{"id":243703,"date":"2025-12-21T03:21:46","date_gmt":"2025-12-21T03:21:46","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/243703\/"},"modified":"2025-12-21T03:21:46","modified_gmt":"2025-12-21T03:21:46","slug":"our-10-favourite-irish-exhibitions-of-the-year-the-irish-times","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/243703\/","title":{"rendered":"Our 10 favourite Irish exhibitions of the year \u2013 The Irish Times"},"content":{"rendered":"

Change is in the air as 2025 winds down. The Hugh Lane Gallery<\/a>, in Dublin, has closed for renovations, ending its on-site exhibitions for now with Ailbhe N\u00ed Bhriain\u2019s hauntingly gorgeous The Dream Pool Intervals. <\/p>\n

With the Crawford Art Gallery<\/a> also closed since the end of 2024, and neither space expected to reopen until 2028, the gap is more keenly felt in Cork, although the Lavit Gallery, and Sample-Studios\u2019 exhibitions at the Lord Mayor\u2019s Pavilion in Fitzgerald\u2019s Park, have increasingly interesting programming. <\/p>\n

Moves are also afoot in Limerick and Dublin, with \u00dana McCarthy having stepped down from her role at Limerick City Gallery of Art after a decade as its director, and Patrick Murphy also retiring from the RHA<\/a> after 28 years at the helm. At the time of writing, their successors have yet to be announced.<\/p>\n

At the EVA International<\/a> contemporary art biennial, in Limerick, Eszther Szak\u00e1cs curated a show with fewer artists and venues than previously, instead leaning into the idea of collaboration and process. EVA\u2019s director, Matt Packer, spoke about the way \u201cthe projects we\u2019re doing don\u2019t have the same exhibitionary imperatives\u201d. There\u2019s a definite validity to the conceptual, but art still tends to work best when there\u2019s something to look at. In this instance, the installations at Limerick City Gallery and Ormston House were most rewarding. <\/p>\n

So what was worth seeing in 2025? These are our favourites.<\/p>\n

Lisa Fingleton: The Square TomatoSiamsa T\u00edre, Tralee, Co Kerry, February-March<\/p>\n

Referencing \u201cadvances\u201d in bioengineering aimed at making fruit and veg easier to pack, the artist, grower and writer Lisa Fingleton<\/a> jumped into a series of serious meditations on how much we\u2019re screwing up the natural world in the name of progress. What made this show a standout was the wit with which Fingleton leavened her messaging, and the breadth of her sources. Her filmed interview with the Indian physicist and environmentalist Vandana Shiva also provided a sliver of hope. <\/p>\n

\"TheThe Miracle Of Round Tomatoes by Lisa Fingleton <\/p>\n

[\u00a0Lisa Fingleton is using her art to get to the heart of the debate over land use and farmingOpens in new window<\/a>\u00a0]<\/p>\n

Other highlight works in this vein included Bernadette Kiely\u2019s No Promised Land painting at the RHA Annual<\/a>, and John Conneely and Conor Maloney\u2019s Funeral for Ashes<\/a> at the Festival Printworks Gallery for Galway International Arts Festival<\/a> (although four times was probably plenty for David Mach, who again made the main Galway festival installation, exuberant and eye catching as it was).<\/p>\n

[\u00a0At Galway International Arts Festival, an Irish industrial folly spawns a new generation of cutting-edge creativityOpens in new window<\/a>\u00a0]<\/p>\n

KunstkammerLismore Castle Arts, Waterford, March-October <\/p>\n

The art of the past is knowable only through what has survived, which means the collections of the wealthy tend to underlie taste and an understanding of what art \u201cought\u201d to look like. So where better to explore than a castle? <\/p>\n

\"KunstkammerKunstkammer at Lismore Castle Arts \"KunstkammerKunstkammer at Lismore Castle Arts. Photograph Jed Niezgoda <\/p>\n

[\u00a0Cabinet of curiosities: Kunstkammer, at Lismore Castle Arts, explores worlds within worldsOpens in new window<\/a>\u00a0]<\/p>\n

Robert O\u2019Byrne\u2019s witty and idiosyncratic curation was the ideal foil for a dive into collections old and new; Kunstkammer, at Lismore Castle Arts<\/a>, featured eclectic objects and furniture, plus works by artists such as Monster Chetwynd, Sarah Lucas, Dorothy Cross, Sasha Sykes and John Gerrard. Takeaways included: even the nobility could do with a bit of decluttering; and while we may all try to understand and hold the world through owning and ordering, it still remains remarkably, enduringly elusive.<\/p>\n

Mainie Jellett and Evie Hone: The Art of FriendshipNational Gallery of Ireland, Dublin, April-August <\/p>\n

Giving the lie to the idea that Ireland in the 1920s was a benighted place, where women were relegated to kitchens (with the odd spot of crossroads dancing), and all art looked like a Paul Henry, the National Gallery<\/a>\u2019s in-depth exhibition of the work of two pioneering Irish modernists was revelatory. <\/p>\n

\"TheThe Art of Friendship was the first joint exhibition of Mainie Jellett and Evie Hone since 1924
\n \"AchillAchill Horses, 1941, by Mainie Jellett. Photograph: National Gallery of Ireland <\/p>\n

Drawing on lessons from tutors in Europe, Mainie Jellett<\/a> and Evie Hone<\/a> made abstraction their own, and within their works the shapes and shades of Ireland sang as if seen for the first time. <\/p>\n

[\u00a0Evie Hone and Mainie Jellett: Two Irish artist friends who rewrote the rules of 20th century artOpens in new window<\/a>\u00a0]<\/p>\n

Jellett was selected to represent Ireland at the Olympics, back when art depicting sports was a thing, and her murals were on the world\u2019s stage at the Glasgow Empire Exhibition in 1938. Likewise, Hone\u2019s stained glass was commissioned for the 1939 New York World\u2019s Fair, while her large East Window<\/a> illuminates the dreams of youthful future British prime ministers in the chapel of Eton College. Where did it all go wrong?<\/p>\n

Julianknxx: Chorus in Rememory of FlightModel Arts Centre, Sligo, April-June<\/p>\n

All art communicates, but some of the most powerful work this year was about communication \u2013 or, more aptly, about the art of listening well. \u201cIf we don\u2019t unlearn racism,\u201d Julian Knox quoted, during the installation of his quietly phenomenal exhibition<\/a> at the Model<\/a>, in Sligo, \u201cwe might miss the love of our lives.\u201d He was echoing a contributor to his exhibition\u2019s central film, in which the artist travelled to European port cities, where he connected with black residents. <\/p>\n

\"JulianJulian Knxx Chorus in Rememory of Flight, installation view, Barbican Art Gallery <\/p>\n

[\u00a0Julianknxx on the roots of his art: \u2018You go through war, seeing death \u2013 that trauma never leaves you\u2019Opens in new window<\/a>\u00a0]<\/p>\n

The unfolding global story told of the movement of people, trade, slave trade, settlement and plunder, as well as community and art. To watch the film unfold, as sequences shimmered with joy, was to open yourself to the huge potential of humanity. Racism and hatred shut down the opportunity to fully experience love, not only for others but also for ourselves. <\/p>\n

Cotter & Naessens Architects: AssemblyVenice Architecture Biennale, Italy, May 18-November 23 <\/p>\n

It has been a landmark year for Irish architects on the international stage. Heneghan Peng\u2019s vast Grand Egyptian Museum<\/a> finally opened in Cairo; and O\u2019Donnell + Tuomey<\/a> were this year\u2019s recipients of the RIAI Gandon Medal for lifetime achievement, at the same time as their master plan<\/a> for London\u2019s new Queen Elizabeth Olympic Park, including their outposts of the V&A and Sadler\u2019s Wells, has come on stream.<\/p>\n

\"AssemblyAssembly by Louise Cotter and Luke Naessens at Ireland\u2019s pavilion at the Venice Biennale 2025 <\/p>\n

[\u00a0How did a small Irish architectural firm come to design one of the world\u2019s biggest museums?Opens in new window<\/a>\u00a0]<\/p>\n

[\u00a0Irish architects have designed a new London neighbourhood. What could they do here?Opens in new window<\/a>\u00a0]<\/p>\n

In a patchy Venice Architecture Biennale<\/a>, with its chaotic and disappointing central exhibition curated by Carlo Ratti, Ireland\u2019s pavilion, by Louise Cotter<\/a> and Luke Naessens<\/a>, stood out for its clarity of concept as well as form. The pavilion, which will tour Ireland in 2026, including to Cork Midsummer Festival, gracefully amplifies the simple, wise idea of sitting down and talking to one another.<\/p>\n

Michael Kane: Works on PaperTaylor Galleries, Dublin, May-June<\/p>\n

From co-founding Project Arts Centre to creating powerful art, Michael Kane<\/a> was a central figure in contemporary Irish culture. The works in his exhibition at Taylor Galleries were made to a smaller scale, but this only intensified his rich images. Part abstraction, part almost-recognisable people and places from his stamping ground in the area around Pembroke Road in Dublin, they exuded a quietly seductive power. \u201cIt is the ghost of the city that is behind the actual city,\u201d he said.<\/p>\n

[\u00a0Irish artist Michael Kane: \u2018Patrick Kavanagh did nothing else but create art. And that was my ideal\u2019Opens in new window<\/a>\u00a0]<\/p>\n

\"TheThe late artist Michael Kane in his Dublin studio. Photograph: Bryan O\u2019Brien <\/p>\n

Kane, who also had work in simultaneous group exhibitions at Hillsboro Fine Art and the Irish Museum of Modern Art<\/a>, died on the eve of the Taylor opening<\/a>, three days shy of his 90th birthday. His fellow artist Cecily Brennan wrote<\/a>, on behalf of Aosd\u00e1na, that \u201cin many ways, this is what artists dream of, not only being able to work until the end, but to be able to make better and better work until the end\u201d.<\/p>\n

[\u00a0Michael Kane: An artist who left more than a legacy of extraordinary paintingsOpens in new window<\/a>\u00a0]<\/p>\n

Jenny Brady: The Glass Booth\/An Both GloineProject Arts Centre, Dublin, July-October <\/p>\n

Exploring the worlds of interpretation and communication, Jenny Brady\u2019s first solo show in Ireland<\/a> was a reminder of why this Irish artist has such a significant international career. From opening scenes of the Geneva summit between Mikhail Gorbachev, the Soviet leader, and Ronald Reagan, the US president, in 1985, the film went on to the experiences of interpreters in training, all the way to a Nato interpreter, wryly commenting that \u201csometimes we\u2019re used like a fuse\u201d, blamed, he noted, \u201cwhen a speaker is aware of having gone too far\u201d. <\/p>\n

\"JennyJenny Brady, a still from The Glass Booth <\/p>\n

[\u00a0Lost for words: Jenny Brady explores the world of interpretationOpens in new window<\/a>\u00a0]<\/p>\n

The most emotional sequences were those focusing on the children of immigrant families, thrown into an adult world as they attempted to interpret and navigate for their parents. A compelling and thought-provoking watch. <\/p>\n

Ella Bertilsson, Kathy Tynan and Emily Waszak: Faigh AmachTemple Bar Gallery, Dublin, August-September <\/p>\n

Three intriguing artists showcased their very different work at Temple Bar in a new initiative aimed at helping artists launch international careers. A solo show at Southwark Park Galleries, in London, in 2026 was up for grabs, but that proved less interesting than the intricacies of the work. <\/p>\n

\"EllaElla Bertilsson, FISH, 2023 \"EmilyEmily Waszak in her studio, 2025 <\/p>\n

[\u00a0State of the art: \u2018My dream is to be in the studio working solidly. Having a full-time job is a distraction from that\u2019Opens in new window<\/a>\u00a0]<\/p>\n

Ella Bertilsson<\/a> tracked inner worlds with a cool but sparkly eclecticism, and Kathy Tynan\u2019s paintings were assured explorations of everyday intimacies. Emily Waszak, the ultimate winner, tracked the rituals of grief through weaving, with a delicacy that found a more recent echo in Cecilia Vicu\u00f1a\u2019s Reverse Migration (at Imma until July 5th, 2026).<\/p>\n

[\u00a0Cecilia Vicu\u00f1a: \u2018Democracy allowed a teenager like me to be free. When that was removed, it was like the end of the world\u2019Opens in new window<\/a>\u00a0]<\/p>\n

ArchipelagoRoyal Hibernian Academy, Dublin, September-December <\/p>\n

Photography had a good year in 2025. PhotoIreland\u2019s ambitiously named International Centre for the Image<\/a> opened in Dublin\u2019s Docklands in July, while Photo Museum Ireland\u2019s strong programming continued, including with Maija Tammi\u2019s Empathy Machine, which runs until February 1st, 2026. The winners of its Young Photographer Awards were installed in an outdoor exhibition at Wilton Park, and are on view until spring 2026. <\/p>\n

While smartphones have made photography both ubiquitous and mundane, Archipelago, at the RHA, was evidence of the wealth the medium can achieve. Seventeen artists, including Conor Horgan, Kate Nolan, Fionn McCann, Agata Stoinska and Ruby Wallis, slowed time through the fraction of a second\u2019s flash of light on a lens.<\/p>\n

Dublin Gallery WeekendVarious venues, November<\/p>\n

After two years in its current incarnation, Dublin Gallery Weekend<\/a> finally took the obvious step of including the public galleries and institutions, such as Imma, Project, Temple Bar and the Douglas Hyde, alongside their commercial cousins. \u201cCommercial\u201d is a clear misnomer for the labour of love involved in running a gallery funded by sales of contemporary art, but widening the field added to the energy of what had previously been a more niche celebration for those who would probably have gone anyway. If you fall into the category of those who need an extra nudge, this should be it. Ireland\u2019s artists survive on the support of galleries, institutions, funders and you. Go, see, fall in love, buy.<\/p>\n","protected":false},"excerpt":{"rendered":"Change is in the air as 2025 winds down. The Hugh Lane Gallery, in Dublin, has closed for…\n","protected":false},"author":2,"featured_media":243704,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[75],"tags":[102921,18,127927,117,127915,127920,127917,127922,127913,19,17,127926,127916,127918,127923,127924,127919,127925,70945,127416,127591,127914,127921,111260],"class_list":{"0":"post-243703","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-crawford-art-gallery","9":"tag-eire","10":"tag-ella-bertilsson","11":"tag-entertainment","12":"tag-eva-international","13":"tag-evie-hone","14":"tag-galway-international-arts-festival","15":"tag-heneghan-peng","16":"tag-hugh-lane-gallery","17":"tag-ie","18":"tag-ireland","19":"tag-irish-museum-of-modern-art","20":"tag-lisa-fingleton","21":"tag-lismore-castle-arts","22":"tag-louise-cotter","23":"tag-luke-naessens","24":"tag-mainie-jellett","25":"tag-michael-kane","26":"tag-national-gallery-of-ireland","27":"tag-o-donnell-tuomey","28":"tag-review-2025","29":"tag-royal-hibernian-academy","30":"tag-the-model","31":"tag-venice-architecture-biennale"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ie\/115755410223088791","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/243703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=243703"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/243703\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/243704"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=243703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=243703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=243703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}