Periodical Review #8



Bassam Al-Sabah, Artists' Campaign to Repeal the Eighth Amendment, Basic Talks, Megan Burns, Susan Buttner, Sophie Daly, Robert Dunne, Marie Farrington, Austin Hearne, Sam Keogh, Stephen Loughman, Brian Maguire, Dennis McNulty, Celina Muldoon, Ciara O'Neill, Fiona Reilly, Sean O'Rourke, Seoidín O’Sullivan, Cliodhna Timoney, Lee Welch.

Cliodhna Timoney, Tatty Green Lampshade, 2018

Cliodhna Timoney, Tatty Green Lampshade, 2018


An artwork is like a book, not made up of individual words on a page – each of which with a meaning – but instead "caught up in a system of references to other books, other texts, other sentences" Michel Foucault, The Archaeology of Knowledge, 1969

Periodical Review is an annual survey of recent Irish art, selected in collaboration with invited curators/peers from around Ireland. Each year, Pallas Projects invite two peers – artists, writers, educators, curators – to review and subsequently nominate a number of art practices, selected via an editorial process. Such a review-type exhibition within Irish art practice acts to revisit; to be a reminder, a critical appraisal and consolidation of ideas and knowledge; to facilitate and encourage collaboration, crossover and debate.

Not a group exhibition per se, Periodical Review is a discursive action, with the gallery as a magazine-like layout of images that speak (the field talking to itself). This is the exhibition as resource, in which we invite agents within the field to engage with and re-present what were for them significant moments, practices, works, activity, objects: nodes within the network.

In looking at self-organised exhibitions, off-site projects, commercial gallery and museum shows, performances and publications, Periodical Review looks to share a spectrum of practices, creating dialogue and critical reflection to help develop and support Irish contemporary art as a whole; and to act as an accessible survey of contemporary art for a wider audience, expanding the access to and experience of art practices from around the country.


Selected by James Merrigan, Aisling Prior, Mark Cullen & Gavin Murphy



[Kindly supported by ARTS OFFICE Wexford County Council & Gorey Municipal Council.]


Gorey School of Art | 27 JULY — 4 AUGUST 2018


JOY GERRARD,  Protest Crowd ( Women's March, Montpellier 2017) . 2018, Print on paper (120gsm) 10 x panels. Dimensions. 420cm x 220cm. Courtesy the artist.  

JOY GERRARD, Protest Crowd ( Women's March, Montpellier 2017). 2018, Print on paper (120gsm) 10 x panels. Dimensions. 420cm x 220cm. Courtesy the artist.



DESTROY ALL HEROES is a group exhibition presenting artworks that explore the grey matter of thinking and feeling through the medium of drawing and text. Presenting four artists – Laura Fitzgerald, Joy Gerrard, David Godbold and William Murray – the exhibition begins where most superheroes begin, with the ZINE, defined as a cheaply-made, cheaply-priced publication, often in black and white, but brimming with the personalities and passions of its creators. 

The series of zines DESTROY ALL MONSTERS (1976-1979) by American “part-time punk band, part-time art collective” (Cary Loren, Mike Kelley, Niagara and Jim Shaw) is an influence that runs throughout the exhibition and its component parts, even in name. But as a mark of respect for subcultural tenets we have inverted Mike Kelley et al’s influence to put the head of the HERO on the chopping block in place of the MONSTER. 

From the outset the production of a ZINE made of Real white paper and Real black ink has been a Real desire, especially with Laura, Joy, David, and William in mind. We felt the DIY ZINE represented a kind of internalised and intimate propaganda for those caught on the edges of the socio-political-economic-cultural swell. We asked the question: Does the internalisation of something like propaganda, something that is meant for the poster/pulpit/throne for politician/priest/king have a different nature, a different purpose in the hands of the artist? 


Presentation of original Raymond Pettibon zine collection from the 1980s—courtesy of exhibiting artist David Godbold. 

“A significant figure of the Southern Californian punk scene in the late 70s and 80s, Raymond Pettibon started his artistic career making scrappy zines, handbills and flyers for his band Black Flag and his brother’s record label, SST Pubs. These early zines feature comic-like illustrations paired with bizarre, ironic, and often seemingly disjointed text. Particularly focusing on the dissemination of post-war American culture, Pettibon works with recurring themes of sexuality, violence, youth-culture, religion and idols.” (Printed Matter, New York)

DESTROY ALL HEROES ZINE | 40 copies | €5

DESTROY ALL HEROES ZINE | 40 copies | €5


At face value the definitions of “one-liner” do not hold much water for the contemporary artist: a short joke, witty remark, humorous anecdote, gag, jape, jest, laugh. One-liners come with an apology. For some the one-liner is the difference between advertising and art, wit and width. As Dorothy Parker quipped on her own talent for one-liners: “Brevity is the soul of lingerie.” But ironically, like Parker's witticism, the one-liner can spur the imagination; and in rare instances sum up the depths of Being and Time in a few well placed words.

Laura Fitzgerald’s captioned drawings currently displayed in Gorey School of Art’s Periphery Space are distilled from a family album of life, work and art experiences that have been orphaned on paper for us to adopt and make our own. Sometimes gestural, other times surgical, the lines of Laura’s drawings are made flesh and blood by the self-effacing captions that unearth the artist’s fractured humour.

In Laura’s world rocks (of all things) are human too; so human they sometimes need therapy. Borne of a self-reflexive personality and temperament acutely aware and open to the social and political world around her, Laura’s current protagonist, Brian, is made of the most bloodless and unwieldy of substances: rock.

On the final day (August 4th at 12pm) of the group exhibition DESTROY ALL HEROES (with David Godbold, William Murray, Joy Gerrard, Raymond Pettibon) exhibiting artist Laura Fitzgerald will discuss her work in the flesh with Emma Roche and James Merrigan in the gallery, exploring a scrapbook of subjects, from joy and nihilism to therapy and rocks. 




[Kindly supported by Wexford County Council & Gorey Municipal Council.]


An exhibition of painting told through the lens of film.

Gorey School of Art | 28 JULY — 6 AUGUST 2017

Robert Armstrong — Susan Connolly — Diana Copperwhite  — Colin Crotty — Brian O’Doherty — Damien Flood – Paul Hallahan — Mark Joyce — Mark O’Kelly  — Ciarán Murphy — Sheila Rennick — Emma Roche — Mark Swords — Kathy Tynan

Wonderful moment in  Ex Machina  (2014) when a painting (Jackson Pollock's  No. 5 ., 1948) is used as an object lesson in human consciousness and theory of knowledge and mind.

Wonderful moment in Ex Machina (2014) when a painting (Jackson Pollock's No. 5., 1948) is used as an object lesson in human consciousness and theory of knowledge and mind.


PERIPHERIES 2017 will bring together 14 Irish painters on the ground floor of Gorey School of Art (GSA). In the buildup and over the course of the nine consecutive days of the exhibition GSA will be activated by film screenings, artist talks, live broadcasts, online texts and one rotation of paintings midway through the exhibition.

Titled ‘Soul-Beating’, the curator of the exhibition James Merrigan retraces an exhibition he co-curated with Robert Armstrong at Dublin’s Temple Bar Gallery & Studios in 2012 titled ‘Making Familiar. Likewise ‘Soul-Beating’ offers a chance to experience peer painting practices side-by-side and revelations on the processes and ‘lived’ stories that define their working methods.” However the title ‘Soul-Beating’ draws from a deeper psychological and critical well.

‘Soul-Beating’ is a phrase taken from the biographically intimate essay of the same name by the American painter David Reed, who had the strange aspiration to be a “bedroom painter”. Reed heard the phrase from his art college mentor Milton Resnick, whom he studied under at the New York Studio School in the 1960s: “It was a phrase that Resnick used to describe the method and difficulties of an artist changing his or her work”.

To confront such ‘Soul-Beating’ questions a series of public conversations with painters and filmmakers will take place in a custom-made seating area decked out with televisions and reading material in the exhibition setting. The seating area will also play its part in the display of a series of filmed conversations with Irish painters and to invite visitors to the exhibition to stay a while and think and feel with the paintings.

Drawing once again from Reed’s ‘Soul-Beating’ essay where he describes escaping art school to a New York theatre to see Sergio Leone’s For a Few Dollars More (1965) with the iconic American painter Philip Guston, the spaghetti western For a Few Dollars... and the slice-of-life drama The Last Picture Show (1971) will be screened on the main street of Gorey town; while more contemporary films dealing with painters and painting will be screened on the first floor of Gorey School of Art.

Milton Resnick.

Milton Resnick.


Artists are always becoming; their art is always becoming. In an attempt to surprise or stop repeating themselves artists often feel the need to change, even destroy what they and their work have become in their mind’s eye and the eyes of the public. This three-part series of talks with paired painters and filmmakers confronts this notion of soul-beating, and the difficulty, necessity and sometimes danger in changing tactic and starting all over again.

TUESDAY 1ST AUGUST: Emma Roche, Damien Flood & Marks Swords in conversation. [Live Streamed but technical difficulties resulted in the recording being unwatchable]

WEDNESDAY 2ND AUGUST: Robert Armstrong and Paul Hallahan in conversation. [See recording below]

FRIDAY 4TH AUGUST: Irish Filmmakers Saskia Vermeulen and Gareth Nolan and James Merrigan reflected on two years making and unmaking a film on painting.  [See recording below]

Still (with subtitles) from Star Trek: The Next Generation, 'The Offspring', season 3/ episode 16, 1990. Director: Jonathan Frakes. Writer: René Echevarria. 45 minutes. Image: James Merrigan.

Still (with subtitles) from Star Trek: The Next Generation, 'The Offspring', season 3/ episode 16, 1990. Director: Jonathan Frakes. Writer: René Echevarria. 45 minutes. Image: James Merrigan.



Jean-Michel Basquiat: The Radiant Child, 2010. Director: Tamara Davis. Writers: Eric Martin, Lois Vossen. 93 minutes. 

Star Trek: The Next Generation, 'The Offspring', season 3/ episode 16, 1990. Director: Jonathan Frakes. Writer: René Echevarria. 45 minutes. 

Gerhard Richter: Painting, 2011. Director: Corinna Belz. Writer: Corinna Belz. 97 minutes.

Ex Machina, 2014. Director: Alex Garland. Writer: Alex Garland. 108 minutes. 

For a Few Dollars More, 1965. Director: Sergio Leone. Writers: Luciano Vincenzoni, Sergio Leone. 132 minutes.

The Last Picture Show, 1971. Director: Peter Bogdanovich. Script: Larry McMurtry, Peter Bogdanovich. 118 minutes. 

**Selected by Saskia Vermeulen and Gareth Nolan**

A Story of Children and Film, 2013. Director: Mark Cousins. Writer: Mark Cousins. 106 minutes.

Troublemakers: The Story of Land Art, 2015. Director, James Crump. Writer, James Crump. 72 minutes.