Willie Doherty

Willie Doherty, Loose Ends, 2016, 2 channel HD video, 18 minutes

Willie Doherty, Loose Ends V, 2016, diptych, pigment prints mounted on Dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size 
 
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Willie Doherty, Loose Ends VI, 2016, diptych, pigment prints mounted on Dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size 
 

Willie Doherty, Loose Ends II, 2016, diptych, pigment prints mounted on dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size, 111 x 164.5 x 5 cm / 43.7 x 64.8 x 2 in framed size

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Willie Doherty, Loose Ends I, 2016, diptych, pigment prints mounted on dibond, framed, 107.6 x 161 cm / 42.4 x 63.4 in image size, 111 x 164.5 x 5 cm / 43.7 x 64.8 x 2 in framed size

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Willie Doherty 
Facility 2016
2 works each pigment print mounted on aluminium framed
106.6 x 159.8 cm / 42 x 62.9 in  
71.2 x 106.6 cm / 28 x 42 in  
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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  

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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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.

Willie Doherty has exhibited in many of the world’s leading museums, including the CAM Gulbenkian, Lisbon; Museum De Pont, Tilburg; IMMA, Dublin; SMK, Copenhagen; Fruitmarket, Edinburgh; TATE, London; Modern Art Oxford; Dallas Museum of Art; Neue Galerie, Kassel; Kunsthalle Bern; Kunstverein München; Kunstverein Hamburg and the Musée d’Art Moderne de la Ville, Paris. He was nominated twice for the Turner Prize, and has participated in major international exhibitions including Documenta, Manifesta, the Carnegie International, and the Venice, São Paulo and Istanbul biennales.
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Willie Doherty, Loose Ends

Regional Cultural Centre, Letterkenny

10 July – 24 September 2016

Loose Ends is a new commission by Willie Doherty exploring how people, events and places associated with the 1916 Easter Rising are remembered and imagined today.

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IMMA Collection: A Decade

Irish Museum of Modern Art, Dublin

28 April 2016 - 8 January 2017

Works by Willie Doherty, Elizabeth Magill and Brian Maguire 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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ArtReview

Willie Doherty, Unseen

"Since the mid-1980s Doherty has been predominantly walking through, interrogating and excavating one site: Derry in Nothern Ireland, the place of his birth. It is a complex city divided in two ways. By religious allegiances, sharply defined through politics, separatist ideologies and a long history of violence; and by the River Foyle, a wide, powerful waterway that effectively divides the city into two urban islands. Unseen, a serious and quietly moving retrospective, spans 27 years of Doherty’s career. It presents an unparalleled portrait of his hometown, reaching the metaphysical territories of identity, memory and being that lie beneath its concrete surfaces …"

Morgan Quaintance
Art Review, January & February 2014


frieze

Willie Doherty, Unseen

"As the title of Willie Doherty’s mini-retrospective at City Factory Gallery makes clear, much of the sectarian logic of this city is ‘UNSEEN’. This is Doherty’s hometown, and has been one of the principal subjects of his work for the past 30 years. While most photojournalists have presented the city as the setting for violent confrontations (youths throwing petrol bombs, lines of riot police bearing down on them), Doherty depicts places not people, sites rather than sights. The earlier works on show are black and white photographs with definitive statements printed in bold capitals across their surfaces. Here, the landscape itself is a locus for ethno-religious division. In the diptych Stone Upon Stone (1986), for example, the Republican slogan ‘TIOCFAIDH ÁR LÁ’ (Gaelic for ‘Our day will come’) appears on one image and the Unionist slogan ‘THIS WE WILL MAINTAIN’ on the other. If there is a passing resemblance to British Land art, to certain pieces by Hamish Fulton and Richard Long, Doherty’s work is motivated by different concerns: his images are a counterpoint to media spectacle rather than a record of wanderlust."

Colin Perry
frieze, Issue 161, March 2014


ArtReview

Willie Doherty, Galerie Peter Kichmann

"Willie Doherty’s Without Trace (2013) is one of the few films the artist has created outside of his native Northern Ireland. The thirteen-minute video work (alongside an accompanying series of photographs) observes a shallow waterway limning the terrain, the underside of Zurich’s arterial roads and new housing and building sites. Everything is covered in a fine, dampening blanket of snow. A female voice tells the tale of a migrant construction worker who, prior to his disappearance, had been possessed by growing disquiet regarding the city. This man believed the ground beneath him harboured secrets that surfaced only rarely as a result of excavation, upheaval or thaw."

Aoife Rosenmeyer
ArtReview, 16 April 2013


Artforum

Close-Up: Swamp Thing

"The world of Willie Doherty’s Secretion, 2012, is entropic and still, a place where little moves. Set up visually as a sequence of views of woods, waters, and a deserted house, the video might perhaps have come off as pastoral if shot in breezy sunshine but speaks instead of stagnation and decay. Shooting on windless days of gray light, Doherty finds fungi, lichens, and damp leaf litter in the dank forest, and growths, molds, and creeping mildews in the crumbling house. The only thing in motion is running water, but running water spreading spores of algae, or screened by a milky film. Combining these images with a spoken text telling a story of morbidity and corruption, Doherty makes a fallen tree look as sinister as a razor in a slasher film."

David Frankel
Artforum, September 2013, pp. 348–349


Art Monthly

Dublin Round-up

"Few artists are as adept at instilling dread and disquiet as Willie Doherty. His 2012 film  Secretion, originally made for Documenta 13, is currently being screened at the Irish Museum of Modern Art’s premises at Earlsfort Terrace. It dominates the building’s Annex gallery, and this allowance of space invites one to appreciate the subtle, ambient soundtrack and vivid, close-up depictions of mould and fungus. An elusive, ambiguous commentary unfolds against Doherty’s imagery, tracing the effects of a mysterious outbreak that infects first woodlands, then nearby houses and eventually the character of ‘X’, the occupant of one such domicile and the guard of a detainee facility for those affected. With the relentless spread of the virus into waterways and reservoirs, he escapes to a life of solitude and ‘the festering interior of his house’. Doherty refrains from showing any of this, dwelling instead on lingering shots of rotting foliage, dead trees, mildew and must, damp and decay, as the commentary doubles back to question the verifiability of its own account: ‘’As his condition worsened he was frequently visited by hallucinations. Deep pools of dark water opened up around him … It was as if he had never completed his escape.’ The absence of an identifiable protagonist and the suffocating atmosphere of the footage seems to permeate the viewer; one imagines the insidious creep of the disease, gradually filling and contaminating the surrounding air of the vast screening area. While, to some extent, Doherty remains inevitably associated with the similarly unsettling films he made about Northern Ireland, Secretion represents a compelling shift in his practice, away from the historical specificity of the Troubles yet, in its own way, just as troubling."

Chris Clarke
Art Monthly, September 2013, p. 33


Art Agenda

Willie Doherty, Unseen

"Unseen, the title of Willie Doherty’s first retrospective in his hometown of Derry, refers to a complex set of impossibilities at the core of his photographic and video practice. The exhibition is accompanied by a substantial, three-hundred-page catalog in which Robin Klassnik, the director of Matt’s Gallery in London and co-curator of the exhibition, asserts that Unseen refers to Doherty’s need to make work in such a way as to remain out of sight, unremarkable to the all-seeing eyes of the British military that has so famously surveilled Northern Ireland and Derry. Unseen also points to a central feature of the artist’s work: his early photographs and later videos offer us carefully crafted tensions and contradictions that hide as much as they reveal about the gloomy countrysides and bleak cityscapes they depict. After having been exhibited across the world, these images of and from Derry are brought back to their place of origin on an unprecedented scale. As a result, the derelict city streets and haunted country lanes that are implacable for a non-native of the city are now presented to audiences with first-hand knowledge of these spaces and their untold stories."

Aileen Burns and John Lundh
Art Agenda, 18 November 2013


The Guardian

Artist of the week: Willie Doherty

"Born in Derry in 1959, Doherty has devoted the past 30 years to making art about the Troubles. His practice has evolved from early black-and-white photographs of his home town, in which he sought to recontextualise the city away from the cliched and gritty photojournalistic images in the press, to film installations. Some focused directly on the political impasse, while others were more metaphorical, often using film noir to convey the city's chilling beauty. The Only Good One Is a Dead One, shot at night through the lamp-lit streets of Derry, captured the cool, calculating horror of organised crime as a man switches between the voice of a stalker and a victim."

Jessica Lack
The Guardian, 22 April 2009
 


frieze

Willie Doherty, Matt's Gallery

"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
frieze, Issue 114, April 2008, p. 171

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frieze

Trans-Europe Express

"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
frieze, Issue 109, September 2007

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frieze

Willie Doherty, Matt's Gallery

"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
frieze, January 1994

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