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Bryony Dunne

Born Year, Month, Day (Location)

Bryony Dunne is an Irish visual artist and filmmaker living and working between Wicklow (Ireland) and Athens. Building on her background in documentary photography and visual anthropology, she explores the relations between humanity and nature, the arbitrariness of cultural representation, and the fantasies of human control. She has exhibited her work at venues such as BAHAR – Istanbul’s offsite project of Sharjah Biennial 13, The Mosaic Rooms (London), The Gypsum and Townhouse Gallery (Cairo), the Irish Film Institute (Dublin) and DEPO (Istanbul), and has participated with her films at a number of International film and video festivals such as Thessaloniki Documentary Film Festival (Greece), Aesthetica (UK) and Rencontres Internationales Paris/Berlin. A recent film project, Above the Law, was supported by Screen Ireland and premiered at Cork International Film Festival. In 2020 she was a recipient of a Film Project Award from the Arts Council of Ireland to work on her first feature film entitled Pembe about the death of the last northern white male rhinoceros. In 2021 she was selected to participate at the Jan Van Eyck academy in the Netherlands.1

Awards and honours

  • 2020, Film Project Award, Arts Council Ireland
  • 2019, Visual Artist Bursary Award, Irish Arts Council
  • 2019, Culture Ireland Award for exhibition My Dear Friends at DEPO, Istanbul
  • 2018, Arab Fund For Arts and Culture – Visual Arts Award for production of exhibition My Dear Friends
  • 2018, National Geographic Storytelling Award
  • 2018, Screen Ireland, Real Shorts Production Award for Above the Law
  • 2018, Irish Nomination Euroconnection for Above the Law
  • 2018, Nominee for FOAM Paul Huf Award
  • 2017, Travel and Training Award, Irish Arts Council
  • 2017, Best Director, Zawya Short Film Festival, Cairo, Egypt
  • 2016, Best Documentary Short, Iranian Green Film Festival, Iran for The Orchard Keepers             
  • 2016, Mophradat Artist Award
  • 2016, Travel and Training Award, Arts Council Ireland
  • 2015, First Prize Award, Ethnofilm International Film Festival, Rovinj, Croatia for The Orchard Keepers
  • 2014, Second Prize, “Energy of the Truth,” Saratov International Documentary Festival, Russia for The Orchard Keepers
  • 2013, World View Media Fund Award


Solo exhibitions

  • 2019, My Dear Friends, DEPO, Istanbul, Turkey
  • 2017, Amriya, Medrar Gallery for Contemporary Art, Cairo, Egypt
  • 2016, They Usually Lie Around a Grotto, Townhouse Gallery, Cairo, Egypt

Group exhibitions

  • 2021, (upcoming) Urgencies, Centre for Contemporary Art Derry-Londonderry
  • 2020, Etat d’Urgence d’Instatnts Poetiques (EUIP), National Botanical Garden and LeCube, Rabat, Morocco
  • 2020, Photo London Digital, online edition
  • 2020, The Loss and the Rest, Art Athina, Zoumboulakis Gallery, Athens
  • 2019, Art Barter, Athens
  • 2019, Through Other Eyes, NeMe, Limmasol, Cyprus
  • 2018, 6th Athens Biennale –ANTI (Peng Collective), Athens, Greece.
  • 2018, The Truth About Fiction, The Gypsum Gallery, Cairo, Egypt
  • 2017, Athens Photography Photo book Exhibition Festival, Benaki Museum, Greece
  • 2017, Bahar, Sharjah Art Biennial 13 Tamawuj, Istanbul, Turkey
  • 2015, Trento Photography Festival, Italy
  • 2012, Living with World heritage in Africa, Johannesburg, South Africa


  • The Sky Only Welcomes Those with Wings (2022) 

    This portrait series entitled ‘Messengers’ features migratory birds entangled in mist nets on the remote Greek island of Antikythera, a key stopover location that hosts thousands of flocks during their biannual flights between Europe and Africa. Upon capture, the ornithological method known as “bird ringing” is used to collect the biometric data of each winged subject before they’re ultimately set free with a metal identification tag. This process of data extraction appears to concentrate on scientific value alone while thrusting these subjects into the role of “messengers” of environmental changes and challenges. Contrariwise, these portraits emphasize aesthetic and poetic value as a way of conveying the complex, bittersweet reality that unfolds on Antikythera: beyond the frame — between capture and release — the scientists and volunteers spoke endlessly about their lifelong passion for the species. While the framing of these birds evokes museum-style taxidermy, their awkward and harrowing poses allude to and question the impositions of human made systems of classification and control over the natural world. She is currently in the process of determining an appropriate solution for exhibition display as she is keen to exhibit them as large glass slides – mimicking the documentation of a “scientific specimen” used to project archival slide images.

External links & References

  1. “About” Bryony Dunne