Caoimhe Kilfeather and Karl Burke
12 January to 2 March 2019
An exhibition of newly commissioned work by Irish artist Caoimhe Kilfeather and a reconfiguration of recent work by Irish artist Karl Burke for Uillinn, curated by Cleo Fagan of Superprojects, including collaborative work by Irish artist Siobhán McGibbon and local primary school children, and The Make Space - a creative response room for children by artist and primary school teacher, Anne Bradley around the central theme of engagement with 'the body' and consciousness. An exhibition where children are the primary audience, and where interactivity, tactility and spacial enquiry are key qualities.
9 March to 10 April 2019
Gallery II and III
Anne Ffrench’s work is strongly grounded by material enquiry and the physicality of objects. The body of work being presented at Uillinn is steeped in the experience of pregnancy and the roll of motherhood. Ffrench explores ideas of gender and social normatives using varied methods and materials. This translates into performative video works, a series of photographic images, alongside physical sculptural works in varied materials, including ceramic, marble and found objects. Anne’s work strives to “...remind us that any bodily experience can be made new and strange, that no one set of practices or relations has the monopoly on the so called radical, or the so called normative.” Maggie Nelson.
Julia Pallone’s work repeatedly questions the notion of how a particular space is inhabited. It rests between the whimsical world of transience, while being grounded in objects relating to the everyday. She is interested in how a shape can turn into another and plays with the unexpected.
For Uillinn, her ongoing work The Sentinels, investigates animals seen on the entrance pillars of gates at houses, bungalows and cottages in West Cork. Through drawing, photography, sculpture or installation, she explores the symbolic nature of gateways and totems, the ideas of shelter/home/protection/body and the notion of territory. As guardsmen sitting on the gates of houses, those animals watch, look and keep an eye on all who passes. Do they symbolically protect the house? Or do they reveal the inner and hidden essence of the place? Can this intrinsic nature be expressed in any other way? The human body as the ultimate shelter may also be protected by totems or sentinels: this is what Julia explores through her work on ceramic collars and harnesses. On the other hand, floating houses, somehow uprooted and showing improbable outgrowth, expose inner doubts and anxieties. They may also express the need for protection and the need for the security of a home.Image: Julia Pallone, Sentinels
9 March to 10 April 2019
James O'Driscoll Gallery
Light Keepers is a collection of 25 artworks capturing the unique world of Irish lighthouses .The paintings and lifescapes not only show the physical structures, but also capture the echo of the lives lived by the keepers and their families. Where possible, the artwork is based on narratives told by retired light keepers and their families who once lived in the most desolate and beautiful headlands and offshore lighthouse stations on the Irish coastline.
Image: Geraldine O'Sullivan, The Bull Rock Lighthouse
20 April to 16 May
Over 100 professional, semi-professional, amateur and student artists - painting, sculpture, mixed media, photography, print, textile, drawing.
Image: Kevin O'Farrell Photographer, West Cork Arts Centre Members and Friends Exhibition 2018
A film installation by Mihaela Griveva (BG) with music by James Hazel (AU)
24 May to 8 June
Gallery III, 1st Floor
The film is inspired by the transformation that occurs in nature in the time between the sunset and sunrise. The work explores the interaction between the Sun King represented by a female embodiment of a Goddess and the elements of nature. The film is part of a collective screendance work produced by International de Video Dance de Bourgogne depicting various artistic representations of Le Ballet de la Nuit (The Ballet of the Night), a 13-hour ballet which debuted the talents of fourteen-year-old Louis XIV as Apollo, the Sun King.
You can learn more about the film project here https://mihaelagriveva.com/la-ballet-de-la-nuit-12th-hour/
24 May to 8 June
Luke Murphy's Carnivore (24 and 25 May) includes sculptural elements by artist Alex Pentex. Installed in Gallery II from 24 May and in the James O'Driscoll Gallery from 28 May will be an installation of sculpture to give context to these visual elements.
15 June to 17 August 2019
The Engagement Project, involving studio artists from the Kilkenny Collective for Arts Talent (KCAT), artists from very different practice contexts all over Ireland and curator, Catherine Marshall, is now ready to take the work of the last four years to new audiences around the country. Following a symposium at KCAT in Callan, Co. Kilkenny at the end of 2018, an exhibition drawing on the work of the 28 artists who have been working together in residencies and other forms of engagement since 2014 will go on show in 2019/2020. Commencing in June 2019 at Uillinn: West Cork Arts Centre, Together Now will travel from there to the Ballinglen Art Foundation and Ballina Arts Centre in Co. Mayo, the OPW galleries at Farmleigh and Dublin Castle and the F.E. McWilliam Gallery in Banbridge, before finishing back in Callan.
The work on show will have been made as a result of collaborations and conversations between the studio artists and artists who prioritise social engagement, performance, installation and a variety of media from film and video to very un-traditional interpretations of traditional media such as painting and sculpture.
Artists who are engaged in these collaborations of hand and mind include Alistair MacLennan, Paul Mosse, Mary Ann Gelly, Kathlyn O’Brien, Anna Spearman, Rachel Parry, Dominic Thorpe, Sinead Keogh and Nevan Lahart, with studio artists Andrew Pike, Mary Cody, Declan Byrne and many others.
The exhibition will be engaging, challenging, colourful and fun. Most of all it is designed to encourage active participation in the debate about how everyone can make art.Image: Declan-Byrne, Shoes, 2016, Engage-project.
31 August to 12 October 2019
The Past Is A Foreign Country by Anita Groener, addresses one of the most pressing issues of our time–the refugee crises–and our response to it. What is it to be human today? - through drawings, large scale installations, film, and animations, Anita Groener explores the tissue of trauma and loss rooted in this question. She makes work for what still needs language, experimenting with both figurative and abstract geography. The deliberately modest means of the work (twigs, paper, pins, twine and gouache) speak to the fragility of life and society that refugee crises expose. Her art asks questions about the ethics of witnessing atrocity and aesthetic response. in collaboration with Limerick City Gallery of Art, The Dock, Carrick-on-Shannon and The Lab, Dublin.
Image: Anita Groener Everything is Standing Up Alive, 2018, polymer gouache on paper.
26 October to 10 December 2019
Co produced between West Cork Arts Centre and Highlanes Gallery, and touring to the Custom House in Mayo, this exhibition of commissioned new work by mid-career artist Mary A. Kelly, facilitates the sharing of curatorial skills, commissioning new writing, and the learning, partnership and linking at public programme level.
Some have the courage to walk through a door, sit opposite a stranger and start a journey about their life and an exploration of who they are. Chair is an exploration of this encounter and in particular the spaces where it occurs. Psychoanalysis and its myriad cousins is a relatively new science. In contemporary society it takes the place of the Confessional, the Friend, the Sage and the Healer. In spite of the many approaches, it is essentially a very important relationship that is encountered by two people or a group of people or an individual. While removing people in her images, Mary A Kelly wishes to explore the residue that exits or does not exist in the room. That is the starting point for this exhibition‘s exploration. Chair is a metaphor for life with most of the props removed.
Mary A Kelly is greatly aware of the sensitive nation of the area that she wishes to explore. She is however, approaching this project artistically where Chair acts as a construct aside from life, a cave of projection and a witness to life.
The gallery will become the projection cave. The intimate space of the psychothereputic experience opens out into a broader public space. The gallery not unlike the secular church stands as a temple between life itself and art. She is reminded of Bachelard’s Poetics of Space and his idea that all really inhabited space bears the essence of the notion of home. He believes that Spaces turned into places of pleasurable belonging articulate our intimate being. Edward Casey comments on Bachelard’s conception of the house as a kind of ‘place-world’, where the exploration is not so much geometrical or architectural as imagination.