Kennedy Browne

 
myth still 1.jpeg

Kennedy Browne is the collaborative practice of artists Gareth Kennedy and Sarah Browne, based in Ireland. Kennedy Browne seeks to address the supposedly eternal narrative of neoliberal capitalism as a fiction, and to do so by generating Other, competing fictions. They work mainly with moving image, working with collaborative processes of scripting, editing, and re-staging in locations they identify as significant within the plot of global capitalism – such as the Titanic Quarter in Belfast, at the Whiddy Island Strategic Oil Reserve in Bantry Bay, and in Silicon Valley, California.
In 2018 Kennedy Browne presented The Special Relationship at Krannert Art Museum, a survey exhibition of work since 2009. Their solo exhibitions include The Myth of the Many in the One, Wilfried Lentz Gallery, Rotterdam (2014); How Capital Moves, Limerick City Gallery of Art (2011) and 167 at the Centre Culturel Irlandais, Paris (2010). Group exhibitions include Liquid Assets at the Steirischer Herbst Festival, Graz, Austria (2013); the Bern Biennial, Switzerland; Zero1 Biennial, San Jose (both 2012) and L'Exposition Lunatique, Kadist Foundation, Paris (2010). Kennedy Browne co-represented Ireland at the 53rd Venice Biennale with Gareth Kennedy and Sarah Browne.

www.kennedybrowne.com

  

Celtic Explorer

Kennedy Browne have mainly worked with video installation to date, though in their recent project, Real World Harm, they used 360º video for Oculus and the voices of online content moderators in a spatialized audio composition.

For Aerial Sparks, Kennedy Browne is excited to work further with methods of audio recording and with the medium of radio as a form of transmission. Their starting point is a consideration of the materiality and infrastructure of the Internet – that is to say the sub-sea cables stretching across the Atlantic and between states. Coupled with this, Kennedy Browne is interested in developing a composition relating to communications and the sea in the digital internet age that works with traditional forms of the sean-nós, sea shanty or work song to respond to the contemporary 'attention economy'.