Gerard Byrne, The Week in Art Podcast
January 29 2021
Gerard Byrne in discussion with Ben Luke for 'The Week in Art' podcast by The Art Newspaper.
b. 1969, Dublin, Ireland.
Working primarily with lens-based media, Gerard Byrne explores the paradoxes of visual information. Drawing upon mass media, popular culture and literature, from British tabloid newspapers to the High Modernism of Beckett, Byrne's complex and striking work draws our attention to the construction, transmission and interpretation of text and images, highlighting the impermanence of meaning. Marked by a deadpan sense of humour, his investigations of contemporary cultural phenomena have often seen him return to Loch Ness, site of the infamous ‘Loch Ness monster', presenting a thoughtful dialogue on the tabloid hysteria surrounding this popular cultural myth. Other bodies of work have explored the legacy of the Minimalist Movement, and the culture of men’s popular magazines.
Recent solo exhibitions include Centraal Museum Utrecht (2020); In Our Time, Serlachius Museum Gosta, Finland (2019) and Skulptur Projekte, Münster, Germany (2017); A Visibility Matrix, Void, Derry, Northern Ireland (2019), Le Printemps de Septembre, Toulouse, France and Douglas Hyde Gallery, Dublin, Ireland (both 2018); Upon all the living and the dead, Secession, Vienna (2019); Jielemeguvvie guvvie sjisjnjeli – Film Inside an Image, Moderna Museet, Stockholm (2019); ACCA, Melbourne, Australia; Mead Gallery, UK (both 2016); Graz Museum, Austria; Kunstmuseum St Gallen, Switzerland (both 2015); Baltimore Museum of Art, Maryland; The Whitechapel Gallery, London (both 2013); Fundação Calouste Gulbenkian, Lisbon (2012); IMMA, Dublin; Milton Keynes Gallery; The Renaissance Society, Chicago (all 2011); Lismore Castle Arts (2010); Statens Museum for Kunst, Copenhagen (2008); Dusseldorf Kunstverein; Contemporary Art Centre, Vilnius (both 2007); MUMOK, Vienna (2006); BAK, Utrecht (2004); Frankfurter Kunstverein (2003).
In 2007, Byrne represented Ireland at the 52nd Venice Biennale. He has participated in the Busan Biennale (2020); Skulptur Projekte Münster (2017); dOCUMENTA 13 (2012); Performa, New York (2011); the 54th Venice Biennale (2011); Auckland Biennial (2010); Gwangju Biennial (2008); Sydney Biennial (2008); Lyon Biennial (2007); Tate Triennial (2006) and the Istanbul Biennale (2003).Download PDF
January 29 2021
Gerard Byrne in discussion with Ben Luke for 'The Week in Art' podcast by The Art Newspaper.
1 December 2020 - 28 February 2021
Irish Museum of Modern Art, Dublin
Gerard Byrne, Dorothy Cross, Siobhán Hapaska, Brian Maguire, Stephen McKenna, William McKeown, Isabel Nolan and Kathy Prendergast in Ghosts from the Recent Past at the Irish Museum of Modern Art. This group exhibition presents artworks from the IMMA Collection from the 1980s onwards.
Busan Biennale 2020
9 September - 8 November 2020
Gerard Byrne's highly praised video installation will be shown as part of the Busan Biennale 2020.
SERLACHIUS MUSEUM GÖSTA
21 September 2019 - 8 March 2020
Gerard Byrne's highly praised video installation has created a thesis about radio as a model of time and raises questions about collective memory and communality.
The Void, Derry, Northern Ireland
13 April - 8 June 2019
A Visibility Matrix explores the politics and conditions of visibility by assembling contributions from a distributed panel of artists, film-makers and others within a synchronised, multi-channel video installation. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne.
Gerard Byrne, Dorothy Cross, Willie Doherty, Kathy Prendergast, Sean Scully & Samuel Lawrence Cunnane
13 April - 7 July 2019
National Gallery of Ireland
Spanning 250 years, Ireland: Landscapes in Irish Art comprises artworks by fifty artists, exploring the relationship between people and the natural world.
February 1 – March 31, 2019
Upon all the living and the dead gathers Byrne’s most recent works for the first time, activating a dialogue between the proto-cinematic moment of Jielemeguvvie guvvie sjisjnjeli (2016), the evasive temporality of In Our Time (2017), and A Visibility Matrix (2018), a new work co-authored with the artist Sven Anderson.
14 July – 30 September 2018
Gerard Byrne and Willie Doherty will both be included in the inaugural FRONT International Cleveland Triennial for Contemporary Art, titled An American City.
The Douglas Hyde Gallery, Dublin
7 June – 25 August 2018
Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, A Visibility Matrix assembles contributions from a distributed panel of artists, film-makers and others within a synchronised, multi-channel video installation that will be presented for the first time in Gallery 1 of The Douglas Hyde Gallery.
Hunterian Art Gallery, University of Glasgow, Glasgow, UK
27 October 2017 – 28 January 2018
Group exhibition with Gerard Byrne, Robert Barry, Phil Collins, Ruth Ewan, Sharon Hayes, Simon Starling, Corin Sworn and others.
10 June – 1 October 2017
Gerard Byrne will unveil a new video piece In Our Time [In unserer Zeit] at the prestigious exhibition Skulptur Projekte Münster.
Musée d’Art Moderne de la Ville de Paris
2 June – 29 October 2017
Moderna Museet, Stockholm
8 April – 3 September 2017
Solo exhibition curated by Magnus af Petersens.
1 April – 18 June 2017
Artists: Vikky Alexander, Robert Arndt, Gerard Byrne, Jacqueline Hoàng Nguyễn, Kelly Jazvac, Kelly Lycan, Niamh O’Malley, Dawit L. Petros, Greg Staats, Lisa Tan.
CCS Bard, Annandale-on-Hudson, New York
15 October – 16 December 2016
Curated by Paul O’Neill. Exhibiting artists: Can Altay, Martin Beck, David Blamey, Gerard Byrne, Nina Canell, Jasmina Cibic, Céline Condorelli, Sara Cwynar, Marjolijn Dijkman, Mary Heilmann, James Hoff, Vlatka Horvat, Matt Keegan, Chris Kraus, Gareth Long, Ronan McCrea, William McKeown, Ulrike Müller, Museum of American Art Berlin, Brian O’Doherty, Harold Offeh, Eduardo Padilha, Sarah Pierce, Falke Pisano, Elizabeth Price, Richard Venlet, Anton Vidokle, Lawrence Weiner, Grace Weir, Arseny Zhilyaev, and others.
8 October – 27 November 2016
Museum solo exhibition.
Monash University Museum of Art (MUMA)
1 October – 10 December 2016
A newly commissioned video piece by Gerard Byrne, Jielemeguvvie guvvie sjisjneli (Film inside an Image), forms the centrepiece of this exhibition at MUMA.
Mead Gallery, Warwick Arts Centre, Coventry, UK
16 January – 12 March 2016
Gerard Byrne will be the subject of a new solo exhibition, 1/125 of a Second, at Mead Gallery, Coventry. The exhibition centres on the world-premiere of a new film by the artist made at the Biologiska Museet in Stockholm: the first natural history museum to use a large-scale diorama.
steirischer herbst, GrazMuseum, Graz, Austria
27 September 2015 – 11 January 2016
Gerard Byrne's exhibition Bright Sign will take place at the GrazMuseum in Graz as part of the Steirischer Herbst festival. Curated by Tessa Giblin.
Lismore Castle Arts, Ireland
20 June – 31 August 2015
Marking its tenth year of visual arts exhibitions, Lismore Castle Arts is delighted to present its most ambitious project to date, The Persistence of Objects. Curated by The Common Guild this exhibition will be staged in existing gallery spaces, as well as a number of other locations around Lismore.
Kunstmuseum St Gallen, Switzerland
6 June – 13 September 2015
A comprehensive exhibition, A Late Evening in the Future points to the various temporal levels that meet in Byrne’s large-scale works at Kunstmuseum St Gallen.
Radio Ga Ga: Gerard Byrne, In Our Time
5 December 2017
In Our Time is twelve hours of footage of a fictional radio broadcast, shot with actors in a mise-en-scène created by Byrne at Westland Studios in Dublin. A DJ (played by Phelim Drew) spins tracks, gives weather bulletins, plays jingles and speaks to phone-in listeners from his soundproof booth, while in an adjacent recording studio a group of band members (so it seems) tinker with instruments and chat. The overall effect is something slightly off-kilter, out of joint with its time. Anachronistic props unbalance the general late-70s tone of the environment. The intermittently announced time of the radio broadcast is tied to the real-life time of the gallery, emphasising the real-time nature of terrestrial radio. Nostalgic hits pull the viewer/listener back to the decade past, resulting in a constant tugging of temporal awareness.—Rachel DonnellyVisit Website
Gerard Byrne 'In Our Time'
2 December 2017
Byrne's installations are meticulously staged with high production values. They also work against conventional expectations. He often uses pre-existing texts such as magazine interviews. But it's as if he sets up carefully naturalistic settings and narratives, then approaches them with an eye to achieving a form of Brechtian alienation. The camera moves in unpredictable ways, as though following its own inclinations rather than trying to tell a formulaic story. And actors might deliver lines in disjointed ways, indifferent to habitual dramatic structure or emotional expression. The aim is to throw those structures and conventions into relief, to let the viewer see them out of the context of familiarity.—Aidan Dunne
Gerard Byrne, Kerlin Gallery
29 November 2017
Gerard Byrne discusses his exhibition at Kerlin Gallery with Seán Rocks live on Arena, RTÉ Radio 1.Visit Website
'Radio is built on pattern, like wallpaper'
13 December 2017
Byrne first visited Münster in February 2016. He had it in mind to do a radio-oriented piece at some stage, and it seemed a good fit. “Radio over the airways – not dependent on a broadband connection, say – always appealed to me. That it is so indiscriminate, because you don’t know who’s listening, anyone with a radio can listen.” Somehow, that chimed with the democratic ideal of the sculpture show’s origins. “And I thought, that era of radio, there’s a certain sense of community to it, and it speaks to the idea of a less fractious US.” In addition he notes: “If you look at my earlier work, there’s long been an interest in the visual re acoustic patterns – some image of time constructed through media. I’m not saying I was thinking of all these things, but all the same I feel they did inform my decisions as I was finding the work.”—Aidan DunneVisit Website
In Gerard Byrne's New Show, Video Hasn't Killed the Radio Star
3 November 2017
You could sit in Gerard Byrne's In Our Time for hours. When the work was first shown during Sculpture Project Münster, it occupied a warm music practice suite in the German town's enviable public library. Visitors descended to the basement and made their way to a small, darkened room, in which the noise was deadened by heavy doors and soundproofed walls. Within, Byrne's audio-visual work transported one to a comforting wood-lined radio studio in the US from which a deejay with a voice like diner coffee went about an accomplished live broadcast.—Hettie JudahVisit Website
Gerard Byrne, Moderna Museet, Stockholm
Equipped with one of the most powerful recording devices of our time, Irish artist Gerard Byrne entered into this antiquated visual apparatus to document obsolete optical technology with the level of detail only a twenty-first-century machinic eye can achieve. Filmed with a high-definition camera and a Steadicam, and with every shot digitally joined—giving the illusion of a single seamless take in an environment that would not physically allow for it—Byrne’s Jielemeguvvie guvvie sjisjnjeli (Film Inside an Image), 2016, captures the high-tech visual apparatus of yesteryear using today’s advanced technology. The film’s apparent simplicity masks the complex and painstaking process involved in its production, as though to mirror the staged ease with which the taxidermied animals of the museum occupy their most unnatural posthumous habitats. The film is accompanied by a soundtrack composed of ambient field recordings and animal calls taken from databases. Adding naturalistic sound to the silent diorama, the audio is a form of digital enhancement. However, because the animals in the video are so obviously taxidermied, that enhancement in fact points to its own artificiality, creating a Brechtian distancing effect.—Yuki HigashinoVisit Website
Skulptur Projekte Münster
11 September 2017
Presented in the basement of the City Library Münster, Gerard Byrne’s 20-minute film In Our Time takes place in a fictional radio control booth. A DJ reads the news, presents advertisements and plays music. The script is a mélange of various radio transcriptions of shows from the early 1970s. The film engagingly transports the viewer back to a different era and unveils what is usually invisible to the radio listener, while resonating with more recent phenomena such as a 24/7 news cycle, ‘fake news’ and a global broadcast culture.—Jens HoffmannVisit Website
Modern Ireland in 100 Artworks: New Sexual Lifestyles, by Gerard Byrne
23 July 2016
The artist’s re-creation of a 1970s Playboy panel discussion about sex raises questions about popular culture and mass media then and now.—Gavin MurphyVisit Website
A Q&A With Gerard Byrne, artist filmmaker
15 February 2016
Irish artist Gerard Byrne is known for film installations that deal with the presentation, manipulation and perception of narratives. For his show at Warwick Arts Centre he's premiering a new work filmed with one unbroken panning shot in Stockholm’s Biologiska Museet. He talks to Anneka French about location, light and methods of display.—Anneka FrenchVisit Website
Interview with Gerard Byrne
I FIRST ENCOUNTERED GERARD BYRNE’S EERILY DISLOCATED FILMS AT TATE BRITAIN, where 1984 AND BEYOND (2005–7) was shown on loop for the best part of a year. In the piece, Byrne employs actors as mouthpieces for a panel discussion about the future, first printed in PLAYBOY in 1963. Danish actors in woollen vests and bow ties drift around a modernist villa in the Netherlands, ventriloquising the conversation as printed in the magazine. The atmosphere is uneasy, as if time and authorship have slipped their moorings...—Izabella ScottDownload PDF Visit Website
Whitechapel Gallery & Lisson Gallery, London, UK
Clearly all the above works engage sexual attitudes in the last century – moments when the culture appeared propelled forward in some ways and lastingly hidebound in others. Such contradictions, seen from a distance, have been a fascination for Byrne ever since New sexual lifestyles (2003), displayed upstairs, which stages a roundtable discussion on sexual experimentation originally published in Playboy in 1973. The chief virtue of this retrospective was that it snapped into focus the artist’s nexus of interests around modernity and objecthood and objectification. If Byrne turns to theatrics against objecthood (and thus against the Michael Fried of ‘Art and Objecthood’, 1967), it is also against an objectifying that exceeds the art work and in which modern artists, in this context, are seen to be complicit.—Martin HerbertDownload PDF Visit Website
“Gerard Byrne: A State of Neutral Pleasure”
Gerard Byrne’s practice is a gently vertiginous one: We construe the present, the Irish artist suggests, in relation to a past we know only via suspect representations. Accentuating this—sometimes through his actors’ inappropriate accents—Byrne engineers video installations that wonkily restage conversations pulled from broadcasting and magazine archives. He brings Brechtian unraveling and tangled temporality to bear on historical evidence that has been, to some degree, theatricalized or mediated at its source: an acted version of a future-predicting 1963 Playboy roundtable among twelve well-known science-fiction writers in 1984 and Beyond, 2005; a 1920s discussion involving a group of Surrealists, restaged as a television play in front of a studio audience, in A Man and a Woman Make Love, 2012. The latter, shown at Documenta 13, receives its UK premiere in this survey, alongside six other film installations and Byrne’s parallel strand of photographic works.—Martin HerbertVisit Website
Gerard Byrne: A state of neutral pleasure
20 January 2013
Gerard Byrne is an Irish artist in his early 40s whose name has been on people's lips of late. He was a hit at last autumn's Documenta in Kassel, has represented Ireland twice at the Venice Biennale and had solo shows in capital cities across the world. His work is lens-based, in gallery parlance, meaning that he makes videos, films and photographs. But he is mainly known for videos, and these are mainly reconstructions of conversations between historic figures taken from old magazines. He turns texts into scripts into visual dramas, with strikingly intelligent results.—Laura CummingDownload PDF Visit Website
Gerard Byrne at MK Gallery
25 January 2011
Gerard Byrne grew up in Dublin in the 1970s. It was a time and place where socio-political realities were filtered through the hazy gauze of influence installed by the Roman Catholic doctrine. The chasm between historical facts and fictions, and their distance in time and space from the present, informs Byrne’s artistic repertoire.—Nicola MannDownload PDF Visit Website
Gerard Byrne’s “Present Continuous Past”
18 February 2013
To adequately reflect on the present moment requires a certain distance, some way of pulling out of the perpetual now of contemporary time and into another. This phenomenon can be evidenced in the compression of time that occurs when attempting to recall the near past; years turn into events and decades into fashions.—Gil LeungDownload PDF Visit Website
Gerard Byrne, Lismore Castle Arts
7 October 2010
Byrne’s installation operates in a deconstructive mode, prompting the reflection that the meanings and effects of Minimalist objects were never produced and sustained by direct perceptual encounter alone.—Ed KrcmaDownload PDF Visit Website