Projects

When Dealers Are Shamans is a video installation which arose out of collecting discarded medication trays whilst walking around Dublin city. Part of our 2018 Artist-Initiated Projects programme.

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.Part of our 2018 Artist-Initiated Projects programme.

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. Part of our 2018 Artist-Initiated Projects programme.

AIP/Pages is a dedicated Artist-Initiated Projects resource – a newly commissioned series of online, interactive artists pages.

In Beyond the Sandy Suburbs 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. Part of our 2018 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. Part of our 2018 Artist-Initiated Projects programme.

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. Part of our 2018 Artist-Initiated Projects programme.

Robert Dunne finds materials and ideas for his work in everyday situations. The visual and physical memory of his environment influences everything he makes. Part of our 2018 Artist-Initiated Projects programme.

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.

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.

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). Part of our 2018 Artist-Initiated Projects programme.

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. Part of our 2018 Artist-Initiated Projects programme.