Mark Curran (born 1964) is an artist researcher & educator who lives & works in Berlin and Dublin. He holds a practice-led PhD from the Dublin Institute of Technology, is Lecturer on the BA (Hons) Photography programme, Institute of Art, Design & Technology (IADT), Dublin and is Visiting Professor on the MA in Visual & Media Anthropology, Freie Universität Berlin. Incorporating multi-media installation informed by ethnographic understandings, since 1998, Curran has undertaken a cycle of long-term research projects, critically addressing the predatory context resulting from the migrations and flows of global capital. These have been extensively published and exhibited, including DePaul Art Museum, Chicago (2010), Xuhui Art Museum, Shanghai (2010), Encontros da Imagem, Braga (2011), Grimmuseum, Berlin (2013) & FORMAT, Derby (2013). Curran has also presented widely, most recently at McGill University, Montreal (2014), the Royal Anthropological Institute, London (2015), the University of Ljubljana (2015) & the University of Bern (2015). Supported by Arts Council of Ireland & curated by Helen Carey, THE MARKET continues the cycle & focuses on the functioning & condition of the global markets. It has been installed at the Gallery of Photography (2013), Belfast Exposed Gallery (2013), Centre Culturel Irlandais, Paris (2014) & Noorderlicht, Netherlands (2015). More recently, in autumn 2015, an extensive installation titled The Economy of Appearances was presented at Limerick City Gallery of Art (LCGA). A full publication of THE MARKET is planned.
THE MARKET became about exploring the predatory impact of the market through 'thick' cultural description of the nature of its functioning through critical representation of both labour and the environment which so decisively shape our future, but at the same time remain so thoroughly unseen.
Irish photographer Mark Curran presents his on-going project THE MARKET, which is an exploration of the predatory nature of the functioning and condition of global markets. Focusing on financial and commodity exchanges, Curran provides a multi-layered and multimodal investigation of market culture, primarily through interviews and photographic portraits of traders, financial analysts and bankers from Dublin, London, Frankfurt, Addis Ababa and Amsterdam. In the interview, Curran talks about the limitations of using photography to critically represent the intangible and immaterial aspects of the working of the market and its repetitive normalisation of deviance.