2017



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Can You Hear Me Now?




MART are delighted to present the exhibition Can You Hear Me Now? kindly supported by Crawford College and The Arts Council of Ireland. The exhibtion is presented as part of the annual Crawford Graduate Award. Mentorship by Livestock.

Preview: Thursday 2 November 2017 @6pm
Location: The MART Gallery, 190A Rathmines Rd, Lwr, Dublin 6
Runs to: 1 December 2017
Open: Tues-Sat: 1-6pm

Artists: Enid Conway, Elena Sawczenko, Thomas Spencer, Chloe Tetrault.

Performance with Livestock for Dublin Gallery Weekend: Saturday 25 November 3-6pm.

In the inaugural year of the Crawford Graduate Award Show at MART Gallery, Can You Hear Me Now showcases Crawford College graduates working specifically in performance based practice.  The exhibition unifies the work of four graduates work whose practices deal with concerns around identity, voice and the body.

Enid Conway explores how language is used by women to communicate and express themselves. Similar to games, functioning by conceptual rules known by the users, language is a construction that needs to be learned. Through a series of audio recordings of women telling mundane yet intimate stories, Conway examines the relationship between image verses word and how women express their inner worlds using this system.

Thomas Spencer utilises humour and irony in video performative works to evoke a sense of anxiety, excitement and liberation. Through intense media based experimentation, using stop motion techniques together with endurance based performance, Spencer is attempting to understand the reasons behind repressed actions.

Chloe Tetrault Kearney’s  practice is influenced by the philosophies and ideas of the Medieval alchemical tradition and the neoplatonic revival of the middle ages. The concerns of which were the mind-body problem, the unity of opposing forces and the reconciliation of dualism, as seen through the lense of the natural world. . The artist proposes the work as a portrait of  embodied experience; of existing simultaneously as a corporeal being and a conscious observer.

Elena Sawczenko uses video and sound to create installations based on the transformation of sound from an aural experience into a visual/visceral one. As a natural compensation for losing her hearing, Elena has had to rely on developing other senses to fill the void left by permanent silence. Even though she is deaf, sound  plays a major role in her life,  having to interpret this in different ways to hearing people.

 

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RE:IN FORCE




Opening Preview: Tuesday 17th October @ 6pm – 8pm

Runs Wednesday 18th – Saturday 21st October

Open: W-F: 12pm – 8pm | S: 12-4pm

Location: MART LA – Pop Up Gallery, 6556 Hollywood Blvd, Los Angeles, CA 90028, USA

As part of Ireland Week Los Angeles 2017, Irish curator Matthew Nevin of The MART Gallery Dublin has curated RE:IN FORCE a pop up contemporary visual art exhibition showcasing established Irish Visual & Live Performance Artists. The exhibition focuses on artworks that comment on the relationship between the viewer and object. Often creating a visual abstraction, which highlights the process and creation of the artworks, the exhibition showcases a series of artworks that reinforce their self-contained narratives, aiming to shape and control their own presentation and perception by the viewer. Participating artists explore and reinvent common material, technologies and methodologies, resulting in works that provoke artistic limitations through experimental new work.

This Pop Up Exhibition runs as part of Ireland Week and is co produced by LACESee Ireland Week sponsors at www.irelandweek.com/sponsors

Artists: Richard Forrest , James L Hayes , David Lunney, Katherine Nolan

Curated by: Matthew Nevin | Co Director of MART Gallery Dublin | matthew@mart.ie

Websites: www.irelandweek.com | www.mart.ie | www.martla.com

Facebook Event: www.facebook.com/events/499912013706637

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ABOUT MART   www.mart.ie

MART is an artist-led, not for profit arts organisation founded in 2007 by Matthew Nevin & Ciara Scanlan. With the help of a skilled team, our mission is to provide creative art studios and promote contemporary art through an engaging curatorial programme. Nevin & Scanlan have curated over 100 artists through previous exhibitions, events, festivals and art fairs across Ireland, UK, Europe, USA & Japan. In 2012 the pair embarked on a 16 month journey to transform the old Rathmines Fire Station, launching two galleries in 2013 as a new home for contemporary art in Ireland. MART primarily supports sculpture, video, new media, installation and performance, art making practices that break new ground, that test and stretch the material and immaterial, and challenge conventions of ‘the norm’. In 2016 MART had its biggest reach to date, as we signed on eight Artists to be represented by The MART Gallery in a first for the organisation. MART is the largest provider of independent, affordable studios and space for the arts, cultural and creative community in Dublin city. MART operate on a not for profit basis, meaning that all profits raised from studio rentals are in-invested back into our mission to develop and promote contemporary art. MART now support over 120 members in eight studio buildings across Dublin.

About Ireland Week   www.irelandweek.com

Ireland Week is a week-long conference and culture festivities from Oct. 16-21, 2017 in Los Angeles, California. In association with Ireland’s Department of Foreign Affairs and Trade, The Irish Film Board, Culture Ireland, Creative Ireland, IDA Ireland, Tourism Ireland, Enterprise Ireland. Ireland Week’s focus is to bring Ireland to the world, and the world back to Ireland. The week will see varied and compelling events with a full and comprehensive program rolling out around Los Angeles, encompassing the myriad of cultural layers that make up Ireland, past, present, and future.


The Artists

Katherine1a

Katherine Nolan http://www.katherinenolan.net/

An artist, lecturer and curator specialising in gender and new media. With particular focus on tensions between the experiential and the spectacular body, her research investigates gender, identity and desire in the context of digital cultures. Recent publications include The Camera and the Selfie: Narcissism, Self-Regulation and Feminist Performance Practices (DRHA, DCU 2015). She has exhibited internationally in Europe, America and Asia and regularly curates with MART and Dublin Live Art Festival. Her extensive teaching experience, includes a course leader role at the University of the Arts London and visiting lectureships at The National College ofArt and Design, Crawford College of Art and Design and Central Saint Martins, London. She is a member of Monster Truck Studios and the Society of Women in Philosophy in Ireland

 Richard1a

Richard Forrest http://www.richardforrest.info/

Working across sculpture and installation, my practice is characterised by a spirit of studio experimentation and an analysis of human perception. In exploring our learned and visual understanding of form, material and space, I make physical artworks and installations which question simulacrum and authenticity. My research is heavily influenced by contemporary notions of representation. I am interested in re-negotiating our interaction with the world around us by using physical artworks that I have made – knowingly – in an age of technological and virtual acceleration. I seek to reimagine the internet, and the information it carries, as a sculptural organism. In my most recent installations, I have created speculative scenes, whereby exotic structures have seemingly travelled through an otherworldly vortex into the exhibition space, carrying physical fragments from a virtual environment.

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James L Hayes http://www.jameslhayes.ie/

James L Hayes is an Irish contemporary visual artist whose current work and research practice reinvests a modernist sculptural language. Recent projects use methods of artistic production as a means by which to interrogate the boundaries between artist, artisan and art object in order to draw out the often-incongruous relationships between finished art objects, and the industrial aspects of the processes that produce these revered objects. This research-based practice has an art historical agenda, referencing key creative influences such as the celebrated Welsh artist Barry Flanagan. Broader research interests range from contemporary interpretations of sculptural legacies, to site-specific interventionist works that draw from traces of significant pasts and histories.

David1a

David Lunney http://davidlunney.com/

Lunney’s artistic practice involves the undertaking of protracted art processes. Typically, these processes start with the construction of site-specific sculptural works in Dublin Mountains. These sculptures are generally created less for their inherent value but rather to provide photographic source material for documentary artworks. The resulting documentary artworks can take the form of prints, drawings or photographs. These images are rendered, framed and presented in a fashion which intentionally obscures and embellishes the original object and moment that they represent. In these artworks, it is often the relationship between representational imagery and it’s surrounding abstract visual information which infers the process and concept behind the work. The works have a self-contained narrative; the concept and the material process are intrinsically linked in the artworks discussion of it’s provenance.

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  • Deflated Capital II by Doireann Ní Ghrioghair. Photo by Aoife Giles
  • Deflated Capital II by Doireann Ní Ghrioghair. Photo by Aoife Giles
  • Deflated Capital II by Doireann Ní Ghrioghair. Photo by Aoife Giles
  • Deflated Capital II by Doireann Ní Ghrioghair. Photo by Aoife Giles
  • Deflated Capital II by Doireann Ní Ghrioghair. Photo by Aoife Giles
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Deflated Capital II | Doireann Ní Ghrioghair




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

Image Gallery on Facebook

 

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.

Artist Website

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  • Freedom of Movement - Nina Fischer & Maroan el Sani - Photo by Seamus Travers (10)
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Freedom of Movement




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

Closing event: Late Opening for Culture Night, Friday 22 September 2017 – 5-9pm

 

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)

Identity’s Rule of Three

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.

Freedom of Movement

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.

 

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Trouvées Métrage / Found Footage




Preview: Thursday 20 June 2017 @ 6pm

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

Runs to: 18 August 2017

Open: Tues-Sat: 1-6pm 

Video Interview: Deirdre Morrissey in Conversation with Yann Beauvais and Pierre Jolivet 

 

MART are proud to present Trouvées Métrage – an exhibition of experimental French digital media artwork in July 2017. Curated by Deirdre Morrissey and supported by directors Matthew Nevin and Ciara Scanlan, the exhibition opens at the MART Gallery, Dublin on Thurs 20th July and runs until 18th August 2017.

For our 2017 programme MART embarks on an ambitious new program curating artists to work under the parameters of risk and political agitation. Trouvees Métrage brings together four artists working in digital media whose practice tests and stretches the material and immaterial and challenge conventions of ‘the norm’. The artwork to be presented has been selected or ‘found’ through the Espace Multimedia Ganter collection of digital media artworks.

Artists selected are Yann Beauvais, Nicolas Montgermont, Antoine Schmitt and Pierre Jolivet.

Renowned experimental filmmaker Yann Beauvais presents three short films: p.a.c.i.f.i.c.a.ç.ã.o reaja ou será morto, which highlights police brutality in Rio de Janeiro, Brazil; alongside experimental works ‘entre-deux-mondes’ (2010)  and ‘Hezraelah’ (2006).

Nicolas Montgermont is an artist who works with sound waves through the vibration of materials and their propagation, Radioscape, 2016  was created from radio recordings made in a small farm in Besseuil, a rural area in the East of France. The nearly complete radio spectrum has been recorded methodically during weeks and assembled into one sound installation.

Antoine Schmitt creates artworks in the form of objects, installations and situations to address the processes of movement. Ballets Quantiques (Quantum Ballets) is an infinite generative visual artwork, where a choreography of a crowd of pixels display apparently arbitrary and independent movements, but are actually programmed by the same quantum-type equation

Pierre Jolivet is a visual artist whose work explores the limits of sound and space through multimedia performances. Pierre will also present a dynamic live multimedia interactive performance on the opening night.

 

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Activating Pangea: Destroy These Walls




Opens: July 8th @ 6pm – 9pm with Live Performances @ 7pm

Runs to: JULY 8TH – AUGUST 5TH

Location: Arena 1 Gallery, Santa Monica Art Studios, 3026 Airport Avenue Santa Monica, CA 90405

Artists: Margaret O’Brien, James L Hayes, Steven Maybury, Katherine Nolan, Terence Erraught.

The MART Gallery curators Matthew Nevin & Ciara Scanlan are delighted to invite you to the preview of Activating Pangea: Destroy These Walls at 6pm on July 8th at Arena 1 Gallery, Santa Monica, Los Angeles.

Featuring new work from leading Irish contemporary visual artists, including live performances on the night by Cindy Rehm, Terence Erraught, Katherine Nolan, Thinh Nguyen, Meital Yaniv.

For the third exhibition in the Activating Pangea series Destroy These Walls, curators Matthew Nevin & Ciara Scanlan of The MART Gallery Dublin Ireland, have curated a selection of artists to work under the parameters of risk, political agitation and ephemerality. Highlighting this impermanence any of the artworks which are not sold during the exhibition will be destroyed after closing. By encouraging participating artists to explore and reinvent material, technologies and methodologies, the curators have pushed for work that can provoke the limitations of the gallery environment, producing powerful, informative and experimental new work.

The curators encouraged the artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works. “There is something real in the illusion, more real than in the reality behind it” – Slavoj Žižek. This illusion acts as the power of the artist to present a world through an altered focus, to show the viewer aspects of the world that are warped and exposed. The artist – often working as the mirror for society – creates new dialogues that challenge conventional views on politics and culture, pushing for examination on our preconceived expectations of what contemporary art is and what relevance it has for the society we live in.

James L Hayes draws upon the material residues and traces of history, with interest in sites that possess a specific or significant history. Katherine Nolan explores tensions between the experiential and spectacular body. Margaret O’Brien’s work inhabits critical spaces of failure, malfunction, and slippage, and is explored through relationships between artist’s research, practice and outcome. Steven Maybury appropriates found and sourced materials to be re-contextualised, and looks to defuse our obsession with archiving, security, permanency and preservation. Terence Erraught’s practice encompasses predominantly digital video, video installation and performative events with areas of exploration which include humour, everyday absurdities, site specific engagement and the incorporation of domestic objects.

‘Activating Pangea’ is three year series of exhibitions curated by MART {Dublin}, who will work with Los Angeles based galleries and art fairs to strategically promote leading Irish Contemporary Visual Artists.

Kindly Supported by Culture Ireland and The Arts Council of Ireland. Special Thank You to Arena 1 Gallery & Santa Monica Art Studios.

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Performance Poster - Arena 1 - Destroy These Walls

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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

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Echo Chamber | EUCIDA 2017 EXHIBITION




Echo Chamber – EUCIDA 2017 Exhibition  

Featuring: Jeanne Briand, Adam Gibney, Fabien Leaustic, Helen Mac Mahon, Rasa SmitePaula Vitola.

Curated by Matthew Nevin of MART, Assistant Curator, Deirdre Morrissey.

Lūznava Manor Rēzeknes | Latvia: 9th June – 31st August 2017

RUA RED | Ireland: 16th June – 5th August 2017 

Gantner Multimedia Space | France: 24th June – 22nd July 2017

 

European Connections in Digital Arts / EUCIDA is a 3 year project funded by Creative Europe led by RUA RED Ireland in partnership Gantner Multimedia Space, France and Lūznava Manor Rēzeknes, Latvia. The Project aspires to work collaboratively while demonstrating innovation and high standards contributing to making the Digital Arts sector highly visible internationally.

“an echo chamber is a metaphorical description of a situation in which information, ideas, or beliefs are amplified or reinforced by transmission and repetition inside an “enclosed” system, where different or competing views are censored, disallowed, or otherwise underrepresented.”[link]

As a curatorial platform for creation of new work, Echo Chamber has encouraged the dialogue of art and technology as a means of sharing experience and creative practice. Exhibiting simultaneously across Ireland, Latvia and France it showcases six contemporary visual artists, two from each of the host countries, whose practice is rooted in various aspects of digital technology.

Its primary aim to create an accessible conversation and debate between the digital arts, technology, politics, culture and society in an accessible way to a European wide public. The three parallel exhibitions, which mirror each other, will analyse how culture, politics and socio-economical issues are bounced around, applauded, and never truly open within one’s own Echo Chamber; i.e colleagues, friends, families etc.

The exhibitions provide a platform for the artists to push conversation beyond the normal realms of an art audience or local groups, to a further international and trans European audience. By encouraging participating artists to explore and reinvent material, technologies and methodologies, Matthew Nevin, the curator, has worked alongside the artists to re/produce work that can provoke the limitations of the ‘Echo Chamber of the normal gallery environment, into producing powerful, informative and experimental new work to a wider audience.  

These artists, often working as the mirror for society, will create new dialogues that challenge conventional views on politics and culture; pushing for examination of our preconceived expectations of what is contemporary art and its relevance to the society we live in. The curator has encouraged the artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works through technology.

Helen Mac Mahon, who creates artwork through experimentation and investigation into the phenomena of light, movement, perception and space, has produced ‘Mirror Affect’ an interactive piece playing with the mirrored image using a combination of everyday objects and live digital technology.

Jeanne Briand forges links with new technology and craftsmanship to create beautiful sculptural pieces that reference fantasy and trans-aesthetics. Briand’s ‘Gamete Glass’ propose a new form of life, and the origin of the sounds they emit serves to raise questions in the viewer’s mind about the artifice or real existence of the animated forms.  

Fabien Leaustic creates sculptural work which while physical has an ephemeral aesthetic. Leaustic’s work ‘Hello World’ activated by the presence of the visitor disturbs our interpretation of our world, evoking an emotional response juggling a naive optimism and a dark poetic duality that defines us.  

Rasa Smite is an artist, network researcher and cultural innovator, working with science and emerging media technologies. Smite’s artwork ‘Talk to Me’ is a human-plant communication interface, through which people were asked to send encouraging messages via text & social media to the growing plants, “equipped” with web-cam, wi-fi and loudspeakers.

Adam Gibney’s artwork is generally realised through sculpture, installation, sound and video. ‘Conundrum 8: I am somewhere between we and they’ questions the political and personal use of pronouns. Playing a key role in the construction of the ‘self’ and the ‘other’, pronouns help toward the creation and division of societies. 

Paula Vitola works through media art & archeology, researching relationships between human and technology. Her work encompasses experimenting with technology and nature, programming and gadget-hacking.

More Information

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Glitch Festival Dublin 2017




GLITCH FESTIVAL DUBLIN 2017
SEDIMENTARY STRUCTURES – TRACES OF THE LIVE EVENT
2 MAY – 10 JUNE

RUA RED Gallery, Tallaght

Curated by Matthew Nevin & Ciara Scanlan of MART.
Assistant curator: Deirdre Morrissey

Feat. David Beattie, Livestock, Cliona Harmey, Robin Price, David Lunney, Richard Forrest, Cathy Coughlan and Cécile Babiole.

ABOUT GLITCH FESTIVAL

Glitch Festival is celebrating its 6th year and has grown into Ireland’s foremost digital arts festival. We work to bring the best of digital arts practices to the fore. Glitch Festival brings leading media and technology artists, curators and artist groups together with audiences to draw out connections between art, culture and technology with the aim of fostering greater critical understanding and debate around artist’s interaction, investigation and intersection with technologies.

More Information.

Glitch 2017 Poster

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Steven Maybury | A Rhythm Exposed (Routines: 5-6)




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.

 

Steven Maybury A Rhythm Exposed

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Transmission - Helen Mac Mahon and Sofie Loscher




MART curators Matthew Nevin & Ciara Scanlan are delighted to present Transmission, an exhibition featuring Sofie Loscher and Helen Mac Mahon, with thanks to Arts Council Ireland and Dublin City Council.

Preview: Thursday 6 April 2017 @ 6pm

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

Runs to: 4 May 2017

Open: Tues-Sat: 1-6pm 

Photo Gallery on Facebook

‘Transmission’ explores light as catalyst to investigate the risks in our everyday life. Examining and reinventing light as a material to provoke our understanding of the space within the constructs of the gallery and beyond, producing experimental methodologies to act as a mirror and analysis of the structure of our world.

By creating these dialogues which challenge conventional views, the exhibition aims to push preconceived expectations of how visibility works and is understood. The exhibition surveys the processes of how light moves through space, exploring both its and our expectations of its functions.

How light moves through space can often bring forward new possibilities in presentation and representation, igniting exploration through visibility and quite often producing overlooked qualities. The works explore visibility, the process of perception, expectations versus function and assesses how our beliefs or understanding of light can be changed or manipulated through positioning, alignment and juxtaposition.

Sofie Loscher:

“My work explores light in its most basic form. I create installations as a way of describing how visibility works; in an attempt to redirect the viewer’s attention away from the object and towards the process of perception. My practice is realised in an unconventional range of sculptural media, predominantly with a strong scientific underpinning. It makes connections between the physical world and the visual world, exploring issues of visibility, stability, perception and contradiction.

I experiment with various optical devices and materials as a way to better understand light— I am currently making polarised geometric sculptures and cyanotype prints to examine how light moves through space and objects and to picture how we move in relation to it. The works expose how we see refracted and redirected light, and how a change in direction might affect our perception.”

Helen Mac Mahon:

“The work created for Transmission explores materials, our expectations around their function and how these beliefs might be confounded. Everyday materials are used, in particular those that seem fixed and certain, such as concrete and glass. These materials make manifest the external structure of our world and serve to reflect this world back to us. But, through simple manipulations, be it the introduction of an additional element or the presentation of an object en masse, new potentials for the materials are created.

Bringing to light previously overlooked qualities and revealing new possibilities, the potential to see beyond limitations and restrictions associated with certain materials is focused on while also emphasising active discernment rather than blind trust in their more traditional functions.”

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Katherine Nolan - The Mistress of the Mantle




MART curators Matthew Nevin & Ciara Scanlan are delighted to present the exhibition The Mistress of the Mantle by Katherine Nolan, kindly supported by The Arts Council of Ireland.

Preview: Thursday 2 March 2017 @ 6pm

Artist talk: Thursday 23 March 2017 @6.30pm

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

Runs to: 31 March 2017

Open: Tues-Sat: 1-6pm 

Hear Katherine Nolan Discuss her Exhibition on NEAR FM

The Mistress of the Mantle is an exhibition of video, photography and performance works that emerged in the context of the artist’s return home. Living in the UK for 10 years, and returning to a life in Ireland, the artist was struck both by a period of personal change, unexpected culture shock and generational difference. This set of artworks act as a means to examine the process of reintegration, and taken for granted socio-cultural attitudes that surface through this renegotiation of identity and gender in an Irish context.  As the artist attempts to re-find ‘home’, the self of the past and the present confront each other in crisis.  

A number of different forms of ‘returning home’ are performed: the literal act of finding and inhabiting of a home, revisiting sites of personal or cultural significance, and the (re)inhabiting of personal and cultural memories of womanhood. Clothing, sites, songs, role-models, relics and imagery and of femininities from a childhood in late seventies and early eighties, are accrued, layered, muddled and re-performed in the present. The artworks seem to examine the pleasures, pains, contradictions, catharsis, melodrama, narcissism, critique and mixed-emotions that arose while contemplating the spectre of becoming the models of womanhood observed in childhood. Through this examination of personal narrative in cultural context, the artist also stands as a proxy for her generation, in an Ireland wavering between its past and its present.   

Katherine Nolan Mistress of the Mantle

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Tomoko Sawada - School Days




MART curators Matthew Nevin & Ciara Scanlan, in conjunction with Japan World Exposition 1970 Commemorative Fund, are delighted to present the exhibition School Days by famed Japanese Artist Tomoko Sawada.

Preview: Thursday January 12th 2017 @ 6pm

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

Runs to: Feb 24th 2017

Open: Tues-Sat: 1-6pm 

In Conversation: Tomoko Sawada – An interview with the Artist & Curators.

Photo Gallery: MART on Facebook.

TOMOKO SAWADA (b. 1977 Kobe, Japan) uses photography to explore the relationship between one’s inner life and outer image. Sawada’s works borrow compositional devices from familiar photographic formats such as the school portrait, weddings, and fashion photography, restaging them in a satirical mode to lay bare their various stereotypes and assumptions. Contemporary portraiture can communicate various attitudes towards identity, status, individualism, time, place, culture and other connected ideas of the self. Since the late ‘90s the artist has used her performative self-portrait as a means of opening up discussion or as an enlightening tool for personal discovery, evoking the essence of ‘real’ people within a controlled environment. Sawada’s work has a sense of familiarity, comforting but also unsettling in its realism and closeness. The digital manipulation of her work feels real and her characters, believable. All of these elements culminate in a photographic document of Japanese society and the individuals that encapsulate it.

Sawada’s filmwork ‘MASK’ {2006}, a performance to camera, is projected in large format demonstrating the artist’s ability to create striking transformations of her own identity. Her own facial integrity reconstructs through 60 altering faces, as she peels off each new personality one after another. Sawada explores the relationship between one’s inner life and outer perception from society, experimenting and highlighting the artist’s skill as a costume, make up, technical and theatrical artistry of identity manufacturing. The work acts as an exploration of social, cultural and personal assessment in a contemporary society that pushes female characteristic falsehood and stereotypes on a global interconnected society.

Courtesy of MEM, Tokyo, Sawada presents her 2004 work ‘School Days’, through a series of classically framed photographs depicting several large group class portraits. Sawada impersonates hundreds of students in the series along with the typical teacher either side of each group. Wearing identical school uniforms Sawada successfully creates a large volume of individual characters by altering each person’s attire, accessories, makeup, stance and facial expression slightly, creating a series of prevailing students. The series references a tradition of bi yearly photographs taken seasonally in school from Kindergarten right up to High School graduation in Japan. Sawada set out to homogenize both her education and teenage personalities, showcasing elements of times in her own and fellow students lives of taking a risk of breaking strict school regulations and attempting to become someone different from her own self.

Also on view is selection of Sawada’s 2001 work ‘OMIAI♡’. In this photography series Sawada transformed her own personality, character and body through the aid of costumes, makeup and wigs to explore the traditional Japanese custom of ‘OMIAI’: a tradition in which individuals are introduced to each other through staged, professional photographs for the possibility of marriage, pending approval of their respective families. Either partner attempting to analyse who she/he is. Sawada intentionally both mimics and represents several stereotypical female identities, pushing the viewer to see not just a figure, but framing these new identities that sit between fantasy and reality.

Sawada has been a recipient of the Grand Prize at the Canon New Cosmos of Photography, the ICP Infinity Hyogo Arts Award and the prestigious Kimura Ihei Memorial Photography Award.

Exhibitions {Selection}: MEM / Tokyo, Pace/MacGill / New York, Rose Gallery / LA, Kulturhuset / Stockholm, Colette / Paris, Fundacio Joan Miro / Barcelona, MAK / Vienna, Gallerie P / Brussels, Culturgest / Lisbon, Musee de ‘LElyssee / Lausanne, Museum of Contemporary Photography / Chicago, Kawaskaki City Museum, Museum of Modern Art New York, IMMA / Dublin, The Getty Museum / LA.

Permanent Collections {Selection}:  The National Museum of Modern Art / Kyoto, The Getty Museum / LA, Maison Europeenne de la Photographie / Paris, The Museum of Modern Art / New York, Los Angeles County Museum of Art / USA, MAK / Wien Austria, San Francisco Museum of Modern Art / USA. Hyogo prefectural Museum of Art / Japan, National Gallery of Art / USA, SAMMLUNG VERBUND / Austria.

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MART's 2017 Programme




MART presents ‘Destroy These Walls’.

A year long series of exhibitions curated by Ciara Scanlan, Matthew Nevin and Deirdre Morrissey,

in The MART Gallery, Dublin, RUA RED, Dublin and Arena 1 Gallery, Los Angeles

with support from Arts Council Ireland and Culture Ireland.

Dates Exhibition Title Artists Description
12th Jan – 24th Feb SCHOOL DAYS Tomoko Sawada Solo Exhibition of leading Japanese Artist, featuring the video work ‘MASKS’ and photography series School Days & OMIAI♡.
2nd – 31st March The Mistress of the Mantle Katherine Nolan Solo Exhibition of Video & Performance Artist.
6th April – 4th May Transmission Sofie Loscher

Helen MacMahon

Exhibition with a focus on light and perception.
11th May – 8th June A Rhythm Exposed (Routines 5-6) Steven Maybury Exhibition on the mechanics behind sculpture and conceptual drawing.
15th June – 13th July Dragons of Eden Aoibeann Greenan

Terence Erraught

Exhibition showcasing live performance art and installation
20th July – 18th August Trouv​ées Métrage Yann Beauvais,

Nicolas Montgermont,

Antoine Schmitt,

Pierre Jolivet.

Exhibition of French Digital Artists supported by The Cultural Service of the Embassy of France in Ireland
24th Aug – 22nd Sept Freedom of Movement Nina Fischer & Maroan el Sani Exhibition of German Artists supported by Goethe-Institut Irland
28th Sept – 27th October The Fire Station Artist’s Studios Residency Award Exhibition Doireann Ní Ghrioghair Exhibition in connection with The Fire Station Artist’s Studios Residency Award 2016.
2nd Nov – 1st Dec Performance Graduate Award Announced Soon Exhibition of Two Recent Graduates of Crawford College of Art and Design, Cork.
4-8th December Symposium Programme Artists & UCD Partners Collaboration between UCD Professors and Artists showcasing in MART’s 2017 programme
Offsite
RUA RED  /Glitch Festival 2017 David Beattie

Livestock

Cliona Harmey

Robin Prince

David Lunney

Richard Forrest

Cathy Coughlan

Cécile Babiole

/Glitch Festival is Ireland’s leading Digital Arts Festival that brings together artists utilising media and technology.
International
 June 2017

 

RUA RED

Gantner Multimedia Space

Lūznava Manor Rēzeknes

Echo Chamber

Jeanne Briand 

Adam Gibney

Fabien Leaustic

Helen MacMahon

Rasa Smite

Paula Vītola

Curated by Matthew Nevin, ‘Echo Chamber’ aims to create an accessible dialogue between the digital arts and its interpretation of politics, culture and society, as part of Creative Europe’s EUCIDA project led by RUA RED in partnership Gantner Multimedia Space France and Lūznava Manor Rēzeknes Latvia. Three simultaneous exhibitions will feature six contemporary visual artists two from each of the host countries.


Arena 1 Gallery

Los Angeles

8th July – 5th August

Activating Pangea: Destroy These Walls James L Hayes

Katherine Nolan

Margaret O’Brien

Steven Maybury

Terence Erraught

MART curators Matthew Nevin & Ciara Scanlan have curated a selection of artists to work under the parameters of risk and political agitation.
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Supported by The Arts Council of Ireland, Dublin City Council & Culture Ireland.


‘Destroy these Walls’ 2017:

“One reason for making and exhibiting a work is to induce a reaction or change in the viewer…. In this sense, the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.” Adrian Piper

“Experimental art today is increasingly concerned with the complex relationships involved in seeing, defining, framing and responding to pressing events.” – Jill Bennett, Institute Director of UNSW National Institute for Experimental Arts

Curatorial Vision:

For 2017 MART embarks on an ambitious new program curating selected artists to work under the parameters of risk and political agitation. By encouraging participating artists to explore and reinvent material, technologies and methodologies, the curators shall work alongside the artists to produce work that can provoke the limitations of the gallery environment, producing powerful, informative and experimental new work.

We will encourage our artists to be reactionary and politically engaged in their approach to their practice and tease out new radical ways of viewing and perceiving their art works. “There is something real in the illusion, more real than in the reality behind it” – Slavoj Žižek. This illusion acts as the power of the artist to present a world through an altered focus, to show the viewer aspects of the world that are warped and exposed. The artist – often working as the mirror for society – creates new dialogues that challenge conventional views on politics and culture, pushing for examination on our preconceived expectations of what contemporary art is and what relevance it has for the society we live in.


 

 

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Video Interviews with the Artists of Destroy These Walls




As part of our 2017 programme – Destroy These Walls – MART filmed interviews with some of the participating artists.

They discussed their process, the effect of the exhibitions on our gallery space, and their response to our programme.