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Phoenix Rising references Dublin’s Civic Exhibition of 1914 which sought to reimagine the city at a time of economic, social and political crisis. Today, at a time of similar flux and struggle, ideals of civicism and urbanity are examined via contemporary art, with the hope of representing and deepening understandings of our relationship with the city.

Stephen Brandes’ graphic posters and collages (pictured) confront the visitor upon entry. Slum Clearance suggests unrelenting schemes of urban gentrification which “cleanse” localities, disappearing both personal and communal histories. Paradise of Exiles hints at the transitory nature of cities and how they can confer identity and meaning upon their inhabitants.

Monolithic sculpture Le Fantôme de Réalisme by Mark Clare is standout. Sitting in quiet repose in a partially spot-lit room, its form sporadically comes in and out of focus as one circulates around it. Wrapped in glossy film, it catches the light. This is the city manifest — modulating between clarity and obscurity it is at once imposing and intimidating, mysterious and not fully explained or revealed; there is always something else to be uncovered.

Stéphanie Nava’s Rear Window offers a vignette of city life in graphite on paper. Despite its rich detail, depicted in a linear, orthogonal and monochromatic style, there is a suggestion of sterility, of one dimensionality and convergence — a lack of dynamism to the city.

Unfortunately, such staidness moves beyond Nava’s intricate page and into the space as a whole. Aside from the above, and one or two other pieces including Mary Ruth Walsh’s charming Hidden Presence, the show as a whole falls flat and feels derivative, the installation lacklustre and tired. A theme with far more potential, one imagines 1914’s attendees left feeling far more inspired than those of 2014.

Phoenix Rising: Art and Civic Imagination runs until 29 March 2015 at Dublin City Gallery Hugh Lane. Image courtesy of Dublin City Gallery Hugh Lane.