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Dnote • for the best of art in Ireland

@dnoting.bsky.social

Dnote sends weekly mailshots covering much of the best of art and art venues on the island of Ireland. Run by Peter FitzGerald, artist, who is currently doing a PhD in the Media & Entertainment Lab at University College Dublin; former lots of things.

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Bennie Reilly, Emotional Support, oil on canvas, 120 x 100cm, 2025; photo Davey Moor | we see the body but not head of someone in work overalls or similar, plus wellies or similar; the figure is seated and holding a black-faced white lamb and what may be a fox cub or similar; behind the figure and at the left edge of the canvas is a tiger-skin-patterned fabric while behind to the right is perhaps a trailer and perhaps an Irish flag; left front is a white-and-yellow-orange dog lifting its nose towards us though with closed eyes; behind it is a grubby-looking sheep, then a black-and-white lamb; it’s complicatedThis exhibition of paintings and mixed-media sculptures by Bennie Reilly draws on her interest in museum collections, natural history, and her own interactions with the natural world. Her paintings stem from an ever growing archive of personal photographs, while her sculptural works combine bric-à-brac and natural artefacts collected over many years. Together, these artworks…”

Bennie Reilly, Emotional Support, oil on canvas, 120 x 100cm, 2025; photo Davey Moor | we see the body but not head of someone in work overalls or similar, plus wellies or similar; the figure is seated and holding a black-faced white lamb and what may be a fox cub or similar; behind the figure and at the left edge of the canvas is a tiger-skin-patterned fabric while behind to the right is perhaps a trailer and perhaps an Irish flag; left front is a white-and-yellow-orange dog lifting its nose towards us though with closed eyes; behind it is a grubby-looking sheep, then a black-and-white lamb; it’s complicatedThis exhibition of paintings and mixed-media sculptures by Bennie Reilly draws on her interest in museum collections, natural history, and her own interactions with the natural world. Her paintings stem from an ever growing archive of personal photographs, while her sculptural works combine bric-à-brac and natural artefacts collected over many years. Together, these artworks…”

Municipal Gallery, Co. Dublin
Bennie Reilly: Follow your Dream
Open from Sun 1 Mar
Details → dnote.website?dnote=bennie...

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27.02.2026 11:01 — 👍 0    🔁 0    💬 0    📌 0
Image: photograph, taken by a lake, probably; sunny – we see a sun reflection in the water, bottom left; a right arm, clad in plaid to mid-forearm, extends in from the left side of the image; it is holding a cowboy hat which appears, more or less, to be on the head of the central figure in the photo; that figure is turned towards the left side of the image, bare left shoulder towards us, long dark hair; blurry trees in the background ¨“The Last Balkan Cowboy is the outcome of Dragana Jurišić’s long-term research project following the footsteps of cult Yugoslavian film director, Hari Džekson. Renowned for his interpretation of Wild West genre archetypes, Džekson lived a cowboy fantasy inspired by the rugged landscapes of Bosnia Herzegovina, and the conflicts across borders and race that led to the fragmentation of a nation. Jurišić mythologises Džekson’s legacy in the aftermath of the Balkan war. She is drawn to the symbolism of a wandering outsider roaming the landscape for…”

Image: photograph, taken by a lake, probably; sunny – we see a sun reflection in the water, bottom left; a right arm, clad in plaid to mid-forearm, extends in from the left side of the image; it is holding a cowboy hat which appears, more or less, to be on the head of the central figure in the photo; that figure is turned towards the left side of the image, bare left shoulder towards us, long dark hair; blurry trees in the background ¨“The Last Balkan Cowboy is the outcome of Dragana Jurišić’s long-term research project following the footsteps of cult Yugoslavian film director, Hari Džekson. Renowned for his interpretation of Wild West genre archetypes, Džekson lived a cowboy fantasy inspired by the rugged landscapes of Bosnia Herzegovina, and the conflicts across borders and race that led to the fragmentation of a nation. Jurišić mythologises Džekson’s legacy in the aftermath of the Balkan war. She is drawn to the symbolism of a wandering outsider roaming the landscape for…”

Temple Bar Gallery + Studios, Dublin 2
Dragana Jurišić: The Last Balkan Cowboy
Closing Sun 1 Mar
Details → dnote.website?dnote=dragan...

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26.02.2026 13:01 — 👍 3    🔁 0    💬 0    📌 0
loose painting, quickly applied, quite thin but strong colours, vigorous; we see a figure lying on something akin to a bed, viewed from above, snuggled, red coveres, blue, pale pink; side view of a face, huge hair swirling upwards, over a yellow pillow • “the soft animal of your body explores the interior landscape of pregnancy, childbirth and early motherhood. Created in the immediacy of these experiences, the paintings respond to the physical and psychological shifts of matrescence: time untethered, memory fragmented, the self both expanded and newly fragile. Fabric becomes a recurring motif, echoing the domestic rhythms of early caregiving - bedsheets tangled by night feeds, the disorientation of sleep deprivation. Folds of cloth form pathways where images surface and dissolve, and the works hover between fantasy and lived reality. Taking its title from by Mary Oliver, the exhibition speaks to acceptance and belonging within the natural world - at once beautiful and stark…”

loose painting, quickly applied, quite thin but strong colours, vigorous; we see a figure lying on something akin to a bed, viewed from above, snuggled, red coveres, blue, pale pink; side view of a face, huge hair swirling upwards, over a yellow pillow • “the soft animal of your body explores the interior landscape of pregnancy, childbirth and early motherhood. Created in the immediacy of these experiences, the paintings respond to the physical and psychological shifts of matrescence: time untethered, memory fragmented, the self both expanded and newly fragile. Fabric becomes a recurring motif, echoing the domestic rhythms of early caregiving - bedsheets tangled by night feeds, the disorientation of sleep deprivation. Folds of cloth form pathways where images surface and dissolve, and the works hover between fantasy and lived reality. Taking its title from by Mary Oliver, the exhibition speaks to acceptance and belonging within the natural world - at once beautiful and stark…”

GOMA Gallery of Modern Art, Waterford
Jen Wade: the soft animal of your body
Opening Sat 28 Feb
Details → dnote.website?dnote=jen-wa...

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26.02.2026 09:00 — 👍 0    🔁 0    💬 0    📌 0
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25.02.2026 22:36 — 👍 1    🔁 0    💬 0    📌 0
Image: against a uniform charcoal-coloured background, the letters ‘WAAG’ in chunky sans-serif capitals centred on the square image; the A letters lack the usual gap in the middle; under and to the right of WAAG we read ‘an archive’ in lower case and much smaller font, though still white; slightly below'an archive' there is a grey horizontal layout bar across most of the image and on it we see four words,'WOMEN’, ‘’ARTISTS, ‘ACTION’, and ‘GROUP’; it looks quite like a menu bar on a website • “WAAG - an archive examines the lasting legacy and impact of the Women Artists Action Group (1987-1991) on contemporary Irish art, revisiting its work and activism through a rich archive of documents and images. WAAG was founded in April 1987 in Clonmel, Co. Tipperary, and was active until 1991. A collaboration of women artists, art historians and professionals working in the arts, the group was established in response to the lack of representation of women artists in Ireland. The main pur…”

Image: against a uniform charcoal-coloured background, the letters ‘WAAG’ in chunky sans-serif capitals centred on the square image; the A letters lack the usual gap in the middle; under and to the right of WAAG we read ‘an archive’ in lower case and much smaller font, though still white; slightly below'an archive' there is a grey horizontal layout bar across most of the image and on it we see four words,'WOMEN’, ‘’ARTISTS, ‘ACTION’, and ‘GROUP’; it looks quite like a menu bar on a website • “WAAG - an archive examines the lasting legacy and impact of the Women Artists Action Group (1987-1991) on contemporary Irish art, revisiting its work and activism through a rich archive of documents and images. WAAG was founded in April 1987 in Clonmel, Co. Tipperary, and was active until 1991. A collaboration of women artists, art historians and professionals working in the arts, the group was established in response to the lack of representation of women artists in Ireland. The main pur…”

Mermaid Arts Centre, Bray Co. Wicklow
WAAG – an archive
Closing Sat 28 Feb
Details → dnote.website?dnote=waag-a...

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25.02.2026 13:52 — 👍 2    🔁 0    💬 0    📌 0
Image: Daniel Lipstein, Pet, oil and pebbles on canvas, 80 x 100cm | strong blue effect overall; to the right we se a figure on a bicyclie apparently crossing the sea, being pulled by a grouchy-looking fish apparently flying above the water; the horizon is at a tilt, the sky is blue with hints of purple cloud and a bright horizont; in the foreground we see rocks / pebbles that appear to have been attached to the canvas; the cyclist is in a t-shirt and jeans, facing us, and the cyclist’s right arm is stretched out, with red rope wrapped around it which is attached between the tail and the body of the fish; water is splashing from the bike’s wheels • “Featuring work by Annika Berglund, Hugh Cummins, Colin Eaton, Mary A. Fitzgerald, David Fox, Conrad Frankel, Nickie Hayden, Daniel Lipstein, Eoin Mac Lochlainn, Miriam McConnon, Sheila Naughton, Bart O'Reilly, Yanny Petters, Kelly Ratchford and Vicky Smith…”

Image: Daniel Lipstein, Pet, oil and pebbles on canvas, 80 x 100cm | strong blue effect overall; to the right we se a figure on a bicyclie apparently crossing the sea, being pulled by a grouchy-looking fish apparently flying above the water; the horizon is at a tilt, the sky is blue with hints of purple cloud and a bright horizont; in the foreground we see rocks / pebbles that appear to have been attached to the canvas; the cyclist is in a t-shirt and jeans, facing us, and the cyclist’s right arm is stretched out, with red rope wrapped around it which is attached between the tail and the body of the fish; water is splashing from the bike’s wheels • “Featuring work by Annika Berglund, Hugh Cummins, Colin Eaton, Mary A. Fitzgerald, David Fox, Conrad Frankel, Nickie Hayden, Daniel Lipstein, Eoin Mac Lochlainn, Miriam McConnon, Sheila Naughton, Bart O'Reilly, Yanny Petters, Kelly Ratchford and Vicky Smith…”

Olivier Cornet Gallery, Dublin 1
Memorandum: A winter group exhibition
Closing Sat 28 Feb
Details → dnote.website?dnote=memora...

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25.02.2026 09:30 — 👍 0    🔁 0    💬 0    📌 0
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24.02.2026 22:46 — 👍 2    🔁 0    💬 0    📌 0
Image: Leah Beggs | painting, mostly about swirl and force; it could be taken for a seascape with land, water a strong blue in parts; there are marks that hint at some sort of object, particular towards the left edge of the canvas, black; brushstrokes are full of vigour; some flowing drips as well; things get paler towards the bottom of the canvas • “In a new collection of her expressive paintings Beggs responds to brief and fleeting moments of beauty in the ever-shifting, wild and transient weather of Ireland’s west coast. A pause in a storm, a sudden burst of sun, a quiet after rain; we are reminded to take pause and savour these momentary events.”

Image: Leah Beggs | painting, mostly about swirl and force; it could be taken for a seascape with land, water a strong blue in parts; there are marks that hint at some sort of object, particular towards the left edge of the canvas, black; brushstrokes are full of vigour; some flowing drips as well; things get paler towards the bottom of the canvas • “In a new collection of her expressive paintings Beggs responds to brief and fleeting moments of beauty in the ever-shifting, wild and transient weather of Ireland’s west coast. A pause in a storm, a sudden burst of sun, a quiet after rain; we are reminded to take pause and savour these momentary events.”

Solomon Fine Art, Dublin 2
Leah Beggs: What’s Seldom Is Wonderful
Closing Sat 28 Feb
Details → dnote.website?dnote=leah-b...

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24.02.2026 13:52 — 👍 1    🔁 0    💬 0    📌 0
Image: Olive Neckpiece, 2025. process image of hand-embroidered textile by artist Ameera Kawash in collaboration with Lali Pali, an initiative working with Palestinian women in refugee camps of South Lebanon. Hand-embroidered piece adapted from “Tatreez Garden,” by Kawash, with patterns adapted from Tatreez Garden AI system. Courtesy of the artist. | the pattern is the shape of a rectangle, wider than it is tall, with attached below it a more or less equilateral triangle; there is a theme of leaves, possibly olive leaves, looking as though they may be grown through vertical bars; patterns in red, blue; somewhat carpet-like, somewhat shawl-like • “Historically, ‘the commons’ was used to describe an area of land that was neither public nor private. It described a common resource for anybody to use under certain rules, usually developed by a vested community. ¹ Much of what was the historical commons is private property today, a process which began in the Eighteenth Century with The…”

Image: Olive Neckpiece, 2025. process image of hand-embroidered textile by artist Ameera Kawash in collaboration with Lali Pali, an initiative working with Palestinian women in refugee camps of South Lebanon. Hand-embroidered piece adapted from “Tatreez Garden,” by Kawash, with patterns adapted from Tatreez Garden AI system. Courtesy of the artist. | the pattern is the shape of a rectangle, wider than it is tall, with attached below it a more or less equilateral triangle; there is a theme of leaves, possibly olive leaves, looking as though they may be grown through vertical bars; patterns in red, blue; somewhat carpet-like, somewhat shawl-like • “Historically, ‘the commons’ was used to describe an area of land that was neither public nor private. It described a common resource for anybody to use under certain rules, usually developed by a vested community. ¹ Much of what was the historical commons is private property today, a process which began in the Eighteenth Century with The…”

NCAD Gallery, Dublin 8
Instituting Commoning: A Platform for Un/Learning
Closing Fri 27 Feb
Details → dnote.website?dnote=instit...

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24.02.2026 09:30 — 👍 0    🔁 0    💬 0    📌 0
Image: photo; a navy-ish blue surface with vertical cuts in it, revealing a cream-white subsurface; the cuts look as though they were made by a lino- or wood-cutting tool; almost all are vertical, some shorter some longer, thicker, etc. • “Curated by Margarita Cappock  A Fragile Line is an exhibition comprised of a number of interrelated pictorial, sculptural and installation elements. The work is visually spare and delicate, acting as a set of poetic observations on how we understand and relate to the more than human world. The largest work created for the space is a carved image of Brassica Juncea. Brassica Juncea is a plant used to cleanse polluted soil, and its entanglement with human activity is referenced through mark-making consisting of straight lines, both delicate and violent. Line recurs throughout the exhibition, as a means to consider materiality and time across a range of artworks. These works implicate further ecological, philosophical and art historical reference…”

Image: photo; a navy-ish blue surface with vertical cuts in it, revealing a cream-white subsurface; the cuts look as though they were made by a lino- or wood-cutting tool; almost all are vertical, some shorter some longer, thicker, etc. • “Curated by Margarita Cappock  A Fragile Line is an exhibition comprised of a number of interrelated pictorial, sculptural and installation elements. The work is visually spare and delicate, acting as a set of poetic observations on how we understand and relate to the more than human world. The largest work created for the space is a carved image of Brassica Juncea. Brassica Juncea is a plant used to cleanse polluted soil, and its entanglement with human activity is referenced through mark-making consisting of straight lines, both delicate and violent. Line recurs throughout the exhibition, as a means to consider materiality and time across a range of artworks. These works implicate further ecological, philosophical and art historical reference…”

The LAB, Dublin 1
Oisín Tozer: A Fragile Line
Open from Thu 26 Feb
Details → dnote.website?dnote=oisin-...

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23.02.2026 13:52 — 👍 1    🔁 0    💬 0    📌 0
Image: photo a figure of whom we just see head and bare shoulders with white top; the head, though, is a bright yellow funky house with a shape for a nose and a hole for the mouth, in which we see lips making an O; there are trees / bushes behind and a blue sky • “Edel Murphy, CEO and Artistic Director says that the group exhibition ‘twixt takes its name from the notion of being in between, at an interval and interweaving. Recipients of our d/Deaf and Disabled Support Fund grant programme have used the funding to deliver new pathways towards their own goals, some artists pursuing experimental directions or new ambitions - each at their own stage of development and discovery between concept and realisation. ‘twixt showcases the work of some of our twenty d/Deaf and Disabled Artists Support Fund 2025 (DDASF) awardees, including Darlene Corry, Elly Makem, Emma Brennan, Eve Belle, Finn Nichol, Hana Abri Smith, Indigo Azidahaka, Jamie Baker, Jayne Cherry, Kate Guelke, Brian McAvera…’

Image: photo a figure of whom we just see head and bare shoulders with white top; the head, though, is a bright yellow funky house with a shape for a nose and a hole for the mouth, in which we see lips making an O; there are trees / bushes behind and a blue sky • “Edel Murphy, CEO and Artistic Director says that the group exhibition ‘twixt takes its name from the notion of being in between, at an interval and interweaving. Recipients of our d/Deaf and Disabled Support Fund grant programme have used the funding to deliver new pathways towards their own goals, some artists pursuing experimental directions or new ambitions - each at their own stage of development and discovery between concept and realisation. ‘twixt showcases the work of some of our twenty d/Deaf and Disabled Artists Support Fund 2025 (DDASF) awardees, including Darlene Corry, Elly Makem, Emma Brennan, Eve Belle, Finn Nichol, Hana Abri Smith, Indigo Azidahaka, Jamie Baker, Jayne Cherry, Kate Guelke, Brian McAvera…’

Atypical Gallery, Belfast
twixt – group exhibition
Closing Wed 25 Feb
Details → dnote.website?dnote=twixt-...

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23.02.2026 11:00 — 👍 1    🔁 0    💬 0    📌 0
Image: Jan McCullough, Apprentice’s Maquette (Roof), Maker Unknown, detail from Photographic C-Print, 2025. Image courtesy of the Artist. | photo of two wooden constructions against a pale-blue cloth; each seems to be a sort of physical version of ‘that’ impossible-triangle drawing • "Butler Gallery is very pleased to present a solo exhibition by the artist Jan McCullough. Following a research residency in the Garden Studio at Butler Gallery in early 2025, Jan McCullough has developed a materially innovative and conceptually rich body of new photographic works and a monumental sculptural installation that reframe gestures of skill, labour and care, referencing Kilkenny’s architectural and manufacturing histories. The work was produced by the artist in partnership with local craftspeople and apprentices, drawing inspiration from the legacy of Talbot’s Inch - a nearby model village founded in the early 20th century to support skilled woodworkers. Jan McCullough is an artist from…”

Image: Jan McCullough, Apprentice’s Maquette (Roof), Maker Unknown, detail from Photographic C-Print, 2025. Image courtesy of the Artist. | photo of two wooden constructions against a pale-blue cloth; each seems to be a sort of physical version of ‘that’ impossible-triangle drawing • "Butler Gallery is very pleased to present a solo exhibition by the artist Jan McCullough. Following a research residency in the Garden Studio at Butler Gallery in early 2025, Jan McCullough has developed a materially innovative and conceptually rich body of new photographic works and a monumental sculptural installation that reframe gestures of skill, labour and care, referencing Kilkenny’s architectural and manufacturing histories. The work was produced by the artist in partnership with local craftspeople and apprentices, drawing inspiration from the legacy of Talbot’s Inch - a nearby model village founded in the early 20th century to support skilled woodworkers. Jan McCullough is an artist from…”

Butler Gallery, Kilkenny
Jan McCullough: I Took a Hammer in My Hand
Opening Sat 21 Feb
Details → dnote.website?dnote=jan-mc...

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19.02.2026 13:52 — 👍 0    🔁 0    💬 0    📌 0
Image: photo, probably taken from a drone a hundred metres or so above the beach that we see; we see shallow water and in it there seems to be the remains of a wrecked boat – just an outline from which plantlife, possibly, is sprouting upwards • “Curated by Margarita Cappock  Passage charts a two-hundred-year arc of Dublin’s watery history, shaped by the wetlands. At its heart, the project traces Dublin’s layered identities, exploring water through cultural, historical, and anthropological perspectives. It reimagines the history of Dublin’s waterways, the relationship between submerged sites, shipwrecks, and Dublin’s history as a wetland. The show comprises new video, sculpture, drawing, and sound works, as well as a performance by acclaimed composer Mel Mercier on 16th January 2026. The work calls to mind ancient  myths surrounding the rivers and seas as well their raw and fragile beauty. The presentation of Passage at The Lab is the culmination of a major series of international…”

Image: photo, probably taken from a drone a hundred metres or so above the beach that we see; we see shallow water and in it there seems to be the remains of a wrecked boat – just an outline from which plantlife, possibly, is sprouting upwards • “Curated by Margarita Cappock  Passage charts a two-hundred-year arc of Dublin’s watery history, shaped by the wetlands. At its heart, the project traces Dublin’s layered identities, exploring water through cultural, historical, and anthropological perspectives. It reimagines the history of Dublin’s waterways, the relationship between submerged sites, shipwrecks, and Dublin’s history as a wetland. The show comprises new video, sculpture, drawing, and sound works, as well as a performance by acclaimed composer Mel Mercier on 16th January 2026. The work calls to mind ancient  myths surrounding the rivers and seas as well their raw and fragile beauty. The presentation of Passage at The Lab is the culmination of a major series of international…”

The LAB, Dublin 1
Siobhán McDonald: Passage
Closing Sat 21 Feb
Details → dnote.website?dnote=siobha...

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19.02.2026 09:30 — 👍 2    🔁 0    💬 0    📌 0
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18.02.2026 22:18 — 👍 1    🔁 0    💬 0    📌 0
Image: photo, very much blue-tinged, taken looking down at a cross-section of a tree trunk, on which seems to be arrayed a strange system of small pulleys and patches of silver plating • “Join us at GOMA Waterford for the launch of Shapeshifting: GOMA Waterford Graduate Award Exhibition 2026 on Thursday 29 January, 6-8pm. All welcome! About the artists Tanja Novacic Working across sculpture, textiles, embroidery, and mixed media, Tanja Novacic explores folklore, memory, and the intersection of myth and lived experience. Working with light, shadow, and architectural forms, she draws from storytelling, ritual, and symbolism, merging these sources with familial history and personal narratives. Patrick Penney Patrick Penney’s focus at present is on the ideas of perception, inclusion, omission, and layers of history - how omission creates a narrative of history that is incomplete. In broader historical terms, but also personal familial terms, he has been examining atomic and…”

Image: photo, very much blue-tinged, taken looking down at a cross-section of a tree trunk, on which seems to be arrayed a strange system of small pulleys and patches of silver plating • “Join us at GOMA Waterford for the launch of Shapeshifting: GOMA Waterford Graduate Award Exhibition 2026 on Thursday 29 January, 6-8pm. All welcome! About the artists Tanja Novacic Working across sculpture, textiles, embroidery, and mixed media, Tanja Novacic explores folklore, memory, and the intersection of myth and lived experience. Working with light, shadow, and architectural forms, she draws from storytelling, ritual, and symbolism, merging these sources with familial history and personal narratives. Patrick Penney Patrick Penney’s focus at present is on the ideas of perception, inclusion, omission, and layers of history - how omission creates a narrative of history that is incomplete. In broader historical terms, but also personal familial terms, he has been examining atomic and…”

GOMA Gallery of Modern Art, Waterford
Shapeshifting | GOMA Graduate Award Exhibition 2026
Closing Sat 21 Feb
Details → dnote.website?dnote=shapes...

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18.02.2026 13:52 — 👍 0    🔁 0    💬 0    📌 0
Image: Beatrice O’Connell: Dark Theatre, 2025, 84 x 60, oil on canvas | at first glance these look like dead-heads of flowers in a dark space; pale lines, white-ish to yellowish, a depiction of a proscenium arch maybe, stage flats maybe, echoes of Francis Bacon; but then the flower heads look more like those of people, hard to make out, moving about, what may be stems may be outlines of limbs, etc.• ““These spaces feel theatrical even in abandonment. I’m interested in the moment when structures built for permanence begin to yield to time, to neglect, and ultimately to nature.” Taylor Galleries presents Daphne's Theatre, a new exhibition by Dublin-based multidisciplinary artist Beatrice O'Connell. The exhibition features paintings of abandoned theatres and institutional interiors where architecture gives way to encroaching vegetation, suggesting moments of quiet transformation. Drawing on the myth of Daphne and informed by the work of Samuel Beckett, O'Connell combines painting…”

Image: Beatrice O’Connell: Dark Theatre, 2025, 84 x 60, oil on canvas | at first glance these look like dead-heads of flowers in a dark space; pale lines, white-ish to yellowish, a depiction of a proscenium arch maybe, stage flats maybe, echoes of Francis Bacon; but then the flower heads look more like those of people, hard to make out, moving about, what may be stems may be outlines of limbs, etc.• ““These spaces feel theatrical even in abandonment. I’m interested in the moment when structures built for permanence begin to yield to time, to neglect, and ultimately to nature.” Taylor Galleries presents Daphne's Theatre, a new exhibition by Dublin-based multidisciplinary artist Beatrice O'Connell. The exhibition features paintings of abandoned theatres and institutional interiors where architecture gives way to encroaching vegetation, suggesting moments of quiet transformation. Drawing on the myth of Daphne and informed by the work of Samuel Beckett, O'Connell combines painting…”

Taylor Galleries, Dublin 2
Beatrice O’Connell: Daphne’s Theatre
Closing Sat 21 Feb
Details → dnote.website?dnote=beatri...

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18.02.2026 09:30 — 👍 1    🔁 0    💬 0    📌 0
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17.02.2026 22:04 — 👍 0    🔁 0    💬 0    📌 0
Image: courtesy of Susan MacWilliam | photo; we see seven spheres on a tabletop; five of them are smaller than the remaining two, and bear photos on their surfaces – black-and-white, old-looking; one of the other spheres is made from stone, the other is reflective; two ’ordinary’ stones are also in the mix; oh, and there are four further smaller spheres off to the left, but they bear no photos; behind the nearer spheres are what appear to be paper or card cutouts of hands touching or holding things; there seems to be another like this farther away; this is probably a studio space • “Table Turning is a solo exhibition by Susan MacWilliam. The exhibition focuses on methods of manual making and draws upon the three decades of her work amongst the experts and archives of psychic research. Several motifs underpin this exhibition: books, hands, and visual references to the act of reading. The idiosyncratic interior of Ormston House provided a catalyst for the creation of new sculptural…”

Image: courtesy of Susan MacWilliam | photo; we see seven spheres on a tabletop; five of them are smaller than the remaining two, and bear photos on their surfaces – black-and-white, old-looking; one of the other spheres is made from stone, the other is reflective; two ’ordinary’ stones are also in the mix; oh, and there are four further smaller spheres off to the left, but they bear no photos; behind the nearer spheres are what appear to be paper or card cutouts of hands touching or holding things; there seems to be another like this farther away; this is probably a studio space • “Table Turning is a solo exhibition by Susan MacWilliam. The exhibition focuses on methods of manual making and draws upon the three decades of her work amongst the experts and archives of psychic research. Several motifs underpin this exhibition: books, hands, and visual references to the act of reading. The idiosyncratic interior of Ormston House provided a catalyst for the creation of new sculptural…”

Ormston House, Limerick
Susan MacWilliam: Table Turning
Closing Sat 21 Feb
Details → dnote.website?dnote=susan-...

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17.02.2026 13:52 — 👍 0    🔁 0    💬 0    📌 0
Image: Tarek Atoui: Wind House 1 & 2, installation, Kunsthaus Bregenz (Austria); © Markus Tretter | photo of two ‘houses’ in an exhibition space; each is made of wood, not very big, some glass or perspex, gaps; geometrical; the farther house, which is mostly framework, seems to have some sort of white suction hose attached to it• “Tarek Atoui is a Lebanese sound artist and composer based in Paris known for his innovative approach to sound, performance, and instrument-making. His work explores the physicality of sound and the act of listening, creating immersive experiences that challenge traditional boundaries between artist, audience, and instrument. Atoui frequently collaborates with musicians, instrument makers, and people with diverse hearing abilities, emphasising inclusivity and experimentation. Atoui’s exhibition at IMMA is presented in two phases, comprising an installation, titled Souffle Continu, in the Chapel that focuses on the tactile quality of the sound, vibration, …”

Image: Tarek Atoui: Wind House 1 & 2, installation, Kunsthaus Bregenz (Austria); © Markus Tretter | photo of two ‘houses’ in an exhibition space; each is made of wood, not very big, some glass or perspex, gaps; geometrical; the farther house, which is mostly framework, seems to have some sort of white suction hose attached to it• “Tarek Atoui is a Lebanese sound artist and composer based in Paris known for his innovative approach to sound, performance, and instrument-making. His work explores the physicality of sound and the act of listening, creating immersive experiences that challenge traditional boundaries between artist, audience, and instrument. Atoui frequently collaborates with musicians, instrument makers, and people with diverse hearing abilities, emphasising inclusivity and experimentation. Atoui’s exhibition at IMMA is presented in two phases, comprising an installation, titled Souffle Continu, in the Chapel that focuses on the tactile quality of the sound, vibration, …”

IMMA, Kilmainham Dublin 8
Tarek Atoui: Souffle Continu, Sunflowers
Opening Fri 20 Feb
Details → dnote.website?dnote=tarek-...

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17.02.2026 09:30 — 👍 1    🔁 0    💬 0    📌 0
Image: four photos, each in a (square) diamond shape arranged as a 2 x 2 grid; each photo shows a performer – one on uilleann pipes, one on flute, one on squeeze-box, one possibly doing sean-nós singing • “Meath Arts Office & Meath Beo are delighted to present a photographic exhibition celebrating 10 years of the Meath Beo traditional music series. See meathbeo.com for further information.”

Image: four photos, each in a (square) diamond shape arranged as a 2 x 2 grid; each photo shows a performer – one on uilleann pipes, one on flute, one on squeeze-box, one possibly doing sean-nós singing • “Meath Arts Office & Meath Beo are delighted to present a photographic exhibition celebrating 10 years of the Meath Beo traditional music series. See meathbeo.com for further information.”

Toradh2 Gallery, Kells Co. Meath
Meath Beo 10
Closing Fri 20 Feb
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16.02.2026 13:52 — 👍 2    🔁 0    💬 0    📌 0
Nigel Rolfe: Still Even (detail), giclée print on 300gsm acid free Fabriano watercolour paper, 2026 | black-and-white image of a persons left hand grasping the spiky stem of a large-leaved plant; looks painful; the forearm and hand are coming in from the left edge of the photo, with the head itself almost dead centre; we see some grassy ground and trees / shrubbery behind • “An exhibition of new work and live performances. The viewer is confronted with sound and walls of strong colour and black and white imagery mostly of plants seen or held at close range.  The German photographer Karl Blossfeldt comes to mind but you can't help feeling the human story, the environmental cost, the unnecessary waste of life, the irony of the beauty. ' e ' originated in 17th Century Holland and translates as still life.  More events to be announced.”

Nigel Rolfe: Still Even (detail), giclée print on 300gsm acid free Fabriano watercolour paper, 2026 | black-and-white image of a persons left hand grasping the spiky stem of a large-leaved plant; looks painful; the forearm and hand are coming in from the left edge of the photo, with the head itself almost dead centre; we see some grassy ground and trees / shrubbery behind • “An exhibition of new work and live performances. The viewer is confronted with sound and walls of strong colour and black and white imagery mostly of plants seen or held at close range.  The German photographer Karl Blossfeldt comes to mind but you can't help feeling the human story, the environmental cost, the unnecessary waste of life, the irony of the beauty. ' e ' originated in 17th Century Holland and translates as still life.  More events to be announced.”

Green On Red Gallery, Dublin 1
Nigel Rolfe: Still Even
Opening Thu 19 Feb
Details → dnote.website?dnote=nigel-...

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16.02.2026 09:30 — 👍 1    🔁 0    💬 0    📌 0
Image: Eimear Carvill: Tranquility 1 | we see a figure lying, presumably asleep, in bed, white sheets, white pillow; the view is from the head of the bed, so we see the sleeper’s head, left arm, bare shoulder, with the rest covered by sheets / duvet; grisaille and flesh dominate the colour scheme • “Dún Laoghaire-Rathdown County Council is delighted to present Lucid Dreaming, dlr Open Exhibition of visual art by artists who have studied in, are originally from, or are living or working in the County. Artists were invited to submit work on the theme of Lucid Dreaming. The exhibition was selected and curated by Royal Hibernian Academy Curator Davey Moor, through an open-submission process.”

Image: Eimear Carvill: Tranquility 1 | we see a figure lying, presumably asleep, in bed, white sheets, white pillow; the view is from the head of the bed, so we see the sleeper’s head, left arm, bare shoulder, with the rest covered by sheets / duvet; grisaille and flesh dominate the colour scheme • “Dún Laoghaire-Rathdown County Council is delighted to present Lucid Dreaming, dlr Open Exhibition of visual art by artists who have studied in, are originally from, or are living or working in the County. Artists were invited to submit work on the theme of Lucid Dreaming. The exhibition was selected and curated by Royal Hibernian Academy Curator Davey Moor, through an open-submission process.”

Municipal Gallery, Co. Dublin
Lucid Dreaming – dlr Open Submission Exhibition
Closing Sun 15 Feb
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12.02.2026 16:04 — 👍 1    🔁 0    💬 0    📌 0
Image: Barbara Diener, Beyond the Surface (installation detail) 2025 | photo, taken in a dark room; from behind, an image of plant-life, possibly under water, is being projected onto a screen; we see it very clearly; there is overspill on the right edge, creating streaks of coloured light along a cloth-covered wall (by the look of it); we catch a glimpse of the projector behind the top left of the screen • “An exhibition of new and recent work by four artists - Barbara Diener, Sophie Gough, Sarah Long and Áine Ryan who share an interest in identity and other intersecting concerns - memory, time and representation. All four are based in Munster and are members of Sample Studios. Barbara Diener’s research-driven practice investigates how history is disseminated and how facts are distorted, embellished or undermined. Her recent work focuses on Spike Island in Cork Harbour, a site with over 1,300 years of layered history-from monastic settlement to military fortress and convict…”

Image: Barbara Diener, Beyond the Surface (installation detail) 2025 | photo, taken in a dark room; from behind, an image of plant-life, possibly under water, is being projected onto a screen; we see it very clearly; there is overspill on the right edge, creating streaks of coloured light along a cloth-covered wall (by the look of it); we catch a glimpse of the projector behind the top left of the screen • “An exhibition of new and recent work by four artists - Barbara Diener, Sophie Gough, Sarah Long and Áine Ryan who share an interest in identity and other intersecting concerns - memory, time and representation. All four are based in Munster and are members of Sample Studios. Barbara Diener’s research-driven practice investigates how history is disseminated and how facts are distorted, embellished or undermined. Her recent work focuses on Spike Island in Cork Harbour, a site with over 1,300 years of layered history-from monastic settlement to military fortress and convict…”

Uillinn: West Cork Arts Centre, Co Cork
Persistence of Trace Barbara Diener, Sophie Gough, Sarah Long and Áine Ryan
Opening Sat 14 Feb
Details → dnote.website?dnote=persis...

12.02.2026 13:52 — 👍 0    🔁 0    💬 0    📌 0
Image: Barbara Knežević, Gvozdene Kapije (The Iron Gates) (still), 2025. HD video, colour, 16:9, sound, 48 minutes. Courtesy of the artist | we see the hands and arms of two people holding upright for the camera what is presumably an ancient stone carving of a head; the rock is a dark, rough terracotta; the facial features and hair are stylised, with an emphasis on roundness, especially the round eyes • “A solo exhibition by Barbara Knežević • Run in association with the Solstice Arts Centre Opening Event: Saturday 14th February at 2pm Curator Rayne Booth in conversation with Artist Barbara Knežević Wexford Arts Centre is pleased to present Gvozdene Kapije (The Iron Gates), an exhibition of new sculpture and film work by Barbara Knežević. The exhibition will run in the lower and upper galleries from Saturday, 14th February, to Friday 20th March, 2026. In Gvozdene Kapije / The Iron Gates, Knežević brings together film and sculpture to interpret the histories, stories, and materiality of a region in eastern Serbia known as Gvozdene Kapije (The Iron Gates): the deep gorge at Đerdap on the Danube River, bordering Serbia and Romania. At the centre of the exhibition is a 48-minute single-channel film that focuses on a group of 10,000-year-old sculptures uncovered at Lepenski Vir during preparatory works for the Iron Gates Dam, a major hydroelectric project completed in 1972 by the governments of the former Yugoslavia and Romania. The film traces this layered history through material and oral accounts of the region, channeled through five non-human narrators; material, infrastructural, animal, and geological actors who shape and inhabit the environment of the Iron Gates gorge. Composed of original and archival footage, personal testimonies, interviews, staged imaginings and choreography, the film gathers pace and moves between fact and speculative fiction. Through montage, it retraces stories of displacement, migration, making, sculpture, and th

Image: Barbara Knežević, Gvozdene Kapije (The Iron Gates) (still), 2025. HD video, colour, 16:9, sound, 48 minutes. Courtesy of the artist | we see the hands and arms of two people holding upright for the camera what is presumably an ancient stone carving of a head; the rock is a dark, rough terracotta; the facial features and hair are stylised, with an emphasis on roundness, especially the round eyes • “A solo exhibition by Barbara Knežević • Run in association with the Solstice Arts Centre Opening Event: Saturday 14th February at 2pm Curator Rayne Booth in conversation with Artist Barbara Knežević Wexford Arts Centre is pleased to present Gvozdene Kapije (The Iron Gates), an exhibition of new sculpture and film work by Barbara Knežević. The exhibition will run in the lower and upper galleries from Saturday, 14th February, to Friday 20th March, 2026. In Gvozdene Kapije / The Iron Gates, Knežević brings together film and sculpture to interpret the histories, stories, and materiality of a region in eastern Serbia known as Gvozdene Kapije (The Iron Gates): the deep gorge at Đerdap on the Danube River, bordering Serbia and Romania. At the centre of the exhibition is a 48-minute single-channel film that focuses on a group of 10,000-year-old sculptures uncovered at Lepenski Vir during preparatory works for the Iron Gates Dam, a major hydroelectric project completed in 1972 by the governments of the former Yugoslavia and Romania. The film traces this layered history through material and oral accounts of the region, channeled through five non-human narrators; material, infrastructural, animal, and geological actors who shape and inhabit the environment of the Iron Gates gorge. Composed of original and archival footage, personal testimonies, interviews, staged imaginings and choreography, the film gathers pace and moves between fact and speculative fiction. Through montage, it retraces stories of displacement, migration, making, sculpture, and th

Wexford Arts Centre, Wexford
Barbara Knežević: Gvozdene Kapije (The Iron Gates)
Opening Sat 14 Feb
Details → dnote.website?dnote=barbar...

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12.02.2026 11:41 — 👍 2    🔁 0    💬 0    📌 0
Image: Patient Labyrinth. Photo by Fionn McCann | we see a figure’s upper body, long black hair, red top, pale skin, hands raised to shoulder height, head raised and looking a bit to our left; the figure is covered by a transparent plastic sheet; white-to-cream background • “Patient Labyrinth, a new artwork and exhibition from Junk Ensemble in Rua Red Galleries, is both a maze and a labyrinth - exploring the delicate boundary between two worlds: the one in which we lose our way, and the one we try to find our way out of. The exhibition weaves together myth, folk magic, and ritual to explore how we navigate uncertainty, entrapment, and transformation. As our constructed and natural world unravels to near collapse, we rely on storytelling as a tool for connection, a tool for protection. The labyrinth is a mirror, a code, a key, a tensabarrier, a narrative and a fabrication, a reflection of ourselves and our worlds. The exhibition is marked by durational performances with dance art…”

Image: Patient Labyrinth. Photo by Fionn McCann | we see a figure’s upper body, long black hair, red top, pale skin, hands raised to shoulder height, head raised and looking a bit to our left; the figure is covered by a transparent plastic sheet; white-to-cream background • “Patient Labyrinth, a new artwork and exhibition from Junk Ensemble in Rua Red Galleries, is both a maze and a labyrinth - exploring the delicate boundary between two worlds: the one in which we lose our way, and the one we try to find our way out of. The exhibition weaves together myth, folk magic, and ritual to explore how we navigate uncertainty, entrapment, and transformation. As our constructed and natural world unravels to near collapse, we rely on storytelling as a tool for connection, a tool for protection. The labyrinth is a mirror, a code, a key, a tensabarrier, a narrative and a fabrication, a reflection of ourselves and our worlds. The exhibition is marked by durational performances with dance art…”

Rua Red, Dublin 24
Junk Ensemble: Patient Labyrinth
Closing Sat 14 Feb
Details → dnote.website?dnote=junk-e...

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12.02.2026 09:30 — 👍 1    🔁 0    💬 0    📌 0
Image: photo – we see a sheaf of grass of some sort quite close to the camera, and it seems that it may have provided the material for two woven strips that we see towards top right and right in the photo; there seems to be more sheafery hidden behind burlap or equivalent, and farther away we may be seeing someone wearing this gear, along with some grass and stones, maybe, on their head; a grey wall behind • “^ is a collective based in Manorhamilton, Leitrim. Our five members are Tara Baoth Mooney, Shane Finan, James Kelly, Laura McMorrow, and Sonya Swarte. We collectively occupy an artist-led studio and experimental space in Manorhamilton, opened in September 2022. Over the past three years, we have led events in north Leitrim in response to environmental grief, care, and tending to the land. For this exhibition-environment, we explore meadows, untrodden ground, and forgotten growth in north Leitrim. In these liminal spaces, a succession of plants create worlds upon worlds, each…”

Image: photo – we see a sheaf of grass of some sort quite close to the camera, and it seems that it may have provided the material for two woven strips that we see towards top right and right in the photo; there seems to be more sheafery hidden behind burlap or equivalent, and farther away we may be seeing someone wearing this gear, along with some grass and stones, maybe, on their head; a grey wall behind • “^ is a collective based in Manorhamilton, Leitrim. Our five members are Tara Baoth Mooney, Shane Finan, James Kelly, Laura McMorrow, and Sonya Swarte. We collectively occupy an artist-led studio and experimental space in Manorhamilton, opened in September 2022. Over the past three years, we have led events in north Leitrim in response to environmental grief, care, and tending to the land. For this exhibition-environment, we explore meadows, untrodden ground, and forgotten growth in north Leitrim. In these liminal spaces, a succession of plants create worlds upon worlds, each…”

The Dock, Co. Leitrim
^: Waking the Land
Closing Sat 14 Feb
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11.02.2026 16:23 — 👍 3    🔁 0    💬 0    📌 0
Image: Dorothy Cross: Bloodlines Series (Jackknife dive), 2025 | framed black-and-white photo showing someone in bathing suit and white cap diving into, probalby, the sea; we see what seems to be a wall nearer the camera, and possibly one in the distance; the figure is seen side-on, at the right side of the canvas; the figure is bent, doing the dive; the whole image is tinged red by what is like a translucent huge brushstroke of blood • "Dorothy Cross’s Bloodlines series comprises unique works that layer archival photographs with hand-poured, red-veined glass. Taken by the artist’s father in the 1940s, these images reveal an inherited fascination with the sea-a personal history caught within a geological frame…"

Image: Dorothy Cross: Bloodlines Series (Jackknife dive), 2025 | framed black-and-white photo showing someone in bathing suit and white cap diving into, probalby, the sea; we see what seems to be a wall nearer the camera, and possibly one in the distance; the figure is seen side-on, at the right side of the canvas; the figure is bent, doing the dive; the whole image is tinged red by what is like a translucent huge brushstroke of blood • "Dorothy Cross’s Bloodlines series comprises unique works that layer archival photographs with hand-poured, red-veined glass. Taken by the artist’s father in the 1940s, these images reveal an inherited fascination with the sea-a personal history caught within a geological frame…"

Kerlin Gallery, Dublin 2
Dorothy Cross: Bloodlines
Closing Sat 14 Feb
Details → dnote.website?dnote=doroth...

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11.02.2026 13:52 — 👍 0    🔁 0    💬 0    📌 0
Image: painting by Sian Costello | (cropped) painting; we see a figure, possible the artist, head and torso, to the right of the painting, wearing a white or pale-blue t-shirt; black hair, rosy cheeks; behind is a row of trees and a suggestion of a road; to eh left on the canvas there is the dark trunk of a near tree; there is a lot of dappled sunlight, especially across the figure’s face torso and right arm • "The construction of images has been a long-standing preoccupation of artist Sian Costello. Hymn to Him is a guilty pleasure, a sustained glance at the relationship between the unstable and convoluted lives of artists and the composed stillness of the characters they create. In her painting and photographic work, she lingers on the surfaces of things – bellies, primroses, house keys, vegetables. Costello inserts herself into her compositions and as her own model she remains in control of both sides of the canvas. Her paintings are less representative of their classical…"

Image: painting by Sian Costello | (cropped) painting; we see a figure, possible the artist, head and torso, to the right of the painting, wearing a white or pale-blue t-shirt; black hair, rosy cheeks; behind is a row of trees and a suggestion of a road; to eh left on the canvas there is the dark trunk of a near tree; there is a lot of dappled sunlight, especially across the figure’s face torso and right arm • "The construction of images has been a long-standing preoccupation of artist Sian Costello. Hymn to Him is a guilty pleasure, a sustained glance at the relationship between the unstable and convoluted lives of artists and the composed stillness of the characters they create. In her painting and photographic work, she lingers on the surfaces of things – bellies, primroses, house keys, vegetables. Costello inserts herself into her compositions and as her own model she remains in control of both sides of the canvas. Her paintings are less representative of their classical…"

The Dock, Co. Leitrim
Sian Costello: Hymn to Him
Closing Sat 14 Feb
Details → dnote.website?dnote=sian-c...

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11.02.2026 11:41 — 👍 0    🔁 0    💬 0    📌 0
Image: Emily Waszak We Speak Through Worlds 2023 Wool, wood, etched brass, clay 280 x 220 x 60cm | photo of a probably large steel frame from which is hanging a slort of blanket – mostly black, a patche of blue in a different texture from the black background, which seems to e relatively smooth, but with protruding ribbon-shapes; ther eis also a fairly large triangular area towards to right of the tapestry that has a cross-hatched pattern of white wool (?), with large trailing areas of the same material; just in front of the frame, a bit to the left when looking face-on, is what seems to be a semi-circular copper sheet, very reflective, with some engraving, possibly, or greenish material on it, and small bowl • “Kirstin Arndt    Alan Butler    John Cronin    Electronic Sheep*   Damien Flood    Mark Joyce    Niamh McCann   Caroline McCarthy   Fergus Martin    Bridget Riley    Nigel Rolfe    Oisin Tozer   Luke van Gelderen    Emily Waszak”

Image: Emily Waszak We Speak Through Worlds 2023 Wool, wood, etched brass, clay 280 x 220 x 60cm | photo of a probably large steel frame from which is hanging a slort of blanket – mostly black, a patche of blue in a different texture from the black background, which seems to e relatively smooth, but with protruding ribbon-shapes; ther eis also a fairly large triangular area towards to right of the tapestry that has a cross-hatched pattern of white wool (?), with large trailing areas of the same material; just in front of the frame, a bit to the left when looking face-on, is what seems to be a semi-circular copper sheet, very reflective, with some engraving, possibly, or greenish material on it, and small bowl • “Kirstin Arndt    Alan Butler    John Cronin    Electronic Sheep*   Damien Flood    Mark Joyce    Niamh McCann   Caroline McCarthy   Fergus Martin    Bridget Riley    Nigel Rolfe    Oisin Tozer   Luke van Gelderen    Emily Waszak”

Green On Red Gallery, Dublin 1
New Work New Artists 
Closing Fri 13 Feb
Details → dnote.website?dnote=new-wo...

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11.02.2026 09:30 — 👍 0    🔁 0    💬 0    📌 0
Video thumbnail

Shows etc. continuing this week

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11.02.2026 08:34 — 👍 0    🔁 0    💬 0    📌 0