Kennedy Browne (IE), John Lalor (IE/FR), Pat Foster & Jen Berean (AU), Fiona Whitty (IE), Ruth Proctor (GB), Hito Steyerl (DE), Brian Duggan (IE), Gavin Murphy (IE), Mark Cullen (IE), Fiona Chambers (GB/IE)
Documentation and ephemera from various exhibitions and artists including: Garrett Phelan (IE), Mark Titchner (GB), Clive Murphy (IE/US), Will Cruickshank (GB), and featuring the projects: Automatic, Pallas Heights, Offside, By Diverse Means We Arrive At The Same End
We are never at home addresses the structural, formal, discursive and metaphysical contexts of the ongoing Pallas project via a two-way temporal engagement with our future, present, and past programming. This curated exhibition within an exhibition addresses the politics of providing space for artistic production and exhibition, and the role of the artist as a constant agent of discourse and transformation.
The realities of providing a constant space for artistic production and exhibition in Dublin, (with the backdrop of largely an unwillingness of private and public developers to allow for the provision of a long-term cultural aspect to the regeneration of city centre areas throughout the boom years), has seen Pallas searching, inhabiting, and fighting to maintain as many as eight semi-permanent locations over a fourteen year period, and many more temporary offsite exhibition/project scenarios. Despite untold (!) disruption (!) and upheaval (!) a stubborn willingness to adapt and transform has enabled the project to both maintain and change, providing a fluid continuity within a difficult context, and a platform for Irish and international artists to develop discourse, links and exchanges.
For Dorm, the politics of space are entwined with a survey of some of the practices developed upon this floating platform, expressing a dialogical image of the Pallas project. Reconfiguring publications as artworks, artworks as documentation, ephemera as texts, with details of previous installations conjoining both link and remove. This anti-archive will present an ‘ethic of the essential’, a flashlight picking out a dialogical pattern from a mobile idea of a continuously transforming praxis.
Dorm featured twenty-two international artist collectives transforming the building into an unprecedented, all-encompassing art project. The exhibition included installations referencing pagan traditions; projects involving political activism; a collaborative photo project with the local military; complex video projections; participatory projects that involve the public, local government and cats; sculpture that confronts audiences with international issues; collaborations between Irish and Northern Irish artists.