This exhibition, entitled Vision X, aims to bring together previously unseen works by new emerging Irish artists Aileen Murphy, Glenn Fitzgerald, Eleanor McCaughey and Brian Harte among others with more established international artists Thomas Noskowski, Joyce Pensato Norbert and Schwontkowski. The exhibition focuses on work that teeters on the edge of perception, dreamlike, sometimes awkward abstraction and subversive figuration that take the way we see apart and question our place in the world.
Artists included in the exhibition, Chantal Joffe, Anna Bjerger, Aileen murphy, Eleanor McCaughey, Glenn Fitzgerald, Kristina Huxley, Diana Copperwhite, Norbert Schwontkowski, Thomas Noskowski, Robert Armstrong, Dannielle Tegeder, Danny Rolph, Brian Harte, Marcus Cope, Joyce Pensato,
For the 2019 edition of Galway International Arts Festival, 126 Artist-run Gallery presents “Reforming” a duo exhibition by acclaimed Irish artist Diana Copperwhite and emerging Irish artist Ciara Barker. Reforming presents an exhibition infused with colour which explores notions of reality, abstraction and our sense of space, while placing two artists at different stages of career together. Admission is free and all are welcome.
“Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.”-Noel Kelly, Director of Visual Artist Ireland, (2011)
“Anatomy of time 3”
The wall print (Anatomy of time 3) is made using footage from mobile phone cameras sent by anonymous individuals and some friends in Galway. Taking 30 seconds as my only que, I looked and responded to the short films by quickly drawing the contours and shapes of fleeting images seen to create a composite of abstract pattern. This pattern was then taken, photographed and blown up to creat a 21 foot long x12 foot tall digital print. Essentially taking the tradition of mural painting and bringing its epic proportions back down to the mobile phone.
Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite’s work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.
TULCA Festival of Visual Arts TACTICAL MAGIC curated by Kerry Guinan
1-17 November 2019 Galway, Ireland
TULCA Festival of Visual Arts is pleased to announce the programme for this year’s iteration of the festival, TACTICAL MAGIC curated by Kerry Guinan, 1-17 November 2019.
Now in its 17th year, TULCA Festival of Visual Arts is a multi-venue, artist-centred festival of contemporary art in Galway City and County. The festival works with Ireland-based curators to present innovative exhibitions that provoke and energise audiences into the world of the Visual Arts.
TACTICAL MAGIC explores the theme of magic as it manifests in art, politics, and the sciences. Magic is herein understood as a practical, or tactical, device that allows us to control our reality. The Curator has taken inspiration from West of Ireland folklore to propose magic as a valuable intuitive practice, worthy of preservation in a securalising society.
To this end TULCA is delighted to share this year’s exciting programme of exhibitions and events, comprising 15 contemporary artists, 4 specifically commissioned projects, and 12 associated events across 14 venues in Galway. These include a socially-engaged commission by artist and folklore collector Michael Fortune in collaboration with the Skehana and District and Heritage Group, a large-format public art commission by Dublin collective SUBSET, and a new partnership and exhibition with Galway City Museum. Events range from an all-ages Weather-Reading workshop with Nikita Coulter in Nun’s Island Theatre to a black-metal-noise performance by the Bogs of Aughiska in the Roisin Dubh.
TULCA’s main festival gallery will be centrally located in the former An Post sorting facility off William Street, recently refurbished into an exhibition space by Galway International Arts Festival. Other venues include NUIG Gallery, Columban Hall, 126 Artist-run Gallery, Palas Cinema, The Hall of the Red Earl, Galway Arts Centre, Galway City Museum, Tuam Library / County Council Building, and Engage Art Studios Gallery.
“TACTICAL MAGIC sees art as a magical tool that allows us to access and create realities beyond our own. I am thrilled to announce a diverse programme of exhibitions and events which supports this theme and to welcome these excellent artists to Galway ” Curator Kerry Guinan.
TULCA Festival of Visual Arts is kindly supported by the Arts Council of Ireland, Galway City Council and Galway County Council.
Chelsea, New York: 532 Gallery Thomas Jaeckel is very honored to present Diana Copperwhite’s, The Clock Struck between Time, from April 30 to June 1, 2019. The opening reception is on Tuesday, April 30 from 6pm to 8pm, with the artist in attendance.
Copperwhite, who is based in Dublin, in these new paintings expands upon her concerns of figuration, abstraction, and representation with references both to time as it is observed and counted and to the temporality of music and memory. Her arresting critical approach to abstraction by way of a “computer-inflected visuality,” as suggested by Stephen Maine in his Hyperallergic 2017 review, suggests reality is a pliant screen and evokes the instability of images and the fragility of memories as metaphors for the precariousness of our present realities.