United States of Europe at the Crawford Art Gallery, Cork

March 2, 2013 - Leave a Response


March 7, 6 pm

Opening at the Crawford Art Gallery

In partnership with Cork Civic Trust and National Sculpture Factory

United States of Europe is part of the Cultural Connects Programme of Ireland’s Presidency of the Council of the European Union.


Friday March 8 and Saturday March 9, from 10 am to 4 pm

Round Table: Dreams of Freedom?

Conversations on Aesthetics, Ethics & European Democracies

Participants include:
Augustine Zenakos (Journalist, Activist – Greece)
Anna Bitkina (Curator – Russia)
Anna Konik (Artist, Lecturer – Poland)
Reinigungsgesellschaft (Artist Group – Germany)
Kennedy Browne (Artists – Ireland)
Maria Lusitano-Santos (Artists, Portugal)
Daniel Jewesbury (Artist, Curator – Northern Ireland)
Anthony Haughey (Artist, Lecturer – Ireland)
Stephanie Feeney (Future States – England)
Liz Burns (Firestation Artists Studios– Ireland)
John O’Brennan (Political Scientist – Ireland)

Crawford Art Gallery

The Legacy Project: launch of commissions for the National Women’s Council of Ireland

March 1, 2013 - Leave a Response

The Legacy Project

National Women’s Council of Ireland Commissions 2013


The Legacy Project will be officially launched at the one-day conference:

One Struggle: Women Workers 1913 – 2013

Connolly Theatre, Liberty Hall, Dublin 1


Miriam O’Connor, Sarah Browne, Anne Tallentire

and Vagabond Reviews / Ailbhe Murphy & Ciarán Smyth


Valerie Connor

The Legacy Project session runs 2.15 sharp – 4pm

Co-presented by SIPTU and the NWCI in association with

the History Ireland Hedge School

This is a free event, but booking is required:


All welcome

The National Women’s Council of Ireland initiated the Legacy Project to challenge mainstream representations of women and work and to look instead at the alternatives.

The commissions will involve the unpacking of historical and contemporary ideas about work, society, and economy as well as advocacy and legacy building.

These commissions aim to create another kind of public dialogue that will amplify the advocacy work of the NWCI, the membership, interested communities and individuals. They are about the contribution artists make to our knowledge of the world.

The Twentieth Century as Never Seen Before, Museo di Santa Giulua, Brescia, Italy

March 1, 2013 - Leave a Response

Novecento Mai Visto (The Twentieth Century as Never Seen Before)

Highlights from the Daimler Art Collection From Albers to Warhol to now

Museo di Santa Giulia,
Brescia, Italiy

March 8 til June 30

Presented by Mercedes-Benz Italy

The Daimler Art Collection is presenting a guest exhibition at the Museo Santa Giulia in Brescia, its first in Italy. The unusual exhibition, entitled Novecento mai visto (The 20th century as never seen before), includes some 200 works by around 100 international artists, which range from 1909 up to now. Alongside classic examples of Constructivism and Concrete Art through Minimalism and Conceptual Tendencies the exhibition will also present installations, photographs and videos by renowned contemporary artists.Included in this exhibition are the works Doorstops for the Daimler Art Collection and From Margin to Margin (Looking for Eileen), both 2010.

The exhibition is further enhanced by two new commissioned works, which will appear in specific areas of the museum. Alongside the Daimler exhibition there will be another exhibition dedicated entirely to Italian art, which is titled From De Chirico to Cattelan, featuring works of the last century, which have been acquired by public and private collections in Brescia. In the history of Museo di Santa Giulia, Novecento mai visto will be the first comprehensive presentation of contemporary art.

A unique key component of the exhibition Novecento mai visto will be a comprehensive educational program for school and college students in Brescia, which is going to be developed in collaboration with the education department of the Museum. The aim of the program is to examine the content of the exhibition, its works and artists as part of school lessons or studies.



Dreams of Freedom? Conversations on Aesthetics, Ethics & European Democracies – symposium at the National Sculpture Factory, Cork

March 1, 2013 - Leave a Response

The National Sculpture Factory


Dreams of Freedom?

Conversations on Aesthetics, Ethics & European Democracies

 On Art & Public Space, Aesthetic Resistance, Social and Political Transformation, Demonstration, Democracy and European Hybridity

Venue: the Upper Gallery, Crawford Art Gallery, Emmett Place, Cork City




March 8th & 9th 2013

Associated event

As part of the United States of Europe exhibition we will be screening

Jean-Charles Hue’s The Lord’s BMW at the Triskel Christchurch, Tobin St, Cork on Friday 8th @ 8.30pm

Screening & in-conversation event at Galway Arts Centre

January 5, 2013 - Leave a Response



On 26th January 2013 at 2pm, artist Sarah Browne Galway Arts Centre will screen Born in Flames, a social science fiction film by Lizzie Borden made in 1983.

Set ten years after the most peaceful revolution in United States history, there is now a social Government controlling the post powerful nation in the world. The documentary-style narrative presents a dystopian view where in spite of Government efforts to create an equal society, marginalization and violence remain. The film explores the aftermath of this socialist victory largely through the world of competing pirate radio stations and alternative outlets for public broadcast. This is a spectrum of conflict as the successful revolution has not delivered on its promises to various marginalised groups, who are left to fight out spaces of difference and commonality between themselves and try to agree on a mutual path of action.

In 1983 Born in Flames was the recipient of In 1983 Reader Jury prize at the Berlin International Film Festival and the Grand Prix at the Créteil International Women’s Film Festival. The film also features a rare acting appearance by Oscar Winning Director Kathryn Bigelow.

Markedly lacking in technological utopianism, artist Sarah Browne’s interest in the film relates both to its collective and low-budget mode of production as well as its critical and imaginative response to the last moment of major global recession. After the screening Sarah Browne will be in conversation with artist, curator, writer and lecturer Val Connor. They will explore Browne’s current inquiries within her practice, reflecting on Browne’s current exhibition Diabolic Loop in Galway Arts Centre.

Admission is free. Screening begins at 2pm sharp.

Diabolic Loop by Sarah Browne is a touring exhibition curated and produced by Project Arts Centre and funded by the Arts council of Ireland.

Images: stills from The Cognitive Radio (Sarah Browne); Born in Flames (Lizzie Borden); Lt. Ahura on the TV series Star Trek.

Diabolic Loop, solo exhibition at Galway Arts Centre

December 1, 2012 - Leave a Response


December 7 2012 – January 27 2013

Opening Friday December 7 at 6pm

The title of the exhibition, Diabolic Loop, refers to an economic theory that proposes the  model of a negative feedback loop as a way to explain the aggravated relationship between weakened European banks and sovereign states. The works in the exhibition attempt to unpack and make material some of these analogies derived from technological processes.

Browne’s 16mm film Second Burial at Le Blanc (2011–2012) follows a procession through Le Blanc, a small French town where local merchants continued to accept French francs for goods and services until 17 February 2012. Central to the film’s plot is the artist’s bespoke ‘ticker-tape countdown clock’, which printed both a live currency feed and a countdown of the time remaining of the franc’s usage in the town. The film documents an invented ritual around this object, appropriating traditions such as the ticker-tape parade and the ‘second burial’ (a ceremony in Madagascar where a corpse is exhumed and paraded around the village before a second, final farewell). This mystery of faith – in the franc, and in the idea of a nation defined by its economic protocols – is set against present-day insecurity surrounding the future of the euro. A religious temporality in which salvation or satisfaction is continually deferred overlaps with a financial sense of time. A newsprint publication that weaves together historical and anthropological references in the work is distributed freely in the gallery and in Le Blanc.

Browne’s approach is rooted in documentary, operating from a principle of ‘critical proximity’ and adopting methods from the social sciences. Flexible in form, the work invokes a variety of problematic documentary strategies, communicating the role of emotion and affect in the development of new forms of social imagination.

The Cognitive Radio (2012) is a film made in collaboration with members of Ikon Gallery Youth Programme in Birmingham, produced through a year-long residency titled Scarcity Radio and distributed online. Explicitly informed by contexts of government cuts to education and austerity measures, the project partly investigates how pirate radio stations of the 1980s were connected to periods of recession and social unrest, exploring what the contemporary resonance of this might be with a group of young people without the memory of these events. Filmed in a quiet geology museum, The Cognitive Radio addresses links between mining and telecommunications in order to tackle our understanding of so-called scarcity economics. Significant objects in the film include the black mirror of a smartphone and a primitive radio made with a lump of pyrite. A working version of this radio is presented in the gallery as the sculpture, How to Use Fool’s Gold (2012).

Second Burial at Le Blanc is co-produced by Project Arts Centre, Dublin, Ikon Gallery, Birmingham and Contemporary Art Gallery, Vancouver. Project Arts Centre gratefully received funding from the Arts Council to bring the work of Sarah Browne on tour to The Highlanes Gallery, Drogheda and Galway Arts Centre. The Cognitive Radio is made in collaboration with members of Ikon Youth Programme at Ikon Gallery, Birmingham as part of Slow Boat 2012. Slow Boat is supported by Paul Hamlyn Foundation, Canal & River Trust and Sandwell Council.


Galway Arts Centre

47 Dominick St Galway Ireland

+353 (0) 91 565886

Opening hours Mon – Sat, 10am – 6pm





Kennedy Browne at The Future State of Ireland conference, Goldsmiths University of London

November 11, 2012 - Leave a Response


Goldsmiths, University of London

17-18 November 2012


At the end of 2010 Ireland became the second European Union (EU) country following Greece to receive a bailout loan from the EU/International Monetary Fund (IMF) as the Irish State reached a point of sovereign insolvency coinciding with the global financial crisis. Once the poster child of globalisation, Ireland is now the poster child of austerity, implementing a program of economic restraint including tax rises and public service funding cuts that curtails the recently found financial freedom in Irish society.  In a crisis that is still unfolding, allegations of widespread corruption and cronyism in political and business life and a lack of civil morality in Irish society have emerged.

The Future State of Ireland seeks to examine the repercussions of the crash for an island on the periphery of Europe from a cultural perspective. Examining cultural responses both pre and post economic meltdown, the conference will explore the possibilities of a new post-crisis Ireland: from the highly visible to the barely perceptible consequences of the crash and austerity, sources and limits of citizen resilience in crisis, the perceived value of cultural responses and active/passive citizenships. It will provide an opportunity for leading thinkers and practitioners across different disciplines to come together to discuss artists’ and citizens’ reactions and resilience in times of crisis and austerity.

A programme of visual and live art focused on crisis, resilience and endurance will intersect the conference schedule. Artists presenting their work include Kennedy Browne, Anthony Haughey and Troubling Ireland.


Extra Curricular: Art and Cultural Theory reading group at Spike Island, Bristol

October 16, 2012 - Leave a Response


October 21st at Spike Island, Bristol, UK

This reading group offers an opportunity to discover and debate current trends in art and cultural theory. Each month an artist or writer is invited to propose a text that has informed his or her work and to lead an informal discussion around the themes and questions it poses.

For the October session Irish artist Sarah Browne introduces an extract from Thinking, Fast and Slow (2011) by Daniel Kahneman, winner of a Nobel Prize for Economics. The book compares instinctive emotional responses with slower logic-based deliberations, and Browne uses this as a starting point for extrapolating these two tendencies into the field of art production.

Sarah Browne, How to Use Fool’s Gold (Pyrite Radio), 2012. Photo: Scott Massey.


Kennedy Browne screening at Kadist Foundation, San Francisco

September 26, 2012 - Leave a Response

October 3rd 2012

Kadist Foundation, San Francisco

3295 20th Street, CA 94110, USA

Kennedy Browne’s new video work, The Myth of the Many in the One, was produced this past summer on location in San Francisco and Silicon Valley, California, with the support of Kadist. This scripted work draws on the genre of the business biography, attempting to decode the masculine myth of the visionary leader of technological progress and his place in our culture. Working on location with a child actor and a voice-over artist, a pre-Silicon Valley orchard provides a significant mental and emotional backdrop to this narrative.

Co-presented with Zero1 Biennial, followed by a Q&A with the artists.

Second Burial at Le Blanc, Highlanes Gallery, Drogheda

September 19, 2012 - Leave a Response

21 September – 7 November, Lower Gallery, Highlanes, Drogheda

22 September at 12pm, Artist talk with Jesse Jones

This recent body of work by Irish artist Sarah Browne focuses on the small French town of Le Blanc, where, against the backdrop of an unfolding European currency crisis, local artisans and shopkeepers created one of the last refuges for indigenous currencies. There, the franc was accepted, until 17 February 2012, as payment in certain shops despite the fact that it was technically no longer legal tender. (This deadline was imposed by the Banque de France at the time of the euro changeover.)

Browne has made a short film with people in the town, over the course of a year. Central to the plot is a customised ticker-tape countdown clock made by the artist, which printed both a live currency feed and a countdown of the days, hours, minutes and seconds remaining to the last francs being exchanged in Le Blanc. The unique setting of Highlanes Gallery, a former Franciscan Church, is a distinctly appropriate space to consider the implications of Browne’s film, and our different senses of time – religious and financial – which create a sense of the future that’s tied up in the promises of happiness deferred. This is the premiere of the completed film in Ireland, accompanied by a new newsprint publication.


Second Burial at Le Blanc has been generously supported by a Project Award from the Arts Council, and a Touring Exhibition Award between Project Arts Centre, Highlanes Gallery and Galway Arts Centre. The film commission Second Burial at Le Blanc is co-produced by the Contemporary Art Gallery, Vancouver, Project Arts Centre, Dublin and Ikon Gallery, Birmingham, UK.