Willie Doherty

Willie Doherty
Future Fear I
2014
framed black and white photograph mounted on aluminum
edition of 3
122 x 152.5 cm / 48 x 60 in

Willie Doherty
Damage I
2014
C-Type colour photograph
70 x 46.5cm / 27.6 x 18.3 in  

Willie Doherty
Damage II
2014
C-Type colour photograph
70 x 46.5cm / 27.6 x 18.3 in  

Willie Doherty
Damage III
2014
C-Type colour photograph
70 x 46.5cm / 27.6 x 18.3 in  

Willie Doherty
Remains (Along the Wall)
2013
c-print mounted on aluminium (edition of 3)
120 x 160 cm / 47.2 x 63 in   

Willie Doherty
REMAINS
2013
HD video
15 mins

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Remains (Kneecapping behind Creggan Shops)
2013
c-print mounted on aluminium
120 x 160 cm / 47.2 x 63 in  

Secretion
2012
video installation, HD video projector, Blu-Ray player, stereo amplifier, two speakers, colour and sound
Duration 20 minutes

First shown at dOCUMENTA (13), Kassel, June 2012
collection of Sammlung Goetz, Munich and Neue Galerie, Kassel
 

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TO THE BORDER
A Fork In The Road
The place where Ciaran Doherty was executed in February 2010, accused of being a British informer, he was abducted two hours before his body was dumped at the side of the road.
1986 - 2012
black and white fibre photograph mounted on aluminum
122 x 183 cm / 48 x 72 in  

Dead Pool II

2011

c-print mounted on aluminium faced with non-reflective Plexiglas

Edition of 3

122 x 152 cm / 48 x 59.8 in   

 
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Ancient Ground
2011
video installation, HD video projector, Blu-Ray player, stereo amplifier, two speakers, High definition video, colour, sound
Duration: 8 mins
First shown at Dublin City Gallery, The Hugh Lane, September 2011
collection of Kröller-Müller Museum, Otterlo

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Grey Day 6

2007

framed silver gelatin prints mounted on aluminium

70 x 55 cm / 27.6 x 21.7 in   

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Segura
2010
Video Installation, HD video projector, one Blu-Ray player, one stereo
amplifier, two speakers
Duration 10 min
First shown at Manifesta 8, Murcia

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Ghost Story

2007

video installation, DVD, colour, sound

Duration 15 mins

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Show of Strength lll

2006

plexiglas and laminated c print on aluminum

121.9 x 152.4 cm / 48 x 60 in 

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Closure

2005

video installation, DVD, colour, sound

Duration 11.20 mins, looped

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NON-SPECIFIC THREAT I (Unspeakable Terror)

2003

c-print mounted on plexiglas

156 x 183 cm / 61.4 x 72 in  

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Re-run
2002
Video, 2 projections, colour
30 min
Collection of the Tate

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Border Incident

1994

cibachrome on aluminium

125 x 186.9 cm / 49.2 x 73.6 in   

the only good one

1993

Installation of two LCD video projectors, two video players, four powered speakers, two videotapes (color, sound), projected simultaneously onto walls at right angles to each other

Duration 10 mins, looped

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The Bridge
1992
2 photographs, black and white, on paper mounted onto aluminium panel
122 x 183 mm
Collection of the Tate

 

Protecting / Invading

1987

black & white photographs with text, diptych

122 x 183 cm / 48 x 72 in

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Undercover / Unseen

1985

black & white photographs mounted on aluminium framed, diptych (3/3)

122 x 183 cm / 48 x 72 in each  

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Fog: Ice / Last Hours of Daylight

1985

black & white photographs mounted on aluminium with text, diptych

122 x 183 cm / 48 x 72 in

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Willie Doherty
Home
Villa Merkel
14 February - 24 April 2016
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Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
REMAINS
17 January - 15 March 2014
Kerlin Gallery, Dublin

Willie Doherty
Secretion
21 May – 1 September 2013
IMMA @ NCH at Earlsfort Terrace, Dublin

 

Willie Doherty
Secretion
21 May – 1 September 2013
IMMA @ NCH at Earlsfort Terrace, Dublin

 

Willie Doherty
Secretion
21 May – 1 September 2013
IMMA @ NCH at Earlsfort Terrace, Dublin

 

Willie Doherty
Documenta 13
09 June - 16 September 2012
Commissioned and produced by dOCUMENTA (13) with the support of Ingvild Goetz, Munich

 

 

Willie Doherty
DISTURBANCE
21 April - 24 June 2012
Towner in association with Dublin City Gallery The Hugh Lane.

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Willie Doherty
DISTURBANCE
05 September 2011 - 15 January 2012
Dublin City Gallery The Hugh Lane

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Willie Doherty
Buried
25 April 12 July 2009
The Fruitmarket Gallery, Edinburgh

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b. 1959, Derry, Northern Ireland.
 
Since the 1980s, Willie Doherty has been a pioneering figure in contemporary art film and photography. At once highly seductive and visually disorientating, Doherty’s artworks tend to begin as responses to specific terrains (most often mysterious isolated settings; places, we suspect, with a troubled past) and evolve as complex reflections on how we look at such locations – or on what stories might be told about their hidden histories.
 
The primary point of geographical reference for Doherty during the three decades of his remarkable career has been his native city of Derry – a city famously defined and demarcated according to the traumatic divisions of the Northern Ireland ‘Troubles’. From early conceptual photo-text works – focusing on the impossibility of establishing any ‘objective’ perspective on this territory of sectarian segregation and military surveillance – to dyptich and serial works in film and photography that set contradictory points of view against each other, Doherty has returned again and again to Derry as source and subject, revisiting and re-viewing familiar places from alternative positions.
 
Over the past decade Doherty has offered lingering, anxious views of post-conflict settings in Northern Ireland, asking us to wonder, as the narrator of his 2007 film Ghost Story proposes, “about what had happened to the pain and terror that had taken place there”. But recent works have also attended to alternative locations, or proposed less specific points of reference (an important 2005 film, shown in the main exhibition at the Venice Biennale, was tellingly entitled Non-Specific Threat). Secretion (2012), a film commissioned for Documenta 13 in Kassel, for instance, was developed as a disturbing fictional response to the industrialised landscape of central Germany, obliquely addressing the effects of a traumatic past on the landscapes of the living present. The concerns and characteristics of Secretion are consistent with those of Doherty’s career to date, but they demonstrate further ways in which the forensic gaze of his art might be newly applied.
 
Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including most recently Villa Merkel, Germany (2016) and CAM Gulbenkian, Lisbon (2015–16). Past solo exhibitions include De Pont, Tilburg, The Netherlands (2014); Neue Galerie, Museumslandschaft Hessen Kassel (2013); The Annex, IMMA, Dublin (2013); City Factory Gallery, Derry (2013); Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012); Towner Gallery Eastbourne (2012); Dublin City Gallery, The Hugh Lane (2011); The Speed Art Museum, Kentucky (2011); Institute of Contemporary Art, Toronto (2009); Fruitmarket Gallery, Edinburgh (2009); Lenbachhaus, München (2007); Kunstverein, Hamburg (2007); Laboratorio Arte Alameda, Mexico City (2006); Irish Museum of Modern Art, Dublin (2002); Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Biennales and group exhibitions include dOCUMENTA 13 (2012), Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale (2007, 2005 and 1993), Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).
 
In 2016, Doherty will present a major new work commissioned for Ireland’s State Centenary Programme, Ireland 2016. His film REMAINS will also be exhibited at the Irish Museum of Modern Art, 28 April 2016 – 8 January 2017.
 
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IMMA Collection: A Decade

Irish Museum of Modern Art, Dublin

28 April 2016 - 8 January 2017

Works by Willie Doherty and Dorothy Cross are among those included in IMMA Collection: A Decade, an exhibition of some of the highlights from IMMA's collection over the past ten years.

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Willie Doherty, Home

14 February – 24 April 2016

Villa Merkel, Esslingen am Neckar, Germany

New and recent video and photographic works by Willie Doherty will be included in this exhibition at Villa Merkel (near Stuttgart).

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Willie Doherty, Again and Again

Fundação Calouste Gulbenkian, CAM, Lisbon, Portugal

20 November 2015 – 22 February 2016

Solo exhibition

Willie Doherty is the suject of a new solo exhibition in Lisbon's Centro de Arte Moderna (CAM) at the Fundação Calouste Gulbenkian. Curated by Isabel Carlos.

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Willie Doherty in Longing for happier times

Kröller-Müller Museum, The Netherlands

19 September 2015 – 3 January 2016

Group exhibition

Work by Willie Doherty is to be included in Longing for happier times: Media works from the collection of the Kröller-Müller Museum.

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Willie Doherty

UNSEEN

20 September 2014 - 18 January 2015

De Pont Museum, The Netherlands

The exhibition will provide a critical overview of Willie Doherty’s photographs and videos made on the streets of his native city of Derry in Northern Ireland and its surrounding hinterland, presenting new insight into the artist’s working methods and rationale.

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New Art New Nature

Dorothy Cross, Willie Doherty, Siobhan Hapaska, William McKeown, Paul Seawright

10 October 2014 - 28 June 2015

Ulster Museum

A new exhibition examining the role of nature in the work of Irish and International artists over the past seventy years opens to the public at the Ulster Museum. New Art, New Nature includes work by world-renowned figures including Henri Matisse, William Scott and Willie Doherty.  Paintings by one of Northern Ireland’s most important artists of the last century, William McKeown, will also be displayed at the museum for the first time, together with work by Dorothy Cross, Siobhan Hapaska and Paul Seawright amongst others.

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Willie Doherty

Concrete : Photography and Architecture

2 March - 20 May 2013

Fotomuseum Winterthur, Switzerland

Fotomuseum Winterthur presents Concrete - Photography and Architecture, a photographic group show which explores the relationship between architecture and photography. This exhibition, curated by Thomas Seelig, features work by Willie Doherty amonst others, and runs until 20 May.

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Changing States

Contemporary Irish Art and Francis Bacon's Studio

28 February - 19 May 2013

Bozar Centre for Fine Art Brussels

Bozar Centre for Fine Arts presents Changing States: Contemporary Irish Art & Francis Bacon’s Studio. This contemporary exhibition featuring works from Dorothy Cross, Willie Doherty, Brian Maguire, William McKeown, Paul Seawright amongst others, explores the concerns and innovations of a generation of Irish artists who have made significant contributions to art practice since 2000.

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Willie Doherty

Looking at the View

12 February 2013 - 02 June 2013

Tate Britain, London

Willie Doherty is amonst the artists presenting work in this exhibition which looks at continuities in the way artists have framed our vision of the landscape over the last 300 years.

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Willie Doherty

dOCUMENTA(13)

09 June 2012 - 16 September 2012

Kassel, Germany

Kerlin Gallery is pleased to announce Willie Doherty's participation in dOCUMENTA(13) with the premiere of his new video installation 'Secretion' .

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ArtForum

Willie Doherty

May 2012

ArtForum

Review by Joshua Decter

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Willie Doherty

Issue 114

April 2008

Frieze

Language is an important element in all the videos shown in this mini-retrospective. The voice-overs are redolent of late Samuel Beckett – an even, toneless (nearly always Northern Irish-accented) delivery that conceals its own textual texture.


-Maria Fusco

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Trans-Europe Express

Issue 109

September 2007

Frieze

At the risk of being accused of blatant chauvinism, the adjacent presentations of Ireland and Northern Ireland, by Gerard Byrne and Willie Doherty, were a joint success among the outlying ‘national pavilions’. Doherty’s film Ghost Story (2007) retained the baggage of a life lived in violent times even as it journeyed into a spectral other-world, while Byrne’s fractured restaging of scenes from a mid-1960s’ sci-fi think-tank, 1984 and Beyond (2006), presented the tomorrow’s world of yesteryear from the ironically distancing perspective of today.

 

-Caoimhín Mac Giolla Léith

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Matt's Gallery

Willie Doherty

05 January 1994

Frieze

It  worked.  For  days  after  seeing  Willie  Doherty’s  new  video installation,  I  walked  the  streets  of  London  gripped  by involuntary  suspicion  -­  wondering  about  cars  idling  quietly  at the  ends  of  poorly  lit  alleyways,  doing  double  takes  at  vaguely conspiritorial  street  corner  meetings,  trying  to  pick  out surveillance  cameras  hanging  above  urban  junctions.

- Jeffrey  Kastner

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