Archive for the ‘Sarah Browne solo’ Category

The Legacy Project: launch of commissions for the National Women’s Council of Ireland
March 1, 2013

The Legacy Project

National Women’s Council of Ireland Commissions 2013

www.nwcilegacyproject.com

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

One Struggle: Women Workers 1913 – 2013

Connolly Theatre, Liberty Hall, Dublin 1

Artists:

Miriam O’Connor, Sarah Browne, Anne Tallentire

and Vagabond Reviews / Ailbhe Murphy & Ciarán Smyth

Curator:

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:

www.siptu.ie/services/equality/conference/

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.

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The Twentieth Century as Never Seen Before, Museo di Santa Giulua, Brescia, Italy
March 1, 2013

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.

http://www.collection.daimler.com/contemporary/13_03_brescia/brescia_index_e.htm

 

Screening & in-conversation event at Galway Arts Centre
January 5, 2013

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born_in_flames

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

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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

info@galwayartscentre.ie

www.galwayartscentre.ie

 

 

Extra Curricular: Art and Cultural Theory reading group at Spike Island, Bristol
October 16, 2012

 

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.

 

Second Burial at Le Blanc, Highlanes Gallery, Drogheda
September 19, 2012

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.

The Cognitive Radio: new film preview online
July 21, 2012

 

Previewed online to coincide with the launch of the 2012 Slow Boat voyage, The Cognitive Radio is a film that Sarah Browne has made with members of IYP, arising through her research project with the group, Scarcity Radio. Set in an underused geology museum, the work explores links between metaphors of mining and telecommunications to challenge our understanding of scarcity, partly in response to last year’s riots in the city, as well as those in the 1980s. Currently in post-production, the film will be screened and released online in the autumn.

View the film preview here.

Scarcity Radio Launch / Slow Boat 2012 featured in a-n magazine, UK
July 21, 2012

Tomorrow afternoon a converted narrowboat crewed by members of Ikon’s youth programme IYP and Chisenhale Gallery’s youth forum Propeller will begin a five-week return voyage along the Grand Union Canal. The Slow Boat brings together the groups from Birmingham and London to explore the historic waterway that links the two cities, and to produce a programme of performances, artworks and radio broadcasts along the way.

Kate Self at Ikon and Laura Wilson at Chisenhale Gallery are co-ordinating the project: “The idea of a relationship with time has been a recurring theme,” they explained. “The speed (or lack of) when travelling around canals is limited to roughly 3.5mph – this is a slow voyage. Also we’ve talked about Slow Boat as a time machine – a portal into Britain’s industrial past.”

Constructed in the eighteenth century, the Grand Union Canal was once a thriving industrial artery for the transportation of raw materials from Birmingham to London. It was also a vital channel for communication. The groups have been exploring Britain’s social and manufacturing history, considering the canal networks in relation to more recent communication technologies, particularly radio, and to the idea of transmitting knowledge through sound.

Working with artist Sarah Browne, the IYP have produced a series of sound works to be broadcast via Scarcity Radio while on board the Slow Boat. They’ve also been working with artist Sam Belinfante and crystal radio expert Geoffrey Roberts in the lead-up to the journey:

“There is something spellbinding about the ability to conjure sounds from the airwaves with as little as a rock and some wire,” said Belinfante. “This strange alchemy is wonderful because it is beautifully elegant and simple but also extremely opaque and mysterious.”

Full article here.

http://www.scarcityradio.org is now live!

Artist talk at Contemporary Art Gallery, Vancouver
July 13, 2012

Saturday July 14, 2 pm (free entry)

Contemporary Art Gallery

555 Nelson Street

Vancouver, BC, Canada

Artist Sarah Browne gives a talk on her practice, exploring the critical underpinning and key themes to her recent work and the installation of the Contemporary Art Gallery exhibition, How to Use Fool’s Gold.

How to Use Fool’s Gold at Contemporary Art Gallery, Vancouver
July 7, 2012

July 13th – September 2nd 2012

The Contemporary Art Gallery presents the first North American solo exhibition by Dublin based artist Sarah Browne, a survey of film and sculptural works, including the artist’s entry for the 2009 Venice Biennale. Using ‘the economy’ as the basis for her artistic practice, Browne works with small communities of people, documenting resourceful forms of exchange such as gifting, subsistence, poaching and subsidies, to reveal the hidden social relations that exist in small-scale economic structures.

On February 17, 2012, in the midst of an unfolding European currency crisis, the Central Bank of France ceased to exchange French francs for euros, ending a system that has continued since the introduction of the euro and thus marking the demise of the franc altogether. Commissioned by the Contemporary Art Gallery and its partners, Browne’s film Second Burial at Le Blanc (2011-12) follows a procession through Le Blanc, a small French town where local merchants have continued to accept francs for goods and services. At the centre of this procession is Browne’s bespoke ‘ticker-tape countdown clock’, a glass-domed mechanism counting down the hours, minutes and seconds of the franc’s existence. In Vancouver we premiere the completed film, new footage shot in Le Blanc in the days immediately following the end to the original currency. Accompanying the film are two newspapers, distributed in previous presentations and in Le Blanc, visual essays that weave together historical and anthropological information related to the work.

Several of Browne’s works explore redundant technologies and leftover industries. Her Carpet for the Irish Pavilion at the Venice Biennale (2009) is made from surplus wool stocks from the Donegal Carpets factory. Once renowned for its hand-knotted carpets adorning Irish embassies around the globe, Donegal now produces carpets by machine or outsourced labour. The artist’s carpet was hand-knotted by two of the factory’s previous female employees and the design, reminiscent of Irish modernist Eileen Gray, was dictated by the proportions of surplus wool remaining at the old factory, now converted into a ‘heritage centre’.

A Model Society (2007) stems from research in which Iceland was declared the happiest nation on earth. Browne advertised for knitwear models in Reykjavik newspapers and then surveyed respondents about the quality of life in Iceland. The models are presented within iconic Icelandic landscapes, wearing traditional lopi sweaters in which selected phrases from their comments, such as ‘no war’ and ‘rotten politics’, have been knitted. In works like these, the artist taps into the personal, emotional underpinnings of both national identity and macroeconomic forces, the traditions of such knitting patterns shared with other coastal communities, seen on the west coast in cowachin sweaters.

This exhibition is organized in collaboration with Project Arts Centre, Dublin and Ikon Gallery, Birmingham, UK.

The exhibition is supported by Culture Ireland and The Arts Council Ireland.

A full colour publication accompanies the exhibition, priced $35, special exhibition price $25. It includes essays by Tessa Giblin, Curator of Visual Arts, Project Arts Centre, Dublin and artist Jeremy Millar, plus texts by graphic designer Chris Lee and anthropologist Marshall Sahlins.