Abigail O'Brien: Letzte Ölung – Vom Ophelia-Raum, 2000
geboren 1957 im County Louth, Irland, lebt und arbeitet in Irland. 1998 schloss sie ihr Studium der Bildenden Kunst am National College of Art and Design in Dublin ab. Mit dem Zyklus „The Seven Sacraments“ war sie in diversen Sammlungen und Ausstellungen weltweit vertreten, darunter im Irish Museum of Modern Art Dublin und bei Goldman Sachs London. Ihre Werke waren u.a. im Haus der Kunst in München, auf der Pulse Contemporary Art Fair in New York, der Art Rotterdam sowie im Centro National des Artes 1998 in Mexiko-City zu sehen. Im KULTUM wurde O’Brien in der Ausstellung „GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007) gezeigt.
born in Louth County, Ireland, in 1957; lives and works in Ireland. In 1998, she graduated in Visual Art at the National College of Art and Design, Dublin, Ireland. With the series “The Seven Sacraments”, she has been represented in various collections and exhibitions worldwide, like e.g. in the Irish Museum of Modern Art, Dublin, and Goldman Sachs, London. Her works were shown i.a. in the Haus der Kunst, Munich, at the Pulse Contemporary Art Fair, New York, at the Art Rotterdam, and at the Centro National des Artes 1998, Mexiko-City. O’Brien’s works were shown in the KULTUM in the exhibition “GESTURES OF INFINITY“ (2007).
Abigail O'Brien: Extreme Unction – From the Ophelia Room, 2000
The Irish artist Abigail O'Brien realized her monumental series of works “The Seven Sacraments, to which the installation “Extreme Unction – From the Ophelia Room“ belongs, from 1995 to 2004. It combines the sacraments of the Catholic Church with everyday culture and its transformations in Ireland towards the end of the 20th century. And it explores and analyzes the interfaces and turning points in human life, the everyday rituals and rites as seen from a woman artist’s perspective which at the same time also raises critical questions pertaining to the roles of religion and the Church as well as the status of women in Ireland. The series consists of the six spatial installations—“Last Supper“ (1996), which also refers to the sacrament of marriage, “Baptism“ (1996), “Kitchen Pieces – Confession + Communion“ (1998), combining the sacraments of confession and communion, “Extreme Unction – From the Ophelia Room“ ( 2000), and the two works “Garden Heaven – Holy Orders“ and “Martha’s Cloth – Confirmation“ (2003/2004). Inspired by Nicolas Poussin’s Sacraments series and Dutch still life painting, where insignificant and unappreciated things turned into objects of attention and contemplation, O’Brien turns scenes and objects of everyday life into virtual sacramentalia by means of deliberately undercooled static and thus auraticized mise-en-scène. The representations of the rites of passage cumulate in the Ophelia Room, the ultimate transition from life to death. The element of torpor reaches its climax here. Photographs of the doors of a morgue are combined with an embroidered memento mori, photos of dead letters alluding to deceased recipients such as lovelorn Ophelia from Shakespeare’s Hamlet. An urn made of melting ice is on display in the middle of a showcase, which melted away every day and had to be cast and frozen anew.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 754-755.