A new installation by Cleary & Connolly conjures with the fact that William Chambers, architect of the Casino in Dublin, never actually visited the site, writes Michaele Cutaya
For some years now Paris-based artists Anne Cleary and Denis Connolly have been making art projects based on new technologies to challenge the spatial perception of their audiences. They have worked in close collaboration with perceptual scientists and CLARITY, a centre for sensor web technologies, to develop interactive installations questioning visual phenomena and the experience of time and space. The headset Inverse Universe, for instance, presents the viewer with a world upside down or with colour and luminosity reversed, prompting the brain to adapt to make sense of this information – it is based on a 19th-century experiment on perceptual adaptation by George Stratton. Another work, Real Time Rolling Shutter expresses time as a geometrical dimension through the time delay of the rolling shutter.
Was Daniel Maclise a proto-Nationalist painter? Peter Murray thinks not, in his assessment of the National Gallery’s recently restored masterpiece.
Christiaan Corlett looks at a valuable, but little-known portfolio of photographs taken by Victorian doctor Ephraim MacDowel Cosgrave, now in the collection of the Royal Society of Antiquaries of Ireland
Vivienne Roche belongs to a generation who transformed what sculpture could be. ‘I don’t consider myself an object-maker. I work with place and change’, she tells Brian McAvera while her exhibition continues at the Royal Hibernian Academy