Eoghan Ryan, Circle A, video still, 2024
Eoghan Ryan: Against the Day
Feb 1 – Mar 24, 2024
Edith-Russ-Haus for Media Art
Oldenburg, Germany

Irish artist Eoghan Ryan’s solo exhibition Against the Day at the Edith-Russ-Haus for Media Art spans moving image, installation, performance, puppetry, and collage. His new commission, the video installation Circle A (2023), premieres in the company of three installations from recent years. These works explore the intricacies of how power is communicated through media culture and language. In adapting personas, characters, and unrehearsed conversations, they expand into fable-like takes on the collective and the personal as “institutions”. Against the Day as a whole speculates on how art and its institutional structures can coexist with moments of uprising, resistance, or revolt. It asks: What is it to exist right now, in a shaky present?

Circle A departs from a heavily edited conversation between five strangers in an art bookshop. Their discussion circulates around the term “anarchy,” including its abstraction and how the word functions in both an imaginary and a real way. The video installation inserts anarchy – as a response to order and an aspirational conceit – into the language of the everyday spectator, offering a thought experiment on how to begin to undo a system.

Three distinctly designed spaces present the earlier installations Doggerel (2022), Truly Rural (2019),and A Sod State (2021). These works take up troubling questions, such as rising nationalism’s corruption of a shared idea of Europe and the countryside as an environment where disgust erupts and fascism lurks.

[ . . . ]

Threading the installations together is a large collage of newspaper images and articles pasted to the walls. These blown-up cutouts are selections from an ongoing archive of thousands of images, sent to Ryan by his father every other week for the last fifteen years. The artist’s father often mounts the images to paper and collages them according to an internal hierarchy and relevance decided upon through conversations with his son. These include, for example, images of recent protests, sinkholes, handbags, and eyepatches.

The service that Ryan’s father provides not only stands in for a connection that cannot be verbalized in the pair’s own relationship but also limits the artist’s field of reference to the offline materiality of the newspapers his father chooses to read. Employing repetition and editing, Ryan uses these images to explore how a single image or headline can be pulled from the newspaper up to and including the present moment, recontextualized, and made into a narrative.

Eoghan Ryan was 2023 recipient of the Media Art Grant from the Stiftung Niedersachsen at the Edith-Russ-Haus for Media Art.

  • Miranda July: New Society
    Mar 7 – Oct 14, 2024
    Fondazione Prada
    Milan, Italy

    Curated by Mia Locks, Miranda July: New Society is the first solo museum exhibition dedicated to Miranda July’s work. Spanning three decades, from the early 1990’s until today, the exhibition includes early short films, performance, and multimedia installations. The exhibition debuts F.A.M.I.L.Y (Falling Apart Meanwhile I Love You), a multi-channel video installation July made in collaboration with seven strangers via Instagram. (more…)

  • Mikel Bastida: Anarene
    Publication
    Tipi Photo Bookshop
    International

    Anarene is a book that was born from an eight-year photographic project made by Mikel Bastida in the United States. In the spirit of referencing the ghost town in Archer County, Texas, portrayed in Peter Bogdanovich’s film adaptation of Larry McMurtry’s novel The Last Picture Show, the author has traveled the country looking for images and stories that cinema has left behind. (more…)

  • Belinda Kazeem-Kamiński: H(a)untings / Heim Suchungen
    Publication
    Sternberg Press
    International

    To challenge hegemonic archives, and with them the representations of Blackness inhabiting these very spaces, is to struggle for connection, voice, language, not least for images. Even more so in a time and space in which the stickiness of a colonial past is dismissed. Dealing with the hauntings and echoes of Austria’s colonial past, Belinda Kazeem-Kamiński – visual artist, writer, and recipient of the Camera Austria Prize 2021 – sets the stage for the what-if (more…)

  • Myriam Boulos: What’s Ours
    Publication
    Aperture
    International

    A searing, diaristic portrayal of a city and society in revolution by Magnum nominee Myriam Boulos. In her debut monograph, Myriam Boulos casts an unflinching eye on the revolution that began in Lebanon in 2019 with protests against government corruption and austerity – culminating with the aftermath of the devastating Beirut port explosion of August 2020. (more…)

  • James Barnor: Studio of Life
    Oct 27, 2023 – Mar 10, 2024
    FOMU
    Antwerp, Belgium

    James Barnor: Studio of Life offers an overview of James Barnor’s (b. Ghana, 1929) remarkable career. His multifaceted and powerful images made him a photography pioneer. This exhibition not only showcases Barnor’s rich and diverse body of work but also examines the cultural connections between Accra, London and Antwerp. In 1949, Barnor launched his photography studio Ever Young in the Ghanaian capital of Accra. It grew into a pivotal meeting place for young Ghanaians who longed for freedom from British colonial rule. (more…)

  • Sage Sohier: Passing Time
    Publication
    Nazraeli Press
    International

    “During the isolation of the pandemic, I had the opportunity to revisit my archive of negatives and contact sheets from the 1980s, and discovered a number of interesting images that I had never printed. These photographs were made between 1979 and 1985 in a pre-digital, largely un-air-conditioned era, when people fled the heat of their houses to hang out in their yards and on the street. (more…)