IMMA invited the artist Navine G. Dossos to realise an ambitious new commission for IMMA’s iconic courtyard, titled Kind Words Can Never Die, the work explores new psychological states that have emerged in response to a greater awareness of global and local climate change.
Inspired by the books Earth Emotions (2019) by Glenn Albrecht, and Thought Forms (1901) by Annie Besant and C.W. Leadbeater, these wall paintings designed through a series of workshops at IMMA, explore how we can use colour to express emotional states, and make images of these complex feelings that can be both negative and positive responses to ecological change.
Navine G. Dossos is a visual artist working between London and Athens. Her interests include Orientalism in the digital realm, geometry as information and decoration, image calibration, and Aniconism in contemporary culture. She has developed a form of geometric abstraction that merges the traditional Aniconism of Islamic art with the algorithmic nature of the interconnected world we live in. This is not the formal abstraction we understand from the western history of art, but something essentially informational, and committed to investigation and communication.
Dossos is a painter, and uses this medium and its history to ask fundamental questions about the ways in which we see, understand and represent the world around us. Her work suggests that contrary to the mediatic impulses of the present, we must not rely upon, nor constantly reproduce, the figurative language of television, online media, videos, and the endlessly circulating images which shape our shared imagination of reality. Her work frequently emphasises the contrast between the timeless and the ephemeral, whether in the painting over of temporary murals, her own effacement of underlying works in ongoing series where each iteration is applied over the last, or her choices of material, from traditional icon boards to cardboard and found wood, and the balancing of classical training and technique with a constant reappraisal and critique of the contemporary.
I usually use the Apple iPhone 12 Pro Max rather than the iPhone XR but the 12 Pro failed to charge overnight for some unknown reason.
During the last ten days I made three visits to the Royal Hospital in Kilmainham as I wanted to video a multi-media installation located in the courtyard but unfortunately no matter what equipment I have used, to date, I had problems with wind noise and unstable video because the equipment was hand-held but I feel that the iPhone XR produced better results that my Sony A7RIV. Next visit I will bring a tripod and a camcorder.
When I first saw this a few years ago it was suggested to me that it was not an art installation and that it was in fact part of an expensive ventilation system. As I liked these dark blocks I began to believe that it was a modern sculpture and then one day I saw a notice nearby indicating that it was “8 Limestones” by Ulrich Rückriem.
Ulrich Rückriem completed an apprenticeship as a stone mason in Düren from 1957 to 1959 and spent the following two years working as journeyman for the stonemason’s lodge at Cologne cathedral. During these years he also spent two semesters studying at the Cologne Werkschulen under Ludwig Gies. Rückriem travelled extensively through southern Europe, Morocco and Tunisia in 1962. After his return he decided to become a sculptor and settled in Nörvenich near Düren in 1963. He had his first one-man exhibition one year later at the Leopold-Hoesch Museum in Düren.
Rückriem developed his own working method in 1968. The working material and the working process are made the subject of the work by duplicating, splitting, reducing and slightly changing the original material. The sculptor moved to Mönchengladbach in 1969, where he shared a studio with Blinky Palermo in an old factory. His first exhibition with the new stone sculptures took place in the same year at the Galerie Konrad Fischer in Düsseldorf.
Rückriem’s work was much praised in the following years with important exhibitions, such as at the Haus Lange in Krefeld in 1970. Rückriem exhibited works at the documenta 5, 7, 8 and 9 in Kassel between 1972 and 1992. He was a professor of sculpture at the Hochschule für Bildende Künste in Hamburg from 1974 to 1984. Rückriem expanded his range of working materials at the end of the 1970s and began experimenting with granite, dolomite, wood and iron. He exhibited four split dolomites at the biennal in Venice in 1978. Ulrich Rückriem became professor of sculpture at the Kunstakademie in Düsseldorf in 1984 and then at the Hochschule für Bildende Künste in Frankfurt am Main in 1988. Today, the artist lives in Ireland. His self-reflective works in stone, iron and wood are an important contribution to process art.
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