MART hosted a series of artists and curators at Unit 4 on James Joyce St, Dublin from Wednesday 6 February 2013 – Friday 3 May 2013
Terence Erraught, Joan Healy and Catherine Barragy
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.
7 – 23 March
George Gyzis, Orlando Franco, São Trindade, Maria Tzanakou
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.
25 April – 1 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’.
9 – 25 May
Curated by Aoife Flynn
Featuring Adam Gibney, Richard Forest, Gerry Erraught
“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 endeavour 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.
MART curators Matthew Nevin & Ciara Scanlan are delighted to present the exhibition A Rhythm Exposed (Routines: 5-6) by Steven Maybury, kindly supported by The Arts Council of Ireland.
Preview: Thursday 11 May 2017 @ 6pm
Location: The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.
Runs to: 8 June 2017
Open: Tues-Sat: 1-6pm
A Rhythm Exposed (Routines: 5–6) represents the artist’s travel and conversations, combined with a curiosity into Buddhist doctrine concerning the three marks of existence. Focusing on the characteristics of Anicca, Dukkha and Anatta – Paliwords for impermanence, anxiety or suffering and non-self. They are used here as a reference to questions of interest, concern and ritual. The three characteristics are common to all forms of existence.
This exhibition is part of the artist’s ongoing Routines series. In this series, which began in 2016, drawing is used as a key conceptual tool for the artist to examine obsessions in archiving, ownership and preservation and invites contemplation of the meticulous use of ink, light, and time on the aesthetic of the artworks. It is a continuous process of assembling and making, informed by reactions to the artist’s personal encounters.