Kennedy Browne

How Capital Moves

Kennedy Browne

How Capital Moves (2010)

2 channel HD video installation, 26 minutes, loop

The main characters in this two channel video installation are disappointed with the concept of free market within the EU and denounce economic inequality. It is a story about the insecure nature of employment in early 21st century capitalism and the global economy.       It depicts several types of unhappy IT employees who tell us their personal work stories. Through the Polish actor Tomasz Mandes we hear the voices of many workers. Kennedy Browne has fashioned a script bringing together authentic lines from online forums used by IT personnel. How Capital Moves implicitly explores the movement of an American multinational computer factory from Limerick in Ireland to Lodz in Poland. It interrogates not only the predilections of neoliberal investment but also its related side effects on the lives of workers when it becomes more cost effective for a multinational to relocate operations - in this case from the very western seaboard of Europe to central/eastern Europe.

Kennedy Browne is the collaborative partnership of Gareth Kennedy and Sarah Browne, initiated in 2005. Kennedy Browne seeks to address the supposedly irresistible narrative of neoliberal capitalism as a fiction, and to do so by generating Other, competing fictions in order to cultivate new economic and political imaginaries of difference. Recent solo exhibitions include 167 at the Centre Culturel Irlandais, Paris, and NCAD Gallery, Dublin (2010); as well as presentations at the Kadist Foundation, Paris (2010), the Cairo Biennale (2010), the Łódź Biennale (2010), the Irish Pavilion at the 53rd Venice Biennale (2009) and the Mediations Biennale, Poznan, Poland (2008).

My european story

Their travel routes and the European geography Kennedy Browne explore is largely impacted by Ryan air’s choice of regional airports…

Gareth Kennedy and Sarah Browne are citizens of the republic of Ireland, with Kennedy coming from the west coast of the Island and Browne from the east. Coincidentally they have each spent much of their childhoods in the middle of the island, where Kennedy’s father used to work and Browne’s father still works as a farmer. Their formative years in the 1980s saw Ireland first go through and then painfully emerge from a recession, with the country opening itself to the globalizing forces of the free market in the 1990s, the Celtic Tiger years, when a politician famously remarked that Ireland is “closer to Boston than Berlin.” Hence unlike many older siblings and relatives, neither Kennedy nor Browne were forced to emigrate to find work: rather their mobility was a choice and a privilege. Their travel routes and the European geography they explore is largely impacted by Ryan air’s choice of regional airports, which seems to complement both Kennedy and Browne’s ongoing curiosity and interest in so-called periphery regions. They have learned to travel lightly, with cabin baggage of ten kilos or less. Considerations of so-called peripheries continue to inform both Kennedy and Browne’s personal and professional lives. In contrast to the peripatetic existence implied by participation in a contemporary art circuit - they have participated in biennials in Venice, Poznań, Łódź and Cairo - Kennedy and Browne spent three years in the rural northwest of Ireland growing their own food as a lifestyle experiment.

Kennedy Browne's participation in the United States of Europe exhibition has received generous support from Culture Ireland