On Thursday the 25th of July we are going to catch a few exhibitions; ‘Longest Way Round, Shortest Way Home‘ which consists of two solo exhibitions: ‘dream sequence’ by Yuri Pattison, and ‘Beep Beep’ by Liliane Puthod at The Pumphouse, and ‘Netflix and Disintegrate into Nothing and Everything’ by Siobhán McGibbon at Pallas Projects as part of their ‘Artist Initiated Projects Programme’. When we’re done here, we will head to Lucky’s for art chats.
Please RSVP below to let me know if you are going so we can get an idea of numbers. Thank you!
Date & Time
Thursday the 25th of July | 15:30 – 18:00
Meeting Point – 15:30
The Pump House
Alexandra Terminal,
Alexandra Rd,
Dublin Port,
Dublin 1
Google Maps: https://maps.app.goo.gl/9waWiVr7whUFa3jS9
Next Location
Pallas Projects/Studios,
115-117, The Coombe,
The Liberties,
Dublin,
D08 A970
Google Maps: https://goo.gl/maps/r17GSaSeqfZcUkX68
Post Art Chat
Lucky’s
Outside Area
Google Maps: https://maps.app.goo.gl/8RC6kpbum6ANgjo1A
RSVP
About The Exhibitions
Yuri Pattison – ‘dream sequence’
“In Yuri Pattison’s ‘dream sequence’ installation, water assumes a central role in its metaphorical dimension, but also as a carrier of measurable data. The generative video takes a narrative cinematic journey following the course of an imagined river from a forest stream, through an industrial plant, and a port metropolis at the ocean’s edge. The video’s content and its score, performed ‘live’ in the space by a Disklavier (MIDI-controlled player piano), is unique each time it is experienced. Significant aesthetic, auditory and structural elements of the work are directly influenced by changes in localised live external data from the ‘real world’ (atmospheric conditions, air and water quality). In this exhibition, data will be drawn from local monitoring sites at Dublin Port, to deliver context-specific image/data variations.
Rivers are a recurring analogy for the passage of time in history and across societies, and ‘dream sequence’ is an exploration of the perception of time and reality. Pattison proposes that the act of dreaming is a subconscious analogy of virtual metaverses and a transgressive escape from a hostile reality.”
Liliane Puthod – ‘Beep Beep’
“Liliane Puthod’s Beep Beep is a large-scale immersive artwork consolidating her research on handmade and mechanised production, commodity fetishism, and the archaeology of consumerism.
Two embellished shipping containers hold precious cargo: a 1962 Renault 4 (R4) car reanimated by the artist from her late father’s dusty shed in her hometown in the Rhône-Alpes region of France. For many years, the car sat idle among a jumbled assortment of other objects that were initially discarded: bikes, lamps, ashtrays, tools, machine parts, camera equipment, piles of scrap metal, ladders, and countless other everyday artefacts amassed by Puthod’s father with the optimism that they may have a second chance at a life of use.”
Siobhán McGibbon – ‘Netflix and Disintegrate into Nothing and Everything’
“The exhibition transports viewers into the world of Xenophon, where they will encounter the Xenothorpians, a fluid species that commune and mutate with living and non-living entities to adapt to the Anthropocene. Their hybridisations provide a backdrop from which new stories emerge- a tongue-in-cheek approach to the problem of humans. This new chapter is a multi-species romance told in three parts.
The sculptural installation; Netflix and Disintegrate into Nothing and Everything (part 1), is an invitation to engage in intimate relations, beyond the species and the sexual. The title refers to a popular euphemism for sexual activity while alluding to the steaming hot togetherness of compost. The work is driven by the question of queer multispecies desire, can loving beyond protocol result in more relational choices that disrupt human-centred practices in the garden.
To re-think garden relations this love story broadens sexuality to include how we inhabit and interact. The project positions the unkempt; weeds, hedgerows, and meadows as queer sites of desire where gender-bending cohabitors embrace diversity and fluidity, and rhizomes disrupt normative reproduction. Counter to this are the manicured, weeded, overgrazed, cropped sites controlled & depleted by human desire”.
Organisers