Victor Sloan is talking about his work, along with Brian Kennedy at AllArtNow in Damascus and Le Pont Gallery in Aleppo
AllArtNow, Damascus, Syria
From Stop, 2010 © Victor Sloan
Victor Sloan and Brian Kennedy will talk about their work, what has influenced them, and what it is like to be an artist in Northern Ireland.
Victor uses photography as a starting point, but he then plays with, and manipulates, the photographs in the way a painter would manipulate a canvas. The images stretch from Northern Ireland's dark and violent past to today's Northern Ireland, where the opposing views still exist, but now tour buses take tourists around to look at, and photograph the divisions.
Brian uses large scale installations, photography and performance as ways of working. Travel has always been important to him, whether travelling to different countries around the world, or travel as a journey through thoughts and ideas. He is also a curator, and will talk about the exhibition he curated called 'Art Beyond Ulster', which is currently showing at the Golden Thread Gallery in Belfast.
Both artists would welcome questions from the audience on all aspects of art from Northern Ireland.
All Art Now Foundation (Boukhari Group)
Bab Musala - Ibn Asaker St.- Damascus - Syria
View Press Release for Abir Boukhari of AllArtNow and artist Nistrine Boukhari in conversation with Brian Kennedy at the Golden Thread Gallery, Belfast
Le Pont Gallery,
Le Pont Art Organization
King Faisal Street
PO Box: 10005
telefax: +963 21 2274018
The Art of the Troubles
A special collaboration with the Arts Council of Northern Ireland drawing on its collection of art inspired by, and responding to, ‘The Troubles’ in Northern Ireland. This unique resource has been curated specially for the North East Cluster Peace III Culture and Arts Programme. It provides a stimulating basis for creative engagement with issues surrounding the conflict and its legacy. The exhibition includes pieces by internationally recognised Northern Irish artists such as Anthony Davies, Neil Shawcross, Charles Oakley, T.P. Flanagan , Joseph McWilliams, Brendan Ellis, Graham Gingles, James Allen, Rita Duffy, Marie Barrett , Fergus Delargy, Patrick Hickey, Alistair MacLennan and Victor Sloan
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Victor Sloan’s works are shown, along with those of Richard Hamilton and F.E. McWilliam, in Wolverhampton Art Gallery, England from May 2009.
The Northern Ireland Collection: Fresh Perspectives
Wolverhampton Art Gallery
15 November 2008 - 5 June 2010
Victor Sloan's work installed at Wolverhampton Art Gallery, England
2008 marks a decade since the signing of the Good Friday Agreement. After 30 years of bloody violence, this milestone covenant gave Northern Ireland’s divided society fresh hope for a peaceful future.
This exhibition considers the role of visual artists in presenting Northern Ireland’s contested past and future. Highlights and previously unseen works from Wolverhampton’s Northern Ireland Collection are shown alongside borrowed exhibits that offer fresh perspectives on the history of the conflict and its resolution.
Recent grant aid provided by the Heritage Lottery Fund’s Collecting Culture scheme has enabled the Gallery to expand the remit of the collection with work relating to the theme ‘Peace and Reconciliation’.
Look out for a set of works by Irish sculptor F. E. McWilliam, Irish visual artist Victor Sloan, and British artist Richard Hamilton. These artists offer fresh perspectives on the period of conflict from the 1970s through to the 1980s.
A full catalogue of works from Wolverhampton's Northern Ireland Collection is available at £7.95 (usual price £12.95).
A special education package is now available, priced £9.99.
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- wtorek - piątek: 10.00 - 17.00
sobota, niedziela: 10-17
Read in Polish
A View From Napoleon’s Nose
Political violence in Northern Ireland forms part of both Lisa Byrne’s and Victor Sloan’s work. Lisa uses film and photography to explore the trauma experienced by victims of sectarian violence. She also looks at the issues surrounding one’s life partner and growing old alone. For over 25 years Sloan has been returning to imagery from the ‘troubles’ in his work. He is currently working on a new body of work called 'Stop’ that is based on photographs from a tour bus trip around Belfast’s troubled past.
The specific context of Northern Ireland is also used by Ian Charlesworth who uses photography to re-work the documentary portrait. Ian looks at how Belfast’s urban youth are portrayed in both the media and social documentary. Peter Richards also uses photography but his primary concern is the process of constructing representations of existing representations. To do this he often uses the durational aspect of early photographic techniques.
Susan MacWilliam uses photography, video and instillations to explore the paranormal, the supernatural and perceptual phenomena. In Taiwan she will show a work based on Dermo Optics that is often referred to as eyeless sight or fingertip vision.
Video work and performances have formed part of Phil Hession’s work. Phil will be working with three local people in Taiwan to produce an original piece of work. Allan Hughes who explores the psychological relationships to the recorded voice also uses sound. He focuses on the role of synchronisation and the meaning between image and sound.
The interrelationship of art and politics in everyday life is Justin McKeown’s primary interest. His work for this exhibition will be based on the projected childbirths for Taiwan in 2010. Politics, power and cultural identity are issues explored by Philip Napier. Philip often uses movement and sound in his work. Clodagh Lavelle is interested in fleeting intimacy, curious moments and the unexpectedness of human behaviour. Her work in Taiwan will invite the viewers to engage with the piece and at times consequently interact with others.
The artists in this exhibition have all, in the past, demonstrated an interest to have their work seen in other cultures. The exhibition does not claim to represent some historical tradition. What is important is that the work from one part of the world travels to another and through the interaction of artist and audience new cultural understandings and respect will develop.
Extract from A View from Napoleon’s Nose by Brian Kennedy, exhibition curator.
Victor Sloan's works are exhibited at the London Art Fair.
Attracting 21,700 visitors, London Art Fair gives galleries the opportunity to renew relationships with existing clients and develop significant new contacts early in the New Year. Visitors include major collectors and representatives from public and private institutions – museums, galleries and corporate collections – together with well-informed individuals who buy regularly from the Fair.
London Art Fair offers a uniquely welcoming atmosphere for galleries and visitors to meet and do business. Strong marketing ensures a steady flow of visitors with three evening receptions
"British Collectors can see the cream of Modern British and Contemporary art on their doorstep at the London Art Fair." Meredith Etherington-Smith
Attracting visitors with a genuine passion for art, from serious collectors to those buying their first original work, London Art Fair is stylish, spectacular and uniquely welcoming.
Curated by Sarah McAvera, the Belfast-based Golden Thread Gallery presents an exhibition which attempts to investigate the relevance of "Troubles" artwork produced during, or inspired by, the 30-year period of turbulent conflict in Northern Ireland. Looking at the artwork, which often shows a world in stark contrast to today's era of peace and rebuilding, the issue of its relevancy arises. Is it detrimental to the local mentality to display and therefore continuously re-examine and discuss the "Troubles", or can it be used as a way of archiving the experience and thus moving forward? Does Troubles-inspired artwork overshadow all art produced in Northern Ireland, or does it provide a context to better understand this difficult and contentious era of contemporary history?
A questioning and scepticism of community, representation, religion and death pervade the artwork in this exhibition, which includes artwork in various media by some of Northern Ireland's leading visual artists. Victor Sloan's photography projects a tense locality where a newly constructed town, intended to be a neutral space, seethes with a precarious, sinister atmosphere. Continuing on the idea of two opposing bodies, Ian Charlesworth's work highlights the tension between the two segregated but parallel communities, by exploring the physical gesture in graffiti.
The subjective nature of representation is challenged in Graham Gingles' stencilled images of army men and crowds, which evoke a film negative and the ease in which it can be edited: made negative or positive, cropped, reduced or 'blown up'. Strategic juxtapositions of religious iconography alongside heavy artillery create a deadly association in Marie Barrett's landscapes, and religious imagery is utilised again in Gerry Gleason's paintings, which recall medieval icons while exploring lost freedoms and the weight of tradition.
Death and violence feature heavily in Troubles artwork, and Tom Bevan defies the violence with his bright, cheerfully painted wooden guns, turning these symbols of death and destruction into harmless objects of beauty. Philip Napier's sculpture of a funeral wreath commemorates the dead in a sombre gesture, while on the other hand Peter Richards's work, created post-Good Friday agreement, questions memory and memorial and brings us back to the initial question of the exhibit: what is the relevance of Troubles artwork in a stable, prosperous era?