Archives for Broadstone Studios Archive 1997-2015

Gerard Byrne – Damien Flood: RENEW – Green on Red Gallery Dublin, 11 Dec. 2014 – 31 Jan. 2015















Green on Red Gallery

Park lane

Spencer Dock,

Dublin 1



Gerard Byrne, John Cronin, Mary Fitzgerald, Damien Flood, Mark Joyce, Caroline McCarthy, Ronan McCrea, Alice Maher and Bridget Riley


11 Dec – 31 Jan 2015



Opening Reception: Thurs 11 December, 6 – 9pm

Exhibition Dates: 12 Dec – 31 Jan 2015



The Green On Red Gallery announce the reopening of the gallery in Spencer Dock, Dublin 1 ( 150m north of Spencer Dock Luas stop ) on December 11, 2014 with Renew, an exhibition of new work by gallery artists Gerard Byrne, John Cronin, Mary Fitzgerald, Damien Flood, Mark Joyce, Caroline McCarthy, Ronan McCrea, Alice Maher and Bridget Riley.  Renew will be the first exhibition in the new gallery and continues until the end of January 2015.


Renew will feature a new suite of 9 prints by Alice Maher shown here for the first time. These are the first new works by the artist seen since her highly successful solo exhibition, Becoming, in the Irish Museum of Modern Art in 2012 and her recently published monograph, Resevoir, published in 2014 by ROAD Publications, Dublin.  The new works are marked by a riot of colour and play with motifs of corporeal and symbolic metamorphosis.  In God’s little helper the female protagonist is overcome with a coat of human hair, as Magdalene was before ( or after ? ) her.


Gerard Byrne‘s new Kodak Wratten Filter Systems unique photographs come as close in photography to abstraction as is possible due to the lighting and arrangement of the single colour, century-long, glass filters.  Byrne’s approach to the medium regularly makes poetic and witty side-references to the history of painting, theatre and photography itself.  The result here recalls minimalist ideas of reduction and repetition and a solipsistic pragmatism.


Mark Joyce presents two new paintings on panel that recall some of his earlier ’90’s oil on canvas paintings.  Their playful shapes echo letters and numbers but never spell out their message, as a Mel Bochner might.


Damien Flood‘s new paintings are stripped back with a fresh and exciting economy.  They hang on a knife-edge between bringing us to familiar and mysterious, unknown worlds.


Mary Fitzgerald uses hard-edge and fragile materials that make the most of their reflective qualities and expand the moment of perception.  The viewer is involved and engaged in unexpected twists and turns.


In anticipation of her forthcoming solo show at the gallery, Caroline McCarthy presents Woods in November ( 2014 ) acrylic on canvas.  This is a dazzling trompe l’oeil rendition of the most inconsequential subject brought centre stage.  We are made to question our own belief systems and moral code in an upside-down world so convincingly portrayed.


Ronan McCrea will exhibit new photographs from his ” reprographic ” project that meditates on current questions about the fin de siécle, as he sees it, of the photographic era in late or post Post-Modernism.  These works have an authority borrowed from the conventions of the medium but can point to new conclusions.


Large Fragment by Bridget Riley has an undeniable elegance and mastery that, while harking back to the cut-outs of Henri Matisse, is both fresh and compelling.


The Gallery will open to the public from Wednesday-Friday, 10-6pm and on Saturdays 11-3pm.


Green on Red Gallery looks forward to welcoming you at the new gallery and to Renew.

Bí linn.


For further information :





Sofie Loscher / Liam O’Callaghan: Periodical Review—Pallas Projects/Studios – 5 Dec.’14 – 17 Jan.’15















Periodical Review—Pallas Projects/Studios

Pallas Projects/Studios
115–117 The Coombe
Dublin 8, Ireland


Gallery hours
12–6pm, Thursday–Saturday
(5th–20th December, gallery open by appointment in January)


Michael Beirne, Jenny Brady, Jane Butler, Rachael Corcoran, Anita Delaney, Joe Duggan, Marie Farrington, Hannah Fitz, Mark Garry, Dragana Jurisic, Allyson Keehan, Caoimhe Kilfeather, Ali Kirby, Sofie Locher, Loitering Theatre, Shane Murphy, Liam O’Callaghan, Andreas Kindler Von Knobloch/Resort, Orla Whelan


Preview: 6–8pm, Friday 5th December 2014

Selected by Mary Conlon, Paul Hallahan, Gavin Murphy & Mark Cullen

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’.

Pallas Projects/Studios presents the fourth in the series of Periodical Review – a unique, yearly survey of Irish contemporary art practices, that looks at commercial gallery shows, museum exhibitions, artist-led and independent projects and curatorial practices. 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.

Each year PP/S invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, selected via an editorial meeting. Such a review-type exhibition within Irish art practice acts to revisit, be a reminder, a critical appraisal and consolidation of ideas and knowledge within the field of contemporary Irish art; to facilitate and encourage collaboration, crossover and debate; and to act as an accessible survey of contemporary art, expanding parameters to art practices around the country.

Previous co-curators have been Matt Packer (Glucksman/Treignac/CCA), Michele Horrigan (Askeaton Contemporary Arts), Eamonn Maxwell (Director, Lismore Castle Arts), Padraic E. Moore (Independent curator), Ruth Carroll (RHA), Carl Giffney (Good Hatchery).

All the works featured in Periodical Review are available to purchase during the course of the exhibition, with commissions on sales going towards developing exhibitions & exchanges at PP/S. In a collaboration with Ormston House the exhibition will be reconfigured and presented in Limerick in 2015.




Mary Conlon is a curator based in Limerick. She read literature at University College Dublin and Universidad de Sevilla (1996-2001) and studied Visual Art Practice at Dún Laoghaire Institute of Art, Design & Technology (2002-2006). After graduating, she was appointed as Gallery Manager of Green On Red Gallery. In 2009, she was awarded the third Shinnors Curatorial Research Scholarship and a two-year residency at Limerick City Gallery of Art. In 2011, through the Creative Limerick initiative, she founded the cultural resource centre, Ormston House, where she is Artistic Director. She is curator of the nomadic Six Memos project, drawing on the writings of Italo Calvino, which also forms the basis of her practice-led PhD in Curatorial Studies at Limerick School of Art & Design.  She is a member of the Italian curatorial network vessel and of the Board of Directors of eva International, Ireland’s Biennial of Visual Art.

Paul Hallahan is an artist and curator based in Kildare. He was founder and director of Soma Contemporary, Waterford between 2009 and 2012. In 2013 he was chosen as the first artist in Broadstone Studio’s Invited Artist Series.

Pallas Projects/Studios is a not-for-profit organisation run by artists Mark Cullen and Gavin Murphy, operating since 1996. PP/S collaborates with peers and encourages public engagement with current Irish contemporary art, through the provision of affordable artists’ work-spaces, and an ongoing commitment to lead, provide vision, and develop the visual arts at the grassroots by presenting solo projects, group exhibitions, artist-initiated projects and collaborations with partner arts organisations.

Image: Allyson Keehan, Black Satin in Blue Light Minimal canvas, Oil on Linen, 2014


Location map


For more information, visit:

Pallas Projects/Studios is kindly supported by Dublin City Council
Pallas Studios is kindly supported The Arts Council (Workspace Award)



Alan Phelan: Selective Memory – Artists in the archive – Lewis Glucksman Gallery, Cork, 21 November 2014 – 15 March 2015













Selective Memory

Artists in the archive

Lewis Glucksman Gallery

University College Cork



Artists: Zbyněk Baladrán, Paulien Barbas, David Raymond Conroy, Dani Gal, Ruth Maclennan, Mike Mandel and Larry Sultan, Lucy McKenzie, Marge Monko, Gavin Murphy, Alan Phelan, Anne Ramsden, Jasper Rigole, Valerie Snobeck, Sean Snyder, Miek Zwamborn

Curated by Chris Clarke and Orla Murphy
In association with Digital Arts & Humanities, University College Cork


The archive preserves the past, its remnants and records, within a repository of human knowledge. However, it also offers a space for critical engagement and creative invention, for challenging the archive’s supposed objectivity with unorthodox histories, subversive interpretations and speculative ideas. Drawing on photographs, documents, film footage and texts, artists have used the archive to create new works from existing materials, to unsettle established readings of the past and to imagine alternative narratives. Selective Memory: Artists in the archive explores the ways in which Irish and international artists continually return to the archive, in order to imbue it with a new sense of subjectivity and individuality.


The specific materials associated with the archive are revealed in the work of several artists. Miek Zwamborn’s sculptural installation is inspired by her research into a 19th century herbarium or plant album found in the archives in which she works. Speculating upon the owner’s inscribed dedication to an apparent lover, the artist re-traces the relationship between these two individuals through objects and texts displayed in horizontal drawers and trays. This process of drawing connections between disparate images and materials also informs Lucy McKenzie’s Quodlibet series, a term referring to topics of theological or philosophical debate. While resembling billboards pinned with photographs, leaflets and writings around given subjects, these trompe l’oeil oil paintings play with the tension between the temporary, tangential relationship and the permanence of her chosen medium. The speculative associations that McKenzie forges from diverse source materials are forever fixed in her precisely detailed and illusionistic compositions.

Anne Ramsden’s project Museum of the Everyday finds its material in the photographs that the artist collects on her online flickr archive. Ramsden appropriates and combines representational codes present in advertising, the media and museums, and, in this series, re-frames banal, everyday images as posters for imagined collections and exhibitions. This impulse is shared with Jasper Rigole, whose practice explores and re-contextualises archival film footage drawn from home movies, travel videos and anthropological documentaries. His ongoing project The International Institute for the Conservation, Archiving and Distribution of Other People’s Memories examines how such amateur materials fall outside of the remit of ‘official’ archival collections.

The re-editing of found footage into new narratives is represented in video works by Zbyněk Baladrán and Marge Monko. In Baladrán’s piece Working Process, he overlays grainy film sequences from Soviet Czechoslovakia with segments of text, while Monko’s work sets still photographs of Estonian factory workers to an excerpt from a play by the Austrian Nobel Prize winner Elfriede Jelinek. Dani Gal re-enacts the first Israeli television broadcast in 1966 through his research into newspaper articles and testimonials. This event, undocumented at the time, demonstrates the capacity for speculation concerning omissions in the archive, and, in Ruth Maclennan’s film of interviews with professional archivists, she emphasises this tendency by disruptively editing their responses. Gavin Murphy’s film Something New Under The Sun also takes place in the archive, following a researcher who delves into the history of Dublin’s iconic, and now demolished, IMCO building.

Mike Mandel and Larry Sultan‘s Evidence series from 1975-77 represents a seminal moment in the way artists engage with the site and materials of the archive. This selection of photographic images found in public and private American institutions, agencies and corporations was one of the first conceptual artworks to demonstrate that the meaning of an image is conditioned by the context and sequence in which it is seen. Paulien Barbas photographs objects from the archives of the Bauhaus, emphasising their staging and display by, for instance, revealing the lens flare of the camera of the clump of blu-tack that props up an item. In Alan Phelan’s Handjob series, the artist himself has collected and compiled images, materials and paraphernalia that relates to representations of the human hand. Phelan’s playful and provocative collection, which began as a convalescence activity after breaking his thumb, has grown to include objects and artworks from colleagues and friends as well as online images. In this way, the notion of the artist’s hand as the bearer of an individual, tactile, and expressive gesture has become the impetus for an ever-expanding and collaborative archive.

Speculation towards the original context of archival materials and the decisions that warranted their inclusion in a collection is addressed in a number of works. By obscuring or effacing an appropriated image, artists point to an inherent ambiguity, a sense of the unknowable, around such materials. Valerie Snobeck’s images are mined from the 1970s Documerica project, a government initiative to document the state of the American environment. However, by encasing the photographs in layers of mesh, plastic, netting and burlap, she renders the original images indecipherable. David Raymond Conroy displays partially erased pages from found books alongside a video of overlapping online screen grabs, sound-tracked with an enigmatic monologue on accessibility and the internet. Sean Snyder’s practice involves the transference of his extensive archive of photographs and videos into digital files, destroying the originals in the process. While his images capture the effects of transmission, corruption and compression in the digitizing of materials, they also acknowledge the residual traces left over. Even as the physical document disappears, a new archive is formed in the process.

Developed in partnership with Digital Arts & Humanities, University College Cork, Selective Memory explores the archive as a space that is continually open to new readings and revisions. While artworks in the exhibition address themes such as material, narrative, site and speculation, they have been further designated with ‘keywords’ that allow for different trajectories to be mapped across the physical layout of the galleries. Capturing the ways in which artists and academics explore the archive, this non-linear approach invites the viewer to sift through materials, follow distinct lines of inquiry and to forge new, unanticipated connections.

Notes on the artists and artworks

Selective Memory includes work by the Irish artists Gavin Murphy and Alan Phelan. Gavin Murphy has exhibited his worn throughout Ireland at galleries including Dublin City Gallery The Hugh Lane, Royal Hibernian Academy, Oonagh Young Gallery and eva International. Alan Phelan’s recent exhibitions include solo shows at Detroit, Stockholm; Golden Thread Gallery, Belfast; and Cairo Video Festival.

Zbyněk Baladrán represented The Czech Republic at their national pavilion for the 55th Venice Biennale in 2013. Dani Gal was included in that same year’s curated exhibition The Encyclopedic Palace.

Lucy McKenzie is currently the subject of a solo exhibition at the Art Institute of Chicago. Her other recent solo shows include exhibitions at the Stedelijk Museum, Amsterdam; The Artist’s Institute, New York; and Cabinet, London.

Marge Monko‘s film Nora’s Sister, included as part of Selective Memory, was included in the roving European art biennial Manifesta 9 in Genk, Belgium.

Sean Snyder is exhibiting work from his 2009 project Index from the Institute of Contemporary Arts, London. Index involved the artist editing and digitising images from previous research projects so that the files of his practice could fit onto a single USB stick.

Mike Mandel and Larry Sultan’s Evidence project was created from 1975-77 while the artists were graduate students. The resulting series of photographs and artists’ book was one of the first examples of contemporary artists engaging with archival materials. Larry Sultan is the subject of a career retrospective at Los Angeles County Museum of Art from November 9, 2014 – March 22, 2015.

It is possible to arrange for press interviews with the curators and some of the participating artists. For further discussion of the exhibition, press images or more detailed information, please contact:
Chris Clarke, Senior Curator, or +353 21 4901822, Lewis Glucksman Gallery, University College Cork, Ireland.

Notes on events in the exhibition:

The Lewis Glucksman Gallery makes great art available to everyone. A wide range of events and activities are programmed for all abilities throughout the exhibition run.

You can view the entire programme in the seasonal brochure at

To learn about new media art:

Art + Ideas: Dr. Sarah Cook
1pm, Wednesday 11 February

To hear from artists and film-makers :

Perspectives: Artist Talk series
Alan Phelan, artist, 1pm, Thursday 19 February Gavin Murphy, artist, 1pm, Thursday 26 February Carmel Winters, film-maker, date tbc

For family audiences:

Family Sundays: making art together
3-4pm, Sundays from 23 November – 14 December, 2014 and 11 January – 15 March, 2015


Glucksman Gallery Cork thanks  all artists and lenders of artworks for Selective Memory including Galerie Catherine Bastide, Brussels; Galerie Chantal Crousel, Paris; Defares Collection; Collection Nicoletta Fiorucci, London; Collection Fotomusem Winterthur; Freymund-Guth Fine Arts, Zurich; hunt kastner, Prague; LUX, London; Seventeen, London; Galerie Micheline Szwajcer, Brussels; and private collections.


Selective Memory is supported by University College Cork, The Arts Council Ireland and private philanthropy through Cork University Foundation.



More information available at:



Damien Flood – Isabel Nolan – Sarah Pierce: PULL BITE RALLY – Black Church Process Project, NCAD Gallery Dublin, November 19 – December 16, 2014
















NCAD Gallery in collaboration and partnership with the Black Church Print Studio present an

exhibition and parallel event series to mark the Black Church Process project.





Exhibition open view

Wednesday 19th November 2014, 6pm, NCAD Gallery.

Performance by Sarah Pierce

Wednesday 19th November 2014, 7pm, NCAD Gallery.

Exhibition continues

Thursday 20th November – Tuesday 16th December 2014.


NCAD Gallery,

100 Thomas Street, Dublin 8.


Gallery opening hours 1pm – 5pm. Admission is free.



Pull Bite Rally is the first exhibition to mark the Black Church Print Studio’s dynamic initiative, Process. As part of the Studio’s artistic programme, Process invites leading art practitioners to work with the resources and expertise of the Studio in the production of original artworks. For the Pull Bite Rally exhibition artists, Brian Fay, Damien Flood, Jesse Jones, Isabel Nolan and Sarah Pierce present their artworks and continued collaboration at NCAD Gallery. Through explorative processes, the artist’s intent is facilitated by the skills and experience of a dedicated printmaking team of master print-makers and print coordinators. This collaboration between artist and the Studio aims to give practitioners a comprehensive understanding of the processes and concepts of printmaking leading to new directions in their practice.


Integral and in addition to the exhibition, responses from practitioners, leading figures in the visual arts and the wider public are invited to participate in rigorous inquiry and discussion that Pull Bite Rally invokes. NCAD Gallery’s collegial context affords the opportunity to form close exhibition partner relationships with staff and students from the NCAD College departments and further afield to form a parallel event series. Over the four week exhibition period a programme of events, screenings and talks are scheduled in consideration of the central theme of process. Engaging key topics fundamental to the artists’ project experience, with reference to: the potentiality of collaboration and creative professional links for artists; printed matter and publishing; authorship and reproduction; medium specificity; professional practice pathways, skills and exchange; pedagogical foundations and shifts in contemporary art practice.


To mention only a few of the event highlights, Declan Long is in conversation with artist and 2014 Turner Prize nominee, Ciara Phillips, on Monday 24th November, 6pm. In a special one-off episode of TV Museum: The Mini-Series, Maeve Connolly investigates temporal, social and political aspects of serial publication and distribution. Connolly’s titled ‘Serial Publications and Practices’ lecture reconsiders some of the strategies employed by General Idea and also explores the work of various contemporary artists and institutions engaged in the production of newspapers, journals and serialised moving images, posing questions about the changing form and function of seriality in art, media and culture – Wednesday 3rd December, 5pm. ‘Repeat. Don’t stop’ is the NCAD MA Art in the Contemporary World organised public seminar that delves into ways to critically engage with current forms of artistic repetition and reproduction, considering how ideas and processes explored in the Pull Bite Rally exhibition relate to the broader contexts of twenty-first century art, Friday 28th November, 2pm.


* Please see the full event listings below.


* On the occasion of the exhibition writer Niamh Dunphy is commissioned to write the essay ‘Trace and Use’ published in the Pull Bite Rally pamphlet available throughout the exhibition at NCAD Gallery.



Pull Bite Rally schedule of Exhibition Events:


Wednesday 19th Nov 2014, 7pm. NCAD Gallery.

● Exhibiting artist, Sarah Pierce performance on the opening night of Pull Bite Rally


Friday 21st Nov 2014, 5.30pm. Harry Clarke Theatre, NCAD.

● A screening of ‘Before the page has turned’ by Jaki Irvine.


Monday 24th Nov 2014, 6pm. Harry Clarke Theatre, NCAD.

● Pull, Bite, Rally NCAD Research Institute funded keynote lecture: Ciara Phillips, artist and 2014 Turner Prize nominee in conversation with Declan Long.


Friday 28th Nov 2014, 2pm – 4pm. Harry Clarke Theatre, NCAD.

● Repeat. Don’t stop. In this MA Art in the Contemporary World public seminar, ways to critically engage with current forms of artistic repetition and reproduction, considering how ideas and processes explored in the Pull Bite Rally exhibition relate to the broader contexts of twenty-first century art are considered.


Friday 28th Nov 2014, 5.30pm. NCAD Gallery.

● Process Artists Talk, exhibiting artists event with the initial three Process project artists Brian Fay / Damien Flood / Jesse Jones with master printmakers Debora Ando / Mary A. Fitzgerald / print coordinator Dave McGinn, chaired by artist Colin Martin.


Monday 1st Dec 2014, 2pm. NCAD Gallery.

● Sarah Pierce in conversation with Donal Maguire, curator and Administrator of the ESB Centre for the Study of Irish Art at the National Gallery of Ireland will talk about the collaboration between the artist and the archive in the context of Pierce’s work, My dear Betty.


Wednesday 3rd Dec 2014, 5pm. Harry Clarke Theatre, NCAD.

● TV Museum: The Mini-Series, Maeve Connolly investigates temporal, social and political aspects of serial publication and distribution. Connolly’s titled ‘Serial Publications and Practices’ lecture reconsiders some of the strategies employed by General Idea and also explores the work of various contemporary artists and institutions engaged in the production of newspapers, journals and serialised moving images, posing questions about the changing form and function of seriality in art, media and culture.


Friday 5th Dec 2014, 5pm. Harry Clarke Theatre, NCAD.

● The current NCAD 4th yr BA print department artist collective, GUM Collective screen their self-made documentary on what it means to be part of a collective with Q & A. GUM will also launch their current publication.


Tuesday 9th Dec 2014, 5.30pm. Harry Clarke Theatre, NCAD.

● Once a printmaker, always a printmaker: 15 minute professional practice / artists presentations. Debora Ando / Cora Cummins / Taffina Flood / Andrew Folan / Mary A. Fitzgerald / Margaret O’Brien


Wednesday 10th Dec4.30pm. Black Church Print Studio.

● ‘Prosperity Project’, Jesse Jones in conversation with Raymond Henshaw to discuss the percent for art commission for the Dublin Convention Centre.


Friday 12th December, 5pm. Harry Clarke Theatre, NCAD.

● ‘The Palimpsest Project’, NCAD Fine Art Print Department presents a lecture and student discussion forum. A thirty minute screening of the student time lapse animation spanning over ten years introduced by the Head of Fine Art Print, Andrew Folan.


Exhibition team:

Michelle Browne / Hazel Burke / (studio artist) – Mary A.Fitzgerald / Anne Kelly / Colin Martin.


Image: ‘The Golden Age has yet to come’, (2012) by Jesse Jones. Silkscreen on mirror / glass.


More information:



Seamus O’Rourke: Dark Inventory – Pallas Projects, Dublin, 12 – 22 November, 2014

















Seamus O’Rourke—Dark Inventory

Pallas Projects/Studios
115–117 The Coombe
Dublin 8, Ireland


Preview: Wednesday 12th November 2014, 6–8pm

Gallery hours:

12–6pm, Thursday–Saturday


2014 marks the 75th anniversary of the burning of ‘Entartete Kunst’ or painting and drawings termed ‘Degenerate Art’ by the Nazis in 1939. It is estimated that 1,004 paintings and 3,825 works on paper were completely destroyed during March 1939. O’Rourke examines the empty spaces left behind after thousands of these artworks were confiscated from public galleries and museums throughout Germany and which were subsequently burned in Berlin by the Reich. In this ongoing ‘Dark Inventory’ series the artist engages with politicizing the space between what is visible and what is absent. He emphasises this critical moment in the history of Modernism in Europe with a corresponding reductive process on paper. These drawings investigate ideas concerning censorship and loss, examining art as a form of commemoration with a dual critical strand. O’Rourke tests how art is both recognised and invalidated in society and acts as a form of commentary or dissent in a controlling society and how constant scrutiny is necessary to protect freedom of speech.


Born Co. Wexford 1964, Seamus O’ Rourke studied at Waterford RTC, Limerick School of Art & Design, completing his M.A. in Fine Art at University of Ulster Belfast 1994. He has exhibited extensively with solo shows at Entoderweder Galerie, Germany in 1992, 1996 and 2000. Galerie Tendenz, Sindelfingen, Germany in 1997, Limerick City Gallery of Art at the Hunt Museum 1997, Gallery Sanjo, Kyoto, Japan 2003, The Workroom, Dublin 2003, Broadstone Studios, Dublin 2008 and 2011.


Group exhibitions have included: Belfast Young Contemporaries 1994, EV+A 1995, 1998, 1999, 2005, RHA Gallagher Gallery, Butler Gallery Kilkenny 1999, Cheltenham Open Drawing Exhibition 1999, 15th International Triennale of Drawing, Moderna Galerija, Rijeka, Croatia 2000, 1st International Drawing Biennale, Melbourne,Australia ( Award winner) 2001, Galerie Voelcker & Freunde, Berlin, 2003, Goethe Institute, Dublin 2003, 5th International Biennale of Drawing, Pilzen, Czech Republic, 2006, Galerie Inga Kondeyne , Berlin, 2007, Monster Truck Gallery, Dublin, 2009, Cross Gallery, Dublin, 2010, Ormston House, Limerick 2012, 5th International Drawing Exhibition, Museum for Architecture, Wroclaw, Poland, 2012, Catalyst Art Gallery, Belfast, 2014, Williamsburg Art & Historical Center (WAH), Brooklyn, New York 2014.


Awards: He has received Arts Council of Ireland awards in 1992, 1996, 2000 and 2003. Also Cultural Relations Committee Awards in 1992, 1997 and 2000. In 2001, he received an award in the 1st International Drawing Biennale, Melbourne, Australia. Currently his drawing ‘Missing Pictures’ was selected by Claire Gilman Curator of Drawing Center, New York ( for inclusion in ‘ Over the Edge: Paperworks Unbound) – Co Curated by Yuko Nii and Rebecca Cuomo at the WAH Center, Brooklyn, NYC which continues until December 28th. He has a studio at Broadstone Studios and lives in Dublin.


Dark Inventory is an artist-initiated project, in partnership with Pallas Projects/Studios



For more information:








Sarah Pierce, Gerard Byrne: Public Symposium: “Location, Location, Location” Qalandiya International, Palestine Biennial, Jerusalem, November 13, 2014

Image:Young girls at the Women's Activity Centre in Qalandiya playing a game of basketball during the 1950. Courtesy of UNRWA Archive.








































Public Symposium

Palestine Biennial,  Jerusalem

Oct. 22 – Nov. 15, 2014


Qalandiya International

New Gate, Old city

Box 14644

Jerusalem 91145




THU, NOV 13, 2014

10:00 TO 16:00

The International Academy of Art, Palestine , Aref Al-Aref Building, Behind Arab Bank, Al-Bireh Branch, Al-Bireh – Ramallah.


Emily Jacir

Kamran Rastegar

Uzma Z. Rizvi

Sarah Pierce

Gerard Byrne



Public Symposium: “Location, Location, Location”

Four International academic speakers / artists in a 4 hour session for public audience will examine the tired language of “centers versus peripheries”, the challenges of institutional agency, as well as the representational burdens and blessings of contemporary art.

Can an intelligent definition of the “local” escape the quandaries of representation? How can a local institution be proactive within this debate, at this moment in time? How can a given town stake a claim? And also: how is an urban “location” to be accounted for in the first place.

A city is an abstraction, just like an era or a decade, but we rarely acknowledge it as such. Accounting for the catachresis that is a city, and for the quiet developments mentioned above, is what underlies the idea of “location”.

Organized by: The International Academy of Art, Palestine


For further information:“location-location-location”




Jennie Guy – Elaine Leader – Sofie Loscher: TULCA, Galway Visual Arts Festival, November 7 – 23, 2014












Galway City

November 8 – 23, 2014

Preview Nov. 7, 2014


Curated by Aisling Prior


Participating artists:
Mark Wallinger, Bedwyr Williams, YOUNG-HAE CHANG HEAVY INDUSTRIES, Kay Arne Kirkebø, The Domestic Godless, Mark Garry, Jeanette Doyle, Oisin Byrne, Brendan Earley, Katharine Lamb, Steven Maybury, Saoirse Wall, Fergus Martin, Marielle MacLeman, Jennie Guy, Elaine Leader, Keef Winter, Stephen Gunning, Conor McGarrigle, Anita Groener, Cecilia Danell, The Project Twins, Katie Watchorn, Lucy Andrews, Aileen Conroy, Pádraic E. Moore, Laura Angell, Sophie Loscher, Juliette de la Mer, BRANCH & ITSA Collective, Mobile Art School.


Entitled, NEUTRAL, TULCA Festival will showcase work from 30 Irish and international artists, who were selected from over 550 proposals submitted from 10 countries. The artists chosen for TULCA Festival 2014 work in a host of mediums including film and video, sculpture, painting and installation, which will be shown in the TULCA Festival Gallery on Market street Galway, Galway Arts Centre, 126 Artists-Run Gallery, No. 31 Dominick Street, The Niland Gallery and Nuns Island Theatre.

This year’s TULCA Festival is curated by Aisling Prior, Dublin based Independent curator. Aisling  titled the exhibition NEUTRAL in an effort to draw attention to the lure of stillness and of silence in this increasingly digital age where all of us, even those who chose to live in the most remote parts of a country, are known, traceable and expected to be readily reachable. Escape is impossible.

It is the collision of these idylls – picture the brooding quiet of Connemara, in particular, and the lively, social character of the city of Galway. This contrast is the conceptual framework for TULCA 2014. This year the theme of NEUTRAL invites audiences to consider what would happen if the levels of activity increased or decreased: how much silence does a person need? How much noise?

TULCA is a multi-venue, artist-centred Festival of Contemporary Visual Arts taking place in Galway city and county. Since 2002, it is the only festival in Ireland to specifically commission Irish curators who develop a theme unique to the event.

Speaking of this year’s festival Kate Howard, TULCA Festival Producer said, “Each year TULCA Festival of Visual Art aims to engage with the people of Galway and the cultural landscape in both county and city. We are lucky the Galway has a wealth of artists and arts audience that support the festival each November. The festival has now grown to be a highlight on Ireland’s cultural calendar, and has exhibited work from artists from Canada to Carraroe and from South Korea to the Spanish Arch since its beginnings in 2002.”

Josephine Vahey, TULCA Festival, Board Member said of this year’s festival, “In 2014 we have built upon the festivals vital 12 year history and expanded its possibilities with the launch of a new education package for primary and secondary schools and much more.  As always we have developed the festival in close dialogue with emerging and established artists who reflect the complexity of artistic practice today as well as fostering a lively exchange between artists, local community, venues and audiences.”

The festival runs from the 8th-23rd of November 2014.


Jennie Guy

Jennie Guy is an artist and curator based in Dublin, Ireland. Her practice embraces visual, textual, performance, and event-based output, initiating both formal and informal collaborations and participative environments. These situations act as mirrors that destabilize the intent of both the creator and the observer, complicating notions of self, community, and the rituals surrounding artistic production, seeking new modes of observation and response.

Jennie Guy


Mobile Art School

Founded by curators Cleo Fagan and Jennie Guy, Mobile Art School is an artists-schools initiative that aims to expose and connect young audiences to the richness of national and international contemporary art. Mobile Art School runs artist-led workshops and in-school artist residency programmes.

Mobile Art School


Elaine Leader

Born in Dublin in 1970. Selected Exhibitions include ‘The way we live now and then’, The Library Project 2014 (Curated by Mary Conlon), ‘Little King-doms’, Catalyst Arts Gallery, Belfast 2014 , ‘All that remains to be seen’, Catalyst Arts Gallery, Belfast 2014 (Curated by Iain Griffin, ‘Penumbra’, Tac-tic, Cork 2014, ‘Underline’, Occupy Space, Limerick 2014 (Curated by Orlaith Tracey), ‘Circulation’, Flood Gallery (Curated by Paul McAree 2013), ‘Eigse’, Visual, 2013, ‘Proposals’, Lyric, Belfast 2013, ‘Production’, Monster Truck Gallery, Dublin, (Curated by Kate Strain, 2012 ), ‘Ncad MFA’s’ at Boyle Arts Festival (Invited – 2012), ‘Ncad Post Grad Exhibition’, Steambox (2012), ‘Transference’, Monster Truck (Curated by Cliodhna Shaffrey & Cliona Harmey – 2011)

Awards include RHA Studio Award 2013, Arts Council Visual Arts Bursury 2012, Arts Council Travel Awards (2000 & 1996); RHA Annual Print Award (1998); Arts Council Arts Flights (2001, 1997, 1994); Arts Council Studio Award (1996); Arts Council Materials Grant (1996) as well as Office of Public Works Per Cent for Art Scheme (2001), Commission for the National Library, Dublin.

Elaine Leader


Sofie Loscher

Sofie Loscher (b.1987) lives and works in Dublin. She holds an MFA in Sculp-ture from NCAD and a BA in Visual Arts Practice from IADT. Recent projects include EVA International, Limerick; a commission of a site-specific work in Killruddery House, Wicklow; a solo exhibition in Tactic Gallery and she is cur-rently undertaking a yearlong residency in UCD School of Physics, Dublin.

Sofie Loscher



Aisling Prior, TULCA Curator 2014, outlines her aspirations for TULCA 14:

‘The most difficult thing to learn is how to dwell, without anxiety’. Richard Sennett. Tweeted by Hans Ulrich Obrist, 18th March 2014.

Galway is a university city on the Atlantic coast of Ireland. Its hinterland, Connemara, is world renowned for its majestic landscape and Gaeltacht heritage. To the east and south of the city are historically rich townlands, best known for music and agriculture.

Aisling is interested in the collision of these idylls – the brooding quiet of Connemara, in particular, and the lively, social character of the city of Galway. This contrast will be the conceptual framework for TULCA 2014.

The exhibition will draw attention to the lure of stillness and of silence in this increasingly digital age where all of us, even those who chose to live in the most remote parts of a country, are known, traceable and expected to be readily reachable. Escape is impossible.

The reverie of the retreat to the wilderness is most famously celebrated in Thoreau’s Walden (1854). Within just a few decades after its publication, Thoreau’s romantic hero was anachronistic. The great malaise of the 20th century – ‘alienation’ – had taken its grip on society. Alienation, the source of all modern discontent, was the fallout from the industrial and subsequent technical revolutions, whose labour saving devices and opportunities for leisure caused a new ennui, and created an insurmountable chasm between man and his/her fellow human beings.

Any yearning for isolation was consequently discredited in the 20th century Western world. It was increasingly incumbent on newly mobile societies to be in constant flux, constant travel, – ‘holidays’ became normal. The attraction of urban life and its advantages were almost impossible to resist. And within this new world of easy communication and sociability, people who sought to be alone became feared, aroused suspicion, were termed a loner, an “odd bod”. And so, the anti-social person became the sociopath.

However, we have seen a backlash against the stigmatisation of solitude. Solitude is seen now as a powerful and necessary anti-dote to the pressures imposed on us in this digital age, which allows no cover for passivity. There is a seeming obligation to be in constant communication, to have an endless appetite for the consumption of information, and to embrace every opportunity to engage in the two-way discourse new social media and the internet affords. Even much contemporary art, the practice known as relational aesthetics, obliges us to fully participate in itself, the creation of the artwork being dependent on our engagement. But the expectation to engage has made us weary.

So it transpires that artists, philosophers, writers, designers, architects and psychotherapists are once again extolling the agency and virtue of non-doing, of contemplation and of quietness. There aren’t many of us who haven’t heard of the benefits of ‘mindfulness’. The Slow Movement which emerged in the last decade or so in the areas of growing food and cooking, has since emerged as a way to see an exhibition. Craft making is seeing a renaissance and the value of the hand-made object or thing is once again duly appreciated.

And the delectable pleasures of simply passing the time, of being bored, idle even, have all been recently lauded in contemporary literature, while the idea of ‘Quiet Zones’ in cities is being researched and implemented by city councils across the developed world.

While artworks that explore the potential of retreat are sought for TULCA 2014, the exhibition will also mount artworks that are unapologetic in their busyness and ‘freneticness’. The exhibition will show work by contemporary artists and designers who experience the most fundamental dilemma of all: how to live, where to live. To live alone or in society. Or to do both.

Alongside the traditional definitions of visual art practice, this year the curator is especially interested in including design; graphic, furniture, textile and domestic scale industrial design in particular, architectural drawings and models, indigenous crafts, web-based work and social media as artform.







No 31 Dominick St

126 Gallery


For more information, please visit:





Alan Phelan: ‘if you aren’t all mine’ Detroit Stockholm, Sweden Nov. 7 – 15, 2014












Alan Phelan “if you aren’t all mine”

curated by Sheena Malone


Detroit Stockholm

21 Roslagsgatan, 113 55 Stockholm, Sweden


Nov 7 – 15, 2014



“What is the meaning of it, Watson?” said Holmes solemnly as he laid down the paper. “What object is served by this circle of misery and violence and fear? It must tend to some end, or else our universe is ruled by chance, which is unthinkable.”


The final paragraph from “The Adventure of the Cardboard Box”, a short story by Arthur Conan Doyle, published in 1892


Detroit Stockholm is pleased to present “if you aren’t all mine”, the first solo exhibition in Sweden by Irish artist Alan Phelan which includes his new 2014 film “Edwart & Arlette”, alongside graphic and text works.


The film is an adaptation of the Sherlock Holmes story “The Adventure of the Cardboard Box” which has been reworked into a stylish whodunit with shot design and dialogue originating from hand photographs collected by the artist from self-harming social networking websites with real money games. Words and sentence fragments found on these images were developed into dialogue and remain in the order they were found, forcing the Sherlock narrative to take some unexpected turns. In fact, there is no Sherlock, as his character has been removed. 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 tale, 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.


Phelan’s work often begins with language – taking a particular text and re-conditioning it for a different context, generating works that occur in a variety of mediums. The transformative trail is often made evident or incorporated into the work – revealing the process, as the artist describes it. The text piece “Morelli Lectures 2014”, on view in the lower gallery, is a developing work which uses the subtitles from the film that inspired the upstairs installation. This text will now form the dialogue for the artist’s next film project which is an imagined future for the Irish humanitarian and nationalist rebel, Roger Casement who was executed in 1916.


Together both galleries interrogate 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. These fall into the artist’s interest in provisional parataxis, hypothetical intentionalism, and discursive narcissism, which are otherwise only elusive fluxes of memories, shifting identities, open-ended narratives, contrapuntal dialogues, diffused authors, and other circulations.


Born in Dublin in 1968, Alan Phelan studied at Dublin City University and Rochester Institute of Technology, New York. Based in Dublin, Phelan has had solo exhibitions at The Irish Museum of Modern Art, Dublin; Oonagh Young Gallery, Dublin; Dunamaise Arts Centre, Portlaoise, mother’s tankstation, Dublin; Kevin Kavanagh Gallery, Dublin; and has internationally exhibited at Golden Thread Gallery, Belfast; BOZAR, Brussels; Whitney Museum of American Art, New York; Chapter, Cardiff; SKUC, Ljubljana; Feinkost, Berlin; SKC, Belgrade; OK11, Helsinki; Eastlink Gallery, Shanghai; URRA/Galería Del Infinito Arte, Buenos Aires. Phelan was editor/curator for Printed Project, issue 5, launched at the 51st Venice Biennale, and has curated exhibitions at the Royal Hibernian Academy, Dublin and Project Arts Centre, Dublin.


Sheena Malone is a curator from Ireland. Having completed a masters in Curating Contemporary Art at Stockholm University in 2014, she moved to Berlin where she currently resides. Prior to moving abroad, she spent six years working at The Douglas Hyde Gallery in Dublin where she co-curated the exhibitions ‘Preponderance of the Small’ and ‘Holding Together’. Recent projects include ‘Happy Thoughts!’ with Joanne Grüne-Yanoff, Detroit Stockholm & Titwrench Festival; ‘The S.I. Witkiewicz Portrait Painting Firm’, English Theatre Berlin and Absolut Fringe Dublin; ‘Sister Cities’, Detroit Stockholm; ‘Between Worlds’, Stockholm University, and ‘In Dreams Awake’, Finspång Kulturhuset. Her exhibition proposal ‘Ghosts of a Forgotten Future’ reached the Top 10 of the ApexArt Franchise Program 2014.


At 5pm on the day of the vernissage, Alan Phelan will give a talk on the exhibition “if you aren’t all mine” and his practice.


If you would like to obtain extra press information for the exhibition or to arrange a viewing outside of regular opening hours, please contact Sheena Malone by email:



We are grateful for the financial support of the Embassy of Ireland in Sweden and The Arts Council / An Chomhairle Ealaíon.


For further information on the artist:



Genieve Figgis: Good Morning, Midnight – Half Gallery New York, 15 September – 25 October, 2014

Image: Genieve Figgis, 'The Swing after Fragonard' 2014 Courtesy of the artist



















Genieve Figgis

Good Morning, Midnight

Sept. 15 – Oct. 25, 2014


Half Gallery

43 East 78th Street, NEW YORK



The figures populating Genieve Figgis’s paintings emanate from some luminescent netherworld, suspended between life and death, or living life and death or life through death in a land of the willingly lost, enchanted and menacing by turns, where the cauldron of the Weird Sisters who prophesy to Macbeth is recast as the Jamesian Golden Bowl. The psycho-landscape evokes an Edwardian house party but the estate’s been abandoned for a century, everybody is dead but they never left the place. Candles still sparkle but give off no heat. Evening attire: The ladies wear exhorbitant parures; the gentlemen teeter in their silk top hats. And it all looks like great fun, the scenes rife with smiles and laughter, hijinks and assignations, pranks and drolleries. But in this miscarried Merchant-Ivory film the guests look rotten, or rotting, their beaming visages collapsing into skulls, their bodies liquescent or rather deliquescent, like overripe cadavers, yet illumined from within by eldritch light. I remember reading an article about Stanley Kubrick in the New York Times when The Shining originally came out. Kubrick made one comment that has always stayed with me: Aren’t ghost stories essentially optimistic, he asked? After all they reassure us that there is a life after death.


– David Rimanelli*

*an excerpt from his essay “Wonderful Party, Darling” (Fulton Ryder, 2014)


Genieve Figgis made her American debut at Harper’s Books in East Hampton this summer. The show coincided with the publication of her first artist book, Making Love with the Devil. She lives and works outside Dublin, Ireland.


More information:


Art in Review by Roberta Smith, New Your Times:



Seamus O’Rourke: Over the Edge: Paperworks Unbound, Williamsburg Art & Historical Center, 135 Broadway, Brooklyn, NY, October 25 – November 23, 2014

Image: Seamus O’Rourke ‘Missing Pictures' Ink on Paper 50cm x 70cm 2014, courtesy of the artist.


















Seamus O’Rourke

Over the Edge: Paperworks Unbound


WAH Center (Williamsburg Art & Historical Center),

135 Broadway, Williamsburg Brooklyn, NY 11211 USA


Saturday, October 25 – Sunday, November 23, 2014

Opening Reception: Saturday, October 25, 4-6PM


Juried by Claire Gilman, Curator at The Drawing Center, Co-curated by Yuko Nii & Rebecca Cuomo.

Seamus O’Rourke will be exhibiting in New York at the WAH Center, opening reception 4-6pm Saturday 25th October. ‘ Missing Pictures’ was selected by Claire Gilman ( Curator at the Drawing Center NY) and co-curators Yuko Nii and Rebecca Cuomo ( Curators at WAH Center)


Throughout human history, paper has been essential in countless developments that have transformed the way we think, live, and act. Paper as we know it today originated in China over 2,000 years ago during the Han Dynasty (206 BC – 220 AD). The ancient Silk Road eventually brought paper to the West, where it was quickly adopted and widely used. Since its genesis, paper has been valued for its relatively easy, cost-effective production and functional versatility.

In 1453, Johann Gutenberg invented the first printing press in Germany – an innovation that revolutionized the spread of information and initiated a proliferation of literacy and scholarship. For centuries, printed publications such as books, newspapers, magazines, flyers and pamphlets were the primary sources for information and communication. In recent years, however, these printed publications are becoming obsolete as we increasingly rely on digital platforms. In addition to this paradigm shift, environmental concerns are cited as reason to abandon published print and reduce paper products in favor of a more eco-friendly digital alternative.

Artists who use paper as the primary medium for their artworks defy the mainstream understanding of books as antiquated artifacts and paper as a cheap, disposable commodity. These materials are used as points of departure for infinite creative possibilities achieved through drawing, painting, cutting, carving, printing, folding, sculpting, and assembling art that highlights the universality of paper.

The WAH Center is pleased to have invited Beatrice Coron, Doug Beube, Li Hongbo, and Wang Lei to exhibit their works as part of Over the Edge: Paperworks Unbound.

Over the Edge: Paperworks Unbound will be on display from Saturday, October 25, 2014 through Sunday, November 23, 2014. Gallery hours are Friday through Sunday, 12m to 6pm. There will be an opening reception on Saturday, October 25, 2014 from 4pm to 6pm.


For further information: