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Rodney Graham, That's Not Me, 2017

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Rodney Graham, That's Not Me, 2017 Associated Talks and Events IMMA would also like to thank Matheson for their ongoing and visionary support IMMA - IRISH MUSEUM OF MODERN ART of new work at IMMA, our hospitality partner The Dean Dublin and our invaluable MAIN GALLERIES, WEST WING Artists’ Conversation with Rodney Graham & Gerard Byrne IMMA Members and Patrons all of whom have made this exhibition possible. Saturday 25 November 2017, 2pm – 3pm, Johnston Room 24 NOVEMBER 2017 - 18 FEBRUARY 2018 Since the 1980s, Vancouver-based Rodney Graham is recognized for his Catalogue diverse practice of photography, painting, sculpture, film, video and music. That’s Not Me is accompanied by a fully-illustrated catalogue with a foreword by Artists Rodney Graham and Gerard Byrne discuss the sculptural, cinematic, Sarah Munroe, Director, Baltic Centre for Contemporary Art and Sarah Glennie, performative and humourist nature of Graham’s practice, drawing attention Director, Irish Museum of Modern Art, and texts by Rodney Graham, Professor Rodney Graham to the multiple references layered within his work, that enable Graham to Briony Fer, Alessandro Vincintelli, Patrick Andersson, the late Canadian artist and seamlessly shift into different roles, characters and contexts. writer Robert Linsley, and Harry Pearson. Available from the IMMA Shop for €24.95 That's Not Me Admission is free but booking is essential. Have a question about an artwork? Want to know more? Ask any member of our Visitor Engagement Team, easily identifiable through their blue lanyards. Curators Lunchtime Talk: Rodney Graham: That’s Not Me Exhibition kindly supported by; Wednesday 29 November, 1.15 – 2pm Join Seán Kissane for an insightful walkthrough of the exhibition. Admission free, drop in. For a full programme of talks and events and for booking visit www.imma.ie The Dean Dublin IMMA is funded by: Exhibition curated by Seán Kissane, Curator: Exhibitions. IMMA wishes to thank those who have generously lent to the exhibition: Hauser and Wirth, Lisson Gallery and 303 Gallery, Tate, David Roberts Collection, London, the Ringier Collection, Switzerland, Mariana Risberg, Switzerland, the Freidrich Christian Flick Collection, Hamburger Bahnhof Museum, Berlin and Gevaert Editions, Brussels. Thanks too to Joop van Caldenborgh, Suzanne Swarts, Director of the Voorlinden Museum, and Barbara Bos of Voorlinden Museum, Wassenaar, Netherlands and to those individuals who wish to remain anonymous. IMMA would like to thank Rodney Graham for his commitment and dedication to this exhibition. Special thanks also go to Scott Livingstone and Shannon Oksanen at Rodney Graham’s studio, whose support has been invaluable, along with Rodney Graham’s galleries; Hauser and Wirth, Lisson Gallery and Irish Museum of Modern Art Áras Nua-Ealaíne na hÉireann Front cover: 303 Gallery. Áras Nua-Ealaíne na hÉireann An Ospidéal Ríoga Royal Hospital An Bóthar Míleata Basement Camera Shop circa 1937, 2011 This exhibition was produced in partnership with Baltic Centre for Military Road Cill Mhaighneán Kilmainham Baile Átha Cliath Contemporary Art, Gateshead. Our thanks go to Alessandro Vincintelli, Curator Dublin D08 FW31 BÁC D08 FW31 Painted aluminium light box with of Exhibitions & Research, Adrianne Neil, Registrar and Production Manager, Ireland Éire transmounted chromogenic and Sarah Munroe, Director. transparency telephone: + 353 1 612 9900 Guthán + 353 1 612 9900 182×182×17.7 cm email: [email protected] R-phost [email protected] David Roberts Collection, London www.imma.ie www.imma.ie IMMA is pleased to present That’s Not inspection of newspaper headlines, materials from other artists, in particular historic moments through the media. demonstrate that rotational motion is Rodney Graham was born in Abbotsford, Me, a survey from 1994 to the present, signage, pictures within the picture, Ian Wallace, Douglas Gordon and Jeff The newspapers that regularly appear not described as one body’s motion in British Columbia, Canada in 1949. of the work of Canadian artist Rodney and other details. These elements all Wall, all peers or friends of Graham. While in his photographic works are not relation to another, but in relation to He graduated from the University of Graham. contribute to the fictional narrative, these influences are clearly seen in his just background material, but play a ‘absolute space’. Newton demonstrated British Columbia, Burnaby, Canada in even if not made explicit. use of lightboxes and highly controlled significant part in the interpretation of this by spinning a bucket full of water on 1971 and lives and works in Vancouver, Graham lives and works in Vancouver, set-pieces – both techniques used by the works in their dates and content. a rope, and showing how the water spun Canada. Solo exhibitions include BALTIC Canada, and is associated with the Most of the lightboxes feature the artist these other Vancouver artists – this independent of the bucket. Centre for Contemporary Art, Gateshead, 1980s Vancouver School of post- himself, assuming a variety of roles in openness is a major part of Graham’s Included in the exhibition are major film UK (2017); Le Constortium, Dijon, France conceptual photography alongside peers carefully staged environments. In these practice as it relates to his collaboration works made between 1994 and 2010 Rheinmetall/Victoria8 (2003), depicts a (2016); Sammlung Goetz, Munich, such as Jeff Wall and Stan Douglas. The works, Graham plays a series of fictional with other artists, writers and musicians including: Halcion Sleep (1994), Torqued 1930s German Rheinmetall typewriter Germany (2015); Charles H. Scott Gallery, Vancouver School is a group defined by characters. These characters can be on a wide range of projects. Chandelier Release (2005), The Green which Graham acquired in a junk shop. Emily Carr University of Art and Design, a style of photography in which moments considered as a form of self-portraiture Cinematograph (Programme 1: Pipe 35mm film is projected using the now- Vancouver, Canada (2014); Vancouver from art history are replicated. as well. In these works the artist is both Additional lightbox works include Actor/ smoker and overflowing sink) (2010) obsolete 1961 Victoria 8 projector, Art Gallery, Canada (2012); Museum der observer and participant. Director 1954 (2013) Smoke Break 2 and Rheinmetall/Victoria8 (2003). These showing the obscuring of the typewriter Moderne, Salzburg, Austria (2011); Museu In 1997, Graham represented (Drywaller) (2012) and Betula Pendula works speak to Graham’s interest in by falling snow. Obsolescence has D’Art Contemporani de Barcelona, Spain Canada at the 47th Venice Biennale. In The Gifted Amateur Nov 10th 1962 Fastigiata (Sous-Chef on Smoke experimentation, along with his interest always been an interest of Graham’s: (2010); Jeu de Paume, Paris, France His work features in significant (2007) Graham assumes the role of an Break) (2011), all part of Graham’s in silent film and seemingly obsolete the mechanics and subject matter of (2009); Museum of Contemporary Art Los museum collections around the world amateur artist, creating conventional Four Seasons suite of works. Typical production and display methods, such this work speak to the rapid evolution in Angeles, CA, USA (2004); Whitechapel including Tate Modern, MoMA and the abstract paintings in his mid-century of Graham’s practice of casting himself as over-sized projection equipment and technology and the nostalgia that is now Art Gallery, London, UK (2002); Centre Pompidou, and is exhibited modernist house. This subversion of the in the role of another character, these 16mm and 35mm film. attached to tools of artistic production Hamburger Bahnhof, Berlin, Germany internationally. perceived role of ‘the artist’ shows Graham works are also emblematic of Graham’s and display. (2001); and Kunsthalle Wien, Vienna, undermining the popular mythology of approach towards a portrait of place, Halcion Sleep is a significant work, as Austria (1999). He has participated in Graham works in a variety of media, that role and highlighting the constructed set as they are in particular areas the first film piece in which Graham used A notable aspect of many of Graham’s group exhibitions such as the Carnegie including film, photography, performance, nature of identity, while also being a of Vancouver. Highly considered and himself as the subject. In it he is driven film installations is how they act as International (2013), the 13th, 14th and sculpture and music. Combining these warm tribute to ‘amateur’ art. Graham has meticulously staged, like all his work, the around the city at night while asleep, both film works, and as sculpture. The 17th Sydney Biennales, Australia (2002, multiple media with a wide-ranging exhibited these paintings and other props subject matter is combined from daily having taken the sedative Halcion, a unwieldy and outmoded projection 2006, 2010), the Whitney Biennial, New interest in art-history, literature, music, alongside the lightbox, further blurring observation and use of art historical and highly addictive hypnotic sedative. methods utilised in works such as The York, USA (2006) and the Biennale d’Art psychoanalysis and popular culture, the lines between invented and ‘real’ other references. Halcion gained notoriety when it was Green Cinematograph (Programme 1: Pipe contemporain de Lyon, France (2003). Graham’s work concerns itself with personae. revealed that former US Secretary of smoker and overflowing sink) (2010) He represented Canada at the 47th identity, cultural memory and humour.
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