Kennedy Browne is the name under which two artists author a distinct body of work, separate to their individual practices. Kennedy Browne decipher issues of globalism, migration and linguistic / cultural translation. The artists follows research threads from specialized and marginal business materials. To date they have mined blogs and support forums of tech company workers, business literature, archives of airport arrivals and departures, and the legal proceedings of privacy activists in Europe. The artists compile and rework texts from these sources into scripts for performance, casting actors as avatars of industry and labour.
The redaction trilogy explores the paradigm of early 21st century capitalism through a series of tightly delimited works:
I. How Capital Moves (2010) interrogates labour, redundancy and outsourcing in early 21st century tech manufacturing.
II. The Myth of the Many in The One (2012) addresses the cultural coding and masculinist myth of the entrepreneurial genius in Silicon Valley start-up culture and their elevated roles in narratives of economic growth and progress.
III. Real World Harm (2018) proposes a thought experiment around the digital rights of citizens and the responsibilities of corporations managing and mining online identities and communities for profit. It presents a 360-degree video on Oculus, a virtual reality platform. Partly filmed at the Irish Data Commissioners office, charged with the responsibility for upholding individuals’ control over how their data is used, Real World Harm stages a thought experiment concerned with contested rights to privacy and justice for online and actual citizenship. It explores a spectrum of exit strategies from this paradigm, from protest to withdrawal to escape.
Image Credit: Kennedy Browne, Real World Harm (Act 1), 2018. Still from 360 video for Oculus, 5 minutes