy Los Angeles Chinatown haven that attracts both art aficionados and locals.

Perhaps the best examples of Pardo’s cross-over into architecture are when he makes or remakes buildings. One of his major current projects is his reimagining of a ruined house in the jungle outside Merida, in Mexico’s Yucatán Peninsula. He approaches this act more as a sculptor would an object then an architect would a building. His own house offers a further example. This was built for an 1998 exhibition at the Museum of Contemporary Art, Los Angeles, where it was shown as 4166 Seaview Lane.

Jorge Pardo was born in Cuba in 1963 and moved with his family to Chicago when he was six years old. In 1984 he move to California and currently lives and works in Los Angeles. Recent exhibitions include mid-career surveys at K21, Dusseldorf, 2009; Jorge Pardo: House, Museum of Contemporary Art, North Miami, 2007-08; theanyspacewhatever, Guggenheim, New York, 2008, and Fundació La Caixa, Barcelona, 2004. Architectural projects and non-specific spaces have included renovating a house in Merida, Mexico, 2009; re-designing display cases for the Smithsonian American Art Museum, Washington DC, 2007; creating a restaurant, Untitled (Café-Restaurant), 2002, for the K21 Museum in Düsseldorf; and 4166 Sea View Lane, 1998, a house built as an artwork for the Museum of Contemporary Art, Los Angeles, in which he now resides.

The exhibition is curated by Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA.

The exhibition is accompanied by a seminal catalogue that challenges the very format a catalogue should take. Using the formal structural conventions of a catalogue, this book is a 21st-century interpretation. The commissioned essays become a live embodiment of the author, resulting in a five-way conference between the writers that can be found on the internet. The writers include Jorge Pardo; Rachael Thomas; Alex Coles, art critic; Shumon Basar, architect, writer and curator, and Shamin M. Momin, Founder/Director of the recently formed Los Angeles Nomadic Division (LAND). The resulting audio has been transcribed and used as the text for the catalogue, which will be available for download from the IMMA website and on YouTube. It will also be published as an eBook. The catalogue is presented in the exhibition as a series of nine tables on which texts and everything one has come to expect in a catalogue can be read. 

The exhibition continues until 3 May 2010. Admission is free.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays, Good Friday 2 April: Closed

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

5 February 2010

The most extensive showing to date of the Museum’s own Collection; an exhibition based on the work of American composer Morton Feldman and the many celebrated artists in his circle; a series of displays marking important new donations to IMMA, and a special exhibition promoting engagement with the visual arts by those with disabilities are all part of a busy and wide-ranging programme for 2010 at the Irish Museum of Modern Art, announced today (Wednesday 27 January) by the Minister of State with responsibility for the Arts, Dr Martin Mansergh, TD. Plans for the coming year also include solo exhibitions by such leading international artists as Francis Alÿs, Carlos Garaicoa, Jorge Pardo and Anne Tallentire; an intriguing show exploring the life of works within a collection, a development of the What is…? lectures series introducing concepts of contemporary art practice and a new initiative designed to enhance primary schools pupils’ enjoyment of the Museum’s Collection.

Speaking at the launch of the 2010 programme, Dr Martin Mansergh, TD, said: “The vital role which arts and culture plays in both fostering and demonstrating our national spirit of innovation and creativity cannot be overstated.”  Dr Mansergh added:  “This year’s IMMA programme is ambitious, imaginative and wide ranging – all characteristics which are now synonymous with our Irish Museum of Modern Art.  I am delighted to have this opportunity to show my support for the level of initiative and sheer hard work which the IMMA 2010 programme represents.  I congratulate the Chairperson, Eoin McGonigal, SC, Board Members, Director Enrique Juncosa and all the staff at IMMA for all their achievements to date.”

Commenting on the programme IMMA Director Enrique Juncosa said: “We are very pleased to announce the programme for 2010, which includes a great variety of exhibitions and other events: by now a kind of IMMA trademark. This year’s programme is probably a bit more experimental than usual, presenting such leading international artists as Francis Alÿs and Jorge Pardo. I would particularly like to highlight the exhibition about the American composer Morton Feldman, entitled Vertical Thoughts. Feldman was not only one of the most influential composers of the second half of the 20th century, but was also a close friend of artists such as Philip Guston, Jackson Pollock, Franz Kline, Cy Twombly, Jasper Johns and Robert Rauschenberg, whose work will be presented in the show."

Exhibitions

The new temporary exhibitions programme gets underway on 17 February with exhibitions by Cuban-American Jorge Pardo and Irish artist Anne Tallentire. Widely regarded as one of the most inventive artists of his generation, Pardo follows his participation in IMMA’s 2006 Lunar Reggae show with an exploration of the place of art within new media. His highly conceptual virtual retrospective takes the form of photomural wallpaper, covering the entire gallery space and incorporating every aspect of the exhibition. Anne Tallentire, much praised for the originality of her work, presents recent projects and related pieces focusing on how the ordering, or disordering, of things can signify everyday social and cultural determinants. Juxtaposing action, object and image she employs a range of media from text to photography and film. The exhibition includes a number of collaborative projects, another regular feature of Tallentire’s work.

An exhibition by leading Belgian-born experimental artist Francis Alÿs follows on 26 February, inspired by his personal observations from the many cities to which his compulsive wanderings have taken him. Alÿs works in a variety of media, and at IMMA presents his major series of paintings, Le Temps du Sommeil, which now numbers 111 works; some still being works in progress. The series travels to Tate Modern in June, the first stage in a major international retrospective of Alÿs’s work.

From 31 March Vertical Thoughts focuses on the work of the influential 20th-century American composer Morton Feldman and the many celebrated visual artists with whom he was closely associated. In 1967 Feldman curated an exhibition entitled Six Painters in Houston, Texas, and Vertical Thoughts takes its inspiration from that, presenting the work of such legendary figures as Philip Guston, Franz Kline, Willem de Kooning, Piet Mondrian, Jackson Pollock, Mark Rothko and many others not featured in the 1967 show. The exhibition also includes music scores, record covers, photographs and documents, as well as Oriental rugs, which influenced the composer’s work. A film and music programme will accompany the exhibition.

The Latin flavour continues on 9 June with exhibitions by Cuban artist Carlos Garaicoa and Spanish painter Ferran García Sevilla. Employing a multi-disciplinary approach embracing architecture, narrative, history, and politics, Carlos Garaicoa uses his native city of Havana as a laboratory to construct provocative commentaries on a range of contemporary issues. These include architecture’s ability to alter the course of history, the failure of modernism as a catalyst for social change and the decay of 20th-century utopias. Ferran García Sevilla’s eclectic style draws on his world travels, and on comic books, urban graffiti, philosophy and Eastern cultures, resulting in sensuous open spaces in which everything, including iconography and ideas, blends together. His raw, colourful, primitive canvases are often peppered with caustic, hand-scrawled commentaries on life and politics.

Collection

The Museum’s Collection takes centre stage from 20 October, when all of the galleries will be devoted to the first of a two-part exhibition of works from IMMA’s own Collection. This will be the first time that the entire Museum has been given over to the Collection, in an ambitious project leading up to and continuing into IMMA’s 20th anniversary year in 2011. Part one of the exhibition, entitled, The Moderns, will trace important artistic events and developments from the early 1900s to the 1970s, presenting some 100 artists through approximately 250 works. In addition, key pieces from other public and private collections will help to form the historical and contextual thread of the exhibition.
 
Another Collection exhibition, entitled What happens next is a secret, opened yesterday, 26 January. This addresses the intriguing question of what happens when works become part of a collection and are subsequently shown in different contexts. During the course of the exhibition works will be removed, pointing to the often hidden nature of museum collections, while replacements will create new associations. Works from the Collection are also featured in Altered Images, which aims to stimulate engagement with the visual arts by the general public and particularly by those with disabilities. A joint project between Mayo County Council, South Tipperary County Council and IMMA, as part of the Museum’s National Programme, the exhibition has already met with an extremely positive response when shown in Clonmel and Ballina in 2009.
 
Meanwhile, the carefully-planned growth in the Collection continues with the acquisition in 2009 of 52 prints by the celebrated American-born artist Mary Farl Powers, generously donated by the artist’s family, and other donated works, including those by Lynda Benglis, Alan Phelan and a joint work by Seamus Heaney and Felim Egan.

This most welcome trend continues in 2010 with the gift of several works from the personal collection of artist Brian O’Doherty and art theorist Barbara Novak. The collection ranges across American art of the 20th century, particularly that of the 1960s and ‘70s, and includes the work of such celebrated artists as Edward Hopper, Jasper Johns and Robert Rauschenberg. An exhibition from the collection will open on 8 September. A further gift of some 30 fine art prints by the Graphic Studio Dublin, being made to mark the studio’s 50th anniversary, will also be celebrated with an exhibition, again opening on 8 September, highlighting the role of fine art printing in the development of contemporary Irish art.

From 14 January to 27 February William Hogarth’s famous prints, A Harlot’s Progress, from the Madden Arnholz Collection at IMMA, are being shown as part of City of Women, at The Lab, Foley Street, Dublin. Loans from the Collection will also travel to the Aldrich Contemporary Art Museum, Ridgefield, Connecticut; the Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles; the Musée de la Ville de Strasbourg and the Sprengel Museum, Hannover. Meanwhile, the five-year loan of 22 works by Irish artists to the Irish Embassy in The Hague continues until 2012.

Education and Community

The Education and Community programme continues to create access for all sectors of the public, and to work on specific projects to animate IMMA’s exhibitions and provide in-depth exploration of IMMA’s Collection throughout the year.

New initiatives include a series of themed art packs designed for children at primary school level which will be published throughout 2010 and 2011. Each pack will feature twelve A4-size images of artworks from the IMMA Collection, including written information on the artists and ideas stemming from the artworks. The contents are unbound so that the images can be used as a poster or as a visual resource in the classroom.

There will also be a special programme alongside the Altered Images exhibition to enable groups and individuals with disabilities to access the artworks through a variety of multi-sensory devices. To coincide with the exhibition, the Museum’s Gallery or Mediator staff have been trained to deliver tours using audio description, as a means of enhancing visitors’ experience further.

IMMA’s Talks and Lectures strand continues in 2010 with a diverse range of artist’s and curator’s talks, lectures and seminars, beginning on 16 February with a panel discussion in conjunction with the Jorge Pardo exhibition and a gallery tour by Anne Tallentire. The development of the very popular What is… series of introductory lectures, specifically designed for adults and third-level students, will continue to explore developments in contemporary art practice. Forthcoming talks will deal with installation art, relational art and public art. An information booklet which includes an overview of the topic, the presenter’s text, a reading list, glossary and resources list, has been produced to accompany each talk.

In addition to the new art packs and What is… booklets, publications will include Museum21, comprising the papers presented at IMMA’s 2008 international symposium of the same name, and the Winter Lecture presented by the distinguished Irish artist Anne Madden in 2007.

National and Artists’ Residency Programme

In addition to the exhibitions at IMMA, the Collection will also be shown in a number of arts centres and other locations around Ireland, as part of IMMA’s National Programme, an area in which the Museum has led the way as a truly national institution over the past 13 years. In April an exhibition of work from the Weltkunst Collection on loan to IMMA since 1994 takes place at the Crawford Art Gallery, Cork. This significant collection of British sculpture and drawings of the 1980s and ‘90s will return to the Weltkunst Foundation in 2010 and this will be the last showing of works from this collection.

In 2010 the programme will continue to develop its commissioning strand by supporting artists’ interventions in response to exhibitions such as Drawing: A performative action at the Cavan County Museum taking place in November. Exploring the physical nature of drawing the exhibition will include work from the IMMA Collection in a variety of media from traditional works on paper to performance work. Further projects with County Arts Offices will also be much in evidence in the coming year.

The Artists’ Residency Programme will host 15 artists, comprising a diverse group of individuals coming together to live and work at IMMA. Artists from Ireland, England, Scotland, Spain, Germany, USA, Mexico, Canada/Hong Kong and Japan will participate in 2010. The aim of the ARP is to generate a creative space for artists at a crucial point in their career and for the participating artists to leave IMMA with new experiences and networks that will enable them to further their practice. Each artist will also show their studio work in the Process Room for a two-week period during their time at IMMA.

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

27 January 2010

What happens next is a secret, an intriguing, experimental exhibition, opens to the public at the Irish Museum of Modern Art (IMMA) on Tuesday 26 January 2010. The exhibition attempts to address the question of what happens when artworks become part of a museum collection and are subsequently shown in many different contexts. Working from a potential list, the artworks will be changed during the course of the exhibition, with removals generating absences which call to mind gaps in our memory and point to the partially hidden nature of collections. Meanwhile, the introduction of works may draw out new and unexpected associations, and perhaps new narratives will emerge. Strategies such as repositioning works within the gallery will be used to alter the pace of the exhibition. Films from the IMMA Collection will be shown in a dedicated screening room. Due to the unpredictable changes which are inherent in the exhibition, a list of works will not be disclosed in advance.

A publication will be produced over the course of the exhibition, with the printing happening in four stages – the second stage will be printed directly on top of the first stage, and so on – resulting in chance over-printing. This will form a parallel with the layering of meanings generated in the gallery.

When a group of works is brought together for an exhibition, the possibility for new meaning is created – whether that is a new meaning generated between works, or implied by an overriding theme. This may be intentional or a free association may emerge as a result of a chance coming-together of ideas in the mind of the viewer.

While the exhibition will use mainly works from the IMMA Collection, a small number of works will be borrowed, directly from artists or from other collections. Such as Lawrence Weiner’s statement 021, 1968, which is on loan from the collection of Seth Siegelaub. Also on loan for the exhibition is The Museum Minus the Collection, 2005, by Frantiska + Tim Gilman which was made while they were on IMMA’s Artists’ Residency Programme. This work is an IMMA collection catalogue from which images of the artworks have been cut away creating an intricate lattice. The artists have said that “the holes in our memory define our minds, as windows help define a structure”. The negative spaces left by the absent images create a new structure within the book – each removal acting like a window framing further absences.

Donald Urquhart’s outdoor work Recurring Line is absent from view for most of the year. It is a site-specific work in the Meadow of the Royal Hospital site; home to the IMMA Collection. It is a drawing made annually in the landscape by the appearance of Galanthus Nivalis (snowdrops). During the course of the exhibition Urquhart will be making a related temporary wall drawing in the gallery titled In absentia.

Artists on IMMA’s Artists’ Residency Programme (ARP) will be invited to engage with the exhibition in a variety of ways, such as exploring methods of presentation or intervening in the exhibition by creating temporary works of their own. Past ARP resident Tine Melzer has made a new work in a hidden space, which has been discovered behind a false wall in the gallery. IMMA has commissioned a sound piece by Irish-based artist Russell Hart who will be working with Irish artist Karl Burke to produce a new work in response to the exhibition.

Continuing IMMA’s well-established Limited Edition series, Ilya + Emilia Kabakov have produced a limited edition print titled The Ghosts in the Morning which will be included in the exhibition and is available to buy online at www.immaeditions.com

The exhibition is curated by Marguerite O’Molloy, Assistant Curator: Collections, IMMA.

What happens next is a secret continues until 18 April 2010. Admission is free.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays, Good Friday 2 April: Closed

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

20 January 2010

An exhibition featuring film works from the Collection of the Irish Museum of Modern Art opens to the public at Friars Gate Theatre on Monday 7 December 2009. Prospect features five film-works which survey environments that bring together a range of perspectives – from the natural to the manmade, the intimate to the vast and the familiar to the unknown. Artists featured in the exhibition include Paddy Jolley, Clare Langan, Brian Duggan and Isabel Nolan. This exhibition marks the first occasion that Friars Gate Theatre and the National Programme have collaborated.

As part of the exhibition Irish artist John Beattie facilitated talks and workshops with local primary and secondary school groups. Resulting artworks are exhibited in the foyer space as part of Prospect. John Beattie frequently works in video, photography and drawing and his practice explores ideas and perceptions relating to the Artist, the Studio and the Audience (viewer, spectator, and participant) in various contexts such as the studio, the gallery, or in more socially engaged environments. The workshops are supported by the Department of Education and Science.

Paddy Jolley’s film-work, Hereafter, 2004, is the result of a commission from 2002 to make a film in Dublin’s north-side suburb of Ballymun – an area targeted for radical social and economic change due to Dublin City Council’s plan to regenerate the area by demolishing and rebuilding residential housing and services. As part of this plan, residents were requested to move from flats in tower blocks, which in many cases were their lifetime dwellings, to new contemporary houses. Jolley in collaboration with German artist, Rebecca Trost and Norwegian artist/animator, Lise Inger Hansen, focused on the freshly departed flats and the physical items left behind.

Clare Langan’s trilogy of films are shot on location between Ireland, Iceland and Namibia, the works explore the seemingly limitless forces of nature, tracing the path of a solitary figure through a post-apocalyptic landscape. Forty Below, 1999, depicts a world where the delicate balance of nature has been upturned. There appears to have been a flood and the familiar world is now submerged in water. There is a weightlessness, a lack of gravity, where time and place merge and the division between earth and sky become unclear. In Too Dark for Night, 2001, the second in the trilogy, there are again violent extremes of climate; in contrast to Forty Below this landscape is an arid one becoming engulfed by an ever-advancing desert. The final part of the trilogy, Glass Hour, 2002, is set in a deserted urban and industrial wasteland which shifts from the natural to the built environment. Smoking chimneys point to the possibility that the apocalypse suggested by all three films is man-made. However, the violence of nature is also present as an angry, fiery-red earth opens up ready to engulf the world.

In Brian Duggan’s work, the artist himself is the protaganist performing activities which are constrained and testing space even when undertaken in the great outdoors. Door, 2005, was made in the Burren, Co Clare, yet the artist has chosen the parameters of a window frame in a ruin in which to perform his feat. In Isabel Nolan’s work Sloganeering 1-4, 2001, notions of identity are explored using a white T-shirt on which Nolan repeatedly scribbles slogans. These slogans are underlined, added to and ultimately cast away as the artist takes off her shirt to start writing on a fresh one worn underneath. This work explores the complexities of identity and how it can be reduced to clichés, it also looks at how in today’s culture communication is often reduced to sound bites.

Friars Gate Theatre, Kilmallock has been operating successfully as a theatre and arts centre since October 1997. The theatre has a vibrant performing, visual and educational programme. Friars Gate is committed to the promotion of arts in their widest form and incorporate the significance of all forms of artistic expression and encourage the participation of all members of the community in activities which enrich appreciation of the arts.

Focusing on the Museum’s Collection, the National Programme facilitates offsite projects and exhibitions in a range of venues and situations throughout Ireland. The Museum aims to act as a resource at a local level through working in partnership and relying on the knowledge and concerns of the local community. Partner organisations are wide-ranging and include a variety of venues both in traditional art and non-arts spaces, allowing for far-reaching access and interaction. The National Programme in 2009 has been supported by the Department of Arts, Sports and Tourism.

Prospect continues until 27 January 2010.

Friars Gate Theatre, Sarsfield St., Kilmallock, Co. Limerick
Open: Monday – Friday 9.30am – 5.30pm and later on performance evenings. Other times by appointment.
Telephone: 063-98727
Website: www.friarsgate.ie

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

4 December 2009

An exhibition featuring artworks focusing on the human figure by Irish and international artists represented in the Irish Museum of Modern Art’s Collection opens to the public at Tallaght Community Arts on Tuesday 17 November. Figuring It Out includes artworks by Amanda Coogan, Antony Gormley, Isabel Nolan, Denis Oppenheim and Beverly Semmes. The exhibition is a continuation of Tallaght Community Arts and the Irish Museum of Modern Art’s long-standing partnership as part of IMMA’s National Programme. The exhibition marks the first occasion that they have worked together in the new Rua Red exhibition space. Since March students from Jobstown Community School have been working with Tallaght Community Arts and IMMA’s National Programme exploring the process of curating an exhibition. These students have assisted with the curation and delivery of Figuring It Out. Artworks made in response to the IMMA artworks by the students are also shown.

Born in Washington D.C. and based in New York City, Semmes worked as a performance artist and sculptor using the luxurious world of high fashion as a starting point. Incorporating highly sensuous materials, velvet, tulle, organza and lame – in colours ranging from the most delicate and transparent to the most opaque and intense, she fashions garments which become metaphors for the body and landscape. In 1995, Semmes was invited to design sets for a ballet. Inspired by the dance she began to create dresses which move, further emphasising the absent presence of the body within. Big Silver is one such piece. The work is attached to a motorised pulley so that it rises and subsides at regular intervals, mimicking the ballet dancer at the bar.

Antony Gormley’s sculptures take their starting point from the presence of the body or human form. Sick was cast in lead from the artist’s own body and is an early example of the ‘body case’ sculptures for which Gormley gained wide recognition. A further example of Gormley’s direct use of his body is a series of etchings, Body and Soul portfolio, the impressions having been sourced directly from Gormley’s body are also included in this exhibition. 

The basis of Amanda Coogan’s practice is the durational live performance where her powerful live events are fundamental to her videos and photographs. She aims to condense an idea to its very essence and communicate it through her body. The photograph, Medea, is taken from a three-hour performance which tells the secrets of the deaf community through Irish Sign Language. These are stories of oppression, humiliation, and sexual and physical abuse at the hands of the clergy. Born hearing to deaf parents, Irish Sign Language was Coogan’s first language and this has profoundly influenced her work. 

The central aim of the Irish Museum of Modern Art’s National Programme is to establish the Museum’s core values of excellence, inclusiveness and accessibility to contemporary art on a national level. Focusing on the Museum’s Collection, the programme facilitates offsite projects and exhibitions in a range of venues and situations throughout Ireland. IMMA aims to act as a resource at a local level through working in partnership and relying on the knowledge and concerns of the local community. Partner organisations are wide-ranging and include a variety of venues both in traditional art and non-arts spaces, allowing for far-reaching access and interaction.

The National Programme has been supported by the Department of Arts, Sport and Tourism.
The exhibition is accompanied by a series of workshops for primary schools supported by the Department of Education and Science.

Figuring It Out continues until Saturday 5 December 2009 in Tallaght Community Arts, RuaRed South Dublin Arts Centre, Civic Square, Tallaght, Dublin 24.

Opening Hours:
Monday – Saturday: 10.00am – 6.00pm

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

16 November 2009

An exhibition of 145 masterworks from the photographic collection of The Museum of Modern Art (MoMA) in New York, celebrating the architecture and life of that unique city from the 1880s to the present day, opens to the public at the Irish Museum of Modern Art on Wednesday 25 November 2009. Picturing New York draws on one of the most important collections of modern and contemporary photography in the world to celebrate the long tradition of photographing New York, a tradition that continues to frame and influence our perception of the city to this day. Presenting the work of some 40 photographers including such influential figures as Berenice Abbott, Diane Arbus, Garry Winogrand, Lisette Model, Alfred Stieglitz and Cindy Sherman, the exhibition features both the city and its inhabitants, from its vast, overwhelming architecture to the extraordinary diversity of its people.

The exhibition reflects photographers’ ongoing fascination with New York, a city whose vitality, energy, dynamism and sheer beauty have also inspired innumerable artists, writers, filmmakers and composers. New York’s unique architecture is explored, from elegant skyscrapers to small shop fronts; likewise the life of its citizens, from anonymous pedestrians to celebrities and politicians. The city’s characteristic optimism is caught time and again in these images, even in those taken in difficult times. Together, they present a fascinating history of the city over more than a century, from Jacob Riis’s 1888 view of bandits on the Lower East Side to Michael Wesely’s images taken during the recent expansion at MoMA.

The photographs reveal New York as a city of contrasts and extremes through images of towering buildings and tenements, party-goers and street-dwellers, hurried groups and solitary individuals. Picturing New York suggests the symbiosis between the city’s progression from past to present and the evolution of photography as a medium and as an art form. Additionally, these photographs of New York contribute significantly to the notion that the photograph, as a work of art, is capable of constructing a sense of place and a sense of self.

“I am thrilled that Picturing New York will be presented in Dublin—a city whose vitality, grit, and vibrant artistic community resonates with that of New York,” said Sarah Meister, Curator in MoMA’s Department of Photography, who organised the exhibition. “In addition, the layout and scale of the galleries at IMMA will allow this story – of New York and photography becoming modern together throughout the twentieth century – to unfold as if chapter by chapter.” 

Joe Duffy, Country Executive for Ireland, BNY Mellon, sponsors of the exhibition, added: “As the first New York bank, established back in 1784 under the leadership of Alexander Hamilton, we have a deep and abiding connection to this great city. Over the past 225 years our history has been inextricably linked to that of New York and we have seen at first hand the transformation of a city of some 30,000 inhabitants into the modern, iconic metropolis we know today. Our support of fine art and popular photography has long been a key element of our philanthropic endeavours and we are proud to support the Irish Museum of Modern Art in bringing such a marvellous exhibition to Dublin during this, our 15th year since first opening offices in this city.”

Picturing New York: Photographs from The Museum of Modern Art is organised by The Museum of Modern Art, New York, and is supported by The International Council of The Museum of Modern Art. It is curated by Sarah Meister, Curator, Department of Photography at MoMA. The exhibition was also presented at La Casa Encendida, Madrid, Spain (26 March to 14 June 2009) and the Museo di arte moderna e contemporanea di Trento e Rovereto, Italy, (11 July to 11 October  2009).

Discussion: Sarah Meister and Tod Papageorge
On Monday 23 November at 5.00pm MoMA curator Sarah Meister will introduce the exhibition Picturing New York, followed by an illustrated presentation by renowned American photographer Tod Papageorge, who will discuss key themes in his work and how they relate to specific works featured in the exhibition. The event will conclude with an open discussion. Admission is free, but booking is essential. Please book online on www.imma.ie. The lecture will take place in the Chapel at IMMA.

The exhibition is accompanied by a fully-illustrated catalogue produced by The Museum of Modern Art, which includes a foreword by Enrique Juncosa, Director, IMMA, an essay by Sarah Meister, and texts by notable New Yorkers.

Picturing New York continues at IMMA until 14 February 2010.

Admission: €5.00, concessions €3.00.
Admission free for under-18s, those in full-time education and on organised Museum programmes and IMMA members. Admission free for all on Fridays.

Sponsored by

 

Media partner: The Irish Times   

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays, 24 – 26 Dec & 28 Dec: Closed

Christmas opening hours:
Closed: Thurs 24 – Sat 26 Dec & Mon 28 Dec
Open: Sun 27 Dec and from Tues 29 Dec to Fri 1 Jan from 12noon – 5.30pm

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

12 November 2009

About BNY Mellon
BNY Mellon is the corporate brand of The Bank of New York Mellon Corporation. BNY Mellon is a global financial services company focused on helping clients manage and service their financial assets, operating in 34 countries and serving more than 100 markets. BNY Mellon is a leading provider of financial services for institutions, corporations and high-net-worth individuals, providing superior asset management and wealth management, asset servicing, issuer services, clearing services and treasury services through a worldwide client-focused team. It has $22.1 trillion in assets under custody and administration and $966 billion in assets under management, services $11.9 trillion in outstanding debt and processes global payments averaging $1.6 trillion per day.

Throughout our 225 year history, BNY Mellon has supported non-profit organisations addressing cultural awareness and access, economic vitality, education and urgent human needs.  We are proud to have worked with many of the world’s leading art, cultural and philanthropic institutions, and to have supported them with charitable investment, sponsorships and through the volunteer efforts of our employees.

Additional information is available at www.bnymellon.com

A public forum on the amalgamation of the Irish Museum of Modern Art, the National Gallery of Ireland and the Crawford Art Gallery in Cork, announced by the Government in 2008, will be held at the Irish Museum of Modern Art on Wednesday 18 November. The event is being organised by IMMA both as a means of exploring further the possible impact of the decision on the Museum and in response to the many queries which IMMA has received on the subject from visitors, artists, collectors and other stakeholders.

The forum aims to provide a cross section of perspectives on the amalgamation, both for and against, from a wide-ranging panel of speakers. In addition to drawing together the various strands of opinion on the issue, it will also make available the experience of international colleagues who have operated within, or been involved in setting up, an amalgamated structure and will give interested parties within Ireland the opportunity to contribute to the debate.

Speakers will include Sune Nordgren, founding Director of the National Museum of Art, Architecture and Design, Oslo; Michael Houlihan, Director General, National Museum Wales; artists Hughie O’Donoghue and Jaki Irvine; Noel Kelly, Director, Visual Artists Ireland, and gallery/studio directors Jerome Ó Drisceoil and Jacinta Lynch. Visual arts academics, Mike Fitzpatrick and Brian Fay, cultural policy analyst Pat Cooke and leading economist Jim Power will also speak, as will IMMA Chairperson, Eoin McGonigal, and Director, Enrique Juncosa. The forum, which will be chaired by Terry Prone, will end with a series of round table discussions in which all are invited to participate.

Commenting on the Museum’s reasons for organising the event, IMMA Director, Enrique Juncosa, said: “We believe that there is much to be gained from bringing together those who are best placed to offer an informed and engaged opinion on the amalgamation, be they visual arts professionals or members of the gallery-going public; also that their contributions will greatly assist us in mapping out the way ahead, whatever direction that may take.”

Admission to the forum is free, but booking is essential. Bookings can be made online, please click here, or by email on [email protected].
Booking closes on Monday 16 November.

See programme for the forum below.

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

6 October 2009

Programme

Date: Wednesday 18 November 2009

Venue: IMMA, Royal Hospital Kilmainham, Dublin 8

9.30      Participants arrive. Tea/coffee available

10.00    Chair, Terry Prone welcoming address

10.05    Eoin McGonigal, Chairperson, IMMA
          
10.15    Two international directors speak of their personal experience of operating within/setting up an amalgamated structure

             Michael Houlihan, Director General, National Museum Wales

             Sune Nordgren, Founding Director of the National Museum of Art, Architecture and Design, Oslo, currently Project Manager at the Kivik Art Centre and the Museum Vandalorum in Sweden

11.00    Noel Kelly, Director, Visual Artists Ireland
             Jacinta Lynch, Director, Broadstone Studios                         
             Patrick T Murphy, Director, Royal Hibernian Academy  
           
11.30    Tea/coffee

11.50    Jim Power, economist
              Pat Cooke, Director, School of Art History and Cultural Policy, University College Dublin

12.20    Mike Fitzpatrick, Head of School, Limerick School of Art and Design.
             Brian Fay, artist, lecturer and member of IMMA’s Artists’ Panel

12.40    Lunch (including time for media interviews)

13.45    Anthony Cronin, writer and Saoi of Aosdána

13.55     Hughie O’Donoghue, artist           
              Jaki Irvine, artist
              Jerome Ó Drisceoil, Director, Green on Red Gallery

14.25     Enrique Juncosa, Director, IMMA

14.40     Tea/coffee

15.00     Round table discussions (or general open questions and answers)

15.30     Feedback from round tables

16.00     Chair draws forum to a close, with summary of conclusions

An ambitious overview of the work of innovative Algerian/French artist Philippe Parreno opens to the public at the Irish Museum of Modern Art on Wednesday 4 November 2009. Philippe Parreno: November is a major solo exhibition comprising some 15 mixed-media works ranging from such seminal films as The Boy from Mars to installations such as Speech Bubbles. This exhibition is not merely a survey of previous works but is seen by Parreno as an opportunity to revisit and even refabricate older works in order to transform the gallery spaces at IMMA. The title, November, is a starting point for injecting life and energy into the exhibition as the newly adapted works are exhibited from the month of November. As part of the Irish Film Institute programme a new film by Philippe Parreno, 8 June 1968, 2009, will be screened for the first time in Ireland, along with his ground-breaking earlier film, Zidane, a 21st Century Portrait, 2006, made in collaboration with Scottish artist Douglas Gordon.

Philippe Parreno: November questions notions of time, reality and representation, as well as exhibition-making and performance. Parreno’s work develops from different sources ranging across art theory, philosophy, science fiction, popular culture and film, and adopting many different forms such as installation, performance, photography, drawing, sculpture and film. His practice is rooted in Conceptual Art and is highly experimental, dealing with issues surrounding the presentation of art, and also its interpretation and meaning. Parreno also questions the concept of authorship and has worked in collaboration with many artists. He belongs to a generation of highly influential artists from the 1990s, including Pierre Huyghe, Liam Gillick, Jorge Pardo, Rirkrit Tiravanija, Dominique Gonzalez-Foerster, Douglas Gordon and Carsten Holler. In 2006 he co-curated the experimental exhibition .all hawaii eNtrées / luNar reGGae at IMMA with Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA.

For his exhibition at IMMA Parreno has adapted existing works such as Orange Bay (After Gabriel Tarde’s Fragment of Future History), 2002, in which orange plexiglas is placed in the windows of the galleries creating an orange glow that bathes the space in a surreal light, transforming the way we see the exhibition spaces. While in Speech Bubbles, 2009, an installation of helium balloons, Parreno has changed the colour of the original work Speech Bubbles, 1997, from white to gold. The cartoon shaped speech bubbles, which where originally created to carry trade union slogans during a demonstration, appear in this installation as a cloud of bubbles, empty of words, collecting on the ceiling suggesting a potential or suspended discourse which may or may not occur.

The Irish Film Institute screening of two film-works by Parreno, 8 June 1968, 2009, and Zidane, a 21st Century Portrait, 2006, allows the viewer to see these films on large cinematic screens. Zidane, made in collaboration with Douglas Gordon, creates a real-time portrait of the soccer star Zinédine Zidane. Filmed during the course of a match between Real Madrid and Villareal on 25 April 2005 and using 17 cameras all trained on the title character, the film documents literally every movement Zidane makes for 90 minutes, resulting in an unique and immersive portrait of an athlete in action.

Born in Oran, Algeria, in 1964, Philippe Parreno lives and works in Paris. Recent solo exhibitions include Il Tempo Del Postino: A Group Show (with Hans Ulrich Obrist), Opera House, Manchester (2007), Le Cri ultrasonic de l’écureuil (with Ronn Lucas), Studio 28, Paris, France (2006); The Boy From Mars, Centre for Contemporary Art Kitakyushu (CCA), Kitakyushu, Japan (2006); Fade Away, Kunstverein Munchen, Munich (2004) and No Ghost Just a Shell (with Pierre Huyghe), Rosa de la Cruz Collection, Miami (2003). Recent collaborative exhibitions include Zidane, a 21st Century Portrait (with Douglas Gordon), Magasin 3, Stockholm (2008); Briannnnnn & Ferryyyyyy/Law Creativity (with Liam Gillick), Kunsthalle Zürich; Konsthall Malmo and Vamiali’s Athens (2006) and Rirkrit Tiravanija: No Vitrines, No Museums, No Artists, just a lot of People (with Rirkrit Tiravanija, Pierre Huyghe and Maurizio Nannucci), Telecom Italia Future Centre, Venice (2004).

In Conversation: Philippe Parreno and Rachael Thomas
Monday 2 November at 6.10 pm, Irish Film Institute
The IFI screening of two of Philippe Parreno’s film-works will be followed by an interview with Parreno, in conversation with Rachael Thomas, about these works and the influence of cinema on his work as an artist. This event takes place at the Irish Film Institute, 6 Eustace Street, Temple Bar, D 2. For further programme details and booking see the IFI website www.ifi.ie

The exhibition is an international collaboration between Kunsthalle, Zürich; Centre Pompidou, Paris, and Bard College, New York, where it will be shown in Spring 2010. For each venue Parreno has created different exhibitions in close dialogue with the curator.

Two publications accompany the exhibition, a comprehensive survey catalogue of Philippe Parreno’s work, including critical notes by Christine Macel, Chief Curator, Centre Pompidou, Paris, and the first chronological list of the artist’s works to date. It also includes an interview with the artist by independent curator Hans Ulrich Obrist, an essay by Maria Lind, Director, Centre for Curatorial Studies, Bard College, New York, and a work of fiction inspired by Parreno written by IMMA Director Enrique Juncosa. Price €49.00. Its companion book, Parade?, a children’s book, which features sixteen monsters inspired by Parreno’s work, created and illustrated by Johan Olander, with a storey written by the artist. Price €18.00. These books are produced by Centre Pompidou Editions and JRP Ringier.

The exhibition is supported by L’Ambassade de France en Ireland and Culture France.

Philippe Parreno: November continues at IMMA until 24 January 2010.

Admission is free.

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12noon – 5.30pm
Mondays, 24 – 26 Dec & 28 Dec: Closed

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

 28 October 2009