Maeve Brennan

Maeve Brennan, The Drift (still), 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore © the artist. Courtesy the artist

Maeve Brennan, The Drift (still), 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore © the artist. Courtesy the artist

Maeve Brennan, The Drift (still), 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore © the artist. Courtesy the artist

Maeve Brennan, The Goods, 2018. Installation view: KUB Billboards © the artist. Courtesy Kunsthaus Bregenz; billboard images courtesy Dr Christos Tsirogiannis. Photo: Markus Tretter

Maeve Brennan’s practice involves long-term research into subjects that often revolve around human acts of preservation, care and maintenance. Fascinated by the historical and political resonance of materials and places, she has worked with archaeologists, architects, craftspeople and guardians of cultural heritage to unravel complex and compressed histories. Her investigations often culminate in moving image works but she also creates installations, photographs and sculpture. While filming in Lebanon, a country that has witnessed many years of conflict and is rich in archaeological remains, she interviewed a number of antiquities smugglers and dealers and this ignited her recent interest in the trafficking of looted cultural objects.

 

 

Maeve Brennan (born 1990, London) lives and works in London. Brennan studied‌ ‌at‌ ‌Goldsmiths,‌ ‌University‌ ‌of‌ ‌London‌ ‌and‌ ‌Home‌ ‌Workspace‌ ‌Program,‌ ‌Beirut, Lebanon.‌ ‌

 

 

Maeve Brennan, The Goods, 2018. Installation view: KUB Billboards © the artist. Courtesy Kunsthaus Bregenz; billboard images courtesy Dr Christos Tsirogiannis. Photo: Markus Tretter

When artefacts are looted they are violently extracted from their archaeological context and a piece of history is erased. I became interested in the demand for these objects, which is ultimately what encourages and sustains the looting.

– Maeve Brennan

 

Maeve Brennan, The Drift (still), 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore © the artist. Courtesy the artist

Maeve Brennan, The Drift (still), 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore © the artist. Courtesy the artist
Maeve Brennan, The Goods (research image), 2018 © the artist. Courtesy Aarhus University Museum of Ancient Art and the Carabinieri TPC

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Maeve Brennan, The Goods (research image), 2018 © the artist. Courtesy Aarhus University Museum of Ancient Art and the Carabinieri TPC

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