Projects

The work is autobiographical, grounding personal histories of chronic illnesses within a broader Irish historical framework and offering arthritis as an extended metaphor for capitalism’s extractive growth model. Corporeal immobility mirrors economic stagnation, as a generation reaches adulthood in a nation shaped by austerity politics while bodily instability and flare-ups reflect wider economic instability. 

Building on Marron’s long standing engagement with communications and internet infrastructure, this exhibition brings together new artworks that collectively address the material, social and relational underpinnings of such systems.

Pallas Projects/Studios are delighted to announce the participating artists in our Arts Council funded programme of Artist-Initiated Projects 2026.

In this exhibition, Paddy reflects on recent explorations within his work. This exhibition brings together work that reacts to his lived experience of contemporary folk culture in Ireland, along with references to his work as a painter and decorator.

In Aer Milam Caroline's sculptural and video works link dream and death practices, commercial flying, and queer feminist electronics in an act of technocratic resistance.

Quasi-Autonomous Stitch, takes its name from a sewing procedure devised as a method of overwriting and absorbing images and surfaces. The works here are restless, shifting between seams, carbon traces, labels, blueprints, photographs, and logbooks. At stake are languages of construction, obsolescence, staging, and transmission—creased, overwritten, redacted, repaired, forced into proximity.

Syjuco’s installation of hand-made sculptures is based on a shared database of “artworks” created by users of SketchUp, a 3-D modelling software made by Google.

Hito Steyerl’s 2007 film Lovely Andrea follows the artist as she returns to Japan, where she briefly worked in the 80s as a bondage model under the assumed name Andrea, to search for a photograph of herself. In Resonating Surfaces Manon de Boer recorded and transcribed memories of São Paulo from people who grew up in São Paulo and now live in Europe.

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.

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.