Loose Ends

Willie Doherty (Photographer)

Research output: Non-textual formExhibition

Abstract

Kerlin Gallery announces Loose Ends, a historic new body of work by the world-renowned Irish artist Willie Doherty (b. 1959, Derry), comprised of a two-screen video installation and accompanying photographic diptychs. The exhibition opens with a reception in the company of the artist on Friday 2 September.

Loose Ends turns our attention to the passage of time and its powerful, corrosive effect on our hopes, beliefs and sense of identity. Across two screens, Doherty uses the camera and spoken word to focus on the details and textures of two very different locations. Both associated with the 1916 Easter Rising – a key event in the history of Irish independence, the sites are examined in detail through the use of a slow, almost trance-like, zoom. Doherty’s lens absorbs the material evidence of each location today, 100 years after the events of 1916, asking whether a residual response to these events continues to be played out, or how the voices and actions of one generation and the ‘vapours of the past’ resonate in the unconscious of another.

The work was filmed on Dublin’s Moore Street and Donegal’s Gola Island. Moore Street, the site of the Rising’s final headquarters and ultimate surrender, remains strongly associated with the historical event. Gola Island’s connection to the Rising is more tangential and overlooked, though hindsight helps us to connect these places and events, as it was two fishermen from Gola who in 1914 docked at Howth, Co. Dublin and offloaded a consignment of guns and ammunition that would subsequently be used in the Rising. Doherty’s immersive two-screen installation and related photographic diptychs echo some of the dualities, contradictions and connections between the two locations: urban and rural, East and West, ideology and myth, failure and decay, the remembered and the forgotten, the visible and the absent.

Loose Ends is commissioned by Donegal County Council / Regional Cultural Centre in partnership with Nerve Centre, Earagail Arts Festival, Kerlin Gallery and Matt’s Gallery.

It is an ART:2016 Project, part of the Arts Council’s programme as part of Ireland 2016.

Fingerprint

Art
Dublin
Historic
Trance
Ireland
Arts Festivals
Material Evidence
History
Passage of Time
Artist
Easter
Vapor
Ideology
Hindsight
Surrender
Derry
Visible
Decay
Cultural Centre
Video Installation

Cite this

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title = "Loose Ends",
abstract = "Kerlin Gallery announces Loose Ends, a historic new body of work by the world-renowned Irish artist Willie Doherty (b. 1959, Derry), comprised of a two-screen video installation and accompanying photographic diptychs. The exhibition opens with a reception in the company of the artist on Friday 2 September.Loose Ends turns our attention to the passage of time and its powerful, corrosive effect on our hopes, beliefs and sense of identity. Across two screens, Doherty uses the camera and spoken word to focus on the details and textures of two very different locations. Both associated with the 1916 Easter Rising – a key event in the history of Irish independence, the sites are examined in detail through the use of a slow, almost trance-like, zoom. Doherty’s lens absorbs the material evidence of each location today, 100 years after the events of 1916, asking whether a residual response to these events continues to be played out, or how the voices and actions of one generation and the ‘vapours of the past’ resonate in the unconscious of another. The work was filmed on Dublin’s Moore Street and Donegal’s Gola Island. Moore Street, the site of the Rising’s final headquarters and ultimate surrender, remains strongly associated with the historical event. Gola Island’s connection to the Rising is more tangential and overlooked, though hindsight helps us to connect these places and events, as it was two fishermen from Gola who in 1914 docked at Howth, Co. Dublin and offloaded a consignment of guns and ammunition that would subsequently be used in the Rising. Doherty’s immersive two-screen installation and related photographic diptychs echo some of the dualities, contradictions and connections between the two locations: urban and rural, East and West, ideology and myth, failure and decay, the remembered and the forgotten, the visible and the absent.Loose Ends is commissioned by Donegal County Council / Regional Cultural Centre in partnership with Nerve Centre, Earagail Arts Festival, Kerlin Gallery and Matt’s Gallery.It is an ART:2016 Project, part of the Arts Council’s programme as part of Ireland 2016.",
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 = "9",
day = "3",
language = "English",

}

Doherty, W, Loose Ends, 2016, Exhibition.
Loose Ends. Doherty, Willie (Photographer). 2016. Event: Loose Ends, Kerlin Gallery Anne's Lane South Anne Street Dublin D02 A028, Ireland, Dublin, Ireland.

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).

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N2 - Kerlin Gallery announces Loose Ends, a historic new body of work by the world-renowned Irish artist Willie Doherty (b. 1959, Derry), comprised of a two-screen video installation and accompanying photographic diptychs. The exhibition opens with a reception in the company of the artist on Friday 2 September.Loose Ends turns our attention to the passage of time and its powerful, corrosive effect on our hopes, beliefs and sense of identity. Across two screens, Doherty uses the camera and spoken word to focus on the details and textures of two very different locations. Both associated with the 1916 Easter Rising – a key event in the history of Irish independence, the sites are examined in detail through the use of a slow, almost trance-like, zoom. Doherty’s lens absorbs the material evidence of each location today, 100 years after the events of 1916, asking whether a residual response to these events continues to be played out, or how the voices and actions of one generation and the ‘vapours of the past’ resonate in the unconscious of another. The work was filmed on Dublin’s Moore Street and Donegal’s Gola Island. Moore Street, the site of the Rising’s final headquarters and ultimate surrender, remains strongly associated with the historical event. Gola Island’s connection to the Rising is more tangential and overlooked, though hindsight helps us to connect these places and events, as it was two fishermen from Gola who in 1914 docked at Howth, Co. Dublin and offloaded a consignment of guns and ammunition that would subsequently be used in the Rising. Doherty’s immersive two-screen installation and related photographic diptychs echo some of the dualities, contradictions and connections between the two locations: urban and rural, East and West, ideology and myth, failure and decay, the remembered and the forgotten, the visible and the absent.Loose Ends is commissioned by Donegal County Council / Regional Cultural Centre in partnership with Nerve Centre, Earagail Arts Festival, Kerlin Gallery and Matt’s Gallery.It is an ART:2016 Project, part of the Arts Council’s programme as part of Ireland 2016.

AB - Kerlin Gallery announces Loose Ends, a historic new body of work by the world-renowned Irish artist Willie Doherty (b. 1959, Derry), comprised of a two-screen video installation and accompanying photographic diptychs. The exhibition opens with a reception in the company of the artist on Friday 2 September.Loose Ends turns our attention to the passage of time and its powerful, corrosive effect on our hopes, beliefs and sense of identity. Across two screens, Doherty uses the camera and spoken word to focus on the details and textures of two very different locations. Both associated with the 1916 Easter Rising – a key event in the history of Irish independence, the sites are examined in detail through the use of a slow, almost trance-like, zoom. Doherty’s lens absorbs the material evidence of each location today, 100 years after the events of 1916, asking whether a residual response to these events continues to be played out, or how the voices and actions of one generation and the ‘vapours of the past’ resonate in the unconscious of another. The work was filmed on Dublin’s Moore Street and Donegal’s Gola Island. Moore Street, the site of the Rising’s final headquarters and ultimate surrender, remains strongly associated with the historical event. Gola Island’s connection to the Rising is more tangential and overlooked, though hindsight helps us to connect these places and events, as it was two fishermen from Gola who in 1914 docked at Howth, Co. Dublin and offloaded a consignment of guns and ammunition that would subsequently be used in the Rising. Doherty’s immersive two-screen installation and related photographic diptychs echo some of the dualities, contradictions and connections between the two locations: urban and rural, East and West, ideology and myth, failure and decay, the remembered and the forgotten, the visible and the absent.Loose Ends is commissioned by Donegal County Council / Regional Cultural Centre in partnership with Nerve Centre, Earagail Arts Festival, Kerlin Gallery and Matt’s Gallery.It is an ART:2016 Project, part of the Arts Council’s programme as part of Ireland 2016.

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