Review by Adam Harangozó

Stepping into the exhibition, it’s immediately evident why it is called Critical Spaces. It is in a small room, and all the exhibited items are visible from the entrance. In its resemblance to a warehouse, there is a feeling of almost post-apocalyptic desolation. But in Outpost it’s not the actual spaces that are important, rather the extended or shortened, and fictional ones, created by the exhibited items. Slovakian and Hungarian artists interpret the critical spaces of their region.

Review by Alistair Quietsch

Seeped in conceptual layering and research, Jeremy Millar’s current show at the CCA is at times, a seemingly disparate show of literary nods with a thorough post-modernist upbringing in the use of meta-narratives and referencing. However, it’s visually intriguing, as Millar seems unconstrained to a particular medium and seems happy to use various modes of expression, from wooden sculpture to video. Upon entering the larger gallery space immediately on the left is an unforgettable piece that resonates throughout the show even after viewing: the complete lifelike cast of the artist lying water logged and pale-white-dead on the floor. The piece is titled Self Portrait as a Drowned Man (The Willows) (2011) and was commissioned by the CCA itself and lies there, with suspicious gouges in its skin, begging for attention.