dublin

Katrina Palmer, The Time-Travelling Circus: The Recent Return of Pablo Fanque and the Electrolier, 2018, ink-jet print on floor vinyl, Perspex, headphones, sound, sound baffles, printed matter. Installation view. Photo: Kasia Kaminska.

Katrina Palmer

Temple Bar Gallery & Studios

Katrina Palmer, The Time-Travelling Circus: The Recent Return of Pablo Fanque and the Electrolier, 2018, ink-jet print on floor vinyl, Perspex, headphones, sound, sound baffles, printed matter. Installation view. Photo: Kasia Kaminska.

There isn’t always much to see in a Katrina Palmer installation, but there can be a lot to take in. Her artworks require attentive listening, patient reading, and a readiness to quickly and imaginatively cast one’s mind to another place and time. Though she studied sculpture at Central Saint Martin’s in London, her principal artistic medium is language: Writing, in a variety of voices, features prominently in her exhibitions, where it takes the form of wall texts, scripted soundtracks, or elliptical stories published in idiosyncratic artist’s books.

So, for instance, in “The three stories are flattened,” her 2016 exhibition at Void, a gallery in Derry, Northern Ireland, Palmer used the building’s generous main space to show the modest, Minimal work Now Landscape, 2016,a set of five sequentially shrinking blocks of text, handwritten directly onto the gallery wall. Each of these

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