VIS­UAL ART

The Irish Times - Friday - The Ticket - - THE TAKE -

AI­DAN DUNNE NIGHTFALL–AMPLISSIUM TERRARUMTRACTUM–DAVID GODBOLD Golden Thread Gallery, 84-94 Great Pa­trickSt,Belfast.Un­tilMarch10. gold­en­threadgallery.co.uk

Teas­ing out the po­ten­tial mean­ing of the Latin sub­ti­tle of David Godbold’s show pro­duces some­thing like “most re­gions or ter­ri­to­ries, seen all at once, from a very great height, all at the same time”. On the vast 17m wall of GT’s Gallery One, Godbold has cre­ated “a vast hand-painted panorama”, over­lain by “a sub­stan­tial swarm of 121 framed draw­ings”. The re­main­ing two gal­leries con­tain “night and day paint­ings of sub­lime/ro­man­tic land­scapes” which you might recog­nise from that panorama. The Devil of­fered Christ all of the ma­te­rial world, Godbold notes, and the ne­olib­er­als to­day have of­fered a pop­ulist deal that is to be work­ing to their ad­van­tage.

VESPER–AUSTINMCQUINN Triskel Christchurch, Cork. Un­til May 28. triske­larts­cen­tre.ie

The first show in Triskel’s 40th birth­day pro­gramme is Austin McQuinn’s ex­plo­ration of the self-world of an­other crea­ture: the bat. Vesper stands for evening and also, he notes, the most nu­mer­ous bat species. The church gallery, be­tween the bel­fry and “the cav­ernous base­ment” seemed the ideal lo­ca­tion. We project our own no­tions of be­ing onto other crea­tures, McQuinn points out, but, as Thomas Nagel asked in 1974: “What is it like for a bat to be a bat?”

SI­LENCE, EX­ILE AND CUNNING – CHRISLEACH Cus­tom House Stu­dios, The Quay, West­port, Co Mayo. Un­til Fe­bru­ary 18

Sil­ver­point draw­ings by Chris Leach. He likes the quick­sil­ver qual­ity of the medium, its as­so­ci­a­tions with value, its sub­tlety, and also stub­born­ness, and uses it to tease out our re­la­tion­ship to things. Am­s­ter­dam, that cen­tre of trade and com­merce, is one sub­ject – a city of canals, built on a flood plain, solid yet frag­ile, and beau­ti­ful. Leach has, he says, “been in­trigued about the idea of mak­ing some­thing beau­ti­ful”, not that he claims that for his intricate, minia­ture draw­ings – though they are – but he is in­ter­ested in the idea, and the fact of beauty, as in Am­s­ter­dam.

MYOWNUNKNOWN– DRAGANAJURIŠIC Gallery­ofPho­tog­ra­phy,Meet­ingHouse Sq, Tem­ple Bar, Dublin. Un­til March 18. gallery­ofpho­tog­ra­phy.ie

Dra­gana Jurišic be­came un­der­stand­ably fas­ci­nated by the mys­tery of her aunt’s life: in 1954 she dis­ap­peared from her Yu­goslav vil­lage. The story goes that at some point she reap­peared in Paris where she led a life at once priv­i­leged and risky. She may have been in­volved in es­pi­onage. She died in the 1980s. Some­how Jurišic was re­minded of the story of

L’In­con­nue de la Seine, the uniden­ti­fied woman whose body was re­cov­ered from the Seine al­most a cen­tury ear­lier. How do you pho­to­graph an un­solved mys­tery? Jurišic set about try­ing to do just that.

DOU­BLE VI­SION – DI­ANE AND SHIRLEYCOPPERWHITE Mu­nic­i­pal Gallery, DLR Lex­i­con, Dún Laoghaire. Un­til March 25. dl­r­coco.ie/gallery

Di­ane Cop­per­white is well known as a maker of fast-paced, chro­mat­i­cally zingy paint­ings that con­tin­u­ally query the na­ture of per­cep­tion and com­pre­hen­sion. Less fa­mil­iar is the work of her sis­ter Shirley, a sur­face de­signer. Here a com­mis­sioned rug and printed fab­rics de­light in “stacked, lay­ered and in­ter­locked” re­peat pat­terns drawn from myr­iad sources in a mod­ernist, op art vein.

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