Mermaid Arts Centre, Bray 19 May – 30 June 2018 When is a photograph just a photograph? How can we ask questions of the photographic image that interrogate the specificity of the medium, without having the subject matter consume our attention? The flippant answer is that we can’t; or at least it is not possible without turning a blind eye to the material world disclosed through the photographic image. Even the vernacular modernism of the 1950s and ‘60s, which sought to create a culture of ‘photography for photography’s sake’, drew on the flow of everyday life to gesture towards photography’s intrinsic characteristics as a medium of visual communication. These questions
Ards Arts Centre, Newtownards, 1 – 24 February 2018 A series of black and white digital photographs by Belfast-based artist, Mariusz Smiejek, was presented in the Georgian Gallery in Ards Arts Centre. The small-scale photographs depicted women within the natural and domestic landscapes of the Ards Peninsula. Strong tonal contrasts played a part in some of these images, whereas others had a softer tonal range. The depth of field also varied; sometimes Smiejek concentrated solely on the subject, while at other times the background was also depicted in detail. The artist explained: “I focus on the person rather than their surroundings, capturing the person rather than things”. That said, the
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.”
Gallery of Photography, September 9 – October 22 The result of the 2016 British referendum on the future of European Union membership has brought about a new era of social and political anxiety regarding the border between the Republic and Northern Ireland. ‘Brexit’ is a neologism that has been mobilised by ultra-conservative politicians and sections of the British media alike, to portray what was in reality a marginal ‘yes vote’, as the inevitable political expression of the zeitgeist of British isolationism and nationalism. On the island of Ireland, Brexit has resurrected the spectre of the border which has haunted Irish politics for nearly a century. Kate Nolan’s exhibition ‘Lacuna’ at
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
National Gallery of Ireland, Dublin, 26 November 2016 – 26 March 2017 There are 14 portraits in this exhibition of shortlisted works. Surrounding the viewer on all sides, in each one a lone figure is presented (why no couples or groups?) and this singular focus contributes to the sense we’re in the company of deities. There are also a lot of big heads, their presence dominating the small room at the top of the Millennium Wing’s forbidding stairs. Of course the figure of the artist is also present, directly in the self-portraits, or otherwise implicated. Open to artists in all disciplines, the shortlist consists mostly of paintings, nine in total,
CURATOR SANDRA KRIŽIĆ ROBAN TALKS TO DRAGANA JURIŠIĆ ABOUT HER BOOK YU: THE LOST COUNTRY, AND HOW THE ARTIST’S PERSONAL HISTORY AS AN EXILE DETERMINES HER WORK AND HER PERCEPTION OF THE WORLD. Sandra Križić Roban: In the last couple of years we have witnessed a surge in the number of publications and research works that deal with the former Yugoslavia. While some focus on the legacy of post-war modernism, and others on the post-1990s period and the social divisions that transpired as a result, there are also a significant number that deal with the writer’s own family history and the pursuit of identity. I want to know about how you