Home - Exhibition

Willie Doherty (Photographer)

Research output: Non-textual formExhibition

2 Citations (Scopus)

Abstract

In addition to a selection of recent video works "The Amnesiac" (2014), "Remains" (2013) and "Buried" (2009) the exhibition will present a new video work, which will be on view at Villa Merkel for the first time. The exhibition will also include a number of new photographic works and a selection of works from the recent past.

These latest works will continue Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.

Our Attention shifts from day to night and from urban areas to natural sites, from panorama to close-up. The camera seems to wander from the familiar path and to lead us into blind alleys or dead spaces.

Between the opposing poles of authenticity and fiction, his videos explore the possibilities and conditions of the filmic apparatus, drawing on genres as action film, auteur film, and documentary. In a visual sense he also uses a technique which is comparable to a criminal novel: He increases the indistinguishability between a concrete threat and a mental state, the fear of nothing, the fear of the indefinite. Narrative structures and possibilities of interpretation remain unsettled. Willie Doherty‘s photographs and videos force us to deal with the fact that we can no longer trust the image.

Fingerprint

Photography
Night
Auteur
Surveillance
Threat
Northern Ireland
Authenticity
Willie Doherty
Narrative Structure
Documentary
Panorama
Close-up
Action Film
Urban Areas
Mental State
Fiction
Meditation
Indistinguishability

Cite this

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title = "Home - Exhibition",
abstract = "In addition to a selection of recent video works {"}The Amnesiac{"} (2014), {"}Remains{"} (2013) and {"}Buried{"} (2009) the exhibition will present a new video work, which will be on view at Villa Merkel for the first time. The exhibition will also include a number of new photographic works and a selection of works from the recent past. These latest works will continue Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.Our Attention shifts from day to night and from urban areas to natural sites, from panorama to close-up. The camera seems to wander from the familiar path and to lead us into blind alleys or dead spaces.Between the opposing poles of authenticity and fiction, his videos explore the possibilities and conditions of the filmic apparatus, drawing on genres as action film, auteur film, and documentary. In a visual sense he also uses a technique which is comparable to a criminal novel: He increases the indistinguishability between a concrete threat and a mental state, the fear of nothing, the fear of the indefinite. Narrative structures and possibilities of interpretation remain unsettled. Willie Doherty‘s photographs and videos force us to deal with the fact that we can no longer trust the image.",
author = "Willie Doherty",
note = "Willie Doherty (b.1959, Derry, Northern Ireland) continues to live and work in Derry. His native landscape has been the focus of his work since his black-and-white photographs from the early 1980s. Doherty became known for his photographs overlaid with text, which dealt directly with the language of conflict as it relates to representation of place. He now works primarily in video, and continues with mediations on the changing political landscape of Northern Ireland. Doherty’s photography and video installations have been included in numerous international exhibitions such as “Cocido y Crudo” at Museo Nacional Centro de Arte Reina Sofia, Madrid (1994); “1999 Carnegie International,” Pittsburgh; “XXV Bienal de S{\~a}o Paulo” (2002); the “Venice Biennale” (2007); “dOCUMENTA” (13), Kassel. He has been nominated twice for the Turner Prize; once in 1994 and again in 2003. In 2006, his work was the subject of a video survey exhibition organized by Laboratorio Arte Alameda in Mexico City and, in 2007, the St{\"a}dtische Galerie im Lenbachhaus und Kunstbau in M{\"u}nich and Kunstverein in Hamburg collaborated on an exhibition and catalogue, “Willie Doherty: Anthology of Time-Based Works.” In 2010, Doherty filmed for the first time outside of Ireland and this work, ‘SEGURA’ was shown at “Manifesta 8” in Murcia. In 2016, Villa Merkel in Esslingen exhibited several recent and new video works by Doherty. In 2011, his work was the subject of one-person exhibition at Dublin City Gallery, The Hugh Lane. “One Place Twice: Photo/Text/85/92,” Doherty’s exhibition of early black-and-white photographs was on view at Alexander and Bonin in 2012. From 2013 – 2014 a major survey exhibition of Doherty’s video and photographic works “UNSEEN” was organized by the City Factory Gallery, Dublin and traveled to the Museum De Pont, Tilburg. In 2015, CAM- Funda{\cc}{\~a}o Calouste Gulbenkian, Lisbon presented “Again and Again,” a major solo exhibition of Doherty’s video and photographic works. In 2017, the artist shot a new video work on location in Braddock, PA. This work was included in “so it is”, an exhibition of seven Irish artists at the Mattress Factory in Pittsburgh. Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including Neue Galerie, Museumslandschaft Hessen Kassel (2013), The Annex, IMMA, Dublin (2013), Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012), Towner Gallery Eastbourne (2012) Dublin City Gallery, The Hugh Lane (2011) The Speed Art Museum, Kentucky (2011), Institute of Contemporary Art, Toronto (2009), Fruitmarket Gallery, Edinburgh (2009), Lenbachhaus, M{\"u}nchen (2007), Kunstverein, Hamburg (2007), Laboratorio Arte Alameda, Mexico City (2006), Irish Museum of Modern Art, Dublin (2002). Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Group shows include Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale 2007, 2005 and 1993, Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).",
year = "2016",
month = "2",
day = "14",
language = "English",

}

Doherty, W, Home - Exhibition, 2016, Exhibition.
Home - Exhibition. Doherty, Willie (Photographer). 2016. Event: Home, Villa Merkel Galerien der Stadt Esslingen am Neckar Pulverwiesen 25 73726 Esslingen am Neckar, Esslingen, Germany.

Research output: Non-textual formExhibition

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N1 - Willie Doherty (b.1959, Derry, Northern Ireland) continues to live and work in Derry. His native landscape has been the focus of his work since his black-and-white photographs from the early 1980s. Doherty became known for his photographs overlaid with text, which dealt directly with the language of conflict as it relates to representation of place. He now works primarily in video, and continues with mediations on the changing political landscape of Northern Ireland. Doherty’s photography and video installations have been included in numerous international exhibitions such as “Cocido y Crudo” at Museo Nacional Centro de Arte Reina Sofia, Madrid (1994); “1999 Carnegie International,” Pittsburgh; “XXV Bienal de São Paulo” (2002); the “Venice Biennale” (2007); “dOCUMENTA” (13), Kassel. He has been nominated twice for the Turner Prize; once in 1994 and again in 2003. In 2006, his work was the subject of a video survey exhibition organized by Laboratorio Arte Alameda in Mexico City and, in 2007, the Städtische Galerie im Lenbachhaus und Kunstbau in Münich and Kunstverein in Hamburg collaborated on an exhibition and catalogue, “Willie Doherty: Anthology of Time-Based Works.” In 2010, Doherty filmed for the first time outside of Ireland and this work, ‘SEGURA’ was shown at “Manifesta 8” in Murcia. In 2016, Villa Merkel in Esslingen exhibited several recent and new video works by Doherty. In 2011, his work was the subject of one-person exhibition at Dublin City Gallery, The Hugh Lane. “One Place Twice: Photo/Text/85/92,” Doherty’s exhibition of early black-and-white photographs was on view at Alexander and Bonin in 2012. From 2013 – 2014 a major survey exhibition of Doherty’s video and photographic works “UNSEEN” was organized by the City Factory Gallery, Dublin and traveled to the Museum De Pont, Tilburg. In 2015, CAM- Fundação Calouste Gulbenkian, Lisbon presented “Again and Again,” a major solo exhibition of Doherty’s video and photographic works. In 2017, the artist shot a new video work on location in Braddock, PA. This work was included in “so it is”, an exhibition of seven Irish artists at the Mattress Factory in Pittsburgh. Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including Neue Galerie, Museumslandschaft Hessen Kassel (2013), The Annex, IMMA, Dublin (2013), Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012), Towner Gallery Eastbourne (2012) Dublin City Gallery, The Hugh Lane (2011) The Speed Art Museum, Kentucky (2011), Institute of Contemporary Art, Toronto (2009), Fruitmarket Gallery, Edinburgh (2009), Lenbachhaus, München (2007), Kunstverein, Hamburg (2007), Laboratorio Arte Alameda, Mexico City (2006), Irish Museum of Modern Art, Dublin (2002). Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Group shows include Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale 2007, 2005 and 1993, Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).

PY - 2016/2/14

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N2 - In addition to a selection of recent video works "The Amnesiac" (2014), "Remains" (2013) and "Buried" (2009) the exhibition will present a new video work, which will be on view at Villa Merkel for the first time. The exhibition will also include a number of new photographic works and a selection of works from the recent past. These latest works will continue Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.Our Attention shifts from day to night and from urban areas to natural sites, from panorama to close-up. The camera seems to wander from the familiar path and to lead us into blind alleys or dead spaces.Between the opposing poles of authenticity and fiction, his videos explore the possibilities and conditions of the filmic apparatus, drawing on genres as action film, auteur film, and documentary. In a visual sense he also uses a technique which is comparable to a criminal novel: He increases the indistinguishability between a concrete threat and a mental state, the fear of nothing, the fear of the indefinite. Narrative structures and possibilities of interpretation remain unsettled. Willie Doherty‘s photographs and videos force us to deal with the fact that we can no longer trust the image.

AB - In addition to a selection of recent video works "The Amnesiac" (2014), "Remains" (2013) and "Buried" (2009) the exhibition will present a new video work, which will be on view at Villa Merkel for the first time. The exhibition will also include a number of new photographic works and a selection of works from the recent past. These latest works will continue Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.Our Attention shifts from day to night and from urban areas to natural sites, from panorama to close-up. The camera seems to wander from the familiar path and to lead us into blind alleys or dead spaces.Between the opposing poles of authenticity and fiction, his videos explore the possibilities and conditions of the filmic apparatus, drawing on genres as action film, auteur film, and documentary. In a visual sense he also uses a technique which is comparable to a criminal novel: He increases the indistinguishability between a concrete threat and a mental state, the fear of nothing, the fear of the indefinite. Narrative structures and possibilities of interpretation remain unsettled. Willie Doherty‘s photographs and videos force us to deal with the fact that we can no longer trust the image.

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