Aleana Egan, Spitze
15 March - 13 April 2019
A solo exhibition by Aleana Egan.
15 March - 13 April 2019
A solo exhibition by Aleana Egan.
Marian Cramer Projects, Amsterdam
15 October – 3 December 2017
Three-person exhibition by Aleana Egan, Ulla von Brandenburg and Paulina Michnowska. Curated by Pádraic E. Moore.
Illuminations Gallery, Maynooth University
1–14 February 2017
CCA Derry~Londonderry, Northern Ireland
8 August – 29 September 2015
Aleana Egan and Merlin James will both participate in Out There, Thataway at CCA Derry, alongside Stephen Brandes, Kevin Gaffney, Rana Hamadeh, Fergus Feehily and Nathan Coley.
Douglas Hyde Gallery, Dublin, Ireland
31 July – 30 September 2015
In the Douglas Hyde Gallery's Gallery 2 space, Aleana Egan will present "an intimate encounter with a single new sculpture".
Konrad Fischer Galerie, Berlin, Germany
13 March – 18 April 2015
The first solo exhibition of Aleana Egan's work at Konrad Fischer Galerie. The title of the exhibition originates from Mary Butts's 1928 novel “Armed with Madness”, which also forms its latent undercurrent.
Merrion Square Park, Dublin
16 May - 20 September 2014
Aleana Egan presents a major outdoor sculpture as part of Vestibule, a project curated by Aoife Tunney, alongside Daniel Gustav Cramer and Eva Rothschild, activating Merrion Square and its surrounding institutions.
In the Line of Beauty
12 October - February 2014
Irish Museum of Modern Art, Dublin
Aleana Egan and Sam Keogh are amongst the young Irish artists to feature in the much anticipated group show In the Line of Beauty which opens at the Irish Museum of Modern Art on 12 October.
Chesa Lendi, Celerina, Switzerland
12 August - 1 September 2013
Aleana Egan - Juliana Cerqueira Leite - Maria Nepomuceno - Elisabeth Wieser
Curated by Alma Zevi
By appointment only
Chesa Lendi / Marolani
Giassa da las Barrieras 15
The Drawing Room, London
14 February 2013 - 06 April 2013
The exhibition explores whether the languages of drawing and sculpture are intertwined or simply parallel.
Artsdesk: Aleana Egan and The Constructive Power of Uncertainty
When I consciously think what this has got to do with that it shuts things down but if I let them co-exist things happen. I use reading as a part of my making process. There is also a dynamic in fiction with characters that is interesting. The said and the unsaid and having a view on the interior voice. The spaces between people and energy that occurs through the interpersonal can almost become plastic and sculptural.—Aleana Egan, interviewed by Stephen MoloneyVisit Website
Aleana Egan, shapes from life
17 February 2016
Aleana Egan’s output might be diagrammed as two parallel strands, each of which contains and reframes the other. In this proposed model, strand one comprises work that could be categorised as sculptural, including the ‘two and a half dimensional’ wall-mounted cardboard-and-filler works that have been a staple in her oeuvre for some time. Strand two encompasses everything else: publications and films, occasionally produced collaboratively, found objects, and photographs. Strand one operates primarily in terms of its materiality and strand two in terms of its allusions to wider textual circuits. In reality of course, each contaminates the other. Materials suggest their own narratives, and cultural artefacts take physical form in various ways.—Dennis McNultyVisit Website
The Magic and Fantasy of Aleana Egan
14 April 2015
In this maddening art world, with constant convincing and never-ending quest to grasp for something only very few of us can reach, it’s wonderful to find these moments of poetic clarity, which allow you to catch your breathe and remember what we are all fighting for. Enter Irish artist Aleana Egan’s current show at Konrad Fischer Gallery in the Lindenstrasse. Offering a great bounty of what can best be described as ‘minimalist architecture’, the artist has somehow managed to strip back the implementation of objects to bring the viewer into an emotional voyage of pure aesthetic. She transforms very everyday pieces (like ladders and fabric) into sort of groupings of poetic thought; her cognitive trancing, culled from early 20th-century novels cuddle your heart. You leave with your senses cleared and re-opened, with a very wide smile on your face. Finding it quite difficult to describe what I had seen there, I was able to discuss a bit with Egan about her process and fruits of artistic grace.—Fridey MickelVisit Website
Aleana Egan, The Drawing Room
1 May 2011
There is an intrinsic link between Aleana Egan’s sculptural pieces and the literary texts that inspire their creation. In Character (2010), for example, the young Irish artist sought to embody the bleak resignation of Jen Rhys’s 1939 novel Good Morning, Midnight. More recently, Egan’s exhibition at The Drawing Room was informed by her experience of reading Émile Zola’s Au Bonheur des Dames (The Ladies’ Delight, 1883), which led to the creation of two works: Clarity afforded (2010) and Binet’s addition (2010).—Morgan QuaintanceDownload PDF Visit Website
The Portrait of an Artist
BC - The first question requires a little story. When I saw your exhibition at the Kunsthalle Basel last year, I was really caught by the strength of the big, bulky cement and plaster sculpture you built at the core of the space. It’s called Stage of Concern, an expression coined by the English psychoanalyst D. W. Winnicott to describe the point of emotional development when the infant becomes aware of an “inner” und “outer” world. And the book I was reading at the time was by... Winnicott. So let’s start from here. Was Stage of Concern a self-portrait?
AE - I didn’t consciously think of it as a self-portrait, but on some levels it inevitably is. Just now, talking about this with my mother [a former English teacher, now psychotherapist] she mentioned Winnicott’s idea of a “transitional object”, and it is interesting to consider sculpture in relation to this idea too. Stage of Concern was developed physically from very quick drawings and initial reactions I had to the Oberlichtsaal space in the Kunsthalle. I’m not sure where the form “came from”, but looking back on other works or sketches I can see its variations. It also takes on a system of its own through the measurements and the technicalities. I always wanted it to be so big that it had to be made there and destroyed there to get it out.—Aleana Egan interviewed by Barbara CasavecchiaVisit Website