Limerick City Gallery of Art 30 September 2018 – 6 January 2019 The fundamental experience generated by Maud Cotter’s solo exhibition, ‘a consequence of – without stilling’, at Limerick City Gallery of Art (LCGA) is appropriately described in the exhibition text as “a mercurial landscape of the mind… a place where matter and consciousness mix”. Cotter, who was one of the founders of the National Sculpture Factory, Cork, displays an uncanny understanding of, and meticulous control over, the materials she uses, as dramatically evident in two large-scale sculptures: without stilling (2017–18), a skilfully imagined construction, produced entirely of finely cut Finnish birch ply in the South Gallery; and matter of fact
Ormston House, Limerick 7 – 27 September 2018 Having spent almost an hour visiting the exhibition, ‘Museum of Mythological Water Beasts’ (curated by Mary Conlon and Niamh Brown) I was happily joined by my international colleague, Mat Rappaport, a Chicago-based artist and curator who was holidaying in Ireland. Mat had given a riveting talk on his practice in LSAD the previous day and was keen to explore the vibrant Limerick art scene he had heard about in the States. We walked around the exhibition together and later discussed the merits of the show, which had captured our joint imagination, if for somewhat different reasons. I particularly enjoyed the exhibition’s accumulative
MARY CONLON CATCHES UP WITH INTI GUERRERO, CURATOR OF THE 38TH EVA INTERNATIONAL, CURRENTLY SHOWING ACROSS MULTIPLE VENUES IN LIMERICK CITY. Mary Conlon: In developing the 38th edition of EVA International, you have replaced the standard ‘monolithic’ biennial model with a more complex ecology of exhibitions. Can you explain this curatorial strategy? Inti Guerrero: It is a proposal that corresponds to the simultaneous multiplicity of perception that audiences today have developed, alongside the advent of social media. In other words, in a biennial imagined as an ecology, people can navigate back and forth through entirely distinct bodies of work and different constellations of meaning, and yet not feel the need
CHRIS HAYES DISCUSSES THE EVOLUTION OF ‘PERIODICAL REVIEW’ – A LONG-RUNNING CURATORIAL PROJECT BY PALLAS PROJECTS/STUDIOS. To write about the Periodical Review – an annual exhibition, now in its seventh iteration – is to repeat and confront the curatorial project’s own questions and provocations. Hosted, organised and partially curated by the not-for-profit artist-run space, Pallas Projects/Studios in Dublin, Periodical Review aims to enliven the practice of contemporary exhibition-making by reimaging the gallery space as a magazine. The exhibition title, in itself, echoes this publishing endeavour, suggesting something occurring at regular intervals. Periodical Review offers a unique opportunity to look back on the preceding year in Irish art, by showcasing artworks
Paul Murnaghan, Limerick City Gallery of Art, 15 September – 30 October 2016 Paul Murnaghan’s exhibition ‘All Mountains Are Moving’ explores archaic belief systems by courting wonderment and superstition. This new body of work refers to outmoded ways of magical thinking, but also arouses a sense of mystery in the viewer through a clever use of materials and techniques that make us question what we are seeing. ‘All Mountains Are Moving’ is exhibited upstairs in Limerick City Gallery of Art across numerous rooms around the square first floor balcony space above the Atrium Gallery. The first room on the right omits a yellowy glow, created by an orange stain on the
The closing event for ‘Eva 2016: Still (the) Barbarians’ was the culmination of one the most well received Eva exhibitions in recent years. Reflecting the scope and complexity of the biennial itself, the presentations and discussions were diverse and ambitious, representing a range of both Irish and international offerings on postcolonial discourse. Curator Koyo Kouoh began by introducing Alan Phelan’s “counterfactual” film Our Kind (2016), which imagines a future for Roger Casement had he not been executed in 1916.