• Riki Matsuda, The Way the Wind Blows: You Give Up / I Give In, 2024. Installation view, Cork City Council / Cork Midsummer Festival. Photo: Jed Niezgoda
  • Riki Matsuda, The Way the Wind Blows: You Give Up / I Give In, 2024. Installation view, Cork City Co
  • Kathy Tynan, Aoife, 2024 Oil on canvas, 120 x 100cm. Image courtesy of the artist
  • Kathy Tynan, Aoife, 2024 Oil on canvas, 120 x 100cm. Image courtesy of the artist
  • Ceara Conway, Dhá Theamgach – Two Tongued, 2024. Video/Vocal performance, 9 minutes. Image courtesy of the Artist
  • Ceara Conway, Dhá Theamgach – Two Tongued, 2024. Video/Vocal performance, 9 minutes. Image courtesy
  • Frank Sweeney, Few Can See, 2023. Installation view, EVA International, Limerick. Photo: Jed Niezgoda
  • Frank Sweeney, Few Can See, 2023. Installation view, EVA International, Limerick. Photo: Jed Niezgod
  • Kian Benson Bailes, Cailleach boy i & Cailleach boy ii, 2023. Fabric, clay, nannys headscarves, steel, wire, plastic wrap, bells, insect repellent netting, carved wood, false eyelashes, sticks, crochet wool, woven fabric, thread, sticks. Image courtesy EV
  • Kian Benson Bailes, Cailleach boy i & Cailleach boy ii, 2023. Fabric, clay, nannys headscarves, stee
  • Shane Hynan, Aftermath of Bog Fire #1, near Mucklon, County Kildare, 2020. From the miniseries ‘Bealtaine’ within ‘Beneath | Beofhód’ (2018-2024). Image Courtesy of the artist
  • Shane Hynan, Aftermath of Bog Fire #1, near Mucklon, County Kildare, 2020. From the miniseries ‘Beal
  • Anne Tallentire (with Olga Balema) Vertices, curated by Mark O'Gorman, Installation view, The Mill, Lismore Castle Arts. Photo: Jed Niezgoda
  • Anne Tallentire (with Olga Balema) Vertices, curated by Mark O'Gorman, Installation view, The Mill,
  • Yvonne mc Guinness, WHAT’S LEFT US THEN, 2023. Commissioned as part of the Engaging with Architecture programme funded by the Arts Council. Image courtesy of the artist
  • Yvonne mc Guinness, WHAT’S LEFT US THEN, 2023. Commissioned as part of the Engaging with Architectur
  • Sarah Durcan, The Invisibles, 2023. Installation view, EVA International, Platform Commission. Photo: Ros Kavanagh
  • Sarah Durcan, The Invisibles, 2023. Installation view, EVA International, Platform Commission. Photo
  • Amanda Rice, The Flesh of Language, 2023. HD Video with sound, 16 Minutes. Image courtesy of the artist
  • Amanda Rice, The Flesh of Language, 2023. HD Video with sound, 16 Minutes. Image courtesy of the art
  • Farouk858, Bally (she sees Dublin), 2024. Live billboard project, Project Arts Centre. Image courtesy of the Artist
  • Farouk858, Bally (she sees Dublin), 2024. Live billboard project, Project Arts Centre. Image courtes
  • Pádraig Spillane, Appearances, 2024. Collages on Hahnemühle Photo Rag® Matt Baryta 308 gsm paper with steel, aluminium and acrylic. Installation view, Lavit Gallery. Photo: Roland Paschhoff
  • Pádraig Spillane, Appearances, 2024. Collages on Hahnemühle Photo Rag® Matt Baryta 308 gsm paper wi
  • NAMACO, Mega Dreoilin, 2024 Screen shot of 16-bit video game. Image courtesy of the artists
  • NAMACO, Mega Dreoilin, 2024 Screen shot of 16-bit video game. Image courtesy of the artists
  • Samir Mahmood, Temptation I, 2022. Acrylic paint and acrylic transfer on wood. Image courtesy of the artist
  • Samir Mahmood, Temptation I, 2022. Acrylic paint and acrylic transfer on wood. Image courtesy of the

06/12/24—25/01/25

Periodical Review 14—A Language to Shout In

Selected by Miguel Amado, Valeria Ceregini, Mark Cullen & Gavin Murphy

Basil Al-Rawi, Kian Benson Bailes, Ceara Conway, Sarah Durcan, Farouk858, Shane Hynan, Sarah Long, Samir Mahmood, Riki Matsuda, Yvonne McGuinness, NAMACO (Han Hogan and Donal Fullam), Yuri Pattison, Amanda Rice, Sonia Shiel, Laura Skehan, Pádraig Spillane, Frank Sweeney, Anne Tallentire, Kathy Tynan, Amna Walayat

Essay by Diana Bamimeke

Preview

6–8pm, Friday 6th December 2024

Gallery hours
12–6pm, Wednesday*–Saturday
7th December 2024 – 25th January 2025

Closed from 22nd December – reopens 8th January

Please note: Wednesdays are dedicated masked days, masks are available from gallery staff

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“The frontiers of a book are never clear-cut: beyond the title, the first lines, and the last full stop, beyond its internal configuration and its autonomous form, it is caught up in a system of references to other books, other texts, other sentences: it is a node within a network.”

– Michel Foucault
Chapter 1, ‘The Unities of Discourse’
The Archaeology of Knowledge, 1969


Periodical Review (2011–ongoing) is a long-running curatorial project which sets out to consider, revisit and review current movements within contemporary art practices from around Ireland. Intended as a space for critical appraisal and consolidation of ideas and knowledge, the aim through each subsequent edition is to facilitate and encourage new readings, collaboration, crossover and debate. Not a group exhibition per se, Periodical Review is a discursive action, with the gallery presented as a journal, a magazine-like layout of artworks in dialogue, the field talking to itself.

With each iteration PP/S invites two peers – curators, artists, writers, educators – to consider the artworks, exhibitions and projects they encounter over the course of a year and then nominate what was for them, significant practices, works, activity, moments, selected via an editorial process. Within this exhibition framework – a constantly shifting series of subjective viewpoints and positions (geographical, personal, political, institutional) – curatorial unity cannot be prescribed, threads or movements can only occur.

In looking at self-organised exhibitions, off-site, artist-led and independent projects, commercial galleries, museum shows, performances and publications, Periodical Review looks to present the complex and heterogeneous span of visual art in Ireland, creating dialogue and critical reflection amongst peers and between practices, to help develop and engage Irish contemporary art as a whole. In doing this, it can also act as an accessible survey of contemporary art, expanding access to and experience of new art practices from around Ireland to a wider audience.

In addition to curator’s texts which provide context for their selections, the exhibition is accompanied by an essay commissioned in collaboration with Paper Visual Art Journal. The PPS/PVA Visual Art Writing Commission is intended to further discourse on the contemporary moment in visual art in Ireland, while also building into a record of art practice, projects, and concepts over time.

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Events

Please see website and social media updates for information on events


School visits: A dedicated schools visit programme takes place during the run of the exhibition, covering both primary and secondary level. If your school would like to take part, or for more info, please contact: info@pallasprojects.org

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Selectors biographies

Miguel Amado is a curator and critic, and director of Sirius Arts Centre in Cobh, County Cork. His practice draws from critical theory towards examining social themes through a civic lens, and involves producing new work via collaborations with artists and communities. A through line of his undertakings involves exploring alternatives to ‘master’ aesthetic models and mainstream narratives dominated by art history and the art market, with a special focus on practices by subalternised artists, whether through class or identity. Amado’s career spans twenty-five years, and includes exhibition making, commissioning, collection development, public programming, editing and writing. He has held directorships and curatorial roles at Cork Printmakers; Middlesbrough Institute of Modern Art, England; Tate St Ives, England; Abrons Arts Center, New York; Rhizome at the New Museum, New York; Centro de Artes Visuais, Coimbra, Portugal; and the Portuguese Pavilion at the 2013 Venice Biennale. He holds an MA in curating from the Royal College of Art, London.


Valeria Ceregini is an Italian Irish-based art historian and visual arts curator. Her work is dedicated to supporting and championing Irish artists, and she has curated numerous national and international premieres. She produces collaborative sociocultural projects with a curatorial interest in ecology, post-humanism, and trans-cultural dialogues. Her curatorial practice spans collaborations with leading international institutions, artists, and cultural organisations through exhibitions, publications, workshops, and talks. Some of her most recent projects include curating How It’s Made, an eco-festival in Balbriggan, Co. Dublin (Sept 2023); Living through Paint(ing), a solo show by Richard Gorman at Hugh Lane Gallery, Dublin (March-Aug 2023) and Museums of Genoa (Italy, Jan-June 2024); The Symphony of the Nowhere Belly - Prototypes for Cyborgs by Mark Cullen at Culterim Galerie, Berlin, as part of Zeitgeist Irland24; and Towards Super-Connection at the Museum of Contemporary Art of Villa Croce, Genoa (Jan-March 2022).