Without a Future



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Curated by Matthew Nevin

2 – 24 October 2016 

The MART Gallery

 

Without a Future is an ongoing research work that develops live electrical current as sculptural form. Commissioning electrical current in this way is in keeping with Margaret O’Brien’s experimental approach to form and materials. Its precarious nature explores ideas of sculpture and art practice as mobile, unfixed and in flux, something fleeting and unsustainable. Originally sited as a temporary outdoor installation, It connects on a fundamental level to relationships between site and subject, context and environment, wherein the activity of the electrons is visibly vulnerable to the climatic conditions of its given space from one moment to the next. The conditions of its being waver from sympathetic to hostile with the smallest breeze, with a slight change in humidity, or a rise or drop in temperature, evidenced by the constant colour change ranging from dullest red to brightest orange.

Othering continues with this research through an inventive sculptural installation with kinetics and live sound. To ‘other’, or othering(verb), is a key concept in Continental philosophy, and opposes concepts of Same. The Other refers, or attempts to refer to that which is other than the self, that which is different. Othering helps distinguish between internal and external, between home and away, the certain or uncertain, the physical and psychological. Using non-traditional materials, O’Brien’s Othering makes manifest intangible but critical aspects of the work including sound and visual elements from live electrical circuits.

About the Artist

Margaret O’Brien works primarily with installation and sculpture using a variety of materials such as electrical currents, live sound, light, and kinetics. Her work explores the nature of the in-between as psychological aspects of the everyday that can never be fully understood or articulated, and our individual negotiations of time and space within this. Using particular practices of repetition, non-linear concepts of time and space are presented in the work as past, present and future dimensions occur almost simultaneously through the consistency of the repeat. Here, repetition is used to undermine any fixed reading of the work, creating both movement and stoppage by continuously presenting the possibility of an alternative.

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Dragons of Eden | Aoibheann Greenan & Terence Erraught




MART curators Matthew Nevin & Ciara Scanlan are delighted to present Dragons of Eden, an exhibition featuring Aoibheann Greenan and Terence Erraught, with thanks to Arts Council Ireland and Dublin City Council.

Preview: Thursday 15 June 2017 @ 6pm

Location: The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6.

Runs to: 13 July 2017

Open: Tues-Sat: 1-6pm 

Facebook Photo Gallery 

 

‘Dragons of Eden’ featuring work by Aoibheann Greenan {Gallery 1} and Terence Erraught {Gallery2} addresses mythological and real world societal challenges. The curators invited the artists to produce work that can provoke the limitations of the gallery environment, producing informative and experimental new work that can tease out radical ways of viewing and perceiving our culture and society. Greenan and Erraught have responded here with powerful creations that take on alternative perspectives on gender representation via symbols and icons of ancient cultures experienced through a schema of digital means.

Aoibheann Greenan presents The Eighth Seal, an installation and audio piece prompted by the Repeal the 8th movement and the ongoing struggle of Irish Women over the right to bodily autonomy. A radio interview reimagines the origins of Sheela na Gigs, ancient carvings scattered throughout Ireland depicting figures with exposed vulvas. Eschewing the tendency to interpret the Sheela through patriarchal narratives, the work proposes the symbol as both a harbinger of emancipation and metaphor for resistance. Esoteric and posthumanist motifs permeate the work, echoing the historical link between radical speculative fiction and movements for social change. The installation conjures a site for gathering, a space for consciousness raising, for invoking, for conspiring.

Terry Erraught’s work explores the masculine agenda of the contemporary artwork by addressing audiences increasingly desensitization of socio-political heinous events. In an era of instant digital media distribution, brutal violence appears to have become part of our daily routine, with audiences becoming increasingly indifferent. By engaging with mainstream media but using a primitive, ritualistic approach, Erraught attempts to connect with world events as they occur and enter our psyche. ‘Composition’ is a durational digital video painting, rather than an episodic performance, which contains references to multiple catastrophic events in recent times. Through a recognisable mythological and art historical aesthetic, the artist draws on his own personal experiences by physically manifesting into each of the constituent characters and situations in the video work. This can also be seen in Erraught’s second piece Saturn (The world revolves around me) which is a smaller installation or 3D painting recorded from a live performance. It is heavily influenced by Goya’s black paintings which portray Goya’s embittered attitude toward mankind, and struggles with panic, fear and hysteria specifically ‘Saturn Devouring his Son 1820-23’.

Dragons of Eden MART Gallery