The effects of turbo capitalism in a specifically Irish context are the central theme of the group exhibition TURBO GLOBAL at Schloss Britz with six participating Irish artists:
In the exhibition, different artistic and formal positions are placed in relation to each other. The main medium is video works that tell stories and give a voice to a wide variety of protagonists. Elaine Byrne, Mariechen Danz and Michele Horrigan, for example, deal specifically with globalised trade and interstate competition for resources. Among other things, they look at the consequences of interaction with the global market on the environment, health and identity. Sean Lynch and Niamh McCann reflect on Ireland’s mythical traditions and show conflicts as a result of economic development since the 19th century. Nevan Lahart questions the existing Western capitalist world view and hurls various problems at us in his installations full of rage.
Curatorial team: Ulrich Vogl, Dr Martin Steffens, Rebekka Liebmann The exhibition is accompanied by a publication. The exhibition is realised in cooperation with Galerie Kevin Kavanagh (Dublin)
More informationBased between Dublin and Philadelphia Elaine Byrne works across media video, sculpture and photography. She has exhibited widely in Europe, Mexico and USA. She is the recipient of many awards such as Arte Laguna sculpture prize, Venice (2014), the Rubinstein fellowship at the Whitney ISP, New York (2015) and Graduate Scholarship award, Philadelphia (2023).
Sean Lynch lives and works in Askeaton, Ireland. Known for sculptures, video and installations that consider themes of public space, storytelling and history, he represented Ireland at the Venice Biennale in 2015. Prominent solo exhibitions include Edinburgh Art Festival (2021); Henry Moore Institute, Leeds (2019).
Nevan Lahart works in a wide variety of media: painting, sculpture, installation, video, animation and performance. His work baffleshalf-truths, subjective perceptions and human nature, whilstproblematising mediated images in a sometimes critical, sometimes disconcerting, always humorous way.
Under the direction of art historian, author and cultural manager Dr. Martin Steffens (previously director of 48 Hours Neukölln) the former mansion of Schloss Britz is developing a curatorial program for contemporary art that focuses on and engages in a dialogue with historical, artistic, and biographical aspects of the late 19th century (1880 – 1918), based on its own holdings.