Viewing articles tagged with 'Dublin'

dlr Lexicon, Haigh Terrace, Moran Park, Dún Laoghaire, Ireland

Paul Hallahan & Lee Welch: And the tide was way out

Paul Hallahan & Lee Welch: And the tide was way out, dlr Lexicon, 2019

In ‘And the tide was way out’ we are presented with two distinct approaches by the artists to painting, and while they converge in two works at the centre of the main gallery space, their divergence dominates the duo exhibition. Review by Aidan Kelly Murphy

Further reading +

mother’s tankstation, 41- 43 Watling Street, Usher’s Island, Dublin, D08 NP48, Ireland

Lee Kit: Banal

Blue skied and clear

As you enter Dublin’s mother’s tankstation and Lee Kit’s ‘Banal’ you are greeted by Gnarls Barkley’s 2006 hit song ‘Crazy’. A search for the source of ‘I think you’re crazy’ (2017) reveals a pair of headphones overhead, dangled upside down and tantalisingly out of reach - and out of use. On the wall Kit has, through a plastic storage container, projected a video that has some of the song’s lyrics overlaid, with others missing. Review by Aidan Kelly Murphy

Further reading +

Irish Museum of Modern Art, Royal Hospital Kilmainham, Military Rd, Kilmainham, Dublin 8, Ireland

Wolfgang Tillmans: Rebuilding the Future

Wolfgang Tillmans, Rebuilding the Future, 26 October 2018 – 17 February 2019, Installation view IMMA, Dublin, 2018

Tillmans’ selection and presentation of his work is unique to each setting and here we see the choice to present, for the first time in a number of years, the early-career hospital operating theatre ‘I’ and ‘II’ from 1994, in the setting of a former hospital; indicating the work’s sensitivity and ability to respond to its environment and shape the narrative. Review by Aidan Kelly Murphy

Further reading +

Dublin City Gallery The Hugh Lane, Charlemont House, Parnell Square North, Dublin 1, D01 F2X9, Ireland

Amanda Dunsmore: Keeper

Amanda Dunsmore, John Hume, 2005; installation view, Dublin City Gallery The Hugh Lane

In light of seismic political events, and the failed attempts to square the circle that is the Irish Border, Amanda Dunsmore’s exhibition ‘Keeper’ in Dublin’s Hugh Lane seems increasingly vital and brings the Good Friday Agreement into sharper focus. Review by Aidan Kelly Murphy

Further reading +

Temple Bar Gallery + Studios, 5 - 9 Temple Bar, Dublin 2, Ireland

Katrina Palmer: The Time Travelling Circus: The Recent Return of Pablo Fanque and the Electrolier

Katrina Palmer, The Time Travelling Circus: The Recent Return of Pablo Fanque and the Electrolier, 2018, Installation view, Temple Bar Gallery + Studios.

Her two-tone and inverted printing, combined with these notations, help turn the map into a celestial chart for navigating the tale. Along with this map, Palmer presents a pair of audio recordings, featuring a ‘silent’ reading room within the gallery, circus tunes, sampled music, as well as a dual voice recording. Review by Aidan Kelly Murphy

Further reading +

mother's tankstation limited, 41-43 Watling Street, Usher's Island, Dublin 8, D08 NP48, Ireland

Yuri Pattison: Sunset Provision

Yuri Pattison: Sunset Provision, installation view at mother's tankstation limited, 2016

Yuri Pattison’s first solo exhibition in Ireland springs from a longstanding examination of the refractive impact of automation on time, loneliness, and the demands of productivity housed in an emergent co-working culture driven by and contingent on technological success.

Further reading +

Project Arts Centre, 39 East Essex Street, Temple Bar, Dublin 2

Gretchen Bender

Gretchen Bender, Total Recall, 1987

‘Total Recall’ works best when thought as a kind of collage: forcing irreconcilable images alongside one another, it creates the imperative towards a narrative, or at least the sense of one. Review by Rebecca O’Dwyer

Further reading +

The Douglas Hyde Gallery, Trinity College, Dublin 2

Luigi Ghirri

Luigi Ghirri, Rimini from the series Italia ailati, 1977

Ghirri’s images speak to the impassive, the thoughtful and the introvert. Off-kilter, almost (but crucially not quite) symmetrical arrangements abound, with large areas of his photographs left awkwardly empty. Review by Lizzie Lloyd

Further reading +