Monday, October 26, 2009

on now etc.

Fergus Feehily is now on at Douglas Hyde, I am a huge fan and this should be pretty awesome, show is called Pavillion.

Kathy Predergast is currently showing at the Kerlin Gallery, show is called The Grey before Dawn.

Niamh O'Malley is on at the Green on Red showing a new video piece.

Bridget Flannery is showing at the Cross Gallery and it looks pretty worth checking out.

Paul Nugent at Kevin Kavanagh

Don't really understand what the exhibition happening at Pallas Projects is but it looks intriguing

Black Mariah is still showing my old tutor Mark O'Kelly

Also, I am graduating in a couple days so i'll have the skinny on this Noughties but Nice expo in the limerick city gallery.

RUTH LE GEAR @ GALWAY ARTS CENTRE

Ruth LeGear left a strong impression last year with her contribution to the Hou Hanru-curated EV+A in 2008. Her piece, a mixed media installation entitled Teardrops in Wonderscape, invited the viewer to lie down underneath a shimmering cluster of vials filled with tears suspended in the little containers by nothing but air pressure. There was a delicacy and inventiveness with materials and an elegant sense of audience interaction even if it did seem a little, well, cute.

As such it provides a perfect introduction to LeGears first solo exhibition mapping out all the possibilites for triumph and pitfalls that the artist has so far created for herself. In fact, it is in her handling of her own fey sensibility that the artist achieves both the most intriguing and cloying moments of this show. The work which comprises the show originates in a residency the artist undertook in iceland, and indeed the world capital of cuteness exert an overwhelming influence (I can imagine half of this stuff appearing in a Bjork inlay booklet)

The successful moments include a video installation complete with huge beanbags of dripping water. It's kind of ridiculous in a meditation-room kind of way and signals a sharper sense of humour than might be obvious in her overly cute photographs of plastic polar bears. The problem for me is maybe a discriminatory one, its just that I don't really get all this super-cute posturing.

PETER O'KENNEDY @ G126

Gah, two things i've been meaning to do for quite some time, the first one is update my blog, the second to write about G126 who are basically burning the torch for forward-looking and innovative exhibitions in Galway. Over the summer they opened a new premises in the city centre and quietly hosted a season of inventive and quirky shows by international artists. Still, this is a good month in which to comment their good work because current exhibition by Irish born artist Peter O'Kennedy showcases the venue's commitment to ambitious exhibitions by emerging artists.

The exhibition entitled Skip Roll Bump scratch is dominated by two large sculptures assembled from piping, and bits of machinery and the ambience of several sound pieces. One of those sound pieces, hissing radio transmissions, emerges from a large gramaphone speaker connected to a complicated web of piping, a stark black three dimensional drawing which dominates the centre of the small room. It feels imposing yet calmly self contained. The actual source of the sound itself is mysterious, as though the web of pipes were just a small piece of a vast constellation of interconnecting conduits.

The other piece which dominates the show, smothered by a large sheet of polythene is another large sculpture, this time seemingly assembled from parts of electronic machinery, and resembling the front of a lorry, albeit obscured by the aforementioned plastic. There is something anthropomorphically cruel about the cable ties that affix the plastic to the hulking structure which lends the room a troubling air of displaced menace.

The prints on the wall, largely photographic prints on aluminium, flesh out the artist's concerns, and kind of renegotiation of Futurism that takes on a dry immediacy as though washing off the romance of 70 or so odd years of supermensche boners and Throbbing Gristle post apocalyphta. The work seems almost fetishistically drawn to the boringness off the subject, casting aside all the sinister machinations of the glory of machinery and arriving at a language that is both immediate and casual. Pretty cool.