"The Artist's Eye" @ Douglas Hyde Gallery
The Douglas Hyde Gallery presents the most recent in a series of exhibitions in Gallery 2 titled ‘The Artist’s Eye’. Acknowledging the crucial role artists play in influencing and shaping other artistic practices, this series asks those exhibiting in Gallery 1 to invite an artist of significant influence to present work in Gallery 2. In the eighth installment in this series, Kirsten Pieroth has been invited by Gabriel Kuri.
For her first solo exhibition in Ireland, the German artist presents a new series of works on paper and newly produced sculptural work which show her ongoing interest in the dynamics of the human condition. Working across diverse media, Pieroth takes an inventive and often allusive approach.
"Abrasives (Equestrians)", 2019, made up of thirty-five individual pieces, forms part of a number of larger series of newspaper based works that the artist has been making since 2017. The works on paper are bracketed by Reservoir, 2020, a slightly bent, three-legged sheet metal screen that stands at the entrance to Gallery 2, impeding the immediate passage to and from the interior of the space. As with much of Kirsten Pieroth’s practice, the works in this exhibition evolve from her consideration of ideas around notions of offering and rejecting; of supply and the denial thereof.
Kirsten Pieroth born 1970, Offenbach a.M., Germany, lives and works in Berlin. Recent solo exhibitions include Events and Guises, Mathew Gallery, New York, 2018; Menu, Kunstverein Nürnberg, Albrecht Dürer Gesellschaft, Nurnberg, Germany, 2013; Office Baroque, Antwerp, Belgium, 2012. Pieroth’s work has also been included in the following recent group exhibitions; in search of characters…, Galerie Neu, Berlin, Germany, 2017; Prototypology - An Index of Process and Mutation, Gagosian Gallery, Rome, 2016; The Biography of Things, ACCA Australian Centre for Contemporary Art, Melbourne, 2015; ACTS, Museum of Contemporary Art, Roskilde, 2014; The Imminence of Poetics, 30. São Paulo Biennale, São Paulo, 2012.
Supported by the Goethe-Institut Irland.
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