MART Experiments aimed to create a space in which practitioners were encouraged to take risks and move beyond traditional models of exhibition and art-making. The temporary nature of the experiments sought to create a dynamic somewhere between exhibition and event, resisting the exhibition as an illusion of permanence and event as ephemeral happening; and yet suggesting the possibility of both.
An Experiment in Life Drawing (2015)
curated by Lynda Phelan
In conjunction with MART EXPERIMENTS, An Experiment in Life Drawing took place in MART Gallery II on the 13 + 14 June 2015. An Experiment in Life Drawing was conducted as a type of socio-psychological experiment, which took the traditional life-drawing setting as its form, while actively observing this tradition as a potential site (given the right conditions) for a ‘short-circuit’ to occur (Žižek, 2009).
An Experiment in Life Drawing was structured such to unlock some “disavowed truths” by confronting the “higher intellectual content” of the traditional life-drawing setting with its own “hidden presuppositions”, hidden because of a “lower libidinal cause” (Žižek, 2009, p.IX): Maybe for reasons in and around the territory of the nude model and the seemingly “irreconcilable notions about nudity in art (good) and nudity in life (bad)” (Borzello, 1982, p.73).
Howsoever, “Men look at women. Women watch themselves being looked at” (Berger, 1972, p.47). An Experiment in Life Drawing consisted of Two life-drawing sessions. The first group-session consisted of female participants, and the second, male. A female performance artist (Nicola Canavan, Newcastle) was invited to play the role of the nude model. Through this very separation, An Experiment in Life Drawing allowed for both groups to really look and see the ‘absolute’ other of woman and to be present with her in her naked expression. And the most likely ‘site’ for a ‘short-circuit’ to occur was always going to be when both the male and female participants were asked to physically touch and move the model into a new pose, necessarily breaking the unwritten rule: Do Not Touch The Model.
An Experiment in Life Drawing can also be seen as a convergence of histories, attempting to make for a new reading of the female body in art. According to Linda Nochlin, “There have been no supremely great women artists” (1971). With this being historically the case, perhaps it was the female nude model who really paved the way for the female performance artist.
The female nude emerged as a public image for the eyes of those who gained pleasure in looking (at art). The public image of the female nude model represented in 19th Century painting has endured to this day under the watchful eye of patriarchal society. Her ‘endurance’ has been re-constellated in contemporary terms as her own performance.
Berger, J. (1972) Ways of Seeing. London: BBC & Penguin Books Ltd.
Nochlin, L. (1971) Why Have There Been No Great Women Artists in Woman in Sexist Society: Studies in Power and Powerlessness (eds. Gornick, V. and Moran, B.). New York: Basic Publishing.
Žižek, S. (2009) The Parallax View. USA: MIT Press.
We simply used the spaces as a point of reference for conversation and experimenting.
Helen Mc Mahon
Eoin O’ Dowd
Claire Mc Cluskey
Fergal O’ Mahony
Shota Kotake occupied Gallery 1 during 6-8th November 2013
A 3 day event where the artists displayed 365 Daily self portraits in Manga Style and provided Free Live Manga Caricatures.
Clodagh Evelyn Kelly occupied Gallery 1 + 2 from the 12th – 15th of November, 2013.
This short period of ‘Experiments’ showcased a site specific installation, in response to the surroundings of the Fire Station, in Gallery 1.
The nature of these soft sculptures is an organic process of exploration, which will also display the documentation of the relationship between space and place, in a 3 Dimensional format in Gallery 2.
Clodagh Evelyn Kelly is an award winning multi disciplinary artist, who specializes in site specific installations in creative spaces, through textile exploration and manipulation. Clodagh will be creating on site for the duration of the show in Gallery 2.
This short period of ‘Experiments’ began with the aim of creating a site-specific installation, in response to the surroundings of the old Fire Station. This investigation of space, through documentation and measurements, led me to relate my exploration to the idea of mapping space.
Mapping creates a sense of place and making a mark is a key part of that process. I chose to use soft fabrics to create an organic form of inquiry, by making marks to navigate different pathways through this space. I created multiple pieces of hand- manipulated fabric, as I was inspired by the repetitive nature of the changing seasons and how leaves fall to create their own patterns. Maps are participatory,
as they need a maker and a reader to function and my experiment is a site-specific exploration of mapping, to navigate the viewer through the space in Gallery 1. Gallery 2 displays a work in progress, in an open notebook format, which shows my thought process for the Experiment in Gallery 1. I will be occupying Gallery 2 until Friday 15th, of November, where I will be utilizing the space.
Clodagh Evelyn Kelly is an award winning multi disciplinary artist, who specializes in site-specific installations in creative spaces, through textile exploration and manipulation. She recently attained a Graduate Diploma in Community Arts and Education in the NCAD, where she also received her B.Des(Hons)in Textiles. She is currently working as a practicing visual artist, with the aim of developing her work further afield into site-specific projects of collaboration in creative spaces.
18th September 2014
Temporary Sights is an ongoing project based in MART Gallery curated by Siobhán Mooney. Temporary Sights wants to engage (unexclusively!) with Time: Time lost,Time found, Time warped by Time, Time in all its diverse cloaks. Each incarnation will touch on or abound with Time, the work interacting with this vast subject in a durational sense, a thematic sense or both.
In Aaron Stapleton’s ‘Three Short Films’ the artist uses time to various ends. His films explore “the medium of cinema and film through its structure and narrative”. Cinematic affects are used to punctuate, accent and divide time throughout his work, time and its passing are ingrained in each piece. An interesting consequence of his unique camera work and beguiling narrative is a sense of time elongated beyond what the running time of each short film should allow.
Time is at the centre of Jane Fogarty’s work. Fogarty is interested in “the layering of time and the consequences of each and every action made”. The end result, this piece, is a physical manifestation of her time spent in this gallery. As Fogarty develops her sculptures she is investigating the physical actions and mental processes involved, the finished artwork tells the narrative of its own production.
Eve Woods’ new work inhabits the gallery both physically and through sound. Woods’ response to the theme involves an investigation into our modern relationship with time. Woods incorporates old printed material such as encyclopedias into her work. The artists transformation of these aging almost redundant sources of information into new physical installations, along with her attempt to bring the internet into the gallery in a tactile solid form, raises questions about the passing of time and how we glean information in the present day.
September’s offering features new work by artists:
Aaron Stapleton http://www.aaronstapleton.net/
Jane Fogarty http://www.janefogarty.com/
Eve Woods https://evewoods.jux.com/
Epigraphing Rathmines – Curated by Moran Been-noon
Celebrating the relationship between art, literary culture, and the life of the community in Rathmines, this experiment brings forward two cultural markers within the neighbourhood: the Rathmines Library and the MART art gallery and studios, and the public space between the two.
Poet Annemarie Ni Churreain and visual artist Steven Maybury will create a collaborative cultural situation in a day-long engagement with the Rathmines community. The artists will respond to the place and the community surrounding them while they work, to generate poetic (visual and literary) representations of the moment, the dialogue, and the location. This event will be performed in both the library and gallery spaces and is open to all community members, artists, and writers to become part of what is aimed to become a portrait of a situation. Come join our epigraphers!
Interpretative documentation of the Epigraphic work, by Abigail Denniston, will be presented during the reception at the gallery at 6.30 pm.
Order of events on Wed. 3rd of December:
12-6 pm – performing artwork & documentation
6.30-8 pm – documented outcome of the work presented in MART Gallery
Annemarie Ni Churreain
Annemarie Ní Churreáin is a poet from Donegal. Her writing often explores loss and reunion, drawing upon the sensuality of landscapes. In 2014, Annemarie was Literature Fellow at Akademie Schloss Solitude, Stuttgart/Germany and Fall Writer In Residence at Jack Kerouac House Orlando/Florida. She has recently been awarded a Hawthornden Castle Fellowship/ Scotland and residencies at The Heinrich Böll Cottage Achill and the Cill Rialaig Arts Centre Kerry. Annemarie is a co-founder of the Upstart Collective and a current member of The GoodHatchery Offaly. More Infohere .
What I do: I create work that reflects the beauty and the energy rooted in the rhythms and cycles of our surroundings, of our consciousness, and of our interrelationships with the world. My practice is primarily realised through drawing and sculptural and my influences recently have been from collecting materials and objects through personal encounters. This stumble upon approach of chance and circumstance is fundamental to my process of selection for source materials and objects to work with.
Abigail Denniston Photography: http://abigaildennistonphotography.weebly.com/
Printer and Printer programming courtesy of Tom O’Dea: http://iamtomodea.com/
Mart Experiments presented ‘The Butterflies In My Brain’ a performance by Helena Hamilton as part of Temporary Sights, an ongoing project based in MART Gallery curated by Siobhán Mooney.
‘The Butterflies In My Brain’ transforms an overhead projector into a site specific, performative sound device. All sounds originate live from within and around the machine – selection, manipulation and duration of sounds are made via interaction through live drawing. This repetitive, considered visual interaction stimulates sonic variations throughout the duration of the performance.
Helena Hamilton, born in Northern Ireland in 1986, is an artist who works both visually and sonically through a variety of media, from installation to performance. Hamilton holds a BA Honours degree in Fine Art from the University of Ulster (2009) and received MA in Sonic Arts from Sonic Arts Research Centre, Queen’s University Belfast (2014).
Facebook Event: https://www.facebook.com/events/1549542445263073/