Give up the Ghost
Lorraine Brannigan, Shannon Flaherty, Emma Hogan, Jack Nyhan, Martina McDonald, Siobhan Mooney, Niamh Moriarty and Ruth Clinton
19/01/12—28/01/12
Preview 6pm – 8pm Wednesday 18th January 2012
‘…the present is indefinite… the future has no reality other than as a present hope, the past has no reality other than as a present memory’. (Borges, J.L., 1961, Tlön, Uqbar, Orbis Tertius.)
Give up the Ghost incorporates new and reconfigured work, writing and research by Lorraine Brannigan, Shannon Flaherty, Emma Hogan, Jack Nyhan, Martina McDonald, Siobhán Mooney, Niamh Moriarty and Ruth Clinton. The exhibition is informed by a variety of conjectures on the nature of time. The selected work is realised through a variety of media and addresses the idea of progression by placing emphasis on temporality, precarity, nostalgia and impermanence.
In Give up the Ghost, sculptural works emulate a skewed house of cards, alongside protuberances of polyurethane foam, next to performative photographic collage. Other photographic assemblages connect the Brussels Metro and the Burren in a still life-like-montage, and text pieces reflect on photography and the aesthetics of decline. Elsewhere, hand-made eagles are flung off a cliff in the reenactment of a recent conservation effort, while a series of paintings refer to lost photographs and discarded family albums.
The exhibition is a unique pedagogical component of the Pallas Projects Intern Programme, in which participants are able to test and utilise real world development in their particular area be it as an art-maker, writer, curator or co-ordinator.
Pallas Projects/Studios are opening a large new studio space in The Coombe, February 2012. We are currently advertising for expressions of interest for these spaces. The space is a converted school building located at the bottom of Francis Street, Dublin 8, just minutes walk from NCAD, Christchurch and the city centre.
These well-proportioned, affordable studio spaces are available to all Dublin based artists, working in contemporary visual arts. They feature: 24 hour access, off-street location, secure and alarmed, large sash windows with excellent natural light in all studios, wired high-speed broadband, kitchen facilities, new wiring, heating and lighting system, in a variety of generous sizes, from 18 square metres and just €195 per month.
All studio members can also avail of a webpage on the Pallas Projects website, which also hosts current and archived info on our internationally recognised exhibition programme.
How to apply:
Please email to info@pallasprojects.org using the subject line: Expression of interest and include your full name, contact phone, your CV, a 1-page statement/bio, with a maximum of 6 images in PDF or word document format.
Pallas Periodical Review
Selected by Ruth Carroll, Carl Giffney, Mark Cullen & Gavin Murphy
19/11/11—17/12/11
Preview 7pm – 9pm Friday 18th November 2011
David Beattie, Morton Feldman, Bea McMahon, Seán Shanahan, John Smith, Mark Clare, Maeve Curtis, Gillan Lawler, Aidan Lynam, Fergal McCarthy, Not Abel, Cecily Brennan, Carol Anne Connolly, Emma Houlihan, Andreas Von Knobloch, Nevin Lahart, Joseph Coveney, Michelle Considine, Barbara Knezevic, Colm Mac Athlaoich, Maggie Madden
An artwork, like a book is not made up of individual words on a page (or images on a screen), each of which with a meaning, but is instead “caught up in a system of references to other books, other texts, other sentences.” Michel Foucault, The Archaeology of Knowledge
Pallas Periodical Review is not a group exhibition per se, it is a discursive action, with the gallery as a magazine-like layout of images that speak (The field talking to itself). An exhibition as resource, in which we invite agents within the field to engage with what were for them significant moments, practices, works, activity, objects, nodes within the network.
To coincide with our new gallery space, refinement of our name and identity, and highlighting our dual role as a programming and resource organisation, Pallas Projects/Studios presents Pallas Periodical Review – a unique, yearly survey of Irish contemporary art practices. Structured as an editorial review with a critical and discursive position, it will look at commercial gallery shows, museum exhibitions, artist-led and independent projects, publishing, and curatorial practices.
The format has PP/S invite two peers – artists, writers, educators, curators – at the beginning of each year to review and subsequently nominate a number of art practices, which at the end of that year will be selected via an editorial meeting. Such a review-type exhibition within Irish art practice will act to revisit, be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art.
Additionally, Pallas Periodical Review has a fundraising element, with the works, or associated publications, editions etc. available to purchase during the course of the exhibition. All proceeds of which to go towards the 2012 exhibition programme.
Image: still from John Smith (with Graeme Miller), Lost Sound, 1998–2001, 28 mins, 15 secs.
Please download Info-Sheet for curators’ bios. An expanded info sheet with curators’ notes will accompany the exhibition.
08/10/11—12/11/11
Preview 7pm – 9pm Friday 7th October 2011
Pallas Projects presents this brief visual pattern new work by Berlin-based artist Ciarán Walsh.
In the video work It’s Just a Shadow Away two actors sit in a production studio, re-performing the original Russian dialogue (a language in which they have no knowledge) of two short sections of the 1972 film Solaris. Caught in the looped repetition of this projection, they struggle against the limits of this alien language, and this fragmented staging, in the attempt to create meaning and emotional verisimilitude. The characters they work to bring briefly to life – ghosts that inhabit only the space of the screen – argue over their memories, their clouded past and their lack of Being.
In an adjacent room, an assemblage composed by a sculpture, an archival photograph and several watercolour pictures – fragments of the artist’s ongoing visual and textual research – reflect the artist’s interaction with found images and short fragments of text, drawing on historical imagery and science-fiction film to consider both physical immediacy and gestures that promise transcendental agency.
Curators note: Each exhibition at Pallas Projects will be forwarded by an artwork element, or text, by or about the artist. In this instance we are presenting a PDF version of the accompanying publication no one can arrive in the past before they depart from the future, edited correspondence between Ciarán Walsh, Padraic E. Moore and Friedrich von Bose. Also a sequence of still images from his new work It’s Just a Shadow Away, selected by the artist.
Ciarán Walsh, born in Ireland (1980), completed a MA in Art in the Contemporary World at NCAD in 2007 and currently lives and works in Berlin. He has developed a research-based practice – encompassing sculpture, installation, video and works on paper – that draws heavily on historical sources, science-fiction and marginal knowledge to consider the problematic agency of subjectivity, fakery and performance. He showed recently at a range of solo and group exhibitions throughout Ireland including FOUR Gallery, Mother’s Tankstation, Project Arts Centre, Kilkenny Arts Week, Galway Arts Centre and VISUAL Carlow. In addition, he co-curates the artist’s publications project, The Reading Room (Berlin).
For more information please download the following:
Finnisage, performance by Lee Welch – 6:00 PM Friday 30th September, exhibition ends Saturday 1st October
Lee Welch will give a short performance in which he speaks through the words, images and actions of others. This ventriloquist position adopted by Welch is clearly situated in the present but composed completely from fragments and voices from the past, yet it is not historicizing. His sources become letters, signs and symbols in a new language which traverses or shortcuts multiple histories.
Places limited please contact the gallery.
02/09/11—01/10/11
Preview 7pm – 9pm Friday 2nd September 2011
Brian Dillon (IE/GB), Gardar Eide Einarsson (NO/US), Martin Healy (IE), Kate Murphy (AU), Kiron Robinson (AU), Lee Welch (IE/US)
‘Relegated to the secret, private space of the home or the anonymity of the hospital, death no longer makes any sign’ – Philippe Ariès, The Hour of Our Death
Seen as an event of human life, death can be regarded from an ontological outlook – as at the very core of being – rather than as a metaphysical deferred reality. Here’s the Tender Coming (WHOOPEE) We’re all Going to Die plays out a dialogue concerning the reclamation of death within the condition of life, a space where finitude is integral, death is never far from the mind of the artist, and present on the surface, just underneath, or within the text of their work.
The exhibition aims to interrupt the disjunction of life and death in contemporary Western society, operating via narrative, anecdotal, philosophical, symbolic, phenomenological, performative and intertextual means; it features video works – Kiron Robinson’s On Photography and Death and Kate Murphy’s Cry me a Future; a Gardar Eide Einarsson ‘flag’ work; a text piece by writer and critic Brian Dillon; a temporal performance/installation by Lee Welch; and a new work by Martin Healy.
Curator’s note: Each exhibition at Pallas Projects is forwarded by an artwork element, or text, by or about the artist. In this instance we are presenting a PDF artwork by Lee Welch.
Lee Welch Feeling as a Metaphor
Finnisage:
Lee Welch will give a short performance to invited guests in which he speaks through the words, images and actions of others. This ventriloquist position adopted by Welch is clearly situated in the present but composed completely from fragments and voices from the past, yet it is not historicizing. His sources become letters, signs and symbols in a new language which traverses or shortcuts multiple histories.
Pallas Projects Summer Programme
Pallas Projects hosts a series of 5 artist-initiated projects, selected via competitive process, as part of the Pallas Projects Summer Programme. Participants have the opportunity to experiment with presenting their work in the context of an established gallery space with a dedicated tradition towards do-it-yourself initiatives and the professional development of emerging artists. Exhibitions will open every fortnight beginning on Friday 17th June.
Full listings:
June 18th – 25th: Hell’s Microwave – Darren Barrett, John Byrne, Andrew Carson, Aoife Cassidy, Garrett Cormican, Orla Gilheany, Ian Slattery
July 1st – 9th: Judy Carroll Deeley – Pockets of Enchantment
July 15th – 23rd: Fiona Reilly Trace
July 29th – August 6th: Helen Horgan The Horse’s Mouths
Angela McDonagh Small Ways of Observing, Multiple Possibilities
August 12th – 20th: Fiona Galvin Delaney Sew Much Time
06/05/11–04/06/11
Preview: 7pm – 9pm Friday 6th May 2011
Workshops, archives, white-boards and stenographers. The documents, objects, and images (moving and still) in Alex Martinis Roe’s exhibitions are dependent on the artwork’s interlocutors (workshop participants and exhibition viewers), whose specific encounters with her (frame)works are recorded without attempting to transparently communicate the content of that experience/activity. The artist employs and facilitates the act of writing to engage thoughts and fantasies that are embedded within the human unconscious through interactive, performative sessions. In her practice, discussions become – via the coded products of a stenographer’s hand – abstract data banks hung on the gallery wall; while participants write upon white-boards with white chalk, the next written layer overwriting the last, accumulations of dust gathering beneath the writers’ feet.
Martinis Roe’s practice is concerned with the performative efficacy of art and facilitating feminist relations both within the art encounter and its historicization. Her assertion – that the effect of conventional spatio-temporal orientations between not only speakers and listeners, but also writers and readers/artworks and audiences is in need of analysis – is informed by textual and personal encounters with Belgian feminist philosopher and psychoanalyst Luce Irigaray. Starting from communications between the artist and Irigaray, Martinis Roe has developed an expansive project that features pre-recorded Skype conversations between academics, a workshop facilitated by Dublin City Gallery The Hugh Lane, a box-file entry into the library of Dublin’s Goethe Institut, a publication and an exhibition at Pallas Projects.
Search the Goethe Institut catalogue
For more information please download the following:
The gallery will be closed today, Good Friday and will reopen tomorrow for the final day of Toine Horvers – Copying as a ritual act.
09/04/11–15/05/11
Martin Healy – Facsimile
Martin Healy Facsimile, curated by Pallas Projects, is the first of a series of projects at Lismore Castle Arts: St Carthage Hall, a new off-site project space programmed by Lismore Castle Arts, Co. Waterford. A parallel programme of exhibitions curated by invited artists/artists led galleries will run alongside the main exhibition programme at Lismore Castle Arts. Facsimile coincides with ‘Still Life’ curated by Polly Staple.
Facsimile (2008) is single projection HD film and comprises of a sequence of shots across lush tropical foliage. A soundtrack with birdcalls creates the impression that the scenes represent a verdant rainforest, yet an unnatural stillness pervades, coupled with an absence of any sign of animal life.
Healy is to exhibit new work with Pallas Projects later this year, in the group exhibition Here’s the Tender Coming (Whoopee) We’re All Going to Die.
Lismore Castle Arts: St Carthage Hall is open Saturdays and Sundays 2pm-5pm (and at other times by appointment). Admission is free. Image courtesy the artist and Rubicon Gallery.