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MART is hosting a series of artists and curators at Unit 4 on James Joyce St, Dublin from Wednesday 6th February 2013 – Friday 31st May 2013
MART Presented: ‘ITERATIVE’ Terence Erraught, Joan Healy and Catherine Barragy
Live documented event by Terence Erraught, entrance 6.30pm, event 7pm.
Video screenings by Terence Erraught: Thursday-Saturday 12pm-6pm.
Iterative is a project by Catherine Barragry, Terence Erraught and Joan Healy. Using the space as territory, the three artists present a continuously shifting array of sculptural, media and performative works. Each artist assumes the role of author for one week while the other two artists respond to their process. By the fourth week clear authorship breaks down as the three artists attempt a mash-up of material and content; creating alternative forms by using each other’s practices as raw material. The artists identify risk-taking as a catalyst in this process.
March: Portuguese, Greek and Zero Sum Games
To coincide with MART’s Lisbon & Athens Exhibitions we will be hosting a portugese and greek artist [George Gyzis, Orlando Franco, São Trindade, Maria Tzanakou ] in Unit 4 as part of Culture Ireland’s “Culture Connects International Programme” marking Ireland’s Presidency of the Council of the European Union.
April: Tristan Hutchinson
PHOTOGRAPHY EXHIBITION BY TRISTAN HUTCHINSON
Terroir Part 1 will be exhibiting at Unit 4, as part of MART’s 4-month residency at Dublin City Arts Office exhibition space on James Joyce Street, Dublin 1.
Opening Thursday 25th April at 6pm, the exhibition will run until Wednesday 1st May.
Terroir is an intended look at the transformation of community as reflected by the marks and traces upon the land that remain after various processes of industry and migration. Whilst geographically-rooted in specific landscapes, an intended ambiguity running through the work feeds into notions of fictive anonymity, exploring multi-locality, personal and shared experiences, and folkloristic interpretations of ‘landscape’.
After almost 10 years in Ireland, a country I have made my home, I am about to emigrate and set off on another journey, establishing new connections and ties; adjusting to unfamiliar territories and rethinking my own ‘sense’ in relation to ‘place’.
I wanted to create something more personal than my previous works – a rebounded sense of the ‘self’, an ode and volume of photography which presents my view of contemporary Irish community; how mine and its ‘sense of place’ has shifted in relation to the current economic and social transition the country is experiencing. Within this main framework lie various themes and ideas; transitions experienced socially and politically and how these impact upon the landscape. This leads into ideas about industry, its history in Ireland and these marks and traces from industrial endeavor that remain upon and scar the landscape.
As well as this, I wanted to address the highly prevalent sense of emigration in Ireland, and the significant traces this leaves such as the abandoned houses and struggling communities. It’s the absence that immigration leaves behind which is quite palpable. With communities transformed due to migration, the disturbance of homogenous groups leaves behind very real traces.
Terrior will aim to look at these traces, the resultant actions of changes in ‘community’; of identity shifts. Of personal histories and communal experiences.
But more significantly, Terroir comes out of a desire to rethink my modes of photographic representation and escape the murky presumptions and habits of ‘documentary’. Terroir builds upon this, and expands notions of invented narratives and folkloristic interpretations of the land. Ireland, with its rich history in folklore and storytelling, provides a great backdrop to present these themes, but I intend to propel Terroir’s ideas forward through obstructing conventional methods of storytelling. By interrupting the flow of imagery and using appropriated imagery, by hinting at stories, encounters and confronting everyday ambiguity, the work I hope will not only present more faithfully the fractious process of image-making, but to allow the viewer a more loyal portrayal of the motifs I am trying to conceptualize – Religious symbols and relics dotted through the landscape; family ties, communal relations, stories told behind closed doors and kept inside boxes of photographs and tales relayed down generations.
Terroir is still being developed and the exhibition will be presented as ‘sketches’, inviting the audience into the space and inviting feedback.
Bio:
I am a Dublin-based Photographer working with in medium and large-format photography. My work explores themes of ‘community’ and one’s identity within it in contemporary Ireland, examining the impact from social and economic endeavor, whilst presenting ideas of fictive, everyday ambiguity. I have exhibited and screened work in Ireland and Europe, including PhotoIreland 2012, Cork County Arts Office, Royal Hibernian Academy, and the Douglas Hyde Gallery.
May: Curated by Aoife Flynn, featuring Adam Gibney, Richard Forest, Gerry Erraught.
MART Presents” Just-in-Time”
Opening Thursday 9th May @ 6pm
Runs from May 9th – 25th.
Open Friday – Saturday 12pm-5pm
Curated by Aoife Flynn, Featuring Adam Gibney, Richard Forest, Gerry Erraught.
www.gerarderraught.com
www.richardforrest.info
www.adamgibney.com
This is our final host show so we look forward to seeing you there and saying goodbye to our Unit 4 residency.
Just-in-Time
“The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.” Walter Benjamin Planned obsolescence or built-in obsolescence is a policy of planning or designing a product with a limited useful life, so it will become obsolete, that is, unfashionable or no longer functional after a certain period of time. The term is divided into two categories: obsolescence of desirability vs. obsolescence of function. This kind of planning has its origins in ‘Just-in-time’ production, where stream-lined methods of production and communication meant manufacturing changes could be made on the fly and products could be made and adjusted when they were needed. Lower manufacturing costs meant products could be sold cheaper and to a wider customer base thus increasing competition. In turn, to ensure that customers needed to continue buying their product, manufacturers began to introduce variations in their products and construct them with in-built life spans. This project will gather together three artists whose work is centred around the use of technology, its possibilities and problems. Turning their enquiries towards outdated, obsolete technologies they will endeavor to create something new and potentially useful out of that which is doomed to become waste. Through this process we will seek to question our society’s perpetual consumption and propose alternatives uses for the spiraling series of technological advances in our contemporary existence.
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