Jenny Brady & Sarah Browne
Curated by Alice Butler
The L Shape is an exhibition featuring artists Jenny Brady and Sarah Browne at the centre of which are two moving image works; a new presentation of Brady’s Going to the Mountain (2015) and Browne’s The Invisible Limb (2014), showing for the first time in a gallery context in Ireland.
Going to the Mountain consists of three formal studies of pre-verbal babies. With a score developed in collaboration with Andrew Fogarty and featuring improvised percussion by David Lacey, the video considers how the pre-verbal child might represent a site of embodied knowledge by depicting the complexities of their gesture, rhythm and movement through a process of defamiliarization.
Similarly concerned with a sense of closeness and dissociation, The Invisible Limb is a film letter addressed to Charlotte Posenenske, a deceased German artist known for the rigour of her artistic oeuvre and her withdrawal from art practice in favour of sociology in 1968. Intercut with archival footage is newly filmed material of Cynthia Moran, an Irish stone carver born in the same year as Posenenske, who continues to make work in Ireland and Madrid. Written in English and translated into a German voice, The Invisible Limb corresponds with two women who make sculptures in order to consider the magic of apparently costless production and reproduction.
A nod to the physical relationship between The Dock’s two gallery spaces, The L Shape is conceived as an exhibition that foregrounds the point at which two distinct artistic practices meet and suggests that this intersection offers a possibility for momentum in relation to critical thought and understanding. The exhibition title also refers to the shape of a periscope, an instrument for observation that, like both Going to the Mountain and The Invisible Limb plays with and redirects the reflective properties of the mirror, an object frequently used as a metaphor for cinema. The L Shape then is interested in the relationship between the visible and what remains out of view.
Embracing the transformation of The Dock’s two main galleries into proto-cinema spaces, The L Shape will be accompanied and framed by a number of screening events that will feature films that consider a range of themes, ideas and concerns that arise in Brady and Browne’s work.
Jenny Brady is an artist based in Dublin, currently IMMA 1000 artist-in-residence at the Irish Museum of Modern Art (2017-2018). Recent presentations include Its Origins are Indeterminate curated by Erik Martinson, Whitechapel gallery, London; The Political Animal, The Showroom, London; Against Ordinary Language by Sarah Browne, Tate Liverpool; As We May Think curated by Alice Butler, IFI, Dublin; November Film Festival, Goldsmiths, London; Berwick Film & Media Arts Festival, Berwick-upon-Tweed, UK; 62nd International Short Film Festival Oberhausen, Germany; and You Ain’t Seen Nothin’ Yet, Beursschouwburg, Brussels and Videonale 15, Kunstmuseum, Bonn; Roadkill (Irish Museum of Modern Art); Experimenta at BFI London Film Festival; EVA International 2014 curated by Bassam El Baroni, MOTHS curated by Modern Edinburgh Film School, Images Festival 2014 (Toronto), Futures '13 (Royal Hibernian Academy) and TULCA Golden Mountain 2013 curated by Valerie Connor. She is co-founder and curator of PLASTIK Festival of Artists’ Moving Image.
Sarah Browne is an artist based in Ireland concerned with non-verbal, bodily experiences of knowledge, labour and justice. This practice involves sculpture, writing, film, performance and public collaborative projects. Recent solo exhibitions include Report to an Academy, Marabouparken, Stockholm (2017), Hand to Mouth at CCA Derry~Londonderry & Institute of Modern Art, Brisbane, and The Invisible Limb, basis, Frankfurt (both 2014). Selected group exhibitions include On the Subject of the Ready-made Daimler Contemporary, Berlin (2017); All Men Become Sisters, Muzeum Sztuki, Lodz (2015); The Peacock, Grazer Kunstverein and One Foot in the Real World, Irish Museum of Modern Art, Dublin (both 2013). In 2016 with Jesse Jones she made In the Shadow of the State, a transnational collaborative co-commission for Artangel and Create. This work investigated how female bodies are subjected to the ‘touch’ of the law, and involved close collaboration with women in the fields of law, music, material culture and midwifery. In 2009 Sarah Browne co-represented Ireland at the 53rd Venice Biennale with Gareth Kennedy and Kennedy Browne, their shared collaborative practice. Browne is currently artist in residence with University College Dublin College of Social Sciences and Law.
Alice Butler is a writer, film programmer and co-curator of aemi, an organisation that supports and exhibits artist & experimental moving image work. Alice worked at the Irish Film Institute for six years where she curated film seasons and had responsibility for artist moving image programming. Before founding aemi with Daniel Fitzpatrick in 2016, Alice was a curator with the Experimental Film Club. Alice undertook a curatorial residency awarded by the Arts Council in 2016. She has written for Sight and Sound, SET Magazine, Paper Visual Art, Enclave Review, VAN, EFS Publications and CIRCA and she is a regular arts reviewer for RTÉ Radio One’s Arena. She completed a fellowship at the Flaherty Film Seminar in New York in 2016 and wrote a survey chapter on the work of filmmaker Pat Murphy due for publication in 2019. She regularly presents screenings at Dublin City Gallery The Hugh Lane that she programmes in collaboration with Jessica O'Donnell and she has lectured or participated in panels on the moving image at IMMA, PLASTIK Festival of Artists’ Moving Image, IFI, The Douglas Hyde Gallery, Galway Arts Centre, UCD, DIT, TBG+S and Coláiste Dhúlaigh.