Tag Archives: Derek Jarman


Twenty-five years after his death, the scope of Derek Jarman’s work as a painter, writer, set-designer, gardener, political activist, and, of course, filmmaker is on view in PROTEST!, an extensive new exhibition at the Irish Museum of Modern Art featuring many bodies of work never before seen in public.

“[Derek] wasn’t chasing the center. He wrapped the center around him… Twenty years on and we’re fighting for space that we had once.” — Tilda Swinton, 2014

Young bigots flaunting an excess of ignorance. Little England. Criminal behavior in the police force. Little England. Jingoism at Westminster. Little England. Small town folk gutted by ring roads. Little England. Distressed housing estates cosmeticized in historicism. Little England. The greedy destruction of the countryside. Little England.Derek Jarman, The Last of England, 1987

DEREK JARMAN—PROTEST! is curated by Seán Kissane, and the exhibition was organized in partnership with the Manchester Art Gallery. In early 2020, Thames and Hudson will publish a major monograph to accompany the retrospective.


Through February 23.

Irish Museum of Modern Art

Royal Hospital Kilmainham, Dublin.

Derek Jarman, Protest!, Irish Museum of Modern Art, November 15, 2019–February 23, 2020, from top: Jarman, photograph by Ray Dean; Queer, 1992; Margaret Thatcher’s Lunch, 1987; Burning the Pyramids (Art of Mirrors), 1970–73, super 8 film, courtesy and © the LUMA Foundation; Jarman, photographs by Ray Dean (2); Derek Jarman’s Sketchbooks, “Edward II to Glitterbug,” private collection; Derek Jarman’s Sketchbooks, 1965, Untitled (“Poem V”), courtesy and © BFI National Archive; AIDS Isle, 1992; Landscape with a Blue Pool, 1967; Avebury Series II, 1973, collection Derby Museum and Art Gallery; Morphine, 1992, Arts Council Collection, Southbank Centre; T.B. or not T.B., 1990; Blue, 1993, photograph by Liam Daniel, courtesy and © Basilisk Communications; photograph from Jarman’s notebooks, 1968, “Ballet for small spaces”; The Angelic Conversation (1985), still, courtesy and © BFI National Archive; Fuck Me Blind, 1993; Self-Portrait, 1959, private collection. Artwork by Derek Jarman; images courtesy and © the Keith Collins Will Trust, the Amanda Wilkinson Gallery, London, and the IMMA.


ALTERED AFTER—a group show at Participant Inc featuring work by Darrel Ellis, fierce pussy, General Idea, Jerry the Marble Faun, Leslie Kaliades, Kang Seung Lee, Ronald Lockett, Jonathan Molina Garcia, Cookie Mueller, Raúl de Nieves, Jason Simon, Manuel Solano, Gail Thacker, Julie Tolentino, and XFR Collective—incorporates “archives, archaeology, salvaged objects, material migrations, inherited knowledge, and bequests in response to HIV/AIDS.”*

The exhibition is curated by Conrad Ventur for Visual AIDS.

“I’ve learned that we have to find our own saviors. For me, I like to create a fantasy, and one of the ways I’ve found beauty is by stacking beads on top of each other. I usually work in circles and let time shape the work…

“I guess I choose shoes as a vehicle to adorn myself, to give off different identities… The shoes are very organic. I actually see them grow. It pushes me to want to learn more about weight and design, to push them into new forms. But I also want them to design themselves in a way.” — Raúl de Nieves

In conjunction with ALTERED AFTER, Anthology Film Archives and Visual AIDS present RECORD TIME, a free evening of films and videos on August 8, curated by Carmel Curtis and Leeroy Kun Young Kang.

The program includes SOMETHING FIERCE (1989)—Greg Bordowitz and Jean Carlomusto’s video for Gay Men’s Health CrisisColin Campbell’s SKIN (1990), Nguyen Tan Hoang’s K.I.P. (2002), Hayat Hyatt’s VILLANELLE (2015), Tran T. Kim-Trang’s KORE (1994), Barbara Hammer’s VITAL SIGNS (1991), and Jim Hubbard’s THE DANCE (1992).


Through August 18.

Participant, Inc

253 East Houston Street, #1, New York City.

RECORD TIME film program

Thursday, August 8, at 7:30 pm.

Anthology Film Archives

32 Second Avenue (at 2nd Street), New York City.

Altered After, Participant, Inc, 2019, from top: Manuel Solano, Untitled, from the series, An Interior, A Sensation, An Instant, 2019, acrylic on canvas, courtesy and © the artist and Peres Projects, Berlin; Darrel Ellis, Untitled (from Thomas Ellis photo of child’s birthday party), circa 1990, gelatin silver print, courtesy and © the Estate of Darrel Ellis and OSMOS; Altered After installation views (3), including shoes by Raúl de Nieves; fierce pussy, Flag, 1992/2019, five photocopies on paper, courtesy and © the artist; Greg Bordowitz and Jean Carlomusto for Gay Men’s Health Crisis, Something Fierce (1989, 3:30 minutes, video), still, courtesy and © the artists and ONE National Gay & Lesbian Archives at the USC Libraries; Colin Campbell, Skin (1990, 18 min, 16mm), still, courtesy and © the artist and V Tape; Altered After installation view, including a painting by Darrel Ellis and a section of Kang Seung Lee, Untitled  (Garden) , 2018, 24K Nishijin gold thread on Sambe, ceramic (California clay, soils from Derek Jarman’s Garden, Nam San, Tapgol Park), pebbles from Dungeness and Tapgol Park, metal parts and dried plants from Derek Jarman’s Garden, courtesy and © the artist and ONE AND J. Gallery, Seoul; Kang Seung Lee, Untitled (Garden) detail; Jason Simon, Untitled (Video Against AIDS), 2013. three facsimile cassette wraps and original printed materials designed by Hannah H. Alderfer, courtesy and © the artist and Callicoon Fine Arts, New York; detail of Altered After exhibition catalog cover, designed by Jean Foos, image by Leslie Kaliades, still from Altered After, 1997, video, black and white, sound, 4:45 minutes; Altered After installation views (2); Tran T. Kim-Trang, Kore (1994, 17 min, video), still, courtesy and © the artist and Video Data Bank. Images courtesy Participant, Inc.