Coast Scene with Europa and the Bull (1634) by Claude Lorrain. Copyright National Gallery of Ireland

You are unlikely to see so much of this collection again, so make a point of visiting. Plus: a new show by painter Ian Cumberland (...)

Untitled by Paul Doran (2016)

Plus: Finnish women let us into their lives with humour

Triptych from The Viewing of Six New Works by Michael Snow.  Copyright Michael Snow. Courtesy the artist, Jack Shainman Gallery and Butler Gallery. Photograph: Roland Paschoff

The Canadian artist sets his sights on Kilkenny; and Damien Flood is like a Miró in Dún Laoghaire

Frontier (2016) by Michael John Whelan

Artist Michael John Whelan is continuously drawn to the world’s most northerly settlement of more than 1,000 people

Not to be Known by Aideen Barry

In Aideen Barry’s work divisions between human, animal, automaton and mechanical devices blur

From left, Apartments Aleppo (2016); and Over Our Heads the Hollow Seas Closed Up (2016), both by Brian Maguire; and The Aquarius Monument by Alex de Roeck from Small . . . Far Away. Maguire images courtesy the artist and Kerlin Gallery

Brian Maguire’s paintings try to address the experiences of society’s outsiders

Detail from It Takes a Village by Una Sealy

Una Sealy couldn’t wait to escape Howth. What went wrong?

The Woolworths Choir of 1979 (2012)

The Turner Prize winner describes the moment 10 years ago when her pioneering video art took a new, fascinating turn

From left: Spectres of Modernity by Ruth McHugh, a work by Giancarlo Marcali from Foreign Bodies; a piece by Sue Kneebone from Border Crossings

Vulnerable bodies and the dispossessed also feature in three Galway International Arts Festival highlights

 Hughie O’Donoghue: ‘If you want to get at all close to a true version of events, you have to make room for the inconvenient bits as well.’ Photograph: Alan Betson / The Irish Times

The artist’s new exhibition explores the personal and political, ‘the complex, detailed, contingencies of people’s lives’

Gordana by Dragana Jurisic

Photographer Dragana Jurisic picked up a camera after her father's entire archive was destroyed. And that's not the only mystery i(...)

In Life (i) (2016) by Caoimhe Kilfeather

Things resonate in Caoimhe Kilfeather’s work but usually confound your expectations

Town, Country, People (1985-86) by Locky Morris

A group exhibition curated by Janet Mullarney is accessible, unpredictable and rewarding

Work by Jane Rainey

Bumper year with third- and fourth-year graduates’ marathon exhibitions

View of Ryou-Un Maru by Brian Duggan at Project Arts Centre. Photograph: Ros Kavanagh

Brian Duggan has made a fishing boat thought lost in the 2011 tsunamis the centre of his exhibition at Project

A still from Our Kind by Alan Phelan

Separate exhibitions highlight the complexities and ambiguities of Casement and explore the many identities that have been thrust (...)

Paper Bloom by Katie Moore

Katie Moore’s Ballina residency commemorating 1916 is exceptionally effective

Looker, undated by Merlin James

A retrospective displays the Welsh painter’s ‘art of deceptive modesty’

Stampede by Vera Klute

The German artist Vera Klute does not take a cosy view of motherhood and family

Pure Codology by Elaine Byrne

Elaine Byrne’s foray into the wordplay of Ulysses is ingenious and entertaining

Astill from Andrew Pike’s animation Going to War over a Banana Truck (2009-2010)

A strong show by the KCat collective is refreshingly free of irony and knowingness

Triptych: Casten Höller’s installation One, Some, Many  appears at three venues during this year’s EVA International

The in-demand artist, who’s showing at this year’s EVA International, offers ‘unique inner experiences that can be used for the ex(...)

Detail from The Curved Street (Youghal) by John Doherty

A talented trio focus on plants, backwoods scenes and crumbling facades

Detail from Matriline, a Kathleen Lynn Mosaic by Mary Kelly

A sprawling show pays tribute to Lynn, a humanitarian who was airbrushed from the 1916 picture

A view of the Sabine Mac Mahon exhibition So Through the Singing Land He Passed

Mac Mahon’s exhibition invites us to examine the construction of cultural myths both old and modern

The main quadrangle at the British Museum in London. Photograph: Getty Images

Perhaps surprisingly, museums are thriving in the digital age, but they must commit to constant innovation in order to capture the(...)

Detail from a photograph from Enda Bowe’s At Mirrored River

Enda Bowe’s photographs of an unnamed Irish town reveal young people on the brink of greater awareness

Kassim by the Sea (1978). Copyright the artist’s estate

The Cork artist had his critics, but his sexuality was not the issue

Detail from Within Herself by Veronica Bolay

It’s original home burned down during the Rising, but the RHA has become a vital part of the Irish art scene

A detail from Richard Gorman’s Iwano Series II (2015)

Gorman’s work on kozo paper is quite something to behold – but don’t ask him how much it cost a sheet

Untitled (Sammy Watching) by Bill Lynch

The vital art in Bill Lynch’s first ever exhibition (sadly posthumous) displays a heavy Chinese influence

Some of the Elgin Marbles, which Greece wants back. Photograph: Getty

James Cuno of the Getty Foundation says that antiquities belong to us all, not to the states where they happen to be, and that the(...)

Artistic director Vanessa Fielding and Annemarie Kilshaw

The arts centre has had a chequered, nomadic history but things are looking up

Head of Catherine Lampert (1986) by Frank Auerbach

The artist says he coped fine with the death of both his parents in Auschwitz – but does his modus operandi suggest otherwise?

A still from The Architects (2014) by Amie Siegel

Amie Siegel’s essay films are full of ideas, and Eddie Kennedy’s paintings are informed by Mayo

Adam and Eve (2013) by Yinka Shonibare. Copyright the artist; courtesy Steven Friedman Gallery, London

The British-Nigerian artist’s colourful sculptures explore postcolonial identity

Detail from The Woods by Ed Miliano

Three exhibitions showcase different aspects of modern painting to great effect

David Farrell’s Easter Arbour Hill  (2012)

Two views of the Rising and the Ireland it helped to create

Adventure Capital (2015) by Sean Lynch. Photograph: copyright Studioworks Photography 2016

Lynch’s Venice Biennale exhibition, now on tour, is quite an achievement

The Doggers (2014) by Sheila Rennick

The characters Rennick paints are deluded but she refuses to ridicule them; and exhibitions by Julie Merriman and Maeve McCarthy h(...)

Imperial City (2015) by Mick O’Dea. Courtesy of the artist and Kevin Kavanagh Gallery. Photograph: Emile Deneen

A clash of cultures makes for a powerful show

Black Square (still) by Grace Weir. Courtesy of the artist

Grace Weir’s latest films focus on her interest in science

Antony Gormley. Photograph: Eric Luke

Gormley is once again getting a warm reception at Imma, having been part of the gallery’s inaugural exhibition in 1991. He talks a(...)

Bleach Box by Cian Donnelly, from Periodical Review #5

The Coombe-based arts group’s periodical is a valuable exercise; and George Bolster takes on the delicate subject of depression

Darly’s Comic Prints: The Macaroni Print Shop, After Edward Topham (1751-1820). Copyright trustees of the Chester Beatty Library, Dublin

Not much is known about London husband-and-wife satirists the Darlys, but their work remains sharp

Detail from Globe by Michael Le Belhomme, the main prizewinner of the Solas Prize

What stands out at the Solas show is the richness of the award-winning Irish work

Left, The Slow Reveal; and, right, Yellow Leaning on Flimsy Greens (both 2015) by Liliane Tomasko

For the Swiss-born artist and photographer, the unmade bed is a metaphor for the reality of daily life

The studio of Edward McGuire, which his wife, Sally Maguire, donated to Imma. Photograph: Nick Miller

Nick Miller was inspired by working in the late Edward McGuire’s donated studio

‘ ‘Raymond 1’, by David Stephenson, bought by Dún Laoghaire-Rathdown

A touring exhibition celebrates three decades of local-authority support for artists. Where does that commitment stand today, and (...)

Reports to an Academy by Ailbhe Ní Bhriain

A disruptive power is evident in three shows that play with our perceptions of the world

Clare Langan’s Skellig Triptych

Galway’s annual winter arts festival is, fittingly enough, all about the weather

A Showroom for Granby Workshop by Assemble. Photograph: Keith Hunter Photography

It should embarrass the contemporary art world that the front runners for the prestigious prize are not artists

Detail from Head of a Woman (1906) by Walter Sickert

The 40 pieces from the UK’s Arts Council Collection on show in Drogheda are expertly chosen

The late American media artist was ahead of her time, but her reputation is now catching up with her powerful work; and Mayo artis(...)

A series of paintings by Richard Gorman in the RHA  Annual Exhibition in 2014. Photograph: David Sleator

Gorman won the prize for a series of prints made at Stoney Road Press

Curator Koyo Kouoh

In-demand Cameroonian curator Koyo Kouoh will relate next year’s EVA to the historical significance of 1916

Brian Ballard at his retrospective at Rathfarnham Castle

The Belfast painter's work has aged very well

Detail from ‘Private James Graham, shot at 7:22am on December 21st, 1915, at a former abattoir in Pas-de-Calais’ by Chloe Dewe Mathews

Chloe Dewe Mathews visited sites where first World War servicemen were executed

David (2012) by Jackie Nickerson (copyright Jackie Nickerson/courtesy the artist and Jack Shainman Gallery, NY); and a portrait of Charles Coote, 1st Earl of Bellamont, by Joshua Reynolds (1723-1792; National Gallery of Ireland)

A National Gallery show juxtaposes Jackie Nickerson photos from Africa with portraits of western privilege; and Makiko Nakamura’s (...)

Detail from Rest Energy (1980), by Marina Abramovic and Ulay. Copyright Marina Abramovic and Ulay; courtesy the Sean Kelly Gallery, New York

A kiss is not just a kiss in this big Imma show about a big emotion

Detail from Stephen Shore’s photo of a Chevron gas station in LA

Plus, David Godbold’s sarcasm continues to divide; and David Claerbout is never less than watchable

Gallery attendents  prepare the John Lavery painting of the trial of Roger Casement. Photograph: Matt Kavanagh

Jack B Yeats, Robert Ballagh and Sir John Lavery are among the artists who have taken inspiration from the 1916 Rising, writes Th(...)

‘Priorities’ by Sabine Lacey: “Lacey’s titles nudge us towards the Unspoken with intimations of doubt, loneliness, vulnerability, pretence and other staples of family life.” Detail from Priorities by Sabine Lacey

Sabine Lacey paints real photographs to explore the history of a family; Bridget O’Gorman’s sculptures point to some unspoken cala(...)

Gary Coyle’s exhibition Into the Woods at the RHA Gallery

Gary Coyle’s exhibition is superb, and three other Dublin shows also have plenty to explore

The Fall by Amanda Coogan

For those who are wary of performance art, Coogan’s approach may sway you

Aleksandra Mir’s Plane Landing, from the exhibition Magnetism

‘Magnetism’ rises to the challenge of its venue’s scale; and Anna Macleod’s polite protests hit home

Charles Tyrrell’s studio

Tyrrell’s paintings, in the tricky Uillinn gallery, aim for the ‘rightness’ of nature

Talisman by Conor Mary Foy, from the exhibition Approaching the Landscape

The Young Curators Project throws up some fascinating takes on the landscape

Kevin Gaffney at work

Gaffney will use his Sky Academy Arts Scholarship for a project about the Shackleton Mill in Lucan that will involve film, photogr(...)

Detail from Krasnym Bej Belych, Beat the Whites with the Red Wedge (1919-1920) by El Lissitzky. Courtesy Van Abbemuseum, Eindhoven

A desire to use art to effect political change unites El Lissitzky and Alice Milligan

Custom House Lisbon  by Stephen McKenna

A fascination with Europe as a ritual cultural entity is reflected in these paintings from 1980 onward

Pictures from the Surface by Tadhg McSweeney

McSweeney’s collaged sculptures are a delight; while an Adam’s show looks north

Russian artist Varvara Shavrova at her exhibition Borders, at the Shed. Photograph: Andrew Downes

The China-Russia border, dystopian visions, an uneasy road trip and feats of origami feature in four festival exhibitions

Galway International Arts Festival volunteer Eilis O’Gara at Relativity. Photograph: Joe O’Shaughnessy

It’s life but not as we know it: Australian artist Patricia Piccinini uses silicon, fibreglass and hair to make strange creatures (...)

Detail from Light Touch by Michael Coleman

Michael Coleman puts on an almost perfect show; a piece of Birmingham moves to Temple Bar; and Amelia Stein goes close to the edge(...)

Premises by Ramon Kassam

Ramon Kassam looks for the most elegant solution; Gavin Hogg takes a Jungian path; and a posthumous Martin Folan show exudes integ(...)

Detail from Narciso by Sandro Chia

Three artists at Hillsboro share a love for a great Italian tradition; and Catherine Barron throws herself into her work

Detail of Stéphane Béna Hanly’s Length of a Legacy (2015)

Project’s big summer show is an unwieldy but thought-provoking display

Russborough and the Beit collection together form a national treasure, and should be treated as such

Detail from Dead Bird by Jenny Wood Sullivan of DIT

NCAD’s troubles spilled into its degree show, although there was work of note there and at DIT and IADT

Echt by Bedwyr Williams

Bedwyr Williams shows us a broken-down future; while Gypsy Ray’s photographs display great warmth

The ‘haphazard autopsy’ of Four Fold by Sam Keogh

Sam Keogh’s fine new exhibition explores our treatment of human remains and what it reveals about us

Detail from And When Did You Last See Your Father by Abigail O’Brien

Against the odds, the RHA is still around, with this year’s exhibition one of its best. And despite our changing tastes, portrait (...)

Detail from Victoria Park 2 by Hannah Brown

Karla Black’s Imma show falls short of allowing access to an imaginative space

Japanese pavilion: thousands of keys hang as part of Chiharu Shiota’s installation The Key in the Hand, at the 56th Biennale of Arts, in Venice. Photograph: Domenico Stinellis/AP

Venice’s first African-born curator, Okwui Enwezor, is on a mission to clean up the spiritual home of the art world and remind us (...)

Photographs from Ciarán Óg Arnold’s book. He is an astute observer with an eye for telling detail, whether it be a solitary figure in the crowd whose expression suddenly gives the game away or revealing an otherwise disguised depth and sensitivity

Visual Art: Ciarán Óg Arnold’s photographic book shows us a world of drinking, messing and masculine swagger

Neil Carroll’s How Many Is a Million? from the exhibition What Is and What Might Be at Highlanes Gallery

Two intriguing group exhibitions ask whether we can believe our eyes

Aoibheann Greenan’s exhibition DMC (Dunmurray May-Day Conspiracy)

This week’s shows feature a mythologised car and superstition, emerging artists, and beautiful woodturning

Dubai Left Panel 1 by Clare Langan, from her exhibition The Floating World

Exhibitions by Clare Langan and Diana Copperwhite succeed, while a group show in Carlow is less certain

Sculptures by Gerda Frömel, clockwise from bottom left: Animal (1963), courtesy the artist’s estate; Moon and Hill (1971), courtesy Imma collection; Spear (1973), courtesy Imma collection; Eve (1974), courtesy the artist’s estate; and Head (circa 1967), private collection

The nuanced, neglected work of the Czech-born artist, who made her home in Ireland, gets an outing in an Imma retrospective

Bent Knees Are a Give by Isabel Nolan

Installations, painting, etchings and photography: four Dublin shows have it all

Detail from Good Bye To all That by Mick O’Dea

Books about the work of O’Dea and Robert Armstrong are, respectively, provocative and sumptuous

Kyoto lidded vase, mark of Namikawa Yasuyuki, circa 1890. Copyright Victoria and Albert Museum, London

The golden age of this ancient enamelling technique is given an exceptional showcase

Clew Bay by Letitia Hamilton

Far from being a corporate bauble, the AIB Art Collection, featuring Sir John Lavery, Jack B Yeats and Roderic O’Conor among othe(...)

Inglourious Basterds (film notes) 2010 by Rose Wylie. Courtesy of the artist and Union, London

At 81, the British artist is gaining recognition by avoiding artifice and artiness

From left: St Mary Magdalene in the Wilderness, circa 1625, by Domenichino; St Sebastian Tended by St Irene, circa 1650-52, by Luca Giordano; St Rufina (1630s) by Francisco de Zurbarán. Photographs: copyright National Gallery of Ireland

The power of these images goes far beyond their historical significance

The Closing of Mystical Anarchism by Clodagh Emoe. Photograph: Sean Breithaupt

A series of exhibitions organised from the Hugh Lane Gallery play with ideas around institutional critique

Cornelia Parker’s installation War Room in the Whitworth Gallery in the University of Manchester

The expanded Manchester gallery is looking to make an explosive impact

Detail from Thicket by Anthony Lyttle

His densely patterned works have an in-between quality that unsettles the eye but also keeps it interested

One of four adjoining, spacious lightboxes that form an extensive arena in My Mind’s I by Janet Mullarney

Mullarney sets memorable characters loose on stage; while Seawright shows us malevolent landscapes

More articles