Projects

The House of Atreus* is a collaborative project by Emma Brennan and Thomas Wells exploring how working class architecture reflects contemporary social and moral systems. This partnering of experiences intersects gendered labour practices, working-class identity and the entanglement of domestic and industrial spaces. 

The work is autobiographical, grounding personal histories of chronic illnesses within a broader Irish historical framework and offering arthritis as an extended metaphor for capitalism’s extractive growth model. Corporeal immobility mirrors economic stagnation, as a generation reaches adulthood in a nation shaped by austerity politics while bodily instability and flare-ups reflect wider economic instability. 

Building on Marron’s long standing engagement with communications and internet infrastructure, this exhibition brings together new artworks that collectively address the material, social and relational underpinnings of such systems.

In the making presents a taste of the future. For three weeks in February 2026, Pallas Projects provides an exciting platform for emerging art practices, hosting three consecutive exhibitions of new work by degree year students from IADT’s BA in Art.

Pallas Projects/Studios are delighted to announce the participating artists in our Arts Council funded programme of Artist-Initiated Projects 2026.

In this exhibition, Paddy reflects on recent explorations within his work. This exhibition brings together work that reacts to his lived experience of contemporary folk culture in Ireland, along with references to his work as a painter and decorator.

Online Art Auction Supporting 30 years of Pallas Projects/Studios, in collaboration with Gormleys Art Auctions. Over 80 Irish & international artists including Sean Scully, Hito Steyerl, Gordon Matta-Clark, Patrick Graham, Asbestos, Leah Hewson, and many more…

Entangled Life – Exhibition curated by Cristina Nicotra, marks the culmination of a year of gathering in a space for thought, conversation, and practice on environmental interdependencies.

In Aer Milam Caroline's sculptural and video works link dream and death practices, commercial flying, and queer feminist electronics in an act of technocratic resistance.

Quasi-Autonomous Stitch, takes its name from a sewing procedure devised as a method of overwriting and absorbing images and surfaces. The works here are restless, shifting between seams, carbon traces, labels, blueprints, photographs, and logbooks. At stake are languages of construction, obsolescence, staging, and transmission—creased, overwritten, redacted, repaired, forced into proximity.

A sculptural re-mapping of sacred and ritual geologies. Maguire’s work examines the ritual and magical possibilities of minerals as deeply embedded alternatives to the comparatively recent regard for minerals as purely extractable commodity.

Earthly Remains is concerned with the idea of architecture as porous, volatile, and constantly in process. A building is a slippery interface between the ground it stands on, and the bodies it hosts. The exhibition features kinetic elements, found objects and architectural interventions that describe traces of humans and of other forms of life.