Liliane Puthod

Container, 2017

Unfired earthenware, acrylic paint, spray paint
20 × 30cm

Liliane Puthod (b. 1986, France, she/her) makes sculptures and large-scale interventions or what might be deemed to be a subversive appropriation of objects, images and texts by using both industrial materials and handmade processes as a way to confront archaeological and commodified times. She manipulates some of society’s existing modes of production and dissemination to investigate the elusive concept of time inherent to everyday life’s consumption and to subtly destabilise what she considers the fabrication of desire and its perceived value within our globalised world. Particularly interested in self-contained objects, she examines shapes that can contain, carry or being carried, transport and conserve. In this instance, the jar becomes a metaphor for time and the information it conveys in between. Her research around the artist’s productive circuit in post-industrial times further investigate the relationship between labour, use-value and function to question how does the artist’s studio echoes/differs from commonly held productive workspaces.

Liliane Puthod lives and works in Dublin. She graduated with a Master in Fine Arts at HEAD Geneva in 2013. Selected exhibitions: Woman in the Machine, VISUAL (2021), Dissolving Histories: An Unreliable Presence, Golden Thread Gallery (2020); Display, Link and Cure, The Complex (2019); How Long After Best Before, Pallas Projects/Studios (2019); Everything Must Go, PS2, Belfast (2019). Recent Awards: IMMA Residency A Radical Plot; Project Studio, Temple Bar Gallery+Studios; Arts Council of Ireland Visual Arts Bursary; Summer Studio Residency, TUD, Dublin.

Courtesy of the artist

6th Biennial of Painting
HDLU, Meštrović Pavilion, Zagreb


Curated by
Mark Cullen & Gavin Murphy

Colin Crotty
Mountain, Dream, 2021

Oil on linen
120 × 96 cm

Eithne Jordan
Mansion II, 2012

Oil on linen
150 × 200 cm

Eleanor McCaughey
Disturbed brains, 2021

Gouache and oil on paper
100 × 70 cm

Fergus Martin
Fire, 2021

Oil on aluminium
116 × 166 × 4 cm

Kathy Tynan
Deeke’s Diner, 2015/2021

Oil on canvas
70 × 70 cm

Mairead O’hEocha
Rathmines Church and Diner, 2018

Oil on Board
63 × 84 cm

Alison Pilkington
Shoreline Fantasy, 2020

Oil on linen
80 × 70cm

Brian Maguire
Apartments Aleppo, 2016

Acrylic on linen
290 × 270 cm

Colin Martin
Singles Archive, 2019

Oil on canvas
150 × 170 cm

Gabhann Dunne
Field Birds, 2021

Oil on board
100 × 100 cm

Gemma Browne
Unbreakable, 2020

Acrylic on linen
25 × 20 cm

Gillian Lawler
Platform, 2020

Oil on canvas
60 × 60 cm

John Lalor
Moment of Surrender, 2020

Oil on canvas
30 × 40 cm

Natasha Conway
Are we there yet, 2020

Oil on wood panel
Artist’s frame
53 × 63 cm

Orla Whelan
Against a Melancholy Moment (or Magic Carpet), 2020

Acrylic paint on plywood
240 × 140 cm

Oscar Fouz Lopez
Don't look back baby, 2019

Oil on canvas
100 × 120 cm

Stephen Loughman
Golden No 8, 2018

Oil on board
100 × 147 cm

Marcel Vidal
Grey, yellow, blue, 2020

Oil on linen
140 × 105 cm

Harry Walsh Foreman
Found 20 euro in Tesco car park and I taught what would Jesus do, so I turned it into wine, 2021

Acrylic paint on mdf wood
130 × 45 cm

Mark O'Kelly
High-Rise, 2021

Oil on Linen
190 × 150 cm

Patrick Graham
Lark Series: Landscape, 2020

Oil on canvas
180 × 360 cm

Salvatore of Lucan
Work, 2021

Oil on canvas
130 × 250 cm

Sonia Shiel
The Vertical, 2019

Oil on canvas, roller, wood and lapels
Dimensions variable

Sven Sandberg
The Chanterelle Robe, 2020

Oil on linen
71 × 56cm

Liliane Puthod
Container, 2017

Unfired earthenware, acrylic paint, spray paint
20 × 30cm

Forerunner (after ken isaacs), 2017

Wood, bolts, fabric
Dimensions variable based on 30 × 30 × 300 mm units

Sean Molloy
E.I.A., 2021

Oil & acrylic on panel
22 × 30 cm

Sean Molloy
Freiwild, 2019

Oil & acrylic on canvas
24 × 30 cm


About the Exhibition

Pallas Projects present ‘Dubliners’ – the international section of the 6th Biennial of Painting, Zagreb, curated by Mark Cullen & Gavin Murphy. The exhibition affords a unique opportunity to present together for the first time, an intergenerational grouping of painters who were born, bred, studied (and taught), or live and work in Dublin. The invitation to curate such a survey of contemporary painting presents a huge opportunity, and invites its own questions. It allows us to consider: what does it mean to present a national (or municipal) exhibition today? What does (or can) such an exhibition say about a city, its people? What does it mean within the expanded topography of contemporary art with its multiple and unlimited forms? What does such an exhibition say about artists (or painters) working together in a city. Can we trace traits of influence, exchange and conversation, of a ‘community of painting’, or is painting the ‘purest form of individualism’?


Saturday 23rd October, 5pm CET

Panel discussion: What is it to paint (in) a city?

Artist talk moderated by critic, curator and educator James Merrigan, with panellists Stephen Loughman, Colin Martin, Mark O’Kelly, Sonia Shiel, Orla Whelan.

Wednesday 27th October, 6pm CET

Dubliners Reel, curated by Eve Woods

A screening of film works by Irish artists, featuring: Anne Maree Barry, John Byrne, Michelle Doyle, Kevin Gaffney, Léann Herlihy, and Gavin Murphy.


Pallas Projects/Studios (founded 1996) is a not-for-profit artist-run organisation dedicated to the facilitation of artistic production and discourse, via the provision of affordable artists studios in Dublin’s city centre, and curated projects, exhibitions, exchanges, off-site projects, talks, resource programmes, and publications. PP/S are at the forefront of research, advocacy and support of artist-run practice in Ireland and across Europe. They are authors of the research project and publication ‘Artist-Run Europe’ (Onomatopee, Eindhoven, 2016), which included contributions from AA Bronson, Transmission Gallery, Triangle France, and Eastside Projects and featured essays, case studies, and an index of 600 European artist-run spaces – a second updated edition of which is due in 2022.

Pallas Projects/Studios is funded by The Arts Council
‘Dubliners’ is funded by Culture Ireland

About the Biennial of Painting

The Croatian Association of Artists (HDLU) established the Biennial of Painting in 2011. The Biennial’s aim is to survey and evaluate the local painting scene in the context of new European movements and explore, through comparison, the global position of the medium of painting. In this way, HDLU promotes the development of the visual arts by supporting and encouraging artistic creativity and excellence, and by conceiving and promoting international cultural exchange. Conferences, lectures and presentations are organised as part of a Biennial on the initiative of the organisers, to both educate and inspire. Traditionally two awards (Grand Prix and Young Artist Award) – extremely valuable from an expert artistic and financial point of view – are awarded to the most prominent artists and their work.

As well as presenting what is new in Croatian painting today, each edition of the Biennial engages with new and emerging tendencies in the medium of painting across various cities, regions and countries of Europe. In 2011, the guest city was Berlin (“I am a Berliner”, curated by Mark Gisbourne), in 2013 Vienna (“Vienna Calling”, curated by Theresia Hauenfels), in 2015 it was Gdańsk (“Exporting Gdańsk”, curated by Katarzyna Kosmala), in 2017 Prague (“Extended Painting Prag”, curated by Marek Schovanek), and in 2019 Leipzig (“Leipzig Connection”, curated by Mark Gisbourne).

HDLU is located in the famous Meštrović Pavilion in central Zagreb. It consists of three exhibition spaces: Prsten Gallery, Bačva Gallery, and PM Gallery. Its mission and openness aims to foster all expressions of creativity, from prestigious world premieres and biennials to grassroots movements, with the desire to inspire and motivate the public through art.

Biennial of Painting website