Ciarán Walsh



A Knot in a Tightening Band, 2018
139 HD video clips (looped randomly) with asynchronous audio track (duration 19 mins)
Preview (External link to Youtube)

A Knot in a Tightening Band sets up an endlessly repeating array of 139 randomly playing video files: short but extremely slowed down clips selected from German Heimatfilme of the mid-1950s. Led by the off-key, deep-bass, sound track derived from the title music of the sourced films, the work explores in ever changing permutations notions of collective memory, anxiety, repression and latent symbolism of war and fascism.




3377 Days ← • → x Days, 2018
Series of 8 archival inkjet photographic prints on Baryta paper; each 45 x 30 cm (unique prints)

As an exploration on death, time, photography and the private sphere, the work 3377 Days ← • → x Days records both the effect of passing time on the objects and domestic architectures that remain after the death of an individual, and the role of photography as a marker or fixitive. The title refers to the distance of three points in time (two fixed, one flexible): a death, the taking of a photograph and a moment of viewership.




The Sickness, Book One, 2017
Publication; 120 pages, digital offset printed, published with TFGC Publishing (Düsseldorf/Berlin)
Buy (External link)

The Sickness, Book One is an artwork framed as a paperback novella of dystopian fiction. Set in a near-future world troubled by a mysterious pandemic and experiencing a near-total blackout of public discussion on the crisis, the short piece of fiction uses the character of an actor who belives his productions are haunted in order to explore psychological and sociological themes. The Sickness, Book One is published by TFGC Publishing (Düsseldorf/Berlin).




Exhibition Module for a Fictional Text, 2017
Sculpture; painted wood

Exhibition Module for a Fictional Text references through sculpture both narrative and corporeal movement in the composition and readership of texts, and simultaneously, the control of viewership and navigation of exhibition architectures.




Vortices, 2016
Publication; 94 pages, risograph printed, self-published in limited numbered edition of 100
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An artwork in the form of a paperback novella, this short piece of speculative fiction remixes various research sources to synthesise an exploration on the agency of subjectivity as an analytical tool. In Vortices, the reworked biography of French caver and chronobiologist Michel Siffre, the semi-mythological forms of science-fiction, and critical aspects of museum and post-colonial theory collide and combine in an increasingly fantastical and conspiratorial storyline.




Fragments of Unknown Teachings, 2014
Two-room installation; various materials, with programmed lights on 10 minute loop
Video Documentation (External link to Youtube)

In this multi-part installation Walsh explores the dramatology of the museum, the dynamics of viewership and the navigation of the body within the exhibition space. Sculptural elements composed of hollow foamcard forms, slender frameworks and mirrored surfaces were dynamically lit by an array of computer controlled spotlights in constant, slow flux, destabilising the expression of the sculptural arrangements and the spatial sensibilties of the audience.




The Ghost of an Image, 2014
Performance; reading and digital audio (duration 43 mins), video projection (loop), series of 3 screenprints (unique)

In the performance lecture The Ghost of an Image in Dublin, Walsh used an experience of family death to medidate on the desire for a belief in the Magical against all rational credulity, drawing on his own personal experiences, the 1945 film of The Picture of Dorian Grey, the illusionist's trick Peppers Ghost, and a theory that claimed sub-bass sounds explained ghosts sightings. In conclusion the audience took part in an experimental test of the sound theory.




A Time for Superlatives, 2014
Sculpture; painted foamcard, acrylic glass, wood, light box

A Time for Superlatives derives from two Classic Greek statue fragments from Berlin's Neues Museum, introducing through the sculptural reworking senses of hollowness, fragile temporality, and a degree of informational alientation.




He Cried in a Whisper at Some Image, at Some Vision, 2012
Series of 3 archival inkjet photographic prints on AluDiBond; each 60 x 40 cm (unique prints)

The photo series He Cried in a Whisper at Some Image, at Some Vision represents three large displays of religious sculptural artifacts from the 'Africa Rooms' of the former Ethnological Museum in Dahlem, Berlin.



It's Just a Shadow Away, 2011
Video work; HD video with audio, duration 9 mins 30 secs
Preview (External link to Youtube)

In It's Just a Shadow Away, two actors work to recreate scenes from Andrei Tarkofsky's 1972 film Solaris in the original Russian - a language of which the have no knowledge - in a work examining mourning, guilt, alientation and the pursuit of emotional verisimilitude.




Isolated Receptor, 2010
Sculpture; enamel-painted aluminium, plastic tubing, wood




Urwald, 2010
Sculpture; series of 7 digital offset prints, steel bar

The sculptural work Urwald incorporates an archival image from a folk procession from northern Bavaria in the early 1900s.




Fabricated Model (Accumulation), 2010
Sculpture; painted wood, acrylic glass fixtures




Conduit, 2009
Sculpture; various materials




Iris Stream, 2009
Video work; SD video without audio, loop
Preview (External link to Youtube)




Station, 2008
Sculpture; various materials