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'Jelölés | Marking' Solo Show, Budapest GalleryHungary, April 25th June 4th 2017
curated by Szegedy-Maszák Zsuzsanna & Török Tamás, 

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ArtSlant Prize 2016 Grand Prize winner.

Essay, Marking Memory by Andrea Alessi.
ArtSlant prize winners Exhibition, Spring Break Art Show, NY. February 28th – March 6th, 2017.

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'Currently 80' Curated by John Yau,
Sculpture Guild, Westbeth, NY. Februar 5th-24th 2017

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Public Art Commission, Per Cent for Art Scheme, Sligo County Council in partnership with Nazareth Housing Association. In Collaboration with Artist Catherine Fanning

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VISUAL ARTISTS IN PRISON SCHEME AWARD, Castlerea Prison, Co.Roscommon Ireland, December 2016. The Award is co-funded by the Arts Council of Ireland and the Department of Justice, Equality and Reform and administered by the Prison Education Service. 

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'What if we got it wrong' curated by Nora Hickey M’Sichili, Traveling Exhibition 
West Cork Arts Centre, 29.10-13.12.2016
Leitrim Sculpture Centre, 16.09-16.10.2016
Wexford Arts Centre, 10.06-29.07.2016
F.E.McWilliam Gallery, N.I. 12.02-16.04. 2016
Centre Culturel Irlandais, 25.09-4.11 2015 
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Chashama, New York, 'Contained' Curated by Lauren Smith, Sept 8-17th 2106
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New York Art Residency and Studio (NARS) Foundation, 'Entree/Encore', Public Artist Talk, 6-8pm, August 23rd 2016,
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Ortega y Gasset Project, New York, 'Goldenrod', Public Intervention, 3-6 pm, August 14 2016 
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New York Foundation for the Arts, Immigrent Artist Mentoring Program, New York, June-October 2016
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Wassaic Project, Wassaic, NY, Education Fellowship and Residency Award, June-August 2016
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'A Dyeing Art' selected group show, Spartanburg Art Museum, SC, USA. 29.09.2015 - 01.14.2016
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Keith Nolan Photography

Through her work, Brigitta Varadi explores pattern and repetition of gesture that relate to the invisible and everyday rituals of working life and the constructed environment. Her projects combine painting, textile, video and public interventions. Váradi’s works bear affinities with socially committed art, but they were not created in the name of political activism. Instead, she examines the disappearing traditions and daily activities of small, secluded communities around the world: her grandmother mopping up her kitchen floor several times a day, the “liberty” tea made by inhabitants of New York State and the marking system of the dwindling community of shepherds in Ireland. Research always plays a key factor in her creative process, for instance taking pictures and recording videos, and her finished works often necessitate experimentation with an entirely new technique.

Brigitta's latest project MARKINGS gathers together and explores the different marks used by farmers to identify their sheep in the North West region. With the use of traditional techniques and a system of marks used by shepherds, her works examine the mechanics of remembering and reminding. Creating a dialogue with farmers and place the project also opens on to a broader reflection concerning the signs and forms of identification humans use to identify animals, plants and territories.


'The act of inscription—more than the content of the inscribed markings—is paramount. In visual and material fidelity, each artwork represents a person, one whose occupation and knowledge, their ownership and memory, leave a bold mark on the canvas. These graphic representations—and they are both mimetic representations and abstractions—could be equally at home on a damp Irish hillside or in the modern art gallery. In the shared gestures of the farmer and the artist, two lineages come together.’

 excerpts from essay by Andrea Alessi (Link to full essay: Marking memory)