Bhuel… nach ndúirt muid é? 📢 For our inaugural party in Yammamori-Tengu on Saturday 22/11, GLÓR GA GRÉINE [SUNBURST SOUND] is honoured to host archivist, music blogger and dj, ROTATIONAL ☆*:.｡.o(≧▽≦)o｡.:*☆ rotational___ 🌀 🌀 🌀 As algorithms [de]strucTure cultural consumption, taste-distinctions decay, slop predominates, and meaning flattens into…. no-thingness???? The death [read: universalisation] of curatorship feels, more and more, like tyranny, not salvation. 💀💀💀💀 Rotterdam’s ROTATIONAL (a.k.a. Karim) represents the most rational reaction to this world that’s been made for us: >>>>>>>BECOME A MUSIC ARCHIVIST, ONLINE 🌩️🌩️⛅️ In just under a month, we’re welcoming ROTATIONAL to play a special club set on Cork’s legendary RISE UP Sound System. Pulling from the depths of his archive, Karim will present a special blend of Dutch Bubbling 🫧🇨🇼🫧🇸🇷 Angolan Kuduro 🇦🇴🍑🇦🇴🍑 and other outernational-electronic-weirdness ⚡️💡🔋, specially blended for Irish ears 👂🇮🇪 Joining him to support on the legendary RISE UP SOUND, we have, local Dublin favourites, JWY and Roo Honeychild o｡.:*☆*:.｡.o <3 @___jwy___ @roohoneychild But that is not all… fan go bhfeicidh sibh, we still have an ace up our sleeve ♠️ This is one you might regret missing…. Early birds are on sale now via RA- links in the place etc. etc. etc. Postaer le @eric.stynes ~ míle buíochas a hEric ❤️

The Making and Unmaking of Stone (2025). Video performance, archival audio, sculptural installation. Shown as part of Wrong Norma at the Nieuwe Instituut, Rotterdam. This work is one fixed point in an ongoing body of research which seeks to explore the laborious process of dry stone wall maintenance as an analogue for the process of preserving the Irish language. Through the examination of the materiality of these walls in the Connemara landscape, this research unpacks the forces that have shaped the Irish language. The language and landscape have come to represent imagery of nationhood — a complex, manufactured image imbued with inferred notions of ‘purity’ and ‘authenticity’.  The research includes synthetic rocks made using foam, concrete, plastic, metal wire and screen printed type. Conducting this work about Ireland from a distance, finding rocks in the Netherlands was near-impossible. As a consequence, I decided to design my own geologies for constructing a wall. An uncanny simulacrum of the UNESCO protected Irish dry stone wall. Exhibited in the gallery space as separate piles, they act to acknowledge the simulated wall from the accompanying video without drawing boundaries inside the gallery space. - Photos: @silvia__arenas.jpg Video support: @caoibha @philipp.animal @nieuweinstituut @miard_inrealtime @cultuurfonds

Golyadkin Paradox is a project that explores the paradox presented by Dostoevsky’s novel ‘The Double’. In the novel, the protagonist Yakov Petrovich Golyadkin is replaced by a doppleganger. In Golyadkin’s attempt to claim his own identity and convince his peers that he is the original, his frustration results in his dismissal as the double. Comparing this fictional situation with my own digital persona on soicial media, I wanted to answer the question of how much of myself resides within an inpenatrable algorithm. This interrogation raises only more questions about authenticity, masculinity and demographic profiling online.

Experimenting with analogue synths to control 3D models.

After nearly one hundred years of neglect, the Group Shelter Type P have gained protected status as monuments, however they sit in varying levels of decay across the Biesbosch. Some have been co-opted into storage for farmers, but most have been sealed and fallen into decay. One of these bunkers however, became the site of a conflict between two conservation groups. Nature and Birdwatch Biesbosch and Bunker Conservation Dordrecht disputed control over a large bunker which had become occupied by bats. The bats’ occupation of this triggered a series of events — snapshots of these events are strung out through this publication. News reports, petitions, spacial interventions and the ultimate vacation of the bunker by the bats left a sour taste in the mouths of all involved. This research publication is a collection of publicly available information, alongside personal (anonymised) correspondence with some of the individuals and organisations involved.

While researching the Group Shelter Type P— a type of concrete bunker built across the Netherlands during WW2 — I became fascinated the ecologies quietly unfolding inside and around them. My personal experiences inside these structures led to deeper understanding of important non-human perspectives. The discomfort in the darkness guided much of this material research, resulting in four architectural interventions on the bunkers. Each intervention would replace a missing piece of the structure. The Camouflage, the Door, the Flagpole and the Chimney. These restored elements do not seek to replicate what was, but what is. Drawing from historical and personal archives, I leveraged the materiality of the silent inhabitants of these structures. Using a palette of materials like sphagnum moss, fox fur (faux), cast concrete and even using polluted water collected from flooded bunkers to dye fabric; all with the aim to externalise some of the internal ecologies of the bunkers. — @miard_inrealtime @studio_ossidiana

July 3—13 I’m exhibiting at @nieuweinstituut in Rotterdam. Come down if you want to see fragments of my research into Irish identity production (not pictured here). Alongside this work, I designed the identity for the group exhibition with @pitakeem — Wrong Norma is an exhibition of graduation works by eleven researchers, designers, and artists from the Master Interior Architecture: Research + Design (MIARD) at the Piet Zwart Institute in Rotterdam. The exhibition explores what it means to practise spatial design today and includes projects by Julia Banaszewska, Dzintars Berzinskis, Mailys Bonnet, Sjoerd De Jong, Iza Koczanowska, Martynas Nikitenka, Youbin Kim, Isabel Legate, Eric Stynes, Philipp Their and Saar Zaal. Borrowing from the poet Anne Carson’s book of the same name, Wrong Norma describes a collection of projects that operate along a disobedient axis. The works challenge conventional spatial thinking through architectures that foam up, leak, enclose, glitch, and ferment. Rooted in research and material exploration, the works resist fixed methods and models of design. They navigate soft thresholds, political residues, and speculative errors—reimagining space not as enclosure, but as inquiry. Here, wrongness becomes method: a way of sensing, refusing, and imagining otherwise. @miard_inrealtime

Solid grey concrete blocks, protruding from soft, fertile earth. At first glance, the Group Shelter Type P looks like an archaeological site — an artefact or monument which remains as a reminder of war. While this perspective is not inaccurate, these structures’ history did not end with the war in 1945. Rich ecologies have emerged in, around and through these concrete structures. A series of spelunking expeditions resulted in material research and the development of a spatial tapestry, reflecting these new ecologies. This visual research was created in tandem with a collection of writings mapping invisible spatial qualities — sounds, temperature changes, claustrophobia and more. This research led to the development of a new speculative interior for the group shelter. Mirroring the outside but unsettlingly different.

Clodagh O’Leary / @1eurofiddy is a photographer documenting the Irish republican tradition of Internment Bonfires in Derry. This photo series focuses on the experiences of young people from the areas of The Bogside and Creggan, exploring the politics shaping their lives and identities. The republican symbol of the Easter Lily is woven throughout the publication. Abstracted into a topographical map, the Easter Lily begins to mirror some of the physical and ideological boundaries in Derry. Two alternative half covers were created for the publication — a tricolour and a gold version — both adorned with the Lily and a map of Creggan. The creep and bind stitching have been intentionally left untrimmed. For the publication and exhibition launch, a series of promotional posters were also created. Artist @1eurofiddy Design @ericstynes Words @caelainnhogan Print @waybadpress @plus_print Display typeface — Medieval Edition by @elias_hanzer Included in the 2024 @100archive selection.

Geological Simulations is a short document which seeks to uncover the secrets of a strange-looking stone in a public park in Amsterdam. How did it arrive here? Who put it there? What mysteries does it hide? None of these questions will be answered, but by asking them, I hope to move one step closer to uncovering the simulation. A3 print & zine were recently exhibited at ‘So Way Bad It’s Way Good’ at @hensteethdublin and are available to buy from @waybadpress

Finally getting around to sharing some work from last year. I’ve been developing new ways of working and researching during my time at @miard_inrealtime in Rotterdam. My work started with an examination of the events unfolding in the Rijnhaven basin — resulting in the development of research through drawing, photographic documentation, material experiments, video, performance and speculative installation. All centered around the cyclical nature of material extraction. My investigation started with a large dredger vessel, which deposited 3,500 cubic meters of sand in the Rijnhaven basin twice a day for a year. The ongoing project will cost the municipality of Rotterdam more than €57,000,000, making it the most expensive city project ever. This sand for this project is extracted from the North Sea, sanctioned by private companies and the state — with very little reflection on the true impact of this process. Sand, as a material, presents itself as stable and unstable; for this very reason it is an ideal fuel for the development of capital. The hidden process continues and ecological disturbance remains unseen.

Stoked to have some work from myself and @leah_downing included in the new @100archive selection. Illustrations by @amaliedyrup Printing by @zwaanlenoir Client @o9solutions