Okay, so it wasn’t the best of summers in Ireland weather-wise, but there was plenty of enjoyable creative activity for families happening indoors at IMMA. Mornings at the Museum, the hour-long family workshop, ran on Wednesday and Thursday mornings, starting during IMMA’s festival SUMMER RISING in June, and finishing during national Heritage Week at the end of August.
Ronan McCrea’s ‘Medium (Corporate Entities)’ was originally commissioned on the occasion of ‘10,000 to 50’, an exhibition celebrating the twentieth anniversary of Business to Arts, which took place at IMMA prior to the 2008 financial crisis. In 2013, ‘Medium (Corporate Entities)’ was purchased for the IMMA Collection. Here, McCrea writes on the history of the project and its latest iteration, currently on show as part of the ‘Fragments’ exhibition until July 26th. Continue reading
As the IMMA Collection show ‘Fragments’ enters its final weeks, artist Alan Phelan reflects on his involvement in the layout of the exhibition. Continue reading
Marguerite O’Molloy (Collections, IMMA) introduces the current exhibition: Fragments, which will run until 26 July. Fragments encompasses a wide variety of examples from the IMMA Collection, ranging from the 1950’s through to contemporary works recently acquired for the Collection.
This exhibition borrows its title from Philosopher Walter Benjamin’s comparison of the work of translation to re-assembling fragments of a broken vase – the individual fragments must come together, but need not be like each other. This could also be taken as an allegory for exhibition making, or collecting.
The exhibition includes the first-showing since their acquisition of a number of recent works by Irish artists, including The sky looks down on almost as many things as the ceiling, (2013) a wall based sculpture by Aleana Egan and commissioned works by Ronan McCrea and Alan Phelan. The latter two are lens-based works titled Medium (Corporate Entities) and Include me out of the Partisan Manifesto, which resulted from IMMA’s programme of temporary exhibitions. McCrea’s photographic enquiry into spaces where corporate art collections are hung, took place before the economic collapse.
Caoimhe Kilfeather’s newly acquired lead sculpture Abbreviation, (2011) joins works by Michael Warren, Shirazeh Houshiary, Brian King and Kathy Prendergast selected from the IMMA Collection. These works have an aesthetic and historic affinity with the sculpture and drawing of Gerda Frömel – whose retrospective, will be running concurrently in IMMA’s Garden Galleries.
GILBERT & GEORGE’s large-scale photowork Smoke Rising, (1989), Nigel Rolfe’sDance Slap for Africa, (1983) and will be shown along with other activist works or works with emphasis on performance including a film by Phil Collins and historic works by Marina Abramović.
Fragments will include a number of Subjectivist works by WW II imigrès, the White Stag artists, bequested by the late artist Patrick Scott to IMMA in 2014. Scott exhibited with the White Stag from 1941 and the group swopped each others paintings. The donation is particularly rich in key works by Kenneth Hall who was a close friend of Scott.
Now in her 85th year, Camille Souter’s works included in Fragments are among some of her finest works of the 1950s and 60s and show her interest in Miró, Klee, Jackson Pollock and Arte Povera. In 1958 Lucio Fontana bought two of her paintings.
A pioneer of Conceptual Art and author of the renowned Inside the White Cube, Brian O’Doherty / Patrick Ireland’s enduring obsession with themes of language, perception and identity are represented by a selection of his works from the IMMA Collection dating from 1954 onwards and include a major new Rope Drawing which is a recent gift to IMMA by the artist, entitled: The doors to good and evil and the windows to heaven – Christina’s World, Rope Drawing No # 124, 2015.
“It (the work) forms itself and it dissolves itself as the viewer moves around the space. They find moments of clarity where everything just snaps into form and when they move away from that point then everything returns to a sort of chaos.” Christina Kennedy, Senior Curator
In this video, Christina Kennedy (Senior Curator, IMMA) provides an in-depth look at a new rope drawing by Brian O’Doherty. The work, entitled The doors to good and evil and the windows to heaven – Christina’s World, Rope Drawing No # 124, 2015, was created specifically for the IMMA space and is on display as part of the IMMA Collection exhibition ‘Fragments.’ Also included is a fascinating insight into the collaborative process between O’Doherty and Kennedy as they planned the work from the artists’ studio in New York.
Brian O’Doherty’s The doors to good and evil and the windows to heaven – Christina’s World, Rope Drawing No # 124, 2015, is on display as part of IMMA Collection: Fragments from 1 May to 26 July 2015.
Image: Brian O’Doherty, The doors to good and evil and the windows to heaven-Christina’s world, Rope Drawing # 124, March 2015, Site-specific installation, nylon cord, water-based house paint, Dimensions variable, Collection Irish Museum of Modern Art. Photo: Denis Mortell