Deflated Capital II | Doireann Ní Ghrioghair
As part of the Fire Station Artists’ Studios & MART Gallery Exhibition Award 2017
Preview: 28 September from 6-8pm
Runs: 28 September – 26 October
Open: 1-6pm Tuesday-Saturday
Ni Ghrioghair’s sculptural work takes its lead from monumental architecture in contemporary European cities; particularly London and Dublin. Through examining the materiality, form and aesthetics of these buildings, her work aims to probe at the psychological and physical consequences of this architecture for the individual in the city. Classical orders proliferate Western cities (and indeed beyond), imbuing buildings such as law courts, banks, government buildings and academic institutions with esteem and grandeur.
Despite being built since the 18th century, this ubiquitous style aims to cite antiquity, evincing a sense of timelessness and purity. Aesthetically, they function as signifiers of power and prestige. Ni Ghrioghair recognises them as architectural societal introjects, bestowing inherited values onto their denizens. However, as rehashed pastiches of ancient Greek and Roman architecture, she also views them as unreliable translations. A set of arbitrary aesthetics, removed from their original meaning, around which we twine the fictions of our contemporary life. For recent sculptures, she took latex casts of various architectural details of Dublin Castle. Normally these classical columns stand solid and erect. However, after the plaster is cast in an unsupported latex mould, the pillars became flaccid and deflated. While faded Georgian grandeur is particular to the history of Dublin, recent international political developments have also reminded us of the inevitable sunderance of empires. Aesthetics of permanence last longer than the power they aspire to represent.
Doireann Ní Ghrioghair (b. 1983) graduated from Chelsea College of Art & Design, London in 2010. Solo exhibitions of her work have been held at Eight Gallery, Dublin (2016) and CIT Wandesford Quay Gallery, Cork (2014).
She was selected four times to exhibit at Creekside Open, APT Gallery, London (2017, 2015, 2013 & 2011 curated by Alison Wilding, Lisa Milroy, Ceri Hand and Phyllida Barlow respectively). Notable group exhibitions include I Am A Beautiful Monster, Arthouse1, London (2017); Tulca, The Headless City (2016) curated by Daniel Jewesbury; ARTWORKS, VISUAL, Carlow (2017 & 2016); Veins, Molesworth Gallery, Dublin (2016); After the Future, Eva Biennial (2012) in Limerick curated by Annie Fletcher. She was commissioned to create an installation, Beyond Excess, at Shunt, London Bridge (2011). She has received Arts Council of Ireland bursaries and was an award winner at Now Wakes the Sea, Kinsale Arts Festival (2013). She recently completed a long-term residency at Fire Station Artist Studios.
Freedom of Movement
Nina Fischer & Maroan el Sani
Curated by Deirdre Morrissey supported by Directors Matthew Nevin & Ciara Scanlan.
The exhibition is kindly supported by The Arts Council of Ireland, an IMMA Production Residency, Goethe Institut Dublin and the Institut für Auslandsbeziehungen.
Opening reception: Thurs 24 August 6pm – 8pm
Exhibition continues: 25 Aug – 22 Sept 2017
Gallery Open: Tues – Sat, 1pm -6pm
The MART Gallery’s curatorial vision for 2017 is to select artists who work under the parameters of risk and political agitation, creating powerful, informative and experimental work. We are delighted to present ‘Freedom of Movement’ an exhibition of film work by renowned German artists Nina Fischer & Maroan el Sani.
MART first introduced the work of Fischer & el Sani to Ireland in 2014 when the artists presented film works ‘Narita Field Trip’ and ‘Spelling Dystopia’ in an exhibition curated by Barry Kehoe. Both pieces were created when the artists were Associate Professors at the School of Art and Design in Sapporo City University in Japan and explored tensions that arise between the forces of globalisation and specific local narratives.
Always keen to build upon established relationships with international artists, MART has invited Fischer and El Sani back to Dublin for the presentation of two recent film installations ‘Identity’s Rule of Three’ (2015) and ‘Freedom of Movement’ (2017) These films pose questions on various aspects of human identity and society, the limits of geographical, artistic and social structure, and race relations.
Nina Fischer & Maroan el Sani are visual artists and directors who have worked collaboratively since the 1990s and both live and work in Berlin. Through their work they have explored narratives in various sites around the world juxtaposing hidden histories with the lived experiences of contemporary society and questioning cultural perspectives
Fischer & el Sani have participated in numerous international exhibitions, including Seoul Media City Bienniale (2014, 2012), Aichi Triennale (2013), Curitiba Biennale (2013), the Istanbul Biennale (2007), the Gwangju Biennale (2008, 2002, 1995), the Sydney Biennale (2002), Manifesta 4, Frankfurt (2002), Liverpool Biennial of Contemporary Art (1999).
Their solo shows have been hosted by, among others: Maxxi Museum, Rome (2017), K21 – Kunstsammlung NRW, Düsseldorf (2016), MART, Dublin (2014), Museu de Arte Moderna Aloisio Magalhães, Recife (2013), the Berlinische Galerie – Museum of Modern Art, Berlin (2012), the Austin Museum of Art – Arthouse, Austin (2012), the Hiroshima Museum of Contemporary Art (2010), the Cobra Museum, Amstelveen (2010), Kunsthaus Glarus (2009), the Stedelijk Museum Bureau, Amsterdam (2007), Yamaguchi Center for Arts and Media (2005), Metropolitan Museum of Photography, Tokyo (1998)
HD, colour, stereo, 20 min., 2015
An animated film that seizes the highly controversial debate around the planned presentation of ethnological collections in the reconstructed Berlin City Castle as an opportunity to envision a different future. Playful and yet serious, it explores questions of authenticity and identity of the individuum, art, architecture and society.
Identity’s Rule of Three is a collaborative work of Nina Fischer, Maroan el Sani and Bertold Stallmach.
3 channel video installation, HD, 9:45 min, 2017
Evoking the Olympic marathon from Rome 1960, in which the Ethiopian Abebe Bikila conquered the African continent’s first gold medal, running barefoot and becoming a sporting legend and a symbol of an Africa that is freeing itself of colonialism, Fischer & el Sani have recontextualised amidst Rome’s rationalist architecture, a new race involving refugees and immigrants staking a claim to their “freedom of movement”, also understood as the possibility of being welcomed in another country.