Projects

What does matter?, in times of flux what is fixed? what is important and what is not? what to focus on and what to ignore? are we lost or are we found? Pallas Contemporary Projects is delighted to present new and recent work from 6 artists specifically selected for SUB:URBAN Rotterdam.

In the spirit of absurd theatre, Situation continues O’Kennedy’s grappling with tensions resulting from struggle, striving and purposefulness in the face of a seemingly absurd and random world.

Where the map of this world ends, that’s where the map of Timbuktu begins…” This curated exhibition will feature a selection of sought-after artists from Ireland and beyond.

I Live in the Cracks in the Walls featured a constructed corridor 50ft x 2.5ft x 7ft, a constructed room 8ft x 8ft x 7ft with ornately designed wallpaper, a myriad of dressmaking pins map the wallpaper in patches forming dense 3D structures of the 2D design.

Arise! ye starvelings… is the opening line of the rallying song the Internationale, the anthem used as an expression of allegiance to revolutionary ideals. The appropriation and re-contextualising of revolutionary and political imagery and ideas is a tactic used by artists to comment on the present geopolitical climate, creating a link between the past and the present.

Emerging art collective, Pallasades, present their first collaborative project; a site-specific installation that combines light with structure and shape, directing human responses to spatial presence.

O’Brien looks to the work of Romantic painters, namely Caspar David Friedrich and W.M Turner: “the non-scientific nature of their work is relevant to me, when challenging the depiction of things quite… scientific”.

Lalor’s work contains video, installation, poster/text, maquette building, and painting in multiples (the democratic paintings series), which reveal a linear landscape to the expense of the singular image.

Wheelbarrow Piano is the first exhibition of work by UK artist Will Cruickshank in Ireland. Cruickshank’s practice involves finding ways of passing time, which moves between a kind of play or hobby and a more serious endeavour.

Questioning accepted patterns in society and physical day-to-day experience, these artists unpack and rework reality. Always in transit, moving and questioning our assumptions, the artists ask how tenable the rules are and what indeed these rules are?

The exhibition Thirty Two Thousand Years Later involves a considered selection of artists who experiment with conventions of painting from diverse starting points.

 The work in this exhibition is derived from sources that include a 1977 Hollywood film; a fragment of a script from TV show Dallas (1987); an advertising jingle Bringing Home the Oil – promoting the Gulf Oil company based in Bantry Bay (1969), and a Dáil debate (1985, after the Betelgeuse disaster).