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IMMA – Irish Museum of Modern Art


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Calling Participants! CVLTO DO FVTVRV comes to IMMA as part of ‘Wilder Beings Command!’

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Artist Stephan Doitschinoff, currently exhibiting at IMMA as part of As Above, So Below: Portals, Visions, Spirits & Mystics, will return to IMMA this July to present the CVLTO DO FVTVRV procession, a parade conceived in partnership with philosophical society CVLTO DO FVTVRV. The parade will be part of an exciting outdoor evening of performances at IMMA titled Wilder Beings Command! 

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The Gordon Lambert Archive Project

In the first of two blogs Ciara Ball introduces Gordon Lambert and his life as a collector and art lover before a selection of material from his archive goes on display for National Heritage Week. Ciara Ball is a Member of IMMA’s Visitor Engagement Team. Ciara is working with Nuria Carballeira, Assistant Curator of IMMA’s Collections Department on the Gordon Lambert Archive, IMMA’s first significant archive project funded with help from The Heritage Council.

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Gordon Lambert at home with his Collection

Gordon Lambert was one of the first and most generous supporters of IMMA since the campaign for its creation began in the late 1980s. His private collection of over 300 artworks was gifted in stages to the IMMA Collection following its opening in 1991 and includes many well-loved pieces now familiar to our regular visitors. Since 2005 IMMA has also held Gordon’s expansive art library and archive containing letters, cards, photographs, printed material and ephemera collected over six decades. With the help of a grant from the Heritage Council we have now begun the absorbing task of cataloguing this fascinating resource.

Gordon Lambert studied accounting at Trinity College, Dublin. In 1944 he entered the biscuit manufacturing firm W&R Jacob and began a lifelong career in which he would serve the company as Chief Accountant, Marketing Director, Managing Director and finally Chairman from 1977. It was also in the 1940’s that Gordon met Cecil King who in turn introduced him to a large circle of artists and gallerists, many of whom were to become friends and contributors to his budding collection. Meetings in the Robt. Roberts Cáfe on Grafton Street led to soirées at King’s Pembroke Road home and acquaintance with an artistic circle including Oliver Dowling, Patrick Hennessy, Henry Robertson Craig and gallerist David Hendriks.

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Archive material from Gordon Lambert Archive, Photo: Chris Jones

Gordon bought his first painting Pont du Carrousel (1954) by Barbara Warren in 1954. This was followed by Aperitif (c.1956) by Henry Robertson Craig and Patrick Hennessy’s Boy and Seagull (c.1954), recently included in the very popular exhibition Patrick Hennessy: De Profundis. During the 1960s he continued to support Irish artists while also adding significant international names to his collection. The many friends who congregated in his Rathfarnham home Continue reading


‘Ogle’ A new poem by Doireann Ní Ghríofa after Carol Rama’s ‘L’Isola degli occhi’

Doireann Ní Ghríofa is a bilingual writer working both in Irish and English. She frequently participates in cross-disciplinary collaborations, fusing poetry with film, dance, music, and visual art. We are delighted to be able to publish, for the first time, a new work by Doireann written in response to the current retrospective of Carol Rama here at IMMA (closing 1 Aug 2016). Doireann introduces the work below, and the poem follows.


 

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Pictured here on the far right is Carol Rama, L’isola degli occhi (The Island of Eyes), 1967, Plastic eyes, synthetic resin and enamel on canvas, 120 x 160 cm, Private Collection, Installation view at IMMA, photo Denis Mortell.

An Island of Eyes

A first encounter with the work of Carol Rama is a shock, a visceral jolt, an astonishment. As I walked through IMMA’s retrospective of Carol Rama’s life work, I was reminded of a quote by Philip Larkin– “Poetry is nobody’s business except the poet’s, and everybody else can f*** off.” Plucky and boisterous as she was (and no stranger to poetry herself), I feel that Carol Rama would have enjoyed this quote as applied to her art, in fact I can almost imagine the spark in her eye, her hoarse chuckle.

Yet despite the irreverence of that quote, Carol Rama’s work is our business, for it challenges us, it provokes us, it questions us. If art can be considered a reflection then Rama’s work is particularly human, for here we are, in each piece, flawed and messy, muddled and bizarre. Here is the life-work of a woman with guts. Rama is an artist who was driven by her loyalty to the depiction of desire, and to the bodily urge to make and to create. Each work is a challenge, a dare. It isn’t pretty. Rather, Rama is driven to attend to her own instincts, bloody and filthy, foul and true. There is little sense here of attempting to pander to an audience, or seeking approval. Nothing about Rama is easy.  It’s difficult to gaze into the glorious mess of the human psyche. Continue reading


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Gallery Voices: Touching, intriguing, descriptive, upsetting, a response to The Passion According to Carol Rama

In our Gallery Voices series Evy Richard, from our Visitor Engagement Team, takes us on an insightful journey through the exhibition The Passion According to Carol Rama exploring the extraordinary life and work of Italian artist Carol Rama.

The exhibition is now in its final week ending this Bank Holiday Monday 1 August.
Admission Free.


 

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Carol Rama in her atelier home, Turin, ©Photo: Pino Dell’Aquila, 1989. © Archivio Carol Rama, Torino

A tour of this exhibition is like having a chat. The curators at IMMA have tried to replicate the artist’s apartment in Turin, Italy, where she lived like a recluse for most of her life, until her death on the 25th of September last year. Meandering from room to room, through corridors and passing alcoves is also like being on a journey, discovering the nooks and crannies of Rama’s home.

It is quite dark, lit low and black walls face you at mid corridor.

And the title, The Passion. Double meaning here? The deep impulse to create, paint, draw, no matter what, where nor with what. The main emotion running through 80 odd years of this artist’s life. Maybe also the spiritual Passion, a transcending pain, exposure, the spiritual battle to overcome a lowly “human condition”.

Born in 1918 into an affluent industrialist family, she started drawing at 14 and “ I never stopped, never” (Carol Rama). Her life takes a u-turn when her mother (also maybe her grand-mother?) is interned in a psychiatric hospital. Family conflict, business ruin, a father ousted as homosexual, his suicide? The conjectures are still rife as Carol herself kept a firm and unpredictable rein on her own history. Her death last September may now open more windows into her life. Continue reading


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Artist’s Voice: Memorial Gardens

IMMA recently invited writer Sue Rainsford to respond to Niamh O’Malley’s The Memorial Gardens, 2008, which is featured in our current exhibition IMMA Collection: A Decade. The response is in the context of Art | Memory | Place, a year-long programme focusing on artists whose work addresses themes relating to memory and place. 

Made in 2008, while participating in IMMA’s Artist Residency Programme, The Memorial Gardens by Niamh O’Malley is an installation comprising footage taken at the National War Memorial Gardens in Islandbridge, Dublin, projected onto oil on etched-primed aluminium.


Niamh O'Malley, 'The Memorial Gardens', 2008, Video projection, oil on etched-primed aluminium, Duration: 7min.22 sec. loop, 140 x 250 x 5.5 cm, Collection Irish Museum of Modern Art, Purchase | 2010

Niamh O’Malley, ‘The Memorial Gardens’, 2008, Video projection, oil on etched-primed aluminium, Duration: 7min.22 sec. loop, 140 x 250 x 5.5 cm, Collection Irish Museum of Modern Art, Purchase | 2010

What can we ascertain of the human gaze and the shadow it casts? Or of memory, that diaphanous veil that shrouds even the most vibrant recollections? Continue reading