Curated by Valeria Ceregini
Preview: Wednesday 18th October, 6–8pm
Continues: Thursday 19th – Saturday 21st October, 12–6pm
Denis Kelly’s paintings are characterised by hard edge colour motifs, predominantly painted flat on wooden surfaces. The paintings explore light, form and space in a playful response to the built environment and the wider designed world. Ultimately the intention is to allude to rather than describe, allowing curious forms to materialise and manifest – encouraging a slow investigation of the work.
Each painting is made on found wood on birch plywood. The found wood contains marks and abrasions that act as a counter to the ‘hard edge’ painting, offering an organic or poetic characteristic – a ‘figurative’ element in a field of geometry. The overriding ambition is one of simplicity and clarity, yet ironically, tension is created through the ambiguity of subject and form.
A suggestion of ‘movement’ into the space of the viewer is evoked where the motif meets the paintings’ edge. More recently, this idea has been developed with site-specific responses to architectural space.
Denis Kelly is an Irish artist based in County Kildare. He holds an MFA in painting from the National College of Art and Design, Dublin and a BA Honours Degree in Visual Arts Practice from the Institute of Art, Design and Technology Dún Laoghaire. He worked for a number of years as a graphic designer in Dublin taking up painting in 2007. Recent exhibitions include ‘Structure/Void’ at The McKenna Gallery Riverbank Arts Centre Newbridge – a result of the Kildare County Council Emerging Visual Artist Bursary Award, ‘Edge’ at the Municipal Gallery dlr Lexicon in Dún Laoghaire, ‘Describing Architecture’ at The Powerscourt Centre in Dublin. His work is part of the Office of Public Works collection, the Dún Laoghaire-Rathdown County collection and private collections in Ireland, the UK and US.
Valeria Ceregini is an Italian art historian, critic and independent curator based in Turin.
Supported by Kildare County Council Arts Act Grant Scheme 2017
Opening: Wednesday 11th October, 6–8pm
Continues: Thurs 12th – Sat 14th October, 12–6pm
Introduced to Orson Welles’ iconic film, Citizen Kane, as a student at the National College of Art and Design in the 1980’s, artist Darina Meagher now revisits the film to explore the concept of ‘radioactive memory’. Citizen Kane opens with Kane on his deathbed murmuring his last word “Rosebud”. Throughout the film, “Rosebud” is the enigma which the narrator seeks to solve. It is described as a radioactive memory by Peter Bradshaw, in the Guardian Newspaper. According to Bradshaw:
Rosebud is more probably Welles’s intuition of the illusory flashback effect of memory that will affect all of us, particularly at the very end of our lives: the awful conviction that childhood memories are better, simpler, more real than adult memories – that childhood memories are the only things which are real. The remembered details of early existence – moments, sensations and images – have an arbitrary poetic authenticity which is a by- product of being detached from the prosaic context and perspective which encumbers adult minds, the rational understanding which would rob them of their mysterious force. (25 April 2015)
Through a call-out, Meagher has gathered stories and images that trigger childhood memories for the respondent, each one just as authentic to its owner as “Rosebud” was to Kane.
Darina Meagher is an Irish artist who live and works in Dublin. With an Honours B. Des and an MA in Visual Communication, from the National College of Art and Design in Dublin, she spent many years working in the area of design and visual communication.
Awarded a BA (Hons.) in Visual Arts Practice at the Institute of Art, Design and Technology, Dun Laoghaire in 2011, she completed a Masters in Fine Art Painting at the NCAD, Dublin in 2014. Winner of the Peter O’Kane Solo Exhibition award at the RDS Student Awards 2011, Meagher also completed a three-month studio residency at the RHA, in 2015.
Recently, Meagher completed a residency at Arthouse, Stradbally, this was awarded to her at the Dunamaise Arts Centre, Annual Open Submissions Exhibition, in November 2016.
Meagher is a member of Visual Arts Ireland, a volunteer artist facilitator at St. Francis Hospice, Blanchardstown and is also a committee member on the Artist Network Dunlaoghaire Rathdown, (ARTNETDLR).
Meagher has exhibited extensively.
Preview: 6–8pm Wednesday 4th October
Continues: 12–6pm, Thurs–Sat, 5th–7th October 2017
I think, I can’t say anything for certain. A rainy day maybe dark but, on the other hand, maybe good for painting. It’s impossible to tell until the conditions at that moment are worked in. Painting after the fall of dark with only the street light is like drawing on location in the moonlight, it reduces the fullness of the environment to essential values.
Elizabeth Archbold’s practice is concerned with the experience of the viewer in looking at the painting, painting as an index of making over time in an open-ended thinking process, and painting as a reciprocal exchange of forms and references with the environment.
Elizabeth Archbold lives and works in Dublin. Recent group shows include; “A Painting Show” in Queen Street Studios & Gallery, Belfast, “Dog Days” at Dunamaise Arts Centre, Portlaoise, Claremorris Open Exhibition, Mayo, The Model Presents Cairde Visual, Sligo, and “The End” at SOMA Contemporary Gallery, Waterford. This is her first solo show since completing an MFA in Painting in NCAD in 2014.
Natasha Conway makes small scale paintings in oil on linen or board often featuring collaged elements. The work is an ongoing exploration of the language of abstraction. The abstract and playful nature of the work is a direct nod to the space of the studio and what happens there. The physical thought process of making is considered as imperative as the completed piece of work exhibited. The artist views the studio as being like a lab, a space for invention and a place where the serendipitous “happy accident” is revered. The initial creative impulse is pursued only until the work takes on a character of its own and exists in the world as its own entity. The resulting work is playful, serious, abstract and figurative, material and conceptual, poignant and reaffirming. In general contradictory but always sincere.
Natasha Conway is an Irish artist who lives and works in Dublin. Natasha graduated from NCAD's masters in Fine Art in 2013 having previously graduated with first class honours from NCAD in 2009 and Gorey School of Art in 2008. On graduation she was awarded the NUI Art and Design Award and her work featured in the annual Saatchi's New Sensations exhibition. She was a recipient of the UK's Jerwood Contemporary Painters' painting prize the following year. Her paintings have been exhibited internationally in London and in New York. Her work is held in collections by The Office of Public Works, The National University of Ireland, The department of Education and Science and several private collections. Natasha's work will feature at VUE art fair at the RHA, Dublin in November 2017.
Natasha Conway—Paintings is supported by Kildare County Council through a materials bursary
David Turner – ‘More Ordinary Leaders: Unofficial Portraits’
Opening: Wednesday 20 September, 6-8pm
Artist’s talk: Wednesday 20 September 6.30pm
Gallery Hours: Thursday–Saturday, 21–23 September, 12–6pm
This exhibition showcases David Turner’s portraits of famous world leaders as ordinary young people created using Lego bricks or Hama Beads. With these original works the artist draws upon and rejects the portrait tradition of the great and powerful as he “de-idealises” their representations, and confers on them a private and playful quality.
Portrayed leaders are popular figures who exercised or exercise a remarkable influence over national and even international politics and policies, and were or are involved in conflicts, be they wars or in a broader sense conflicts of interest. They include heads of states, revolutionaries, civil rights activists and also popes, among them Martin Luther King, Ernesto “Che” Guevara, Nelson Mandela, and Pope Benedict XVI.
Tuner produced these portraits drawing inspiration from and at the same time subverting the portrait tradition of powerful leaders. This tradition has seen “official portraits” of eminent persons represented in a way to be easily recognisable and idealised – their strength and other virtues clearly attributed to them. Indeed a similar process of idealisation is present in many images of these leaders widely available and even familiar to the public, that include not only portraits, but also propaganda posters, and pictures published in the media or elsewhere. In these images they appear as charismatic public figures, gifted with laudable qualities, such as authority, strength, confidence or simply agreeableness.
Turner while still showing the great and powerful, offers instead a series of portraits which can be defined “unofficial” for their peculiar qualities. Here leaders are hardly recognisable and would often remain anonymous without their identification in the pictures’ titles. They are also far from being idealised and represented as ordinary youths removed from their public roles through which they were portrayed or perceived to have extraordinary qualities. Moreover, the young age of the subjects and the toy mediums used give the works a playful aspect. This further distances these leaders from their public life and idealised public images.
Through these works Turner continues to explore political themes which are at the core of his work. With these portraits the artist invites viewers to imagine the leaders as more ordinary, at an age when different life paths were possible, before their decisions shaped their career and their involvement in conflicts. Viewers could be also prompted to compare some portraits on display with others which are more familiar and reflect upon the possible idealisation of leaders present and conveyed through images.
This exhibition is curated by Francesca Biondi
All displayed artworks are for sale.
David Turner lives and works in Belfast, Northern Ireland. He attended the Belfast School of Art, Ulster University and graduated with a BA (Hons) in Fine and Applied Arts and a Master of Fine Art. His art has been widely exhibited nationally and internationally in Europe, USA and Asia, and it has been acquired for private and public collections including recently for that of the Arts Council of Northern Ireland.
Turner creates diverse art works that explore political themes. He produces both two-dimensional representations and objects which have a playful quality for their use of Lego bricks and Hama Beads, or because made with or replicating toys. These pieces’ playfulness is only in appearance as they reflect serious political concerns. Conflict is a core theme in Turner’s work, created drawing upon considerations on wars, terrorist attacks, fights for civil rights, conflicts of interests and the role of leaders in conflicts. He relates his use of Lego bricks or Hama beads to this core theme, as these are materials and toys he played with as a child, when growing up in turbulent Belfast during the ‘70s.
Francesca Biondi is an art consultant based in Belfast, Northern Ireland. She combines her extensive experience in management with her knowledge of and passion for visual arts to offer a range of services, from curating and managing exhibitions, to advising arts organisations on exhibition programmes and supporting artists’ professional development.
After graduating in English Language and Literature in Italy, she studied arts administration and management at Birkbeck College, University of London and later she completed a Master in Art History at the Open University focusing on modern and contemporary art and curating exhibitions.
Francesca Biondi has been working in the cultural sector in for over fifteen years. Among others she was a founding board member and co-director of Belfast Platform for the Arts, a high profile gallery and studio space in Belfast, and sits as an advisor on the Gallery Sub-committee of QSS, another important studio and gallery space in Belfast.
David Turner, Benedict, 2017, Lego bricks on plywood, 76.5 x 76.5cm (79 x 79cm frame)
David Turner, “Che”, 2017, Hama Beads, 24 x 23cm (42 x 42cm with frame)
David Turner, MLK, 2017, Hama Beads, 24 x 23cm ( 42cm x 42cm with frame)
Exhibition launch: Wednesday 6th September, 6–8pm
How long can we look at one thing?
How long can we look when one thing is not one thing?
Is it still one thing when it is constantly moving?
Is it a breathing, meditative experiment?
Interrogating one fixed visual point with one printed image, and multiple, layered projected images, there are six points of sound to connect to in the space.
Put on the headphones,
look straight ahead,
Static: a feature length picture available in surround sound, this September.
Rebecca Dunne is a visual artist based in Dublin. She studied Fine Art Media in NCAD, and graduated in 2013.
Focusing on sound art, while also utilising text, moving image, live art, and installations, Dunne explores ideas of place, space, myth and narrative, through both everyday, small events and occurrences to wider concerns such as antagonism, provocation and intentional disruption of everyday life.
The audience often play a significant role in participating in the works. The interactive nature of Dunne’s pieces encourages viewers to take an active role in looking at the artwork, and in interrogating the space in which they find themselves.
‘There is a policeman in all our heads; he must be destroyed’ is an exhibition of current works by artist Eleanor McCaughey. The work engages with painting as an amalgamation of still life, sculpture and portraiture. It explores contemporary representations of portraiture, referencing the tradition of still life.
The title of the exhibition has been taken from Adam Curtis’s 2002 documentary series ‘Century of the self’. ‘Century of the Self’ advances the thesis that Freud’s views of the unconscious set the stage for corporations, and later politicians, to market to our unconscious fears and desires.
McCaughey’s work looks at self expression, the way we examine and present ourselves, our attitudes to fashions and our desire for instant approval through the distorting lens of social media. The work juxtaposes past ideas of identity and power with new ideas, taking reference from elaborately embellished Asmat ancestor skulls, Christian iconography to the modern day selfie.
Eleanor McCaughey is an Irish artist living and working in Dublin. In 2011 she graduated with an honours degree in Fine Art from Dublin Institute of Technology. Eleanor has exhibited both nationally and internationally including the National Portrait Gallery London, the Royal Ulster Academy Belfast, the Royal Dublin Society and the Royal Hibernian Academy, Dublin. She was awarded the Conor Prize for a figurative work from the Royal Ulster Academy in 2014 and the KM Evans Painting Prize, from the Royal Hibernian Academy in 2015. Her work is represented in the OPW art collection and private collections in Ireland, Europe, United States and Canada.
www.eleanormccaughey.net / firstname.lastname@example.org
Opening: Wednesday 26th July, 6–8pm
Continues:Thursday 27th – Saturday 29th 12-6pm
‘Time is not a line’ an exhibition of works by visual artists Elaine Grainger and Michele Hetherington both currently studying for their Masters in Fine Art at NCAD.
Text accompanying exhibition by Danny Felix Kelly
The idea for this exhibition has materialised through a continuous dialogue on the areas of convergence within their practices. Both artists approach the subject of place and time through line. Hetherington attempts to extend the ephemeral moments by stretching out and looping real lived time. Grainger creates work exploring the atmosphere of our present where repetition can be seen as a sign of boredom but that it can also be a moment of bliss. The exhibition proposes to make visible this shared fascination; that the line is a series of now points. The artists see their work as individual moments in time, but when presented accumulatively it transforms into one vast singular continuum.
The artists work across a range of media including painting, photography, installed sound/ video and sculptural work. This exhibition seeks to explore the parallels that bind the pursuits of both artists.
Elaine Grainger Is a visual artist, curator and founder of Talbot Gallery & Studios, Dublin. Grainger studied Design Communication at IADT, Dublin graduating in 1994 and is currently pursuing an MFA in NCAD.
Her work attempts to interpret memory situated in line and space, often manipulated, reconstituted and borrowed. Through her work she seeks to transmit visually and symbolically a given moment in time, situated in colour, texture and materiality. Whilst engaging intuitively with scale, materials and the processes of making, it is her intention to create a unique sense of balance, grace and contemplation for the world we live in.
Michele Hetherington Is a visual artist from Dublin. Studied at the National College of Art and Design, Dublin graduating from Fine Art Print in 2016 and is currently studying for her MFA in NCAD.
Her practice incorporates video, drawing and photography. Aiming to discard the ideology of a solely linear condition and prolonging that moment of ephemerality. By lagging, dating, altering and documenting time and place her work examines and challenges the thinking of our universe. Questioning how do we remember the past, how do we experience the present, and what form may the future take.
Private View: Wednesday 16th August, 6–8pm
Show Continues: Thursday 17th – Saturday 26th 2017, 12–6pm
The show presents an ongoing practice that explores a bodily response to social spaces. Investigated via drawing and painting; it considers how paint can articulate the nuance of these experiences. The works were initially conceived on a small scale, with the intention of finding a particular language that examines the notion of a bodily deficit. Reevaluated on a large scale, these condensed renderings are an attempt to discover a more direct form. In certain cases the paint surface takes on the function of a notebook, the jotted down action is inherent to the work.
John Busher (b. Wexford, 1976) graduated from NCAD with an MA Art in the Contemporary World in 2015, a Post Grad in 2008, and an Honours Degree in 1999. Recent joint exhibitions include ‘Transferrals’, Pallas Projects, Dublin (2015). Recent solo exhibitions include ‘Floorplan’, NAG Gallery, Dublin (2015). Selected group shows include ‘Impressions Biennnial’, CCAM, GMIT, Galway (2017), And Creatures Dream... A New Language..., Wexford County Council & Wexford Arts Centre, Wexford (2017), 'Halftone', The Library Project, Dublin (2016), Winter Open’, RUA RED, Dublin, and ‘Essays for the House of Memory’, Ormston House, Limerick (2014). He was the recipient of the ‘The Living Art Project’ residency in 2015 & 2017 (Wexford County Council & The Arts Council).
Private View: Thursday 20th July, 6–8pm
Continues: Friday 21st, Saturday 22nd 12-6pm & Sunday 23rd 2017, 12–2pm
Sprawling and interrupting,
a pause from the expected.
An unapologetic occupation of space,
a defiant stare straight back.
A space for validating experiences,
for an examination of female roles and femininity,
questioning representation and seeming realities,
saying 'hold on a minute...',
for awkwardly interjecting.
Exhibition of work by Niamh Coffey, Lia Cowan, Stephanie Graham, Sophie McCormack, Ciara O'Neill and Clara Scullion. Awkward Interjection is a feminist collective consisting of recent NCAD graduates. Themes that permeate the work include the representation and roles of women, gender, bodies, intimacy, sexuality and female experiences in public and private spheres. With this exhibition they aim to expand and continue the dialogue about gender issues, femininity, sexuality and representation.
Niamh Coffey is a member of Ormond Studios. Her practice creates new narratives, myths and hyperboles surrounding female and queer bodies. These disrupt the fetishised and simplified narratives already in existence. The work combines animal imagery, surrealist elements and a haptic approach to form nonsensical displays of intimacy and sybiotism. This work endeavours to invoke a radical empathy to the experiences of others which are always, to some degree, unknowable, unquantifiable and untranslatable to those gazing in.
Lia Cowan’s work is centred around investigating the female role in a family setting. Questioning the expectations of women. Marriage, femininity, motherhood. Through the use of found objects, forgotten objects, familial objects, she explores a story; the story of her femininity and the nurturing of that femininity by the women who raised her. Looking into her Jewish and Irish catholic heritages she examines these women. Thriving women. A collective of women bonded together through her. Playing with religious and symbolic objects she creates a familiar yet surreal atmosphere. She plays on the concept of collecting, recording and documenting creating a sense of nostalgia around her work.
Stephanie Graham’s practice explores her own understanding of femininity. Her work is rooted in romantic conceptualism. She uses video, sound, paint, text and drawing to address her relationship with mental health, family, friendships, love and sense of value. The artist approaches seemingly vulnerabilities with an honest voice.
Sophie McCormack uses mixed media to create her artwork, with a strong focus on poetry and digital art. Her written work explores themes relating to the human condition, replying heavily on personal events in her life. These themes include sex and sexuality, relationships, femininity and self-awareness. The digital aspect of the work reinforces the idea of the millennial spirit, and alternative identities or worlds in which people find themselves.
Ciara O’Neill’s work commonly centres around themes of representation, the body, gender and sexuality. Her recent work engages with depression and mental illness. Through illustration, she examines how such things can affect ones self views of their body and their own sexual experiences.
Clara Scullion creates work primarily concerned with the conflict of representation of memory and experience. In particular, she is interested in the assertion of female experiences that are commonly obliterated or undermined in mainstream media.
Private View: Wednesday 5th July, 6–8pm
Gallery Hours: Thursday 6th – Saturday 8th 2017, 12–6pm
This exhibition brings together large and small format paintings in which abstract scenes are loosely formed by the suggestion of foliage and puddles, grids and lozenges or prop-like objects and curtains. The work is divided into two bodies, one created in Dublin and another while on residency in Cyprus. While Mac Athlaoich develops each work instinctively without a preconceived idea of the finished result, there is visual coherence to the overall group of paintings and prints on view, both in their similar palettes as well as in recurring motifs and seamless integration of organic and non-organic forms. Mac Athlaoich is interested in the painting process as a mobiliser of ideas and action. The various techniques and rudiments that exist in his practice, as a means to an end, can they have more of a significant role? The title of the exhibition suggests this, the act of recalling memories, visual reference points, the mental photograph all become tools in the creative process.
Colm Mac Athlaoich lives and works in Dublin, He graduated from NCAD in 2004 with a BFA in Print. He has been an exhibiting painter and printmaker since 2003, becoming a member of both the Graphic Studio Printmakers and The Black Church Print Studio. In 2006 he co-founded and directed Monster Truck Gallery and studios. As well as an exhibiting artist, he has worked as an editorial illustrator for many publications both nationally and internationally. He has exhibited extensively with works traveling as part of the OPW Collection.
Solo shows include Recent Works (2016) at Made Dublin, Botox (2014) at Unit H, Market Studios, Temple Bar Revisited (2012) at Monster Truck Gallery. Selected Group Shows include Out of Print (2016) The Library Project, 40/40/40 (2013) Centro Cultural Conde Duque Madrid.
Funded by Fingal County Council
Opening Reception: Midsummer's Wednesday June 21st, 6–8pm
Continues: Thursday 22nd – Saturday 24th June* Exhibition extended until Saturday 1st July
“Behind the cotton wool is hidden a pattern … the whole world is a work of art” – Virginia Woolf in recognition of subtleties and interconnections at the heart of creative work. Plot and Piece is a group show with Pallas Studio artists, Birgitta Horan and Sarah Farrell, joined by Ciara Ward and Kerry O’Hare. The group members are linked by their NCAD peerage and common concerns. The show is a series of interconnections through both media and philosophical stance. The work spans painting, photo imagery, sculpture and installation and addresses ideas from fragility to trespass.
Sarah Farrell completed studies in NCAD (Art & Design) with a first class distinction in 2012 following a career as a barrister specialising in immigration, child protection & family law. Since graduation, she has exhibited in group shows in Block T and in Birr Theatre & Arts Centre. She currently sits on the board of Independent Studios and Pallas Projects/Studios and has also served on the Board of the Black Church Print Studio.
Birgitta Horan graduated from NCAD (Art & Design) in 2009 winning the Drawing & Painting Prize. She previously received a BA in English, Fine Art and Italian from TCD. Recent exhibitions include The Secret Garden, Mill Gallery, where the OPW purchased-her work, RHA Annual where she was reviewed by Aidan Dunne of The Irish Times, and the Printmakers Gallery.
Kerry O’Hare studied Fine Art in Falmouth School of Art, Cornwall and Art & Design in NCAD graduating with a first class distinction in 2012. Kerry has previously exhibited in group shows in Block T and Moxie Studios in Dublin and the Little Ghost Gallery, Kilkenny.
Ciara Ward graduated with First Class honours from NCAD’s Diploma, and in 2012 completed her BA in Visual Arts also with First Class Honours in 2016.
Beth O’Halloran is a curator, visual artist, writer and lecturer in NCAD.Beth’s curatorial practice began with winning the inaugural curatorial prize at The Stone Gallery, Pearse Street. The show Follow the Light was reviewed in Circa Magazine. More recent projects include Free Range for The Place Art Collective, The Lab, Foley Street, 2015 and as guest curator for the CEAD exhibition in NCAD, 2016. Beth completed her MA in Visual Arts Practices, IADT, in 2006.
Opening Night: Thursday August 3rd 2017 6pm
Telephones Nasty Women Special: Saturday August 5th
Continues: Friday 4th – Saturday 12th August 2017 12–6pm (excluding 6th +7th)
Nasty Women Dublin is taking place in Pallas Projects, Dublin from August 3rd-12th 2017. Originally a project by curators Jessamyn Fiore, Roxanne Jackson and Angel Bellaran hosted in the Knockdown Centre, New York it has spread to over 40 fundraising exhibitions worldwide.
“Nasty Women is a global art movement that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights, individual rights, and abortion rights. With over forty fundraising art exhibitions taking place around the United States and abroad, Nasty Women Exhibitions also serve to support organisations defending these rights and to be a platform for organisation and resistance.” Nasty Women Exhibition
Nasty Women Dublin will be fundraising exhibition that celebrates the strength and diversity of art by female artists in Ireland, and which acts to promote the cause of women's rights, in particular reproductive rights and The Campaign to Repeal the 8th Amendment.
All works are kindly donated by our artists and will be for sale for less than €100 with proceeds going to Coalition to Repeal the Eighth Amendment & Artists' Campaign to Repeal the Eighth Amendment.
Sheena Barrett, Mariah Black, Helen Carey, Mary Cremin, Jessamyn Fiore, Siobhan Geoghegan, Gillian Lawler, Alice Maher, Loitering Theatre & Kathy Tynan
Our generous artists include:
Anne Maree Barry
Ruth Clinton & Niamh Moriarty
Mujers Libres Derry
Doireann Ni Ghrioghair
Erica Van Horn
Thursday 3rd: Opening Event 6–9pm, performance 6.30pm.
Saturday 5th: Nasty Women Telephones Special: Tickets
Tuesday 8th: FINDING CREATIVITY workshop with Catherine Barron (16+)
Saturday 12th: 'A glove is a gift' performance, Léann Herlihy 3pm
Produced by Eve Woods, Aggie Veale & Chloë Nagle.
Private View: Thursday 13th July 2017, 6-8pm
Gallery Hours: 13th July - 15th July 2017, 12-6pm
image: Usacchi and Mikado-chan, 2017, acrylic on canvas, 150x150cm ©Aya Ito / Atsushi Kaga Courtesy the artists, Koyama Art Projects, Mother's Tankstation Limited
Instagram for exhibition - @ithappenstobe
"It happens to be" is an exhibition by Aya Ito and Atsushi Kaga.
This exhibition consists of collaborative paintings and some individual works by Ito. When creating these collaborative works, the two artists drew one picture. Kaga developed narrative in the paintings drawn by Ito and Ito added a sense of winding space within the paintings drawn by Kaga.
Ito was born in Wakayama, Japan in 1987.
She lives and works in Dublin.
She received an M.F.A. from Kyoto City University of Arts, Graduate School of Art in 2011.
She participated in “Really Realistic Reality” at the Museum of Modern Art, Wakayama in 2015.
The methodology employed for this exhibition derives from Ito's original process of creation. She first sets her own canvas paintings, paper drawings, sculptures, fabric and furniture in a room, creating her own diorama. Sometimes the size exceeds 5 meters in width, height and depth. Ito steps into the world of her diorama, and by taking photographs she discovers unexpected compositions, angles and visual effects. She later moves on to creating the actual painting, working from the photographs she has taken.
Aya Ito is represented by Koyama Artprojects. KOYAMAARTPROJECTS.COM/EN/ARTISTS/AYA-ITO
Kaga lives and works in Dublin.
He graduated from National College of Art and Design, Dublin in 2005.
He employs images that represents his own cultural background, namely Japanese comic. He also uses Japanese comic storytelling to create an alternative world, where the characters face with everyday issues and troubles that there is no answer to in the real world.
Kaga expresses a profound sense of alienation, solitude and humour. He illustrates little tales and speaks of the mythologies of everyday life, revealing existential situations, human vulnerability and weakness.
Atsushi Kaga is represented by Mother's Tankstation Limited. www.motherstankstation.com/artist/atsushi-kaga/
Preview: Wednesday 17th May, 6–8pm
Continues: Thursday 18th – Saturday 20th 2017, 12–6pm
According to estimates, if the barren lower slopes of the folding mountains are included, most of the land is composed of stony terrain, salt lakes, sand, and felsic lava, occupying a continuous strip for nearly 2800 km along the narrow coast, and despite near total lack of precipitation and conditions of extreme hyper-aridity (an almost Mars-like environment - otherworldly in appearance), a rich variety of flora has apparently managed to evolve and survive there.
Upward behind… presents a new body of paintings formed loosely through the narrative of illusory constructs, a reality yielded and infinite abbreviations or associations. Full yet subtle impressions of ideal objects, both literal and delinquent, simultaneously convoked and dissolved.
Ruaidhri Kelly lives and works in Dublin. Originally from Mayo, he graduated from NCAD in 2016 with a BFA in Painting and Visual Culture. This is his first solo show.
*Jorge Luis Borges - translated from a language that doesn’t exist
Drinks Reception: Wednesday 10th May, 6–8pm
Exhibition Dates: Thursday 4th May – Sunday 14th 2017
The Recount of Conflict presents projects focused on the disruption of the everyday life of individuals, families, communities, organisations, countries, etc. The artists selected for the exhibition are Anna Ehrenstein, Demetris Koilalous, Jasper Bastian, Marcus Haydock, Mark McGuinness, Martin von den Driesch, and Sascha Richter. Their projects offer a rich and contemporary look at diverse aspects of conflict. Some of them engage with key issues such as identity, gender, nationalism, and migration. Others present us with observations of how ideologies, distant from the lives and concerns of ordinary people, have affected dramatically their everyday life. Meanwhile, others underline the power of media in the recount of conflict, the broadcast of History, and also ours as its readers and critics.
In Tales of Lipstick and Virtue, Anna Ehrenstein deals with the crossroads of gender, class, ethnicity and their interconnection to self representation as well as post-colonialism, authenticity and pseudo luxury. They are powerful images that live somewhere between the tacky and the commodified, and are certainly grounded in contemporary visual strategies.
Demetris Koilalous’ Caesura documents the transitory state of migrants who have entered Greece after crossing the Aegean Sea on their way to Europe. Their silent presence has become a constant reminder of the effects of war, and their very present struggle makes us reconsider our shared human values. Sascha Richter’s We Are Like Ghosts also looks at those in transit to freedom, in particular to Afghan migrants stuck in Serbia. With limited chances to enter the European Union and seek asylum legally, a growing distrust in state institutions pushed them to live in an abandoned train depot and nearby barracks, next to the main train station in Belgrade, under severe conditions.
Jasper Bastian’s Across the River examines the scars of the ethnically divided city of Mitrovica, located in the northern corner of Kosovo. While the Albanian South-Mitrovica claims to belong to the independent state of Kosovo, the Serbian North-Mitrovica still pledges allegiance with Serbia. Their everyday becomes overpowered by this ongoing conflict, while the sublime landscape they inhabit hides an uncomfortable reality. In a similar manner, Mark McGuinness’ Dreaming of Figure Eights documents the pause before the storm, the sense and uncertainty, helplessness and confinement in South Lebanon. Daily life attempts to continue as much larger forces are at work dictating the fate of the people who live there. The region has a dark past, a disjointed present and an unpredictable future. This is the first part of his photographic journey across the entire Shia crescent – a new ideological boundary is being created across the region.
Marcus Haydock’s Domestic Violence was made in response to the hyper-televised conflict in Iraq that began in March 2003. During the first three weeks of the war the relentless procession of air-strikes on Baghdad and the invasion into Basra province of American and coalition forces was brought to us by an equally relentless and perhaps unprecedented level of media coverage. All of the images in this series were made during those 21 days and were shot straight from TV news channels in his living room. Witnessing this live coverage of war and terror pushes conflict, we are made to believe, elsewhere.
Martin von den Driesch’s War Games puts the very real uprisings in Egypt and Yemen in contrast with the clean corporate world of weapon sales at the International Defence Exhibition in Abu Dhabi. Men, women and even children are demonstrating in pursuit of a better life, in Yemen and Egypt – and elsewhere in the Arab world. At the same time, at the biannual IDEX fair, business deals are undertaken and people have a try at the newest war toys, with an expression of joy and excitement. While in Sanaa and Alexandria people are risking their lives for a regime change, the IDEX presents the war field as a clean and exciting marketplace. The hopes of protesters for a better future have mostly been devastated by reality, but sales at the IDEX are continuously rising, making war a highly profitable business for weapon producers around the world.
Curated by Angel Luis González, PhotoIreland Foundation Director.
With the kind support of Pallas Projects/Studios and its staff.
Opening Reception: Wednesday, April 26th, 6–8pm
Continues: Thursday 27th – Saturday 29th April
Smile is an exhibition of paintings about nightmares; teeth; anxiety; the ambivalence and possibilities of dreams contrasting with vividity and certainty. It is this area of belief and knowing I probe without the facts to back it up, a convinction without the proof and these are the areas which spawn pseudoscience & urban legend, mysteries & hearsay. This space in the overlap of dreams and myth and how what we believe, from our personal myth upwards, builds the physical structure of the world. And how this is mapped in our online network, a delineation of our thoughts and words. Anxiousness following the map of accessible information
Eve Woods is a visual artist based in Dublin City. She received her MA in Visual Arts Practices from IADT in 2015. Since then she has exhibited with F.Festival, Peachy Dublin, Artists Among Us, Group of Writing People Zine & at Temporary Sights, curated by Siobhan Mooney in MART Gallery, Rathmines.
She studied Fine Art specialising in painting at the Centre for Creative Arts & Media, Galway City (2012) & most recently received distinction in a BSc Digital Technology & Design from the Digital Skills Academy, Dublin. She has worked as a creative event designer, web designer and visual communications manager.
She is a current studio member of Pallas Projects.
Opening Reception: Wednesday, April 12th, 6–8pm
Continues: Thursday 5th – Saturday 22nd April
In 1907 celebrated botanist Augustine Henry gave expert advice to an Irish governmental committee. His advice was to replant Ireland’s previously deforested landscape with alien (non-native) coniferous trees. This advice was contrary to the proposed plan to replant using native broad-leaf species. More than 100 years later this legacy is made visible through the forestry industry dominating Ireland’s landscape.
The original specimen samples, collected by Henry in Alaska are housed in the Augustine Henry Collection in The National Herbarium, Glasnevin and in themselves provide a pseudo-blueprint for our national landscape today.
Alien Architecture is a an ongoing response to both Henry’s advice and to the alien specimens found in the collection. Presenting work made over the past two years, this exhibition acts as a conduit for conversation, asking; What is a landscape when it is architected by industry?
Coinciding with the exhibition is a text written by Nathan O’Donnell who has been a conversational partner in the work over the past two years.
With continued thanks to; Dr. Noeleen Smith & Dr. Matthew Jebb of The National Herbarium and Mella Travers of The Darkroom.
Opening Reception: Tuesday, April 4, 6–8pm
Continues: Wednesday 5 – Saturday 8 April
Performance: Hit Pay Dirt, Saturday April 8, 4–5pm
"Money is the vomit of fortune."
Diogenes of Sinope*
The Pinch is an installation of wax rubbings, paper coins, a bench, and a bookwork followed by a performance. Paid for with money scoured from the streets of Dublin, the installation explores the potential of public funding, city mining, and social entrepreneurialism toward decelerated economic opportunities. The artist persists in a personal political commentary at a time when monopolies of power possess the wealth and trickle down theory is proven wrong. With cents and two cents soon to be bygones, French honours the materiality of legal tender and its continuation as an art form.
*Primarily accredited to Monimos
Installation photos by Kate-Bowe O'Brien
Preview: Wednesday 29th March, 6–8pm
Continues: Thursday March 30th — April 1st 2017, 12–6pm
Studio amigos during our time in Dublin, this exhibition is a chance
to reunite and continue our conversation about the formal, historical
and emotional aspects of painting. Both of us having left Dublin, at
least for the moment, 'Dos Amigos' is also about maintaining our
connection to the city and community.
Instagram: @annabauerpic / @svensandberg
Preview: Wednesday 22nd March, 6–8pm
Continues: Thursday March 23rd – March 25th 2017, 12–6pm
Origins is a series of paintings investigating the physicality of paint as object and furthermore how it can be used to create the impression of form and movement without the means of a traditional perspective space. The works are created by using large volumes of paint and are primarily shaped by the force of gravity. Within each work are variations caused by the amount and type of paint used. This exhibition charts the process over a two year period.
Preview: Wednesday 8th March, 6–8pm
Continues: Thursday March 9th – March 18th 2017
Open Tuesday –Saturday, 12–6pm (closed St.Patrick's Day, Friday 17th March)
“Nimmo’s Pier” is an exhibition of recent paintings by Carlow-based artist Jules Michael. Made in her rural studio over the previous eighteen months, the works consist of mostly large-scale, abstracted images, the paintings utilising ideas and sources derived from remnants in architecture and the built environment
Visible narratives and traces in the infrastructure combine with ideas of ruin, time and her visual research from abandoned or changed places in both rural and urban contexts. The already-made forms, sourced from the pragmatic architecture of cement walls, sheet metal, openings and gable-ends work as a structure for the paintings to proceed.
These forms also function as an anchor, a fact even, in the un-knowing and often contradictory part of the making process. Their shapes test associations, probing the line between abstracted form and concrete visual information. The visual movement around the structure of the painting, its balance - or imbalance - alludes to the mind’s subversive ability to hold or construct a memory. The spatial play, the angles, the not quite fitting shapes reinforce this splintering. In parts there is a slippage, literally, between the gaps, providing a form of release, or a breathing space, from the rigor of the over-painted shapes.
With a background in Arts in Healthcare Settings and older people, Jules returned to full-time education in 2009, graduating with a First Class B.A. (Hons) from the Wexford School of Art and Design, followed by an MFA from the National College of Art and Design in 2015. She is a member of 9 Stone Artists, and her studio is alongside where she lives in rural Co Carlow. This is her first solo show.
Preview: Wednesday 15th February, 6–8pm
Artists Talk: Chanelle Walshe in conversation with artist Sinead Ni Mhaonaigh, Thursday March 2nd, 5pm
Continues: Thursday February 16th – March 4th 2017, Open Tuesday –Saturday, 12–6pm
Beatland is an exhibition of paintings by Dublin based artist Chanelle Walshe. The paintings depict human organs, the heart and lungs, in various energetic states. The forms are isolated, unearthed from a nourishing ground, and offered up to the viewer like a gift or a sacrifice.
The title of the exhibition is borrowed from Jeannette Winterson’s novel Art and Lies. The word Beatland refers to the permeable boundaries of our bodies and how the experience of space and energy can extend beyond our five senses; ‘What can balance the inequity of that huge space, which never ends, and my bounded life? Perhaps this: The beatland of my body is not my kingdom’s scope. I have within, spaces as vast, if I could claim them.’
For this exhibition, Walshe’s paintings embody an act of translation through sensation to image. Drawing from a mix of influences from Irish poetry to bog-bodies and the aesthetics of museum display, these works harbour traditional categorizations of life and death and formal renderings of objects, yet they have a contemporary sensibility.
Chanelle Walshe graduated from NCAD in 2010. She has recently exhibited at The Dock , Carrick-on-Shannon, NCAD Gallery, Dublin, Luan Gallery, Athlone and Temple Bar Gallery and Studios, Dublin (Atrium Space). She was a recipient of The Thomas Demmann Award and an RHA studio residency award in 2015.
www.chanellewalshe.com / email@example.com
Aquinas, Callan Workhouse, Nina Canell & Robin Watkins, Dorothy Cross, Willie Doherty, Douglas Hyde Gallery, Fergus Feehily, FOUR, Anthony Haughey, Des Kenny, Patrick Jolley & Reynold Reynolds, Aileen Lambert, Clare Langan, The Metropolitan Complex, Michael McLoughlin, Isabel Nolan, Seamus Nolan, Emer O'Boyle, Margaret O' Brien, Deirdre O'Mahony
Preview: Friday 25th November 2016, 6–8pm
Gallery hours: Thursday–Saturday, 12–6pm
26th November 2016 – 21st January 2017
(Closed 18th December – reopens 5th January)
An artwork, like a book, is not made up of individual words on a page each of which with a meaning, but is instead "caught up in a system of references to other books, other texts, other sentences" – Michel Foucault, The Archaeology of Knowledge
Periodical Review is an annual survey of recent Irish art, selected in collaboration with invited curators from around Ireland. Not a group exhibition per se, Periodical Review is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). Each year, Pallas Projects invite a number of peers – artists, writers, educators, curators – to review and nominate a number of art practices, selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit, to be a reminder, a critical appraisal and consolidation of ideas and knowledge; to facilitate and encourage collaboration, crossover and debate.
Periodical Review 20/16 – which coincides with 20 years of Pallas Projects – sees four invited selectors survey key events, exhibitions, moments and artworks from the past 20 years to the present. The chosen practices emphasise the recent developments in contemporary art in Ireland, a period of new engagement with international practices, an increase in visiting artists, curators and speakers, with Irish curators and educators taking up major positions overseas, and Irish artists being showcased around the world. The works display and demonstrate a new confidence and energy that emerged in the visual arts during the 1990s and 2000s, by individuals and institutions. A period that included the international conferences such as Cork Caucus, 2005; the emergence of redesigned spaces such as Project, Temple Bar Gallery & Studios, and The Model; international art fair profile for Irish artists through galleries such as Kerlin and mother’s tankstation; new major regional galleries such as The Glucksman and VISUAL; critical publications such as Third Text’s ‘Ireland Issue’ edited by Lucy Cotter, or Paul O’Neill’s ‘Curating Subjects’; and acclaimed Irish pavilions at the Venice Biennale.
In looking at self-organised exhibitions, off-site projects, commercial gallery and museum shows over this 20-year period, Periodical Review 20/16 aims to share a spectrum of practices, creating dialogue and critical reflection to help develop and support Irish contemporary art as a whole; and to act as an accessible survey of contemporary art for a wider audience, showing an expanded experience of art practices from around the country.
The exhibition which runs for 8 weeks allows for a dedicated series of school visits. For more info, or to enquire about group visits please contact: firstname.lastname@example.org
Periodical Review 20/16 is an initiative of Pallas Projects, supported through funding from Dublin City Council
In the making: QUENCH
Michael Byrne, Aisling Flood, Tom Garrett, Jade Hennessy, Jacinta Keane, Ali Kemal Ali, Zunaira Khurshid, Dorota Konczewska, Emma McKeagney, Ash Middleton, Johnny David Wynne
Preview: Thursday 17th November, 6–8pm
Continues: Friday 12–6pm and Saturday 12–2pm
Invited Response: On Saturday November 19, 2016 at 12.30pm, artist and curator Lee Welch will respond to the exhibition in conversation with IADT students. This informal event is open to the public.
QUENCH is the last instalment of in the making, a three-part exhibition of new work by IADT degree year Art students at Pallas Projects in November 2016.
To quench a thirst is satisfying, but over time thirst returns: to quench is to defer. Similarly this exhibition acts as conclusion to a three-part exhibition but the implications of this conclusion must necessarily be postponed. QUENCH essentially acts as both a terminus to a valuable phase of experimentation and collaboration in Pallas Projects and the foundation to a new stage of development where these experiences will foster something new, unexpected and strange.
Inspired by the Workers Solidarity Movement, Jade Hennessy uses painting to respond to issues of social mobility. The sculptures of Emma McKeagney act to highlight humanity’s displaced attitude towards the environment. A connected sense of dislocation and anxiety is evident in Johnny David Wynne’s photographs while, conflictingly, tactile human intimacy is explored in Ash Middleton’s digital projection.
A focus on the fragility of the human body is seen in Dorota Konczewska’s moving image work. A similar sensitivity imbues Zunaira Khurshid’s light experiments, which are used to reflect on the way personality alters with time. At variance to this, Ali Kemal Ali uses sculpture to give geometric objects a creature-like quality.
Working with people living with Alzheimer’s has inspired Aisling Flood’s interactive piece that explores the calming effect of imagery. A print by Tom Garrett exhibits a fascination with the digital world and how it can be manipulated. Two distinct approaches to painting are seen in Jacinta Keane and Michael Byrne’s work; Keane meticulously renders forgotten objects while Byrne uses irony and humour to create an imaginary meeting of Beatrice Potter and Vincent Van Gogh.
In the making: FORGE
Léa Blanchard, Rachel Byrne, Sorcha Carey, Laura Knox, Conor Leonard, Lorcan McGeough, Tiziana Piussi, Ciara Reid, Megan Robinson, Elinor Sherwood
Preview: Thursday 10th November, 6–8pm
Continues: Friday 11th November 12–6pm, Saturday 12th November, 12–2pm
Invited Response: On Friday November 11th, 2016 at 2.30pm, curator and artist Paul McAree will respond to the exhibition in conversation with IADT students. This informal event is open to the public.
FORGE is the second instalment of in the making, a three-part exhibition of new work by IADT degree year Art students at Pallas Projects in November 2016.
The word FORGE (fohr-j) has a molten feel to it as it surges out of your mouth; the fff gently bites your bottom lip before the orr boils in the backs of your cheeks, softly melting jjj back over your tongue as you release it. Much like the process of creation, the word when repeated again and again folds and kneads itself in your mouth as materials and concepts fold and knead themselves in your hands. Part 2 of a three-part exhibition, FORGE presents a showcase of works that are in a tumultuous state of transience and fluctuation.
FORGE brings the viewer face to face with concepts of the abnormal in day-to-day life and a certain recognisability of the unknown. The work of Ciara Reid lets you step in to a state of hyperreality while the work of Conor Leonard shows you a reality we know only too well. Sorcha Carey alters the function of an object shedding light on an unseen shift in correspondence.
Attention is drawn to the states of change your mind and body go through as shown by Elinor Sherwood’s work, but also the change and transformation that occurs in natural process considered by Lorcan McGeough. Rachel Byrne melds the human body with machine in order to visualise the process of involuntary functions.
Perfection in nature is meticulously sought after by Laura Knox, while Léa Blanchard explores the nature of systems in a man-made world that strives for consistency. Megan Robinson examines the relationship between structural forms and lines through paint while Tiziana Piussi shows the effect time and movement can have within a space.
In the making: SPARK
Amanda Connolly, Aisling Cooling Nolan, Suzanne Daly Clancy, Dawn Greenwood, Amy Harlow, Stephen Hickey, Hannah Kennedy, Daire McEvoy, Trudie Mitchell, Alice O’Connor
Preview: 6pm to 8pm, on Thursday 3 November
Continues: Friday 12–6pm and Saturday 12–2pm
Invited Response: On Friday November 4, 2016 at 2.30pm, artist and curator Linda Shevlin will respond to the exhibition in conversation with IADT students. This informal event is open to the public.
Spark is from the old English Spearca, referring to a "glowing or fiery particle thrown off”. Part one of a three-part exhibition run by the graduating class of the undergraduate Art program at IADT, SPARK showcases work that is much alike to these fiery particles, as they demonstrate the beginning of a process.
Particular attention to the use of materials is explicit throughout the exhibition, especially in the works of Daire McEvoy and Amy Harlow. This consideration of materials is apparent again in Trudie Mitchell’s piece as she examines more natural forms. Dawn Greenwood and Aisling Cooling Nolan research aspects of architecture in their works, while Suzanne Daly Clancy questions diversity and prejudice through focusing on the human form in a series of self-portraits.
Fantastic and dreamlike attributes are evident in the works of Hannah Kennedy and Alice O’ Connor, whereas Amanda Connolly uses a contrasting cold and clinical approach in her paintings. This inhospitable manner is echoed to some extent in Stephen Hickey’s print, as a dystopian world is portrayed.
The topics of curiosity, predisposition, and deterioration are demonstrated throughout, as well as the possibility of the evolving research becoming an artwork in itself. This instalment of in the making acknowledges the launch into a course of action, much like a spark will be thrown off and intensify.
in the making presents a taste of the future. For three weeks in November 2016, Pallas Projects provides an exciting platform for emerging art practices, hosting three consecutive exhibitions of new work by degree year students from IADT’s BA in Art. Conceived as an experiment in learning through exhibition-making, the project has been developed with guidance from PP/S co-curator Gavin Murphy and assistance from post-graduate students on IADT’s MA in Art & Research Collaboration (ARC). Each exhibition will provide an early-stage glimpse into the ideas, materials and techniques currently being researched and tested by the BA students and a valuable opportunity for them to extend their practices beyond the IADT studios.
in the making is conceived in three instalments, titled SPARK, FORGE and QUENCH. Three invited respondents— Linda Shevlin, Paul McAree and Lee Welch—have each been asked to engage with one instalment and they will be in conversation with IADT students as part of the exhibition’s public programme.
The three exhibition openings will take place from 6pm to 8pm, on Thursdays November 3, November 10 and November 17, 2016.
Each exhibition will also be open to the public on Fridays, 12–6pm, and Saturdays, 12–2pm. (Please note the earlier Saturday closing time).
Book now available at The Library Project
4 Temple Bar, Dublin 2
Artist-Run Europe: Practice/Projects/Spaces
Contributors: Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Céline Kopp & Alun Williams, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Gavin Wade and Katherine Waugh.
With case studies of spaces and projects: Pallas Projects/Studios, Triangle France, Transmission Gallery, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, FOOTFALL, and The Artist-led Archive.
Part how-to manual, part history, and part socio-political critique, Artist-Run Europe looks at the conditions, organisational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum and commercial gallery.
In a self-reflexive, critically questioning process, contributions by Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Céline Kopp, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Transmission Gallery, Gavin Wade, and Katherine Waugh, discuss and analyse areas such as: What position do artist-run spaces occupy within the field of contemporary art today? Should they stand in opposition to or in parallel to other art-world structures? How is value ascribed to these often transitory practices, and is this value recognised within the field? How are these spaces organised? Can artist-run spaces develop and be sustained without the need to institutionalise? What do artist-run spaces add to the ecology of the civil society? What can we say about future (or hoped for) trajectories?
Such a publication is timely and unique, with case studies of spaces and projects: Triangle France, Transmission Gallery, Pallas Projects/Studios, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, 126 Artist-led Gallery, and The Artist-led Archive; and an expansive and detailed index of artist-run spaces in Europe. It will seek to develop and encourage discourse on the subject within the wider field of contemporary practice, be a source for academics and students, and act as a practical tool for those running or wishing to set up artist-run spaces.
Artist-Run Europe: Practice/Projects/Spaces is a Pallas Projects inititaive, funded by The Arts Council, CONNECT, and Limerick City Gallery of Art
Book launch: Friday 28th October 2016 at The Library Project, 6–8pm
Follow Artist-Run Europe on Twitter @artist_run
Exhibition preview: Wednesday 26 October, 6–8pm
Studio is an exhibition of paintings where I explore the nature of contemporary artist’s spaces, particularly those in the artist-run Wickham St Studios, in Limerick.
This is a studio I have been involved in since it’s foundation in 2009, and in that time I have seen artists of many persuasions make work there. As I began to make these paintings I noticed more and more the remnants of these artist’s work scattered throughout the building, and noticed over time fragments of work accumulated, leaving an indelible record of the studio's history. After a while I garnered the sense of being a documentarian painter, painting a space before it’s next incarnation, either in the hands of a new studio member or an existing one. Each painting serves as a little snapshot in time of a place that creeps along, always in flux, and always serving as a vehicle for something outside of itself, in actual production of work or in the intention. So there is a sense of transience to the scenes depicted, and various strata of information in each painting.
The intricacies of these spaces are endlessly interesting to paint, the ramshackle walls and stained floors etc, and making these paintings has served the purpose of recontextualizing the familiar for me, forcing me to consider the difficult nature of maintaining a practice today, and wondering about the intentions and hopes of other artists who work in this country.
Originally from Cahir, Co Tipperary, Gerry Davis graduated from LSAD in 2009 with a degree in Fine Art (Painting). Since then he has painted and exhibited regularly. Examples of exhibitions include What Has Been Shall Always Never Be Again at Ormston House, Limerick, The Forest That Hears and The Field That Sees at Damer House, Roscrea and a solo show, Burrow, at TACTIC, Cork. This year he received a Merit Award at The Golden Fleece Award and is shortlisted for the Hennessy Portrait Prize 2016.
Preview: Thursday 13th October, 6–8pm
Continues: Friday 14th October – Friday 21st October, 12–6pm
… there is no there there …
Contrapposto is used to describe how sculpture contains opposing actions that play against each other as a way to create movement and tension. This term perfectly describes the tension that resides in my paintings as I try to both dislocate and locate myself as physical matter in space. Embodied experience is translated through the language of layering, revealing and re-layering paint as I struggle to describe my location/dislocation in the constant of change.
This exhibition is supported by Wicklow County Council.
Opening reception: 6pm – 8pm Wednesday 28th September 2016
28th September—1st October 2016
"Hope is a waking dream."
'Nostalgia, Waves' marks Du Jingze's first major solo show. It began with Du's fascination with the growing tension we experience today, between the simulation of reality and the reality of our state of conscious.
In his work, there is a communicative effort to fuse multiple realities. The real and the surreal. The physical world, and the digital. With no particular destination in mind, Du creates images with the hope to extend the viewer's imaginative reading with their own independence.
Melding words and images, Du aims to generate a dialogue, discussing not only the figurative hints and representations, but pushing the painting into a hyperreality of multiple worlds. Thus, creating the feeling of freedom and individuality that Du brings to his personal aesthetic.
Du Jingze was born in 1995 in Yantai, China. Trained in a traditional Soviet academic way from the age of 5, Du was taught to focus solely on figurative drawing. Since moving to Ireland in 2008, he quickly began to learn and absorb the Western methods of image making. In 2011, he appeared on RTE's The Late Late Show for wining a prize in the Texaco Children's Art Competition. In 2015, he became one of the five finalists of Ireland's Canon Young Fashion Photographer of The Year. Du is currently a 3rd year undergraduate student at the National College of Art and Design in Dublin. He is expected to receive a BA in Fine Art Painting in 2017 before go on to further studies.
Opening Wednesday 5th October 2016 6-8pm
Running until Saturday 8th October
In Primitive Pathways, Gráinne Tynan presents new work inspired by medical science and shamanism. Through sculpture, drawing, and installation, the exhibition illustrates the artist’s search for resonances between our shared physiology and our primal mark-making instincts. Referencing cellular, muscular, and neurological structures, this work combines media and techniques that evoke primitive art with those that evoke medico-scientific enquiry and practice. Within the visual vocabulary created, medical and shamanic domains become contiguous.
Gráinne Tynan (b.1983) graduated from Trinity College Dublin (2006) with a B.Sc (Hons) in Occupational Therapy, informing her work which often interrogates the materials and principles of medical science. She has held recent solo exhibitions in The Library Project Dublin (2014), Courthouse Arts Centre Wicklow (2013), and Jennings Gallery UCC (2013). She has contributed to group exhibitions in The Science Gallery Dublin (2015), Hive Gallery USA (2015), Pallas Projects (2013), Monster Truck Gallery (2013), Visual Centre for Contemporary Art Carlow (2012), and Irish Museum of Contemporary Art (2011). Tynan has been awarded bursaries by The Arts Council and Fingal Arts Office. Her work was selected for the Irish collection of Imago Mundi (2016); she won NCAD’s CEAD Drawing Prize (2012), and was shortlisted for Siamsa Tíre’s Emerging Artist Award (2011).
This exhibition is funded by Fingal County Council Arts Office.
*****Auction Results Listed Below****
Unsold lots - List Below - are availabe for purchase Saturday 17th of September, 12–6pm
and Monday 19th of September 12 - 2pm
Pallas Projects/Studios with The Irish Georgian Society and Whyte’s present:
20 Year Benefit Auction of Contemporary Art
Auction date: Thursday 15th September 2016, 6–9 pm
Viewing days: Friday 9th – Wednesday 14th September, 12–6 pm (Closed Sunday)
Venue: Irish Georgian Society's City Assembly House, 58 South William Street, Dublin 2
Online Catalogue: here or scroll down to view
Participating artists: Alice Maher, Sean Scully, Brian Maguire, Gemma Browne, Sheila Rennick, Eva Rothschild, Anita Groener, Kathy Tynan, Sean Hillen, Niall de Buitlear, Vera Klute, Aleana Egan, Orla Whelan, Gillian Lawler, Lucy McKenna, Mick O'Dea, Caroline McCarthy, Isabel Nolan, Sean Grimes, Gavin Wade, Sam Keogh, Brian Fay, Karl Burke, George Bolster, David Beattie, Barbara Knezevic, Mark Cullen, Stephen Loughman, Stephen Dunne, Aisling Ní Chlaonadh, Joanna Kidney, Alison Pilkington, Denis Kelly, Albert Weis, Daniel Lipstein, Paddy Graham, Mollie Douthit, Eleanor McCaughey, Shane Murphy, Brian Duggan, Caoimhe Kilfeather, Wendy Judge, Lesley-Ann O’Connell, Siobhan O'Callaghan, Alan Phelan, Paul Hallahan, Ann Quinn, Glenn Fitzgerald, Gabhann Dunne, Keith Wilson, Joan Coen, Mark Joyce, Des Kenny, Eimearjean McCormack, Derick Smith, Steven Maybury, Ciaran Murphy, Jordan McQuaide, Breda Lynch, Sean Lynch, Gavin Murphy, Eve Woods, Dennis McNulty, Caroline Doolan, Jesse Jones, Mark Garry, Linda Quinlan, Nina Canell, Miranda Blennerhassett, David O'Kane, Martin Healy, Atsushi Kaga, Mark O'Kelly, Sean Molloy, Chloë Nagle, Fergus Byrne, Roxana Manouchehri, Grainne Tynan, Róisín Power Hackett, Bartosz Kolata, Ciaran Doyle, Gareth Kennedy, Lee Welch, Perry Ogden, Kevin Francis Gray, Anita Delaney
Pallas Projects/Studios is marking its milestone 20 year anniversary by staging a special fundraising auction of Irish contemporary art, with the support of the Irish Georgian Society and Whyte’s auctioneers. Taking place at the magnificent City Assembly House on South William Street on Thursday 15th September, the auction will feature largely Irish contemporary artists working in painting, print, photography and sculpture, with a number of international colleagues of the art space also contributing work.
A follow up to our groundbreaking ‘New York style’ auction house/non-profit space collaboration in 2014, this year will again see a huge number of Pallas’ colleagues take part, and a widened selection (almost twice as many works as 2014) will feature many more of our best emerging artists and affordable works, as well as the work of several previous Irish representatives at the world’s biggest art event, the Venice Biennale. Internationally renowned artists include Eva Rothschild, Alice Maher, Atsushi Kaga, and Isabel Nolan, and Ireland most famous living artist, Sean Scully, considered to be one of the world’s leading abstract painters. All involved have donated their work for this benefit night, which stands testament to the regard in which Pallas is held amongst its peers, as a leading supporter of the development of Irish art practice at the grassroots, over the last 20 years.
This year the event will take place over the entire City Assembly House building – with the auction itself taking place in one of Dublin's hidden gems, the incredible ‘Octagon’ room – and will be open to the public for previews in the week running up to the auction. As in 2014 – when Ardal O’Hanlon took the reigns as master of ceremonies (handing over to the expert Ian Whyte to run the bids), the event promises to be a gala affair, with pop-up food and drinks circulating over the course of the evening.
With many affordable works (guide prices range from 40 – 5000 euro), and always the chance to grab a bargain by a major Irish artist, it will be a great opportunity to enjoy the auction experience for the first time, support Irish artists, and start a collection of your own with a unique artwork.
The Auction, run by Whyte’s (who have graciously offered to forgo fees and commission for this event in support of the non-profit sector), will take place in the home of The Irish Georgian Society, who have donated the use of the hugely apt City Assembly House (one of the first public galleries in Europe, set up by artists in for the event. Special thanks to: Whyte's, Irish Georgian Society, Teeling Whiskey, Galway Bay Brewery, Coppinger Row, and all our supporters, sponsors, and of course the contributing artists.
For Auction Results and Unsold Lots Please See Attached PDFs.
Unsold lots - List Below - are availabe for purchase Saturday 17th of September, 12–6pm
and Monday 19th of September 12 - 2pm
Preview Wednesday 17 August 6–8pm
Continuing until August 27th
Pallas Projects is delighted to present Liz Nielsen & Max Warsh, in association with Sirius Arts Centre. Curated by Jessamyn Fiore, this exhibition presents the work of two outstanding American artists whose contemporary art practice employs a unique exploration of the materiality of photography, producing striking abstract works that push the boundaries of the medium to contemplate its use of light and memory.
Liz Nielsen describes her process as “painting with light.” She creates photograms, a form of camera-less photography, employing light sensitive photographic paper that is exposed to a creative variety of light sources (from an enlarger to a bike lamp to a laser) through brightly coloured plastic collages. The result is a completely unique work with surprising painterly effects and stunning colour tones.
Max Warsh employs the camera to capture in minutia the details of everyday urban architecture. These architectural choices, the ones we see so regularly we fail to notice them, are in fact as intimate as our daily routine – they inform us as a half memory on which we build our sense of place. Warsh prints and manipulates the images, creating intricately collaged works that are reflective of the original architecture yet also distort and even renew its visage. Like with a faded memory given fresh focus, there is a challenge to push beyond assumption and revive our personal perception of what comprises our lived space.
The exhibition was first shown at Sirius Arts Centre, Cobh in July/August 2016. It is presented at Pallas Projects/Studios as part of our 20 year anniversary programme which looks to celebrate artist-run culture, with thanks to Jessamyn Fiore, Sirius Arts Centre, Liz Nielsen & Max Warsh, and talks curator Angel Bellaran.
Artist-Run Spaces: Conversations Across The Atlantic
A day of panel talks on artist-run culture, curated by Angel Bellaran
Presented by Pallas Projects/Studios, in association with Sirius Arts Centre
10.30am–5pm, Saturday 20th August, booking essential – details to be announced, lunch included
(Followed by DIY Artist-Run Social with music, food and refreshments to celebrate Pallas Projects/Studios 20 year anniversary)
Participants: Jessamyn Fiore (former director Thisisnotashop, Dublin), Liz Nielsen & Carolina Wheat (Swimming Pool Project Space, Chicago, and Elijah Wheat Showroom, New York), Max Warsh (Regina Rex, New York), Mark Cullen & Gavin Murphy (Pallas Projects/Studios and Artist-Run Europe), Miranda Driscoll (former director The Joinery, Dublin/Sirius Arts Centre), Lee Welch (Basic Space/former director FOUR, Dublin), Clive Murphy (former co-director Catalyst Arts, Belfast), Maud Cotter (Founder Member, National Sculpture Factory, Cork)
The panel offers an international and interdisciplinary forum in which colleagues in the contemporary art world, specifically in the field of artist-run or ‘DIY’ spaces, can talk openly about the changes and challenges of working today: this includes the topics of funding, social media, and location-specific contexts.
Morning session: participants briefly review their own history of working within independent spaces in both the United States & Europe. Afterwards, in a roundtable discussion, panel members assess these and other stories in relation to experiences from other members. Afternoon session: focuses more closely on the current state of affairs surrounding artist-run programs today – with an emphasis on comparing and contrasting the international models and the programs functioning from emergent contexts or scenes.
This gathering is sparked by increasingly urgent conversations about the difficulty of the practice of choosing to work outside the institutional context. Our hope is to make stronger connections between artist-run culture, and inspire more communication and collectivism amongst our peers, so that we can continue to thrive as an integral part of visual arts culture on both sides of the Atlantic, and in light of the publication by PP/S of the book ‘Artist-Run Europe’, which will be showcased for the first time ahead of an official launch in September.
The panel will be broadcast live on the event page via Facebook Livestream at 1030 GMT/ 530 EST
Liz Nielsen (American b. 1975) is a Brooklyn based photographic artist. She has exhibited extensively; most recently her work was shown as part of the Material Art Fair (Mexico City), London Photo (UK), and in New York at Denny Gallery, Laurence Miller Gallery, and Danziger Gallery. She received her MFA from the University of Illinois, Chicago and her BFA from the School of the Art Institute of Chicago. Nielsen's works have been reviewed in The New Yorker, The New York Times, Wall Street Journal and ArtSlant.
Liz Nielsen website
Max Warsh (American b. 1980) lives and works in New York City. Most recent exhibitions include Approximately Spring at Longhouse Projects (New York, NY), The Shared Patio at Greenpoint Terminal Gallery (Brooklyn, NY), Hot and Cold, Laurence Miller Gallery, NY and Nothing Ever Happened, Chapter 61, New York, NY. He received his MFA from the University of Illinois, Chicago and his BA from Sarah Lawrence College, New York. He is a co-founder and director of the artist-run gallery Regina Rex based in New York City.
Jessamyn Fiore (American b. 1980) is a New York based curator and writer as well the co-director of the Estate of Gordon Matta-Clark. She is the curator of the Jean-Paul Najar Foundation in Dubai, UAE, opened in March, 2015. She was the Director of Thisisnotashop, a not for profit gallery space in Dublin, from 2007-2010. She received a Masters in contemporary art theory, practice, and philosophy from The National College of Art and Design, Dublin, in 2009.
Exhibitions curated include 112 Greene Street: The Early Years (1970–1974) at David Zwirner in New York (2011), which led to her editing the critically acclaimed, eponymous catalogue, published by David Zwirner and Radius Books (2012); and a second exhibition for David Zwirner New York titled Gordon Matta-Clark: Above and Below (2013). Recently, she curated II Machines: Clive Murphy & Trevor Tweeton at the Knockdown Center in Mespeth, Queens (May 2015) and was a partner at Rawson Projects gallery on the Lower East Side (Sep 2014 - May 2015), organizing exhibitions by Nathaniel Mary Quinn and Lilja Birgisdottir among others.
Jessamyn Fiore website
Angel Bellaran is an independent curator currently based Brooklyn but previously based in San Francisco & Dublin, Ireland. Bellaran has spent over the last decade divided between The United States & Western Europe pursuing a love of contemporary art and the study of international curatorial and artistic practices. Most recent projects and collaborations include Up Against the Wall at Spring Break Art Show: New York City's curator-driven art fair during Armory Arts Week, and GREY Book II, photographed by Nan Goldin and styled by Valentina Ilardi Martin. Bellaran is an alumni of the Institute of Art, Design & Technology's MAVis programme in Dublin Ireland.
Angel Bellaran website
Max Warsh, Untitled (bridge), 2015, cut photographs on panel, 30"x40"
Liz Nielson, Light Totem, 2015, analog chromogenic photogram, 55"x30"
Pallas Projects/Studios celebrates 20 Years with the announcement of several major projects
Pallas celebrates 20 years in 2016 and to mark this milestone we have organised a number of projects to take place over the year and into 2017. The first of these was the exhibition The Future is Self-Organised at Limerick City Gallery of Art, curated by Pallas Projects. Featuring many of the artist-run spaces who have collaborated with Pallas over the years, the exhibition included artworks, documentation, ephemera, artist-run presentations and collaborative installations, and was a ‘Critic’s Pick’ on Artforum.com
This is to be followed by a major new publication Artist-Run Europe – Practice/Projects/Spaces, the result of a 4-year research project on artist-run practice which is to be published this summer by Dutch publisher Onomatopee. The book is part how-to manual, part history, and part critical study, it features case studies on spaces and projects across Europe, new texts by AA Bronson, Valerie Connor, Katherine Waugh, Gavin Wade, and many others, and an extensive index of close to 600 spaces. The book was co-funded by an Arts Council project award, CONNECT: the Science Foundation Ireland Research Centre for Future Networks and Communications, and Limerick City Gallery of Art, with the final part of the funding achieved through a successful crowdfunding campaign hosted by the Business to Arts ‘Fund it’ platform. A number of launches and events will be announced over the course of the year.
On the 20th of August PP/S host the Artist-Run DIY Social a day-long event celebrating artist-run and ‘DIY’ culture, featuring talks and discussion, food and music, to coincide with the exhibition of New York artists Liz Nielsen & Max Warsh (both involved in New York's & Chicago's artist-run spaces), presented at PP/S from 17–27 August, in association with Sirius Arts Centre.
On the 15th of September we are holding a 20th Anniversary Fundraising Gala Auction of Irish Contemporary Art, a follow up to our successful collaboration with Whyte’s auction house and again taking place in the Irish Georgian Society’s City Assembly house on South William Street. The fundraising auction will ensure PP/S can continue our activities in our 20th year and into 2017, and help widen interest in the work of living artists among Irish art-buying public.
We end the year and go into 2017 with a special 20th anniversary edition of our annual ‘Periodical Review’ with guest sectors IMMA director Sarah Glennie, Temple Bar Gallery & Studios co-founder Jenny Haughton, Pallas Studios co-founder and artist Brian Duggan, and art critic and lecturer Declan Long, looking at work from the last 20 years of visual art across Ireland.
PP/S are also delighted to welcome Irish artist Brian Maguire as honorary board member to mark our 20 year anniversary. Brian was asked to take up this new role in recognition of his art practice and its relation to social and political justice, his background in the early days of setting up Temple Bar Gallery & Studios, and his role in influencing subsequent generations of artists as lecturer and head of fine art at the National College of Art & Design.
We would like to thanks all our friends, supporters, artists, collaborators and visitors since 1996, and look forward to welcoming you to PP/S in our 20th Anniversary Year.
September / October 1998
Artworks in the photo by Cormac Healy and Colin Hasset
OFFSIDE LIVE July 16th & September 17th 2005
Boundary splittling live art + music in Dublin's original gallery of modern art.
These were two nighttime extensions to OFFSIDE co-programmed by Fergus Byrne featuring audiovisual performances that responded to the classical architecture of the Hugh Lane
Performing artists include:
Hugh O'Neill and Tuula Voutilainen
Róisín and Michael
The Sick and Indigent Song Club
United Bible Studies
In 2002 Pallas Studios vacated this temporary office building in Castleforbes Business Park
Artists Anne Tallentire and John Seth - commissioned by Project Arts Centre
'On a winter’s night in 1998, I was again in the same building on Foley Street. In the intervening years an artists’ studios had been established: Pallas Studios. In all, Pallas have run studios or project spaces at eleven different addresses, all but the current one on the north side of the city. A risky and tiring trail, no doubt, but such a unique view of the city over a period of immense social and infrastructural change? Where can we see what Pallas saw outside, in each changing neighborhood and what does that tell us? I was back because Pallas Studios was one of ten places in the city where a collaborative project by work-seth/tallentire was taking place. Artists Anne Tallentire and John Seth had been commissioned by Project Arts Centre as part of a programme of commissioned projects run in buildings and structures in Dublin and Galway during the centre’s re-development aided by European structural funding. Its third ‘home’, where it had been for almost twenty five years, at that stage, was originally also city centre factory space, a printing works. I started working with the arts centre as the old building was decommissioned. The ‘off-site’ project by work-seth/tallentire was called ‘trailer’.i The locations were chosen because of their distinct functions in the city. Audiences called a free phone number each day for information about where the screenings would take place. A website archived still images from the work carried out earlier each day. That night in Pallas Studios at Foley Street I took some photographs before the audience arrived. The small TV sets and video projection used for the screening at Pallas can be seen of course, and a couple of technicians who worked on the project. Then there is the staircase, lit from outside by sodium streetlights, the individual studio spaces themselves lit with single tube fluorescent fittings hung at right angles, and white-painted partitions almost to the ceiling. Plastic boxes, cardboard packages, handwritten labels, small paintings, easels, palettes, sweeping brushes, large plastic bottles filled with different colours inside, a hat and books, mirror, gas canisters, cardigans, hand-saw, cotton sheets, spirit level, timber, handmade greeting card, Calvin Klein, milk carton, paint-covered table, pencil, and some folded photocopies. Almost none of the artist-led, run, driven, centred or cultural tenants who hosted screenings as part of ‘trailer’ are still in the same buildings. Neither are the property development companies that owned or occupied others.
i. For more information, see The Project Arts Centre Papers, Collection List No 152, prepared by Barry Houlihan, assisted by Máire Ní Chonalláin and Luke Kirwan.'
text by Val Connor, an excerpt from Brown Studies and Artist-Led Enthusiasm, Published in Artist-Run Europe: Practice/Projects/Spaces, by Onomatopee, Eindhoven, 2016.
Opening 25th April 2001 at 5.30pm
Killinarden Short Shorts a film-making project by artists Mark Cullen and Brian Duggan of Pallas Studios. The Killinarden Short Shorts project involved the production of a series of eight short digital films made by young people from Killinarden, Tallaght.
This series was the outcome of a process initiated, facilitated and curated by the Pallas Studio artists, who took their starting point from an exploration of stories relating to the participants and the local area, placing individual stories beside wider cultural frames of reference. During the course of the project, participants were introduced to a variety of film practice and learned technical aspects of film production. Experimenting with a number of creative approaches, they explored original stories relating to aspects of their lives and their locality. Over time they developed the ability to make critical choices in order to create short films that were effective and coherent, and cover a wide range of styles from horror to documentary.
The young people involved were Wesley Brennan, Edele Cummins, Denise Gaines, Terence Salmon, Lorraine Smith, Michael Usher.
12 of the leading exponents of new Irish art exhibit at Root.
2nd March 6.00 at Root, Truman Brewery, 91 Brick Lane
Averted eyes, on a train,
healthy pills for salon girls
concrete bed, a rose disjoined
euri geller, recycled star
new homes for the dirty, grey is the colour
better faster higher
where wild grasses grow.
Curated by Mark Cullen and Brian Duggan
This is the second exhibition of Irish art that the curatorial partnership at Pallas have brought to London. Pallas Studios was formed in Dublin's inner city in May 1996 as an artist led initiative. Pallas Studios was established to provide a stimulating environment where artists could meet and work, organise in and reflect on a city and a culture that had realised its first taste of confidence. Pallas emerged to harness, engage and provoke an independent art scene that was waiting to happen.
Root is a concept space in the epicentre of the Truman Brewery, which caters for a wide spectrum of human creative endeavour.
25th March - 5th April 1999
What is the difference between an artist and anybody else when everything is media based anyhow?
Why will you continue to make work in the next century and what kind of work will it be?
Pallas Studios host an exhibition of contemporary art with a title not a theme.
Pallas Studios was formed in May 1996 by Mark Cullen & Brian Duggan. Pallas Studios is committed to the development of contemporary visual culture. Pallas Studios promotes independent artists presenting their work in an independent space in order to add to the greater (overground) cultural debate around art production and equally the geographical issues of art consumption. Pallas Studios addresses the need for independent artists to procure alternative space and resources with breadth for experimental endeavour.
Thanks to selectors Brian Duggan, Mark Cullen, Alan Lambert, Vaari Claffey
A.D.F (Amanda Coogan, Declan Rooney, Francis Duggan)
Gavin Murphy + Sinéad Burt O'Dea
Opening 26th March 1998
An exhibition of contemporary public art in Dublin's city centre
October 30th until the end of November
Precinct will be launched by Deputy Lord Mayor Councillor Royston Brady in Project on Tuesday 7th November
28 artists respond to the expansive visual stimuli that operate within the imagery of urban commerce, cleansing, regeneration and living.
Precinct utilises the spaces currently dedicated to advertising hoarding all around the city. Placed within the context of billboard advertising, art has an ability to touch peoples lives in a more immediate and unsuspecting way. Precinct interprets the industrial fabric of redevelopment, i.e. the site hoarding, as both its canvas and its gallery. The exhibition can currently be seen on Capel Street Bridge and the site of the old Adelaide Hospital.
The nature of public/commercial space and the value of art within it are brought into question, when art is presented as non-commodity. The rights of ownership of the image are challenged by the public context. Are the right of ownership and private property being favored ahead of public interest? Can an exhibition of art progress towards reclaiming commercial/public space for its public?
Precinct takes place in Dublin at a time when the future of many artists' studios lies in the balance of a commercially developing city. At this point, Precinct raises issues, regarding what potential artists have to interact with society, and how far should the city go to accommodate artistic dialogue, intervention and ultimately artistic production.
Pallas Studios was formed in Dublin in May 1996 as an artist led initiative run by a partnership of Mark Cullen and Brian Duggan. Pallas was established to harness, engage and provoke the Irish Independent art scene that was beginning to happen. Pallas Studios represents its artists internationally and has promoted challenging exhibitions both in Dublin and London over the past three years. This is Pallas Studios 7th exhibition.
Precinct will launch at 5.30 in Project.
Oliver Barret/Ailis Phelan
Sally Anne Morgan
Salon 99 at Pallas Studios is an art exhibition in excess of 40 of Ireland's professional artists - a last flourish at the end of a millennium where space has become premium (6 billion and counting), 40+ of these artist will cram their oeuvres into the limited space provided by the newly refurbished studio gallery condensed on the walls from floor to ceiling will be many of Ireland's most creative artistic endeavours, vying for space with the unknown quantities of Ireland's emerging talent.
This exhibition is based on the salon shows that were held in Paris at the turn and start of this century, where a variety of artists with differing styles exhibited together en masse in condensed spaces.
Our last show 'PMT' was a late modernist/ post-modernist show in terms of spacial allocation for the work i.e. ideas of negative and positive space were accounted for relative to where the work was hung, breathing space and eye lines were considered along with compatible or complementary stylistic groupings.
The intention of Salon 99 would be to move away from the process of presentation in favour of the up front display methods of the early 20th century Parisians. A chorus of condensed images will replace the cool space of the modernist gallery.
To this end artists have been invited to present 3-6 works for display in Salon 99. It is intended that the space will become a very lively mixture of styles and concerns.
Salon 99 opens on Saturday the 11th of December '99.
ADF, Darren Bolger, Karl Burke, Sinéad Burt O'Dea, Sara Caaoll, Colin Carters, Declan Clarke, Nichola Coleman, Alan Crosby, Gavin Corcoran, Regina Corcoran, Mark Cullen, Aoife Desmond, Brian Duggan, Gabhain Dunne, Clodagh Emoe, Antony Hackett, Cormac Healy, Katie Holten, Anne Kelly, Antony Kelly, Mary Kennedy, Breda Lynch, Michael McLoughlin, Alan Lambert, Owen Llewellyn, Siobhán O'Leary, Vanessa O'Reily, Namara Lindsay, Colin Martin, Deirdre McKenna, Sandra Meehan, Gavin Murphy, Clive Murphy, Noel O'Callaghan, Cristophe Neuman, Patrisha Robertson, Jason Roche, Joyce Tansey, Cathy Taylor, Kieran Tierney, Naomi Walsh, Orla Whelan
Opening February 10th 2006
Running from February 11th - March 26th
This is a different kind of art exhibition. This is not meant as an egotistical statement, for what makes it different is not the result of an exhaustive and elaborate set of ideological criteria that has been met, or the culmination of a curator's taste, status, perspective or target-audience. The work displayed here is bound together by one important and crucial common element, not the design of a central force, but simply the desire in each of its participants to make works of art. The exhibition was open to all artists renting a space in Pallas Studios, there was no imposed theme or barrier to entry and as such it is a reflection of the variety of art and art practictioners working in Dublin today
The studio environment is one in constant flux. Artists come and go, partitions move, the physical space evolvves and differs as much as the work contained within it. Those working within it make use of different means to transform ideas onto canvas, photograhic paper, TV monitors; into bronze, stone, installations; through projects, chalk and pencil onto paper. The studio and the path chosen by those within is labyrinthine - a complicated and irregular network of passages or paths. The studio also acts as a physical and historical anchor representing the route we as artists take. As such the exhibition features a specially designed and built space that has evolved through a dialogue that both reacts to the studio environment and in turn has been reacted to by exhibiting artists.
What makes art important to us is that it is not life. A novel, a painting, a piece of music can be rewritten, reworked, replayed. Art is where we can get things right. The title of the exhibition comes from the sixteenth century essayist Michael de Montagne - the word 'essai' (attempt) and its conception as a genre are essentially his invention - and he enlisted it as a vehicle to investigate his ideas and himself in the search for truth and to better understand humanity. What makes the studio important is that it is where we, the artists, make our investigations, where we replay, rework, rewrite and hope to get it right. With this exhibition and accompanying publication we hope to reveal a sense also of attempt.
Opening Thursday 11th August 6-8pm
running until Saturday 13th August
Appropriate Colours presents a series of sculptures and works on paper reflecting on the seemingly eclectic, yet often prescribed use of colour in Ireland’s rural vernacular architecture. Focusing on building types such as the common hay barn, this body of work creates an environment wherein primary elements of architecture such as form, function and structure are rendered defunct through the use of makeshift materials. The role of colour in architecture is instead elevated to that of the elemental. Colour becomes the source of strength and rigidity within this landscape of otherwise transient, pointless structures and forms.
Marian Balfe received a First Class Joint Honours Degree in Fine Art and History of Art from the National College of Art and Design, Dublin in 2015. She previously studied Architecture in UCD and in 2010 received a BSc (Hons) in Architectural Science. Awards include the Thomas Dammann Junior Memorial Travel Prize (2015), Longford Student Arts Bursary (2014) and, most recently, the Dun Laoghaire-Rathdown Emerging Artist Bursary for the creation and development of new work.
This exhibition is funded by Dún Laoghaire–Rathdown County Council Arts Office
ART SALE & Reception Thursday 12th of May at 6 - 9pm
with LIVE MUSIC by BUENA VIBRA, an exciting new international Latin Jazz trio, comprised of bass guitarist Lucas González (Argentina) multi-percusssionist Frailán Morán Mendive (Cuba) and Vibraphonist Richard O’Donnell (Ireland).
An Exhibition of portraits from 'The Jungle' refugee camp in Calais by artist and activist Liam Hourican
on display from 10th - 12th May - followed by after show reception..
Art, refreshments, raffle, live music, speakers and more.
All proceeds to be used directly in 'The Jungle' camp for urgent outreach work #solidaritynotcharity
We are self-organised, grass-roots, volunteer group working in ‘The Jungle’ refugee camp in Calais, Northern France.
Whilst visiting the camp engaging in cultural documentation (video, music recordings and live sketching) we were struck by how many vulnerable people we met there that were not using the services provided by charities and volunteer groups.
There are many reasons for this; physical injuries that make it impossible to stand in line, vulnerability and fear of others in the camp, humiliation of queuing up for handouts and lack of knowledge.
In December 2015 we started a solidarity outreach service. This involves locating vulnerable people in the camp and providing for their needs. Basic, emergency needs such as food, clothing, fuel, bedding, communication, travel and respite accommodation are provided through our fundraising. We also link people up with medical, legal, building and youth services there and in the UK.
One of the initiatives that arose through this work is Calais Field Music whereby field recordings of musicians in the camp are sold online and the revenue paid directly to the musicians.
We are developing new ways for people earn for themselves, thereby restoring to them some kind of autonomy. One of our core tenets is to act in solidarity with our brothers and sisters in the camp. #solidaritynotcharity.
We have found that apart from the basic material items that people need to live they really want company and friendship. We have spent many hours in solidarity with them both engaging in social rituals and bearing witness to police brutality and violence.
Whilst engaging in this solidarity work artist Liam Hourican has amassed a striking portfolio of sketches of portraits of friends in the camp which forms the basis of the ‘Art in Solidarity’ show.
Over the months we have maintained relationships with people, some have made it out of the camp and some remain there. We are committed to keep accompanying these friends and to continue to provide support and solidarity wherever they may be until they have established a new, better life
The camp continues to become more and more unstable and it’s future is unknown. It is likely that it will be demolished over the next months. We feel it is very important to maintain contact with people there who may end up in the UK (their desired destination) , other clandestine camps with no services, in detention/reception centres, rough sleeping or simply missing, to track them and to offer continued support and solidarity to them.
All our travel and accommodation expenses are self-funded, so all fundraising money is used directly on helping people.
Opening Wednesday 15th June, 6-8pm
Running 16th - 25th June
Fundamentally, the exhibition aims to present a combined perspective on a mode of art-making which could defined as ‘indescribable’. Indeed, central to both the curatorial and thematic concept of the exhibition is the notion that the three artists’ practices are bound together by a particular form of material abstraction, one that conjures a somewhat primary, transcendental experience on the part of the viewer.
The curatorial process, largely realised in the immediacy of the installation of the work, has focused on determining reciprocal areas of overlap and exploration. While it is apparent that all three artists place importance on materiality or the physicality of the medium used, the intention has been to adopt a more critically searching, manifold approach to aligning concepts and shared meaning in the work. On a related level, this approach also seeks to pose questions around collective decision-making processes.
TOGETHER/INDESCRIBABLE Is part funded by Cavan Arts Office
Poster design by Deirdre Breen
Opening Wednesday 6th July 6pm
Running until 9th July
The methodology of this show utilises the traditional language of painting. Seven paintings will be produced and are presented to the viewer in a sculptural manner. Influences include rock music, landscapes and art education.
Mark Buckeridge (b 1991) lives and works in Cork, Ireland. He graduated from the Crawford College of Art and Design with a BA in Fine Art in 2013. His work primarily focuses on performance, painting and songwriting and is heavily influenced by his background in music. Producing, publishing and disseminating projects as sonic outputs, previous releases and projects include: EP Ground Yourself (2012), live installation I could use this knife but I won’t (2013), Instructions for electronic station (2014) and pop single So Long (2015). This year saw the formation of singing group All Choir (2016), which uses the commonality of music as a starting point for discussions, social gatherings and occasional live performances.
Recent exhibitions include group shows at the RHA Dublin, Catalyst Arts Belfast and Tactic Cork. Touring Rock Landscapes is his first solo show.
Preview Wednesday 25th May 6–8pm
Running until Saturday 28th May
Leaving the camera behind, I arrived in China quixotically armed with notepad and pen. Each scribble a recognition of heightened experience. Each painting a regurgitation of undigested experience.
Andrew Hopkins was born in Dublin, Ireland in 1991. Andrew’s preferred medium is paint, predominantly oil on canvas, with forays into acrylic, watercolour, household paint and a combination of the above. His opaque landscapes arise through the process of painting, anchored with lyrical particulars that play with the viewer’s sense of recognition. Andrew completed a BA (Hons) in Fine Art at the National College of Art and Design in Dublin in 2015. His work has featured in collaborative shows in Dublin with Four Floors Above, See the Future NCAD Graduate Show, the Boyle Arts Festival in Co. Roscommon and a solo show at Wicklow Arts Festival. He is currently living and working in Wicklow Town.
Gustavo Barbosa, Dermot Browne, Eoin Butler, Merce Canadell, Paola Catizone, Anne Cradden, Emma Crean, Mark Cullen, Brian Duggan, Brendan Flaherty, Susan Gogan, Cormac Healy, Brid Higgins, Catherine Hildyard, Helen Hughes, Eilis McDonald, Gavin Murphy, Jo Neylin, Oran O'Siochain, Sally Timmons, Ivan Twohig
Conservatory 1, chq building
IFSC, Docklands, Dublin 1
Presented by Pallas Studios and Dublin Docklands Development Authority. Exhibition co-ordinated by Dermot Browne, Mark Cullen, Gavin Murphy.
By Diverse Means We Arrive at the Same End was the first of many initiatives planned for the Dublin Docklands Development Authority's arts strategy demonstrating their commttment to the development of art and it's practice in the Dockland area.
Preview Friday 8th April, 6-8pm
Pallas Projects is pleased to present a new series of paintings by Paris-based artist John Lalor. These paintings, all on canvas format 26 x 30cm, depict images which conjure up an atmosphere of Lalor's future film project of the same name. MOMENT OF SURRENDER (the film), describes how a young father is brought to the point where he is about to abandon his two young children to the state. The Irish state 2016. Filming that moment through austerity.
I am an artist using painting which is a difficult medium to wrestle with to try and raise money to make films.
MOMENT OF SURRENDER (the paintings) are for the artist a way of staying creative, through the process of everyday painting. This process is an important aspect of Lalor’s practice, which was in hiatus during his preceding all consuming film project INCIDENT URBAIN, and has returned injecting a new lease of life into Lalor's daily work and approach to film-making. As such the paintings become important in creating a general atmosphere visualising a post-tiger Dublin in which the film will be anchored.
I have used photographs here, which are then transferred, a method of painting which I have tried to master these last 15 years. In this sense conceptually as Jean-Luc Godard would say, I use the photograph transferred as the documentary, then with the act of painting and its history, I go to work as an artist creating fiction.
John Lalor, Irish artist, born in Dublin, 1961. He has lived in Paris for the last twenty years. His work comprises paintings in multiples entitled the democratic paintings series. He builds scaled models and publishes texts which are also incorporated into his exhibitions. He came to live in France at the beginning of the second mandate of François Mitterrand, wanting to break with the anglo-saxon cultural divide, which had become with time, a massive cultural highway, purely functional in status. Paris for him was a place to stay and learn. Joyce, Beckett, Baudrillard, Godard, Buren… One long residence, an intense laboratory of artistic research. His works include a text piece based on the director Jean-Luc Godard, entitled stereo jlg/the editing of the trailer. A three thousand word text without punctuation, published weekly in the broadsheet The Irish Times in early 2010 produced by Christina Kennedy (Director of collections IMMA). The seventh episode appearing in Dublin’s Oonagh Young gallery in order to conclude the event. His work has a direct rapport with cinema. Lalor’s painting series and film Forward Pass was shown by Pallas Contemporary Projects in 2008. His film project Incident Urbain, his first with actors and dialogues, has clearly affirmed his intentions as a visual artist combining as a body, cinema and art. He is also writing a feature film project for Paris, entitled Dog-bone about Paris and her suburbs. He has recently returned from Leros in Greece where he was filming Syrian migrants.
In Conversation with Gerard Byrne
6pm Friday 8th April
The two artists shooting the breeze, John as an artist coming from painting and making that journey into film-making cinema and Gerard making his journey from photography into film-making. The trials and errors and suffering combined with the magic of working with other people to try and create something greater than the sum of its parts...
Tribeca link and info on film
Tribeca press - Interview IFQ
TRIBECA FEST: Zero Motivation, Incident Urbain
Incident Urbain Archives - Film School Rejects
J.B. Spins: Tribeca '14: Incident Urbain (short)
Indie and Irish at Tribeca Film Festival - IFQ
A/N Blog . Review> 2014 Tribeca Film Festival Addresses
David Eager Maher Solo Exhibition
Preview: 6pm Friday 4th March
Running from 5th – 26th March (Closed St. Patrick's Day & Good Friday)
Paper Trees is an exhibition of new drawings and paintings where David uses an accumulation of fragments, assembled with a keen emphasis on surface, these artificial scenes converge and explore spacial possibilities. An intricate montage of lines, paper, surfaces, and patterns evolve in combination with basic visual art genres, such as the garden, landscape, interiors and design.
David Eager Maher (b 1979) graduated with a BA in Fine Art Painting from NCAD Dublin 2009, and an MFA also from NCAD 2011. Eager Maher has exhibited widely in Ireland and Abroad. Recent solo exhibitions include, Inheritance, Galerie Drei Ringe Leipzig, 2015. Eager Maher has also taken part in many group exhibitions including, Innenstabil, Galerie Drei Ringe Leipzig, 2015. MOON FARK, RAKE Visningsrom, Trondhiem, Norway, 2014. Savage State, two person exhibition with James Barry (1741-1806) Dublin City Gallery, The Hugh Lane. Scope Art Fair Basel, 2011 and 2012, Scope Art Fair Miami 2013. He is the recipient of several awards including, The Golden Fleece Award 2015 (merit prize) The Whytes Auctioneers Award 2013, The Thomas Damman Memorial Trust Award 2013. His work is hed in many important public collections including, The Office of Public Works, Dublin City University, ( DCU ). National University of Ireland, Maynooth, ( NUI). The Casino at Marino, Ireland. Private collections in Ireland, England, Germany, Switzerland, Iceland, U.S. In 2014 David's practice was featured in the internationally renowned publication Fukt for Contemporary Drawing # 13 launched at the New York Art Book Fair at MoMA PS1.
A text by Ingrid Lyons will accompany this exhibition.
A solo exhibition by Bartosz Kolata
6–8pm 17th February 2016
'The exhibition under the common title “Sophie in Love” is a number of recent works that take us back to the summer of 1940.
Sophie Scholl and Fritz Hartnagel had started off in Nazi Germany as firm supporters of the regime, tempted by blind patriotism that led Germany to the Second World War and its final disaster. When the Nazi party began its climb, Sophie and Fritz were as enthusiastic as everyone else in the 'New Germany’ the movement which promised to restore the nation to its greatness. Based on the letters there are some equivocations in the Scholl’s family correspondence. It is not always clear how they responded to the cruelty that surrounded them. Some of Sophie’s letters were censored and never published. It is difficult to judge some of their behaviour, especially since none of us can relate to the circumstances of Nazi Germany in 1939 . Hitler’s regime would soon openly revealed itself to them as grossly unjust and inhuman.
When the Second World War started in Europe Sophie was only 18. In one of her letters she is telling Fritz that she's glad the Germans are as "bad" in Holland as they are in Germany, because then the whole world must know. In a certain sense the suffering individual is sacrificed to a larger goal. I do believe it was related to her youth. Although she was young, she was also an emotional shipwreck. In her letters she later bemoaned her “inability to love to be loved”.
We know Sophie Sholl as Sophie the young martyr who dared to challenge the world's most sinister tyranny and paid the ultimate price in doing so. She is remembered as Sophie the active member of the White Rose organization executed by guillotine in 1943 when she wasn’t even 22 years old. She is the icon of resistance for many now.
However I want also remember Sophie as a vulnerable girl in her youth and beauty who challenged herself against her own demons and emotions in a time of violent repression, censorship and pressure to conform.
She was full of life. She was in love with Fritz.
I dedicate these works to all members and actions of White Rose: Hans Scholl, Alex Schmorell, Willi Graf, Christoph Probst, Traute Lafrenz, Katharina Schüddekopf, Lieselotte (Lilo) Berndl, Jürgen Wittenstein, Marie-Luise Jahn, Falk Harnack, Hubert Furtwängler, Wilhelm Geyer, Manfred Eickemeyer, Josef Söhngen, Heinrich Guter, Heinrich Bollinger, Helmut Bauer, Harald Dorhn, Rudi Alt, Wolfgang Jaeger, Kurt Huber and Sophie Scholl.
Most of them were in their early twenties.
The 22nd February is the 73rd anniversary of Sophie’s death.'
- words by Bartosz Kolata
Born in 1979 in Torun (Poland). In 2006 he received Master of Fine Art Degree at Nicolaus Copernicus University in Torun (Poland). He has been living and working in Dublin (Ireland) since 2005. In 2007 he was awarded the First Prize Irish Art Award in the Digital HUB in Dublin (Ireland) and in 2012 the Manifest Art Award at the Kinsale Art Festival. He has been in various group exhibitions including The Hugh Lane Dublin City Gallery (Ireland), Ormston House Gallery in Limerick (Ireland), Gooden Gallery in London ( UK). Kolata has also had many solo shows including the No Grants Gallery in Dublin (Ireland), The Mill Theatre Gallery Dublin (Ireland) and The Montage Gallery in London (UK). His work is included in many collections.
Rachael Campbell-Palmer, Liam Crichton, Mark Curran, Cian Donnelly, Caroline Doolin, Brian Duggan, Gabhann Dunne, Glenn Fitzgerald, Gemma Fitzpatrick, Timothy Furey, Eileen Gray, Seán Grimes, Siobhán Hapaska, Jacqueline Holt, Kevin Lindsay, Eilis McDonald, Lucy McKenna, Eva Rothschild, Gary Shaw
Selected by Anne Kelly, Daniel Jewesbury, Gavin Murphy & Mark Cullen
6–8pm, Friday 11th December 2015
Please see gallery websites for hours and Christmas closing
An artwork, like a book, is not made up of individual words on a page each of which with a meaning, but is instead "caught up in a system of references to other books, other texts, other sentences" †
Not a group exhibition per se, Periodical Review is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). This is the exhibition as resource, in which we invite agents within the field to engage with what were for them significant moments, practices, works, activity, objects: nodes within the network.
Periodical Review is an annual survey of recent Irish art, selected in collaboration with invited curators/peers from around Ireland. Each year, Pallas Projects invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit; to be a reminder, a critical appraisal and consolidation of ideas and knowledge; to facilitate and encourage collaboration, crossover and debate.
In looking at self-organized exhibitions, off-site projects, commercial gallery and museum shows, Periodical Review looks to share a spectrum of practices, creating dialogue and critical reflection to help develop and support Irish contemporary art as a whole; and to act as an accessible survey of contemporary art for a wider audience, expanding the experience of art practices from around the country.
Daniel Jewesbury (b. London, 1972) studied Fine Art at NCAD and moved to Belfast in 1996, where he's worked as an artist, writer, editor and curator ever since. Daniel was a co-editor of Variant from 2000 to 2012, was a prolific contributor to Belfast's satirical newspaper The Vacuum, and has been published in journals including Third Text, the Edinburgh Review and Art & Research. He is currently researching the relationships between death and desire in the modern city, for a major exhibition he is curating in 2016. Daniel is employed as a Lecturer in Film Studies at the University of Ulster.
Anne Kelly is Programme Curator at the NCAD Gallery, National College of Art and Design, Dublin (2011–). She has previously worked independently as a curator, artist, educator and arts manager on a wide range of exhibitions, projects and live events; and has also held positions at Kerlin Gallery, Temple Bar Gallery + Studios, Sculptors Society of Ireland, Trinity College Dublin and Dublin City University, all Dublin. She is the recipient of Arts Council of Ireland, and CREATE: National Development Agency for Collaborative Arts and County Council awards. Kelly is an NCAD Fine Art graduate and earned an MSc in Computer Science, Trinity College Dublin.
Previous co-curators of Periodical Review: Mary Conlon (Ormston House) & Paul Hallahan (artist & independent curator); Matt Packer (Glucksman/Treignac/CCA) & Michele Horrigan (Askeaton Contemporary Arts); Eamonn Maxwell (Director, Lismore Castle Arts) & Padraic E. Moore (Independent curator), Ruth Carroll (RHA) & Carl Giffney (Good Hatchery).
† Michel Foucault, The Archaeology of Knowledge
Periodical Review #5 is an initiative of Pallas Projects in collaboration with NCAD Gallery. Pallas Projects 2015 programme is supported by Dublin City Council
Spaces: 126, Galway; The Black Mariah, Cork; Catalyst Arts, Belfast; E.S.P. TV, New York; Occupy Space, Limerick; Pallas Projects, Dublin; Suburban Video Lounge, Rotterdam
Projects: The Artist-Led Archive, Real Art Project (RAP)
Artists: Fiona Chambers, Mark Cullen, Niall de Buitléar, Brian Duggan, Blaithin Hughes, Gillian Kane, Gillian Lawler, Breda Lynch, Eimear Jean McCormack, Gavin Murphy, Mark O’Kelly, Jim Ricks, Kathy Tynan, ‘Heavier-than-Air Flying Machines Are Impossible’ artists' film programme
Curated by Pallas Projects
The Future is Self-Organised is an exhibition looking at artist-led practice and the role and contribution of artist-run spaces to contemporary art, culture and society.
The exhibition is the first of a series of projects to take place throughout 2016 that will mark the 20th year of the artist-run space Pallas Projects/Studios (PP/S). These projects will look at the role of artist-run spaces and artist-run practice today – and looking towards the future – with a number of cooperative exhibitions and ancillary events taking place, foregrounded by a major publication ‘Artist-Run Europe – Practice/Projects/Spaces’, due in early 2016.
Incorporating artworks, installations, documentation and ephemera, the exhibition features invited contributions from artists who have been associated with or helped run PP/S over the last 20 years, as well as contributions from the many artist-run spaces that PP/S has initiated collaborations with during that time.
Founded in 1996, Pallas Projects/Studios is a non-profit artist-run organisation dedicated to developing opportunities for Irish contemporary visual artists, encouraging exchange and discourse via curated projects, and collaborations with Irish and international arts organisations. PP/S addresses the necessity of providing space for artistic production, and foregrounds the role of the exhibition/project as a constant agent of discourse and cultural transformation within both the visual arts and society.
The artist-run model and ethos, is one which perpetuates non-hierarchical modes of organisation, and economies of exchange (knowledge and resources); a non-commercial approach to producing art and culture, it proposes a model of social and cultural interaction that eschews the roles of producer and consumer. Artist-run spaces play a vital role in supporting artists’ practices at the early stages of their careers, and often have a key stake (albeit a precarious one) in the (re)vitalisation of derelict urban areas.
The exhibition The Future is Self-Organised engages with the recent history of artist-run groups and independent spaces to produce a highly visual group exhibition including artworks, documentation, ephemera, artist-run presentations and collaborative installations. Its aim is to show to the public how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present an necessary alternative to the art institution, museum or commercial gallery. It is the first gallery manifestation of a 4-year research/publication project – Artist-Run Europe – undertaken by PP/S into artist-run practice and spaces around Europe. #ArtistRunEurope
“…while we remain subject to a system geared towards squeezing cash even out of the rubble it generates, the task, as we see it, is to remind ourselves that this rubble might offer a relative but significant opening: namely an awakening sense that there is no neoliberal future to build, and that we’re no longer compelled to compete as individuals for a piece of the free market world. Against this backdrop, we can measure those in the art system as it stands and by what it is they have to offer in the preparation of a post-capitalist society.”
There is no Alternative: The Future Is (Self-) Organised, Part 2 – Anthony Davies, Stephan Dillemuth & Jakob Jakobsen*
Included in the exhibition:
A curated installation of new and re-presented/reconfigured work by artists who have been involved with PP/S, and a number of invited artists: Brian Duggan, artist and co-founder of PP/S; Fiona Chambers, artist and formerly part of the PP/S team; Kathy Tynan, former PP/S studio artist; Mark Cullen and Gavin Murphy, artists and current PP/S co-directors; Gillian Lawler, artist and PP/S Studio & Intern Coordinator; Gillian Kane, whose drawing of ‘Pallas Heights’ is included; Jim Ricks, artist and sometime PP/S collaborator; and invited contributions from artists: Mark O’Kelly, Eimear Jean McCormack, Breda Lynch, Blaithin Hughes. A film programme ‘Heavier-than-Air Flying Machines Are Impossible’ curated originally in 2008 by Pallas Projects for Project 304 Bangkok, features early film work by Aideen Barry, Anne Maree Barry, Daren Bolger, Cliona Harmey, Gavin Murphy, Kelly O’Connor, Fiona Whitty.
A screening-room installation will present artists’ films selected by Suburban Video Lounge. Based in Rotterdam, the Netherlands (in the basement of an Espresso Bar), Suburban Video Lounge was founded by Toine Horvers in 2004 as space for presenting artists’ moving image, and has been programmed by Toine Horvers 2004–2014 and Kathrin Wolkowicz 2011–2014. For The Future is Self-Organised the space’s intimate, comfortable and subterranean setting has been recreated in the gallery.
The Artist-Led Archive, initiated by Megs Morley, and presented for the first time in Limerick, is an artist-led initiative that was begun in 2006 as an attempt to intervene into a perceived and pressing lack, or ‘gap’ in collective knowledge, about the contexts, histories and developments of artist-led culture in Ireland.
The exhibition features video presentations of E.S.P. TV; FIX Festival, the oldest Live Art biennale in Europe run by Catalyst Arts since 1994; and a selection of work from the Limerick-based initiative Real Art Project (RAP). Also on show is documentation and ephemera relating to several artist-run spaces including: Catalyst Arts, 126 Galway, Occupy Space, and The Black Mariah, Cork. A reading room of Artist-Run publications and material will also be presented.
*The exhibition title The Future is Self-Organised is taken from the essay ‘There is no Alternative: The Future Is (Self-) Organised, Part 2’ by Anthony Davies, Stephan Dillemuth & Jakob Jakobsen, reprinted in Self Organised, Stine Hebert, Anne Szefer Karlsen (Eds.), Occasional Table/Open Editions, 2013. The text can be distributed freely and printed in non-commercial, no-money contexts without the permission of the authors.
The Artist-led Archive is presented with thanks to the National Irish Visual Arts Library (Nival) at NCAD, Dublin. Special thanks to Clare Lymer and Donna Romano
In the Making # 3: Juvenoia
Bassam Al-Sabah, Sheen Frances, Claire Murphy, Vlada Novicka, Stephen Mc Devitt, Mateusz Lubecki, Jillian Murphy, Peadar Jolliffe-Byrne, Gabrielle Deery, Kim Gleeson, Lynn Murphy, Saoirse Groves Murphy, Darragh Maguire, Niamh Laughlin, Craig Lawlor
The term used to describe the irrational fear felt by every generation; that the generation before was too rigid and conservative—and the generation after too wild and out-of-control.  In other words, the “kids-these-days” mentality.
The final instalment of a three-part exhibition run by 4th year IADT Art students, Juvenoia is a coming-together of diverse practices in different media ranging from video and sound to painting, print and sculpture. ‘Juvenoia’ as a title relates to the perception of art students as future professionals.
Keeping this in mind, the organisation of this exhibition was focused on its context as a transitional period from student to professional. Students moving into the realm of professional practice understand that perception of their work will change dramatically.
 David Finkelhor, “The Internet, Youth Safety and the Problem of “Juvenoia”
Preview: 6pm to 8pm, on Thursday 26 November. Exhibtion continues Friday 12–6pm and Saturday 12–2pm.
In the making # 2: Polyglot
Samuel Tobin, Erica Roche, Nicole Burke, Emma Moran, Sophie-Carroll Hunt, Jennifer Fitzpatrick, Jessica Balfe, Alex Gillice, Andrew Pollard, Fiona O Brien, Mary McClelland, Thomas Garrett, Stephen Usher, Aisling Leonard, Catriona O’Rourke
Polyglot is the second of a three-part group exhibition showcasing the work so far of the 2016 graduating class of IADT's Art programme. The exhibition explores the varying art practices of a diverse group of emerging artists and includes new works made in sculpture, video, painting, textile, assemblage, and installation art.
Rather than working towards a unifying theme for this exhibition, artists have worked within their usual practices continuing with their individual works and have grouped new pieces together in ways which will open up discussion between the differing pieces within the space of Pallas Projects. The associations and disassociations between the various themes, details and methods of production undertaken by the artists become apparent in this space opening up the conversation of the exhibition and to the public.
Preview: 6pm to 8pm, on Thursday 19 November. Exhibtion continues Friday 12–6pm and Saturday 12–2pm.
In the making # 1: Nebula
Allan Kinsella, Ciara Dempsey, Craig Lawlor, Aisling Boland, Jago Moulton, Paddy Sheehan, Ciara Mc Donald, Sophia Delavari, Fiona Fitzpatrick, Louise Mc Cormack, Kian Benson-Bailes, Jessica Crean, James Butterworth, Richard Lawlor
Nebula brings together the work of 14 final year Art students in the first of a three exhibitions in Pallas Projects in November 2015. Works in the exhibition will range from painting, print, video, sculpture and installation with a particular emphasis on painting in the digital/photographic age, surface, artificiality and the human body, exploitation and the everyday.
A nebula, by definition alone, refers to an interstellar clustering of gases and materials that can, providing the right elements are in place, form new star systems. A nebula cloud draws in other forms of matter, snowballing to astronomical sizes and in so doing, facilitates the creation of light, matter and potentially, life. The works are involved in a shifting dialogue in relation to themselves individually and to the cluster as a whole. As uneasy objects hovering in a space, each has the possibility of drawing other works within its particular sphere of associations with the ultimate intention of creating a unique Nebula of seemingly disparate objects in orbit around the vacuum of contemporary art practice.
Preview: 6pm to 8pm, on Thursday 12 November. Exhibtion continues Friday 12–6pm and Saturday 12–2pm.
in the making presents a taste of the future. For three weeks in November 2015, Pallas Projects provides an exciting platform for emerging art practices, hosting three consecutive exhibitions of new work by degree year students from IADT’s BA in Art. Conceived as an experiment in learning through exhibition-making, the project has been developed with guidance from PP/S co-curator Gavin Murphy and assistance from post-graduate students on IADT’s Art & Research Collaboration MA. Each exhibition will provide an early-stage glimpse into the ideas, materials and techniques currently being researched and tested by the BA students and a valuable opportunity for them to extend their practices beyond the IADT studios. The three exhibitions that constitute In the making will offer a unique insight into dynamic thought processes unfolding through collaborative exhibition practice.
The three exhibition openings will take place from 6pm to 8pm, on Thursdays November 12, November 19 and November 26, 2015.
Each exhibition will also be open to the public on Fridays, 12–6pm, and Saturdays, 12–2pm. (Please note the earlier Saturday closing time).
Preview : Wednesday, 4th November, 6–8pm
Exhibition continues: until Sunday, 8th November
Gallery times: Thursday–Sunday, 12–6pm
Lesley-Ann O’Connell makes paintings that are about colour, surface and space. Very often the act of creating a painting begins as a problem to be solved: what would an entirely red painting look like, what would a black painting look like, how do you paint a vase of flowers without painting a vase of flowers? A tall order presents itself.
From then on begins a journey through paint that hinges on intention and incident. Ideas are pulled through a bustling studio and re-emerge in an unexpected way. This happens through a messy, inquisitive daily practice where turpentine that has been muddily tinted from rinsing out brushes gets thrown over painted surfaces and old palettes are scraped and then printed over fresher colours.
O’Connell embraces a general befuddlement towards the act of painting and its possibilities. With this scramble to render fleeting inspirations through paint, what is common to all pieces is a determination to give each painting its own reality and sense of an independent world. She seeks for each piece to have its own internal logic, its own laws governing its making where relationships such as colour, line and composition answer directly to the needs of the picture.
Lesley-Ann O’Connell is an artist living and working in Co. Meath. She graduated with a Masters in Fine Art from the National College of Art and Design in 2014 where she also received her degree in 2008. She has exhibited in group shows within Dublin as well as Carlow, Galway, Waterford and Leitrim. Her work is held in the public collections of The Office of Public Works, Impact and AXA Ireland. This is her first solo exhibition.
Preview : Wednesday, 14th October, 6–8pm
Exhibition continues: until Saturday, 31st October
Gallery times: Thursday–Saturday, 12–6pm
Pallas Projects is pleased to announce eminent domain II a solo exhibition by Gillian Lawler. This is the second installment of her project inspired by a field trip to the abandoned town in Pennsylvania, America.
I first came across the town of Centralia in Pennsylvania upon reading Bill Brysons book 'A Walk in the Woods' where I immediately felt drawn to his vivid description of this abandoned place. In my minds eye I imagined an area devastated by environmental disaster but strangely preserved within the aftermath of its abandonment.
Centralia began burning deep under its foundations in the 1960s where a vein of coal was accidentally set on fire. This vein burned intensely, so much so that the town began to form sinkholes and poured out toxic gases. Centralia was declared unsafe in the 1980s and the residents were relocated to another area. Centralia is now a floor plan of empty overgrown streets and remnants of buildings long removed. Unexpected interruptions among its remains, making it seem like fragments of skeletal, emptied presence. Its emptiness only adds to its strangeness and among its streets hovers the memories of another time. In my work I create structures which hover motionless and insistently above the wastelands, anxiously scrutinizing the existing conditions for the possibilities of survival.
I traveled to Centralia in March 2014 and using this research opened my solo show at the Galway Arts Centre in June 2014 entitled 'eminent domain'. This work initiated a continuing interest in abandoned places where economic and environmental factors have forced inhabitants to relocate. My interest in science-fictional landscapes including computer generated cyber-scapes have led me to draw parallels with these abandoned places. Much sci-fi imagery within film and gaming imagine a future of devastation and desolation. I endeavor to position my work within these ideas, the reality and the hypothetical and create works which hint at environmental crisis but propose architectural solutions e.g., floating, suspended structures. These constructions and recurring checker board motifs play with notions of architectural unease accentuating a definite but skewed anti-perspective.
'eminent domain II' is my second exhibition based on my research trip to Centralia. This work references the reality of this mining landscape and employs fictional notions of escape and adaptation through the use of hypothesized architectural structures. These fabrications assume an autonomous vitality, investing the atmosphere with a cosmic fear. This desolate landscape once destroyed by mining now lies in silence, sunlight blocked by smoke filled fissures, roads vanish and crack under the pressure, trees stand deadly still, the ordered and composed verses the shapeless, unexpected and unstable.
Gillian Lawler, 2015
A catalog entitled 'eminent domain II' will accompany the exhibition with essays by Dominic Stevens (architect), Daniel Lipstein (visual artist) and Linda Doyle (Professor of Engineering and the Arts, Trinity College Dublin).
Gillian Lawler was born in Kildare in 1977 and currently lives in Dublin. She received a BA in Fine Art from the National College of Art and Design, Dublin, in 2000. She has won numerous awards including the Hennessy Craig Award, RHA Gallery Annual exhibition in 2007, the Whytes Award, RHA Gallagher Gallery in 2007 and the overall winner of the Open Selection Exhibition Award at the Eigse Arts Festival in 2009. Other awards include a Kildare Arts Services Award 2015/2013/2011/2009, an Arts Council Bursary Award 2009, and Culture Ireland Award 2011. She was shortlisted for the Beers Lambert Contemporary, Thames and Hudson publication, 100 Painters of Tomorrow in 2013, the Celeste International Art Prize in 2012 and a Merit prize from the Golden Fleece Award in 2013.
Image: Centre Street, oil on canvas,50 x 60 cm, Gillian Lawler, 2015.
Fieldwork in the Bedrock of Spaces presents a body of work produced over the course of eighteen months at the artist’s studio in rural Tipperary. The exhibition’s title insinuates the processes through which these paintings emerged, their exploration of the means by which personal and collective experience is embedded in material and pattern. As we can read the history of a people in the features of a landscape—the scores across its surface, the patterns into which the land is cut, its strata—so we can understand these paintings as embodiments of memory, history and place.
Through the application of discrete but intersecting layers Geoghegan is able to collapse onto a single surface a whole history of painterly methodologies, each of which confers a different means of encoding our experience. Her elegant orchestration of these contrasting approaches suggests that a comprehensive account of the world must acknowledge and incorporate different perspectives, must attempt to reconcile competing systems.
The experience of looking at these paintings is comparable to the archaeological method suggested by the exhibition’s title. As they were built up in layers, so they must be excavated. It’s a process of recovery: the eye might recognise a pattern, form or shape in the work but take time to properly delineate it, to silt it out from the materials under which it is buried. These are paintings created through gradual, incremental processes, and they reward a long, hard, searching look.
Sheenagh Geoghegan is currently based in rural Tipperary, she completed her MFA at The Slade School in 2013 where she was awarded the Stanford Scholarship, The Orpen Award, and The Charles Heath Hayward Award , in 2012 she was chosen to represent The Slade to work at dOCUMENTA 13 on the activated projects during the hundred days of the festival. She has exhibited widely including London and New York where she recently showed at The Leila Heller Gallery.
Colin Martin, Bea McMahon, Elvira Santamaria Torres, Craig Donald, Martin Boyle, Brigid McLeer, Jackie Holt
Curated by Niamh McDonnell
Please note: gallery will be closed from 4.30pm Thursday 17th to facilitate mentoring sessions, but will reopen to the public 12–6 Friday–Saturday.
‘Diagrams’ is a cross border collaborative project that involves the participation of artists, filmmakers, architects, new media designers and visual cultures theorists. It creates a range of platforms for arts practitioners and theorists to exchange perspectives on their approaches and it gives audiences insights into this learning process.
‘Diagrams’, a mixed media show of work by 7 artists, comprises lens-based media, drawings, paintings and sculptures. Each artist uses the diagram to describe a previous work or to make a preliminary sketch for a new work. The diagrams apply a logical procedure to the spatial organization of elements in order to experiment with material production. The show explores how the dynamic space of the diagram visualizes different sets of relations between elements and so generates multiple reading narratives.
The approach through the diagram involves the play with various media to create different narratives for the viewer to read the work in terms of the process of its material production. The show provides these artists with the opportunity to explore making diagrams as a way of engaging with the possibilities for disseminating their work, thus making the documentation of the work a focal point of the work itself.
The exhibition will be open from Thursday, 10th September, with a special opening reception on Friday, 11th from 5–8pm as part of Dublin Gallery Weekend.
A curator's talk with a number of the exhibiting artists will take place in the gallery for Dublin Gallery Weekend on Saturday 12th at 1.45pm, no booking required, the gallery will also be open on Sunday 13th 12–6pm.
The exhibition will travel to Queen Street Gallery, Belfast, 1 October – 15 November 2015
More info on the project can be found at on-off-states
Symposium – 18 September 2015
A symposium of presentations by international visual cultures theorists. GradCAM, Dublin Institute of Technology, DIT Grangegorman Campus. Book here
Martin Boyle, born Donegal, 1982, lives and works in Belfast, Northern Ireland. Martin completed a Masters of Fine Art in 2008 at the University Of Ulster, Belfast, having previously graduated with a BA Honours in Sculpture and Combined Media from the Limerick School of Art and Design. Recent Work include this is authenticity, Golden Thread Gallery, Belfast (2014) Instant advice a solo show in Platform Arts (2013); Genuine Replica, Ulster Museum (2013); Scope Art Fair, New York (2013); Instances of Agreement, Taiwan (2012); Household Festival, Belfast (2012); and Arrivals, Ormeau Baths Gallery, Belfast (2010); Truth does not matter, Golden Thread Gallery, Belfast (2010); Switch Festival (2009); Capitalyst Arts, Catalyst Arts, (2009); OK. Video COMEDY Indonesia (2009); Live @ No. 8 Tulca, Galway (2009)
Craig Donald, born Belfast 1987, lives and works in Belfast. Craig ompleted BA Hons Fine and Applied Art at the University of Ulster in 2010. Recent shows include 'Taking Back Bearings...', Platform Arts, Belfast 2014, 'Presently', Millennium Court Arts Centre, Portadown 2014, 'Line: An Ambiguous Journey', The Drawing Project, Dun Laoghaire & Crescent Arts Centre, Belfast 2013, 'Craig Donald & Bartosz Kolata', Queen Street Studios Gallery, Belfast 2012, and 'Cursed', Catalyst Arts, Belfast 2012.
Jacqueline Holt, born London, lives and works in Belfast. Jacqueline completed an MFA at the University of Ulster in 2012. Notable exhibitions include, ‘Transition’ 2014, a two-hour solo exhibition at the Playhouse, Derry; ‘In a Certain Light’ 2013, Lismore Castle, Eire; ‘De la Pluie & du Beau Temps’, 2012, La Station, Nice, France and ‘The Birthday Party’ 2009, Hovel, Camberwell, London.
Colin Martin, born Dublin, 1973, lives and works in Dublin. Colin is a graduate of DIT 1994 and NCAD 2010. Recent exhibitions include ‘Collection’ City Assembly House, Dublin 2013, ‘The Garden’ Broadcast Gallery, Dublin 2012 and ‘Cyclorama’ Basic Space, Dublin 2011. He is the recipient of the Arts Council Bursary, Thomas Dammann Award and Hennessy Craig Scholarship.
Brigid McLeer, born Drogheda, 1970, lives and works in London. Brigid’s Fine Art studies were at NCAD, Dublin, University of Ulster, Belfast and Slade School of Art, London. Recent exhibitions include ‘One + One’, at Highlanes Gallery, Drogheda and Wexford Arts Centre; ‘Horizontal Ontologies’ Art Currents Institute, New York; ‘Unspeaking Engagements’ curated by Steve Dutton and Brian Curtin, Chulalongkorn University Gallery, Bangkok, LGP Coventry; ‘Vexations’ and ‘Platform, In the Making’, Site Gallery, Sheffield. She has published critical and creative writing in journals such as Performance Research, Visible Language, and Circa and lectured in various UK universities including the Royal Academy, Goldsmiths, Dartington College of Art and Coventry School of Art & Design. She is currently studying for a PhD by project, in Fine Art at the Royal College of Art, London
Bea McMahon, born Dublin, 1972, lives and works in Amsterdam. Bea McMahon’s recent exhibitions include Cover, Salzburg Kunstverein, Austria 2014; ‘In the House of Mr and Mrs X’, Temporary Gallery, Köln, 2013; ‘Volcano Extravaganza’, Stromboli, Italy; ‘Root’, Temple Bar Gallery and Studios, Dublin, 2012; ‘All humans do’, White Box, New York, 2012; ‘A series of Navigation’s, The Model, Sligo, 2012; ‘Warp and Woof’, Centre for Contemporary Arts, Glasgow, 2011; <trinity> Flat Time House, Peckham, London 2011; ‘Nothing is Impossible’, The Mattress Factory, Pittsburgh 2010; ‘True Complex’, Void, Derry, 2008; ‘The Curated Visual Artist’s Award’, The Douglas Hyde Gallery, Dublin, 2008. Bea was a resident at the Rijksakademie van Beeldende Kunsten.
Elvira Santamaría-Torres, born 1967, lives and works between Belfast and México City. Art graduate, ‘Esmeralda’, México, graduate Masters Degree, University of Ulster, Belfast, 2009. First Month Performance Art, University Museum, El Chopo 1993. First Prize, 3rd Performance Art Month Award, 1994, invitee to Rencontre International de Art Performance in Quebec. 2nd Festival del Performance, Ex-Teresa Arte Actual, 1993; Germany performance art tour: Colon, Essen, Dormunt and Bon organized by ASA European, 1997; Expo Hannover 2000; Nippon International Performance Art Festival, NIPAF in Tokyo, Kyoto, Nagano and Nagoya, 2002. Mercosul Biennale in Brazil, 2005; National Review of Live Art Glasgow 2000, 2005, 2007, and 20011. In place of Passing, Bbeyond, 2006; Black Market International performance art group member, 2000. Actions on Route, Interventions in Mexico City 2001 and 2003; InterSERO, International Action Art Encounter 2009 in the Carrillo Gil Museum of Art. Urban Actions project, Bogotá, 2007. Committee member, Bbeyond, 2010. ARTRAKERS Award 2013 nominee.
Preview & Pallas Summer Soirée: Wednesday, 15th July, 6–8pm
Exhibition continues: until Saturday, 25th July
Gallery times: Thursday–Saturday, 12–6pm
Event: Artist's Talk, Saturday, July 25th, 3pm
On the final day of the exhibition, artist Alex Murphy will be in attendance in the gallery. At 3pm he will be giving a talk about the time he spent in Florence between September 2014 and July 2015, where he was trained in the classical technique of marbling, shaping the aesthetic of several of the works featured. Florence also provided the inspiration and content of the exhibition as a whole, both in the artist's archival research of the Renaissance-era 'Office of the Night', and contemporary Florentines whose individual personalities gave rise to some of the most vivacious pieces in the exhibition.
Mappe e Manoscritti Contemporanei is an exhibition of new drawings and paintings inspired by and created in Florence, Italy. Contemporary cartography documents political, social and cultural terrains, both experienced and imagined. Post-modern manuscripts record narratives of individuals and events, both significant and unimportant. These maps and manuscripts record spaces and stories of marginal Florentines, past and present.
Traditional maps communicated a seemingly neutral and objective perspective. Geographies were constructed from one uncontested and ‘universal’ point of view, communicating clearly defined spatial boundaries and divisions, restrictions and exclusions. Historic manuscripts recorded events and people considered important by the privileged. As a result of these prolific and definitive documents, other landscapes, other stories, and other perspectives have been obscured by and into history. This work interrupts and challenges the singularity and exclusivity of the traditional map and the historic manuscript through the use of multiple perspectives, ambiguous and shifting boundaries and by documenting the invisible.
Here, processes and subjects conceal and reveal, erase and establish, resulting in new territories, new understandings, and new realities communicating both form and meaning. By exploring the undervalued technologies of traditional marbling and architectural drafting — each born of Renaissance Florence — this body of work attempts to reconsider the fate of marginal Florentines, to re-map their place and re-position their stories in history and contemporary society.
Alex Murphy’s practice explores what is concealed and what is revealed as it relates to marginal individuals and communities. He is particularly interested in the experiences of the homosexual male and the unsung working class. This body of work has resulted from research and investigations undertaken during a sabbatical year in Florence, Italy.
Alex is completing his fourth year of a Bachelor of Fine Art degree at OCAD University in Toronto, Ontario. He holds a Master of Architecture degree from Dalhousie University in Halifax, Nova Scotia and is currently a professor of design at Sheridan College in Canada. Mappe e Manoscritti Contemporanei is Alex’s first solo exhibition.
Photographs taken by Louis Haugh.
Exhibition continues: until Saturday, July 4th
Gallery times: Thursday–Saturday, 12–6pm
or outside of these hours by appointment.
An extra week has been added so the last day of the exhibition is now Saturday, July 4th.
I am nothing: The words describe, from one perspective, a state of emptiness, isolation and disconnection, but through meditation and conscious practices of movement and expression these same words can also describe a state of powerful connection, profound freedom and joy.
This exhibition is a distillation of experiences from time spent in meditation and ritual between 2008–2014 presented in a quiet contemplative space where you are invited to take time to be with your experience of the present moment.
The overall sense of the exhibition is that our experiences of life are fleeting; present in just a moment, and then gone; everything and then nothing. It addresses the ephemeral quality of the human experience and our quest to find meaning within it.
Born in Wexford, Sinéad Cullen received a degree in architecture from DIT (1996) and an MSc. in Architecture: Environmental Studies from CAT, Wales (2008). Her design practice focused on creating symbiotically and in connection with natural living systems, but she found that in order to understand what it is to connect with our environment she needed to truly experience it on a more fundamental, emotional and spiritual level. So in 2008 she began to travel and study extensively, focusing on meditation, ritual and shamanic/indigenous ceremony in Central and South America, and India. She also began studying and practicing conscious dance, learning to understand connection somatically, through felt experience. On this journey she began to combine painting and dance, and use installation as a means to express her experiences. In her current work as a visual artist Sinéad explores themes of disconnection and the emergent languages of reconnection through a daily conscious practice of meditation and movement in combination with painting, installation and video.
In 2015 she has participated in two group exhibitions in New York: G.E.T. 1 in NYFA, Brooklyn, and Back to Life: Resurrection Reimagined in St Ann’s Church, Brooklyn. Currently Sinéad is exhibiting in HOME\SICK in the Science Gallery at Trinity College Dublin, in collaboration with Habitat for Humanity Ireland. I am nothing is her third solo exhibition.
Sinéad lives in Dublin and has a studio at Pallas Studios.
Preview: Wednesday, 20th May 2015, 6–8pm
Exhibition continues: until 30th May
Gallery times: Thursday–Saturday, 12–6pm
We Don't Dream is an exhibition of new paintings and drawings. The artist's work employs methods of appropriation and free association, drawing from a wide range of sources, exploring a personal relationship to the nature of being and the absurd, the body, psychology, consciousness, the limits of language, struggle and failure, and personal history. Drawing is key to the work. Hundreds of drawings are made as a method of collating information. The paintings evolve from this process.
Glenn Fitzgerald graduated from the Crawford College of Art, Cork, in 2003 and thereafter produced three solo shows: Form Gallery, Cork, 2004; Form Gallery, London, 2005; and the Hunt Museum, Limerick, 2006. This show marks a return to full-time practice after a nine-year absence. Glenn is based in Dublin and has a studio in Harold's Cross.
Preview: Tuesesday, 12th May 2015, 6–8pm
Exhibition continues: until 16th May
Gallery times: Wednesday–Saturday, 12–6pm
An interactive exhibition of eleven print-based artists who take over a gallery space and put art on the wall and on the floor so people can come and look and touch it.
Haptic Press seeks to dissolve the tangible distance between artist and audience with an interactive exhibition that provides both tactile and participatory elements. Eleven print-based artists approach the theme through a diverse range of media including print, sculpture, assemblage, painting and performance.
Haptic Press is a group show featuring the work of second-year Fine Art Print students from NCAD:
Lorcan Murphy Gilligan
Preview: Wednesday, 22nd April 2015, 6–8pm
Exhibition continues: until 25th April
Gallery times: Thursday–Saturday, 12–6pm
SPACE/s is the first major group show from Qualia Dublin, featuring work from five of the group's nine members.
The artists from Qualia who are exhibiting include Paul Rosser, Laura Skehan, Sarah O'Keeffe, Ciara Donnelly and Siobhan O'Connor. All are Third Year Fine Art students from DIT Grangegorman, and have been working over the past year to bring together their ideas and curate a show which exhibits responses from researching how we engage, visualise, activate and re-create space. How do we define space? How definite or temporary is space? How do we respond to the constant transition within a space? All are questions asked within Qualia Dublin's work.
The artists work in a range of media, creating links between the works and the act of looking, attempting to engage the audience in a conversation surrounding contemporary ideas regarding space.
Qualia Dublin is an artist collective comprised of Third Year BA Honor Degree Fine Art students. Through a common interest in artistic tradition and a desire to explore the possibilities of contemporary art, the collective formed in June, 2014. All study at DIT Grangegorman, and through their work and their bi-monthly art and culture magazine, they aim to engage with the public through their ideas surrounding contemporary art and culture.
Paul Rosser deals with the transitional nature of our experiences with the architecture of spaces. Through interactive performances and installations, Rosser's work tries to convey a sense of how the space within which we are placed affects us, and how we, in turn, affect that space.
Laura Skehan works with video and sound to examine our environment and how transitionary space has an influence on the artist. She uses movement and gesture to elaborate on these ideas, and attempts to demonstrate the impossibility of capturing a moment through the editing and rearrangement of primary source material.
Sarah O'Keeffe activates a space through installation and attempts to look within the concepts of today's lifestyles and challenge what is the accepted 'norm' in particular societies.
Ciara Donnelly investigates possible compositions and perspectives of digital landscape photography independent of the original landscape itself. She attempts to produce possibilities of perspective by layering prints and physically combining different compositions to create a new sense of what space is.
Siobhan O'Connor's sculptural work and drawing explore the modern methods of construction through structured forms and space. The layering of tension, suspension and balance within structures are key research elements in her work. Her drawings are both a method to discover potential construction problems, as well as works in themselves.
Preview: Wednesday, 15th April 2015, 6–8pm
Exhibition continues: until 18th April
Gallery times: Thursday–Saturday, 12–6pm
Centre is concerned with the idea of the centre, be it a geometrical point, origin, public space, or the self-centred “me”. Focusing on drawing, the artists consider how we perceive and construct reality through images and systems of measurement. The work alludes to designed objects, architectural plans, plots and graphs, yet nothing entirely discernible appears, and although the drawings may initially appear precise and mechanical, a closer look reveals subtle discrepancies and contradictions implying an inherently distorted understanding of the world.
Joe Scullion graduated from the painting department in NCAD in 2013. Since then he has continued his practice making work that depicts otherworldly environments whilst bearing in mind the history of painting. He is the recipient of the RDS 2013 Taylor Art Award, and was shortlisted for the Talbot Gallery’s Most Promising Graduate of the Year Award and Block T’s Emerging Graduate Award. Recent exhibitions include Assemble - Alþýðuhúsið, Settle, Rua Red and Waiting to Materialise, Talbot Gallery.
Sinead Onora Kennedy’s practice is informed by avant-garde fashion and figurative sculpture. Since graduating from the fashion department in NCAD she has continued to work using methods and processes involved in garment making and exhibited work in both design and art contexts. She is the recipient of the 2013 NCAD Staff Prize, the 2013 Talbot Gallery Most Promising Graduate of the Year Award, and the 2013 Persil Fashion Award. Recent exhibitions include Assemble - Alþýðuhúsið, Cloy, Talbot Gallery and Lure, Catalyst Arts Belfast.
Preview: Wednesday, 25th March 2015, 6–8pm
Exhibition continues: until Saturday, 11th April (please note, the gallery will be closed on Good Friday and Easter Saturday, April 3rd and 4th).
Gallery times: Thursday–Saturday, 12–6pm
Beneath That Darkness There Was Another is a exhibition of painting, sculpture and laser-engraved panels. The exhibition continues the artist's ongoing development of a personal abstract vocabulary while introducing new media and materials. The works have been developed through the layering and accumulation of simple forms into more complex constructions.
Drawing and the use of line is central to the exhibition which involves a flow back and forth between the two dimensional and three dimensional, the handmade and the digital. Ideas developed in one medium evolve into another.
The exhibition is the first time the artist will exhibit a collection of paintings. In this work paint has been used to develop the artist's drawing practice adding new aspects of texture and depth. The paintings avoid colour to focus on tone, form, texture and layering. While the sculptures aspire to a sense of completeness through the use of systems and geometric forms. More recent paintings have allowed for a more expansive approach.
Niall de Buitléar makes abstract sculptures, drawings and paintings. The work involves an ongoing development of an abstract vocabulary develop through the layering and accumulation of simple forms into more complex constructions. The work combines geometric structures and systems with a hand-made aesthetic. There is a flow back and forth between the two dimensional and three dimensional as ideas developed in one medium influence the other. While the sculptures aspire to a sense of completeness, what Robert Morris called “create strong gestalt sensations”, more recent paintings have allowed for a more expansive approach.
Niall de Buitléar is a visual artist based in Dublin. There have been four solo exhibitions of his work to date including Out of Order at the Lab in Dublin and Structures at the Wexford Arts Centre. Group exhibitions include Out/Tuo, Catalyst Arts, Belfast, Futures10 at the RHA, None Went Mad None Ran Away at the Rubicon Gallery and Bookish at the Lewis Glucksman Gallery. He was a previous winner of both the Red Stables Irish Residential Studio Award and the Wexford Arts Centre's Emerging Visual Artist's Award.
Niall de Buitléar, Pallas Projects Editions – a new series of specially commissioned artworks. Editions will feature artists who have shown with PP/S over the last 20 years, and is intended to evolve into a curated series of affordable editions by Irish and international contemporary artists. More details.
The opening event on Wednesday, March 25th will be very kindly sponsored by Teeling Whiskey Company.
Artists include Joanne Boyle, Diana Copperwhite, Mollie Douthit, Anne Hendrick, Gillian Lawler, Ruth E. Lyons, Niamh McCann, Aileen Murphy, Sinéad Ní Mhaonaigh, Lesley-Ann O'Connell, Sanja Todorovic, Kathy Tynan and Chanelle Walshe.
Panorama is a group exhibition which brings together the paintings of thirteen women artists who are affiliated with Dublin. The exhibition offers an acknowledgment of the variety and wealth of painting being produced by these artists.
Panorama has been initiated in a spirit of celebration and support, featuring work by artists who are at varying stages of their careers. Each participant has a unique approach to painting as process and medium. Style and subject matter range from real and imagined landscapes to dreams and memory, the animal kingdom, anatomy, architectural space, everyday objects, still life and pure abstraction. While the scope of this exhibition is truly vast, there are also some remarkable consistencies. The intrigue of the exhibition lies within particularities and novelties, but also within subtle similarities between artists and artworks. Panorama aims to look beyond its own boundaries, to a greater territory of painting and to a potential for encounter and discourse, especially between women artists.
The selection for Panorama has been made by Kathy Tynan and Chanelle Walshe.
Opening reception: Wednesday, 11th of March, 6 – 8pm
Artist talk: Friday, 13th of March at 6pm
Accompanying literature by Ingrid Lyons.
Curated by Mary Conlon, Paul Hallahan, Gavin Murphy & Mark Cullen
Ormston House is delighted to welcome Pallas Projects to Limerick for the second edition of Periodical Review #4 – a unique, yearly survey of Irish contemporary art practices, that looks at commercial gallery shows, museum exhibitions, artist-led & independent projects and curatorial practices.
Preview: Friday 13 February, 7-9pm
Exhibition dates: 14 February – 13 March 2015
Michael Beirne, Jenny Brady, Jane Butler, Rachael Corcoran, Anita Delaney, Joe Duggan, Marie Farrington, Hannah Fitz, Mark Garry, Dragana Jurisic, Allyson Keehan, Caoímhe Kilfeather, Ali Kirby, Sofie Loscher, Loitering Theatre, Shane Murphy, Liam O'Callaghan, Liliane Puthod/Resort, Orla Whelan.
Periodical Review is not a group exhibition per se, it is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). This is the exhibition as resource, in which we invite agents within the field to engage with what were for them significant moments, practices, works, activity, objects: nodes within the network.
Each year, Pallas Projects invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, selected via an editorial meeting. Periodical Review #4 was selected by Mary Conlon (Ormston House), Mark Cullen (PP/S), Paul Hallahan (Independent Artist & Curator) and Gavin Murphy (PP/S).
Such a review-type exhibition within Irish art practice acts to revisit; to be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art; to facilitate and encourage collaboration, crossover and debate within the field of Irish contemporary art; and to act as an accessible survey of contemporary art, expanding parameters to art practices around the country.
Preview: Thursday 29th January 2015, 6–8pm
Exhibition continues: until 31st January
Gallery times: Thursday–Saturday 12–6pm
The Project Space at PP/S presents Transferrals, an NCAD MA Graduate show by Art in the Contemporary World (ACW) alumni John Busher and Aisling Ní Chlaonadh. Transferrals is a reference to the unknown, and how this is marked with both uneasiness and hesitation.
Showcasing work by both artists made during their time in NCAD, John and Aisling share a mutual interest in the practice of painting and its place in the context of contemporary visual art. The shared concerns of both artists range from a preoccupation with the role of photography within contemporary painting discourse, to the exploration of phenomenological interests that inform their respective practices.
About the Artists
John Busher graduated from NCAD in 1999, he also has a PGDip from NCAD. His most recent solo exhibition was held at The Presentation Centre, Enniscorthy, Co. Wexford in 2012. Since 2008 John has exhibited in galleries such as Dunamaise Art Centre, VISUAL, Monster Truck, RUA RED, Catalyst Arts & Ormston House. In 2014 he was awarded a residency in the Tyrone Guthrie Centre and selected for the Artist in the Community Scheme, Wexford County Council. His work is part of the Department of Education and Talbot Group collections, as well as several private collections. He is a member of Visual Artist Ireland, Ormston House, 126 Gallery, Catalyst Arts and the Black Church Print Studio (Extended Access Programme).
Aisling Ní Chlaonadh graduated from DIT with a BA in Fine Art and an award of excellence for best Fine Art graduate in 2012. Active since before she completed her degree, Aisling has been involved in both socially engaged art projects as well as privately commissioned work. Her experience ranges from the development of charity murals and inner city education projects to working on music video storyboards for bands such as Fight like Apes. Aisling has taken part in numerous festivals and shows including the Dublin Five Lamps Arts Festival and Wicklow Arts Festival. She is a member of the Art House Dublin collective, an innovative cross-college group of DIT and NCAD alumni focused on raising the profile of emerging artists and engaging with local communities.
We are excited to announce the first Pallas Projects Editions – a new series of specially commissioned artworks, the proceeds of which will contribute to funding the running and development of projects and exchanges at Pallas Projects/Studios. Editions will feature artists who have shown with PP/S over the last 20 years, and is intended to evolve into a curated series of affordable editions by Irish and international contemporary artists. For the first in the edition we invited studio artist Niall deBuitlear.
Edition of 50 and 5 artist’s proofs
€50 (original price, going up as edition runs out)
For more info please speak with us in the gallery or email
Eminent Domain 54, 2014–16
Giclee print from 35mm Slide
Edition of 50 and 5 artist’s proofs
€50 (original price, going up as edition runs out)
Michael Beirne, Jenny Brady, Jane Butler, Rachael Corcoran, Anita Delaney, Joe Duggan, Marie Farrington, Hannah Fitz, Mark Garry, Dragana Jurisic, Allyson Keehan, Caoimhe Kilfeather, Ali Kirby, Sofie Loscher, Loitering Theatre, Shane Murphy, Liam O'Callaghan, Andreas Kindler Von Knobloch/Resort, Orla Whelan
Selected by Mary Conlon, Paul Hallahan, Gavin Murphy & Mark Cullen
Extended until: Saturday 24th January 2015 (open Thurs–Sat, 12–6pm)
All the works featured in Periodical Review – including affordable prints and editions – are available to purchase during the course of the exhibition, with commissions on sales going towards developing exhibitions & exchanges at PP/S, please ask in gallery. The exhibition will be reconfigured and presented in collaboration with Ormston House, Limerick in February 2015.
An artwork, like a book is not made up of individual words on a page (or images on a screen), each of which with a meaning, but is instead ‘caught up in a system of references to other books, other texts, other sentences’.
Pallas Projects/Studios presents the fourth in the series of Periodical Review – a unique, yearly survey of Irish contemporary art practices, that looks at commercial gallery shows, museum exhibitions, artist-led and independent projects and curatorial practices. Periodical Review is not a group exhibition per se, it is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). An exhibition as resource, in which we invite agents within the field to engage with what were for them significant moments, practices, works, activity, objects: nodes within the network.
Each year PP/S invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit, be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art; to facilitate and encourage collaboration, crossover and debate within the field of Irish contemporary art; and to act as an accessible survey of contemporary art, expanding parameters to art practices around the country.
Previous co-curators have been Matt Packer (Glucksman/Treignac/CCA), Michele Horrigan (Askeaton Contemporary Arts), Eamonn Maxwell (Director, Lismore Castle Arts), Padraic E. Moore (Independent curator), Ruth Carroll (RHA), Carl Giffney (Good Hatchery).
All the works featured in Periodical Review are available to purchase during the course of the exhibition, with commissions on sales going towards developing exhibitions & exchanges at PP/S. In a collaboration with Ormston House the exhibition will be reconfigured and presented in Limerick in 2015.
Mary Conlon is a curator based in Limerick. She read literature at University College Dublin and Universidad de Sevilla (1996-2001) and studied Visual Art Practice at Dún Laoghaire Institute of Art, Design & Technology (2002-2006). After graduating, she was appointed as Gallery Manager of Green On Red Gallery. In 2009, she was awarded the third Shinnors Curatorial Research Scholarship and a two-year residency at Limerick City Gallery of Art. In 2011, through the Creative Limerick initiative, she founded the cultural resource centre, Ormston House, where she is Artistic Director. She is curator of the nomadic Six Memos project, drawing on the writings of Italo Calvino, which also forms the basis of her practice-led PhD in Curatorial Studies at Limerick School of Art & Design. She is a member of the Italian curatorial network vessel and of the Board of Directors of eva International, Ireland’s Biennial of Visual Art.
Paul Hallahan is an artist and curator based in Kildare. He was founder and director of Soma Contemporary, Waterford between 2009 and 2012. In 2013 he was chosen as the first artist in Broadstone Studio’s Invited Artist Series.
Pallas Projects/Studios is a not-for-profit organisation run by artists Mark Cullen and Gavin Murphy, operating since 1996. PP/S collaborates with peers and encourages publics to engage with current Irish contemporary art, through the provision of affordable artists’ work-spaces, and an ongoing commitment to lead, provide vision, and develop the visual arts at the grassroots by presenting solo projects, group exhibitions, artist-initiated projects and collaborations with partner arts organisations.
Tickets available on the door and on Eventbrite priced €7
Doors open 6.30pm and the show will commence at 7pm sharp
BYOB/Chairs will be provided!
Atom Tick is two entrepeneurs, James Moran and Stephane Bena Hanly, with some great ideas for creative, innovative start-ups in the fields of future-tech, televisual entertainment and city planning. We'd love any feedback you have to give. Come to Pallas Projects/Studios for a short, informative presentation on either the 27th of 28th of November, and tell us what you think!
Atom Tick is a presentation for you, the audience, in which we, the presenters, make you want not what you think you want, but what we think we can make you think we want you to want. It’s not about what you want, it’s about what we want you to want.
Atom Tick is a multi-media comedy extravaganza featuring video work, meditative type experiences, live demonstrations of future-tech prototypes and some round table script readings. It’s a show about the repetition, the future and critical pop-culture. It's primarily funny, but also really interesting.
James Moran is an alternative comedian and storyteller. His performances explore surrealism and absurdity, as well alternative approaches to narrative. He is interested in disposable, easily consumable comedy influenced by pop-culture and performance art. James studies cyberpsychology at IADT where he has an interest in human factors, engineering and ubiquitous computing. Follow him at @jmichaelmoran or read his blog http://jamesmichaelmoran.tumblr.com.
Stephane Hanly is a sculptor and most recently has been practicing in performance. In his work Stephane likes to combine sound and visual along with live work, to try and create an environment and transport the viewer out of this world. This is an ongoing effort using different approaches, that he will continue to attempt indefinitely.
Preview: Wednesday 12th November 2014, 6–8pm
2014 marks the 75th anniversary of the burning of ‘Entartete Kunst’ or painting and drawings termed ‘Degenerate Art’ by the Nazis in 1939. It is estimated that 1,004 paintings and 3,825 works on paper were completely destroyed during March 1939. O’Rourke examines the empty spaces left behind after thousands of these artworks were confiscated from public galleries and museums throughout Germany and which were subsequently burned in Berlin by the Reich. In this ongoing ‘Dark Inventory’ series the artist engages with politicizing the space between what is visible and what is absent. He emphasises this critical moment in the history of Modernism in Europe with a corresponding reductive process on paper. These drawings investigate ideas concerning censorship and loss, examining art as a form of commemoration with a dual critical strand. O’Rourke tests how art is both recognised and invalidated in society and acts as a form of commentary or dissent in a controlling society and how constant scrutiny is necessary to protect freedom of speech.
Born Co. Wexford 1964, Seamus O' Rourke studied at Waterford RTC, Limerick School of Art & Design, completing his M.A. in Fine Art at University of Ulster Belfast 1994. He has exhibited extensively with solo shows at Entoderweder Galerie, Germany in 1992, 1996 and 2000. Galerie Tendenz, Sindelfingen, Germany in 1997, Limerick City Gallery of Art at the Hunt Museum 1997, Gallery Sanjo, Kyoto, Japan 2003, The Workroom, Dublin 2003, Broadstone Studios, Dublin 2008 and 2011.
Group exhibitions have included: Belfast Young Contemporaries 1994, EV+A 1995, 1998, 1999, 2005, RHA Gallagher Gallery, Butler Gallery Kilkenny 1999, Cheltenham Open Drawing Exhibition 1999, 15th International Triennale of Drawing, Moderna Galerija, Rijeka, Croatia 2000, 1st International Drawing Biennale, Melbourne,Australia ( Award winner) 2001, Galerie Voelcker & Freunde, Berlin, 2003, Goethe Institute, Dublin 2003, 5th International Biennale of Drawing, Pilzen, Czech Republic, 2006, Galerie Inga Kondeyne , Berlin, 2007, Monster Truck Gallery, Dublin, 2009, Cross Gallery, Dublin, 2010, Ormston House, Limerick 2012, 5th International Drawing Exhibition, Museum for Architecture, Wroclaw, Poland, 2012, Catalyst Art Gallery, Belfast, 2014, Williamsburg Art & Historical Center (WAH), Brooklyn, New York 2014.
Awards: He has received Arts Council of Ireland awards in 1992, 1996, 2000 and 2003. Also Cultural Relations Committee Awards in 1992, 1997 and 2000. In 2001, he received an award in the 1st International Drawing Biennale, Melbourne, Australia. Currently his drawing ‘Missing Pictures’ was selected by Claire Gilman Curator of Drawing Center, New York ( for inclusion in ‘ Over the Edge: Paperworks Unbound) - Co Curated by Yuko Nii and Rebecca Cuomo at the WAH Center, Brooklyn, NYC which continues until December 28th. He has a studio at Broadstone Studios and lives in Dublin.
Opening reception: 6pm Wednesday 29th October
Exhibition runs from Thursday 30th October 12–6pm
continues until Saturday 1st November
Through my practice I argue for a return to the senses by engaging with the landscape, through the sort of ‘haptic’ experience film can provide. I have chosen Coolorta, a small alternative community in the West of Ireland for the location of this research. This is where I lived as child. The three artworks, Autowalks, Moving Stills and Turlough Swim are made through lens-based art practice and explore the boundary between empirical and phenomenal forms of research. Drawing on the writings of Judith Butler, Maurice Merleau Ponty, Laura U Marks and Vivian Sobchack I have engaged in walking and filming, ‘slow film-making’, ‘the close up’ and the ‘point of view shot’. The cinematic approach adopted moves over the course of the project from a perspective which privileges sight above the other senses, to an engagement with haptic filmmaking, which seeks to explore the inter-subjective experience involved in the relationship between the spectator, subject and filmmaker. There are critical difficulties in my approach; retrospection can be prone to nostalgia, which can produce a romantic view of the past, yet Julia Kristeva proposes that visiting this melancholia can be potent within artistic practice.
Ruby Wallis is finalising her practice-based research at The National College of Art and Design, Dublin. She completed Masters Documentary Photography at UWN (2007) and a Fine art degree from CCAM (2004). She Lectures photography history and theory at GCD and is a visiting lecturer at BCA, CCAM and LIT.
Ruby has just finished a year- long residency at The Centre for Creative Arts and Media, Galway.
In 2013 she was awarded first prize at Claremorris Open Exhibition selected by Andrew Wilson Curator of contemporary Art at Tate Britain and was nominated for the Prix Pictet award by Trish Lambe, The Gallery of Photography, Dublin.
Publications include: Vision magazine, China. The Weary Blues journal, Ireland, Defunct magazine, Iowa, Super Massive Black Hole magazine, Ireland .The British Journal of Photography, UK. Family Album of Ireland, The Gallery of Photography.
Academic publications include: ‘Autowalks’ a paper On-Walking for the International Multidisciplinary Conference at The University of Sunderland, (2013).‘Unfixed Landscape’ The Journal of Artistic Research (2012). Research papers: ‘Visualizing Utopia’ Amsterdam School of Cultural Analysis (2012).
Recent exhibitions include: G126 members show, (2014). Galerie Du Faoudic, Lorient (2014). Claremorris Open Exhibition, (2013). Portfolio 13, Photo Ireland Festival, (2013). Clause four, UK, (2013). Other Madonnas, Centro de Artes Visuais, Portugal (2013) Exiles, The Lab, (2012). Moving Stills, The Dock, (2012). Incredibly Close and Extremely Slow, Amsterdam (2012). Project 30, Emerging Views of Ireland, Gallery of Photography, (2012) Undertow, The Lab, (2012. Tulca, (2011 and 2009). Ffotogallery, UK. (2010).
Wallis was Artist in Residence for the Galway County Arts Office and ‘That’s life’ and ‘Kidsown’ publishing partnership. Awards include: The Arts Council travel and training award and The Galway Arts Office Individual Artists Award. She has been shortlisted for The Gallery of Photography’s Artist Award in 2006 and 2009 and EVA in 2012.
Unfixed Landscape is an artist-initiated project, in partnership with Pallas Projects/Studios
Exhibition open from Thursday 23rd October 12–6pm, continues until Saturday 25th October, and open Sunday by appointment.
Opening reception: 6pm Thursday 23rd October
Air between form refers to the actual invisible space that surrounds objects, ourselves and our environments. The material and physical elements of this exhibition: wood – paper – Perspex, are conduits to carry and hold light and air. In air there is light, in light there is colour, in colour we get the description of form. This is the source of fascination for the making of these new works.
Within the process of exploring form, the materials reveal individual qualities that add to the tactile nature of the works. Line, colour and shadow all become elements of the artworks, Galvin’s material processes use these materials to draw both air and space.
Martina Galvin has been an active artist since the mid ‘90’s after completing a BA in Painting at NCAD, and then a Masters Degree in Fine Art Practice and Theory at Cardiff College Of Art, Wales, funded by a British Council Scholarship. For a number of years Martina was involved with a Polish artists group: the Artists Museum Centre.Lodz, Poland, as well as the Wyscodnia Gallery,Lodz. This Eastern European connection gave Martina the chance to travel to and be invited to exhibit in numerous large site-specific events in Finland, Australia, Israel and New York. It also allowed Martina to see first-hand Eastern European abstract art in Poland and this had an influence on her practice.
The installation in New York “Crossing Lines of wires” (2002) as part of ‘Artfront / Waterfront’ Site-ations International, Staten Island, New York – the largest wire installation Martina has created – has strong resonaces with her current work in the Project Space at PP/S.
Martina has participated in group shows in the Glucksman, Cork; Temple Bar Gallery, Dublin; Sculpture in Kells, Kilkenny; and “Fractures, Lines and Light” at the Red Stables, Dublin. Solo shows include: Wyscodnia Gallery, Lodz, Poland and Temple Bar Gallery, Dublin.
Martina has received numerous awards and bursaries from the Arts Council, most notably an individual award for her 5-year photographic project on Aldborough House. She has works in significant public and private collections, most notably for the OPW and two large-scale works created for the Irish Pavilion, World Trade Fair in Hannover, 2000. These two works will be re-presented in new government buildings over the next 2 years.
In 2013 Martina was selected to exhibit in the Pallas' Periodical Review #3. In 2014 she was selected to exhibit in Exploring Spaces curated by Marianne O'Kane Boyle at the Braid Arts Centre,Ballymena, which is now touring. Currently Martina is exhibiting in Ormond Studios 5-year anniversary show, and her “Duo” installation was selected for the Rua Red Winter Open show in November. Martina currently has a studio at Ormond Studios, and lives in Dublin.
Martina Galvin website
+Billion- text by James Merrigan
Air between form is an artist-initiated project, in partnership with Pallas Projects/Studios
Anne Maree Barry
Open House Plus is series of walks, exhibitions and screenings that expand architecture beyond the buildings.
Anne Maree Barry's film Missing Green is a poetic journey through Cork Street, Dublin. Narrated via interviews with Councillor John Gallagher, architect Gerry Cahill, author and journalist Frank McDonald and sociologist Aileen O’Gorman, the viewer discovers an area in Dublin that has gradually but dramatically transformed in the last 80 years. This event curated by Pallas Projects & Common Ground, combines a film screening of Missing Green, followed by a walking tour of the film’s locations with Anne Maree Barry and architect Gerry Cahill. Please arrive 10-15 minutes before tour start time.
Please note this event is booked out however Anne Maree Barry's film Missing Green will be screening at Pallas Projects from 1–6pm
Missing Green (2013) 13:47
Directed and edited by Anne Maree Barry
Missing Green is a research-led film supported by The Arts Council Film Project Award. Recent screenings include Les Rencontres Internationales at Palais de Tokyo and Gaîté Lyrique, Paris and Haus der Kulteren der Welt, Berlin; solo exhibition at Pallas Projects, Dublin, June 2014. Selected to screen as part of Open House Dublin 2014 ~ Learning Through Buildings ~ Irish Architecture Foundation, Oct 18th.
Starring: Niamh Algar
Producer: Glen Collins Executive
Producer: Nicky Gogan
Director of Photography: Piers McGrail
Music Composer: Eoin Bradshaw
Sound Design: Steve Fanagan
Production Company: Still Films
© Anne Maree Barry, 2013
A multi-speaker installation
Preview: 6–8pm Friday 10th October
Exhibition continues through the weekend: 12–6pm, Saturday 11th–Tuesday 14th October
Keith Lindsay is a Dublin based sound Artist who works with a wide range of media which include music, sound, projection, film, sculpture, and electronics. In October 2014 Keith created a solo exhibition “Soundscapes” at the Pallas Projects/Studios in Dublin. He is a member of the experimental arts collective “The Water Project”, which he has performed with in Paris, London, Kiev, Cork and Dublin. His work as as a sound designer has been featured in TV documentaries, feature films, short films and interactive media.
Soundscape is an artist-initiated project by PP/S studio artist Keith Lindsay
Participating artists: Richard Gorman, Gillian Lawler, Michael Canning, Diana Copperwhite, Keith Wilson, Brian Maguire, Colin Martin, Nick Miller, Robert Ballagh, David Godbold, Gabhann Dunne, Alison Pilkington, Nevan Lahart, Sonia Shiel, David Eager Maher, Blaise Drummond, Amanda Coogan, Fergus Martin, Mark Garry, Gary Coyle, Padraig Spillane, Anna Rackard, Ann Quinn, Stehen Loughman, Beth O'Halloran, Aoibheann Greenan, Kathy Tynan, Peter Burns, Kevin Mooney, Ronnie Hughes, Niall de Buitlear, Mark Cullen, Gavin Murphy, Fiona Chambers, Jim Ricks, Bea McMahon, Ramon Kassam, Mark Swords, Colm Mac Athlaoich, Brian Fay, Wendy Judge, Brendan Earley, Mark O'Kelly, Orla Whelan, Gemma Browne, Brian Duggan, Daniel Lipstein
Pallas Projects/Studios and Whyte's auction house are proud to announce a Gala Auction Night
Time: 6–9pm Thursday 9th October (auction begins at 7pm)
Venue: The Irish Georgian Society, City Assembly House, South William Street, Dublin 2
Viewing: Tuesday 7th & Wednesday 8th October, 12–7 pm
Online catalogue with live bidding
View pdf catalogue
The event will be opened on the night by Ardal O'Hanlon
The non-profit art space Pallas Projects/Studios has been breaking new ground for art projects all over Dublin since its inception in 1996, recent cuts however have cut deep at this artist-run institution’s capacity to continue developing opportunities for Irish contemporary art and the work of new artists.
In light of this, Pallas has enlisted the support of its friends and colleagues in the Irish art world – a vast reservoir of goodwill built up over 20 years – to hold a New York style gala fundraising auction with the help of Whyte’s Auctioneers and The Irish Georgian Society. With pop-up food and drinks circulating over the course of the evening, to the backdrop of the faded grandeur of the Octagonal room of the City Assembly House.
The fundraising auction will feature renowned Irish painters, already familiar to the auction house, while introducing emerging artists, alongside internationally-established mid-career artists, who are already selling work through the leading Irish contemporary and international galleries and art-fairs (such as Frieze, Basel, Miami Basel, and Art Rotterdam), and exhibiting at home in museums such as IMMA and The Hugh Lane, and far and wide in art biennales and international institutions. All involved are donating their work for this benefit night.
It will demonstrate the huge variety of work being produced by Ireland's contemporary artists, and show how much contemporary art is connected to the continuum of art history, dealing with aesthetics, style and concepts that can often be seen to channel and chart a line from the old masters – through Vermeer, Fragonard and Braque, to 20th century Irish painters Mary Swanzy, Mainie Jelltet, Louis le Brocquy, and Patrick Scott – right up to today.
The Auction, run by Whyte’s Auctioneers (who have graciously offered to forgo fees and commission for this event in support of the non-profit sector), will take place in the home of The Irish Georgian Society, who have donated the use of the hugely apt City Assembly House. Situated on the corner of Dublin’s South William Street, the City Assembly House was the first purpose built public art gallery in either Britain and Ireland (and possibly in Europe), built by the Society of Artists in Ireland between 1766 and 1771 with the expressed aim of promoting the work of Irish artists and providing an academy for the arts.
The evening will be a chance to introduce contemporary artists’ work to auction-goers and the public at large; demonstrate the range and diversity of contemporary art practice in Ireland today; and encourage Irish people to engage with and invest in the work of our living artists. At the same time, it will promote and help sustain a pillar of the grassroots non-profit sector – Pallas Projects/Studios.
Preview 6–8pm Friday 12th of September
Wave, Kevin Mooney’s exhibition at Pallas Projects/Studios, presents new works that portray figures, landscapes and references to Irish history and culture. His second solo exhibition of 2014 expands on the core concerns of Dog Island Tales at the Talbot Gallery earlier this year, and represents a considerable development in his practice in terms of scale and ambition.
These mostly large scale works remain underpinned by an interest in history, cultural migration and mythology. Multiple styles, motifs and abstract patterns fight for supremacy within Mooney’s painting language, where no single reading is possible. His work remains caught between, on one hand, an exploration of oil paint and its processes, and, on the other, images which suggest a darkly humorous imagined world of folk tales and modern day myth.
While the subject matter of the works invites us to contemplate the loss of mystery and magic from contemporary culture, we are also drawn in by the dynamic and often surprising layering of the compositions. There is an engagement with the process and language of painting here. Mooney’s paintings use techniques and motifs which often articulate references to painting’s history, both within and outside the mainstream.
Kevin graduated from NCAD with an MFA in 2012. Selected group exhibitions include “Making Familiar”, Temple Bar Gallery 2012, “Horizon Sprawl”, Ormston House, Limerick 2012, and “Video Killed the Radio Star”, Royal Hibernian Academy 2010. Solo shows include “Dog Island Tales” Talbot Gallery 2014, Nag Gallery 2010, “Timeline” Queen Street Gallery, Belfast, 2010 and “Facade”, Mermaid Arts Centre Bray 2009. He received a Visual Artists Bursary from the Arts Council in both 2012 and 2013. In 2013 he was also shortlisted for the Thames and Hudson publication “100 Painters of Tomorrow”.
Exhibition open Thursday – Saturday 12–6pm
All photos by Kevin Mooney.
Culture Night 19/09/14 – at 9pm Kevin will be joined in conversation with James Merrigan
The exhibition Wave is supported through funding from Dublin City Council and the Arts Council
Roisin Beirne, Clare Breen, David Lunney, Andreas Kindler Von Knobloch, Blaine O'Donnell, Liliane Puthod, Daniel Toumey, John Ryan and Tom Watt.
In March 2014, a group of nine artists ventured to Peanmeanach, a remote peninsula in the Scottish Highlands. They spent six days living together in a bothy* and exploring the surrounding landscape. This was an experiment in communal living with the potential for artistic practice within a limited time period in a geographically isolated area.
The works made specifically for this exhibition draw upon the experiences of the group during their time in Scotland. The artists have used the site at Pallas as a platform to recontextualize their experience in response to a wider audience and in an urban setting.
A Popular Destination is the third Resort project. Resort is a series of off-site residencies experimenting with new methods of art making, communal living and friendship in remote environments. The first project was conducted on a cliff path in Portsalon, Donegal. The most recent residency was the second of two expeditions to the Scottish Highlands.
A Popular Destination residency has been accepted for review by Project Anywhere: A global peer reviewed space for art at the outermost limits of locational specificity. Members of Resort have exhibited both individually and collaboratively in local and international galleries including The Drawing Project, Dun Laoighaire, Basic Space, Dublin, Tent Gallery, Edinburgh, Galeri Hornan, Sweden and Atelier de la Ville, Nantes.
Resort Projects are scheduled to converge with Catalyst Arts for a collaborative project in Belfast in September 2014.
A Popular Destination in Pallas Projects is the first gallery iteration of the group’s activity.
*A bothy is a basic shelter, usually left unlocked and available for anyone to use free of charge
A guided expedition to Kippure Mountain, Wicklow will take place on Saturday 9th August (weather permitting). More details to follow.
Opening reception: Wednesday 2nd July, 6–8pm
Exhibition continues: 12–6pm until Sunday 6th July
The Project Space at PP/S presents the third and final exhibition in a series of three shows created during Steven Maybury's six month studio residency at the RHA.
Radical Line is an investigation into less tangible forms of energy transformation. Created through monotonous processes and crossingdisciplines, the results relate to effortless substitutes, celebrating something new. Radical Lines offers an alternative experience of energy transformation. The aesthetics of Radical Lines reveals energies infinite cycle on a plane combing mystery and understanding.
Steven Maybury's practice observes our own corporeal interaction with our surroundings, focusing on the scientific idea of energy transformation and combining it with metaphysical ideologies such as the nature of reality, the self, and time. If energy continually converts from one form to another, what implications would this have not only on the concept of artwork but also for an artwork itself and its components?
His work finds tight focus in variations of perception, not just of reality but of the objects we are surrounded with, and is influenced by minimalist composers such as Philip Glass and Steve Reich. Maybury's fascination in Glass’s and Reich’s compositions lies in their ability to make the listener perceive time and space differently. Their works reflect a beauty and energy rooted in the rhythms and cycles of our surroundings, consciousness, and our interrelationships with the natural world.
For more see:
The Project Space at PP/S is an open, accessible and versatile space that bridges studio and exhibition practice. It features throughout the year, internally-curated long-run projects, talks and events, alongside short-run artist-initiated projects, workshops, performances or large-scale studio use. The Project Space is available to hire throughout the year, see the 'get involved' page of our website for more details.
For more information on PP/S visit www.pallasprojects.org
Pallas Projects & Common Ground present
Anne Maree Barry—Missing Green
Thursday 19th June 2014
Screening & panel discussion 3.45–5.30pm
Exhibition continues 12–6pm, Friday 20th & Saturday 21st, Wednesday 25th–Friday 27th June
Pallas Projects/Studios, 115–117 The Coombe, Dublin 8
Missing Green (2013) is a poetic journey through Cork Street, Dublin. Narrated via interviews with Councillor John Gallagher, architect Gerry Cahill, author and journalist Frank McDonald and sociologist Aileen O’Gorman, the viewer discovers an area in Dublin that has gradually but dramatically transformed in the last 80 years. Utilsing Situationist methodolologies, Barry recreates a personal dérive through the character Girl. Girl’s journey provides a complimentary narrative by exploring the urban environment, paying attention to the smaller details – lost objects, signage, an allotment – increasing the viewer’s awareness of the urban landscape of which the narrator’s speak. Combining traditional research with an aesthetic journey, this hybrid film creates a dialogue that reflects on a historic area in Dublin, whilst situated in the present.
The exhibition, a collaborative initiative of Pallas Projects & Common Ground, will include a number of cross-encounter public events aimed at a diverse audience of artists, architects, curators, filmmakers, researchers, urban planners, sociologists, local community leaders, policy makers, human geographers and others, to witness the changes and discuss the impact, of planning and regeneration on the Cork Street area.
Barry’s interest in the history of the Coombe/Liberties area (where she previously lived) began in 2006 after attending a meeting concerning the St. Luke’s Conservation plan, organised by Councillor John Gallagher. Cork Street and The Coombe area, which were once thriving industrial areas, had become an example of what is called the ‘doughnut effect’. This describes the physical form that cities take on during the decline of their historic centre, with the development of the outer ring leaving a hollow core at the centre. Barry’s previous film, Rialto Twirlers (2010), explored the majorette subculture in Dublin 8. Following this she then began to examine the social and psychological impact of urban voids and the process of regeneration, by combining research with an element of re-enactment/fiction.
Anne Maree Barry is a film artist and filmmaker based in Dublin, Ireland. A graduate of both The Limerick School of Art and Design and The National College of Art and Design, her first experimental short film was the winner of Best Irish Short at the Darklight Film Festival (2006). Her subsequent short film, Rialto Twirlers, was officially selected for The Jameson Dublin International Film Festival. Missing Green was premiered at Stranger than Fiction, IFI, 2013, and has subsequently been screened at Aesthetica Short Film Festival, York, UK; and Rencontres Internationales at Palais de Tokyo and Gaîté Lyrique, Paris and Haus der Kulteren der Welt, Berlin.
Common Ground is an arts organisation based in Inchicore, in Dublin’s south west inner city for over 15 years. Common Ground makes art happen in the urban villages of Rialto, Bluebell and Inchicore, bringing local people, children, young people and artists together, creating opportunities for them to make art and imagine what’s possible. Common Ground believes in the transformative power of the arts, and that everyone has the right to access and participate in arts and culture.
Schedule of events
Screening & panel discussion
Thursday 19 June, 3.45–5.30pm (followed by opening reception at 6pm)
Film screening Missing Green (2013, Anne Maree Barry, 14 mins) followed by:
Panel discussion chaired by Eadaoin Ni Chleirigh (CEO of Teresa’s Garden Regeneration Project and St Michael’s Estate), and Anne Maree Barry (artist–filmmaker), John Gallagher (Councillor), Gerry Cahill (Architect), Aileen O’Gorman (post-doctoral research fellow, School of Applied Social Science, UCD), Nicky Gogan (Creative director, Darklight Festival/Still Films).
Places are free, but limited Book here
Screening the City
Film screening and Q&A with Anne Maree Barry and Dr. Maeve Connolly, with introduction by Frank McDonald (Journalist, The Irish Times)
Wednesday 25th June, 6pm
Missing Green (2013, Anne Maree Barry, 14 mins)
London (1994, Patrick Keiller, 74 mins) Courtesy of BFI
No booking required, films begin promptly at 6pm
Cork Street walking tour (closing event)
Saturday 28th June, 12noon
Film screening of Missing Green, followed by a walking tour of the film’s locations with Anne Maree Barry and architect Gerry Cahill.
Places are free, but limited Book here
All events take place at Pallas Projects/Studios. For more information on events and booking please see website updates and facebook
The exhibition of Missing Green is a collaborative initiative of Pallas Projects & Common Ground.
Missing Green was produced by Still Films through funding from The Arts Council (Film Project Award).
Pallas Projects/Studios is supported by Dublin City Council and The Arts Council (Workspace Award).
Common Ground is supported by Dublin City Council and The Arts Council.
Craig Blackwell, Pat Byrne, Orla Goodwin, Laura Healy, Joseph Heffernan, Angela McDonagh, Donna McLoughlan, Jules Michael, Ashley Moore, Stephen Morris, Ricí Ní Chleirigh, Margrét Helga Sesseljudóttir, Hussein Tai
Between Here and There, a group exhibition of 1st year MFA students from NCAD takes place in the Project Space at PP/S, 22nd – 24th May
The Fine Art MFA taught programme creates a stimulating and challenging environment for practitioners who wish to push the boundaries of their art practice, to situate their practice in the context of contemporary art and to acknowledge the productive interplay between practice and theory. See more
Preview: 6–8pm, Thursday 17th April 2014
Referring to the lowest atmospheric layer and literally meaning “sphere of change”, the troposphere is the site of weather, turbulence and atmospheric transformation. Inspired by this mutability Troposphere is an exhibition of systems-based sculptural works that are concerned with spatial, broadcast and environmental phenomena (flight data, light, atmospheric pressure). The works exist at the intersection of sculpture, object hacking, diy/enthusiast electronics and live transmission. They look at inscription processes which combine natural and man-made systems. The main projection in the exhibition uses live-transmission information received from passing planes—combined with images of the sky—as a form of live electronic writing, updated each time another plane enters the range of the receiver. Other works take the form of simple material hacks where systems and objects are combined and reconfigured.
Cliona Harmey has been active as an artist since the mid ‘90s after completing a BA Sculpture at NCAD. In 1999—2000 she undertook a one-year residency at the now defunct Arthouse Multimedia Centre in Dublin, which was one of the first worldwide dedicated digital media spaces for artists. This started her on a process of working primarily with digital media, creating a series of video installations and a web projects. The work produced during that residency formed a major solo show at Arthouse entitled Sequent.
During 2009 she participated in Emobilart, the European Mobile Lab for Interactive artists, with collaborative works shown in Vienna and Thessaloniki. In 2010 she created a solo project for Unbuilding at Mermaid Arts Centre, Bray, which looked at the legacy of the laying of the transatlantic cable, with works which were hybrids between remixed objects/sculptures and live data. Other exhibitions include: The Last Blue Sky, Mothers Tankstation, Dublin; Quantified Self, The Lab, Dublin; Last, Douglas Hyde Gallery, Dublin; and Into the Light, The Model, Sligo.
Cliona is based in Dublin and is currently a Lecturer in Fine Art Media at the National College of Art & Design. Upcoming work includes a major commission for the ‘Interaction and the City’ strand of Dublin City Council’s public art programme. She is a current studio member at Pallas Projects Studios. Troposphere, commissioned by PP/S is one of an ongoing series of solo exhibition-projects by emerging and mid-career artists.
Events (see facebook updates for more info)
Saturday 3rd May In conversation & Closing Event
In conversation – discussion with Francis Halsall (Lecturer, NCAD, MA Art in the Contemporary World) (PLEASE NOTE CHANGE OF TIME: 4pm)
Francis Halsall is Lecturer in the History/Theory of Modern & Contemporary Art at National College of Art and Design, Dublin where is co-director of MA Art in the Contemporary World (www.acw.ie). He writes regularly on aesthetics, art history and contemporary art (reviews and catalogue essays). Recent work and ideas can be found at www.alittletagend.blogspot.com
Cliona Harmey is interested in the histories, artifacts and hybrid forms of technologies. Her current work often combines sculpture and live data feeds. It sometimes intersects with communication systems. She is based in Dublin and is currently a Lecturer at the National College of Art & Design and has exhibited in curated shows in Ireland and internationally. Information on previous work can be found at www.clionaharmey.info
Closing Event – improvised music from David Donohoe (synthesizer), and David Lacey (drums), 6pm
DAVID LACEY is a musician from Dublin. He uses drum set, percussion, crude electronics, found objects and cassettes. He plays regularly with Rob Casey, Fergus Kelly, Ailbhe Nic Oireachtaigh, Cian Nugent, Colm O'Hara and Paul Vogel. He is currently part of the collaborative project Unforeseen with Anthony Kelly, Fergus Kelly, David Stalling and Paul Vogel. He has had music released on the labels Another Timbre, Cathnor, Confront, Copy For Your Records, Fort Evil Fruit, Homefront and Room Temperature.
DAVID DONOHOE’s solo music practice is focused on improvisation based on modal structures. He is interested in music as a response to the immediate moment. Currently performing live using combinations of synthesizers, samplers and processors, he restricts himself to a limited number of scales and modes, aiming for a visceral tonality drawing on traditional folk music, early music and free jazz. He coordinates Rainfear, a loose arrangement of improvising musicians. Currently comprising himself, Fergus Cullen and Peter Maybury it can operate as any iteration of the three from individual solo to trio and is also open to the addition of any number of other musicians. He has released albums and EPs on 9pt, D1 Recordings, Fällt, Force-inc, Mille Plateaux and Minimise.
20/5/2014: FILM SOCIALISME (Jean Luc Godard) – Experimental Film Club with IFI, selected by Cliona Harmey. 6.30pm
Godard takes an experimental approach to narrative, montage, screen text, editing and digital formats in this epic three part film. Starting on board the ill-fated cruise ship Concordia, and moving across multiple locations, Film Socialisme explores themes such as globalisation, history, war, culture, and circulation of capital (gold). The film has a strong engagement with cinema's photographic legacy, the physical camera pparatus, and the play between still and moving image. http://experimentalfilmclub.blogspot.ie/
Troposphere is supported by Dublin City Council and through generous public support via Fund-It.
Gallery hours: 12–6pm, Thursday–Saturday until 3rd May (not open Good Friday)
The paintings in Cuckoo Clock reflect a new momentum and direction in Seán Guinan's practice. The paintings are the result of a series of interventions, the terms of which are dictated by a daily scrutinizing, obliterating/mending and an intuitive working-out of the direction each one needs to take. The overall aesthetic has become more gestural, and the mood disquieting. The sinister and the whimsical intertwine in a subject matter that verges on the absurd.
Illogical renderings of subjects from the physical world fuse with imaginative forms, elements and situations to produce a narrative that is not easily digested, but offers scope for subjective interpretation. Envisaged dystopian, nightmarish scenarios, often engineered with a dark humour, permeate the paintings and are presented in a manner that can both lead and mislead the viewer.
Seán Guinan (b.1983) is an artist from Athlone, Co. Westmeath. He graduated from Limerick School of Art and Design in 2007 and has recently exhibited at Hillsboro Fine Art, Dublin; RUA RED, Dublin; Kinsale Arts Festival, Cork; Limerick City Gallery of Art(solo show), and Galway Arts Festival. He is director of Wickham Street Studios, an artists' studio complex in Limerick City centre and was one of the founding members of Occupy Space, a not-for-profit visual arts organisation, also in Limerick. Seán is a recent recipient of the Limerick City Council Residential Artists' Apartments Award.
New works by Stephen Dunne
The exhibition operates across the registers of painting drawing, moving image and the investigation of speculative and theoretical fictions.
The oil works are made from a playful approach at image making, beginning with blots and random chaotic marks, ruptures in the blank canvas allow a generative space to emerge.Within this space the paint is manipulated into suggestions of various forms. I am interested in the uncontrollable nature of images and in channelling their frenetic energy to create new hybrids. Much in the same way we seek pattern recognition within the chaotic, these paintings come into being through a process of gradual mutation. A world ofphantasms occupying and transmitting from the state of dream, the strangeness of being, of dissolved time and energy trapped in paint.
The works on paper are produced with ink or water based media in series, rapidly painted then extensively edited later, the goal is to produce a kind of balance between something spontaneous and something new, a kind of decompressed moment drawn from the vast store of information contained in the mind. With these works my aim is to transmit thoughts directly onto paper as immediately as possible, ideally to describe a kind of
savage economy of hieroglyphics. The ink blots, stains and random marks are used to generate a universe of delirious narrativity, to depict strange monsters, manifestations from the collective unconscious, crystallised enunciations and progressive mutant subjectivities.
One of the ways we define the present moment is by valuing or devaluing past events. This exhibition takes a series of personal family artefacts that appear to have no intrinsic ‘value’ to show how such intimate remains both conceal and reveal prevailing circumstances and wider belief systems of a specific period. Several years ago, my mother gave me access to a cache of thirty personal letters written to her by my father that she had in safe keeping for over fifty-five years. Around the same time I had begun to use Super 8mm film as a medium for my own artwork and I was drawn to re-engage both with the memory and content of hours of regular 8mm home movies shot by my father during our childhood, now forgotten and stored in the family attic. This collection, of personal films and ‘kept’ letters, formed an impromptu archive and became core research material for a practice-based PhD at The National College of Art and Design Dublin 2008 - 2014.
The artworks in this installation imaginatively reconfigure 1950s domestic furniture, home movies, family album photographs and oral histories to recreate a domestic-style sculptural, moving image and aural encounter both inside and outside the gallery space. The ‘archive’ is a result of my family’s experience of ‘the second wave’ of mass emigration to Great Britain alongside hundreds of thousands who left Ireland during the 1950s. Drawing on a range of narrative structures including, autobiographical, biographical and documentary, that often blur any strict divide between fact and fiction, I reformulate these banal and everyday artefacts as powerful origins of self-narration. I examine these microhistories as crucial sites of memory to explore the links between different kinds of remembering and how these continue to shape our individual and collective identities in the present moment.
Margaret Fitzgibbon is an artist living in Dublin who works across a range of media such as, experimental short films, sound, photography and sculpture. In recent years she has been exploring a range of related topics that include, the voice, identity, memory, forgetting and the archive. Fitzgibbon is represented in numerous national collections, including Cork City and County Archives, Cork County Council, University College Cork, The Arts Council of Ireland, Derry Women’s Centre. Upcoming projects include, an invitation to speak at Writing Women’s Lives: Auto/Biography, Life Narratives, Myths and Historiography (with publication) at Women’s Library and Information Center Foundation, Istanbul, Turkey, We all Live On the Same Sea, an international group exhibition, Sirius Art Centre, Cobh and Wild Screen, an international Art Film Screening Event in Connemara, Ireland.
Opening reception, Thursday 13th March, 6pm - 8pm
Exhibition runs from Friday the 14th of March to Monday, March 17th 2014
Opening times 12-6pm Friday to Monday.
For more info
Alison Pilkington's new show at Pallas Projects is a presentation of her Practice based PhD research in painting at National College Art & Design Dublin entitled “Unfamiliar Terrain” - An Investigation into the Uncanny in Painting”.
"The uncanny, which is associated with a feeling of disorientation, mild panic or confusion when faced with something strangely familiar has been a frequent subject of the visual arts and literature. In this body of work I am interested in what Freud termed “the friendly aspect” of the uncanny. Strangely familiar yet comic images have the potential to disturb or disorientate. In this show titled Malevolentos I attempt to explore this aspect of the uncanny and invite the viewer to consider how this ‘un-homely’ feeling occurs through painting. Malevolentos is my own hybrid term that refers to a mis-heard phrase, a half- remembered image of something familiar yet also unfamiliar, the comic bordering on the sinister.
Alison Pilkington 2014.
Alison Pilkington was recently awarded 3rd prize at the Artslant international award for emerging artists 2013 and showed her work at Aqua Art Fair Miami in Dec 2013. In 2012 she won a British Institution award for painting at the Royal Academy Summer Show, London 2012. She was shortlisted for the Marmite Painting Prize & exhibition, which toured the UK from December 2012 to June 2013. She was also shortlisted for the Beers Lambert Contemporary/ Phaidon publication 100 painters of Tomorrow.
Opening reception, Friday 28th February, 6pm - 8pm
Exhibition runs from Friday the 28th of February to March 8th 2014
Opening times 12-6pm Tuesday to Saturday.
For more info :
Terence Birch, Martina Galvin, Gemma Gore, Ramon Kassam, Paraic Leahy, Maggie Madden, Eoin McHugh, Paul McKinley, Bea McMahon, Dennis McNulty, Yvette Monahan, Laura Ni Fhlaibhin, Alan Phelan, Alex Rose, Padraig Spillane, Jason Thompson, Helena Tobin, Kathy Tynan, Maria Vedder, Freek Wambacq
Preview: 6–8pm, Friday 6 December 2013
An artwork, like a book is not made up of individual words on a page (or images on a screen), each of which with a meaning, but is instead ‘caught up in a system of references to other books, other texts, other sentences’.*
Pallas Projects/Studios presents the third Periodical Review at their studios and project space in Dublin’s historic area of The Coombe. This unique, yearly survey of Irish contemporary art practices, looks at commercial gallery shows, museum exhibitions, artist-led and independent projects and curatorial practices.
Periodical Review is not a group exhibition per se, it is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). An exhibition as resource, in which we invite agents within the field to engage with what were for them significant moments, practices, works, activity, objects: nodes within the network.
Each year PP/S invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, which will be selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit, be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art. Additionally, the exhibition has a fundraising element, with all commission on sales going towards the PP/S curated programme.
The exhibition is intended to act as a critical account of current contemporary practice; to facilitate and encourage collaboration, crossover and debate within the field of Irish contemporary art (through the invited co-curators, the aims of its selection, and discussion around it); to act as an accessible survey of contemporary art, expanding parameters to art practices around the country.
Such a review-type exhibition within Irish art practice acts to revisit, be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art. Previous co-curators have been Ruth Carroll (RHA), Carl Giffney (Good Hatchery), Eamonn Maxwell (Director, Lismore Castle Arts), Padraic E. Moore (Independent curator).
* Michel Foucault, The Archaeology of Knowledge
Freek Wambacq will visit Dublin, and will move his Galloping Horses from Askeaton’s Ranahan’s Bar to Fallons, The Capstan Bar. Halved coconuts are the material this time, and Wambacq will hold an informal chat with artist Sean Lynch at 5.20pm before the exhibition opening in Fallons, 119 The Coombe.
As part of Periodical Review Dennis McNulty will reconfigure elements from a performance first created for Performa 11, as The Eyes of Ayn Rand, and reconfigured as The Face of Something New, for the Scriptings showroom in Berlin 2013. Date to be announced, please see website for further details.
Michele Horrigan is an artist and curator. She studied fine art at the Stadelschule, Frankfurt and the University of Ulster. Since 2006, she is founder and curatorial director of Askeaton Contemporary Arts. Through an annual residency and production programme, the organisation has commissioned over forty artists projects in direct relationship to the town of Askeaton, County Limerick.
Matt Packer is a curator based in Cork. From 2008 to 2013, he was Curator of Exhibitions & Projects at the Lewis Glucksman Gallery, Cork. In 2013, he curated and directed a season of exhibitions at Treignac Projet, France. Matt is a graduate of the curatorial programme at Goldsmiths College, London, and a member of IKT: The International Association of Curators of Contemporary Art.
Please note gallery hours for exhibition:
(7th–21st December, with gallery open by appointment in January)
Pallas Projects/Studios is kindly supported by The Arts Council and Dublin City Council.
Periodical Review #3 is an unfunded initiative of Pallas Projects/Studios. All commissions on sales go back into the exhibition programme, and supports the development of new projects by Irish artists.
Emma Fisher, Eszter Nemethi and Rachel Tynan. Curated by Katy Fitzpatrick
The exhibition will be launched by Patrick Fox, Director, Create
Wednesday 6 November 2013, 6.30pm – 8.30pm
beyond the box is the materialisation of the journey taken on year one of Helium Arts' Cloudlands Project, a tri-location arts and health residency for teens in hospitals in Temple Street Children’s University Hospital, Cork University Hospital and University Hospital Galway by artists Rachel Tynan, Eszter Nemethi and Emma Fisher respectively. The exhibition represents the experience of what it is to be an artist working in this context, and is inspired by the many creative collaborations with teens over a nine- month period.
The title for the exhibition comes from the boxes that the artists used as a tool to begin their creative process with each teen. Each time the artist met a new young person, she would present a series of boxes from which the young person could choose. Within each box was an object, a seed to begin a conversation that took the artist and young person on a collaborative journey that placed at its core the voice of the teenager. beyond the box seeks to make the invisible visible, by bringing these stories, processes and experiences to a wider audience.
Through a number of participatory installations, beyond the box seeks to evoke in the viewer the feeling of what it is to be a teen in hospital, and to provoke and challenge our preconceptions. Visitors will be invited to discover hidden elements, have your world turned upside down, be a spectator / performer, and explore the imaginary worlds created by young people in hospital. Alongside the artists own installations there will be a display area showcasing some of the work made by the teens in collaboration with the artists and providing the opportunity to view the shared online space and images from year 1.
Emma Fisher is a puppeteer, theatre designer and installation artist from Limerick. She has a degree in Fine Art (University of Wales College 2003), a postgraduate degree in Theatre Design (Royal Welsh College of Music and Drama 2005) and a diploma in Puppetry (London School of Puppetry 2008). Her work is largely based on personal and cultural memory through the use of shadows, mechanical art and puppetry. Emma set up Beyond the Bark, an inclusive puppet and installation theatre company, in 2007. In 2009, she was nominated for The Irish Times Set Designer of the year. Recent shows include Three Sisters, Benjamin's Brolly, and What Happened to Bridgie Cleary.
Eszter Némethi is a theatre maker and holds a BA in Drama and Theatre Studies from UCC. She has a special interest in collaborative performance making in various contexts. Her work centres on "real" non-actor performers and collaborators, strongly defined spaces and a special attention to the audience's experience and engagement. Over the past year, Eszter has been exploring the use of game-mechanics and interactivity in her work. Eszter is the artistic director of Makeshift Ensemble and director of the company's productions to date, Exit Strategy (2013), No One Can Hear You In There (2012) and Osteoporosis (2011). She is also curator of the multi-disciplinary arts event Quarter.
Rachel Tynan graduated from the National College of Art and Design (BA Art and Design Education) in 2009. She recently completed her Masters in Design, examining the effects illness has on the human body through textile, sculpture and body art. She exhibited Soar Saor as part of The Ark’s Awakening Curiosity exhibition (2012) and her solo exhibition Cut Throat at The Lab (2012) pushed her work beyond the fixed manifestations of installation with an explorative dance performance which further explored the experience of living with an illness.
Cloudlands is an arts and technology project for teenagers with chronic illnesses. Year 1 of the project took place between November 2012 and July 2013 in Children’s University Hospital, Temple Street; Galway University Hospital and Cork University Hospital. The project places an artist in residence in each of the three hospitals where they work collaboratively with participants to develop new work based on the participants’ stories, interests and experiences. The project uses a shared online creative space where artists and teenagers can share their work and collaborate across the three hospitals. Year 2 of the project will begin in October 2013.
Helium is an arts and health organisation fostering a culture of creativity within Irish healthcare for children and young people, through the development of participatory arts programmes in community, primary, and acute healthcare environments. Our mission is to create positive experiences of hospital and healthcare settings for young people, to support a child-centred model of healthcare through the arts, and to innovate models of arts practice which give a creative voice to young people living with illness.
Pallas Projects/Studios is a grassroots artist-run initiative, operating studios and a project space in The Coombe, Dublin 8. PP/S collaborates with peers to engage and develop current Irish contemporary art, through the provision of affordable artists’ work-spaces, and an ongoing commitment to presenting solo projects by Irish and international artists, alongside occasional thematic group exhibitions, artist-initiated projects and collaborations with partner arts organisations.
Cloudlands is funded by: the BNP Paribas Foundation Smart Start Programme, The Medtronic Foundation, PepsiCo Ireland, and The Arts Council. Cloudlands is further supported by The Ireland Funds, The Community Foundation for Ireland, Dublin City Council, The National Lottery through HSE Dublin Mid-Leinster, Galway University Hospitals Arts Trust, HSE South, Cork City Council, Cork University Hospital Arts Committee and NCAD.
With special thanks to Mark Storor; Caroline Flynn, Jane Curtin, Suzanne Dempse, and the Play Specialist Team Temple Street; Margaret Flannery, Aoife Morrisey, and the nursing staff at University Hospital Galway; Marie Watson, Andrea Moriarty, Gobnait Curran, Edelle Nolan, Peter Dineen, John Paul O’Shea and the nursing and school staff at Cork University Hospital; Fionnuala Conway and Mark Linnane; and most of all to all of the young people who participated in year 1.
Carol Anne Connolly
'For I is Someone Else' is an exhibition of work focusing on the politics of influence, sharing and appropriation in music. The artist has become increasingly interested in copyright and intellectual property rights, in particular the ideological conflicts between copyright law and appropriation, the growth of sharing and sampling and the evolution of the notion of the 'author'. Freedom of expression, both creative and political, has been affected by restrictive copyright legislation, to the point where this is inhibiting the production of artistic work, thereby counteracting one of the original reasons copyright was initiated.
Connolly presents the argument that art does not exist in a vacuum, every piece of work is influenced by another, and from that point of view looks at practices and modes of resistance that challenge the core concepts of copyright law and the politics behind it. The artists refers to research which considers this as a predominantly cultural issue, one of amplified individualism affecting creativity and copyright law by way of the dismissal of collective and cultural influence.
Her research encompasses the political motivations of musicians ranging from the early nineteenth century through to contemporary times and looks at how the practices of appropriation, sharing and influence, and their political relevance, have developed over time. She has responded to this research by developing methods that conflict with the notion of copyright but respond to the timeless notion of sharing. This is mainly to highlight the imbalance of contemporary copyright laws and to present an alternative dialogue in regards to copyright and the restrictions it places on creative freedom. Connolly’s work focuses in particular on the advent of the Internet as a technology that provides, in the main, the opportunity for these ‘balancing’ practices to thrive and effectively addresses the tradition of sharing in relation to creative practices – for example the oral tradition of passing songs, melodies, and narratives down from peer to peer and generation to generation – and how the Internet acts as a highly efficient contemporary equivalent to this long tradition.
Connolly has brought all these strands together by producing a solo project comprised of work generated from source material found in the public domain, involving methods of appropriation and with participation of agents involved in practices that challenge copyright. A series of collaborations, performative actions, and events will take place within the project space in order to expand upon the intricacies of the conflict between copyright law and appropriation, to delve into the growth of sharing and investigate the history of authorial structures, particularly within a contemporary Irish context.
Performances and events
For booking see individual listings or email email@example.com for further information
Saturday 12th October, 6–8pm
Preview/Performance: T-woc DJ set
No booking required
Thursday 17th October, 2pm
Lecture: National College of Art & Design (NCAD)
Theft, Property and Culture, a series of informal presentations by experts working in the fields of art, digital media and law in Ireland.
No booking required
Saturday 19th October, 2–5pm
Workshop: Paul O'Neill, Glitch Art
Booking is essential (15 places maximum), fee 15 euro
All participants must have their own laptop (Mac or PC), and a selection of jpeg formatted images
This workshop will focus on critical moments in the history and development of new media art and technology. By providing an overview of some of the key movements within this field, this workshop will give participants the opportunity to familiarize themselves with theories, debates and trends surrounding new media discourse with particular attention to appropriation and remix culture, open source software, copyright control and file-sharing.
The second part of the workshop will engage with new media art on a practical level. Participants will be shown some of the key techniques used for the production of Glitch Art. By the end of the workshop, participants will be able to produce their own glitch pieces using only their laptops and open source software.
Paul O’Neill is a digital artist based in Dublin, Ireland. His interests and research include data and file appropriation through information communication technologies as a form of ‘remix culture’ and the distribution of power, knowledge and influence within digital networks. This discourse is reflected in his academic background, a graduate of Dublin City University with a BA International Relations, he followed this with a MSc Multimedia also from Dublin City University and has just recently completed an MA Art in the Digital World in the National College of Art and Design.
Friday 25th October, doors 8pm
Performance: Deviant with special guests
“M7 (Part II)" - Minimalist Composition for 5 or 6 Turntables.
No booking required, entry fee 8 euro.
The centrepiece of the performance is "M7 (part II)", based around minimalist concepts, particularly the phasing techniques of Reich and the meditative aspects of Terry Riley's work. The performance will utilise between 4 and 6 turntablists and will feature several brand new compositions derived from these minimalist methodologies and aesthetics. The performers include some of Ireland's most renowned skratch musicians: Mikey Fingers; Tweek; mynameisjOhn and Dejackulate.
Saturday 25th October, 3–5.30pm
Lecture and Demonstration: Skratch Music – Composition by Juxtaposition by Deviant
Free, booking essential
This lecture will offer a brief history of turntablism and skratch music performance, from block parties in the Bronx in the late 70s to the present day, through the explosion of turntablism and battle culture in the late 90s, to contemporary skratch music practices. It will provide an overview of compositional approaches to skratch music and to composing live performances for turntablist ensembles. The lecture will be followed by an informal session where audience members are invited to interact with the performers and will be invited to try some of the techniques for themselves.
Deviant & Naive Ted makes music from fondling records. He is a founder member of the Community Skratch collective, a member of turntable groups Granduers of Delusion and Vince Mack Mahon/Mongrul and is also one half of alt-rap duo Flying Buttresses.
"Though undoubtedly an important release for Irish hip-hop, the uniqueness in style on here makes pretty damn certain there shan’t be much in the way of imitators. Nothing out there sounds like the Flying Buttresses and in a time when rap oriented hip-hop is becoming more and more narrowly defined, such straying from the norm should get the praise it deserves." (State.ie)
MARIAN BALFE / CHLOE BRENAN / DARY GREGG / FLORENCE PAULE G / RACHEL HEALY / DANIEL JACKMAN / ULLA JUSKE / ELIZABETH LYNE / LORETTA MOORE / CATHERINE O’KEEFFE
Opening: Thursday 26th September 6–8pm
Tell it slant is a group exhibition centred round the theme of language. The exhibited work has been produced by ten emerging artists and curators, who are all either current or past gallery interns at PP/S, Dublin. These practitioners have utilised the project space at PP/S as a platform to engage with ‘language’ as an open-ended thematic concept. The exhibition is presented as a manifestation of varied and multi-faceted interpretations, addressing a broad range of subject matter. This encompasses focus on communicative processes, literary sources, and the role of language in animal/human relationships, cultural differences and emotional states. Further emphasis is placed on issues directly pertaining to medium and process, such as the exploration of image-making processes and technological forms.
It is intended that the viewer will be enabled to consider, in expanded terms, the role of language as a basic (but hugely influential) construct within each artist’s individual practice. Collaboration is paramount to the exposition of these different viewpoints and perspectives on a central, overarching theme. It is this collective, unifying stance which provides a contextual relevance for the exhibition.
The exhibition is the outcome of a unique pedagogical component of the Pallas Projects/Studios Intern Programme, in which participants self-direct an exhibition project, via guidance and workshops with PP/S curators. The aim is to test and utilise real-world skills and development in their particular area be it as an art-maker, writer, curator or coordinator. Pallas Projects/Studios is an artist-run organisation dedicated to the facilitation of artistic production and discourse, via the provision of affordable artists studios in the city centre, and curated projects.
Opening: Thursday 26th September 6–8pm
Exhibition continues to 5th October 2013
Gallery opening hours 12-6pm daily
A gallery talk/response will take place during the exhibition, please see website and facebook for updates.
Anthony Haughey, Deirdre O Mahony, Mark Curran, Deirdre Power, Jennie Guy, Brian Duggan
A LETTER TO LUCY
Contemporary Art Responses for 1913 Lockout Centenary curated by Helen Carey
presented by Mockingbird Arts with Pallas Projects/Studios
Preview 6–8pm Saturday 24th August
Anthony Haughey / Deirdre O Mahony / Mark Curran – Pallas Projects/Studios
Deirdre Power – Rotunda Hospital, Pillar Room
Jennie Guy – a reading event (date to be announced)
Brian Duggan – in sites in the city
The relationship between Labour and Capital shifted irrevocably in 1913 in the Great Dublin Lockout, just as it is shifting today – whether through the directives that change the face of rural labour, or the lockouts of our time, or the marketplace which directed our lives without our even knowing, or that the spaces we think are public but are governed by restrictive rules, or how we perform in relationship to knowledge and the past – this is what A LETTER TO LUCY addresses, what these artists take on.
This exhibition and other interventions in Public Spaces take place alongside other exhibitions marking the centenary of 1913 Lockout including: Limerick City Gallery of Art; Gallery of Photography, Dublin; Temple Bar Galleries & Studios; Belfast Exposed; Dublin City Gallery The Hugh Lane; CCA Derry Londonderry and other events (1913committee.com)
This work is born of experimentation with drawing as an embodied practice. Movement, energy and the kinesthetic sense were engaged in the making of large drawings and video, with accompanying music selected in conversation with DJ Nigel Wood. Open Wednesday 8th – Sunday 12th, 12–6pm With a reception on Thursday, May 9, 6–8pm Performance Saturday, May 11, 2pm. A collaborative response with the artist, Fiona Quilligan and Nigel Wood.
Dave Madigan and Meadhbh O’Connor
powerS + √ roots is the second exhibition informed by a longstanding critical dialogue between artists Dave Madigan and Méadhbh O’Connor. Here, the two artists explore their interests in networks and energy systems, both natural and man-made.
Both artists will present large-scale sculptural installations using very different approaches. These include a working, handmade, ‘marvellous machine’ that is a crossover between a still, steam boiler, water wheel and wind turbine; an installation comprising the charred remains of spent organic and carbon-based fuel; an installation of living weeds growing through asphalt; and more.
By deliberately adopting different strategies, both artists seek to examine the legacy of energy production and trace changing attitudes associated with different periods of technological development, from the earliest discoveries of electricity in the mid-nineteenth century to the growing, consequent environmental anxieties of today which are emerging as a defining cultural concern of the 21st century. Madigan and O’Connor have elected to present individual works in reference to these different points in history, with the aim to expose both disparities and correlations, and ultimate causal relationship between the two.
Dave Madigan’s practice is centred on both the liberating and failing consequences of the technological age. Reworking electronic and industrial detritus, he employs large-scale sculpture and installation, which primarily involves metal fabrication and heavy construction. Méadhbh O’Connor works at the conjunction of art and science. She works through sculpture, installation and photography, and has progressively followed a path toward working with scientists and experts in other fields. She is presently artist-in-residence in the UCD College of Science. Both artists studied together in I.A.D.T. Dublin, where they graduated with first-class honours in 2009. They have since forged both individually and collaboratively-driven practices, informed by their shared interest in the implications of the techno-scientific age.
“You can’t spell directionlessness without direction”
The Great Resting Bear
The nebula beside orions belt is called CASS or Directionlessness for short.It consists of two metamorphic constellations called the Great Resting Bear and Crying Otter.
These collection of stars have been know to be the most healing force in the universe.Such is the healing power it prompted research by the University of Arizona in 1984.
CASS constellations are said to be precarious in nature but can be coaxed with certain rituals none of which are documented.
When CASS appears its a gradual gathering of white stars. Over a year they combine with one another known colloquially as Acceptatron, this action results in a cosmic dance of pinks and green.
Conall Kelleher graduated from IADT in 2011, and is a studio member at Pallas Projects/Studios. He is interested in constructing his own visual manual on self help and spiritual guidance. A personal and fictional telling of “directionlessness” and guidance through nature; astrology being a prominent component of this. His ideas are conveyed through various mediums, including video, animation and painting.
This is not that place is a point of slippage, a fragmentary archive of queer knowledge and intimacy, gathered together through random, instinctive encounters and processes of relational otherness. Photographs, texts and interventions straddle spheres of lived experience and the imagination.
Generated via compulsive collaboration, conversation and improvisation - form is pliant - from installation, to web, to print based media and ephemera. Driven by something yet unknown this is not that place suggests presence, something other that is simultaneously recognizable and strange.
Using the language of cultural histories - the archive, biography, photographic portraiture, descriptive accounts and interviews the collected objects offer something that might be missing or lost. Playing with tropes of mythology, iconography and engaging with the aesthetics of club culture this is not that place opens out to a liminal eroticism that wishes itself into existence via the limitations of imagination and desire.
Emma is an Irish artist based in Dublin and working internationally. Upcoming exhibitions include BERGHAIN at AKA gallery Kreuzburg, Berlin (2012-2013) and In The Black at The Black Mariah, Cork (2012). Emma was recently chosen by Matt Packer of The Lewis Glucksman Gallery, Cork for a two person exhibition in The Black Mariah scheduled for 2013. Emma recently completed a three month residency with Platform Arts in Vaasa, Finland culminating in the exhibition An Object of Desire Already Lost (Sept. 2012) a book of the same title was published alongside the exhibition and will be included in the Temple Bar Gallery Art Book Fair (2012).
Other projects and residencies include - Engage 2012; Artist led residency (core organizer) a collaboration between several international artists and arts organizations in Eastern Europe, Bucharest Air, Bucharest, Romania (2012) - Studio Artist Residency award at Commonplace Projects Dublin (2010-2011) - BERGHAIN (commissioned exhibition) Commonplace Projects(2011) - (Aerial Blue and Palanquin Stills curated by The Good Hatchery (2011) - Without A Trace - destroying the archive (solo exhibition) The Joinery Gallery Dublin (2009) and Various Deaths , The Gallery of Photography, Dublin (2010).
Images courtesy of Emma Haugh. Performance stills by Louis Haugh.
This is not that place – Collaborative performance
Collaborative performance with Emma Haugh, Moira Brady Averill, Annie Gill and Kelly Shatter of Goose
Sunday 28th April
Exhibition open Saturday 12–6pm and finishes Sunday 28th after the performance
Ingrid Lyons, Lesley Ann O’Connell, Kathy Tynan
First Awake Moment documents a period in time in which Ingrid Lyons, Lesley Ann O’Connell, and Kathy Tynan have been independently focusing on and developing their painting and drawing practices. This exhibition acts as a pause for contemplation and recognition of the past year and reflects on things learned, forgotten, lost, and discovered.
Ingrid Lyons’ drawings describe a personal and contemporary experience of landscape and place. Hazy views recalled from the windows of moving cars and trains are rendered with intimacy and intricacy but they remain atmospherically remote, ghostly, and impermanent. This feeling of movement and passing time creates distance between the viewer and the remembered scenes, heightened by layers of cinematic shadow and light. The places and situations in Lyons’ drawings hint at a search for belonging from a position of uncertainty and detachment. Lyons is currently undertaking the Art in the Contemporary World MA at NCAD.
Lesley Ann O’Connell’s paintings begin with acts of rigorous looking and focused observational drawing. A process of decision making that is intuitive and fluid emerges with the introduction of paint, and the outside world becomes internalised, surrendering to a multitude of textures and colours. The latest of O’Connell’s paintings document the transitory phase of a return to the family home - an environment in which surrounding objects can be at once familiar and alien. The patterns of a carpet or the way light falls in a certain room are among the many influences that form a wealth of conflicts and sensibilities. O’Connell is currently undertaking an MFA at NCAD.
Kathy Tynan makes energetic and compassionate paintings of friends and places of personal significance. Frozen within a moment, figures and buildings merge into their surroundings as the wind whips up leaves and clouds career and swirl through the sky. Tynan’s concentrated yet carefree technique allows essence, mood, and affection to emerge from sometimes unintentional gestures. By embracing these imperfections and uncertainties, the heart of her subjects is revealed, and a more open and magical experience within each moment blooms. Tynan is a resident artist in Pallas Studios.
While there are signs of doubt, anxiety, and awkwardness in each of the artists’ works there is a mutual understanding of nature and landscape, home, the familiar and the everyday, memory, and friendship. First Awake Moment provides a space for all of these elements to come together and to be considered in this way for a brief moment in time.
The artists would like to extend a very special thanks to our friend and colleague Michael Hill, for his support and guidance throughout the planning of this exhibition.
Please use the following contact details for any enquiries:
Michael Hill - firstname.lastname@example.org
Ingrid Lyons - email@example.com
Lesley Ann O’Connell - firstname.lastname@example.org
Kathy Tynan - email@example.com
Thursday, April 18, 6-8pm
Group discussion on the exhibition
Friday, April 19, 6pm
Cian Nugent & The Cosmos performance
Saturday, April 20, 9pm
6 euros / BYOB