BBQ, refreshments & BYOB
Fine beers by Against the Grain
Kids free/welcome until 9pm*

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*Parents and children are encouraged to come and support from 6.30–9pm. Kids come free! w/ hot-dogs included

Pallas Projects/Studios
115–117 The Coombe, Dublin 8
We are located in a former school at the bottom of Francis Street, 5 mins from Georges Street, NCAD & Christchurch

MAP:
https://maps.google.ie/maps/ms?msid=209306079278856211248.0004bc623ce30a87d3a0d&msa=0

Nicki Wynnychuk – Conversations in:

Preview 6 – 8pm Thursday 17th May 2012

Conversations in: is an ongoing project that considers the relationship between image & object within the dilemma of a contemporary art practice. Conversations in: (Dublin) is the third chapter in the series following on from Conversations in: (Sydney) 2011 & Conversations in: (Melbourne) 2010. Wynnychuk’s practice is based on the recuperation and transformation of found, familiar and banal objects. The intent is to convert, translate and reassemble the material so that it is imbued with a precarious new energy. The conceptual framework continues a sustained investigation into the theorist Herfried Munkler’s concept of a post-heroic society.

Continuing on from Robert Frank’s video Conversations in Vermont (where Frank invites his children who are literally in the images to discuss the meaning of these now famous photographs), the ambition is to examine and recompose photographic documentation to make new work. Photographs and photograms are included and contextualized within the structure of the total artwork.

The objects that are reconsidered in this variation are woven bamboo walls. Wynnychuk has spent the last ten months in Papua New Guinea working as an independent volunteer in the small rural village of Mewok. On arrival, there was no appropriate accommodation so a traditional bush-material house was built; the bamboo walls in Conversations in: are walls of this house.

Recent solo exhibitions by Wynnychuk have been held at The Australian Experimental Art Foundation, Adelaide; GRANTPIRRIE, Sydney; Conical, Melbourne; Gertrude Contemporary, Melbourne; The Narrows, Melbourne; West Space, Melbourne; and High Street Project in Christchurch. Recent group exhibitions include: The Barber Shop, Lisbon: Waikato Museum, Hamilton: The Dowse Museum, Wellington; Margaret Lawrence Gallery, University of Melbourne; and The 4th Amsterdam Biennale.

Melbourne based artist Nicki Wynnychuck is currently a resident artist at Fire Station Artists’ Studios. Since 2008 Fire Station Artists Studios and Gertrude Contemporary, Melbourne, have been running an artist exchange programme that sees an Irish artist awarded a studio in Gertrude Contemporary, and on alternate years Fire Station reciprocates for a Gertrude artist with the additional opportunity of an exhibition and curatorial support from Pallas Projects/Studios. Past Fire Station award winners are Jesse Jones (2009) and Rhona Byrne and Mark Garry (2011). This exchange programme will come to an end in 2013 with the last Irish artist traveling to Melbourne.

Listings Information:
Preview: 6 – 8pm Thursday 17th May 2012
Dates: 18th May – 30th June 2012
Venue: The LAB, Foley Street, Dublin 1
Days: Monday – Saturday, 10 – 5pm

An artists’ talk, conducted between Nicki Wynnychuk and curator Gavin Murphy, will take place in The LAB at 1pm on Thursday 24th May. The artist will discuss his residency, his work, and his recent experiences in Papua New Guinea. Booking advised – register

The LAB

Fire Station Artists’ Studios

Gertrude Contemporary

Alex Martinis Roe’s series Genealogies; Frameworks for Exchange – first developed for her show at Pallas Projects – is to feature in the exhibition ‘Post-planning’ at The Ian Potter Museum of Art, Melbourne, and concurrently for the solo exhibition Collective Biographies at Bibiliothekswohnung, Berlin. The works attend to Martinis Roe’s concerns 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.

Curated by Bala Starr, ‘Post-planning’ refers to the unplannable, to doing away with preconceived ideas and starting something before you know where it finishes. The term comes from architecture and urbanism, but has more recently been used as an idea within curatorial practice. Hybrid terms like this suggest a way of crossing between disciplines, between straight lines.

Collective Biographies, curated by Anna-Catharina Gebbers, presents works from her recent projects including Genealogies; Frameworks for Exchange (2011 and ongoing), which looks at female authorial genealogies and ways to reimagine the future of feminism by acknowledging and engaging with its history. One part of this project has been to facilitate conversations between different generations of female, feminist and feminine cultural producers.

The Ian Potter Museum of Art

Anna-Catharina Gebbers | Bibliothekswohnung

The 2012 application is open until 16 April 2012 – Apply online here

Pallas Projects are one of 50 Partner Platforms representing more than 38 countries who are supporting the application process and the Prize in 2012. The Future Generation Art Prize has extended its global network and range to involve artists from different regions around the world, especially reaching growing regions such as South America, Australia, Africa and Oceania.

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.

Info Sheet-7

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.

MAP

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.

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:

PP Info-Sheet 5

It’s Just a Shadow Away (Stills)

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.