Hannah Fitz’s exhibition Doggie Eyed Stare ambitiously captures transient, wavering forms through a series of chalky plaster-coated sculptures.
Arts & Culture Features
The journey embarked upon by one here curiously mimics Lacan’s re-reading of Oedipus, after Sigmund Freud: from mother, to not-knowing.
Body&Soul launches new funding and bursary program worth over €30,000 called Incubate&Innovate.
Charlotte Prodger appears at Temple Bar Gallery and Studios for her first solo exhibition in Ireland: Stoneymollan Trail, with guest curator Linsey Young.
Eminent Domain II at Pallas Projects is the second exhibition of an on-going project by Gillian Lawler which is inspired by the abandoned town of Centralia in Pennsylvania.
In spite of its accessibility – it only requires you having an internet ready mobile device to access the installation’s control panel at www.continuousdrift.com – it has remained a bit of a secret, a slow-burning discovery for those beyond Dublin’s art-crowd.
The best work in What We Call Love is that which reveals the inherently violent and exploitative aspects of love, which induces revulsion rather than sentimentality.
Currently installed at the Garden Galleries in IMMA, El Lissitzky: The Artist and the State, is an exhibition curated by Annie Fletcher and Sarah Glennie. Although the show predominantly features the work of Russian constructivist artist and architect El Lissitzky, it functions more as an allegory to the work of Irish Revivalist poet, playwright, and author Alice Milligan.
The Moth StorySLAM is breathing new life into the Irish tradition of storytelling.
Curated by Gavin Wade, with Céline Condorelli and James Langdon, ‘Display Show’ is the first iteration of an exhibition project which seeks to examine the politics of exhibition and display.
Ballet Atha Cliath is a collaboration between an assortment of Dublin-based creative artists: filmmaker Howard Jones, professional ballerina Zoë Ashe-Brown, and local space-rock three-piece Cloud Castle Lake.
Foregoing the wholesome institutional embrace of the gallery, Foaming at the Mouth is a ‘visual art spoken word’ event which takes the best Irish artists, writers, and performers out of the white cube and into venues that are far less definitively shaped. We caught up with its organisers, Emer Lynch and Tracy Hanna, to discuss the fruitful marriage of visual art and language.
Sam Keogh’s Four Fold refers to an elaboration on the ‘threefold death’ supposedly inflicted on the Croghan man, a ritual sacrifice involving the delivery of three mortal wounds.
In her first solo show on Irish soil, Karla Black brings her nimble style of on-site installation work to the Irish Museum of Modern Art.
Isabel Nolan draws on considered research to create a show in Kerlin Gallery of colourful works realised with playful certainty: Bent Knees Are A Give.
There is a strong sense of Wylie’s painting process in her work. Her embrace of mistakes is made transparent through corrective painting; smooth white and pink patches stand out against the coarse texture of her un-primed canvases. The strength of Wylie’s work lies in her ability to discern when to forego the intentional, in favour of the accidental.
Two exhibitions in Dublin this year by Richard Proffitt and Garrett Phelan have explored a contemporary kind of occultism.
We spoke to artist Hannah Sawtell to gain some insight into her diverse practice in the lead up to her performance at PLASTIK Festival of artists moving image.