BEN WEIR OUTLINES HIS RECENT BOOK, PUBLISHED IN RESPONSE TO URBAN REDEVELOPMENT IN BELFAST CITY CENTRE. “The Claw is the blind performer It cannot speculate, judge Nor wince Steadfast Choreographed Dull acts Mechanised Strength Hastening Iconoclastic Labour Blunt-cleft Buildings open Exposing truths The Claw can’t read Crimes in plain sight An austere vandal.”
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
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.
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.
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
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.