Archives for Broadstone Studios Archive 1997-2015

Isabel Nolan: Bent Knees are a Give – Kerlin Gallery Dublin, 1 April – 16 May 2015

Image: Isabel Nolan, Hungry and Thirsty. Sorry and Angry. A flag for John Donne. (detail), 2015, cotton and powder coated mild steel flag pole, dimensions variable, courtesy of the artist and Kerlin Gallery Dublin
























Isabel Nolan

Bent Knees are a Give


Kerlin Gallery

Anne’s Lane

South Anne Street

Dublin 2



1 April – 16 May 2015

Preview 31 March 2015, 6 – 8pm



In this body of work, Isabel Nolan explores the anxieties implicit in the quest for power. Drawing upon eclectic research, Nolan’s practice incorporates sculpture, photography, painting and text-based work.


A central motif in the exhibition is the funerary sculpture of the poet and cleric John Donne (1572-1631). Based on a study made in the final weeks of Donne’s life,where he staged his own resurrection, he appears to be joyfully accepting of his imminent death. Donne’s unperturbed countenance is  perhaps belied by the gentle bends in his knees which interrupt the otherwise inviolate, erect statue.


The gentle bends in Donne’s knees are echoed and amplified in a series of violently bent flag poles flanking the gallery space. Their banners hang unceremoniously in various states of distress and dishevelment. Nearby, a golden yellow lion offers its paw, punctured by a bronze thorn, awaiting assistance from some surrogate St. Jerome.


Bends reveal doubt, signal distress, admit failure – it is the bend that offers us a way into thinking about and against systems that rely on perfection.Pinpointing the weak points in these traditional motifs of power and imperial strength, Nolan exposes the ultimate ineffectuality of concrete objects in the face of time. Donne’s attempt to assert his future existence serves rather to crystallise the transience of his existence, ultimately revealing his vulnerability.


Isabel Nolan’s recent solo shows include Irish Museum of Modern Art, Dublin (2014); Sean Kelly Gallery, New York ( 2014 ); Musée d’art moderne de Saint Etienne, France (2012); the Return Gallery, Goethe Institute, Dublin (2012); and The Model, Sligo (2011). Other solo shows include Goethe Institute (2003); Project Arts Centre (2005); Gallery 2, Douglas Hyde Gallery, (2008) all in Dublin; Artspace, New Zealand (2008); In the Studio, as part of Glasgow International (2006). She represented Ireland at the 2005 Venice Biennale in a group exhibition, ‘Ireland at Venice 2005’. Nolan recently showed in The Black Moon, curated by Sinziana Ravini in Palais de Tokyo, Paris (2013). Forthcoming solo exhibitions include Mercer Union, Toronto in 2015, and CAG, Vancouver in 2016.


Sofie Loscher, Niamh O’Doherty: Intelligent Machinery – Farmleigh Gallery, Dublin, 3 April – 31 May, 2015















Intelligent Machinery

Sofie Loscher | Jonathan Mayhew | Niamh O’Doherty

Farmleigh Gallery, Dublin


Exhibition Dates: April 3rd–May 31st


Preview: Thursday, April 2nd (6.30-8.30pm).


The exhibition will be opened by an introduction to the works by Curator Hilary Murray and finish with a DJ set by Keep Schtum.


“A polarity is presently developing between the finite, unique work of high art, that is, painting or sculpture, and conceptions that can loosely be termed unobjects, these being either environments or artifacts that resist prevailing critical analysis. This includes works by some primary sculptors (though some may reject the charge of creating environments), some gallery kinetic and luminous art, some outdoor works, happenings, and mixed media presentations. Looming below the surface of this dichotomy is a sense of radical evolution that seems to run counter to the waning revolution of abstract and nonobjective art. The evolution embraces a series of absolutely logical and incremental changes.” (1)


The exhibition ‘Intelligent Machinery’ explores ideas that inform artificial intelligence, pattern recognition (in neural networks), complex networks, coding, and how these factors have been used in seminal moments in our history. The classical grid of Art History has given way to the ‘system’, and modern forms of invention have to deal with a norm composed of complex inputs often concerned with redaction, obfuscation and reflection. Art that is made up of unitary incremental actions, reflects an innate logicism that is greater than the individual; each unit and each work, creating a full mechanism for that place and time of exhibition. “To understand art as software is to understand it in terms of codes and information rather than in material or medium-specific terms (2)”. A contemporary art-tech revolution now sees works created that play on this lack of transparency in collective agenda, ascribing a new form of mechanical perception within the confusion of digital avatars.


Sofie Loscher (b. 1987) lives and works in Dublin. She holds an MFA in Sculpture from NCAD and a BA in Visual Arts Practice from IADT. Recent exhibitions include Neutral: Tulca Festival of Visual Arts, Galway (2014); EVA International, Limerick (2014) and Periodical Review #4, Pallas Projects/Studios, Dublin (2014).


Jonathan Mayhew (b. 1981) is currently based in Paris. He holds an MFA and BA in Painting from NCAD. Recent exhibitions include Elefants, The Joinery, Dublin (2014); Housing a Pig, Flood, Dublin (2013) and (((O))), Clonlea Studios, Dublin (2013).


Niamh O’Doherty (b. 1988) is a visual artist based in Dublin. O’Doherty graduated from Fine art at Chelsea College of Art and Design in 2010 and an MA in Art in the Contemporary World, NCAD in 2013. She was recently awarded a grant from She was selected to exhibited at Kilruddery House, Co. Wicklow (2013) and a had a solo exhibition at Broadstone Studios (2014) and has previously shown in London at the Wayward Gallery (2010) and at Slade School of Art (2011).


1. Jack Burnham (1968) Systems Esthetics.

2. Francis Halsall, (2008) ‘Systems Aesthetics and the system as media’ taken from Francis Halsall, Systems of Art, (Peter Lang, 2008).


This exhibition is curated by Dr. Hilary Murray, Director of ArtBox for Farmleigh Gallery. This exhibition is part of the ArtBox Projects initiative.



For further information:




Isabel Nolan: Kerlin Gallery at Art Basel Hong Kong, 13 – 17 March 2015


Image: Isabel Nolan In advance for us no world 2014 watercolour and water-based oil on canvas 60 x 70 cm / 23.6 x 27.6 in, courtesy of the artist and Kerlin Gallery Dublin



















Kerlin Gallery at Art Basel Hong Kong, 2015

Level 3, Hall 3C, Booth 19

Hong Kong Convention and Exhibition Center


13 – 17 March 2015

Preview by invitation, Friday 13th March 2015



Liam Gillick, Siobhán Hapaska, Callum Innes, Brian Maguire, Isabel Nolan,

Paul Seawright, Paul Winstanley



Isabel Nolan’s major exhibition at Irish Museum of Modern Art, which travels to Mercer Union, Toronto (2015) and The New Art Gallery Vancouver (2016), captured through the startling objects of her art – sculpture, carpets, stained glass, paintings, animation and published texts – an intensive exploration into cosmological, botanical phenomena, and literary and historical texts. At Art Basel Hong Kong, her large-scale, hand-tufted wool piece The emptied room: A rug for the 20th Century, 2014, will accompany new paintings by the artist and is one of only three carpet works made by Nolan to date. Recent solo shows include Sean Kelly Gallery, New York (2014); and Musée d’Art Moderne de Saint Etienne, France (2012). She was one of a group of artists to represent Ireland at the 2005 Venice Biennale.



For further information:

Broadstone Studios Facebook






Niamh McCann: PANORAMA – Pallas Projects/ Studios Dublin, 11-15 March 2015

Image: Niamh McCann 'Splice 6 (Ooing the Chimera decode)'. Materials; acrylic paint, pencil, photorag print, 2011 courtesy of the artist



















Pallas Projects/Studios

115-117, The Coombe,

Dublin 8


11 – 15 March 2015

Preview Wednesday 11 March ’15

Artist talk Friday 13th of March at 6pm


Panorama is a group exhibition which brings together the paintings of thirteen women artists who are affiliated with Dublin. The exhibition offers an acknowledgment of the variety and wealth of painting being produced by these artists.

Panorama has been initiated in a spirit of celebration and support, featuring work by artists who are at varying stages of their careers. Each participant has a unique approach to painting as process and medium. Style and subject matter range from real and imagined landscapes to dreams and memory, the animal kingdom, anatomy, architectural space, everyday objects, still life and pure abstraction. While the scope of this exhibition is truly vast, there are also some remarkable consistencies. The intrigue of the exhibition lies within particularities and novelties, but also within subtle similarities between artists and artworks. Panorama aims to look beyond its own boundaries, to a greater territory of painting and to a potential for encounter and discourse, especially between women artists.

The selection for Panorama has been made by Kathy Tynan and Chanelle Walshe.


Artists include Joanne Boyle, Diana Copperwhite, Mollie Douthit, Anne Hendrick, Gillian Lawler, Ruth E. Lyons, Niamh McCann, Aileen Murphy, Sinéad Ní Mhaonaigh, Lesley-Ann O’Connell, Sanja Todorovic, Kathy Tynan and Chanelle Walshe.


Opening reception Wednesday 11th of March, 6 – 8pm /// Artist talk Friday 13th of March at 6pm /// Accompanying literature by Ingrid Lyons /// Open 12-6 pm daily /// 115-117, The Coombe, Dublin 8


For further information:



Damien Flood: Cú Chulainn Comforted – Basic Space Dublin 6 – 13 March, 2015






















Damien Flood

Cú Chulainn Comforted


Basic Space

Eblana House, Marrowbone Lane.

Dublin 8


Exhibition dates: 6 – 13 March 2015

Preview: 6-8pm Thursday 5 march, 2015




Cú Chulainn Comforted


-Neal Tait

-Damien Flood

-Sanja Todorović

-Sinéad Ní Mhaonaigh

-Mathis Gasser

-Billy Mag Fhloinn


curated by Joshua Sex


A MAN that had six mortal wounds, a man Violent and famous, strode among the dead;

Eyes stared out of the branches and were gone.


Opening hours vary, please check our facebook.




Sarah Pierce: THINKING THROUGH INSTITUTIONS – SYMPOSIUM 27TH FEB 2015, The Huston School of Film & Digital Media – NUI Galway












The Huston School of Film & Digital Media

NUI Galway

10 – 5pm Friday 27th Feb 2015


In the context of what some call the crisis of the institution, the questions of how we organise ourselves, how we work together and how potentially we self-institute have never seemed so pertinent to ask, yet we seem to continually reach an idealogical impasse, do we withdraw from existing structures, or do we attempt to reclaim and reinvent them? The institutions of culture and art seem to be some of the last remaining public spaces for such re-imaginings, but how does this extend beyond providing the cultural content for such discourse and into the very organisational structure and activity of the institution itself? And with diminishing public resources with a drive to increase private sources of funding, for how long will these spaces remain public? Has socially engaged arts practice and critical curatorial work impacted how we consider the role and activities and agency of art institutions in society? Do the self-organised, DIY organisations of artists and movements such as Occupy and Open Source provide new models of horizontal and vertical organisations? What organisational forms have the potential to engage with and constitute new publics?


In a time of momentous changes, and where meaning and modes of production of culture are shifting dramatically, “Thinking through institutions” offers a space to consider and discuss how we organise and institute ourselves and the potential role for arts institutions in the democratisation of power, debate, criticality and cultural change, with leading national and international guest speakers; Helen Carey, Nuno Sacramento, Fiona Woods, Lane Raylea, Sarah Rifky, Sarah Pierce, Mick Wilson and more.


The contributors:

Lane Relyea teaches in the Department of Art Theory & Practice at Northwestern University in Evanston, Illinois, and is also the editor-in-chief of Art Journal, a quarterly publication of the College Art Association. Since 1983 his essays and reviews have appeared in numerous magazines including Artforum, Afterall, Texte zur Kunst, Parkett, Frieze, Modern Painters, Art in America and Flash Art. He has written monographs on Polly Apfelbaum, Richard Artschwager, Vija Celmins, Toba Khedoori, Monique Prieto and Wolfgang Tillmans among others, and contributed to such exhibition catalogs as Helter Skelter and Public Offerings (both Museum of Contemporary Art, Los Angeles, 1992 and 2001 respectively). He has delivered lectures at New York’s Museum of Modern Art, Harvard University, and the Art Institute of Chicago among other venues. After teaching for a decade at the California Institute of the Arts in Valencia, where he joined the faculty in 1991, in the summer of 2001 he was appointed director of the Core Program and Art History at the Glassell School of Art in Houston, Texas. His book Your Everyday Art World, on the effects of communication networks on artistic practice and its contexts, was published by MIT Press in 2013.


Helen Carey is Director of Fire Station Artists’ Studio in Dublin, supported by the Arts Council of Ireland, which provides support for the production and development of Art as well as residential studio accommodation for Artists.  Her most recently held positions include Director / Curator at Limerick City Gallery of Art, inaugural Director of the Centre Culturel Irlandais, Paris, Director at Galway Arts Centre and Public Art Project Manager at @Bristol, a landmark millennium project.  She has most recently worked with Artists Ewa Partum, Michael Warren, Lida Abdul, Jamal Penjweny, Mark Curran with whom she is working on a long term project THE MARKET.  Her independent curatorial practice is concerned with enquiries around memory, history, work and cultural identities.


Nuno Sacramento was born in Maputo, Mozambique and now lives and works in Aberdeenshire where he is Director of the Scottish Sculpture Workshop in Lumsden. He is a graduate of the deAppel curatorial training programme and also completed a Doctorate in Visual Arts at the School of Media Arts and Imaging, Duncan of Jordanstone College of Art and Design, Dundee. He is committed to issues of expediency of small arts organisations, land and ruralities, skills–sharing and co-labouration, 21st and the commons. He is involved in research, project curation, writing and lecturing.


Fiona Woods is a visual artist whose practice has long been concerned with questions of public-ness and common interest, and how those continue to matter or materialise in an increasingly post-public world. Her work often explores marginal or hybrid situations, taking the form of actions, images and publications, made individually and in collaboration with others. Upcoming and recent works include Im/Plants, a work with the National Sculpture Factory (Cork, 2015); one kind and another, forthcoming publication (2015); Action on the Plains, with M12 (US, 2014); Inclined to Be Lost, pamphlet for City (Re)Searches (2014); Lines in the City, with Susanne Bosch (Belfast 2013); Yak Yak, co-curated with Ian Tully (AUS, 2013). Woods is the recipient of a number of Arts Council of Ireland awards. She is a lecturer at Limerick School of Art &


Sarah Pierce lives and works in Dublin, Ireland. Since 2003, she has used the term The Metropolitan Complex to describe her project. Despite its institutional resonance, this title does not signify an organization. Instead, it demonstrates Pierce’s broad understanding of cultural work, articulated through working methods that often open up to the personal and the incidental. Characterized as a way to play with a shared neuroses of place (read ‘complex’ in the Freudian sense), whether a specific locality or a wider set of circumstances that frame interaction, her activity considers forms of gathering, both historical examples and those she initiates. The processes of research and presentation that Pierce undertakes highlight a continual renegotiation of the terms for making art: the potential for dissent and self-determination, the slippages between individual work and institution, and the proximity of past artworks.


Sarah Rifky is a writer and curator based in Cairo where she co-founded Beirut, an art space that thinks about institution building as a curatorial act. She is founder of CIRCA (Cairo International Resource Center for Art) and was Curator at Townhouse Gallery of Contemporary Art in Cairo 2009-2011. She was a Curatorial Agent of dOCUMENTA(13) in Kassel, Germany. In 2010 she was Adjunct Professor of Art History and Theory at the American University in Cairo and co-manages MASS Alexandria, an independent study program for young artists in Egypt, with Wael Shawky. Rifky is author of The Going Insurrection (2011) and Delusions of Reference: In Defense of Art (ongoing). She is co-editor of the artist book Damascus: Tourists, Artists and Secret Agents (2009).


Mick Wilson (BA, MA, MSc, PhD) is an artist, teacher and researcher. He is the first Head of the Valand Academy of Arts, University of Gothenburg, Sweden (2012-); was previously the founder Dean of the Graduate School of Creative Arts and Media, Ireland (2008-2012); and prior to this was first Head of Research and Postgraduate Development for the National College of Art and Design, Ireland (2005-2007). He completed his doctoral thesis on the subject of Conflicted Faculties: Rhetoric, Knowledge Conflict and the University (NUI, 2006) and has been developing doctoral education across the arts as Chair of the SHARE Network (2010-2014); member of the European Artistic Research Network, EARN (2005-); and working on the Platform for Artistic Research PARSE (2013-).  He is editor-in-chief for the new research journal PARSE ( launching in 2015.  Edited volumes: with Paul O’Neill (eds.) Curating Research, Publisher: OpenEditions/De Appel, London/Amsterdam (2014); with Schelte van Ruiten (ed.) SHARE Handbook for Artistic Research Education, ELIA, Amsterdam (2013); and with Paul O’Neill (ed.) Curating and the Educational Turn, Publisher: OpenEditions/De Appel, London/Amsterdam (2010).    Recent art projects / collaborations / group exhibitions include: “ODWC, Edmonton”, Latitude53, Canada (2014-5); “Aesthetics Jam”, Taipei Biennial, Taiwan (2014); “Joyful Wisdom”, Rezan Has Museum, Istanbul, Turkey (2013); “The Judgement is the Mirror”, Living Art Museum, Reykjavík, Iceland (2013); “some songs are sung slower”, (Solo) The Lab, Dublin (2013); “Of The Salt Bitter Sweet Sea: A Public Banquet”, CHQ, Dublin (2012).Recent publications include “Dead Public: An unfinished enquiry” in Catalin Gheorghe (ed.) Vector – artistic research in context, Iasi Romania (2014); “Anachronistic Aesthesis” in H.Slager (ed.) Experimental Aesthetics (2014); “Between Apparatus and Ethos: On Building a Research Pedagogy in the Arts” in James Elkins (ed.) Artists with PhDs: On the New Doctoral Degree in Studio Art, 2ed., New Academia Publishing, pp.341-359. (2014); ‘We are the Board, but what is an Assemblage?’ in M. Ambrozic & A. Vettese, (eds.) Art as a Thinking Process, Sternberg Press, (2013); “Come Promises From Teachers” in Offside Effect: Papers from the 1st Tbilisi Triennial, H. Slager (ed.), MetropolisM Books, (2013); “Blame it on Bologna” in MetropolisM No.2, April/May, Amsterdam (2013); “Art, Education and the Role of the Cultural Institution”, in B. Mikov and J. Doyle (eds.) European Management Models in Contemporary Art and Culture, Gower, London (2013).


This is a free event, but booking is essential:


Kindly supported by the Arts Council Curator in residence scheme, in partnership with Galway City Council, GMIT CCAM, Galway Arts Centre and the Huston Film School


For more information:







Alan Phelan: If you aren’t all mine – Oonagh Young Gallery Dublin, 19 February – 20 March 2015













Alan Phelan

If you aren’t all mine


Oonagh Young Gallery

1 James Joyce Street

Liberty Corner

Dublin 1


19 Feb  – 20 Mar  – 2015


Oonagh Young Gallery presents “if you aren’t all mine”, the second solo exhibition in the gallery by Alan Phelan. The show will be the first Dublin presentation of his 2014 film “Edwart & Arlette”, after exhibitions of the work in Belfast, Stockholm and Treignac, France; as well as the prestigious Bonn Kunstmuseum “Videonale.15” which opens later this month.


The film “Edwart & Arlette” was developed from Phelan’s first gallery project “Handjob” which acted like an open notebook ideas from which the script for the film was developed. That installation has been revised for the exhibition “Selective Memory” at the Lewis Glucksman Gallery, Cork and on view there until 15th March 2015.


As an adaptation of the Sherlock Holmes story “The Adventure of the Cardboard Box”, the narrative has been reworked considerably with shot design and dialogue originating from hand photographs collected by Phelan from self-harming social networking websites with real money games, shown in the original “Handjob” project. Words and sentence fragments found on these images were developed into dialogue and remain in the order they were found, forcing the narrative and characters to take some unexpected turns.


Probably the biggest shift is the removal of the Sherlock Holmes character entirely. The audience now must piece together the evidence presented, a play on the detective quandaries of much contemporary conceptual art with its tendency to present riddles. Instead, the central characters are modelled on a photograph of a French art critic and museum curator, doubling up as a gender-shifting brother/sister, with locations merged to make a more succinct yet different story. As in the original Conan Doyle text, murder and unrequited or misunderstood love remain key to the revised plot which is bleakly acted out through hand gestures and attention-seeking garbled dialogue. Irish actor Andrew Bennett puts in a remarkable performance as Edwart Vignot/Jim Browner as does Mikel Murfi as Arlette Sérullaz/Sam Cushing.


The installation of the film in the gallery is within a series of fabric hangings, resembling a staggered clothes line of sheets, in this case sail cloth which acts as a perfect projection material. The reference here comes from a different source, the Michael Haneke TV film 1984 “Wer war Edgar Allan” which informed much of the installations and layouts of the film and accompanying sculptures when first shown at Golden Thread Gallery Belfast last year. The Haneke film is a semi-hallucinatory story of an art student in Venice during a drug fuelled stay. In searching out and possibly murdering an Edgar Allen character, both drug dealer and cafe acquaintance, he follows Allen in one scene through the rows of washing hanging in the alleyways of the city.


Overall the work interrogates the nature of the narrative in script format, analysing the written word through the post-appropriation technique of re-narrativization. As is often the case with Phelan’s practice, this only encourages conflicting viewpoints through choreographed systems of chance that, at random moments, move in and out of synch. Like many artists of his generation he has embraced the hybridity and all-consuming nature of the internet to extract his own story, one that pushes the original away, yet rooted still in the ‘copy and paste’ culture that surrounds us.


Image:Edwart & Arlette” film still Alan Phelan 2014, courtesy of the artist













For more information, please visit:


Facebook Broadstone Studios


Ella de Búrca: GOBO – ArtBox Gallery Dublin, 6 February – 14 March 2015


































Ella de Búrca

ArtBox Gallery,

James Joyce Street

Dublin 1


Preview: Thursday, February 5th, 2015

Exhibition Dates: February 6th – March 14th, 2015




she stands still as a spectator. (Y stops.)

we survey her as an object,

and still,

surveying a spectator surveying an object

-she knows it.

(to Y) you shouldn’t know that.

she giggles. (Y giggles.)

her body is a conduit.

taking a long hard stare at the painting nearest the door,

she slowly raises her warm arm to point her trigger finger at it.

Y: (as if remembering someone’s name.) one?


You can write about the present as long as you like, it will always read flat. Fluidity preserves in the unwritten, only. The viscera of a moment is translated into history through the medium of text. All information, all knowledge, is communicated through positive and negative imprints.

Likewise, this text.


“Each one of us is, successively, not one but many. And these successive personalities… tend to present the strangest, most astonishing contrasts.” ¹


The trail of Roger Casement, hero, traitor, martyr, pervert; (who he is is who he is to you) led de Burca to Iquitos, Peru where Casement’s humanitarian work had ended the savage reign of the Anglo-Peruvian Rubber company. After decades of widespread rape, torture and usury at the hands of unchecked capitalism, the indigenous culture had been all but erased. A century later, globalised capitalism has wreaked similar decay upon the monuments that those rubber barons built to themselves.


The same process is evident in Dublin, where the monumental Georgian buildings constructed over the bones of a crushed culture are themselves being erased by the amorphous drive of global capitalism. That which once represented our oppression now represents our heritage. In order to decide what we are, it is first necessary discover what we are not.


De Burca uses the physicality of the GOBO² to present sculptural works sparked by architectures role in communal identity. Working through film, photography, text and sculpture, the negative is framed as being as much a part of our identity than the positive.


“The labor of the negative, she sighed, and the whole mad scheme unplanned as if i were there all along with the invention of the state, the form within the form with its danger and with its decay too, underbelly of stately prowess and sanitised rigidity.

Only people with a superb talent for the theatre could pull this off. And you too could be part of this. After all, it touches everyone of us” ³

1. José Enrique Rodó

2. A negative template placed in front of projected light, creating a positive image on a flat surface. The invert, the intermediary, the fence.

3. The Magic of the State. Michael Taussig.


This exhibition is curated by ArtBox Director, Dr. Hilary Murray.


GOBO includes the performance of /portals/

Starring Aine Ní Laoghaire, Jill Harding and Bob Kelly. Written by Ella de Búrca.

/portals/ will take place at ArtBox on February 13th and 14th.

Booking is required.



Ella de Búrca, recent exhibitions include ‘Otherwise’ WYSPA Gdansk, July 2014, ‘Slow Future’ Museum of Contemporary Art CSW Warsaw, June 2014, ‘Crampographies,’ KW Institute for Contemporary Art 2014, ‘Must Go On’ RuaRed, Dublin 2014,  ‘Dis-Placement’ The Mission Gallery, Chicago 2014, ‘Rebuilding Utopia’ The Emergency Pavilion at The 53rd Venice Biennale 2013, ‘Playing Nature,’ at The 5th Moscow Biennale September 2014, ‘Haha Harcourt Road’ ArtLot Dublin 2013, and ‘Illuminating Kunstholes’ at Coffre-Fort, Brussels, Belgium, 2013. De Burca was the recipient of the Evelyn Wood Memorial Award (The Banff Centre) in 2011, as well as the Amharc Fhinne Ghall Award (Fingal County Council) in 2010.

In 2013 de Burca was awarded an exhibition grant by Culture Ireland and Fingal County Council for The Moscow Biennale. In 2014 de Burca was awarded an Arts Council Bursary from The Irish Arts Council.



Ella de Búrca would like to thank Fingal County Council for facilitating the production of GOBO.



For more information, please visit:





Liam O’Callaghan: FOURTH SPACE – Uillinn, West Cork Arts Centre, 31 January – 14th March 2015
















Uillinn – West Cork Arts Centre,

Skibbereen, Co. Cork.


31 January – 14 March | Opening: 31 January at 3pm


Opening hours: Monday-Friday 10.00-5.00


Fourth Space comprises sculptural and installation work by 9 leading artists based in Ireland:

David Beattie, Karl Burke, Rhona Byrne, Maud Cotter, Angela Fulcher, Mark Garry,

Caoimhe Kilfeather, Dennis McNulty and Liam O’Callaghan.



Opening the exhibition is Sam Thorne, Artistic Director of Tate St Ives, with guest speakers Cllr Alan Coleman, Mayor of County Cork and Olivia O’Leary, Journalist and Broadcaster.


The artworks, although materially and conceptually diverse, both articulate and respond to the galleries, the location and context of the new building, Uillinn. The exhibition, which extends throughout the ground floor and first floor galleries, draws together works by artists who share an approach to making that is fluid, questioning and open-ended and yet displays a fascination with space and materiality.

Each artist’s work remains specific to their own concerns and practice, but they come together in this exhibition to experiment with and enquire into notions of space, place, time, legacy and transformation.


Fourth Space, a group exhibtion at West Cork Art Centre – Curated by Ann Davoren.

WCAC acknowledges the financial support of the Arts Council in making this event possible.


For more information:



Domestic Godless: CANALICULUS PURGAMENTORUM, Broadstone Studios Dublin, Friday 16 and Saturday 17th January 2015


















Broadstone Studios

22 Harcourt Terrace

Dublin 2



7 – 8.30pm

Friday 16 and Saturday 17th January 2015


Inspired by the ubiquitous carousels of global sushi outlets, The Domestic Godless bring Canaliculus Purgamentorum to Broadstone Studios, Dublin, their latest project presenting a collection of amuse-bouches along a canal assembled from sewage ducting.


Each dish will offer a nostalgic reminiscence of the universally experienced miserable seaside holiday or otherwise pointed towards Broadstone Studio’s previous existence as the Asylum for Aged Governesses and Unmarried Ladies in 1870, replete with humour and a sense of the absurd. For example, what happens when you cross ice-cream with the contents of an Edwardian vanity cabinet? What did the stuffing from the seats of a 1974 Ford Cortina actually taste like? And what ever happened to that baked bean that escaped from your full-Irish breakfast?


For over ten years The Domestic Godless have been a thorn in the foot of Irish gastronomy, with an irreverent disregard for current fashions and culinary trends. They have introduced to the world such delights as Sea Urchin Pot Noodle, Foot & Mouth Terrine, Carpaccio of Giant African Land Snail and Victorian high tea wrought from all manner of fertilizer, often in the setting of anarchic installations.


Tickets are available for €20 at Eventbrite :


Limited places available.


This show involves eating and tasting but is not a full meal. Unfortunately, special dietary requirements cannot be accommodated.


CANALICULUS PURGAMENTORUM is co-produced with Broadstone Studios and is supported in part by the Arts Council Project Award 2014.


More information at: / 01 661 9010 /