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IMMA is delighted to present a major Freud research symposium that explores the themes, methods, motivations, and multifaceted contexts of Lucian Freud’s work, in particular in relation to his importance to contemporary art practice, research, discourse and curating.

Speakers include: Catherine Lampert / Elena Crippa / Brian Dillon / Christina Kennedy / Daphne Wright / Nick Miller / Angela Griffith / Niamh Campbell / Nathan O’ Donnell / Trisha Brennan / Laura Fitzgerald / Richard John Jones / Sue Rainsford / John Lalor.

Programmed in association with TRIARC – Trinity College Dublin.


On the day a dynamic range of speakers will present their contemporary perspectives on the role of painting in art today; the anthropological, psychological and ethnographic content that Freud’s work elicits. They will also revisit post-war art contexts and Freud’s lesser-known relationship to Ireland; including a creative network of other artists and writers.

In ‘Rethinking Freud & The Contemporary’ the symposium takes its cue from several exhibition themes explored within the current exhbition ‘IMMA Collection: Freud Project, The Ethics of Scrutiny, Curated by Daphne Wright’ in which to consider the human condition, the body, materiality, gender, the artist gaze, intimacy versus detachment, as well as the ethics of representation and shifts in meaning and identity over time. The symposium aims to identify key topics of debate that continue to resonant with the thinking and making of art today, and considers the potential that the work of Freud brings to prospective art research and audience.

Delegates will receive a full itinerary listing speakers’ presentations, panel discussions and entry to the IMMA Collection Freud Project: The Ethics of Scrutiny, curated by Daphne Wright.

Tickets cost €6.00 which includes booking fees and tea/coffee as well as complimentary exhibition entry.

You may visit The Ethics of Scrutiny, Curated by Daphne Wright anytime from 29 March to the 29 April 2018 inclusive. You will receive a code in the booking email for your symposium ticket which will allow you to book your preferred date and time online, for free.


Catherine Lampert is an independent Curator and Art historian. She is Visiting Professor, University of the Arts. Lampert has curated numerous exhibitions at the Hayward Gallery, the Royal Academy of the Arts, and the Whitechapel Gallery, where she was director from 1988 through 2001. She was co-curator of Bare Life. London artists working from life 1950-80 which was shown in Munster last year. Lampert is the author of many books, including Francis Alӱs, the Prophet and the Fly (2003), Euan Uglow. The Complete Paintings (2007) and Frank Auerbach: Speaking and Painting (2015) Peter Doig by Richard Shiff (Author),‎ Catherine Lampert (Author) 2011. Lampert is intimately familiar with Auerbach’s practice, having sat for portraits by the artist since 1978.

Elena Crippa is Curator, Modern and Contemporary British Art Work at Tate, and is curator of the current exhibition, All Too Human, presented at the Tate Britain. As Curator, Modern and Contemporary British Art, Crippa works with the team of Curators and Assistant Curators responsible for the development of and research into Tate’s holdings of artworks from the twentieth century, with a focus on the period 1940–80. She previously taught in various universities, worked as a Lecturer and co-Pathway Leader on the MRes Art: Exhibition Studies at Central Saint Martins, London, and organised exhibitions as a freelance curator, working as part of the curatorial collective RUN and as Associate Director of Exhibitions at the Lisson Gallery in London. She joined Tate 2014.

Christina Kennedy is Senior Curator: Head of Collections at the Irish Museum of Modern Art (IMMA) since 2008. Prior to that she was Head of Exhibitions at Dublin City Gallery the Hugh Lane (DCGHL) for 10 years. She has curated and co-curated many exhibitions, edited publications and contributed texts to numerous catalogues, notably: Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland, DCGHL, 2006; The Studio, co-curated with Jens Hoffmann, DCGHL, 2007; Tacita Dean, DCGHL, 2007; The Burial of Patrick Ireland, IMMA, 2008; The Moderns: The Arts in Ireland from 1900s – 1970s, IMMA, 2010-2011, co-curated with Enrique Juncosa, (co-edited publication); Postwar American Art: the Novak/O’Doherty Collection, IMMA 2010; Hello Sam by Brian O’Doherty, National Gallery of Ireland as part of Dublin Contemporary, 2011; Changing States: Contemporary Irish Art & Francis Bacon’s Studio, Bozar Centre for Fine Arts, Brussels, co-curator, 2013, Art as Argument : Brian O’Doherty and the Novak O’Doherty Collection, Kunstmuseum Bayreuth, 2013. Patrick Scott: Image, Space, Light, IMMA 2014; Lucian Freud Project at IMMA 2016-2021, Lead Curator.Key early projects include: archaeological team member for the removal of Francis Bacon’s Studio from London to DCGHL, 1998; curatorial coordinator of Francis Bacon in Dublin exhibition, 2000.

Brian Dillon is a Writer and Critic, and UK editor of Cabinet magazine. He is the author of several books of criticism, fiction, memoir and creative nonfiction. He contributes regularly to art magazines, newspapers and journals in the UK, USA and Ireland. Brian Dillon studied English and Philosophy at University College Dublin and Trinity College Dublin, before completing a PhD in English at the University of Kent in 1999. His thesis was on conceptions of time in twentieth-century literary criticism and theory, and dealt primarily with the work of Walter Benjamin, Roland Barthes, Paul de Man, Jean-François Lyotard and Giorgio Agamben. He taught in the School of English at Kent until 2004, when he became a full-time freelance writer. Brian Dillon’s first book, a memoir entitled In the Dark Room (Penguin, 2005), won the Irish Book Award for non-fiction. His second, Tormented Hope: Nine Hypochondriac Lives (Penguin, 2009) was shortlisted for the Wellcome Trust Book Prize. In 2008, he was awarded an AHRC Fellowship in the Creative and Performing Arts. His project, based at the University of Kent, ran from 2008 to 2011 and was entitled ‘Ruins of the Twentieth Century’. Its outcomes included a novella, Sanctuary (Sternberg Press, 2011); an anthology of artists’ writings, Ruins (Whitechapel Gallery/MIT Press, 2011); Ruin Lust, an exhibition at Tate Britain in 2014, and accompanying catalogue.

Daphne Wright is represented by Frith Street Gallery, London, and was elected as a member of the Aosdána, in 2011. She lives and works in Dublin and Bristol. Wright has exhibited extensively in England and Ireland since 1994, with solo exhibitions at many venues including, Prayer Project: The Davis Museum at Wellesley College, Massachusetts.2017. USA, Where Do Broken Hearts Go, Douglas Hyde Gallery, 2002, Nonsense with Death, Sligo Art Gallery, 2001, and Daphne Wright, Limerick City Art Gallery, 2006, Cornerhouse, Manchester, 1994, The New Art Centre Sculpture Park and Gallery and The Lowry, 2001. She has also participated in various group exhibitions at the Hamburger Kunsthalle, 2008, the Institute of Contemporary Art, Boston, 2000, P.S.1, New York, 1999, Ikon Gallery, Birmingham, 1997, and Tate Liverpool, 1995. Commissions include Ham House, Trust New Art, Hanbury House, Worcester and Carlow County Council, South Tipperary County Council, Arts Council of Ireland and Cork City Council. In 1996-97, Wright was recipient of the Paul Hamlyn Foundation Award. Works by the artist are held in the following collections: Gallery of Modern Art, Glasgow; Hamburger Kunsthalle, Hamburg; Arts Council of Ireland Irish Museum of Modern Art, Dublin; Rhode Island School of Design Museum; Towner Art Gallery, Sussex and private collections in Ireland and the UK.

Dr Angela Griffith is an Assistant Professor with the Department of the History of Art and Architecture, Trinity College Dublin. Her research examines the history, contexts and theories of the printed image in Britain and Ireland from the beginnings of modernist fine art printmaking in the 1850s to contemporary multidisciplinary print practices. Select publications include; co-editor and contributor with Roisin Kennedy & Marguerite Helmers, Harry Clarke & Artistic Visions of the New Irish State (Dublin: Irish Academic Press) – forthcoming (2018); ‘To-morrow’s artist: Cecil ffrench Salkeld and an Irish modernist periodical’, in P. Coleman, K. Milligan and N. O’Donnell, eds. BLAST at 100, (Leiden: Brill) (2017); ‘Extra, Extra, read all about it … negotiating printmaking in the Post-Print Age: imPRESS a perspective from Ireland’ from imPRESS [noun – the act of marking a mark or leaving an impression (Cork: Cork Printmakers) (2015).

Trisha Brennan is a member of IMMA’s Visitor Engagement Team. She completed a joint degree in Visual Communication and History of Art & Design at NCAD and later studied Painting at the Accademia di Belle Arti, Florence, where working from the model was central to the course.

Niamh Campbell is an Irish Research Council Postdoctoral Fellow at the University of Maynooth. Her creative writing has been funded by the Arts Council of Ireland, and her work has appeared in The Dublin Review, The Penny Dreadful, 3:AM Magazine, gorse, Banshee, and Tangerine.

Nathan O’ Donnell is an IRC Enterprise Postdoctoral Research Fellow, based between IMMA & TRIARC, as part of the Freud Project. He is a writer of fiction and criticism, with a scholarly specialism in twentieth century British art and magazine publishing. He is also one of the co-editors of the Irish journal of contemporary art criticism, Paper Visual Art. He is currently editing the scholarly edition of BLAST for the Oxford University Press Collected Works of Wyndham Lewis, and his first book, on Wyndham Lewis’s art criticism, is forthcoming from Liverpool University Press. He has published short stories, articles, and essays widely in art and literary magazines, and he teaches as part of the MA/MFA Art in the Contemporary World at NCAD.

Artist Nick Miller attended the University of East Anglia, graduating in Development Studies in 1984. Miller moved to Ireland in 1984, A member of Aosdána since 2001, he lives and works in Co Sligo. In 2014 Miller won the inaugural Hennessy Portrait Prize at the National Gallery of Ireland.

John Lalor, Irish artist, born in Dublin, 1961, has lived in Paris for the last thirty years. Lalor’s work comprises paintings in multiples, entitled the Democratic Paintings Series. He builds scaled models and publishes texts which are also incorporated into his exhibitions. Lalor’s painting series and film Forward Pass were shown by Pallas Contemporary Projects in 2008. A work by him, entitled stereo jlg/the editing of the trailer, a serialized text piece based on the director Jean-Luc Godard, was published in the Irish Times during 2010. Its seventh and concluding episode appeared in Dublin’s Oonagh Young Gallery. Lalor’s work is viscerally bound to cinema. His film (moyen métrage 35 mm) INCIDENT URBAIN toured international film festivals and received special mention at Tribeca Festival New York 2014. Lalor’s poem BIGGER THE BRUSH was written in 2016 for the IMMA Collection: Freud Project and was narrated by Lalor as part of the recently broadcast BBC Radio 4 Series The Gamble in Low Life, an episode about Lucian Freud and the connection between risk and creativity.

From the IMMA Freud Residency

Laura Fitzgerald is an artist who uses a humorous lens that points to problematic and absurd aspects within complex political and personal situations. Her work reveals both the difficulty of proposing a solution and is yet interested and driven by a multiplicity of options or proposals for new imaginative states. Fitzgerald is curious about the similarities drawn through the act of portraiture, whether of landscape or of a person, and how these attempts at portraiture often penetrate the inner world of oneself, the artist.

Richard John Jones’ work is concerned with the interaction between visual forms of representation/abstraction and political forms of recognition and marginalisation. Performances, and a critical approach to their documentation, are central to his work and inform his use of fabric, print, domestic craft techniques, installation and live performance. Jones is a graduate of Central Saint Martins, London and the Sandberg Instituut, Amsterdam and until 2012 was a Co-Director of Auto Italia South East, London. His work has been shown at the Irish Museum of Modern Art (IMMA), Dublin, Museum of Modern Art, Medellin (MAMM), EYE Film Museum, Amsterdam; Rond Point Projects Room, Marseille, SPACE, London and the Gwangju Biennial in collaboration with AA Bronson. He is currently a recipient of the IMMA Freud Project Residency, Dublin

Bridget O’Gorman is a visual artist working with video, object and live event, her methods focus upon connecting the corporeal to the inanimate. A graduate of Edinburgh College of Art, recently she has had solo exhibitions at the Butler Gallery, VISUAL, the Galway Arts Centre & the Lab Gallery, Dublin. She is the recipient of multiple awards including the Visual Arts Bursary ’14 & ’16 and the Wexford Emerging Artist Award. She recently completed new work as part of a year-long funded fellowship with Birmingham School of Art UK, and has been supported through residencies at Fire Station Artists’ Studios Dublin and the National Sculpture Factory, Cork city.

Sue Rainsford is a writer and researcher based in Dublin. Her practice is concerned with hybrid, lyric and embodied texts, explicit fusions of critical and corporeal enquiry, as well as with experiences that alter our understanding of flesh. A graduate of Trinity College and IADT, in January 2017 she completed her MFA in Writing & Literature at Bennington College, Vermont. Recent projects include Entirely hollow aside from the dark, a site-specific, psycho-acoustic installation made in collaboration with Alan James Burns, and three commissioned essays, Scream i, Scream ii & Scream iii, written for TULCA 2017. She is the recipient of the VAI/DCC Critical Writing Award 2016/2017. Her novel, Follow Me To Ground, is forthcoming with New Island Books in May 2018


All previous talks related to the IMMA Collection: Freud Project 2016 – 2021 are available on IMMA’s Soundcloud Channel