MART’s Residence space ran from 2015-2017. In a fluid model, visiting International artists interacted with Irish-based artists during the residency. During this time artists were encouraged to develop their ideas through peer exchange and collaboration. This was an exciting opportunity for both long and short term residencies that provided artists with time, space and support to think, take-risks and develop their practice. MART offered this unique professional development opportunity to support the production of Contemporary Art though cultural exchange and dialogue.
April 2016 Resident
“My time in Dublin on the international residency exchange programme was devoted to gathering research on the housing crisis and carrying out experiments based on my findings, in continuation of my project Darkhouses.
Darkhouses explores patterns in housing and construction, particularly the overlaps, mishaps and quirks, with a view to gaining an understanding and developing a reflection of this issue on a global scale. Dublin was therefore a key area of focus following the recession and the end of the Celtic Tiger, particularly after I had heard about the suburb of Adamstown and the section of the development which was left unfinished. It was somewhere I visited several times during the residency.
The process consisted of taking a lot of photographs of Adamstown and other areas all across the Dublin area with the valuable guidance of the residents at MART and other people I met along the way. I also created a few improvised sculptural responses using found building materials and other discarded debris. I took the materials that I found but didn’t use back with me to Norwich for future stages of the project.
My time in Dublin has proved to be a crucial part of the project’s development. I am currently working in places across Asia where the process continues.”
October 2015 Resident
David Yu is a Canadian multimedia, Installation, and performance artist currently practicing in Toronto, Canada. Zones of Discomfort is an exhibition generated through a one-month exploration at the MART International Residency Space and generously funded by the Ontario Arts Council.
With this exhibition, Yu continues his investigation into participatory and performative models of exhibition. Sculptural forms and installation prompt audiences to consider physical engagement, such that they effectively “perform” the work. Focusing on the concept of heterotopias the work seeks to call attention to the conventions underwriting the ostensibly neutral exhibition space. This is achieved by creating the conditions in which the audience themselves has the potential to subvert their relation to the art object and space, and negotiate the precarity and risk that the artist extends with humour.
Eilidh Wilson’s month of working in the MART International Residency Space saw her testing of ideas in the Irish context. During the residency Wilson continued her interrogation and subversion of the media’s control of information and its influence on our everyday lives, by offering alternative perceptions, double-takes, and a call for social awareness.
This is often mobilised in her practice through a continuum of image making and un-making, where found materials may pose questions in challenging forms. Dialogue and text as social devices are key to the work, and she often hosts open conversations about power and politics as a method which encourages social experiences of equality as well as political engagement.
In Wilson’s work sculpture also becomes a site of participation and co-production of the artwork, providing a way into conceptual engagement through physical interaction.
August 2015 Resident
This exhibition culminates Turin based artist Francesco Snote’s month of working in the MART International Residency Space. Viewed in the Irish context, his mobilisation of contemporary and historical Italian cultural tropes and traditions comes to the fore.
During the residency Snote continued his investigation of the signification of surface and mark making, centralised around of ideas of the Auto. Invoking the high gloss of surface of the auto-mobile, Snote subjects this ultimate symbol of status and 20th century capitalism to its own regime of process and production. At its heart this body of work seeks to complicate taken for granted understandings of inscriptions of the hand and the machine.