• Image courtesy of the artists.

21/11/18—24/11/18

Julia Dubsky and Kyle McDonald—nascent dirty lemon yellow

nascent dirty lemon yellow is an exhibition of paintings involving collaboration by Julia Dubsky and Kyle McDonald. The artists have shared conversations about their similar and conflicting painting sensibilities over several years of friendship.

This show brings together their individual work alongside recent paintings made by both, on single canvases. What it would mean for two painters to collaborate is an open question that addresses, among other things, separate authorship and channels of connection between separate artworks.

When we look at painting, it is often possible to get an impression of how the painting was made or what sort of activity is involved: is the artist a hermit? do they think they’re channeling magic? are they using references from which they benefit but the authors or subjects of those references don’t? However we work, is part of the material.

Collaboration might be all the more unusual for paintings of this appearance, which take queue at least in part from a Nabis aesthetic, otherwise named Intimist, for the dabbled brush marks that evoked a sense of sincere, private space… as an exercise, what if this privacy is shared?

——

Biographies:

Kyle McDonald (b. 1990, Dublin) is a visual artist based in Leipzig, since graduating from the National College of Art and Design painting department in 2015. Recent shows include The flies are crawling, group show, Prießnitz Gallery, Leipzig (2018), Minas Kava, solo exhibition, Feigen un Dart, Leipzig (2018).

Julia Dubsky (b. 1990, Dublin) graduated from the NCAD Fine Art and Visual Culture BA in 2016; and she received the Temple Bar Gallery and Studios Recent Graduate Residency Award in 2017. Upcoming: a solo exhibition in Amanada Wilkinson Gallery, London (2019). Julia is currently doing a mentorship in the class of Jutta Koether, in Germany. A painting purchased by the Office of Public Works, is currently showing in the cross-boarder exhibition Untitled [landscape]. Recent exhibitions and public speaking include: Island Life group show in Kevin Kavanagh Gallery (2018), Salon of Good Time solo residency exhibition in Temple Bar Gallery + Studios (2018); Basic Space Artist Talk, Dublin City Gallery The Hugh Lane (2018).

——

The exhibition is kindly supported by a Dublin City Council grant for exhibitions. 


  • Ann Maria Healy,'When Dealers Are Shamans', 2018. Image courtesy of the artist.

08/11/18—17/11/18

Ann Maria Healy— When Dealers Are Shamans

Opening reception: 6-8pm Thursday 8th November
Exhibition runs: Thursday 8th November – Saturday 17th November
Gallery open: 12-6pm Thursday – Saturday

——

Artist Talk: Ann Maria Healy will be in conversation with Netherlands based editor and curator Kris Dittel, the script editor of When Dealers Are Shamans, prior to the opening reception at 5:30pm on Thursday 8th November.

——

Pallas Projects/Studios are pleased to present Ann Maria Healy—When Dealers Are Shamans the twelfth exhibition of our Artist-Initiated Projects programme.

When Dealers Are Shamans is a video installation which arose out of collecting discarded medication trays whilst walking around Dublin city. The majority of these trays are the remnants of a drug called Zopiclone, a prescribed hypnotic agent or sleeping pill which is often sold illegally. When Dealers Are Shamans contemplates our desire to occupy a dream state through modalities such as medication. Amidst the North Inner City, the dealers of Zopiclone are shamans giving access points to places where unconscious thought may have become forbidden or repressed. Creating this work Healy partakes in a shamanic journey, to find her own spirit animal, but instead finds a partly lost soul in George the peacock.

Healy examines the vibrations of George’s feathers, which quiver to the speed of 25 'rattles’ per second. The same frequency of moving image. George is not rattling to attract a mate. There are no other Peacocks within his vicinity. It is possible to suggest that he is vibrating in order to increase his own conscious desire to be. Healy sees parallels between George’s hypnotic movements and those akin to the dream states induced by Zopiclone.

When Dealers Are Shamans was created with the support of Cow House Studios, Wexford and Fire Station Artists’ Studios, Dublin.

——

Biographies:

Kris Dittel is an independent editor and curator based in Rotterdam, as well as associate curator at the Onomatopee project space and publishing house in Eindhoven. Her work is informed by her background in economics, social sciences, and by her interest in forms of communication and the relation between textual and visual language. She is the editor of several publications, exploring the format of the book as an artistic medium.

Ann Maria Healy is a visual artist based in Dublin. Her practice is concerned with reoccurrence, the power of history and narratives embedded within the human psyche. Her work expresses itself through sculptural, video and textual form. Healy is currently on residency at Fire Station Artists’ Studios 2017-20.
 Selected exhibitions include ‘Futures: Series 3 Episode 1’, Royal Hibernian Academy (2017). ‘I like to eat with my hands’, Wexford Arts Centre (2016). ‘Your ass protrudes toward the malaise’, Eight Gallery, Dublin (2015). Previous residencies include Cow House Studios, Wexford (2015) and The Banff Centre, Canada (2014). Healy is an MFA graduate of The Piet Zwart Institute, Rotterdam (2014) and a recipient of the Irish Arts Council, Visual Artist Bursary Award (2016).
www.annmariahealy.net

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.


  • Ann Ensor & Louisa Casas, from Matter Has No Destiny, 2018. Image courtesy of the artists.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor, Transcending Matter, from Matter Has No Destiny, 2018, detail image.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Louisa Casas, Holding the Given, from Matter Has No Destiny, 2018, detail image.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ann Ensor & Louisa Casas—Matter Has No Destiny, 2018, installation view.

25/10/18—03/11/18

Ann Ensor & Louisa Casas—Matter Has No Destiny

Opening reception: 6–8pm Thursday 25th October 2018
Exhibition runs: Thursday 25th October – Saturday 3rd November
Gallery open: 12–6pm Thursday–Saturday

——

Artist Talk: Ann Ensor and Louisa Casas will be in conversation in response to their exhibition Matter Has No Destiny with fellow artists and members of a New Materialism reading group HEAVY WEATHER on Thursday 1st November, 6–7pm. 

——

Pallas Projects/Studios are pleased to present Ann Ensor & Louisa Casas—Matter Has No Destiny the eleventh exhibition of our Artist-Initiated Projects programme.

‘...Matter is produced and productive, generated and generative. Matter is agentive, not a fixed essence or property of things.  Mattering is differentiating, and which differences come to matter, matter in iterative production of different differences…’

—excerpt from Meeting the Universe Half Way, Karen Barad 2007

Matter Has No Destiny represents the related practices of Ann Ensor and Louisa Casas, which delve into the immanent generativity of matter. The exhibition engenders physical and sensory dynamics through both sculptural and two dimensional pieces unified within an immersive sound installation by Ann Ensor.

Ann Ensor’s work explores a world of agential matter which is in continual flux and has no fixed destiny. Here bundles of trajectory lines flow and counterflow and form an immense living tissue. She considers the human as part of this biosphere of living tissue where porous boundaries interconnect to other forms at molecular levels. Ensor’s work considers what is meaningful to us as humans in our relationship to the universe. In referring to the Anthropocene, the work combines steam bent Oak and sound elements to juxtaposed technological and tree-like structures.
Ensor’s work in this exhibition has been made possible through the generous support of the Artists Support Scheme at Fingal Arts Council.

Louisa Casas extends traditional media of oil painting, mutating support materials into fragment-like pieces and integrating installations of organic and synthetic material to explore boundaries of matter and synthesis. A conversation of edges and side-to-side energies explores possibilities for flexibility, divergence and endurance while plays of shape figure cohesion and rhythm within the dynamic contingency of existence.

For the exhibition Matter Has No Destiny Ensor and Casas have invited Danny Kelly to write a text in response to their work. Copies of Kelly's text will be available at the gallery over the duration of the exhibition and by download from the link below. 

——

Biographies:

Ann Ensor has been awarded a Residency in 2019 by Ballinglen Arts Centre. Recent exhibitions include Heavy Weather at The Complex 2018, RHA Summer Show 2018, KFest 2018.  In 2017 she was a finalist in the R.D.S. Visual Arts Awards Exhibition, curated by Nick Miller. Ensor is a Graduate of NCAD and has received an MFA Degree (Dept. of Paint) and in 2015 - BA First Honours Degree in Fine Art (Dept. of Sculpture).

Louisa Casas’ practice is primarily that of a painter. A graduate of MFA paint NCAD her show Superficies was listed for the RDS Visual Arts Award (2017). Recent exhibitions include Heavy Weather at The Complex, Dublin (2018) and PeripheriesOpen Gorey School of Art (2017).

Danny Kelly is a painter based in Dublin. He will be showing work at DeAppendix in Dublin this October.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.

Installation images photography: Vera Ryklova ©2018


10/10/18—21/11/18

Open Call 2019: Artist-Initiated Projects at PP/S

Guidelines and Entry Form available now

Pallas Projects/Studios' Artist-Initiated Projects, is an Arts Council funded, open-submission, annual gallery programme that is highly accessible to artists, presented in the context of an established gallery space with a dedicated tradition towards the development of artists in a peer-led, supportive environment. Its focus is on early/mid career, emerging artists and recent graduates, who demonstrate their potential with the quality of their work, and their ambition to challenge and test their practice in the public realm. A relatively short turnaround time of 3–9 months, allows the programme to be responsive, reflect what artists are currently making, and encourages experimentation and risk-taking.

Submissions from visual artists are now sought via open call for up to 10 x 3-week exhibitions, between February–November 2019. Solo, 2-person, collaborative and group exhibitions will be considered, and we welcome projects/bodies of work that are completed/near completion, or work in progress with clearly expressed outcomes, across all contemporary visual art forms. This programme of self-directed projects will receive an artists fee/production budget, publicity, invigilation and other supports. Artists are asked to include in their proposal an outreach aspect which considers different audiences/communities of interest, such as but not limited to: events, workshops, talks, performances, and accompanying texts. Gallery visits by colleges and local schools will be arranged, and artists are assisted in aspects such as inviting curators, and documenting their work.

Pallas Projects/Studios is one of Ireland's longest running artist-run spaces, providing opportunities for emerging and mid-career artists to develop and exhibit new work. PP/S have established a nationwide and international reputation among artists and organisations, and a public profile through successful exhibitions, publishing, collaborations, partnerships, and education programmes for schools.

Artist-Initiated Projects at PP/S is funded by The Arts Council.


Submissions are free, and guidelines and submission forms are now available from our website. Deadline for submissions is Wednesday 21st November 2018 at 5pm.

What the artist gets:

Artists fee/production budget of €500 for solo and 2-person exhibitions, €1000 for group exhibitions

All rental and associate gallery costs paid, insurance, invigilation, printed and online ads, publicity and sponsored social media, professional documentation, talk fees, inclusion in exhibition fold-out posters

How to apply:

Applicants should fill in the accompanying application form, and return to info@pallasprojects.org with the exact subject line: Artist-Initiated Submissions 2019

including the following:

For individuals: 1 x Word Document/PDF including: maximum 1 page of text outlining your proposal including a proposed event/outreach aspect; a brief biog (250 words); a maximum of 6 images; max 1 link to video/audio work; CV including any recent/forthcoming shows.

For 2-person or Groups: 1 x Word Document/PDF including: maximum 1 page of text outlining your proposal including a proposed event/outreach aspect; group & individual biogs (1page total); maximum of 10 images; max 2 links to video/audio work; CV of artists including any recent/forthcoming shows; and CV of curator/coordinator if applicable.


Further info on the Artist-Initiated Programme at PP/S:

The programme aims to provide a platform for artists to produce and exhibit work of merit across all visual art forms and media; to further the opportunities for the artist's practice and career as an outcome of the exhibition; to develop audiences for the artist; and develop new audiences for contemporary art and artist-led practice. The Artist-Initiated programme at PP/S aim to act as an incubator for early careers, and support artists' practices at crucial stages.

The artist-initiated programme demonstrates the value of – and very real need for – an accessible gallery programme for artists to take part in short-run exhibitions with a relatively short turnaround time of 3–6 months, and with a focus on emerging and underrepresented artists. This model is an alternative to the normal institutional/commercial model, where the process of studio visit to exhibition can take several years. As such, emerging artists with productive studio practices can have difficulty in securing solo exhibitions in established venues, and reaching new audiences, both professional and public. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourages experimentation and risk-taking. These artist-initiated exhibitions put the artist and their ideas at the heart of the programme.

Please note: Projects will be selected through a competitive open call process, and will be selected by Pallas Projects/Studios. Successful artists will be notified and offered dates. The dates requested by the artist may not always be available, and artists are asked to be flexible. In the unlikely event that an artist cannot exhibit on the date offered PP/S reserves the right not to proceed with the exhibition. The decision of PP/S is final in respect of submissions. Due to the volume of applications PP/S may not be able to provide feedback. PP/S recommend that you please see our website for more information on our programme and organisation before applying.

Due to the self-directed nature of the exhibitions the programme is envisaged to be primarily aimed at artists who are Irish, and international artists living or working in Ireland, or who have studied here.


  • Antun Maračić, 'No grad and its subrealism'. Image courtesy of the artist.
  • Andreja Kuluncic, 'Within'. Image by courtesy of the artist.
  • Bojan Mucko, 'Signs of the Times'. Image by courtesy of the artist.
  • Ana Muscet, 'A Change of Air'. Image courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki, 2018, installation view
  • supporters of the exhibition

04/10/18—20/10/18

I Saw a Woman in Inverness Whom I Shall Never Forget—Curated by Josip Zanki

Antun Maračić, Andreja Kulunčić, Bojan Mucko and Ana Mušćet

——

Opening reception: 6–8pm Thursday 4th October 2018
Exhibition runs: Thursday 4th October – Saturday 20th October
Gallery open: 12-6pm Thursday - Saturday

The exhibition will be launched by Croatian Ambassador Ivan Mašina at the opening reception. 

Artists and Curator Talk: at Natioanl College of Art and Design, Rupert Guinness Hall, on Thursday October 4th at 12.30pm

——

Pallas Projects/Studios are pleased to present I Saw a Woman in Inverness Whom I Shall Never Forget curated by Josip Zanki as a part of an exhibition exchange project between Pallas Projects/Studios and HDLU, Croatian Association of Artists.

I Saw a Woman in Inverness Whom I Shall Never Forget is focused on deconstructing and redefining the model of linear chronology and a positivist concept of time. It is inspired by Jorge Luis Borges short-story “Aleph”, and drives on the idea of connecting images, places, human body, words and numbers in the sacred Aleph. This exhibition project brings together Croatian contemporary media artists researching concepts of time: Antun Maračić, Andreja Kulunčić, Bojan Mucko and Ana Mušćet. It deconstructs time and space (Maračić), time as ethnography (Kulunčić), transformation of everyday objects and time (Mucko) and time in the context of politics of memory (Mušćet).

The starting point for the project is photographic works of Antun Maračić No grad and its subrealism, created in Nova Gradiška on the 13th and 16th of December 1991 immediately after military attack at the beginning of Homeland War in Croatia. Photography shows us the illusion of reality, a moment of silence when everything stops in timeless and placeless indefinites.

Andreja Kulučić created her art project Equals (2017) in collaboration with the EQUALS Collective. In her project, Andreja Kulunčić is using participative methodology and ethnographic research, problematising prejudices based on gender, religion, race and sexual orientation in post-transition Croatian society. The artist worked and collected experiences of five different women oppressed by patriarchal, homophobic and xenophobic majority.

In his work Signs of the Times (2013) Bojan Mucko researched, redefined and transformed everyday objects in various times and spaces. Mucko found paper boxes coming from analogue times, and places near dystopian Kafkas building in modernist part of Zagreb, converting them into motion objects, through rite of transportation.

Ana Mušćet created an artistic project A change of air (2015) based on her research on symbolical value of Vladimir Bobinac’s life. He was one of the most famous political prisoners in Yugoslavian Gulag, Concentration Camp of Goli otok. The art work is created in form of video work and an object – a flag raised on Goli otok entitled Na promjenu zraka (A change of air).

——

This exhibition is the second exhibition in a two part exchange organised by Difference Engine artists between HDLU (Croatian Association of Artists) and Pallas Projects. The first exhibition Difference Engine XI – Altern_ators took place in the Bačva Gallery of the HDLU in April 2018. A joint catalogue was produced for this exhibition exchange project, which will be available at Pallas Projects during the exhibition.

https://differenceengineartists.org/
http://www.hdlu.hr/eng/

Pallas Projects/Studios is supported by The Arts Council.
The exhibition I Saw a Woman in Inverness Whom I Shall Never Forget has been supported by an IMMA Production Residency and the Embassy of the Republic of Croatia in Dublin.

Installation image photography: Vera Ryklova ©2018


  • Ella Bertilsson & Ulla Juske, from Beyond the Sandy Suburbs, 2018, HD video, still 14

20/09/18—29/09/18

Ella Bertilsson & Ulla Juske—Beyond the Sandy Suburbs

Opening reception: 6–8pm Thursday 20th September 2018
Exhibition runs: Thursday 20th September – Saturday 29th September
Gallery open: 12–6pm Thursday–Saturday

——

Exhibition closing event: Deconstruct to Reconstruct, a live performance by the artist duo in collaboration with Celina Muldoon, Saturday 29th September at 1pm, duration approx. 20 min.

Admission free - All welcome - Booking advised via Eventbrite

——

Pallas Projects/Studios are pleased to present Ella Bertilsson & Ulla Juske—Beyond the Sandy Suburbs the tenth exhibition of our Artist-Initiated Projects programme.

Beyond the Sandy Suburbs is the final in a trilogy of works produced by Ella Bertilsson (SWE/IE) and Ulla Juske (EST/IE) and based upon research conducted during residencies in Draíocht (Blanchardstown) and the Nordic Artists’ Centre (Norway). The series, which began with 11.9km Northwest of the City Centre (Hobusepea Gallery, Tallinn) and continued with Carriers of Memories (Draíocht) has dealt so far with themes of domesticity, paranoia and displacement.
The Sandy Suburbs continues along those lines of thought and begins to invoke power dynamics and the urban environment more directly.

In the exhibition the artists use video installation, sound, construction materials and discarded mattresses. The reality of living in Dublin right now is: crowded apartments and houses, short-term leases, the power of the landlord class, skips and cranes and scaffolding. To live in Dublin is to live precariously and tentatively, facing the sibling situations of housing crisis and building boom.

The trilogy of works has been defined by the use of fictional characters. In this, the third instalment, we meet a different sort of character. Instead of the alienated narratives of the earlier incarnations, we see a non-verbal, animalistic and hyper-human duo and their confusing yet focused actions. Engagement with life is no longer through dreaming or remembering - i.e. through the building of psychic worlds - but instead through direct engagement with the physical world. In the video work comfort is found in a repetitious action - one that seems to make little sense to an outsider, but which has the gravity of ritual to those who perform it. The ritual becomes what is real, all the while treading the line between power and protection.

Press release written by Catherine O’Keeffe

Sound produced by Economusic 

Ella Bertilsson (SWE/IRE) and Ulla Juske (EST/IRE) moved, separately, to Dublin during the years of the Celtic Tiger, and ultimately met in 2013, during their time as MFA students in the National College of Art and Design, Dublin. Since then the artist-duo (SWE/IRE & EST/IRE) have been using conversation as the generative ground for their multidisciplinary work; sourcing inspiration from films, music, news items, oral histories and interviews; and producing work that uses storytelling, symbolism, staging and sound to produce a mood of absurdity, disquiet and unresolved suspense. This atmosphere is fuelled by the tension in the telling of the narratives, which can indicate something unsaid, be it by verbal feint, communicative noise, distraction or omission. Thematically, the work matches questions of domesticity with questions of memory and personal history, moving to remind the viewer of the associated essences, realities, and dissonances.

On-going exhibition Carrier of Memories, Dráiocht Gallery, Blanchardstown. Recent solo exhibitions include: 11.9 km Northwest of the City Centre (Hobusepea Gallery, Tallinn, 2018), The Waiting Room (Artbox, Dublin, 2017), Uncertain Matter (Outvert Art Space & ArtsIceland, Isafjordur, 2017), Uncertain Matter (Deiglan Gallery, Akureyri, 2017), Uncertain Matter (Nordic House, Reykjavik, 2016), Time is what happens when nothing else does (Office of Public Works in association with the Royal Hibernian Academy, Dublin, 2015). Recent public events: Museum of an Unknown Person, (Circe Pavilion, Dublin, 2017), Uncertain Matter Audio-walk (Nordic House, Reykjavik, 2017). Residencies include: Peer Residency, Royal Hibernian Academy (2018), Nordic Artist’s Centre, NKD, Dale (2018), Dráiocht Incubate Residency, Dublin (2017), Process Residency Artbox, Dublin (2017), The Association of Icelandic Artists, Reykjavik (2016).

For more information about the artist-duo and their practice, visit:

www.ullaellaullaellaullaella.com

https://www.instagram.com/ullaellaullaellaullaella/

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.


  • Sibyl Montague, Saplings, 2018

06/09/18—15/09/18

Sibyl Montague—Saplings

Opening reception: 6–8pm Thursday 6th September 2018
Exhibition runs: Thursday 6th September – Saturday 15th September
Gallery open: 12–6pm Thursday–Saturday

Artist Talk: Sibyl Montague will be in conversation with curator Rachael Gilbourne on Friday 7th September at 6.30pm
——

Pallas Projects/Studios are pleased to present Sibyl Montague—Saplings the ninth exhibition of our Artist-Initiated Projects programme.

Saplings presents a site-specific installation of new sculptural works by Sibyl Montague. It features a series of sculptural objects or 'tools' that explore our relationship to material as physical but flawed representations of inner experience. Based on a speakeasy that Montague's grandfather worked and drank at in New York in the 1920's, the installation takes the physical bar as form and support for the work.

It seeks to situate itself in the muddiness between corporate intention and personal narrative, as consumer society encourages us to define ourselves through goods and digital platforms, privilege and/or individual economy determines our status within these very forms. Concentrating on aspects of form, usability and the hand-held, Montague’s works consider how we regard, hold and consume objects and experiences, defining our economies of consumption, wealth or poverty. 

Saplings is a durational work; elements weeping, coagulating and changing form over the course of the exhibition. Large blocks and cuts of gelatine, displayed like meat at a market stall, provoke the sensual, formless by-products and residues of our consumption. The work imagines the physical, interior agency and affect of expenditure on the body. Resisting objectification through its inherent anti-form, it dually occupies a carnal, toxic presence in the space.

“…truth and illusion George, you don't know the difference?'
'No, but we must carry on as though we did.”

Who's Afraid of Virginia Woolf?, Edward Albee,1962

For the exhibition Saplings, Montague has invited writer Molly Hennigan and music producer Leopoldo Rosa to respond to the exhibition. Copies of the text and audio will be available at the gallery over the duration of the exhibition or by download below.

Saplings was made possible through the generous support of the Irish Arts Council Bursary Award.
——
Biographies:

Sibyl Montague's (Dublin, Ireland) practice includes sculpture, video and installation. A graduate of Chelsea College of Art and Design, London, she is recent laureate of the Institut Français Residency Programme at the Cité Internationale des Arts, Paris, France (2017). Additional awards include Emerging Visual Artist Award, Wexford Arts Centre (2012) and Oriel Davies Open, Wales (2011). Her moving image work was commissioned for the collection of the Museum of Old and New Art (MONA) in Tasmania. Montague is co-founder and co-curator of PLASTIK, a festival of artists’ moving image in Dublin and is current studio resident at Temple Bar Gallery + Studios. 

Molly Hennigan  is a Dublin based writer, a graduate of Maynooth University and Trinity College. Her writing is concerned with the historical female absence in the Irish literary canon and also the current way in which the physical female body is only afforded space and authority based on its function as a tool and a residential site. She has contributed work to Nasty Women Dublin.

Leopoldo Rosa is an Italian, Dublin based music producer. Releases include Seattle's experimental label Further Records, D1 records and Berghain label Ostgut Ton.

Rachael Gilbourne is a curator based in Dublin. Gilbourne works as Assistant Curator of Exhibitions at IMMA (Irish Museum of Modern Art) and also independently, often in collaboration with Kate Strain under the aegis of RGKSKSRG.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.

Text description for audio work:

Sediments (2018)
Sound
Duration: 03:04'

Sediments is a collaborative sound work between Leopoldo Rosa and Sibyl Montague.
The piece isolates all glass and ice sounds chronologically from the film ”Who is afraid of Virginia Woolf” (Dir:  Mike Nicholls 1966). This is combined with sound recordings sourced during the construction of the bar for exhibition. Processed with a granular synthesiser, the work creates a narrative arc of material and immaterial labour and consumption.


  • Marc Guinan, from series 'Paint MF' - detail, 2018. Image courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Marine, from Marc Guinan—Paint MF, 2018, detail image
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Hidden, from Marc Guinan—Paint MF, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view (left: Matter, right: Niebieski, floor: Pewter)
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Marc Guinan—Paint MF, 2018, installation view (front: Cell, back: Solo)

23/08/18—01/09/18

Marc Guinan—Paint MF

Opening reception: 6–8pm Thursday 23rd August 2018
Exhibition runs: Thursday 23rd August 2018 – Saturday 1st September
Gallery open: 12–6pm Thursday–Saturday

——

Artist's response: Artist Damien Flood will give his response to the works in the exhibition, prior to the opening at 5.30pm Thursday 23rd August

Marc Guinan’s work is deeply entrenched in the observation of the material ‘paint’. Since college, his practice has continued to enlighten viewers with detailed images of paint mixing, coagulating, re-acting  and setting all captured in all most obsessive and scientific fashion. This method of causing ‘material uncomfortableness’ is a continual interest within his research as Guinan looks to capture or freeze frame some of the magical effects he has asked the paint to perform. Continual interchange and experimentation of display techniques are always of interest as Guinan tries to strip down the basic idea of how paint may be viewed and what is a painting?

Paint MF, is a show which brings together multiple ideas of presentation and recyclability. The works, which are partially made from recycled paint are produced from an ongoing developmental process which Guinan has nurtured for a number of years. Coupled with the introduction of new raw material, metal stud framing(MF), Guinan has again posed a question concerning display. The framing is an almost instinctive progression for Guinan as he strives to display the works in the rawest fashion possible. The light gauge metal introduced, is used widely across the world in commercial building projects. It was introduced in the USA as a ‘green’ replacement to basic timber frame housing and with Guinan’s construction background this introduction was inevitable. The works aim to unite both recycling ideas through paint and frame with a collection that always try to demonstrate the beauty of paint without the trappings of traditional display methods.

Having just completed eight years of college, Marc Guinan has attained both BFA Fine Art, DIT and MA Art, Research and Collaboration, IADT. His practice is firmly rooted in the medium of painting and he has just recently completed a series of public engagement talks: Painters Talking Paint 1+2, which took place in The LAB and RHA respectively. Through live debate forums, the talks brought together painters from across the Irish spectrum to discuss their relationship with the material known as paint. He has also had a solo show at Dràiocht and group shows in Broadcast, Foundation 15, MART, and RHA. His work was recently shown in Warsaw, Poland.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.
 

Installation images photography: Vera Ryklova ©2018


  • Robert Dunne, Ghost, 2018. Image courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • Robert Dunne, Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Robert Dunne, Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Robert Dunne, Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ghost, from Robert Dunne–Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Ghost, from Robert Dunne–Revise, 2018, detail image.
  • Photography: Vera Ryklova ©2018
  • Robert Dunne, Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Robert Dunne, Revise, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Vent, from Robert Dunne–Revise, 2018, detail image.
  • Photography: Vera Ryklova ©2018
  • Crop (2015), from Robert Dunne–Revise, 2018, detail image.

09/08/18—18/08/18

Robert Dunne–Revise

Opening reception: 6–8pm Thursday 9th August 2018
Exhibition runs: Thursday 9th August – Saturday 18th August
Gallery open: 12–6pm Thursday–Saturday

___

When I was a child, I would take my toys apart to see how they worked, all in the knowledge that I may not be able to reassemble them. To me, it was always worth the risk. I remember in Art College seeing a de Kooning painting for the first time. I instantly responded to the honesty of his painting process. The painting told its own story, the indecisions, mistakes and the final solution.

These concerns are part of the main focal points of the work in this show. The idea of making work that showed its own integrity, my own interests, as well as how the pieces come into being.  It captures the physical and visual elements of my surroundings. I try and reimagine, juxtapose and alter, making new and vaguely familiar scenarios.

Robert Dunne finds materials and ideas for his work in everyday situations. The visual and physical memory of his environment influences everything he makes. His interests are functionality, design, material and scale. The process of making is a kind of reimaging juxtaposition of things that he has seen or experienced half familiar but new at the same time.
Dunne’s work plays with familiar materials, creating connections with and deriving meaning from their traditional usage, making the objects at time seem quite familiar.

Robert Dunne studied at The Museum of Fine Art, Boston and graduated from NCAD, Dublin. His most recent solo exhibitions include ‘ Sculture’ Theca Gallery, Milan 2018 and ‘Alter’ Linenhall Arts Centre, 2017.
Most recent selected group exhibitions include, Group Show, Gray Contemporary, Houston, 2018.  Absolute, Boecker Contemporary, Heidelberg, Germany.  Winter Open 2017, Rua Red, 2017. Dirty Filthy Painting, Byron School of Art, Australia, 2017.  Harvest, Theca Gallery, Milan, 2017. Painting, Installations, Objects, Galleria Kierat, Szczecin ,Poland 2017. Combined, Gray Contemporary, Houston, 2017. In White, Galleria Projektentow, Warsaw, 2017.  Art Works, Visual, Carlow,2016.

___
 

Education Programme: Robert Dunne will bring a group of Senior Cycle students from Castlecomer Community School, Kilkenny, to see Sibyl Montagues exhibition at Pallas Projects Artists Initiated Program in September. The Students will look at similarities and contrasts with this work and the work from Dunne's recent exhibition at Pallas Projects, in particular, students will look at the inherent connotations of a given material and how both artists use plaster to suggest very different narratives and associations.

___

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council.

Installation image photography: Vera Ryklova ©2018
 


  • Bren Smyth, Process 01, 2017. Image courtesy of artist.
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Bren Smyth, Substance Of Things, 2018, installation image.
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Bren Smyth, Substance Of Things, 2018, installation image.
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Bren Smyth, Substance Of Things, 2018, installation image.
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Bren Smyth, Substance Of Things, 2018, installation image.
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Corinthian, 2018 (charcoal, gesso, whiting on 600gsm paper), from Bren Smyth—Substance Of Things
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Field, 2018 (charcoal, gesso, whiting on Fabriano Rosaspina), from Bren Smyth—Substance Of Things
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Library, 2018 (charcoal, gesso, whiting on hp watercolour p.), from Bren Smyth—Substance Of Things
  • Photography: Kate Bowe O’Brien Photography ©2018
  • Fly, 2018 (charcoal, gesso, whiting on Fabriano Rosaspina), from Bren Smyth—Substance Of Things

26/07/18—04/08/18

Bren Smyth—Substance Of Things

Press
Visual Artists Ireland, The Visual Artists‘ News Sheet

Launch: Wednesday 25 July, 6–8pm
Continues: 26 July–4 August
Opening hours: Thurs–Sat, 12–6pm

Event: Artist & Curator in conversation, Saturday 28 July 1pm

In his 1981 essay 'The End of Painting', Douglas Crimp poses the question ‘What makes it possible to see a painting as a painting?”. This is a question that Smyth is aware of in her work, as she explores both the subject of painting and the painting as an object. Frantic splashes of gesso, ink spills, rubbings, and line drawings cover the page; foundation sketches are quickly obliterated by masses of gesso, which then hide beneath further layers of drawing, a process repeated by Smyth which allows for both accident and discovery.

Smyth’s method of mark making is both primitive and refined. The primitive mark is the immediate, of the moment, showing flaws and imperfection. The materials in this process act somewhat autonomously. The refined mark is measured and considered. This mark balances and divides the page, leading the viewer's eyes, neutralising areas, creating composition, demonstrating the ability of the artist to control the viewer's gaze.

Previously described as “portraits of cities”, Smyth’s work could be considered an archive of a particular place in time. The 13,000-14,000-year-old Altamira Cave Paintings, which Crimp suggests marks the beginning of Painting, similarly archive a particular time in history, both in art history and the history of humankind. The primitive nature of Smyth’s process resonates with these paintings, shortening the distance of time between these Cave paintings and the present moment, reminding us of our mortality and of the “eternal essence” of painting.

Bren Smyth is a visual artist living and working in Cork City. A native of Dublin, with a background in animation and illustration, she returned to education and completed her BA in Fine Art at Crawford College of Art and Design in 2014. Smyth has exhibited extensively around Cork. She co-produced and designed the exhibition Women of the South at Farmgate Cafe, Cork in 2016, and in 2014 was chosen by Vivienne Roche RHA to exhibit with six RHA artists and five emerging artists in the John P. Quinlan curated show Select in Triskel Christ Church.

Róisín Bohan is an independent curator and arts facilitator. She is a graduate of UCDs MA in Cultural Policy and Arts Management and CCADs BA in Fine Art. She was the 2017 recipient of Black Church Print Studios Recent Graduate Curator Award, with the resulting exhibition Homo Ludens (Man at Play) taking place in The Library Project in January 2018. Other recent curatorial projects include a series of seven performance art events held between 2016 and 2017 in Temple Bar Gallery + Studios as part of their Studio 6 Open programme. She has curated shows in the MART, Rathmines, Wandesford Quay Gallery, Cork, and Monster Truck Studios. She currently works at the RHA Gallery and has previously worked with Dublin Gallery Weekend and Temple Bar Gallery + Studios.

This exhibition is supported by project funding from Dublin City Council

Installation image photography: Kate Bowe O’Brien Photography ©2018


  • Imogen Brady, They Were Over Here, 2018, video still image. Image courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • Dáire McEvoy, No Parking (2018), from A Setting, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • A Setting—Imogen Brady, Cará Donaghey, Dáire McEvoy, Megan Robinson, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • A Setting—Imogen Brady, Cará Donaghey, Dáire McEvoy, Megan Robinson, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • A Setting—Imogen Brady, Cará Donaghey, Dáire McEvoy, Megan Robinson, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Cára Donaghey, Extend this (2018), from A Setting, 2018. Installation view, detail image.
  • Photography: Vera Ryklova ©2018
  • Imogen Brady, video installation from A Setting, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Dáire McEvoy, No Parking (2018), from A Setting, 2018. Installation view, detail image.
  • Megan Robinson, Cracks (2018), video still image, from A Setting, 2018. Image courtesy of the artist
  • Photography: Vera Ryklova ©2018
  • Megan Robinson, Cracks (2018), video still image, from A Setting, 2018. Image courtesy of the artist
  • Megan Robinson, Cracks (2018), video still image, from A Setting, 2018. Image courtesy of the artist

18/07/18—21/07/18

A Setting—Imogen Brady, Cará Donaghey, Dáire McEvoy, Megan Robinson

Opening Reception: Thursday 19 July, 6–8pm
Exhibition runs: 18–21 July 2018
Opening hours: Wednesday–Sat, 12–6pm

The artists will host an informal discussion of the exhibition prior to the opening reception, at 5.30pm on Thursday 19th July

“The installations transform the exhibition space into a space of reflection. They rely on its physical dimensions and limits to create a moment of coherence. The diverse materials on display are linked together through the unity of place and time created within the confines of a setting.”—Jan Verwoert, Untitled (Experience of Place), London, Koenig Books, 2003

The geographical Irish landscape and the broad internal landscape of the mind each hold a sense of importance for the four artists. As they are all from different areas, working in and around Dublin has led them to explore the city itself but also examine other territories; their hometowns, the virtual world, their inner places, all with a different mindset. Considering this, a subtle sense of surrealism is at play within the work presented.

Imogen manipulates and optimises her film photography, offering a censored glimpse of her existence in Dublin. This contemplation of the urban juxtaposes with Cará’s work, which uses the landscape of Donegal and its personal & public histories as a beginning point. Megan uses imagined spaces to explore the relationships and tensions created between different objects and materials. For Dáire, Dublin city hasn’t been taken at face value. The banal, everyday urban space is considered, and reimagined in a stylised colourful manner.

Imogen Brady, born in Greater Manchester, is a final-year BA (Hons) Fine Art & Art History student at Kingston School of Art, London. Through the Erasmus+ study abroad programme she undertook a three-month work placement with PP/S at the end of 2017, leaving with a captured imagination and a wealth of new ideas. With an interest in moving-image technology and documentation, Imogen has created her own archive of her time spent in Ireland. The visual vocabulary of the archive is evident in her use of older display mechanisms, proposing a precarious conversation over a non-linear span of time; exploring nostalgia for another place and the distance between technology and real-life. These investigations are juxtaposed with a contemporary methodology and her works in A Setting form the basis of an ongoing project.

Cará Donaghey is an artist from Buncrana, Co. Donegal. She graduated from NCAD in 2017 with a BA (Hons) in Print & Visual Culture, and is the recipient of Black Church Print Studio’s John Kelly RHA Graduate Award and the Clancy Quay studio residency sponsored by NCAD & Kennedy Wilson. She has been involved as a volunteer with PP/S since September 2017. Cará works with the term ‘the archive’ in a flexible and contemporary sense. Her practice focuses on the operative aspects of archiving - collecting, preserving, and mediating images, drawings, and objects from, or based on Co. Donegal. In A Setting, she has considered the recorded evidence of Early Bronze-Age remains of a cremation burial, found during a site-dig in her neighbourhood. The charcoal-rich sediment, found with six sherds of pottery, bone fragments, and three unworked pieces of quartz, have provided a grounding point for her work.

Dáire McEvoy, a Dublin visual artist, is concerned with the interaction between people and the urban areas in which they inhabit by representing them through the form of abstract paintings. The use of motifs and bright colours can almost be seen throughout the works as he highlights 'buffing' (to paint over it with a flat colour) as a form of control by Society.

Megan Robinson graduated with a BA (Hons) in Art from IADT in 2017. Her paintings, which stem from multiple drawings and found natural forms, often take on anthropomorphic or ambiguous qualities and through the use of colour, create a surrealist, otherworldly quality. Her new work Cracks, a short film starring artist Caitríona Ní Threasaigh explores the interactions between architectural places, memories and time. The tactile qualities of the paint and fluid like movements are used to bring us on a journey into a dream-like state.

Pallas Projects/Studios as an entity encourages artists to experiment and take risks. Their openness has encouraged these four emerging artists to get involved and engage with a creative and productive contemporary art space. With this in mind, they have confidently taken a leap in a new direction in their individual practices.

Social Media:

Instagram: @imogenbrady @caradonaghey @meganrobinson23 @the93mc


Website: imogenbrady.tumblr.com caradonaghey.tumblr.com meganrobinsonweb.wordpress.com

Installation images photography: Vera Ryklova ©2018


  • From apply direct pressure, image courtesy of the artists.
  • Miguel Martin, Second Sight, 2017. Image courtesy of the artist.
  • Jennifer Mehigan, Suiside Girls (Fantasy Flesh 2.0), video still image. Image courtesy of the artist
  • Photography: Vera Ryklova ©2018
  • Miguel Martin and Jennifer Mehigan, apply direct pressure, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • M. Martin and J. Mehigan and A. Kleist, apply direct pressure, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • M. Martin and J. Mehigan and A. Kleist, apply direct pressure. Installation view.
  • Photography: Vera Ryklova ©2018
  • Miguel Martin, Second Sight (2017), from apply direct pressure, 2018 Installation view.
  • Photography: Vera Ryklova ©2018
  • Miguel Martin and Alissa Kleist, apply direct pressure. Installation view.
  • Photography: Vera Ryklova ©2018
  • J. Mehigan, Suicide Girls (Fantasy Flesh 2.0), from apply direct pressure, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Alissa Kleist, page from Ouroboros essay (2018), apply direct pressure, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Jennifer Mehigan, Fantasy Flesh # 1 (2018), from apply direct pressure, 2018. Installation view.

28/06/18—07/07/18

apply direct pressure—Miguel Martin / Jennifer Mehigan

Miguel Martin / Jennifer Mehigan
With a text contribution by Alissa Kleist

Opening reception: 6–8pm Thursday 28th June 2018
Exhibition runs: Thursday 28th June – Saturday 7th July
Gallery open: 12–6pm Thursday–Saturday (Please note early closing time 3pm Saturday)

——

Artists Talk: Miguel Martin will be in conversation with Alissa Kleist on Thursday July 5th at 5pm

Miguel Martin and Jennifer Mehigan have developed practices that engage materially and metaphorically with dissecting notions of wellness, anxiety, and care. Infused with the clumsily seductive languages of advertising, cult recruiting strategies, and self-help books, the two explore the manner in which technology functions as a mechanism for establishing and undoing personhood, and how it may be possible to occupy the spaces in between person-ness (life) and de-person-ness (death). These spaces, created by experiences of being detached from the ‘real’, can be used as positions to investigate the sovereignties and universalities that accompany discussions of taking care of yourself, and the inevitable pitfalls of believing in your own bullshit. “apply direct pressure” is a conversation that is better shared, and the exhibition is accompanied by a text written by Alissa Kleist.

Martin’s new work examines attitudes surrounding contemporary forms of mindfulness in a digital age, and questions its various associations to practices of occultism and worship. He was taught the practice of transcendental meditation (TM) at the age of 11, and combines his personal experiences with research into narratives surrounding tropes of contemporary occultism and its gurus, garments, and symbolism. Drawing aesthetic influences from horror and still lifes, the tone of Martin’s work is softly sinister and includes components such as an industrially fabricated sign emblazoned with the words “Search Inside Yourself”, appropriated from the title of a mindfulness course developed at Google HQ to improve employee productivity.

“Fantasy Flesh 2.0” is an ongoing project by Mehigan that uses video, text, painting, and installation to engage with the documentation of trauma and its effect/affect on social media. A video component, sub-titled “Suicide Girls” is a meditative merging of science fiction, essay, and memoir. Entangling depression, psychosis, desire, alternate universes, and dreamscapes, a series of holes and horses appear in a hotel bar that begins to fall apart, and experiences of contact and intimacy take centre stage.

apply direct pressure is supported by The British Council

Biographies:

Miguel Martin (b. 1985 Belfast, UK) BA Fine and Applied Art at the University of Ulster, Belfast (2005 –2008) Lives in Belfast and works at Platform Arts, Belfast. Solo shows include: 2017/2018 Let the Dead Leaves Fall, Millennium Court Arts Centre, Portadown; 2016 Put to the sword, CCA Derry-Londonderry; 2015 Curio, Ards Arts Centre; 2015 Out of Site, University Art Gallery, Belfast; 2011 All Good in the Manhood, Abrons Arts Centre, New York. Awards: 2015 Arts Council of Northern Ireland Artist’s Career Enhancement Scheme (ACES); 2012 and 2011 Arts Council of Northern Ireland Support for Individual Artist Award.

Jennifer Mehigan (1988, Singapore) is an artist based in Belfast. Initially trained in graphic design, her work spans multiple platforms, mixing together 3d modelling, found objects / images, poetry, textiles, painting, and installation. Solo shows include Golden Thread Gallery in Belfast and Interstitial in Seattle. She is currently an MFA candidate at the Belfast School of Art, Ulster University.

Alissa Kleist is a curator based in Belfast. She is one of the founders and Directors of Household, where, since 2012 – together with Sighle Bhreathnach-Cashell, Eoin Dara, Ciara Hickey, and Kim McAleese – she has collaboratively curated site-specific exhibitions, residencies and events, often with other institutional and community partners, in community, public, disused, and non-institutional spaces. She was the Curator (Exhibitions) at the Centre for Contemporary Art (CCA) Derry~Londonderry (2015-2018) and one of the Co-Directors at Catalyst Arts in Belfast (2011 - 2013). She has worked with Source magazine (2013-2015), regularly writes for a number of publications and online platforms, and as an independent curator has delivered projects at various institutions.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Installation images photography: Vera Ryklova ©2018


  • Emma McKeagney, from Unstable Categories. Images courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • Emma McKeagney, Unstable Categories, 2018, installation view
  • Photography: Vera Ryklova ©2018
  • Emma McKeagney, Unstable Categories, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • The Plastic Human: Aubergine Edition, from Emma McKeagney—Unstable Categories, 2018, instal. view.
  • Photography: Vera Ryklova ©2018
  • Emma McKeagney, Unstable Categories, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • Continues I,II,III, from Emma McKeagney—Unstable Categories, 2018, installation view.
  • Photography: Vera Ryklova ©2018
  • The Plastic Human: Matt Black Edition, from Emma McKeagney—Unstable Categories, 2018, instal. view.
  • Photography: Vera Ryklova ©2018
  • The Plastic Human: Metallic Gold Edition, from Emma McKeagney—Unstable Categories, 2018, instal.view
  • Photography: Vera Ryklova ©2018
  • Emma McKeagney, Unstable Categories, 2018, installation view.

14/06/18—23/06/18

Emma McKeagney—Unstable Categories

Opening reception: 6–8pm Thursday 14th June 2018
Exhibition runs: Thursday 14th June – Saturday 23rd June
Gallery open: 12–6pm Thursday–Saturday

——

Exhibition events:
Thursday 14th, 5.30pm (prior to opening reception): Tina Kinsella – Exhibition response
Thursday 21st, 5.30–6.30pm: David Chew, 'A Conversation about Rocks'
No booking required – All welcome

Link to interview on Culture File

——

"What makes the human human is not inside the body or brain, or even inside the collective social body, but in our interdependency with artefacts. The human is suspended in a complex and continuous back and forth between itself and artefacts, a flickering that ultimately dissolves the distinction between them. Designed artefacts have as much agency as the animal that seemingly produced them."
Are we Human? Notes on an archaeology of Design, Beatriz Colomina & Mark Wigley

Grasping an object and doing with it what we can is the most inherent human quality. How we categorise and sort these objects around us is a useful way of understanding, analysing and viewing the world.

Yet all categories are unstable.

In a time where the categories of ‘human’ and ‘object’ are blurring visibly due to technological advances, McKeagney is pointing to a blurring that has always existed. Our category of human is malleable; driven, directed and redefined by the artefacts, objects, minerals and materials we have ever had at hand.

Unstable Categories is an exhibition of new work, and first solo-show by recent graduate (IADT, 2017) Emma McKeagney. McKeagney’s practice involves working closely with material processes to create bodies of work which incorporate the idea that a process is made up of not only the artist but the material they use and the impending idea of exhibiting. Reading and discussing various topics related to New Materialism, her interest starts with collapsing any hierarchy which puts humans ahead of all other materiality.

Interested especially in heightening the process behind certain art materials whose source is often overlooked, the works in the series Continues were developed from solid rocks. Pebbles were collected in Killiney bay, sorted by colour and ground down to what is the basis of pigments usually used in painting. The pigment is suspended between panes of glass and will never be fixed or controlled. The forms resemble continents and land masses, bordered by the difference in mineral. Their impermanence and ephemeral formations reflect an environmental unease felt by the artist. The great mineral assemblage of the universe will forever churn, sorting and unsorting itself into various configurations and compositions. Our place in that process is minute.

The Plastic Human, was developed from one singular rock. Upon discovery (also in Killiney Bay), it seemed to be designed or moulded especially for the human hand. A perfect ergonomic phenomenon designed and crafted by hundreds of years of abrasion, now manufactured and commodified by the artist into glazed, ceramic copies, so that YOU TOO, can also have your very own perfect ergonomic rock.

McKeagney has developed her research in the last year on residency in Talbot Studios after winning their Most Promising Graduate Award 2017. In 2018, she has fabricated the works supported by a Sculpture Award in Firestation Artist’s Studios.

Many thanks to David Chew and Francesco Arboit at the Department of Geology in Trinity College Dublin for providing help with the geological context of the rocks and use of their sample preparation facilities. Also, thanks to everyone at Talbot Studios for their support, and the amazing staff, technicians and community of artist’s at Firestation Artist’s Studios.

For more information about the artist, research and the process behind the works visit:
www.emmamckeagney.com
www.emmamckeagney.wordpress.com

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Installation image prhotography: Vera Ryklova ©2018


  • Salvatore of Lucan, Me and Ghostie Kissing, 2017. Image courtesy of the artist.
  • Photography: Vera Ryklova ©2018
  • Salvatore of Lucan, Show of Himself, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Salvatore of Lucan, Show of Himself, 2018. Installation view.
  • Photography: Vera Ryklova ©2018
  • Me Playinf FIFA, from Salvatore of Lucan’s Show of Himself, 2018. Detail image.

31/05/18—09/06/18

Salvatore of Lucan’s Show of Himself

Opening reception: 6–8pm Thursday 31st May 2018

Exhibition runs: Thursday 31st May – Saturday 9th June 2018

Gallery open: 12–6pm Thursday–Saturday (Please note the exhibition will close at the earlier time of 3pm on Saturday 9th of June)

Artist's talk, Thursday 7th, 5pm: An artist's talk between Kevin Breathnach and Salvatore of Lucan will take place in the gallery. No booking required.

 

My Ma asks my Nan
What do we have tonight?
My Nan replies “We’ve yesterdays Eastenders to watch
And Casualty is on at 8”
I tell them to get a life
They tell me to get a job
Sometimes I think how great it would be to be from a posh family
But then I might be studying business
And the only way I’d be able to have fun
Might be in Thailand

Hello, Iʼm Salvatore. I am from Lucan. I am mixed race: half Bangladeshi and half Irish. However, I have never met my Bangladeshi father. I was raised by my mother, a single parent, who lives with her mother (my Nan) and my younger sister. I went to school at CBS Lucan and then to NCAD, where I studied Fine Art Painting.

I make work about my own life, mainly figurative domestic scenes. I always want to present myself as accurately as possible. Throughout my life, I have been asked where I am from; to which I have always replied ʻLucanʼ. This is why I have recently decided to call myself Salvatore of Lucan instead of Salvatore Fullam – to represent myself more accurately. The paintings consist mainly of self-portraits and portraits of my family and others who are close to me. A friend recently described my work as ʻabjectʼ and, having looked the word up, I thought, ʻyeah, thatʼs not far offʼ.

I feel that, in the past, I have been kinder to myself than to others. I hope, in a way, to put this right by making a self-portrait with less grace than I have previously represented myself – binging on junk food, or playing FIFA on the Xbox – a painting that would earn the title of the exhibition: Show Of Himself. Another painting will address my father, whom I do not know. In love, we must respect the distance between one another, the same is true in painting a double portrait. I imagined this painting to look similar to My Nan and My Ma, but this time representing my father and me. The distance between my father and myself: the difference between absence and thin air. So it's a hard painting to make.

——

Exhibition text: An accompanying exhibition text by Kevin Breathnach will be available in the gallery.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Full Artist-Initiated Projects programme

Installation images photography: Vera Ryklova ©2018


  • Róisín Lewis, Night Swim

17/05/18—26/05/18

Róisín Lewis—Realtime

Opening reception: 6–8pm Thursday 17th May 2018
Exhibition runs: Thursday 17th – Saturday 26th May
Gallery open: 12–6pm Thursday–Saturday

Real time, reasoned Patti Smith, “cannot be divided into sections like numbers on the face of a clock. If I write about the past as I simultaneously dwell in the present, am I still in real time?  Perhaps there is no past or future, only the perpetual present that contains this trinity of memory. I looked out into the street and noticed the light changing. Perhaps the sun had slipped behind a cloud. Perhaps time had slipped away.”  Patti Smith, M Train, 2015

Róisín Lewis is a visual artist with a practice rooted in drawing. The current focus of her work is the correlation between her lived experience of space and time, and the unfolding of space and time in her drawings. In the work exhibited in Realtime, Lewis draws on her experience of space and time at sea, the accounts of fellow marathon swimmers, and data gleaned from environmental and body-worn technology. Mental strategies employed by the long distance swimmer and the elastic nature of her experience of time, are central to the work.

In the series “S”, each drawing relates to a neap* or spring tidal period in the English Channel. Using coordinates recorded by GPS trackers, Lewis has manually retraced the ephemeral paths created by each of the 121 swimmers who swam from England to France during the summer of 2014. Crossing this large expanse of water, there are no intermediary landmarks by which to gauge progress. Time cannot be measured in relation to space, but simply marked by the rhythms of the body as it moves through the sea, or guessed at by the height of the sun above the horizon.

In the series “Night Swimmers”, Lewis focuses on this rhythmical relationship with the environment. Using data gathered from swimmers’ support crews, she estimates the number of strokes taken over the course of the crossing. Each stroke is represented by a looped glyph, an abstraction of the complex trajectory of the swimmers hand as it pulls through the water. The process of retracing journeys and the rhythmical activity of drawing encourage memories of the artist’s own encounters with the sea to resurface – of the push and pull of the tide, the reflection of the sun on the water, the silky blackness of the night sea.  


*a tide just after the first or third quarters of the moon when there is least difference between high and low water.


Róisín Lewis graduated from NCAD with a BA in Fine Art and completed an MA in Fine Art at the University of Ulster and a M.Sc. in Multimedia Systems at TCD. 

In recent years Lewis’s work has been exhibited in a number of group exhibitions Artworks, at Visual Carlow; Fitter, Happier, More Productive, at Source Arts Center, Thurles; Silver at Uilinn, West Cork; Elsewhere at Wandsford Quay Gallery, Cork; Airmail at Assab One, Milan, Yanagisawa Gallery, Tokyo and Fenderesky Gallery, Belfast; Akroma, at The Latvian National Museum of Art, Riga and Expo Dessins, Paris. She has had solo exhibitions at The Ashford Gallery, The Lab and The Kevin Kavanagh Gallery in Dublin, Roscommon Arts Center, and at The Old Museum and Proposition Gallery in Belfast.

Lewis has been awarded residencies at The RHA, DIT, The Irish Museum of Modern Art, and the Firestation Artist’s Studio, Dublin. In September, she will participate in the Josef and Anni Albers Foundation residency in Connecticut. A bursary from Cork City Council currently supports her work.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Full Artist-Initiated Projects programme


10/04/18—10/07/18

Future Generation Art Prize 2019—Deadline extended

Future Generation Art Prize extended its application procedure til 16th July 2018 to offer the opportunity to all artists throughout the world to take part in the 5th edition of the biannual global contemporary art prize. All artists aged 35 or younger from anywhere in the world, working in any medium are invited to apply. Entries can be submitted online

Awarded through a competition, a highly respected selection committee appointed by a distinguished international jury reviews every application and nominates 20 artists for the shortlist. These artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale, curated by Björn Geldhof (artistic director, PinchukArtCentre).

The main prize winner receives US$100,000 split between a $60,000 cash prize and a $40,000 investment in their practice.  A further $20,000 is awarded as a special prize/s between up to five artists at the discretion of the jury for supporting projects that develop their artistic practice. 

A major contribution to the open participation of younger artists in the dynamic cultural development of societies in global transition, the Prize has supported the artistic development and production of new works of over 84 artists in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale. Alongside an open call, a global network of partner platforms and special correspondents work as ambassadors to encourage artists to apply for the prize. 

The Future Generation Art Prize is widely acknowledged as a springboard for emerging talent. Lynette Yiadom Boakye won the Prize in 2012, before going on to be shortlisted for the Turner Prize and a highly successful solo show at the Serpentine Gallery in London in 2015. The winner of the first edition of the Prize, Cinthia Marcelle, represented Brazil at the 57th International Art Exhibition in 2017.  See past winners of the prize here.

Pallas Projects are happy to once again take part as a partner platform for the biannual Future Generation Art Prize – the only prize for the young generation of artists with a global dimension and guided by an open, free, and democratic application process. Supported by an eminent board, distinguished jury, and outstanding selection committee, the Prize brings together the best of the art world to champion a new generation of artists. Together with its award of $100,000 and commitment to commission new works, the Prize sustainably supports artists around the globe.

 


  • Gerry Balfe Smyth, from series Last Breath. Image courtesy of the artist.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, from series Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.
  • Photography: Gerry Balfe Smyth ©2018
  • Gerry Balfe Smyth, Last Breath, 2018.Installation view.

03/05/18—13/05/18

PhotoIreland Festival: Gerry Balfe Smyth—Last Breath

Opening: 6pm Thursday 3rd May 2018 – The exhibition will be offically opened by The Lord Mayor of Dublin, Mícheál Mac Donncha

Pre-launch reception for PhotoIreland Festival: The exhibition will be open from 5pm Thursday 3rd May 2018 as part of PhotoIreland Festival launch

Exhibition runs: 12–6pm every day from Tuesday 1st until Sunday 13th May

Presented as part of PhotoIreland Festival 2018

Gerry Balfe Smyth’s first solo exhibition Last Breath is a series of photograph’s documenting life in the south inner-city flats complex of St. Teresa’s Garden’s in Dublin’s Liberties area. The pictures are inspired by the spirit and resolve of the people in this once massive public housing project built in the 1950’s, a development that was neglected for generations.

In the mid 1980s in south inner Dublin the heroin epidemic was at it’s height, and the St Theresa’s Gardens flats complex was one of many deprived communities in Dublin that was flooded with heroin. Drug dealers were operating on a level that had not been seen before, the police and government bodies were not equipped to contain the situation. Many young lives were wiped out through addiction, their families torn apart and with little or no support from the state. Over time the residents fought back and the Concerned Parents against Drugs group did a lot to reclaim their community – forced evictions of dealers and nightly patrols by the residents were the only way they could begin to address the problem.

Now with regeneration in its final stages a small number of residents remain. Most of the buildings have been demolished and the occupants moved to different locations around Dublin. These people are now dealing with the reality of transition into new neighbourhoods and establishing a new identity and sense of belonging.

These images – taken over a seven year period before regeneration had begun, highlight the struggle to stay alive, to be clean, to survive – are another reminder that social integration and inclusion must be accompanied by economic investment for it to have a chance. The pictures are the last breath of a vibrant community before it is finally laid to rest.

Gerry Balfe Smyth studied Photography at DIADT, Dublin before working as a photographic assistant to Perry Ogden & Bruce Weber. He began developing his own personal projects while living in New York and London, working in medium format and polaroid photography. His work is inspired by ‘real people’ giving a voice to those on the margins, exploring social and cultural themes, in particular groups of people that share a common identity. His editorial & documentary work takes him to many different locations around the world, and has been commissioned by leading publications including, Dazed Digital, Sunday Telegraph Magazine, Sunday Times Magazine, ATOD Magazine L.A and Vice. He is currently based in Dublin, Ireland.

PhotoIreland Festival 2018 website

 

Installation images photography: Gerry Balfe Smyth ©2018


  • Austin Hearne, from Remains, 2018. Image courtesy of artist.
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (left: Slab, right: Screen, back: Partition).
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (front: Slab, right: Screen, back: Partition).
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (Screen, detail image).
  • photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (view at: Funeral Shroud).
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (Ghost Slab, detail image).
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (left: Slab, right: Screen, Funeral Mask).
  • Photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (Funeral Mask, detail image).
  • photography: Vera Ryklova ©2018
  • Austin Hearne, Remains, 2018, installation image (Slab).

19/04/18—28/04/18

Austin Hearne—Remains

Opening reception: 6–8pm Thursday 19th April 2018
Exhibition runs: 12–6pm Thursday 19th – Saturday 28th April
Gallery open: Thursday–Saturday
Artist's talk: Saturday 28th April 2pm, in conversation with Michelle Hall

Pallas Projects/Studios are pleased to present Austin Hearne—Remains the second exhibition of our Artist-Initiated Projects programme.

“The visual and architectural apparatus of the Church is the embodiment of Catholic doctrine; promulgating the notion that one must submit oneself entirely, body and soul, to be a ‘good’ Catholic. Austin Hearne’s work reflects upon this but also injects a frisson of titillation via an irreverent and occasionally dark celebration of its sensuality.”                 

—excerpt from Of Lilies and Remains, Pádraic E. Moore

What remains when the other parts have been taken away, consumed, rotted. The Catholic Church is sick, dying, dead, remaining. Its remains stubborn, permanent – can not and will not rot. They are an empty carcass, leftover, ready to be re-inhabited, reanimated by the next wave in its sicker, deadlier form.

Austin Hearne’s practice is rooted in photography wherein he explores its possibilities to produce installations, objects and performances that expand the limits of the photograph and indeed the medium. Prints, furnishings, wallpapers, garments and the materials of the painting and decorating industry all feature, carrying his created imagery and weaved narratives which merge fact and fiction, creating worlds, characters and scenarios that may or may not exist.

Hearne’s research stems from an analysis of the surfaces, iconography and politics of the Catholic Church, with the churches of Dublin and beyond serving as impetus for works in this show.  The majesty and misery of this institution’s past and present dwells in the exhibition, with Hearne presenting photographs as interior decor and furniture. One of these pieces entitled Slab, a functional painter and decorator’s wallpaper pasting table acts as a storyboard, holding constructed photographs coalesced with archival documentary photos from the artist’s archive. This amalgamation of photographic work spans two decades posing narratives that the viewer can but glean.

Austin Hearne completed his MFA in NCAD in 2016. His most recent exhibitions include Pull The Rug Out From Under The Carpet at The Kilkenny Arts Festival in 2016 with a review in billionjournal.com, the Royal Ulster Academy annual exhibition, The Waiting Room at ArtBox Gallery, peripheriesOPEN 2017 at the Gorey School of Art and two group shows at Solomon Fine Art. He has performed at Room and Livestock. His photobook Butty was included in the Dublin Art Book Fair 2017 at TBG+S. His work is held in private collections across Europe, Ireland and the USA.

 

 

Installation image photography: Vera Ryklova ©2018


  • SNF at Battle of the Boyne Site; Byzantine Edition, 2017. Image courtesy of the artist.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.
  • Photography: David Lunney ©2018
  • David Lunney—Chrome Dreams, 2018, installation view.

05/04/18—14/04/18

David Lunney—Chrome Dreams

Opening reception: 6–8pm Thursday 5th April 2018

Exhibition runs: 12–6pm Thursday 5th – Saturday 14th April

Gallery open: Thursday–Saturday

Pallas Projects/Studios are pleased to present David Lunney—Chrome Dreams the first exhibition of our funded Artist-Initiated Projects programme.

"What Chrome Dreams really was, was a sketch that [David] Briggs drew of a grille and front of a '55 Chrysler, and if you turned it on its end, it was this beautiful chick... I called it Chrome Dreams."
—Neil Young

Chrome Dreams begins with a sculpture which is based around a sheet of ArtGlass™. This completely clear glass acts an invisible platform for a variety of reflective elements. This portable sculpture was brought to a forest in Ballyedmonduff (Dublin Mountains) where it was photographed in a variety of positions. Two of these photographs have been rendered as drawings. These strange and complex drawings are always the goal of this process; in a sense of reverse-engineering the imagery from the initial sculpture.

David Lunney’s artistic practice involves the undertaking of protracted art processes. Typically, these processes start with the construction of site-specific or portable sculptural works in the Dublin and Wicklow Mountains. These sculptures are generally created less for their inherent value but rather to provide photographic source material for documentary artworks. The resulting documentary artworks can take the form of prints, drawings or photographs. These images are rendered, framed and presented in a fashion which intentionally obscures and embellishes the original object and moment that they represent. In these artworks, it is often the relationship between representational imagery and its surrounding abstract visual information which infers the process and concept behind the work. The works have a self-contained narrative; the concept and the material process are intrinsically linked in the artworks discussion of it’s provenance. 

In Chrome Dreams, which shows new work from late 2017 and early 2018, Lunney has expanded the complexity of the work, both in process and execution. This can be seen most clearly in the Things Twice at Drumnadober series and in the new, eponymous project. Chrome Dreams is an extension of the ongoing Things made for drawing project which uses handheld reflective sculptures, photography, drawing and other media to create process-driven artworks about the Dublin Mountains. In addition an important influence on this exhibition has been the artist’s work as a picture framer, which has allowed him to tailor-make unique frames and devices.
 

——

David Lunney is an emerging visual artist based in Dublin. His practice is process-led, in the making of any given work he uses a wide variety of materials and media. He is currently working in Talbot Studios. He uses The Dublin Mountains both as his main source material and guerrilla sculpture garden.

He has had solo shows in The LAB Gallery, Eight Gallery and Droichead Arts Centre. He has recently participated in shows in The Dock, RUA RED, Catalyst Arts, LACE Los Angeles and 126 Gallery.

——

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018, in the context of a gallery space with a dedicated tradition towards the professional development of artists in a peer-led, supportive environment. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Full Artist-Initiated Projects programme

Installation images photography: David Lunney ©2018


  • Sibyl Montague, Pilot dreams, 2016

14/03/18—14/03/18

Artist-Initiated Projects—2018

David Lunney, Austin Hearne, Róisín Lewis, Salvatore of Lucan, Emma McKeagney, Miguel Martin & Jennifer Mehigan, Robert Dunne, Marc Guinan, Sibyl Montague, Ella Bertilsson & Ulla Juske, Ann Ensor & Louisa Casas, Ann Maria Healy

Artist-Initiated Projects at Pallas Projects/Studios is an open-submission, annual gallery programme of 12 x 2-week exhibitions taking place between April and November 2018. This unique programme of funded, artist-initiated projects selected via open call is highly accessible to artists, with a focus on early career, emerging artists and recent graduates. Projects are supplemented with artists' talks, texts, workshops or performances, and gallery visits by colleges and local schools.

Artist-Initiated Projects aims to act as an incubator for early careers, and support artists' practices at crucial stages, providing a platform for artists to produce and exhibit challenging work across all art forms. The model of short-run exhibitions with a relatively short turnaround time of 3–6 months is an alternative to the normal institutional model, where the process of studio visit to exhibition can take several years. Shorter lead-in times allow the programme to be quick and responsive, reflect what artists are currently making, and encourage experimentation and risk-taking.

Pallas Projects/Studios Artist-Initiated Projects is supported by The Arts Council

Programme info:

Exhibitions will run Thurs–Sat for 2 weeks, with openings taking place on the first Thursday evening. Exhibition dates:

05/04/18—14/04/18 David Lunney
19/04/18—28/04/18 Austin Hearne
17/05/18—26/05/18 Róisín Lewis
31/05/18—09/06/18 Salvatore of Lucan
14/06/18—23/06/18 Emma McKeagney
28/06/18—07/07/18 Miguel Martin & Jennifer Mehigan

09/08/18—18/08/18 Robert Dunne
23/08/18—01/09/18 Marc Guinan
06/09/18—15/09/18 Sibyl Montague
20/09/18—29/09/18 Ella Bertilsson & Ulla Juske
25/10/18—03/11/18 Ann Ensor & Louisa Casas
08/11/18—17/11/18 Ann Maria Healy

Pallas Projects/Studios is one of Ireland's longest running artist-run spaces, with a dedicated tradition over 22 years towards the professional development of artists in a peer-led, supportive environment, providing opportunities for emerging and mid-career artists to develop and exhibit new work. PP/S have established a nationwide and international reputation among artists and organisations, and a public profile through successful and critically engaged exhibitions, publishing, collaborations and partnerships, and education programmes for schools. Recent projects include the 4-year research project and publication 'Artist-Run Europe', published by Onomatopee, Eindhoven in 2016, and the annual 'Periodical Review' exhibition now in its eighth year.

Image: Sibyl Montague, Pilot dreams, 2016
Orange Soft Drink, 2 ltr, bamboo, plaster
Dimensions: 35 x 228.6 cm
(Photo: Kasia Kaminska)


07/03/18—10/03/18

Mohammad Alazza—You have a gun to shoot children. I have a camera to shoot you.

Preview
6–8pm, Wednesday 7th March 2018

Opening event: The exhibit will be launched by the photographer on Wednesday 7th March at 6.30pm.

Gallery hours
12–6pm, Thursday–Saturday

As part of Israeli Apartheid Week 2018, the Dublin branch of the Ireland-Palestine Solidarity Campaign invite you to an exhibition featuring the photography of Palestinian photojournalist and film-maker Mohammad Alazza. The exhibit will be launched by the photographer on Wednesday 7th March at 6.30pm.

Note: You can also see Mohammad Alazza talk about his work on the evening of Tuesday 6th March in Wynn’s Hotel, Abbey Street, Dublin 1 – full details here.

This timely exhibition on the 70th anniversary of the Palestinian Nakba (the forced exclusion of 750,000 Palestinians from their land between 1947 and 1949) reminds us of the oppression and continued expulsion of the Palestinian people from their land seventy years on. The artist himself is no stranger to the oppression by the Israeli state. Although an international award-winning photojournalist, Mohammad is refused a permit to work in his own country and in 2013, while photographing an unprovoked Israeli attack on the Aida refugee camp where he lives, he hospitalised after being shot in the face by an Israeli occupation soldier. Before being shot Mohammad called to the Israeli soldier who was telling him to go away: “You have a gun and shoot at children. I have a camera to shoot at you”

This exhibition is a must see for anyone who has the slightest interest in the plight of the Palestinian people or for those who are interested in the use of photography and more generally art as a means of exposing abuses of human rights.

Mohammad Al-Azza is a refugee from the village of Beit Jibreen who was born and lives in Aida Refugee Camp. He is a photographer, film-maker, and director of the Arts & Media Unit of Lajee Center in Aida Refugee Camp, Palestine. In this capacity, he helps youth to produce photography and videoprojects. His first documentary, Ali Wall, won the Global Jury Prize of the It Is Apartheid Film Contest (2010), and his documentary Everyday Nakba (2011) has been screened in numerous festivals. His award-winning photography on media representation, refugee rights, and popular protest has exhibited in Palestine, France, and the United States, among other places.

Hosted by the Dublin branch of the Ireland-Palestine Solidarity Campaign as part of Israeli Apartheid Week 2018. For more Israeli Apartheid Week events, see here.


21/02/18—03/03/18

Oscar Fouz López—Pickled Chimp Ears

Preview: 6–8pm Wednesday 21st February 2018
Continues: 12–6pm Thurs 22nd–Sat 24th February 2018

Exhibition extended: extra week continues 12–6pm Thurs 1st–Sat 3rd March (by appointment only, please email to arrange)

Exhibition preview in Dublin Inquirer

Oscar Fouz López's most recent work is influenced by the life of Alexander von Humboldt, an 18th Century German scientist, geographer and explorer. Humboldt traveled the world, visiting countries as diverse as the U.S., Peru and Russia, observing and describing their landscapes, and scientifically analyzing nature.

López's interest in this character was sparked by him being the first scientist both to see nature as an interconnected living organism and to identify climate change. Humboldt's story is told visually through the paintings, and his world view is reflected within the natural backdrops and deeper perspectives gained from using elements of landscape.

The work focuses in on events from the explorer's life and discoveries, simultaneously asking questions around Capitalism, alienation from the spiritual, and transformation. The characters in the paintings dwell outdoors surrounded by trees, strange plants, animals and unnamed tribes as if they were being swallowed up by a vast and mysterious living organism, and where the laws of nature are being rewritten.

Oscar Fouz López has had his work featured in group exhibitions such as Winter Open (2016) in Rua Red, Dublin, Insider Art (2016) in MCE, Belfast, and participated in the 187th Annual Show (2017) at the Royal Hibernian Academy. He graduated with a BA in Fine Art from D.I.T. in 2010 and was shortlisted for the Most Promising Graduate Award at the Talbot Gallery the same year. Oscar also holds an MFA in Painting from NCAD (2016). His work is held in both public and private collections including the Office of Public Works and the Trinity College Art Collection.

Opening event: KAGE BUTOH, a Dublin-based Butoh jam group, will be performing at 6.30pm. The 20 minute piece, Cosmosism, is inspired by Humboldt's concept of interconnectedness and takes impulses from Lopez's artwork.

Website: www.oscarfouzlopez.com


07/02/18—17/02/18

Pat Byrne—Between the Hawthorns

Pat Byrne's practice explores superstitions and folklore as he takes mythological humanoids and fairies and attempts to portray them in a more realistic and contemporary fashion through oil paintings, wanting to render them as somebody who could possibly pass us by on the street. Superstitions have always held a core place in Irish culture but as time progresses the mischievous and malevolent spirits that once occupied the spoken word and imagination are being forgotten only to be seen as figures of parody. The lack of faith and interest in this make-believe world is something that he felt reflects the current economic climate in Ireland with so many people unemployed and no structure to their daily lives, figures of folklore are effectively in the same situation and on the mythological dole queue simply living out a life of ennui.


Pat Byrne is an Irish artist based in County Laois. He graduated in 2015 from the National College of Art and Design, Dublin with an MFA in painting. Prior to this he graduated with a BA Honours Degree in Fine Art from Galway – Mayo Institute of Technology in 2010. Recent exhibitions include The Soul Noir Festival of the Dark Arts, Dublin at which he received the Best Emerging Artist Award, Myth & Lore at Styx, London, To Catch a Certain Fortune at Birr Arts Festival, and Beneath the Dock Leaf at the Dunamaise Arts Centre.

Website


  • Ailbhe Ní Bhriain
  • Jesse Jones
  • Paul Hallahan
  • Gareth Anton Averill
  • Sonia Shiel
  • Christopher Mahon
  • Sibyl Montague
  • Dennis Dinneen
  • Barbara Knezevic
  • Jason Ellis
  • Ruth Lyons

24/11/17—20/01/18

Periodical Review #7—PPS V RGKSKSRG

Press
Critic's Guide: Dublin, Frieze

Gareth Anton Averill, Ursula Burke, Alan Butler, Dennis Dinneen, Jason Ellis, Paul Hallahan, Jesse Jones, Barbara Knezevic, Ruth E Lyons, Christopher Mahon, Sibyl Montague, Aine McBride, Eleanor McCaughey, Ailbhe Ní Bhriain, Melissa O'Flaherty, Sonia Shiel, Isadora Epstein and Benjamin Stafford, Donal Talbot, Eimear Walshe, Tom Watt and Tanad Williams

Selected by PPS & RGKSKSRG
(Gavin Murphy, Mark Cullen, Rachael Gilbourne & Kate Strain)

Gallery hours: 12–6pm, Thursday–Saturday
25th November 2017 – 20th January 2018
(Closed 17th December – reopens 11th January)

Closing event: Saturday 20th January, 2pm
Gallery talk: Eimear Walshe, Van Abbemuseum Deviant Practice, 2017

An artwork is like a book, not made up of individual words on a page – each of which with a meaning – but instead "caught up in a system of references to other books, other texts, other sentences"

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 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.

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.

In looking at self-organised exhibitions, off-site projects, commercial gallery and museum shows, performances and publications, 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.

Co-selectors RGKSKSRG is the curatorial practice of Rachael Gilbourne and Kate Strain. Based between Dublin and Graz, RGKSKSRG commission, present and contextualise contemporary art. Through linking with existing organisational structures, RGKSKSRG work to create new contexts for engaged encounters between artists and audiences. These contexts can involve artworks, exhibitions, events, writings, residencies, interviews, and live works, within various locations, both online or in real life.

Previous co-curators of Periodical Review: Brian Duggan, Sarah Glennie, Jenny Haughton & Declan Long; Daniel Jewesbury & Anne Kelly; Mary Conlon & Paul Hallahan; Matt Packer & Michele Horrigan; Eamonn Maxwell & Padraic E. Moore; Ruth Carroll & Carl Giffney.

Preview (as part of Dublin Gallery Weekend)
6–8pm, Friday 24th November 2017
Opening performance by Gareth Anton Averill

Dublin Gallery Weekend
Saturday 25th November 1.20pm
Gallery introduction by PP/S and performance by Isadora Epstein and Benjamin Stafford
(The Coombe tour begins at 12.30 at Kevin Kavanagh Gallery, continuing to NCAD Gallery and ending at Pallas Projects. See www.dublingallerymap.ie for more)

www.pallasprojects.org
www.rgksksrg.com
www.dublingallerymap.ie

Periodical Review #7 PPS V RGKSKSRG is an initiative of Pallas Projects/Studios and is supported by Dublin City Council


  • Image: Ellen O'Connor

23/10/17—23/10/17

In the making—IADT Degree year students 2017

17/11/17 - 18/11/17
In the making 3: Ethos

Zsofi Abel, Nancy Behan, Dermot Byrne, Anishta Chooramun, Elaine Ellis, Sabrina Gavin, Louise Halton, Genevieve Healy, Anita Hopkins, Maurice Mahony, Brian McColgan, Jane Murphy, Lorcan Murphy, Raymond O’Neill, Matthew Shiell, Patrick Tunney

Ethos is the final of three exhibitions bringing together the work of IADT BA Art Degree year students, held in Pallas Projects in November 2017.

Ethos examines the fundamental character or spirit of a culture.

Exploring experiences and ideologies, Ethos encompasses artworks dealing with cultures, environments and societies. Aspects of identity are portrayed both from an individual and collective viewpoint, through multidisciplinary practice. This exhibition includes works on themes such as sexuality, reaching beyond gender through the cyborg, and the recovery of a sense of home through simulations.

Invited Response: On Friday 17, 2017 at 2.30pm, curators from Catalyst Arts will respond to the exhibition in conversation with IADT students. This informal event is open to the public.

11/11/17–12/11/17
In the making 2: Pathos

Zsolt Basti, Marcus Brien, Cliodhna Casey, Lisa Fortune, Ciara Furlong, Laura Healy, Ciara Hodson, Olivia Hyland, Aoibhe Jessen, Diane Jones, Dervla Kilduff, Kasia O’Leary, Tessa Muldoon, Olivia Normille

Preview: 6pm to 8pm, on Thursday 9th November
Exhibition continues: Friday 11th 12–6pm and Saturday 12th 12–2pm

Pathos brings together the work of Degree year Art students in the second of three exhibitions in Pallas Projects in November 2017. 

Pathos is a quality that evokes pity or sadness. It is sympathetic. 

Exploring affect, emotion and empathy, Pathos involves artwork extending across a wide spectrum of artistic mediums. Through their investigations of materials, processes and technologies, the artists seek to understand the imagining of 'oneself’ and 'the other’. This exhibition includes works on themes such as memory recall, the clustering of individuals to create a connection, and the world of voyeurism.

Facebook event

Invited Response: On Friday November 10th, 2017 at 2.30pm, Mary Conlon (Director of Ormston House) will respond to the exhibition in conversation with IADT students. This informal event is open to the public

03/11/17–04/11/17
In the making 1: Logos

Nancy Behan, Carly Colton Perry, Conor Daly, Natasha Farrell, Oisin Farrell, Emma Hopkins, Diarmuid Kavanagh, Grace Latham, Philip Murray, Ellen O’Connor, Samir Said, Chun Zhu Wang

Preview: 6pm to 8pm, on Thursday 2 November
Exhibition continues: Friday 12–6pm and Saturday 12–2pm

Logos brings together the work of Degree year Art students in the first of three exhibitions in Pallas Projects in November 2017.

Logos, is an appeal to logic; a way of persuading an audience by reason.

Exploring a logical approach to research and art making, Logos presents artworks that are factual, analytical and informative. Context and methodology are examined on an individual and collective basis, through multidisciplinary approaches to practice. The exhibition features references to events in the past, present, and imagined future, from The War of the Worlds radio broadcasts by Orson Welles, to Dublin’s derelict buildings, and archeological excavations currently underway across Ireland.

Invited Response: On Friday November 3, 2017 at 2.30pm, Bassam Al-Sabah and Kim Gleeson (Basic Space) will respond to the exhibition in conversation with IADT students. This informal event is open to the public.

In the making

Zsofi Abel, Zsolt Basti, Nancy Behan, Marcus Brien, Dermot Byrne, Cliodhna Casey, Anishta Chooramun, Carly Colton Perry, Conor Daly, Elaine Ellis, Natasha Farrell, Oisin Farrell, Lisa Fortune, Ciara Furlong, Sabrina Gavin, Louise Halton, Genevieve Healy, Laura Healy, Ciara Hodson, Anita Hopkins, Emma Hopkins, Olivia Hyland, Aoibhe Jessen, Diane Jones, Diarmuid Kavanagh, Dervla Kilduff, Grace Latham, Maurice Mahony, Brian McColgan, Tessa Muldoon, Jane Murphy, Lorcan Murphy, Philip Murray, Olivia Normile, Ellen O’Connor, Kasia O’Leary, Raymond O’Neill, Samir Said, Matthew Shiell, Patrick Tunney, Chun Zhu Wang

In the making presents a taste of the future. For three weeks in November 2017, 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 LOGOS, PATHOS and ETHOS. Invited respondents— from Basic Space, Ormston House and Catalyst Arts—have been asked to engage with each instalment, in dialogue with the students as part of the exhibition’s public programme.

The three exhibition openings will take place from 6pm to 8pm, on Thursdays November 2, November 9 and November 16, 2017.

Each exhibition will also be open to the public on Fridays, 12–6pm, and Saturdays, 12–2pm. (Please note the earlier Saturday closing time).


18/10/17—21/10/17

Denis Kelly—Impeccable Defect

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.

www.deniskelly.ie

Valeria Ceregini is an Italian art historian, critic and independent curator based in Turin.

www.valeriaceregini.wordpress.com

 

Supported by Kildare County Council Arts Act Grant Scheme 2017


11/10/17—14/10/17

Darina Meagher—RADIOACTIVE MEMORY

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.

www.darinameagher.com


04/10/17—07/10/17

Elizabeth Archbold—Stasis Race

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.


27/09/17—30/09/17

Natasha Conway—Paintings

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.


Bio

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

 


20/09/17—23/09/17

David Turner—More Ordinary Leaders: Unofficial Portraits

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.

http://www.belfastarts.co.uk


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.

www.francescabiondi.com

 

Images:

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)


06/09/17—09/09/17

Rebecca Dunne—Static

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,
and listen.

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.

rebeccadunne.net


  • Absinthe hour, 2017. Oil on Canvas

30/08/17—02/09/17

Eleanor McCaughey—There is a policeman in all our heads; he must be destroyed

‘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 / eleanor.mccaughey@gmail.com
@eleanormccaughey


  • Michele Hetherington video still from 'Time is' 2017

27/07/17—29/07/17

Time is not a line—Elaine Grainger || Michele Hetherington

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.


  • Hidden (Mask), 2017, Oil on Panel, 122cm x 175cm
  • Task, 2016, Oil on Panel, 19cm x 15cm

17/08/17—26/08/17

Jostle–John Busher

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).

 

www.johnbusher.ie
Twitter: @BusherJohn
Instagram: @john_busher


  • Detail of digital drawing by Ciara O'Neill, 2017

21/07/17—23/07/17

Awkward Interjection

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.

 


  • Landstraße, 2017 / 122cm x 168cm, oil on linen
  • The Climb, 2017, 69cmX 58cm, oil on linen

06/07/17—08/07/17

Traveling without Moving—Colm Mac Athlaoich

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.

 

www.macathlaoich.com

Twitter: @macathlaoich

Instagram: @macathlaoich

 

Funded by Fingal County Council


  • Kerry O’Hare
  • Birgitta Horan: Untitled
  • Sarah Farrell
  • Ciara Ward: Installation detail

22/06/17—01/07/17

Plot and Piece–Kerry O’Hare, Birgitta Horan, Sarah Farrell & Ciara Ward, Curated by Beth O’Halloran

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.


  • Kathryn Maguire, Gilead, 210 x 155 mm, image on perspex
  • Maud Cotter, A solution is in the room, printed paper, lambeth cartridge, ink , card
  • Chanelle Walshe, Ribcage Study, 25x20cm, pencil on gesso board

03/08/17—12/08/17

Nasty Women Dublin

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.

Our selectors:
Sheena Barrett, Mariah Black, Helen Carey, Mary Cremin, Jessamyn Fiore, Siobhan Geoghegan, Gillian Lawler, Alice Maher, Loitering Theatre & Kathy Tynan

Our generous artists include:
Mona Atkinson
Aida Bangoura
Catherine Barragry
Catherine Barron
Anne Maree Barry
Aideen Barry
Mariah Black
Alanna Blake
Tammy Bradley
Sarah Browne
Rachel Burke
Jade Butler
Aimée Chan
Siobhan Clancy
Nuala Clarke
Ruth Clinton & Niamh Moriarty
Susan Connolly
Amanda Coogan
Maud Cotter
Pauline Cummins
Margaretta D’Arcy
Aislinn Delaney
Mujers Libres Derry
Fiona  Dowling
Millie Egan
Isadora Epstein
Marie Farrington
Jessica Foley
Sara French
Aoife Giles
Orla Goodwin
Roisin Hackett
Cliona  Harmey
Molly Hennigan
Léann Herlihy
Leah Hilliard
Katie Holten
Helen Horgan
Jesse Jones
Wendy Judge
Dragana Jurisic
Mary  Kelleher
Sandy Kennedy
Ali Kirby
Barbara Knezevic
Katharine Lamb
Vicky Langan
Gillian Lawler
Breda Lynch
Susan MacWilliam
Kathryn Maguire
Niamh McCann
Siobhan McGibbon
Patricia McInerney
Sibyl Montague
Janet Mullarney
Chloë Nagle
Doireann Ni Ghrioghair
Aisling O'Beirn
Emer  O'Boyle
Margaret O’Brien
Sadbh O'Brien
Margaret O’Connor
Katie O'Grady
Kate O'Kelly
Helen O'Leary
Deirdre O'Mahony
Mandy O'Neill
Seoidin O'Sullivan
Aine Philips
Laragh Pittman
Ann Quinn
Fiona  Reilly
Donna Rose
Stina  Sandstrom
Ciara Scanlan
Una  Sealy
Polina Shapkina
Celine Sheridan
Sonia Shiel
Jennifer Smith
Vicky  Smith
Gráinne Tynan
Erica Van Horn
Aggie Veale
Ruby Wallis
Isabella Walsh
Amy Walsh
Chanelle Walshe
Eve Woods

Events:

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.

Follow Us: Facebook | Instagram | Twitter


  • USACCHI AND MIKADO-CHAN 2017 ACRYLIC ON CANVAS 150×150 CM / 59×59 IN ©Aya Ito / Atsushi Kaga Courte

13/07/17—15/07/17

It happens to be—Aya Ito & Atsushi Kaga

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

Aya Ito , Atsushi Kaga

"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.


Aya Ito
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

 

Atsushi Kaga
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/

 


  • Big Bang, oil on linen, 40x50cm, 2017
  • Axaxaxas, oil on canvas, 40x40cm, 2017

18/05/17—20/05/17

Upward Behind the Onstreaming it Mooned*—Ruaidhri Kelly

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.

www.ruaidhrikelly.com

@ruaidhrik

 

*Jorge Luis Borges - translated from a language that doesn’t exist


  • Jasper Bastian from the Across the River series, 2013

04/05/17—14/05/17

Recount of Conflict–PhotoIreland

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.

PhotoIreland Festival 2017


  • Rot 'n' Mouth, 2017, mixed media, dimensions variable
  • The Last Piece, 2016, oil & acrylic on canvas, 30x20cm
  • Chattering Teeth, 2017, acrylic & ink on canvas, 50x40cm
  • The View of My Mouth, 2017, acrylic on canvas, 50x60cm
  • Chattering Teeth, 2017, acrylic & ink on canvas, 50x40cm
  • Baby Teeth, 2017, oil & acrylic on canvas, 40x40cm
  • Invasion, 2016, mixed media on canvas, 30x110cm
  • Crown(L) & Roots(R), each oil & acrylic on Canvas, 30x20cm
  • Scream, 2016, oil acrylic & ink on board, 125x88cm
  • Brace yourself, 2017, mixed media, 35x27cm (above), Rot'n'Mouth 2017, mixed media (below)
  • Ghost, 2017, acrylic on acrylic paper, 30x40cm
  • The Nightmare, 2017 oil & acrylic on canvas, 30x20cm (L) The Sleep of No Reasoning, 2017, 30x24cm(R)

27/04/17—29/04/17

Smile–Eve Woods

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

 

 

Bio

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.

evewoods.com |  eve_woods_art


13/04/17—22/04/17

Alien Architecture–Louis Haugh

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.


  • Rub the Sum
  • The Penny Pincher
  • The Journal of Time Well Spent

05/04/17—08/04/17

The Pinch—Sara French

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

www.sarafrench.net

 

Installation photos by Kate-Bowe O'Brien


30/03/17—01/04/17

Dos Amigos—Anna Bauer and Sven Sandberg

Preview: Wednesday 29th March, 6–8pm
Continues: Thursday March 30th — April 1st 2017, 12–6pm

'Dos Amigos' is a two-person exhibition of new paintings 
by recent NCAD MFA alumni Anna Bauer and Sven Sandberg.

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 


  • Untitled (on ultramarine) - acrylic on cotton - 60x80cm

23/03/17—25/03/17

Origins—recent works from Derick Smith

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.

dericksmith.ie


09/03/17—19/03/17

Jules Michael—Nimmo’s Pier

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.

www.julesmichael.com


15/02/17—04/03/17

Chanelle Walshe—Beatland

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 / chanellewalshe@gmail.com
 


  • Willie Doherty, Wasteland
  • Burn, Patrick Jolley and Reynold Reynolds
  • Dorothy Cross, Ghost Ship

25/11/16—21/01/17

Periodical Review 20/16—Selected by Brian Duggan, Sarah Glennie, Jenny Haughton & Declan Long

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: info@pallasprojects.org

Periodical Review 20/16 is an initiative of Pallas Projects, supported through funding from Dublin City Council


  • Image (QUENCH): Johnny David Wynne
  • Image (FORGE): Ciara Reid
  • Image (SPARK): Trudie Mitchell

03/11/16—19/11/16

in the making—IADT Degree year students

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).


28/10/16—28/10/16

Artist-Run Europe publication—available from The Library Project

Book now available at The Library Project
4 Temple Bar, Dublin 2

Artist-Run Europe: Practice/Projects/Spaces

Edited by Gavin Murphy & Mark Cullen
Published by Onomatopee, Eindhoven
Designed by WorkGroup, Dublin
208 pages, Swiss bound, Full colour

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

artist-run.eu


26/10/16—29/10/16

Gerry Davis—Studio

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.



13/10/16—21/10/16

Ann Marie Webb

Preview: Thursday 13th October, 6–8pm
Continues: Friday 14th October – Friday 21st October, 12–6pm


… there is no there there …

Gertrude Stein


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.


28/09/16—01/10/16

Jingze Du—Nostalgia, Waves

Opening reception: 6pm – 8pm Wednesday 28th September 2016 

28th September—1st October 2016


"Hope is a waking dream."
― Aristotle


'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.


05/10/16—08/10/16

Gráinne Tynan—Primitive Pathways

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).

Artist's website

This exhibition is funded by Fingal County Council Arts Office.


  • Gavin Wade, Screenprint, 2015
  • Alice Maher, The Shower of Hail Suit, 250-320 euro
  • Eva Rothschild, Classics, 330-440
  • Sean Lynch, Adventure Capital,, 900-1,200 euro
  • Brian Maguire, Police Juarez, 2,640-3,520 euro
  • Paddy Graham, Somewhere Jerusalem, 3,000-4,000 euro
  • Caroline McCarthy, Stroller, 1,920-2,560 euro
  • Ciaran Murphy, Deep Storage 2, 2,520-3,360 euro
  • Mark Garry, After Mahler Again and Again, 1,200-1,600 euro
  • Atsushi Kaga, Clery's clock and the homeless tiger Yasu, 1,200-1,600 euro
  • Sam Keogh, Untitled, 600-800 euro
  • Roxanna Manouchehri, From the gold land, 1,440-1,920 euro
  • Perry Ogden, Untitled, 720-960 euro

01/09/16—17/09/16

PP/S 20 Year Anniversary Benefit Auction—15 September 2016

*****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


17/08/16—27/08/16

Liz Nielsen & Max Warsh—Curated by Jessamyn Fiore

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.

Sirius Arts Centre

 

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

Biographies:

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.

Max Warsh website

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 

Image:
Max Warsh, Untitled (bridge), 2015, cut photographs on panel, 30"x40"
Liz Nielson, Light Totem, 2015, analog chromogenic photogram, 55"x30"


  • Gavin Murphy and Mark Cullen pictured with Brian Maguire and Chairperson Caroline Cowley

20/07/16—20/07/16

Pallas Projects/Studios Celebrate 20 Years of projects & events

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.


01/09/98—31/10/98

Underground Overground

September / October 1998

Artworks in the photo by Cormac Healy and Colin Hasset 


16/07/05—16/07/05

Offside Live—Dublin City Gallery The Hugh Lane

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:

3 Epkano

Anne Seagrave

Dancepig

Departure 247

Fergus Byrne

Hugh O'Neill and Tuula Voutilainen

James King

NCAD Choir

Ofcourseican Trio

Paul Murnaghan

Róisín and Michael

Sonic Membrance

The Sick and Indigent Song Club

United Bible Studies

Whistling Booger


01/01/02—01/01/02

Pallas Studios on Sheriff Street

In 2002 Pallas Studios vacated this temporary office building in Castleforbes Business Park


01/11/98—31/12/98

works-seth/tallentire — Trailer

November/December 1998

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.


25/04/01—25/04/01

Precinct Belfast

Opening 25th April 2001 at 5.30pm


01/11/03—01/11/03

Killinarden Short Shorts

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.

More Information


12 of the leading exponents of new Irish art exhibit at Root.


2nd March 6.00 at Root, Truman Brewery, 91 Brick Lane


Click
Nichola Coleman
Mark Cullen
Brian Duggan
Mark Garry
Katie Holten
Namara Lindsay
Sandra Meehan
Clive Murphy
Chris Neuman
Sylvia Shortall


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.


25/03/99—05/04/99

Pre-Millennium Tension (where’s my brief?)

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

 

Artists:

Katie Holten

Aoife Desmond

Alan Lambert

Orla Whelan

Owen Llewlyn

Dave Timmons

Cormac Healy

Gavin Corcoran

Clodagh Emoe

Sandra Meehan

Noel O'Callaghan

A.D.F (Amanda Coogan, Declan Rooney, Francis Duggan)

Gavin Murphy + Sinéad Burt O'Dea

Sarah Carroll

Deirdre McKenna

Brendan Grant

Declan Clarke

Mark Cullen

Brian Duggan

 

 


26/03/98—26/03/98

Xl(ent) Die? No! Migt*

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.


Precinct Artists:
Brendan Earley
Paul McKinley
Mark Garry
Maurice Galway
Fiona McDonald
Dave McGinn
Clive Murphy
Namara Lindsay
Anne Mulrooney
David O'Mara
Oliver Barret/Ailis Phelan
Joe Stanly
Cristophe Neumann
Anna Hill
Karl Burke
Dee Maguire
Diarmuid Crowley
Sally Anne Morgan
Des Kenny
Alison O'Flynn
John Langan
Catherine Lyons
Click
Yvonne McGuinness
Mark McLoughlan
Mark Cullen
Brian Duggan


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


11/02/06—26/03/06

By diverse means we arrive at the same end

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.

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'Siocháin 

Sally Timmons

Ivan Twohig


11/08/16—13/08/16

Marian Balfe—Appropriate Colours

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

 


10/05/16—12/05/16

Art in Solidarity—exhibition in aid of ‘The Jungle’ refugee camp, Calais

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.
https://calaisfieldmusic.bandcamp.com/

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.


15/06/16—25/06/16

TOGETHER/INDESCRIBABLE

Opening Wednesday 15th June, 6-8pm

Running 16th - 25th June 

 

TOGETHER/INDESCRIBABLE is an exhibition of work by Eveleen Murphy, Marilyn Gaffney and Elizabeth Lyne, and marks the first time that these three artists have shown together as a group.

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.

https://twitter.com/TogethrI?s=07

https://instagram.com/download/?r=3257959565

TOGETHER/INDESCRIBABLE  Is part funded by Cavan Arts Office 

Poster design by Deirdre Breen


  • Touring Rock Landscapes, paper cut out, paint on canvas 2016
  • Forest (Black Mountain College), Acyrlic oil paint, varnish, marker on canvas 2016
  • Hotel Blues (Music Video), acrylic gloss paint, glitter, Tipp-Ex on canvas, Pallas Projects, Dublin,

06/07/16—09/07/16

Mark Buckeridge—Touring Rock Landscapes

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.

artist's website


25/05/16—28/05/16

Andrew Hopkins—Confabulations of the Orient

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.

artist's website


10/02/06—26/03/06

By Diverse Means We Arrive at the Same End

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.


08/04/16—23/04/16

John Lalor—MOMENT OF SURRENDER

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
https://tribecafilm.com/filmguide/archive/53288c1fc07f5dd67200001f-incident-urbain


Tribeca press  - Interview IFQ

http://independentfilmquarterly.com/index.php?option=com_content&task=view&id=1136&Itemid=119

 

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

http://filmschoolrejects.com/features/12-best-shorts-tribeca-2014.php

 


  • Breaker, 2015 Oil, watercolour & pencil on assembled found paper. 30 x 60.5cm
  • Blind Mist, 2015 Oil & transparent paper on wood panel. 40 x 30cm
  • Halo, 2015 Oil & watercolour on assembled found paper. 60 x 62.5cm
  • Catch, 2015 Oil on wood panel. 40 x 50cm
  • Field Lung, 2016 Watercolour and pencil on assembled found paper. 40 x 52.5cm
  • Settle, 2016 Oil, watercolour and pencil on assembled found paper. 29 x 41cm
  • Stall, 2016 Oil, watercolour, tape and pencil on assembled found paper. 32 x 37cm
  • Encore, 2015 Watercolour & pencil on assembled found paper. 26.3 x 35cm

04/03/16—26/03/16

David Eager Maher—Paper Trees

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.


17/02/16—27/02/16

Sophie In Love—A solo exhibition by Bartosz Kolata

A solo exhibition by Bartosz Kolata

Preview 

6–8pm 17th February 2016

Gallery Hours

Thursday–Saturday, 12–6pm 

 

'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 

 

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.  

About Bartosz Kolata


11/12/15—16/01/16

Periodical Review #5—Pallas Projects & NCAD Gallery

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

Preview
6–8pm, Friday 11th December 2015

Gallery hours
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

NCAD Gallery

PP/S About

Periodical Review #5 is an initiative of Pallas Projects in collaboration with NCAD Gallery. Pallas Projects 2015 programme is supported by Dublin City Council


12/11/15—15/01/16

The Future is Self-Organised—Limerick City Gallery of Art

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

 


  • Image: Bassam Al-Sabah
  • Image: Nicole Burke

12/11/15—28/11/15

in the making—IADT Degree year students

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. [1] 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.

[1] 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).


  • 'Shake', 40 x 50 cm, oil on canvas

04/11/15—07/11/15

Lesley-Ann O’Connell—Surface in Motion

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.

Facebook Event


14/10/15—31/10/15

Gillian Lawler—eminent domain II

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.
               
Centralia

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

www.gillianlawler.org

Facebook event


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.


24/09/15—03/10/15

Sheenagh Geoghegan—Fieldwork in the Bedrock of Spaces

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.

Website


10/09/15—19/09/15

Diagrams—Exhibition, Talks & Symposium

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

Events

Symposium – 18 September 2015

A symposium of presentations by international visual cultures theorists. GradCAM, Dublin Institute of Technology, DIT Grangegorman Campus. Book here

Artists’ Bios


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.


  • Mappa di Florenzen. Acrylic, graphite, coloured pencil and gold leaf on poplar panels, 2015.
  • Mappa di Florenzen. Acrylic, graphite, coloured pencil and gold leaf on poplar panels, 2015.
  • Mappe e Manoscritti Contemporanei installation, 2015. Photo: Louis Haugh
  • Mappe e Manoscritti Contemporanei installation, 2015. Photo: Louis Haugh
  • Manoscritto - Sebastiano. Acrylic and graphite on poplar panel, 2014. Photo: Louis Haugh
  • Manoscritto - Sebastiano. Acrylic and graphite on poplar panel, 2014. Photo: Louis Haugh
  • Manoscritto - Roberto, detail. Acrylic and graphite on poplar panel, 2014. Photo: Louis Haugh
  • Manoscritto - Roberto, detail. Acrylic and graphite on poplar panel, 2014. Photo: Louis Haugh
  • Mappa di Florenzen, detail. Acrylic, graphite, coloured pencil and gold leaf on poplar panel, 2015. Photo: Louis Haugh
  • Mappa di Florenzen, detail. Acrylic, graphite, coloured pencil and gold leaf on poplar panel, 2015.
  • Mappa senza titolo, detail. Acrylic on poplar panel, 2015. Photo: Louis Haugh
  • Mappa senza titolo, detail. Acrylic on poplar panel, 2015. Photo: Louis Haugh
  • Disegno - Antonio B. Graphite and coloured pencil on trace paper, 2014. Photo: Louis Haugh
  • Disegno - Antonio B. Graphite and coloured pencil on trace paper, 2014. Photo: Louis Haugh

15/07/15—25/07/15

Alex Murphy — Mappe e Manoscritti Contemporanei

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.

Facebook event

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. 


  • Generator, installation, Sinead Cullen, 2015.
  • Generator, installation, Sinead Cullen, 2015.
  • Generator, drawing, Sinead Cullen, 2014.
  • Generator, drawing, Sinead Cullen, 2014.
  • Still image from Surface Tension, Sinead Cullen, 2014.
  • Still image from Surface Tension, Sinead Cullen, 2014.
  • Detail from Silence, Sinead Cullen, 2014.
  • Detail from Silence, Sinead Cullen, 2014.

24/06/15—04/07/15

Extended Run – Sinéad Cullen – I am nothing

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.


20/05/15—30/05/15

Glenn Fitzgerald – We Don’t Dream

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.


12/05/15—16/05/15

Haptic Press

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:

Jordan McQuaid
Mark O'Gorman
Stephen Bourke
Grace Kristensen
Zoe Sheehy
Chloe Nagle
Katie Waine
Jack Marmion
Jack Whycherly
Lorcan Murphy Gilligan
Fiachra Corr


22/04/15—25/04/15

Qualia Dublin—SPACE/s

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.

Facebook event

Qualia Dublin website


15/04/15—18/04/15

Joe Scullion & Sinead Onora Kennedy—Centre

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.


25/03/15—11/04/15

Niall de Buitléar—Beneath That Darkness There Was Another

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.


  • Three Lies by Aileen Murphy, 2014.

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.


  • Dragana Jurisic from the series 'YU: The Lost Country', 2013

13/02/15—14/03/15

Periodical Review #4—Ormston House, Limerick

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.

www.pallasprojects.org
www.ormstonhouse.com

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.


  • Bubble Swatch #1 by Aisling Ni Chlaonadh, acrylic on MDF, 2014.
  • Bubble Swatch #1 by Aisling Ni Chlaonadh, acrylic on MDF, 2014.
  • Unplanned (Detour) by John Busher, oil on canvas, 2014.
  • Unplanned (Detour) by John Busher, oil on canvas, 2014.

29/01/15—31/01/15

John Busher and Aisling Ní Chlaonadh—Transferrals

 

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.

http://www.johnbusher.ie
http://aislingnich.tumblr.com
https://www.facebook.com/events/427231370768690 (RSVP by joining the event)


  • Gillian Lawler, Eminent Domain 54, 2014–16
  • Niall deBuitlear, 'Untitled', 2014

27/05/16—31/07/16

Pallas Projects—Editions

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.

Editions #1
Niall deBuitlear 
‘Untitled’, 2014
Digital drawing
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
 

Editions #2
Gillian Lawler
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, Resurrection, 2013. Oil on board. (Detail from the painting).
  • Allyson Keehan, Black Satin in Blue Light Minimal Canvas, Oil on Linen, 2014
  • Caoimhe Kilfeather, Untitled, 2014. Slip cast ceramic tiles.
  • Orla Whelan, The world moves between us, oil on canvas, 160 x 130cm, 2013.
  • Shane Murphy, untiled, steel wire & acrylic paint, 30 x 30 x 30cm, 2014
  • Dragana Jurisic, Page 78, Vol. 2 - from the series YU: The Lost Country, 2013. C-print.
  • Anita Delaney, Sssss, 2014. Digital C-Type Print
  • Mark Garry, Winter Light, 2014, The Model, Sligo
  • Dragan Jurisic, The Map, Volume 1 - from the series YU: The Lost Country, 2013. C-print.
  • Resort A Popular Destination: Andreas Kindler Von Knoblach

05/12/14—17/01/15

Periodical Review #4

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.

Download info sheet with curator's texts
Download price list


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.

Curators:

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.


27/11/14—28/11/14

Atom Tick: An Experimental Comedy Show—James Moran and Stephane Bena Hanly

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.


12/11/14—22/11/14

Seamus O’Rourke—Dark Inventory

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.

Website