The Complex has retained most of the building's original architecture to develop a non traditional gallery influenced by Off-site exhibition settings. The Ground Floor Gallery is a space which works to bridge a gap between established and emerging artists. Providing space and support to encourage artists from various stages of their professional arts practice to collaborate and present works together.
The Ground Floor Gallery curators accept proposals for a multitude of mediums on a rolling basis. We encourage artists to get in touch and develop dialogues around future projects, exhibitions and studio visits.
“In many ways the ground beneath our feet is as alien as a distant planet. The processes occurring in the top few centimeters of Earth's surface are the basis of all life on dry land, but the opacity of soil has severely limited our understanding of how it functions. As creatures of the aerial world, we have a decidedly distorted view of this nurturing underworld.”
07 - 20 August 2021
Allotment is a series of paintings made over a six-month period from November 2020 to April 2021. The large pieces are oil paint on wooden panels on a ground of handmade chalk gesso, and the smaller pieces are pencil drawings on pigmented chalk gesso.
10 - 15 July 2021
The Complex Ground Floor Gallery presents Everybody Knows, an exhibition that brings together the works of artists Paul Hallahan and Marcel Vidal.
Opening on the 5th December 2020, this is the first time the artists have created an exhibition together, presenting painting works by Hallahan and a sculptural work by Vidal. The artists have been interested in The Complex's Ground Floor Gallery since discovering it in 2019 prior to its renovations. The history of this industrial heart of Dublin and its location above what was St. Mary's Abbey fuelled the artists conversations over the last 18 months.
For Culture Night The Complex presented a duo exhibition, showcasing the works of two artists scheduled to exhibit in The Complex Visual Arts Programme 2021, Ann Ensor and Austin Hearne.
WE OFTEN FORGET
Working over a period of 18 months, artist John Busher has often traded back and forth between painting and printmaking. In Shopping (Without Haste), 2019, a barely-there figure appears, shrouded or masked. Working in high-keyed grounds, Busher paints partly recognizable environments, housing estates, shop fronts, lanes, and alleyways. There is a sense of a world in flux, passing through, layered in a palimpsest of marks and gestures revealing additional narratives.
The Complex was delighted to welcome the work of Leipzig based artist Tine Günther to the Ground Floor Gallery for a solo presentation of her new exhibition titled ALL ONE, which previewed March 5th 2020.
The work presented in ALL ONE was created in a forest in the north of Leipzig from April to August 2019. Günther takes an ecological approach to nature in art which creates a deeper relationship with the forest, demonstrated through her use egg-tempera colours with natural pigments, which Günther makes herself, to use in her work.
The Complex presents a group exhibition by four Liverpool artists Frances Disley / David Jacques / Brendan Lyons / Paul Rooney
The Complex presents Crossings a group show with Frances Disley, David Jacques, Brendan Lyons and Paul Rooney, reflecting a sample of Liverpool’s contemporary art scene, cross pollinating, expanding networks and translating knowledge from the visual culture of these twinned cities. Over the past two years The Complex has actively formed networks in Liverpool through studio visits and site visits at various institutions and artist led spaces such as Bluecoat and The Royal Standard.
THE GAP BETWEEN
The gap between noise is a site - specific installation by visual artist Elaine Grainger. This is the artists first solo exhibition since graduating from her MFA at NCAD in 2018 and also The Ground Floor Gallery’s first solo show in its new space.
The space is reconfigured from a large fruit warehouse and, with a minimal amount of change. Through this it retains a balance, absorbing the traces of human life and taking on a specific richness with the innumerable scratches and marks on its surface but also through the sense of possibility inherent in allowing it to become a space for a new purpose; a site for art. It is this state of transition that theoretically links the artist practice to the site.
FAR FROM HERE
An out-of-place artifact (OOPArt) is an artifact of historical, archaeological, or paleontological interest found in an unusual context, which challenges conventional historical chronology by its presence in that context.
A group show with Robert Dunne, Barbara Knezevic and Pádraig Spillane.
DISPLAY, LINK AND
Inspired by the Ground Floor Gallery’s new location adjacent to the Victorian Fruit Market in Dublin 7. The exhibition aims to acknowledge the unique historic nature of this area of the city, and explore themes relating to it. Glenn Fitzgerald / Liliane Puthod Richard Proffitt / Sibyl Montague
Notes on Breathing + Space
Combines live experimental vocal composition with generative technological assemblages which will react to and be created in the gallery.
The improvisational nature of the piece will give audience members the opportunity to encounter art in live form, with their own presence contributing to the artists’ creation of notes on breath and space.
STREAM is a practitioner founded group of Dublin based artists. The idea for STREAM stemmed from a curiosity to curate their own shows and support emerging artists.
The aim of STREAM is to create and curate innovative and unique shows, promoting recent graduates and emerging artists, both regional and national.
STREAM has developed a distinct curatorial style, harnessing the impulses of innovative exhibitions and collaborative thinking, bringing a new momentum to the concept of the exhibition.
HOW TO GROW
GUM X STREAM
Six artists investigate the overlap of instant and eternal gratification that defines the contemporary human condition.
Today we perceive and navigate histories in ways more complex than ever, unearthing a global minded ethos struggling to define authentic experience.
Through Video and 2D artworks they explore the nebulous, cyclical and engulfing nature of fulfillment.
THE CHILD SHE DIDN'T WANT,
BUT THE STATE DID
Taking place on the eve of the Irish Referendum to legalise abortion 'the child She didn't want, but the State did' is a performance that can be considered as a ‘swan song’ of support towards persons attempting to navigate State repression against the female body, particularly in relation to reproductive rights.
Stream is a trio of artists that organises, curates and presents exhibitions. Stream will occupy the ground floor space of The Complex for Culture Night, marking their third Dublin exhibition. They will present a group exhibition of Dublin based early-career visual artists. They aim to create a multi-disciplinary show, with no preference to any particular medium. They take an experimental approach to the curation, and artists involved are encouraged to create brand new work for the show.
For Stream’s second exhibition, we are asking the artists involved to produce work which considers the human tendency to worship; to elevate objects, ideas or people to semi-divine or miraculous status. We would like the artists to contemplate the role of worship or superstition within our current Western culture and our future culture, from a religious or secular perspective.
Ember is a multimedia performance encompassing live action and electroacoustic improvisation by EL Putnam and David Stalling. Fibre optics create an affective weaving of visual and sonic engagement with video projection, exploring the materiality of light and shadow with the body through an interplay of digital and embodied gestures. Ember takes place on the shortest day of the year — the Winter Solstice — cultivating a simulation of fire that plays at the threshold of light and darkness that the day encompasses.
“Still” brings together four artists that are actively engaged with contemporary live art and installation. Working from ideas based around the concept of “Still”, each artist sets about exploring their own practice, investigating the territory of the human condition, where we begin and how we navigate our way through this thing called life.
The concept behind Stream is to provide a platform for recent graduates, nurturing creative talent that is circulating regionally and nationally. We believe the following years after college are vital for an artist to develop their practice.
However, creative motivation can be diminished over this period by financial and everyday responsibilities facing artists. Stream seeks to address this discord with a varied program of exhibitions focused on supporting early career artists.
Livestock presents ‘Body Talk,’ an evening of live art curated by Katherine Nolan with support from Siobhán Kelly.
The night will begin with bodily presence and end with an act of speech. Framed by the concept of ‘Body Talk,’ this Livestock will feature performances that respond to ideas around language and the body.
Are the materiality of the body and acts of speaking often oppositionalised?
How does the body speak itself, and how can acts of speech dissolve into our experiences of flesh?
"QUEERSTOCK" highlights work that pushes the norms of artistic expression. Thinking beyond the expectations of formal traditions, the artists featured in this event share a common “Queerness” to their work.
Queer and diverse work will be artistically expressed and negotiated through visual art, performance, drag, language, fashion, film, music, dance, literature and poetry.
Highlights experimental work that pushes the norms of artistic expression. Thinking beyond the expectations of formal traditions, the artists featured in this event will share a common “Queerness” to their work.
PAPER DOLLS RESIDENCY
Paper Dolls begins with a quiet ambient track with Emily Aoibheann (the other performers are Elaine McCague, Karen Anderson and Niamh Creely) coming centre stage walking along the outstreched rope across the stage floor. Wearing a carnivalesque basque-cum-lightshade, this set the tone of a show that modulates between the playfulness of childish exploration and a dark solemness.
This exhibition of works by Annmarie Kilshaw which encourages the viewer to explore the concept of waiting. Through an installation of found objects, placed in a temporary setting, it attempts to convey vulnerability and disempowerment, whilst also portraying a desperate yearning for something that has not yet arrived.
‘Wait’ took place in an old butchers shop, significantly provoking memories of people buying and selling meat, in a street famous for waiting. The owners kindly gave their
permission for Complex to convert it into a pop up gallery for