A Poem for Raoul and Agnes

Ann Craven, Matthias Dornfeld, Roy Dowell, Fergus Feehily, Jane Freilicher, Clive Hodgson, Eithne Jordan, Alex Katz, Markus Karstieß, Winifred Nicholson, Norbert Prangenberg, Audrey Reynolds, Phoebe Unwin
'A Poem for Raoul and Agnes' selected by Sherman Sam

3 July ~ 6 September 2014
Opening Wednesday 2 July, 18.00 ~ 20.00
Office ll

Eithne Jordan Office II 2014
oil on linen, 50 x 65cm

Markus Karstieß, Ansel Doe, 2010
glazed ceramic, platinum, sycamore maple, 67.5 x ø 33 cm

Impatiens, meet touch-me-not.
Be as close as possible. As close
as desire, no more, otherwise pass
each other toward some opposite
distance. Subscribe our interruption
of indefinite night. Postpone reticence.
We more than wounded know nothing
of flowers but the ripe pod
scatters its seed regardless.
(Barry Schwabsky)
+44 (0)20 7253 4550 Open: Wednesday - Friday 12pm - 6pm Saturday 1pm - 5pm and by appointment.

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Ancient & Modern 201 Whitecross Street London EC1Y 8QP

In the land of Tib and Tom, Rubicon Projects

Irish Georgian Society, 58 South William Street, Dublin 2  
In the land of Tib and Tom 
final week this Wednesday-Saturday, 12-5pm 
and by appointment +353 1 670 8055 
until Saturday 31st May 2014 at 5pm

Rubicon Projects at the Octagonal Room City Assembly House

Rubicon Projects are privileged to present this exhibition about the real and imagined stories of places in this room. Five artists depict various physical spaces and territories or examine the material traces that linger in buildings over time, as they change form and function.
Very few man-made things seem as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Most built things are refined and reshaped by their occupants over time. Whatever changes are applied though, the true history, and surely some ghosts and memories will remain as tangible marks, stories and myths.

The 'Society of Artists in Ireland' built the Octagonal Room at City Assembly House in 1771; it stands as the first purpose built public art gallery in Britain and Ireland (possibly even in Europe). 




Martin Healy's

film and photography deal with the issue of belief and its dynamics. He doesn't present us eerie subjects, but merely the contexts within which these things might happen. He features characters to whom, or by whose hand, we can imagine an unsettling story. So a Healy image immediately flips us into the absent narrative, into the story, the folklore, and the myth. 


Colin Crotty

culls characters and scenarios from books, documentary film and from the Internet, these are detached from their original meaning and are re-interpreted to create a disjointed narrative. He evokes a fictional scenario, but one that is familiar as it is ingrained in a collective consciousness. 

Gabhann Dunne's

serenely coloured world has a visionary and elegiac quality. Geographic features, figures, buildings and animals emerge from hazy ground, and the artist demonstrates the haunting, lyrical qualities that can be drawn from paint. In stark contrast to the sublime qualities of his paintings, the underlying message explores something darker.

Eithne Jordan's interrogation of the urban has been mainly focussed on European cities, often depicted in the light of early dawn and pending darkness. Jordan's painting is held in a modulated tonality, and yet it is loaded with suggested narratives. Newer works venture indoors; timelines are compressed in the architecture and events as a lean contemporary gallery nestles in what was once clearly a fine period home and a large public building hosts an oversized marble-like urn of almost garish flowers.



Stephen Brandes large and detailed drawings and his smaller paintings are a complex series of fabrications that paint a retro-futuristic portrait of Europe. Whether it is himself or his fictional character whose 'travelogue' is the central motif he allows for sub-plots and departures, fed by personal observations, a leaning towards absurdist invention and references to episodes in modern European history.

Coffee Conversation

Coffee Conversation: Eithne Jordan Dublin City Gallery The Hugh Lane
Weds 2 April 2014, 11AM
Artist Eithne Jordan discusses her painting 'Mansion I'. €5 including tea/coffee with the lecturer. General Enquiries e: info.hughlane@dublincity.ie t: +353 1 222 5550

New Acquisitions, Dublin City Gallery The Hugh Lane

Dublin City Gallery The Hugh Lane has acquired Mansion I to be part of their permanent collection.

Mansion l
Mansion I Eithne Jordan

New Rehang

  • 02 March 2014 - 27 April 2014
New rehang A new selection of works from the collection is currently on display in galleries 14, 15, 16, 17 and 18.  It includes works by Patrick Scott, Louis le Brocquy, Anne Madden, Brian O'Docherty, Patrick Hall, Patrick Graham, John Kindness, Gerard Byrne, William McKeown, Eithne Jordan and Fergus Martin.  It features new acquisitions including Eithne Jordan's Mansion I and William McKeown's The Lane and Connemara series of watercolours. For further information please contact: Dr. Margarita Cappock Head of Collections and Deputy Director + 353 1 2225557 mcappock.hughlane@dublincity.ie

Horse Drawn, Gallery of Photography, Dublin

Contemporary artists study the form
January-February 2014

Horse Drawn

City stable
City Stable, 18x24cm Eithne Jordan

Works by Christopher Barr, Katherine Beug, Martin Gale, Anita Groener, Poppy Hunt, Eithne Jordan, Jin Yong, Nick Miller, Brian O’Doherty, Simon Reilly, and Clea van der Grijn.
The horse has been a staple of art since people first painted the walls of their caves. In the history of art, horses have represented power, magnificence and glory. But what do today’s artists make of the form? These questions are explored through photography, video, painting, and works on paper, in a new exhibition specially curated for the Dublin Chinese New Year Festival 2014.
Special children’s workshops will take place on Sunday 2nd February and on Sunday 9th February. Dublin based Chinese artist Jin Yong will introduce children (8 – 16 years) to Chinese watercolour and calligraphy techniques, and have them creating their own Horse artworks. As places are limited, please telephone the Gallery on 01-6714654 to book a place.
With thanks to Dublin Chinese New Year Festival, Office for Integration, Dublin City Council.

The Future Perfect: We Are Here, Rubicon Projects Brussels

The Future Perfect : We Are Here

Warehouse I
Warehouse I Eithne Jordan

Anita Groener
Ronnie Hughes
Eithne Jordan
Barbara Knezevic
Nevan Lahart
Niamh McCann
Siobhan McGibbon
Garrett Phelan
Martin Healy
Jesse Jones

7th March 2013 - 13th April 2013

Rubicon Projects Brussels

    Press Release for The Future Perfect : We Are Here

    Rubicon Gallery has located to Brussels for 3 months to present two collective exhibitions, and four solo-film projects, featuring artists from Ireland (19 artists in total).  Rubicon Projects Brussels exhibition programme will operate from Rue Tenbosch 74 (former site of TWIG gallery). This project is a significant part of the CULTURE CONNECTS programme celebrating Irelands Presidency of the European Union.
    Basing the gallery in Brussels, presenting the artists and their work here for three months we feel we can make a significant statement about contemporary art practise from Ireland and be really 'present' to answer collectors, critics and public questions.
    Rubicon Projects Brussels [March/April/May 2013]  
    The Future Perfect: Artists from Ireland
    We Are Here  07.03 / 13.04.2013 Vernissage Thursday 7th March; 18:00-21:00                                                                                                                 
    Anita Groener, Ronnie Hughes, Eithne Jordan, Barbara Knezevic, Nevan Lahart, Niamh McCann, Siobhan McGibbon, Garrett Phelan
    Solo Film Presentations
    Martin Healy 07.03 / 23.03
    Jesse Jones 26.03 / 13.04
    We Are Here
    Where are we? Caught in a maelstrom of social, economic, cultural and geopolitical change, the first decades of the twenty first century seem to be the embodiment of that infamous Chinese curse: may you live in interesting times. As ideas of borders collapse, altering our concepts of culture, identity and home; boundaries change and certainties disappear. There is, however, a great deal to be said for experiencing the interesting. For when is a better time to decide to see, to do, to discover things differently? 
                       And worse I may be yet. The worst is not
                       So long as we can say “This is the worst.”
    Edgar’s aside, in Act 4, Scene 1, of Shakespeare’s towering tragedy, King Lear,* finds bleak promise in the simple act of standing up and declaring a defiant presence. So long as we can speak, articulate, visualise, so long as we can claim the territory of imagination and eloquence, the future is not set, however negative its trajectory appears.
    Here, is where remarkable artists thrive, and here is where the best work becomes a prism for seeing through to the other side of how things are, and how things might be. Through a complexity of vision, balanced against a clear sighted undertaking of the responsibility not to shirk the task of seeing; we are presented with views of the world that just might form the basis of establishing a point, a sensibility from which a different conception of the future may flow. 
    Writing in his highly influential introduction to The Irish Imagination, an international touring exhibition held during a previous, more localised recession in 1971, Roscommon-born writer, critic and acclaimed artist, Brian O’Doherty, described Irish art’s “restless fix on the unimportant”. Despite an increasing internationalisation of aesthetic, I would argue that some of this sensibility remains, and that this is the time to explore the work of artists who refuse the grand, the monumental, the declarative gesture of claiming certainty, knowledge, importance. For haven’t all these been shown to be false? By bringing that discourse to Brussels with this series of exhibitions, Dublin’s Rubicon Gallery has done something special. 
    In the words of another famous Irish man, Nobel Literature Laureate, George Bernard Shaw, there is a positive power to be found in dreaming vision: 
                        You see things; and you say “Why?” But I dream things that never were; and I say “Why not?”
    These lines, from Back to Methuselah, were taken up by President John F Kennedy in a speech to the Irish Parliament in 1963, and later by his brother, Senator Robert Kennedy. Politicians know the value of a good line. But the sting in the tail? Shaw placed them in the fork-tongued mouth of the Serpent tempting Eve. 
    But perhaps now, in these interesting times, this is the moment to succumb to some imaginative temptations. What we can know for certain is that the “here” of the artworks in this exhibition is informed by cultural location, at the same time as carrying a universal resonance that transcends geography and boundaries. So how do we know where here is? Because of the simple fact that we are here.
    Gemma Tipton is an art critic and journalist based in Dublin, writing for The Irish Times and Artforum.com. She also works as an independent curator.
    *King Lear is currently on stage at Ireland’s national theatre, The Abbey, until 23 March 2013.
    © 2013 
    Rubicon  Tel: +353 1 670 8055 Email: info@rubicongallery.ie

    "En Route", Rubicon Gallery

    Eithne Jordan | Exhibition 
    Opens Saturday November 3rd, 5pm-7pm 
    Eithne Jordan 'En Route' continues until December 8th 2012

    Rubicon Gallery Announces 


    Rubicon Gallery presents just over twenty new gouache on paper paintings by Eithne Jordan in this exhibition entitled

    'En Route'. The paintings are uniformly encased in carefully constructed lucite/acrylic boxes, like small TV screens on pause or a glimpsed view through a car window. Later this month, at the Royal Hibernian Academy [November 15 - December 21, 2012], Eithne Jordan will show very large scale paintings on linen and canvas which were developed, without exception, from smaller gouache predecessors. In replicating scenes she has produced on a small-scale, Jordan takes on technical and compositional challenges, many details are frequently and deliberately omitted in the transition from small to larger-scale works and areas which are flat planes on a small scale become vast abstract blocks of color. 'En Route', at Rubicon Gallery, features those very specific gouache images that Jordan chose to paint in oil for her Royal Hibernian Academy exhibition and, since these two exhibitions run concurrently for a time, viewers have an opportunity to see part of this artist's working process. 
    Eithne Jordan was born in Dublin and lives and works in Dublin and the South of France. She studied in the Dun Laoghaire Institute of Art, Design and Technology and then at the Hochschule der Künste in Berlin. Recent solo exhibitions have included; Small Worlds at the MAC Belfast; Street Stills, ASSAB One, Milan; Night in the City, Rubicon Gallery Dublin as well as exhibitions at Centre Culturel Irlandais Paris, Fenderesky Gallery Belfast, The DOCK Carrick-on-Shannon and Galway Arts Centre.

    Rubicon Gallery 

    10 St Stephen's Green Dublin, 2
    +35316708055 or info@rubicongallery.ie
    12:00-5:00pm Tuesday to Saturday & by appointment
    For images & information 
    Visit Our Website

    Eithne Jordan    Car Park III, 2011    gouache on paper    18 x 24cm

    "Street", RHA

    Exhibitions Gallery I
    Eithne Jordan RHA,
    Street 15 November - 21 December
    • t_EithneJordan1
    Eithne Jordan is one of the most respected painters of her generation. Over the past three decades her work has arched from a savage new expressionism to a quiet and considered representation, from the angst of the figure to the existentialism of the street. This recent series follows her interrogation of the urban that had been mainly focussed on European cities but now turns its attention to Dublin. And though there are recognisable scenes in this work there is nothing familiar or reassuring in the method of their capture.

    The light is one of early dawn and pending darkness. The geometry of architecture, the furniture of the contemporary street, the directional signage and advertising’s visual noise are softly focused so as to keep their general characteristics but avoid their specific particularity. Jordan’s painting is held in a modulated tonality. Jordan’s streets are empty of occupants save for the odd passing car yet this absence of figure seems to push the nature of narrative to the foreground of our response to them. Many of these scenes contain domiciles but we are excluded from the domestic confined to ever present questions as to why we are so irrevocably outside.

    Eithne Jordan was born in Dublin and lives and works in Dublin and the South of France. She studied in the Dun Laoghaire Institute of Art, Design and Technology and then at the Hochschule der Künste in Berlin. Solo exhibitions have included,
    Small Worlds at the Mac, Belfast and the RHA, Dublin, Street Stills, Assab One, Milan, Night in the City, Rubicon Gallery, Centre Culturel Irlandais, Paris, Fenderesky Gallery, Belfast, The DOCK, Carrick-on-Shannon and Galway Arts Centre, Galway.

    "Making Familiar", Temple Bar Gallery


    Left (detail): Eithne Jordan, 'Courthouse 2011' Image courtesy Rubicon Gallery Dublin and the artist. Right (Detail) Daniel Pitin, 'Dance Floor' Image courtesy Hunt Kastner Gallery and the artist.
    Making Familiar: Daniel Pitin and Eithne Jordan in Conversation
    Tuesday 4th September 2012 at 5pm
    Temple Bar Gallery + Studios invites you to attend the third in a series of six artists conversations, as part of 'Making Familiar', an exhibition that spotlights the work of two painters each week.
    Over the course of six weeks, twelve artists in total will be paired together, both to exhibit and to discuss their work in the setting of the gallery. The exhibition grows each week, starting with two artists, and ending with twelve artists’ work displayed on a salon wall in the gallery.
    This week sees artists Daniel Pitin and Eithne Jordan discuss their work with curators Robert Armstrong and James Merrigan. Robert and James will guide the conversation; questioning, observing and familiarising themselves and the audience with the artist’s thoughts on painting, and other daily concerns.
    This conversation will be recorded and subsequently screened in the gallery.
    Admission is free and all are welcome to attend. No booking necessary.

    For further information on the exhibition 'Making Familiar', please click here

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    Temple Bar Gallery + Studios / 5 - 9 Temple Bar / Dublin 2 / Ireland
    +353 (0)1 671 0073 / Fax +353 (0)1 677 7527

    "Small Worlds" at The MAC

    22 June - 22 July

    The Mac (Metropolitan Arts Centre), Belfast’s brand new arts venue, presents Small Worlds, a solo show of gouaches by Eithne Jordan,


    Small Worlds presents Eithne Jordan’s intimate gouaches on paper, forming a comprehensive and rich body of work. These jewel-like paintings are testimonies to Jordan’s authoritative use of paint: combining a freedom of mark-making with a refined treatment of light and space.

    Artist Talk 5 July, 6pm Eithne Jordan talks about her work and her inspiration