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The Past is a Foreign Country
Gemma Tipton, Artforum, June 2019 September 10, 2019Anita Groener THE LAB Foley Street Dublin City Council Arts Office May 24–July 27, 2019 A circular forest of twigs juts out from the wall....Read more -
Visualising disaster in Anita Groener’s The Past is a Foreign Country
Aidan Dunne, Irish Times, Jun 25, 2019 September 10, 2019THE PAST IS A FOREIGN COUNTRY Anita Groener ★★★★ The Lab Gallery, Dublin City Arts Office, 1 Foley St, Dublin until August 17th; dublincityartsoffice.ie/the-lab /...Read more -
ART IN FOCUS: THE PAST IS A FOREIGN COUNTRY BY ANITA GROENER (2018)
September 10, 2019GROENER FOCUSES ON THE TRAUMA INFLICTED BY STRIFE AND MIGRATION IN THE RECENT PAST Sat, May 25, 2019, 05:00 Aidan Dunne The Past is a...Read more -
Anita Groener: Continuous Refle(a)ction, The Riverside Museum of Art, Beijing, China
28 May - 28 August 2019 May 30, 2019 Read more
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Anita Groener at the LAB, Dublin
24 May - 27 July 2019 May 27, 2019 Read more -
Anita Groener: The Past Is A Foreign Country
Presented by Limerick City Gallery of Art 30th September 2018 – 6th January 2019 February 28, 2019The Past Is A Foreign Country asks what is it to be human today? Through drawings, large scale installations, film, and animation Anita Groener explores...Read more -
Gibbons & Nicholas at VOLTA 14 - supported by Culture Ireland
June 11, 2018 - June 16, 2018 May 10, 2018Anita Groener’s Citizen grapples with the recent phenomenon of refugees streaming across Europe on foot. A shockingly atavistic sight broadcast over the media, the images of people fleeing conflict and depredations, especially in Syria, with children and families in tow, carrying or dragging whatever is left of their possessions, have been burned into our retinas and psyches. Citizen, a new iteration of a body of Groener’s recent work speaking to the topic, perches scores of tiny cut-out silhouettes of displaced people on branchy twigs growing out of the wall in a circle. Their journeys take them through forests both real and metaphoric; their innumerable paths fork to destinations unknown. The artist derives the silhouettes from photojournalism of the refugee crisis found online. The precision of their outlines emphasizes their photographic sources, which in turn binds these representations in miniature to the real lives and suffering of the individuals pictured. The circular arrangement, perhaps, intimates the numbingly cyclical nature of the emergency and its causes, and the way that catastrophe spreads out in all directions, like ripples in a pond. The five “chapters” of My Own Unknown, Dragana Jurišić’s episodic investigation into the representation of women, begins, as did much of the artist’s previous work, in conjoined autobiography and myth. The story of the artist’s aunt, Gordana Čavić, who decamped from Yugoslavia to Paris as a young woman and led a life of mystery, possibly as a prostitute and spy, entwines with that of an anonymous girl found drowned in the Seine, whose death mask sent the Surrealists and others into paroxysms of fantasy and desire. Another chapter comprises a series of nine black-and-white images that layer multiple exposures of naked women of various ages posing as the muses. Jurišić essays the notion of woman as inspiration, toggling between voluntarily conscripted muses and those commandeered by others, including herself. It’s not hard to see My Own Unknown as an extended and idiosyncratic meditation on the self, and the still uneasy position of the woman artist. Both Groener and Jurišić live and work in Dublin, and both came from elsewhere in Continental Europe—Groener was born and raised in the Netherlands, Jurišić in the former Yugoslavia. Might we consider this central experience of displacement as a shared and formative fundamental of their art? Groener’s intense concern with the literal dislocation of a vulnerable population contrasts with Jurišić’s sustained examination of the figurative unmooring of women’s identity. But both seek to understand the conditions of stability and agency, and their lack, and both may be said to search for the parameters of some sort of home. Joseph R. WolinRead more -
Art on Paper, NYC 2018
March 8-11, Pier 36, New York City January 14, 2018Gibbons & Nicholas will present works by Anita Groener, Ronnie Hughes, Charles Tyrrell, Eamon Colman, Janet Mullarney & Marty Kelly at Art on Paper, New...Read more
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Gibbons & Nicholas, Booth C307, Context Art Miami
One Herald Plaza (Biscayne Bay & 14th Street), Miami, FL 33132, United States November 16, 2017Context Art Miami, 5 - 10 December 2017. Kindly supported by:Read more -
London Art Fair
A solo presentation by Anita Groener January 12, 2017Gibbons and Nicholas are proud to present a solo presentation of the work of Anita Groener in 'Dialogues' Art Projects curated by Miguel Amado at...Read more -
Art on Paper
March 2-5, 2017 | Pier 36 | New York City October 19, 2016Gibbons & Nicholas is delighted to present the work of Anita Groener and David Quinn at Art on Paper this coming March in New York.Read more -
Context Miami
Gibbons & Nicholas at Context Miami November 29 - December 4, 2016 October 19, 2016Gibbons & Nicholas is thrilled to exhibit work by Anita Groener , Marty Kelly , Janet Mullarney , David Turner , Elve Mulchrone and David...Read more
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Context New York
May 3 - 8, 2016 April 8, 2016Gibbons & Nicholas exhibited work by Mark Cullen, Gabhann Dunne, Anita Groener, Marty Kelly, Sean Molloy, Kevin Mooney, Janet Mullarney, Suzy O'Mullane and David Quinn...Read more -
Citizen
A solo presentation by Anita Groener March 23, 2016Anita Groener will present new work in Kilkenny's prestigious Butler Gallery next month. The show runs from May 7 - June 12, 2016. Butler GalleryRead more