International Ireland

Ulster Museum, Belfast, 10 February – 3 September 2017

There’s an implicit understanding of the museum’s finite resources and loaded remit when viewing a permanent collection show. The limited pool from which these exhibitions are curated often leads to a loose circle being drawn around the works, its content used to simultaneously demonstrate and educate. It becomes a balance of signposting and illustrating, where singular artworks are laden with significance, denoting the development of an artist’s full career or even those of their peers. When seen repeatedly in different configurations, pieces can easily be experienced as historical artefacts rather than artworks.

The spectrum of contact an audience will have with a permanent collection is huge, yet heightened exposure to works does no favours for broad exhibition making. The influence of international art and modernism on Irish work is such an all-encompassing premise that I struggled to experience this exhibition distinctly from past and even surrounding shows. If previously unseen by a viewer, it would still be difficult for 31 works to ‘fulfil’ the vast reach of the exhibition’s title. Instead they become like stills representative of an unknown, feature-length film: not demonstrative but signalling something that could be more thoroughly explored, should you be so inclined. Continue reading “International Ireland”

Snake

Clare Strand, Belfast Exposed, 28 April – 17 June

In ‘Snake’ the image is an interloper. At first unwelcome, it is nonetheless invited into the artist’s life for the long term. Clare Strand’s repulsion with the animal has compelled her to collect snake imagery since childhood, from scrapbooking serpentine forms in the loosest sense, to collecting more specific images – half glamour, half family-album-style photographs – of women who hold and love them.

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Stop Lookin’ at Photographs!

Locky Morris, Naughton Gallery, Belfast, 8 December 2016 – 29 January 2017

Clock speaker radio, printed mug, foam lining, laser crystal photo frame, photograph, hand cleanser dispenser, sunglasses, workshop broom, photograph, tilt display stand, C-print aluminium plate, mounted photographs, pigmy light, screw, rotating photo cube, painted MDF pedestal display case, photographs, city centre paving block, mounted photographs, cardboard box, office cabinet (adapted), adapted digital photo frame, JPEG, adapted shelf, five-litre Poundstretcher utility box, spool of thread, photograph, plate stand, plastic strips for wall plugs, wall plugs, cable ties, small plate stand, four-gang extension lead, night light, cotton buds, acrylic paint tube, decorating clips, mounted photograph.

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Guest 2

Alice Burns, Charissa Martin, Elaine McGinn, George Robb, Paula Clarke, Stephanie Harrison, Arts and Disability Forum, Belfast, 2 – 22 January 2017

The work of six recipients of the Arts Council of Northern Ireland’s Individual Disabled/Deaf Artists (iDA) grant scheme comes together in ‘Guest 2’, a thought-provoking and challenging exhibition curated by artist Colin Darke at the Arts and Disability Forum Gallery. The exhibition space on Belfast’s Royal Avenue is modest but well-executed, benefitting from large windows and glass walls, which flood the space with natural daylight and create an attractive setting in which to consider the work of this diverse range of artists, whose practices encompass printmaking, photography, glasswork, video and performance.

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Capillarium

Selected from an open call for applications and commissioned by Queen’s University Belfast, Capillarium (2016) by Kevin Killen is a work located outside the recently-built Wellcome-Wolfson Institute for Experimental Medicine, an interdisciplinary research centre building on the Health Sciences campus.

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