tag:blogger.com,1999:blog-22724260369462736072024-03-06T00:43:49.368-08:00Victor SloanVisual ArtistVictor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-2272426036946273607.post-21051640496449843282029-04-10T13:32:00.047-07:002023-09-19T03:24:55.752-07:00Welcome to this website about Victor Sloan <div class="MsoNormal">
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<span face=""arial" , "helvetica" , sans-serif"><span style="background-color: white; text-align: center;"><span face=""arial" , "helvetica" , sans-serif"><span><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><span style="color: #2b00fe; font-weight: bold;"><br /></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="http://www.facebook.com/victorsloanartist" target="_blank">Facebook</a><span style="color: #3d85c6;"> </span></span><span style="color: #3d85c6; text-align: center;"><span style="font-family: arial;"></span></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial; font-size: medium; text-align: center;"><a href="https://www.instagram.com/victorsloanartist/" target="_blank">Instagram</a>. </span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial; font-size: medium; text-align: center;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial; font-size: medium; text-align: center;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="color: #999999; font-family: arial; font-size: large; text-align: center;">Victor Sloan's work will be shown during the <a href="https://belfastinternationalartsfestival.com/2023-festival/" target="_blank">Belfast International Arts Festival.</a></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt5mdEMgToTpTW76hi1ojB6JuiJLyV0j8k9_KUffx0wBrqB9oF6o7XXalkW8H9Qb03fFpSpYiddMXF3sZqfCrbFVqfKxDm5rppN7Kc0gJ7zFmqng2hLkVhWNka-pM-eP--NAf6B7ByLnsJvVX_6KtNdhOJhFeZ14XPE_VdFobOEqOo-a9a0QzfniGqPyMd/s3600/Slide,%20silver%20gelatin%20print,%20toners,%20dyes,%20inks,%20bleach%20and%20gouache,%2067cms%20x%20111cms,%20from%20Borne%20Sulinowo%20series,%201995.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2748" data-original-width="3600" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt5mdEMgToTpTW76hi1ojB6JuiJLyV0j8k9_KUffx0wBrqB9oF6o7XXalkW8H9Qb03fFpSpYiddMXF3sZqfCrbFVqfKxDm5rppN7Kc0gJ7zFmqng2hLkVhWNka-pM-eP--NAf6B7ByLnsJvVX_6KtNdhOJhFeZ14XPE_VdFobOEqOo-a9a0QzfniGqPyMd/w400-h305/Slide,%20silver%20gelatin%20print,%20toners,%20dyes,%20inks,%20bleach%20and%20gouache,%2067cms%20x%20111cms,%20from%20Borne%20Sulinowo%20series,%201995.jpg" width="400" /></a></div><span style="font-family: arial; font-size: medium;"><br /></span><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Belfast Exposed presents<i> Beyond</i>, a new survey exhibition of work from world renowned Irish visual artist Victor Sloan.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Containing both some of Sloan’s iconic works and a series of never before exhibited images. <i>Beyond </i>gives audiences a chance to view a broad survey of work from one of Ireland’s major artists, spanning Sloan’s entire career. The exhibition features both Sloan’s trademark hand-manipulated conceptual images and a range of his documentary photography.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><br /><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">The work has a strong international theme, with images from Poland, Germany, The Golan Heights, Syria and Jordan displayed, alongside pieces from Northern Ireland.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Opening Reception: Thursday 12 October 2023, 6pm – 8pm.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><em style="box-sizing: inherit; color: #3a3a3a; font-family: Hind, sans-serif; font-size: 18px; outline: none;"><span style="box-sizing: inherit; line-height: 30px; margin: 0px; outline: none;">Beyond</span> </em><span style="color: #3a3a3a; font-family: Hind, sans-serif; font-size: 18px;">will run from Thursday 12th October until Thursday 21st December 2023. </span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="color: #3a3a3a; font-family: Hind, sans-serif; font-size: 18px;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Victor Sloan will be in conversation during a special artist talk on Thursday 26 October 2023.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="goog_1380759341"><br /></a></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><a href="https://www.belfastexposed.org/exhibitions/beyond-victor_sloan/">Victor Sloan: Beyond, Belfast Exposed Gallery</a></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">________________________________</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><b style="font-family: arial; font-size: large;">About the Artist</b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Victor Sloan is one of Ireland’s major visual artists. He was born in Dungannon, County Tyrone in Northern Ireland. He studied at Belfast and Leeds Colleges of Art. He has developed an international reputation for creating powerful images, which display his prodigious versatility and inventiveness. He is known for his works commenting on various political, social and cultural aspects of Northern Ireland. As well as working with the medium of photography, he also uses video, etching and screen-printing.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Sloan has been an exhibiting artist since 1980, and his work has been displayed widely throughout Europe, North America, South America and Asia. His work is to be found in numerous important private and public collections worldwide.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><b>Belfast Exposed Photography</b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">23 Donegall Street</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Belfast BT1 2FF</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Tel: +44 (0)28 9023 0965</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;">Email: info@belfastexposed.org</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span><span style="font-family: arial; font-size: medium;">Gallery opening hours: 11am to 5pm, Tuesday to Saturday</span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span><span style="font-family: arial; font-size: medium;">.</span></span><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;">............................................................................</b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><br /></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><br /></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="text-align: center;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><i style="color: #202020;"><b style="font-family: arial;">A</b><b style="font-family: arial;">GAINST THE IMAGE: PHOTOGRAPHY. MEDIA. MANIPULATION</b></i></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>27 May - 30 October 2022</b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>Ulster Museum, Belfast, Northern Ireland</b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"></p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-agtKVuEy4cVhDgWa_j9fBJPLgVc3xCj8yKGSZssIAQld7i7gIJlxfT2PYG5Jb8ynV5ant-ne9jVqYSsPXpQgLWA7QF9lE7bD5LLCiF_UrPJFhKmg4DsZt-OqWHF6nF0BQuXVonabd9ao_ot4hVLDd0dIcTitmxRET_lWGgrv4t2G8kGMNrqkT4x9A/s1046/2%20AgainstTheImage-Ulster-Museum-hero-large.x15dc4c30.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="614" data-original-width="1046" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-agtKVuEy4cVhDgWa_j9fBJPLgVc3xCj8yKGSZssIAQld7i7gIJlxfT2PYG5Jb8ynV5ant-ne9jVqYSsPXpQgLWA7QF9lE7bD5LLCiF_UrPJFhKmg4DsZt-OqWHF6nF0BQuXVonabd9ao_ot4hVLDd0dIcTitmxRET_lWGgrv4t2G8kGMNrqkT4x9A/w400-h235/2%20AgainstTheImage-Ulster-Museum-hero-large.x15dc4c30.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><br /><br /></div><br /><span style="font-family: arial;"><br /></span><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">Belfast Photo Festival and Ulster Museum are delighted to present </span><span style="font-family: arial;">Against The Image: Photography. Media. Manipulation, featuring the work of </span><b style="font-family: arial;">Victor Sloan,</b><span style="font-family: arial;"> Tabitha Soren, Alexandra Rose Howland and Now You See Me Moria.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">The exhibition looks to examine the authority of the photograph in our era of mass media and mass (mis)information. How we consume news and media imagery has evolved, with access to the world seemingly at our fingertips: is what we see the reality?</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">Artists are exposing this tension, between the truth of events and how they are presented. Responding to various global events and conflicts, the artists included here challenge and expose photography’s highly subjective and mediated nature. They do this by subverting the medium itself — working onto the surface of, distorting or otherwise manipulating images — to expose narratives that often go unseen or some ways resist representation. In doing so they encourage us to question what photographic practice is in the modern age and reflect on how we absorb media in our daily lives.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">This exhibition is co-curated by Clare Gormley, Head of Programmes and Partnerships at Belfast Photo Festival, and Anna Liesching, Curator of Art at Ulster Museum (National Museums NI). </span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>ARTIST TALK: VICTOR SLOAN</b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">Saturday, June 11, 2022</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">1:00 - 2:00 PM</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>Ulster Museum </b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial; text-align: center;">Botanic Gardens, Belfast BT9 5AB</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">Regarded as one of Ireland's greatest contemporary photographers, Sloan’s distinctive work is created by painting, marking and scoring directly onto photographic negatives. Join us for this artist talk and tour, as part of the exhibition <i>Against The Image </i>at Ulster Museum.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">This exhibition is supported by:</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLsTq2oyVRVpnB4FX4mDZUmL2U8mKPo9sO_ITInLyaB7-yvc8pEkm8CNRs8m55F6kkVul_xlUs7xNR_mKNhI-JxnymuSR8SQa7ARyOL1P7ENvVG3v5hlkVWv6Pg0p5K4LT6uyfSeJdenyFlcEFeDfY9kYn5nmPwyrvSnMdNbxIQKz5VqaUiXhfdmMhNw/s1184/Screenshot%202022-05-25%20at%2014.24.48.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="1184" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLsTq2oyVRVpnB4FX4mDZUmL2U8mKPo9sO_ITInLyaB7-yvc8pEkm8CNRs8m55F6kkVul_xlUs7xNR_mKNhI-JxnymuSR8SQa7ARyOL1P7ENvVG3v5hlkVWv6Pg0p5K4LT6uyfSeJdenyFlcEFeDfY9kYn5nmPwyrvSnMdNbxIQKz5VqaUiXhfdmMhNw/w400-h112/Screenshot%202022-05-25%20at%2014.24.48.png" width="400" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;">..............................................................................</b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><br /></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><span style="color: #666666;"><br /></span></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;">Victor Sloan’s work is shown in Dublin.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><i>Images Are All We Have</i></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b><br /></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>The Paintwork’s, Dublin Castle, Ireland</b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b><br /></b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><b>7th July - 28th August 2022 </b></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikcCdH-3Gl1znqSN5C-kJYLf6c4cKcxG6pFWDgTeuZAOsLYLtDsVpJv7_24LF0vuuhKyw2sLNi-okbNMm9Tp3_m5P9ZPJNVuG_dbQSmcLhGrPt8GvUItHG3VF6er3bgJFA0WjLG_Ji18aQ5FeyT_vtTdL9B1xYiW7F7RKZIVYaxUNeEvTlQIPBiMjHQ/s4500/Walking,%20County%20Armagh.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4500" data-original-width="3590" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikcCdH-3Gl1znqSN5C-kJYLf6c4cKcxG6pFWDgTeuZAOsLYLtDsVpJv7_24LF0vuuhKyw2sLNi-okbNMm9Tp3_m5P9ZPJNVuG_dbQSmcLhGrPt8GvUItHG3VF6er3bgJFA0WjLG_Ji18aQ5FeyT_vtTdL9B1xYiW7F7RKZIVYaxUNeEvTlQIPBiMjHQ/w319-h400/Walking,%20County%20Armagh.jpg" width="319" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">Under the title “Opening The Gates”, the 13th edition of PhotoIreland Festival presents the most comprehensive overview on the History and Practice of Photography in Ireland to date, running 7th July to 28th August 2022 in various locations, with the main venue at “The Printworks”, Dublin Castle. </span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">The main exhibition “Images Are All We Have” traces the thematic development of the discipline and contextualises the historical background, bringing together the diverse and socially engaged set of contemporary art practices that define Irish Photography today. </span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;"><span></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: arial;">This survey exhibition on the discipline involves artists spanning several generations, practices, and backgrounds.</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3Urd0XA1_mf8LHHU8-4Gv0p0D-bLjfHp-DTE_mBps3-h5ieDBHdv5fTm3g0A4myElD40_h_ZpO05JrRcy5vpZVbQ8Ddm4PjElzQ4q3ITPMCpFf9hMMVTZIBOmBiwOp_cpbBGkF_KGKXtQaBEn81IEZVCGPh9wr7c8e7mtVkjkkP7nR-gj4cMH2CaGg/s1713/PIF2022_xs4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1713" data-original-width="1329" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3Urd0XA1_mf8LHHU8-4Gv0p0D-bLjfHp-DTE_mBps3-h5ieDBHdv5fTm3g0A4myElD40_h_ZpO05JrRcy5vpZVbQ8Ddm4PjElzQ4q3ITPMCpFf9hMMVTZIBOmBiwOp_cpbBGkF_KGKXtQaBEn81IEZVCGPh9wr7c8e7mtVkjkkP7nR-gj4cMH2CaGg/w155-h200/PIF2022_xs4.jpg" width="155" /></a></div><br /><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg034RYrMVhepUtaHTwPsut1E19_-B3BqiLXnISME8yA2DoBEujRX85STLNyWKdVE4ENy5P6s0JVBbnbb1BNzbK3ALP-d389Rcl0tHH3Zwtbl-_9qB4uqELg4BM9L-hNjsosFZhSiYzmje_eBtai89d-ehTE6VcCWvm4nJ3uwZbeKwhecGso_VwxuCCTw/s2844/Screenshot%202022-07-11%20at%2018.15.36.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="802" data-original-width="2844" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg034RYrMVhepUtaHTwPsut1E19_-B3BqiLXnISME8yA2DoBEujRX85STLNyWKdVE4ENy5P6s0JVBbnbb1BNzbK3ALP-d389Rcl0tHH3Zwtbl-_9qB4uqELg4BM9L-hNjsosFZhSiYzmje_eBtai89d-ehTE6VcCWvm4nJ3uwZbeKwhecGso_VwxuCCTw/w400-h113/Screenshot%202022-07-11%20at%2018.15.36.png" width="400" /></a></div><br /><div style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-weight: 400;"><span style="font-family: arial;">Contact PhotoIreland:</span></span></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: arial;"><span style="font-weight: 400;">+353 876856169</span><br style="box-sizing: border-box; font-weight: 400;" /><span style="font-weight: 400;">info@photoireland.org</span><br style="box-sizing: border-box; font-weight: 400;" /><span style="font-weight: 400;">T: </span><a data-wpel-link="external" href="https://twitter.com/PhotoIreland" rel="noopener noreferrer follow external" style="border: 0px; box-sizing: border-box; color: #ff1053; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-weight: 400; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; 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font-weight: 400; line-height: inherit; margin: 0px; padding: 0px; text-decoration-line: none; transition: color 0.3s ease 0s; vertical-align: baseline;" title=", @PhotoIreland">@PhotoIreland</a></span></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: arial;"><br /></span></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><br /></b></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;">..............................................................................</b></p><div><b style="font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif;"><br /></b></div><p class="p1" style="color: #202020; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;"><br /></span></p><p class="p1" style="color: #202020; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;"><br /></span></p><p class="p1" style="color: #202020; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;">Victor Sloan's work is exhibited in Belfast.</span></p><p class="p1" style="color: #202020; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;"><br /></span></p><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;"><b><br /></b></span></div><div dir="auto"><span style="font-family: arial;"><b>‘Portrait of Northern Ireland: neither an elegy nor a manifesto”</b></span></div><div dir="auto"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="font-family: arial;"><b>Golden Thread Gallery, Belfast </b></span></div><div dir="auto"><span style="font-family: arial;"><b><br /></b></span></div><div dir="auto"><span style="font-family: arial;"><b>12 October to 4 November 2021. </b></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2S-B7JSYY6-S7svbHnELHOf8313EuCAe5OgogN68HKgYd-L2vUrGzn0iX6IWdLrKlYujhzn32H6dqRcM1ecQsEJC8amF-6AuoJy-XKI25NOKAKeqpxaIB91xL8xWsblhk3eLAB40-mAX2/s1187/Holding+the+Rope+from+Drumming.tif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“Holding the Rope”, from ‘Drumming’ series, silver gelatin print, toner and gouache, by Victor Sloan. Collection: National Museums Northern Ireland." border="0" data-original-height="1187" data-original-width="1172" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2S-B7JSYY6-S7svbHnELHOf8313EuCAe5OgogN68HKgYd-L2vUrGzn0iX6IWdLrKlYujhzn32H6dqRcM1ecQsEJC8amF-6AuoJy-XKI25NOKAKeqpxaIB91xL8xWsblhk3eLAB40-mAX2/w395-h400/Holding+the+Rope+from+Drumming.tif" width="395" /></a></div><br /><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;"><br /></span></div><div dir="auto"><span style="color: #999999;"><i style="font-family: arial;">“Holding the Rope”, from ‘Drumming’</i><span style="font-family: arial;"> series, silver gelatin print, toner and gouache, by Victor Sloan. Collection: National Museums Northern Ireland.</span></span></div><div dir="auto"><div><span style="font-family: arial;"><br /></span></div></div><div dir="auto" style="color: #050505;"><span style="font-family: arial;">This exhibition demonstrates the quality and integrity of fine art practice in Northern Ireland over the past 100 years. It does not aim to be definitive but is rather a survey of the breadth and depth of artists’ responses to the geographical, social and political landscape.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Taking its subtitle from curator John Hewitt’s poem neither an elegy nor a manifesto, this exhibition is neither a lament for nor a celebration of Northern Ireland. Instead, it shows how the artists who were born or have worked in this part of the world have responded to the particular and universal experience of the people who live here.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Whilst the evolution and persistence of artistic themes is not linear, the works in the exhibition give a sense of the development of fine art practice since the 1920s.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">This major exhibition features over 100 artists who have changed the way we see ourselves and the landscape around us. From Paul Henry and William Scott to Turner Prize nominees, the exhibition also showcases the work of recent graduates from Belfast School of Art.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Curated by Shan McAnena, the Portrait of Northern Ireland Exhibition is a collaboration between the Northern Ireland Office, the Government Art Collection, Arts Council NI, leading galleries and collectors as part of the wider cultural programme of the Northern Ireland Centenary.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">The exhibition is open at the Golden Thread Gallery, Belfast from 12 October to 4 November 2021. </span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.goldenthreadgallery.co.uk%2F%3Ffbclid%3DIwAR1G10NCffc5iSaNnjZyzuzwdQsVBIqIZK2ohs5wqzQGBzp-09R9usDRPIE&h=AT2sloCIuMpsNm77ALpCpKzHeWWrQ-7gSvuSTSgl_FFx_ZlTlpwDBnkmtHQgk7XyG-rCBUqFZSBPgHKZQzXE5eXQ4tEPcUFrHEoTD1Grn02uVUbXs_UewUp2Hq1Jd4S7fYXXZ8I&__tn__=-UK-R&c[0]=AT27JSNkG0GFLbYilqeLpG77fpKM92_DvYEfAapf_P-2gZSFLeVLhTElM96oRONXF5gJMc2I_6T6YUKlrqTcm_G8Rzp-p3SKKwmE51nUAfgcF9m22ObIGqDRgDhz8jZAOe7AjdtJEFJCAZJJdTx5V2e-oA" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank"><span style="font-family: arial;">https://www.goldenthreadgallery.co.uk</span></a></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Also part of Belfast International Festival. </span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><span style="font-family: arial;">Please visit the website <a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fourstoryinthemaking.com%2F%3Ffbclid%3DIwAR3i6_RBx_P8oWgKjMoBF5dO9suiq3LZSBT_wYRO08uUaPaZGOxaadGj8pE&h=AT0-kZNUK3XacQvqO5SSD1_PDvQu9Volmum1H_6O1kl2Mu60e-H-dVYkKOomxPVYb4AotflLZ_mRrYmRsjd4rGVNVvs4Z1c811QKkrSXMZD8xMiYru2j2HLcPW-y62EMtpJQJ5g&__tn__=-UK-R&c[0]=AT27JSNkG0GFLbYilqeLpG77fpKM92_DvYEfAapf_P-2gZSFLeVLhTElM96oRONXF5gJMc2I_6T6YUKlrqTcm_G8Rzp-p3SKKwmE51nUAfgcF9m22ObIGqDRgDhz8jZAOe7AjdtJEFJCAZJJdTx5V2e-oA" rel="nofollow noopener" role="link" style="-webkit-tap-highlight-color: transparent; background-color: transparent; border-color: initial; border-style: initial; border-width: 0px; box-sizing: border-box; cursor: pointer; display: inline; list-style: none; margin: 0px; outline: none; padding: 0px; text-align: inherit; text-decoration-line: none; touch-action: manipulation;" tabindex="0" target="_blank">ourstoryinthemaking.com</a> to find out more about Northern Ireland Office Centenary events and programmes.</span></div></div><p class="p1" style="color: #202020; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666; font-family: arial;"></span></p><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q" style="color: #050505; margin: 0.5em 0px 0px; overflow-wrap: break-word; text-align: left; white-space: pre-wrap;"><div dir="auto"><br /></div><div dir="auto"><span style="font-family: arial;"><br /></span></div><div dir="auto"><b style="color: black; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; white-space: normal;">........................................................................................</b></div><div dir="auto"><span style="font-family: arial;"><br /></span></div></div><p class="p1" style="color: #202020; font-family: inherit; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666;"><br /></span></p><p class="p1" style="color: #202020; font-family: inherit; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666;"><br /></span></p><p class="p1" style="color: #202020; font-family: inherit; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="color: #666666;">Victor Sloan's work is shown in ‘Island Life’ in Bristol, England.</span></p><p class="p2" style="color: black; font-family: inherit; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><b><i></i></b><br /></p><p class="p2" style="color: black; font-family: inherit; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><b><i></i></b><br /></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><b><i>I</i></b><b><i>SLAND LIFE</i></b></span></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: helvetica;">18 May – 31 October 2021</span></b></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: helvetica;">Bristol Museum & Art Gallery | Queens Rd, Bristol BS8 1RL</span></b></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: helvetica;">Bristol Photo Festival 2021</span></b></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><b><span style="font-family: helvetica;"><br /></span></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #202020; float: left; font-weight: bold; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjByAitux4xB8appkRbuJJ1prH_B7pfIuMJTICnG_eBDJf8_uJjlM1OWvYqflc47A8phjZWwsVxGu5AR48xgwuuo_bV3mKkeCQNggjJb3q6eSq1TE93IKQvr3RKSDNKl6lmY5OlQko445/s2048/_Ferryquay+Gate%252C+Derry_%252C+silver+gelatin+print%252C+toners+and+watercolours%252C+1989.+Victor+Sloan.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: helvetica;"><img border="0" data-original-height="1319" data-original-width="2048" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSjByAitux4xB8appkRbuJJ1prH_B7pfIuMJTICnG_eBDJf8_uJjlM1OWvYqflc47A8phjZWwsVxGu5AR48xgwuuo_bV3mKkeCQNggjJb3q6eSq1TE93IKQvr3RKSDNKl6lmY5OlQko445/w400-h258/_Ferryquay+Gate%252C+Derry_%252C+silver+gelatin+print%252C+toners+and+watercolours%252C+1989.+Victor+Sloan.jpg" title="'Ferryquay Gate, Derry', silver gelatin print, toners and watercolours, 1989. Victor Sloan." width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: helvetica;">'<span style="font-size: x-small;">Ferryquay Gate, Derry', silver gelatin print, toners<br />and watercolours,1989. </span></span></td></tr></tbody></table><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Island Life draws upon photographs from the Martin Parr Foundation</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">collection to show the changing fabric of our cities, society and</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">collective identities. Focusing on post-war from the UK and Ireland,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">the exhibition will bring together images by over 60 photographers</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Collectively the images form a compelling study of national behaviour.</span></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">The exhibition includes photographs which document moments of</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">historical significance including the poll tax riot, the Aberfan mine</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">disaster and most recently, the BLM movement. These will be</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">displayed alongside images depicting the everyday – weddings,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">shopping, football and Butlin’s holidays. Island Life traces the</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">evolution of documentary photography in Britain, the photographers</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">who influenced Parr and the younger generation he is influencing in</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">turn.</span></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><b><span style="font-family: helvetica;"><br /></span></b></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><b><span style="font-family: helvetica;">Artists;</span></b></p><p class="p2" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; min-height: 13px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Akihiko Okamura, Anna Fox, Brian Griffin, Cas Oorthuys,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Chloe Dewe Mathews, Chris Howgate, Chris Killip, Chris Shaw,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Clémentine Schneidermann and Charlotte James, Clive Landen,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Colin Jones, Colin Moody, Dafydd Jones, Dan Wood, Daniel Meadows,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">David Hoffman, David Hurn, David Wise, Don McCullin,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Dougie Wallace, Eamonn Doyle, Elaine Constantine, Gilles Peress,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Graham Smith, Homer Sykes, Humphrey Spender, Ian Macdonald,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Ian Weldon, Jill Quigley, Jo Spence and Terry Dennett, John Davies,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">John Hinde, Jon Tonks, Karen Knorr, Ken Grant, Khali Ackford,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Lorenzo Vitturi, Marcelo Brodsky, Mark Neville, Markéta Luskačová,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Paul Graham, Paul Reas, Paul Seawright, Paul Trevor, Peter Mitchell,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Pogus Caesar, Raymond Depardon, Raymond Moore,</span><span style="font-family: helvetica;">Richard Billingham,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Robin Friend, Roger Mayne, Ron McCormick, Sergio Larrain,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Shirley Baker, Siân Davey, Simon Roberts, Sue Packer, Sunil Gupta,</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;">Tom Wood, Tony Ray-Jones, <b>Victor Sloan</b>, Vinca Petersen.</span></p><p class="p3" style="color: black; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><br /></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><span style="font-family: helvetica;"><a href="http://www.bristolphotofestival.org">www.bristolphotofestival.org</a></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: start;"><br /></p></span></span><span style="color: #202020; font-family: helvetica; font-weight: bold;"><br /></span><div style="color: #202020; font-weight: bold; margin-bottom: 6px;"><div style="color: #1d2129; 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<span face=""arial" , "helvetica" , sans-serif"><span style="color: #1d2129;">Victor Sloan's work is shown in Berlin, Germany.</span></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><span style="color: #1d2129;"><b><i>Of people and walls – 30 years after the fall of the Berlin W</i></b></span><b style="color: #1d2129;"><i>all</i></b></span><br />
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<b style="color: #1d2129; font-family: Arial, Helvetica, sans-serif;"><i>Schloss Biesdorf, Berlin</i></b><br />
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<span face=""arial" , "helvetica" , sans-serif">October 28, 2019 to February 14, 2020<br />Opening on October 27, 2019, 06:00-10:00 p.m.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><br /><br />30 years ago, in November 1989, after 28 years of existence, the Berlin Wall, symbol of German division, was accidentally opened by strong public pressure from many people in the eastern part of the country. The trigger was a misleadingly formulated note, read out at a press conference by Günter Schabowski: "To the best of my knowledge ... that is immediately, immediately".<br />On the occasion of this worldwide symbolic event, Schloss Biesdorf is opening the exhibition Von Menschen und Mauern (People and Walls) on October 27, 2019.<br />In addition to various artistic works on the Berlin Wall, its opening and its slow disappearance, the exhibition shows positions on political walls in a global context. Today, walls still demarcate and exclude people all over the world, locking them in, constricting and separating people from each other. The perspectives of the participating artists reveal dividing lines and boundaries between the included and the excluded, illuminating the relationship between man and political power. Works of fine art from various genres are shown: painting, graphics, sculpture, photography, performance, multimedia and video.<br /><br />Participating artists:<br />Marina Abramovic/Ulay, Kurt Buchwald, Christo (reproduction with the kind support of Matthias Koddenberg), Sighard Gille, Sabina Grzimek, Franz John, Martin Kippenberger (reproduction with the kind support of Galerie Gisela Capitain), Mark Lammert, Wolf Leo/Manfred Butzmann, Ute Mahler and Werner Mahler, Rudi Meisel, Manfred Paul, Stefan Roloff, Jürgen Schneider, Erasmus Schröter, <b>Victor Sloan</b>, Peter Thieme, Wolf Vostell and Dieter Wendland and others<br /><br />Curated by Gabriele Muschter and Uwe Warnke in collaboration with Karin Scheel<br />Lenders: the artists, DPA<br /><br />A catalogue will be published to accompany the exhibition.<br /><br />Dialogical guided tours through the exhibition with Fenia Franz (Labor M), the dates will follow soon.<br />Accompanying programme: Labor M – art education at Schloss Biesdorf<br /><br />An event of the department of culture Marzahn-Hellersdorf.<br />More information about culture in Marzahn-Hellersdorf can be found on the Internet at www.kultur-marzahn-hellersdorf.de.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: black;">Victor Sloan's work is included in </span><i style="color: black; font-family: arial, helvetica, sans-serif;">Troubles Art</i><br />
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<i><b>Troubles Art </b></i></div>
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<b>Nerve Visual Gallery, Derry, Northern Ireland </b></div>
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<b>19 January - 28 April 2019</b></div>
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<span style="font-size: x-small;"><span face=""arial" , "helvetica" , sans-serif"><i>Holding the Rope, Lurgan County Armagh</i>, silver gelatin print, toner and gouache, 58 cms x 58 cms, from the 'Drumming' series,</span><span face=""arial" , "helvetica" , sans-serif">1986</span><span face=""arial" , "helvetica" , sans-serif"> </span></span></div>
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<span face=""arial" , "helvetica" , sans-serif">Drawn from the art collection at National Museums NI, the Troubles Art exhibition provides a broad representation of responses to the Troubles by a range of artists from No</span><span class="text_exposed_show" face=""arial" , "helvetica" , sans-serif" style="display: inline;">rthern Ireland and beyond. The subjects, themes and meanings of the works are diverse and offer the perspectives of the artists themselves.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Some works are direct responses to violence inflicted on innocent victims. Some are shaped by the social and political outlook of the artists. Others capture visual aspects of conflict and division. Together they evoke a variety of experiences and emotions and reflect on the causes, impact and complexity of the Troubles.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">The exhibition explores a range of themes which are universal to conflict – such as suffering and loss, violence and destruction, imprisonment, sectarianism, traditions, territory, and life in the midst of turmoil. The unique perspectives of artists themselves offer opportunities to consider the Troubles and their effects in ways other than through history and politics.</span></div>
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The exhibition forms a part of Making the Future, a major new cultural heritage project from Nerve Centre, National Museums NI, Public Record Office of Northern Ireland and Linen Hall Library. Making the Future is a €1.8m project supported by the European Union’s PEACE IV programme that will explore the legacy of the past and create a vision for future change.</div>
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Troubles Art deals with themes of violence and division and their impact on individuals and society. If you have been affected by any of the content in this exhibition please contact WAVE Trauma Centre, 028 7126 6655.</div>
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<span style="color: #1d2129;"><b>Nerve Centre</b></span></div>
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<span style="color: #1d2129;"><b>5-6 Magazine Street, Derry~Londonderry BT48 6HJ</b></span></div>
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<span style="color: #1d2129;"><b>Tel: +(44) 028 71 260 562 | Fax: +(44) 028 71 371 738 | email: info@nervecentre.org web: <a href="https://nervecentre.org/">https://nervecentre.org</a></b></span></div>
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<span face=""arial" , "helvetica" , sans-serif">Victor Sloan's works are included in <i>Crossing Lines.</i></span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b><i>Crossing Lines,</i></b> <b>Highlanes Gallery, Drogheda </b></span></div>
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<b><span face=""arial" , "helvetica" , sans-serif">and the F.E. McWilliam Gallery, Banbridge </span></b></div>
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<b><span face=""arial" , "helvetica" , sans-serif">23 November 2018 - 26 January 2019</span></b></div>
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<span face=""arial" , "helvetica" , sans-serif"><em style="color: #333333; font-family: Arial, sans-serif; font-size: 13px;">Sham Fight (with Sword), Scarva</em><span face=""arial" , sans-serif" style="color: #333333; font-size: 13px;">, silver gelatin print, toners, dyes, inks, bleach and gouache, 43cms x 56cms, 1992</span></span></div>
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<span face=""arial" , "helvetica" , sans-serif">This joint exhibition runs concurrently in both galleries from 23 November 2018 to 26 January 2019. It explores ideas of dissent, dissonance, and difference in art and society; embracing change, inspiring hope, and the important role that art and artists have in challenging traditional thinking, provoking reflection, insight and fostering new ideas that often defy the norm.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Among the artists exhibiting are Duncan Campbell, Joy Gerrard, Stuart Brisley, FE McWilliam, <b>Victor Sloan</b>, Susan Philipsz and Maud Sulter; with artwork selected from Arts Council Collection, Southbank Centre, London, the Arts Council of Northern Ireland Gifted Collection (2012), National Museums, NI and artist's studios.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Exhibiting Artists: John Behan, Paul Bowan & Andre Stitt, Ian Breakwell, Stuart Brisley, Duncan Campbell, Tarik Chawdry, Jack Crabtree, Jack Cudworth, Anthony Davies, Rita Duffy, Joyce Edwards, Joy Gerrard, Sunil Gupta, Lawrence Abu Hamdan, Sonya Hanney & Adam Dade, Siobhan Hapaska, John Benton-Harris, Mike Hogg, Bob Jardine, Gavin Jantjes, Tam Joseph, Peter Kennard, John Kindness, Permindar Kaur, Terry Loane, Olga Magliocco, Alice Maher, Colin Middleton, Fionn McCann, Declan McGonagle, F.E. McWilliam, Brian O’Doherty, Jack Packenham, Tony Phillips, Susan Philipsz, Bridget Riley, Nigel Rolfe, Dermot Seymour, <b>Victor Sloan</b>, Bob and Roberta Smith, Maud Sulter, Joanne Tatham & Tom O’Sullivan, Mitra Tabrizan, Annie Wright.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><b>Highlanes Gallery</b>, Laurence Street, Drogheda, Co. Louth, Ireland</span></div>
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<span face=""arial" , "helvetica" , sans-serif">W. www.highlanes.ie E. info@highlanes.ie T. + 353 041 9803311</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Highlanes Gallery is open 6 days a week, Monday – Saturday, 10.30am-5.00pm, closed Sunday</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><b>FE McWilliam Gallery & Studio</b>, 200 Newry Road, Banbridge, Co. Down, BT32 3NB</span></div>
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<span face=""arial" , "helvetica" , sans-serif">W. www.femcwilliam.com E. info@femcwilliam.com </span><span face=""arial" , "helvetica" , sans-serif">T. + 0044 (0)28 40623322</span></div>
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<span face=""arial" , "helvetica" , sans-serif">FE McWilliam Gallery & Studio is open 6 days a week, Monday – Saturday, 10.00am-5.00pm, closed Sunday</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><span style="background-color: white; color: #202020; font-weight: bold; text-align: center;">VICTOR SLOAN: </span></span><span face=""arial" , "helvetica" , sans-serif" style="background-color: white; color: #202020; font-weight: bold; text-align: center;">SIGNED LIMITED EDITION PRINTS</span><br />
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<b style="background-color: white; color: #202020; font-family: Arial, Helvetica, sans-serif; text-align: justify;">Belfast Exposed are proud to be producing 50 signed limited edition reproductions of the original <em>Belfast Zoo III</em> by Victor Sloan, one of Ireland’s major visual artists.</b><br />
<span face=""arial" , "helvetica" , sans-serif"><span style="background-color: white; color: #202020;"><br /></span><span style="background-color: white; color: #202020; text-align: justify;">These unique high-quality reproductions are printed on ‘Hahnemuhle FineArt Baryta Satin 300gsm’ archival paper. The dimensions of the prints are 17” x 17”, which includes a 3.5” white border. The prints are £125 and come with a certificate of authentication.</span><br style="background-color: white; color: #212121;" /><span style="background-color: white; color: #202020; text-align: justify;"> </span><br style="background-color: white; color: #212121;" /><span style="background-color: white; color: #202020; text-align: justify;">To purchase one of these exclusive artworks, please contact <span class="lG" style="background-color: rgba(251, 246, 167, 0.5); outline: transparent dashed 1px;">Conor</span> by email at</span><span style="background-color: white; color: #212121;"> </span><a href="mailto:c.obrien@belfastexposed.org" style="background-color: white; color: #2baadf; position: relative; text-align: justify; z-index: 0;" target="_blank">c.obrien@belfastexposed.org</a><wbr style="background-color: white; color: #212121;"></wbr><span style="background-color: white; color: #212121;"> </span><span style="background-color: white; text-align: justify;"><span style="color: #202020;">or by phone at </span></span></span><span face=""arial" , "helvetica" , sans-serif" style="color: #202020;">+44 (0)28 9023 0965.</span><span face=""arial" , "helvetica" , sans-serif" style="background-color: white; color: #202020; text-align: justify;"> </span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="background-color: white; color: #202020; text-align: justify;">As part of Late Night Art, on Thursday 6th December 7pm-9pm, Victor will be available in Belfast Exposed Gallery for a special signing event. Due to Victor’s popularity, it is anticipated these amazing prints will be in high demand.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKx7GdoWGPb7x1PykWLaVU2vjPSRU2aKAjKn4aPbVNxeArFrCGKhvwVPuuO7f5a8EGgbmayL0sgMGT5_Ste-jkpY8iRREMFYCnePJ-z46AqfXq3RVJxTHPZ7XNljSSuvsx_dKjybnrqzo/s1600/Victor+Sloan+signing+at+Belfast+Exposed.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="1076" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKx7GdoWGPb7x1PykWLaVU2vjPSRU2aKAjKn4aPbVNxeArFrCGKhvwVPuuO7f5a8EGgbmayL0sgMGT5_Ste-jkpY8iRREMFYCnePJ-z46AqfXq3RVJxTHPZ7XNljSSuvsx_dKjybnrqzo/s400/Victor+Sloan+signing+at+Belfast+Exposed.jpg" width="400" /></a></div>
<em style="background-color: white; color: #202020; font-family: sans-serif;">Victor Sloan started his art practice as an abstract painter. He had always used the camera but it was not until 1981 that he began to use the medium systematically. However, he had no intention of producing ‘pure’ photographs for exhibition purposes.</em></div>
<span face="sans-serif" style="background-color: white; color: #202020;"><br /></span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">“I want a photograph to say more than a photograph usually says. It’s not just a photograph in a magazine. It’s a statement… something personal. I want to make people to look at the image in a different way; see behind the image. People tend to dismiss photographs as just being photographs.” </em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">(1)</span><br />
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<em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">In 1983 Victor Sloan paid a visit to Belfast Zoo with his children. He brought a camera to take some family snaps, but he ended up taking a different, more troubled and troubling kind of photograph. He found himself standing looking in sadness and dismay at the chimpanzees trapped behind a pane of scratched, scarred, battered perspex, its cloudy surface smeared with ice cream and marked by graffiti. As he observes now: "Someone said that you can tell a lot about a society by the state of its zoo."</em><br />
<span face="sans-serif" style="background-color: white; color: #202020;"><br /></span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">There and then he decided to take photographs of the animals. But rather than trying to isolate them from their context, he deliberately viewed them entirely in terms of their context. The chimpanzees are virtually silhouettes, distanced, tenuous presences behind grubby perspex. The glare of the flash bounces uncomfortably back at us and the images have a worn, battered look about them.</em><br />
<span face="sans-serif" style="background-color: white; color: #202020;"><br /></span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">The chimpanzees in their cage are on show. The contemporary debate on the ethics of zoos relates to the contested point where elucidation shades over into entertainment, and to the specious presumption of superiority, all issues pertinent, as it happens, to human societies. It also touches on the conditions of captivity. The thing about animals confined to zoos is that their lives have, particularly in the past, been reduced to impoverished, repetitive parodies of their existence in the wild. Sloan photographed various kinds of animals in the zoo, but felt himself drawn back to the images of chimps because, as he says, we relate to monkeys, we see ourselves in them. The caged animal, its life recast and displayed as a theatrical, reductive parody of itself, is a metaphor for the individual immersed in the codified, ritualised world of a social and cultural framework. </em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">(2)</span><br />
<span face="sans-serif" style="background-color: white; color: #202020;"><br /></span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">While it is true that the artist disclaims any social or political intention at this juncture – it was to be a while before he consciously began to interrogate his images – nevertheless, a number of these images function metaphorically as statements about Northern Ireland. For example Belfast Zoo I, reveals the legend ‘I.R.A.’ scraped into the perspex, encouraging a reading which would suggest that the Northern Irish are trapped by the I.R.A., like the monkeys in the cage. They can stare outwards but are incapable of effecting change: they are prisoners in their own society. </em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">(1)</span><br />
<span face="sans-serif" style="background-color: white; color: #202020;"><br /></span><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">1: Extract from </span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">Marking the North - the Work of Victor Sloan</em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">, by Brian McAvera, published by Open Air, Dublin and Impressions, York, England</span><br />
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<span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">2: Extract from </span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">A Broken Surface: Victor Sloan's Photographic Work</em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;"> by Aidan Dunne in </span><em style="background-color: white; color: #202020; font-family: sans-serif; text-align: justify;">Victor Sloan: Selected Works 1980-2000</em><span face="sans-serif" style="background-color: white; color: #202020; text-align: justify;">, published by Ormeau Baths Gallery and Orchard Gallery, January, 2001.</span><br />
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<b><span face=""arial" , "helvetica" , sans-serif">Some of Victor Sloan's works: </span></b><br />
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</style>Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-58983376783633275942020-02-03T05:45:00.000-08:002020-02-03T05:45:15.412-08:00<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan's work is included in Conflicting Images.</span><br />
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<span style="background-color: white; color: #474747;"><span style="font-family: Arial, Helvetica, sans-serif;"><b><i><br /></i></b></span></span>
<span style="background-color: white; color: #474747;"><span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Conflicting Images: Photography during the Northern Irish Troubles</i></b></span></span><br />
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<span style="background-color: white; color: #474747;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Ulster Museum, Belfast</b></span></span><br />
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<span style="background-color: white; color: #474747;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>26 May 2017 - 25 February 2018</b></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #474747; font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="font-size: x-small;">Ulster Museum</span></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">In the late 1960s, simmering social and sectarian tensions erupted into street conflict in Northern Ireland. International photojournalism, its style honed in the Vietnam War, flew in to witness and report. This overview was quickly challenged by a wave of young, local press and freelance photographers, driven to bring local perspective, experience and context to the wider world picture.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At the same time, photography was used, as ever, to capture a more personalised record of time, event and place. It also continued to be employed to inform broader local agendas in areas such as planning and marketing.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This exhibition draws on the Ulster Museum’s expanding collections of photography of the recent past, to look at how the visual record of life in Northern Ireland developed during the years of ‘The Troubles.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVNINLLDvzwo21cVgXy0cbBgAryAwf_f84DobwBISeLuV1UMD-rso2H6NknNGQixgPHxUFzpOtdkh5NoXPDr4-lMyRoqQ-9H_26DpdD1z2PWn07dXXiwD7-Y_Zt4HCAVQXRvb4hJxdhdb/s1600/AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVNINLLDvzwo21cVgXy0cbBgAryAwf_f84DobwBISeLuV1UMD-rso2H6NknNGQixgPHxUFzpOtdkh5NoXPDr4-lMyRoqQ-9H_26DpdD1z2PWn07dXXiwD7-Y_Zt4HCAVQXRvb4hJxdhdb/s200/AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.jpg" width="200" /></a></div>
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<span style="color: #222222; font-family: arial, sans-serif;">Ulster Museum, Botanic Gardens, Belfast BT9 5AB. Tel: </span><span style="color: #222222; font-family: arial, sans-serif;">+44(0)28 90440000 Web: </span><span style="color: #222222; font-family: arial, sans-serif;"><a href="https://www.nmni.com/our-museums/ulster-museum">https://www.nmni.com/our-museums/ulster-museum</a></span></div>
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<span style="background-color: white; color: #474747;"><span style="font-family: Arial, Helvetica, sans-serif;"><b><i><br /></i></b></span></span>Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-46973078730099557292019-08-15T03:33:00.002-07:002019-09-23T12:40:42.810-07:00<h2>
<span style="color: #e69138; font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Vietnamese Boat People, Craigavon, Northern Ireland. Circa 1980.</span></h2>
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<span style="color: #e69138; font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Photographs by Tony Jones.</span></h2>
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<span style="color: #e69138; font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Tony Jones can be contacted at: </span><span style="font-size: small; text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">jsteph178@aol.com</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">© Tony Jones</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZM0qq4PzXVYWMrtDjEeev2O8C2pO30xWW3Vaveqr7kv5ZiXylySYUd6874eSuQ_oMoFtdh6ktnAmGeweWEYzqchHgRv0GxbZPM_HAxjtLUNPux-35Of6JsbotS_6-wymANxUIyiT810jd/s1600/0-2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="978" data-original-width="1520" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZM0qq4PzXVYWMrtDjEeev2O8C2pO30xWW3Vaveqr7kv5ZiXylySYUd6874eSuQ_oMoFtdh6ktnAmGeweWEYzqchHgRv0GxbZPM_HAxjtLUNPux-35Of6JsbotS_6-wymANxUIyiT810jd/s400/0-2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">Photograph </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: left;">© Tony Jones</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6nH3Cgc_lZ37WE12-beErg8DzDz2Htq2iL6jpHBOsWFEOYk_0tATG0RAi9kQJ2f45llTz8qIscxcOpI2QQXGBmwt4y3RiFeV7TQR4JffkN7YeNHO6SsaYvAzp57igsJ4lyVAvYCVe0K17/s1600/Vietnamese+Boat+People_edited-1.jpg" imageanchor="1" style="clear: left; font-size: 10.4px; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1033" data-original-width="1600" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6nH3Cgc_lZ37WE12-beErg8DzDz2Htq2iL6jpHBOsWFEOYk_0tATG0RAi9kQJ2f45llTz8qIscxcOpI2QQXGBmwt4y3RiFeV7TQR4JffkN7YeNHO6SsaYvAzp57igsJ4lyVAvYCVe0K17/s320/Vietnamese+Boat+People_edited-1.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: center;">See Victor Sloan: "Vietnamese Boat People" series </span><u style="font-family: Arial, Helvetica, sans-serif; font-size: medium; text-align: center;"><a href="http://www.victorsloan.com/2010/01/return-to-works-vietnamese-boat-people.html" style="color: #999999; text-decoration-line: none;" target="_blank">here</a></u></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-25631593605848505752017-12-01T08:41:00.002-08:002017-12-01T08:41:27.927-08:00<div class="p1">
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<span class="s1"><b><span style="font-size: small;">BEFORE</span></b></span></div>
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<span class="s1"><b><span style="font-size: small;">VICTOR SLOAN</span></b></span></div>
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<span class="s1"><b><span style="font-size: small;">3 March – 15 April 2017</span></b></span></div>
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<span class="s1"><i><span style="font-size: small;">The true content of a photograph is invisible, for it derives from a play, not with form, but with time.<span class="Apple-converted-space"> </span></span></i></span></div>
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<span class="s1"><span style="font-size: small;">John Berger, ‘Understanding a Photograph’, 1974</span></span></div>
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<span class="s1"><span style="font-size: small;">Belfast Exposed is pleased to present<i> BEFORE</i>, an exhibition opening up the photographic archive of Victor Sloan, one of Northern Ireland’s most prominent contemporary artists.</span></span></div>
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<span class="s1"><span style="font-size: small;">Sloan is known internationally for his visceral art works of images relating to the Troubles. These works are made through a process of intervening directly onto photographic negatives through a series of physical gestures such as scoring, scratching and mark-making with materials including pen, paint and bleach.</span></span></div>
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<span style="font-size: small;"><span class="s1">This new exhibition at Belfast Exposed reveals an excerpt from the artist’s extensive but little seen body of archival photographs of Northern Ireland made in the 1970s and 80s. The exhibition represents a long-term photographic engagement with the places where the artist and his family lived and worked, mostly the Northern Irish towns of Dungannon, Lurgan and Portadown and the surrounding countryside. The photographs in the exhibition fall broadly into three main subject areas documenting the activities and characters that populated the artist’s domestic life; charting the urban development of Craigavon, the aspirational modernist planning project; and capturing </span><span class="s2">the underlying and pervasive presence of the political conflict on day to day life during these years. Several of the images included in the exhibition were utilised by Sloan to make his later art works, typified by his violent mark making across their surface. However</span><span class="s1">, the majority of the photographs have resided until now within Sloan’s personal archive, unintended for public view and considered by the artist as preliminary ‘sketchbooks’ or aids for creating his more recognised artworks. This exhibition offers a significant opportunity to review Sloan’s relationship with photography throughout his life and career and illuminate this collection of images as an important and distinct body of work.</span></span></div>
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<span style="font-size: small;"><span class="s1">For Sloan, photography has played a central role in his life. Receiving his first camera at the age of eleven, he built a primitive darkroom under the stairs of his family home and began to teach himself photography. From these early years, he has consistently made photographs, drawing subjects from his immediate environment, his family, friends and home town, and later his work place and students. From 1964-68 Sloan attended the Belfast School of Art where he chose to study painting. He cites the Surrealists and Dadaists specifically </span><span class="s2">Rene Magritte, Man Ray, Andre Breton, Giorgio de Chirico as </span><span class="s1">key early influences </span><span class="s2">before becoming indebted to the conceptualism in the work of Bruce Nauman, Anselm Kiefer, Sigmar Polke, Gerhard Richter, Gunter Brus, Jannis Kounellis and Arnulf Rainer</span><span class="s1">. In his time at the Belfast School of Art developing his painting practice there was little to no critical engagement or discourse on the burgeoning medium of photography. However, Sloan continued to use the college darkroom to develop film and experiment with photography.<span class="Apple-converted-space"> </span>Around the same time he became aware of the publications <i>Creative Camera</i> and <i>British Journal of Photography</i> which he would avidly read to keep abreast of the developing currents and dialogues around photography happening elsewhere.</span></span></div>
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<span class="s1"><span style="font-size: small;">The majority of the work included in this exhibition was made between the 1970s and 80s, a time when photography in the U.K was dominated by its function as a medium of social documentary and reportage. Indeed, much of the work in this exhibition draws an interesting historical parallel and counterpoint to the work made by the individuals who set up Belfast Exposed around the same time. This group of amateur photographers used the medium as an act of resistance, challenging the mainstream media representation of the city by encouraging people living in Belfast to document their own lives, taking ownership of the visual representation of their communities. For this group, as well as the similar photography collectives and organisations that emerged in the UK in the 1970s and 80s, photography was an important tool for social activism, exploiting the immediacy and narrative function of the medium to document and expose ‘real’ life. Sloan, too, at this time, acknowledged his dissatisfaction with how photography was used and manipulated by the media to play to particular agendas. However, instead of responding by utilising the medium for its narrative properties, Sloan began to conceptualise the photographic plane, developing a strategy where he could address and question the very mechanics of how one understands and reads a photograph. There is a pertinent resonance with John Berger’s quote from his 1974 essay ‘Understanding a Photograph’ as Sloan began to break away from the narrative and form of the photograph and began to look at its contents critically and as a field imbued with layers of meaning, time and context.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">The implicit intersecting temporalities at play in the act of looking at a photographic image that Berger refers to and Sloan began to address within his practice, provide a key framework to this exhibition. The very title of the exhibition, <i>BEFORE</i>, encourages a kind of temporal re-orientation for the audience. There is an acknowledgement of the experience of looking at the images from a distance of passing time, an assertion that the images we are encountering existed for the artist as a kind of ‘pre’ artwork state, as something not originally intended for public display. We are also made aware of our encounter with this older material as one heavily weighted by our present context; knowing Northern Ireland in its ‘post-conflict’ situation and having been witness and participant in the vast technological developments within photography in the intervening years.</span></span></div>
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<span style="font-size: small;"><span class="s1">There is a particular poignancy in exhibiting this older body of work now in 2017, in the ‘post-truth’ society that we now find ourselves navigating, where we by necessity have generally accepted the </span><span class="s3">duplicitous </span><span class="s1">surface of the photographic image. The nature of the work that confronts us in this exhibition, the artist’s restraint from depicting the obvious, and foregoing the creation of explicit narrative in favour of a more quotidian and durational approach are in opposition to a contemporary encounter with photography. The familiarity and casualness with which he portrays places and situations and his long-term, repetitive photographic engagement with his environment lends this body of work an authenticity and unique perspective, rendering a more subtle understanding of place.<span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-size: small;"><span class="s1">Throughout the work in the exhibition there is a constant play between the photographer observing his world and his subjects engrossed in the act of looking and observing something within their own sphere of interest. Most of the images focus on the pauses in between action.<span class="Apple-converted-space"> </span>His photographs of the Orange parades for example are marked not by </span><span class="s2">their tribal aggression but instead</span><span class="s1"> depict mothers watching parades with their children, Orangemen arriving and departing from their meet ups and conversing at the sidelines. As a result of Sloan’s</span><span class="s2"> engagement with this community over an extensive period of time, the inevitable process of humanisation takes place and within the photographs and there is almost an affection that exudes for this community and its rituals. This is an affection that is wholly absent from his wider known artworks where his interventions across the surface of the photographs imbue the images with a sense of threat and violence.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Sloan’s repetitive approach to photographing to his local environment has also provided an important account of the development of Craigavon, an aspirational Modernist planning project that aimed to create a new utopian model for living. Over the years Sloan documented its realisation, the modernist forms and structures being built, how the people in these areas viewed and interacted with the ambitious planning project and the eventual abandonment of many of the plans as logistical problems obstructed the project. Sloan talks of his preoccupation with Craigavon as a subject matter in terms of it offering a source of constant visual stimuli as he drove past on a regular basis. <span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Another of the key subject areas highlighted within the exhibition is Sloan’s subtle depiction of the tension and spectre of the Troubles within his photographs. In much of his work there is a play between his familiar and comfortable relationship to a place and the persistent underlying threat that shadowed life during the Troubles. This tension is perhaps most clearly articulated in a series of photographs the artist made from his car window while routinely driving around his local neighbourhoods. The unexpected framing device of the car window presents an intriguing and unsettling composition censoring and highlighting action on the exterior of the vehicle. The view from the interior of the moving car to the street outside invites a series of propositions particular to the Northern Irish experience of the Troubles. At the time these photographs were taken there was a heightened awareness of commonplace surveillance, car bombs, and kidnappings. As such, there is an uneasiness about the status of the photographer protagonist and the power structure at play within these images.<span class="Apple-converted-space"> </span>Some of the images allude to a search for someone or something, we imagine the figure within the car is closing in on a victim or scoping out a situation. Other photographs from the series are marked more by a sense of internal paranoia, where the protagonist is being followed or hunted themselves. The views outside the car window range from gangs of young people gathered outside shops, an attentive police man on duty, and photographs of other vehicles on the road seen in the mirrors of the car. The power dynamic switches in each photograph creating a general feeling of confusion, anxiety and implicit threat.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">This exhibition represents Victor Sloan’s life-long connection to photography, and offers an opportunity to review his relationship to the medium by focusing on this extensive and important archive of images.<span class="Apple-converted-space"> </span>Sloan’s distinctive perspective and long-term approach to photographing Northern Ireland during the turbulent period of the 70s and 80s mark the artist’s significant contribution to the tradition of Northern Irish documentary photography practice.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Ciara Hickey</span></span></div>
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<span class="s1"><span style="font-size: small;">Curator, <a href="http://www.belfastexposed.org/">Belfast Exposed Photography</a></span></span></div>
Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-49617706237980833502017-12-01T07:40:00.000-08:002017-12-01T07:40:24.844-08:00<div class="MsoNormal" style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;">
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<i style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan: Northern Ireland </i><span style="font-family: arial, helvetica, sans-serif;">series published by </span><span style="font-family: arial, helvetica, sans-serif;">Café Royal Books, England.</span><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><br /><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;"><br /></i><i style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan: Northern Ireland One</i><span style="font-family: arial, helvetica, sans-serif;">, </span><span style="font-family: arial, helvetica, sans-serif;"><i style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan: Northern Ireland Two</i> and </span><i style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan: Northern Ireland Three </i><span style="font-family: arial, helvetica, sans-serif;">have been published by Café Royal Books, Southport, England.</span><span style="font-family: arial, helvetica, sans-serif;"> </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">They features photographs taken in Craigavon, Lurgan and Portadown </span><span style="font-family: arial, helvetica, sans-serif;">(County Armagh),</span><span style="font-family: arial, helvetica, sans-serif;"> and Dungannon </span><span style="font-family: arial, helvetica, sans-serif;">(County Tyrone), during the 70s and 80s.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Café Royal Books produce publications predominantly documenting social, historical and architectural change.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Their publications are held in public collections, museums and galleries including the Museum of Modern Art, New York; Tate, Britain and Victoria and Albert Museum, London.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Publisher Craig Atkinson said emphasis "is given to work that encourages new ways of thinking about existing material or language which demonstrates the importance of using, documenting, collecting and observing a particular process or thing.”</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Café Royal Books has published the work of many renowned documentary photographers including Daniel Meadows, Martin Parr, Arthur Tress and Homer Sykes</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Café Royal Books</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Publisher / Editor</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Craig Atkinson</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">office@caferoyalbooks.com</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">+44 [0] 7971 077 406</span></div>
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<a href="http://www.caferoyalbooks.com/" style="color: #999999; font-family: Arial, Helvetica, sans-serif; text-decoration-line: none;">www.caferoyalbooks.com</a></div>
<br /><span style="color: #666666;"><b><span style="font-family: arial, helvetica, sans-serif;">View images <u><a href="http://www.victorsloan.com/2016/05/selection-of-images-from-victor-sloan.html" style="color: #999999; text-decoration-line: none;">here</a></u></span></b></span><span style="color: #666666;"><br /></span><b><span style="color: #666666; font-family: arial, helvetica, sans-serif;">and <u><a href="http://www.caferoyalbooks.com/#/northern-ireland-two-victor-sloan-040816-600/" style="color: #999999; text-decoration-line: none;">here</a></u></span></b><br /><br /><b><span style="font-family: arial, helvetica, sans-serif;"><br /></span></b></div>
Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-36506099391000123712017-12-01T07:33:00.000-08:002017-12-01T07:33:26.386-08:00<div class="p1" style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;">
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<i>Victor Sloan solo exhibition:</i></div>
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<b><i>BEFORE: VICTOR SLOAN </i></b></div>
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<b>BELFAST EXPOSED GALLERY</b></div>
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<br class="Apple-interchange-newline" /><b>3 March - 15 April 2017</b></div>
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<b>Opening: Thursday 2 March 2017 at 7pm</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_ctsUO_6TTt8UScFcElQbr4vY0hYLYfThXYjY0_O6b1Ru6NyHz98R985ZIsKbcRTD1m4DCC54ONB2ENbNsC5TWj5iTvPSXVY-z1U_qxt9204d5R1k2B1dflJLp9VamYmXEToLpbdn-xZ/s1600/23919614736_ebf03b23cc_k.jpg" imageanchor="1" style="color: #999999; text-decoration-line: none;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_ctsUO_6TTt8UScFcElQbr4vY0hYLYfThXYjY0_O6b1Ru6NyHz98R985ZIsKbcRTD1m4DCC54ONB2ENbNsC5TWj5iTvPSXVY-z1U_qxt9204d5R1k2B1dflJLp9VamYmXEToLpbdn-xZ/s400/23919614736_ebf03b23cc_k.jpg" style="border: 1px solid rgb(204, 204, 204); padding: 4px;" width="400" /></a></b></div>
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<span style="color: #666666; font-family: arial, helvetica, sans-serif; font-size: x-small;">© Victor Sloan</span></div>
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Belfast Exposed is pleased to present, <i>BEFORE</i>, an exhibition opening up the photographic archive of Victor Sloan, one of Northern Ireland’s most prominent contemporary artists.</div>
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Sloan is known internationally for his visceral art works of images relating to the Troubles. These works are made through a process of intervening directly onto photographic negatives by scoring, scratching and mark-making with a number of materials including pen, paint and bleach.</div>
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This new exhibition reveals an excerpt from an extensive but little seen body of archival photographs that Sloan made in the 1970s and 80s in Northern Ireland. The images document the activities and characters that populated Sloan's daily life; the urban development of his hometown of Craigavon; and the constant and pervasive presence of the political conflict.</div>
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For the artist these photographs functioned as a type of preliminary ‘sketchbook’, shaping the distinctive style and thematics he would later become known for. Viewed together as an exhibition they represent Sloan's significant contribution to the tradition of Northern Irish documentary practice.</div>
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<b>A limited edition publication will be produced to accompany the exhibition. </b><br /><b><br /></b><b><br /></b><br /><div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JzdUrX7qj1nWIfTnPcQFABHwsyizuEiIXJMDrYm67-aaC9KS2R56DLxlnH6zhrkScMxM2D7Kd6wXbUIlca637lT3bamf6l6NG10xgUvKaNGRYL-znjntzYHdp1zdPeTxLCeEK81e8gJK/s1600/Victor+Sloan+at+Belfast+Exposed+Gallery.jpg" imageanchor="1" style="clear: left; color: #999999; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JzdUrX7qj1nWIfTnPcQFABHwsyizuEiIXJMDrYm67-aaC9KS2R56DLxlnH6zhrkScMxM2D7Kd6wXbUIlca637lT3bamf6l6NG10xgUvKaNGRYL-znjntzYHdp1zdPeTxLCeEK81e8gJK/s400/Victor+Sloan+at+Belfast+Exposed+Gallery.jpg" style="border: 1px solid rgb(204, 204, 204); padding: 4px;" width="400" /></a></div>
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<br /><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b><br /></b><b>Artist Talk: Victor Sloan In Conversation with Feargal O'Malley Friday 10 March, 2pm</b><br /></div>
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Acknowledgements:</div>
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<i>BEFORE</i> is generously supported by Arts Council Northern Ireland and Belfast City Council.</div>
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Belfast Exposed Photography</div>
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The Exchange Place</div>
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23 Donegall Street</div>
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Belfast BT1 2FF</div>
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Tel: +44 028 9023 0965</div>
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Web: <a href="http://www.belfastexposed.org/" style="color: #999999; text-decoration-line: none;">www.belfastexposed.org</a></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-80485698421327856642017-12-01T07:27:00.000-08:002017-12-01T07:27:52.327-08:00<span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Victor Sloan’s The Baron series is included in Aleppo exhibition</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><i><b>Aleppo</b></i></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>Tropen Museum, Amsterdam</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b><br /></b></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>31 March - 10 September 2017</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><br />
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<tr><td class="tr-caption" style="font-size: 10.4px; text-align: center;"><span style="font-size: x-small;">© Victor Sloan</span></td></tr>
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A city that has been in the news almost continuously for many months now because of the war raging there. This focus inevitably leads to a skewed and incomplete picture: the city is reduced to a hotbed of violence and its former inhabitants are reduced to a word: ‘refugees’. It is completely impossible for any exhibition to capture the visceral emotions of war.</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">In spite of such limitations, the Tropenmuseum wants to show its visitors a different view of this remarkable city. A scale model of Aleppo, an artefact from the museum’s own collection, is at the heart of this exhibition. Photographs from renowned photographers such as Stanley Greene and Eddy van Wessel, picture postcards, and film clips give an impression of the city both before and during the war. </span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Former inhabitants of Aleppo will be giving guided tours of the exhibition at set times, sharing their stories and engaging visitors in conversation. </span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Participating artists:</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Mohammed al-Khatieb(AFP/Getty Images)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Karam al-Masri(AFP/Getty Images)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Gertrude Bell (Archive/Newcastle University)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Kathryn Cook (Agence VU)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Vartan Derounian</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Stanley Greene (NOOR images)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Ed Kashi (VII)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Omar Sanadiki (Reuters)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Valery Sharifulin (Tass)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>Victor Sloan</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Sebastiano Tomada (Getty Images)</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Issa Touma</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Nicole Tung</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Eddy van Wessel</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Avo Kaprealian</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><b style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 13px;">ADDRESS</b><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Linnaeusstraat 2, Amsterdam, The Netherlands</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>OPENING HOURS</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">Tuesday to Sunday</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">10 AM - 5 PM</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>CONTACT</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><a href="mailto:info@tropenmuseum.nl" style="color: #999999; text-decoration-line: none;">info@tropenmuseum.nl</a></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;">+31 (0)88 0042800</span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><br /></span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><b>WEB</b></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><span style="background-color: white; color: #333333; font-family: arial, helvetica, sans-serif; font-size: 13px;"><a href="https://tropenmuseum.nl/en" style="color: #999999; text-decoration-line: none;">https://tropenmuseum.nl/en</a></span><br style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;" /><i style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></i><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"></span><br />
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-3799887924079283832016-10-21T04:59:00.001-07:002016-10-21T04:59:16.628-07:00
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<span style="font-family: arial, helvetica, sans-serif;">Victor Sloan’s work in Billboard Project</span></div>
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<b style="font-family: arial, helvetica, sans-serif;"><i>20/20 Art in the Eastside Billboard Project</i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Location: Billboards around Inner East Belfast</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>11th - 25th August 2016</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Art in The Eastside</i> is the brainchild of Creative Exchange Artists’ Studios who have delivered five billboard projects since 2009. It is a vibrant outdoor art project and the only one of its kind to be delivered in Northern Ireland. The project presents artists’ work in a high profile setting and is a key visual arts event in the Eastside Arts Festival 2016 and Belfast’s calendar of visual arts events. The project creates an outdoor gallery bringing art to the people right on their own doorstep adding a splash of colour to the streets of East Belfast.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For Creative Exchange’s anniversary event, 20 original artworks from renowned local, national and International artists will be displayed on billboards across inner East Belfast, and will be a celebration of the artists who have been involved with Creative Exchange over the past 20 years. The artists have themed the artwork on issues surrounding social justice, recent politics, local culture, feminism, domestic narratives as well as beauty and art abstraction.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">4 additional billboards will be dedicated to the community with images derived form the ‘Wish’ workshops.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Victor Sloan</b>, Gerry Gleason, Shiro Masuyama, Peter Richards, Jill Quigley, Colin Darke, Martin Boyle, Emmanuele Panzarini, Ted Pim, Colin McGookin, Zan Dani, Deirdre Robb, Paul Moore, Susan Gorsen, Lesley Cherry, Stephen Millar, Ray Duncan, George Robb, Tom Phanerstill and David Fox </span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan: </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Hospital </i></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Hospital</i>, is about Golan Hospital, Quneitra in the Golan Heights, which was destroyed and abandoned. The area is under Syrian control within the UN-patrolled demilitarised zone between Syria and the Israeli-occupied Golan Heights. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Golan Heights was occupied in the course of the Six Day War of 1967. During the 1973 Yom Kippur War the city was recaptured by Syrian forces, but was once again occupied by Israel in a counter-offensive.After the 1974 ceasefire, Israeli troops withdrew from Quneitra. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Before handing it back to Syria, the Israelis evacuated the population, and then systematically destroyed the buildings of the city. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">They also demolished over one hundred Syrian villages and farms in the Golan Heights. The late Syrian President Hafez al-Assad ordered that the city should not be rebuilt, and since then the ruins have become a propaganda exhibit.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">e: <a href="mailto:creativeexchangeartists@gmail.com">creativeexchangeartists@gmail.com</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">t: 028 90452299</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Creative Exchange Artist Studios</b> | Unit B4 Portview Trade Centre | 310 Newtownards Road | BELFAST | BT4 1HE</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.facebook.com/CreativeExchangeArtistsStudios">CreativeExchangeArtistsStudios</a> on Facebook | <a href="http://twitter.com/CreativeExchArt">twitter.com/CreativeExchArt</a></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-79609048361913132952016-05-12T09:40:00.002-07:002016-05-24T09:41:10.029-07:00<i style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 20.8px;"><br /></i>
<b><span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif; line-height: 20.8px;">Selection of images from </span><i style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; line-height: 20.8px;">Victor Sloan: Northern Ireland One</i><span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif; line-height: 20.8px;"> published by Café Royal Books</span></b><br />
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<b><span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif; line-height: 20.8px;"><br /></span></b>Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-70812524860115979392016-02-25T14:15:00.000-08:002016-02-25T14:24:29.352-08:00Victor Sloan: The Baron<div class="p1">
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<span class="s1"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">T<i>he Baron Hotel, Syria </i></span></b></span><b><span style="font-family: "arial" , "helvetica" , sans-serif;">by Brian Kennedy</span></b></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">In 2008 I was awarded the Thomas Dammenn Junior Memorial Award to make a visual study of the dead cities of Syria. </span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">The following year I tried to travel to Aleppo on the Taurus Express which runs between Istanbul and Aleppo, but unfortunately at that time it was cancelled. </span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">I decided to travel to Syria again the following year and contacted my friend the artist Victor Sloan to see if he would be interested in such a trip. I had previously travelled with Victor to Taiwan and knew he was an interesting travelling companion; he also has an original and individual way of looking at places, people and their surroundings. We decided to fly this time. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Arriving in Damascus we stayed in a small hotel near the ancient centre of the city. The hotel was a converted traditional Syrian house based around a courtyard with a fountain and overhanging fruit trees. Every day we would walk into the old centre of the city and like all tourists visited the famous mosque Umayyad, ate ice cream in Bahir’s Ice Cream Parlour and shopped in the Souk. On one occasion we experienced the slaughter of sheep. This was because it was the festival of Eid. It was a shock to our western sensibilities, as the sheep were killed in front of us in the public streets. The stench of blood flowing into open drains in the hot weather was overpowering. It was almost nauseas and we took deep breaths and walked quickly by. However, it was interesting to note that people only kept one third of the meat of their slaughtered sheep for themselves, another third went to their family and the remaining third to the poor. </span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Cafe life was very vibrant in Damascus with young couples laughing and joking over cups of tea and coffee, the way young people here would do over alcoholic drinks. Some were smoking hookahs; the heady aroma from the pipes was a mixture of tobacco sometimes flavoured with dried fruit, a very pleasant smell. </span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Damascus claims to be the oldest city in the world, we were made aware of this when walking down Straight Street which is mentioned in Acts in the Bible. At the bottom of Straight Street there is the house where St. Paul was brought after his conversion to Christianity.</span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Also near Straight Street we visited the city’s main contemporary art gallery called AllArtNow. We saw a series of installations in some of the most ramshackle and downright dangerous spaces where we’ve ever seen art. Health and Safety in this country would have closed it immediately. Near to the gallery was an interesting area where in the past Muslims, Christian and Jews had all lived together in harmony.</span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">We also travelled beyond the city to visit the ancient Roman site of Palmyra, sadly it is in the news again as parts of it are being destroyed in the current Syrian conflict. Victor insisted that we would get up very early so that he could capture the beautiful golden light on the ancient stone buildings, I never realised that a desert could be so cold, but it was typical of his attention to detail when it comes to taking photographs. </span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">In Damascus we decided to visit Aleppo, the dead cities lie between Aleppo and Damascus so we could visit them on the way. Victor was keen to stay at the Baron Hotel in Aleppo. He had already made contact with the Le Pont gallery in Aleppo, which was the Middle East’s first photographic gallery, where he was to give a talk on his work.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We arrived at the Baron hotel where Victor had arranged to meet Issa Touma the director of the Le Pont gallery. We met in the old bar where many years before, German and British spies had rubbed shoulders. We were given Agatha Christie’s old room, outside of which remained the original poster for the Orient Express, which is said to have given the writer the idea for her book ‘Murder on the Orient Express’. She stayed here with her husband the archaeologist Sir Max Mallowen.</span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">The hotel retained some its faded grandeur, and I remember Victor photographing the thick folded linen and a brass plate which had been placed under a door to prevent the wood from wearing. The brass was etched by many years of use. This for me was typical of the unique way Victor could spot something about a place and in one simple photograph could summarise the entire building and its history.</span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">I did not know then that in a few years time Victor and I would be sleeping in a Bedouin tent in the desert where Lawrence had been a soldier, and where the film ‘Lawrence of Arabia’ had been made. We would also see the rock formation in Wadi Rum that would give Lawrence the title for his book ‘Seven Pillars of Wisdom’.</span></span><br />
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">It was sad to read a recent report about the hotel’s owner, Armen Mazloumian lamenting about the early days of the hotel when world leaders stayed there. Among the guests were Charles de Gaulle, David Rockefeller and Charles Lindburgh. Armen Mazloumian is the fourth generation of his family to run the hotel. He said the best years are behind us now.</span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Outside the hotel, Aleppo was a fascinating city with an ancient Christian quarter. </span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor met Issa and also met with some of the Syrian photographers whose work and approach interested him. One of whom was Nazem Jawesh who created wonderful images of local people at work. Sadly the last we heard of Nazem was that he had gone north to visit family, but worryingly he has not been heard of since.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Issa Touma comes from Armenia, he took us to an Armenian restaurant where we got the best food we had ever had in the Middle East. Armenia was the first country to adopt Christianity as a state religion which meant that you could buy alcohol with your meal. The only way to access alcohol in Muslin countries is to go to a Christian quarter.</span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sadly, the Baron hotel has been damaged and is now closed.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Brian Kennedy, 20 May 2015</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1"><i>The Baron</i> is </span>a series of works produced by Victor Sloan for Belfast Photo Festival 2015, when artist in residence at Belfast Print Workshop. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">All images were screenprinted on Fabriano Rosaspina Avorio 285gsm paper, 25.5 x 38.3m, 2015, in additions of 6.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For further information contact Belfast Print Workshop at: </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Cotton Court<br />30-42 Waring Street<br />Belfast BT1 2ED</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Telephone: 028 90231323</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #333333;">Email: </span><a href="mailto:studio@bpw.org.uk" style="text-decoration: none;" target="_blank"><span style="color: black;">studio@bpw.org.uk</span></a></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-48420613429546189292016-02-23T10:19:00.000-08:002016-05-20T09:54:45.812-07:00Victor Sloan: Drift<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Place and Placenessness in Victor Sloan’s Photographs of Craigavon</i></span></b><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Dr Justin Carville</span></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-size: xx-small;"> </span><span style="font-size: x-small;">Vietnamese Boat People, Moyraverty Community Centre, Craigavon, giclée print, 60.96cm x 41.2cm, 1984</span></span></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Chris, Drumgor, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 60.96cm x 41.2cm, 1985</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan’s photograph <i>Central Way, Craigavon</i>, 1981, depicts the combined visual markers of place and ‘placelessness’ that characterise the 1960s configuration of the New Town as a familiar, yet alien, built environment. The assembly of tarmacadam, concrete, stainless steel street-lighting and road signage that converge at the circular intersection are all motivated to facilitate the continuous flow of movement and mobility of the automobile. The looping form of the roundabout had become an increasingly standard system for managing the flow of traffic through high density urban and suburban developments throughout Britain and Northern Ireland during the 1960s, just at that period when Craigavon was beginning to be conceived in the minds of its planners as a linear city linking the towns of Portadown and Lurgan following the introduction of The New Towns Act (Northern Ireland) in 1965.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> Existing originally as a representation in the draftsman’s sketches of the proposed new suburban environment imagined by urban planners and engineers, spaces such Central Way were designed to be easily and quickly passed through on the way to somewhere else. There were no foot-paths or pedestrian crossings to distract drivers or slow the flow of traffic, only road-signage designed to encourage the driver of the automobiles passing through to move-on swiftly without delaying to observe the terrain around them. The intersection of roads at roundabouts such as that represented in Sloan’s photograph <i>Central Way</i>, facilitate the navigation of vehicles to any number of different places, but there is no time or space to dwell in this particular location.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPpeR0KFbFr0tK6alGvF3W_TPKjs747SUTiGuYlPLYnT6XB_CQzou9i-1SqvticYBg2ELZuRvAmIsaJbWx0-U_sK2NRfeCF6bJ2b27hqETk49KYY_lMSxldNWtMu1nSxV4JAe2XS1EZrXG/s1600/20634013096_d9e644bccd_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPpeR0KFbFr0tK6alGvF3W_TPKjs747SUTiGuYlPLYnT6XB_CQzou9i-1SqvticYBg2ELZuRvAmIsaJbWx0-U_sK2NRfeCF6bJ2b27hqETk49KYY_lMSxldNWtMu1nSxV4JAe2XS1EZrXG/s400/20634013096_d9e644bccd_k.jpg" width="400" /></span></a></td></tr>
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<span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;">Spaces such as Central Way are what the human geographer Edward Relph observes as “the casual eradication of distinctive places and the making of standardized landscapes” that encourage a sense of ‘placenessness’.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> More recently the French anthropologist Marc Augé has used the term ‘non-place’ to describe such spaces of transience and circulation, but Relph’s concept of ‘placelessness’ refers not only to the physical spaces themselves, but also to their broader impact on human experience of belonging and attachment to place.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> The effect of spaces such as Central Way extend beyond their own particular configuration of the built environment, and reflect for Relph the condition of the experience of place in the last quarter of the twentieth century. The everywhere of intersecting roads “imposed on the landscape rather than developing with it, are not only features of placenessness in their own right”, he observes, “but, by making possible the mass movement of people with all their fashions and habits, have encouraged the spread of placenessness well beyond their immediate impacts”.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> For Relph, therefore, ‘placenessness’ involves not only “a weakening of the identity of places to the point where they not only look alike and feel alike”, but also offer people the limited “same bland possibilities for experience”.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">Central Way, like the many other roundabouts and labyrinthine road networks that cut their way through Craigavon, was designed as a space to be experienced only through the windscreen and wing and rear-view mirror of the automobile. Coming into sight through one rectangular frame as the car approached the roundabout, it receded from view in the other as the driver passed through on their journey to somewhere else. It was a landscape designed with the specific purpose of dissolving in the motorists gaze. As a planned environment it is a space that generates a sense of what Relph identifies as ‘incidental outsideness’, an attitude that arises in relation to places that are mere backdrops to other social activities and are detached from the need to form a bond to place.</span><span class="s2"><sup></sup></span><span class="s1"> Sloan’s photograph, however, provides an alternative perspective to the automobile driver’s mundane, uniform visual experiences of Central Way. The banal emptiness of this circuitous space from any distinctive markers of place is clearly conveyed in the photograph, as is the sense of the roundabouts isolation from the numerous locations that it connects the commuter to as they pass through it on their way to some other place. However, the vantage point and angle of vision adopted by Sloan in his photograph of Central Way,<i> </i>makes the viewer aware that the photographer was situated in this space rather than passing through it or standing outside of it. The elevated vantage point, to the left of the road, slightly de-centres the rational configuration of the straight, asphalt traffic lanes carved into the landscape, and ruptures the smooth completion of the circular formation of the roundabout. The foliage of bushes, and branches of trees in the foreground, also interrupts the normative organization of the pictorial space of the photograph which would allow the viewer unfettered visual access of the space contained within the frame of the image. Society has become accustomed to photography’s technical inscription of linear perspective in which the frame of the camera’s viewfinder is the window through which the world is rationally transferred onto the flat, two-dimensional plane of the photograph. In this technical configuration of the cultural conventions of the two-dimensional representation of three-dimensional space, the viewer is fixed in relation to the photograph. In the words of Christian Metz, “the spectator can do no other than identify with the camera”.</span><span class="s2"><sup></sup></span><span class="s1"> By photographing Central Way from this slightly elevated, de-decentred perspective, and allowing the environment to encroach into the frame of the image, Sloan brings the viewer with him into the planned landscape of the roundabout, providing an opportunity to experience the world depicted in the photograph not as some objective space detached from experience, but as a lived environment, a space vying for attention between the social forces of place and ‘placelessness’. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">As a photographer and artist, or more properly an artist who uses the medium of photography in his reaction to the subject he takes a photograph of, before reacting to the resulting photographic print, Sloan has had a long, and sometimes unsettled, relationship with Craigavon.</span><span class="s2"><sup></sup></span><span class="s1"> It is a relationship that could have easily generated an overly sympathetic view of the plight of Craigavon’s inhabitants in the early decades of its development, or at the opposite end of the spectrum, a cynical and detached documentation of the New City’s isolated environments of shopping centres, housing estates and community centres. The sensitivity towards those communities living in Craigavon is evident in Sloan’s photographs, as is the innate sense of alienation arising out of the disconnect between the city’s architectural forms, configurations of ‘community centres’ and the lives of those who inhabit the environments planned remotely by urban planners. To categorize Sloan’s photographs of Craigavon through such polarised perspectives, however, would be to over simplify what is a much more nuanced approach taken by him through the medium of photography towards representing the architectural and social peculiarities of the area over a period of three decades. During that time, he has produced a series of visual statements on the current state of affairs of this planned development at particular moments when relations between the alienating spaces of the New City and the community animated the struggles between place and ‘placelessness’. In series such <i>Craigavon</i> and <i>Vietnamese Boat People </i>during the 1980s, <i>Fireworks Craigavon</i> in the 1990s, in individual works such <i>Stay Out, Craigavon</i>, 1991, and his most recent large scale colour works of Craigavon’s shopping and community centres such as <i>Moyraverty Community Centre</i>, 2014, Sloan has not so much provided testimony to the areas changing social configurations as place, rather he has issued a set of visual declarations on the relationship between the built environment and the community. In a number of respects this durational engagement with Craigavon as a photographer and artist has ensured that Sloan has kept true to his word. In an early text and image piece published in <i>Circa </i>with the writer and historian Gerry Burns titled ‘Craigavon – The Heart is Missing’, he commented that he would “continue to work on the project as long as he lives in the area”.</span><span class="s2"><sup></sup></span><span class="s1"> Despite the early reservations expressed in the article that the buildings erected for the community of Craigavon bore “no relationship to the lives of the people who live here”, his photographs are no less attuned to the attempts by the community to establish as sense of belonging amidst the socially constructed places of poorly designed housing, leisure and consumer spaces.</span><span class="s2"><sup></sup></span><span class="s1"> His personal vision of the area is an inescapably human geographical imagining of place through the photographic image. </span></span><br />
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<span style="font-size: x-small;"><span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Vietnamese Boat People, Moyraverty Community Centre I, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 60.96cm x 41.2cm, 1981</span></span></div>
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<span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps unwittingly, or perhaps intentionally, Sloan has become something of a visual chronicler of Craigavon. However, his account of the transformation of the city is not one that allows for a transparent reading of his visual statements. Sloan’s various series and individual images of Craigavon require the viewer pay attention to the photograph, to concentrate on its surface as well as its pictorial illusion of depth. His photographs reveal a series of relations – the photographer and the place; the artist and the photograph; the photograph and the viewer – which unsettles some of the complacency that resides in looking at photographs. Photographs are violent observed Roland Barthes, not because they show “violet things, but because on each occasion it <i>fills the sight by force</i>, and because in it nothing can be refused or transformed”.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> In most contexts photographs coerce the viewer to look straight through their surface directly to the object contained within the pictorial frame of the image. They compel the viewer to rush to interpretation; ‘this is a house’; ‘here is my car’; ‘there is the park’; ‘that was at the party’. Such common interpretations of photographs are more than a prescribed lexicon for responding to the experience of looking at the transparent surface of the photograph as if it wasn’t there, it is a condition of the relationship we have with photographs. These responses oscillate between presence and absence – the object is both ‘here’ in the photograph and ‘there’ in reality – and spatial and temporal distance; what is photographed is in ‘another time’ and ‘another place’. Photography is madness, observed Barthes, precisely because of such vacillating responses to the experience of looking at photographs.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> Amongst such delusions is the anticipation that although the photograph reinforces the viewers separation from the time and place of the object photographed, this separation may be overcome by the representation of the place <i>as a photograph</i>, that photography might provide access to that ‘other time’ and ‘other place’ which the photograph strives to separates us from.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">Sloan’s photographs intervene into these complacent responses we have with photographs, precisely through making the relations between the photographer and the place; the artist and the photograph; and the photograph and the viewer, visible. Instead of simply being allowed to look through the photograph to quickly access what is transparently represented within its frame, as if the photograph itself didn’t exist, his photographs require an acknowledgment of their conventional and material presence as images of place. The more conventional documentary work from the early and mid 1980s – a period when Sloan’s fascination with the forms and designs of Craigavon’s shopping centre, Marlborough House (Craigavon Housing Executive Office) and civic centre as an artist were tempered with his social awareness of their alienating affect on the community – are taken from vantage points that reveal the photographers relationship to place.</span><span class="s2"><sup></sup></span><span class="s1"> Photographs such as <i>Shopping Centre, (Children Playing), Craigavon</i>, 1985, <i>Bus Stop, Ridgeway, Craigavon</i>, 1982 and <i>Ridgeway, Craigavon</i>, 1982, are taken from vantage points and framed by the camera’s viewfinder in ways that draw attention to the photographer’s conscious organization of pictorial space to illuminate the architectural forms of buildings, boarded up windows, street lighting and signage. These conventions of vantage point, framing and angle of vision, are not employed to produce sterile compositions that reinforce a sense of distance from the built environment, nor are they to establish a separation between viewer and image. They are mobilised instead to draw the viewer into the space of the photograph by revealing the photographer’s self-conscious juxtaposition of squares and rectangles, the rectilinear lines of modern European designed housing and the rolling forms of green spaces. An errant form of vernacular modernism, there is an awareness of the photographer’s positioning himself in relation to place to draw attention to the ‘photographic-ness’ of his visual statements of the environment.</span><span class="s2"><sup></sup></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">These are not simple formal exercises, however, the particular framing of this built environment by Sloan through the camera’s viewfinder subtly teases out the alienation of the environment to the community. This combination of the forms of the built environment and their alienating affects, were identified by Sloan early on in his documentation of Craigavon during the 1980s. Commenting on this early engagement with the area he observed “One could be forgiven for thinking that no overall view was ever taken of Craigavon’s development. Some of the buildings are interesting enough, as far as shape and design go ... I suppose you could say that Craigavon fascinates me, insofar as it represents a supposedly planned environment which has gone almost totally wrong. People want a structure and meaning in their environment that will reflect, and in part create, structure in their lives. Craigavon has completely failed to provide them with this”.</span><span class="s2"><sup></sup></span><span class="s1"> The slightly awkward juxtaposition of the lamppost and commuters waiting at the bus stop in photograph <i>Bus Stop, Ridgeway, Craigavon</i>, and the flash-lighting in <i>Shopping Centre, (Children Playing)</i>, convey the detachment of everyday life from place. The pictorial organization of body and spaces are inelegantly coalesced within the frame of the photograph in a visual articulation of the alienating relations between place and community.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">Sloan’s series of toned photographs marked with oil pastels bring to the surface relations between artist and photograph, and photograph and viewer that similarly question the normative responses to photographs of place. In his discussion of ‘insideness’ and ‘outsideness’ in experiences of place and ‘placenessness’, Relph identifies the visual arts, literature and poetry as modes of imaginative geographies of place that can provide what he terms as ‘vicarious insideness’; a deep seated engagement with place experienced second hand through various modes of representation. The anticipation that photography might ameliorate the sense of separation between viewer and the place represented in the photograph is an exemplary instance of the image providing vicarious experiences of place and belonging. If we are to take Barthes at his word, the brute opticality of the photograph – its violent saturation of the eye – has the potential to transport the viewer to the place contained within its frame unfettered by any obstacles. However, Sloan’s intuitive marking of the photographic print, the red squiggled lines in images such as <i>Funfair, City Centre Craigavon</i>, 1984 and circles in <i>Community Minibus with Senior Citizens, Brownlow, Craigavon</i>, 1984, interrupts the unrestricted access to the world viewed in the photograph. Although Sloan’s use of oil pastels and his subtractive and additive markings on the surface of the photographic print are very much in the realm of his reaction to the photographic print, it is a process that intervenes into the relations between viewer and image; it generates an alternative geographical imagining of place. Writing on Sloan’s use of toners, bleach, paint and scalpel to mark the surface of photographic print, Brian McAvera has commented that; “The manipulated image is the method by which he bypasses the soiled coinage of photographic ‘honesty’, ‘truth’ and ‘authenticity’.</span><span class="s2"><sup></sup></span><span class="s1"> In the image <i>Road, Rathmore, Craigavon</i>, 1985, something more nuanced is taking place than rupturing the photographic codification of realism. The conventional practice of looking at the photograph would be to follow the perspectival lines up to the graffiti across the road and into the disappearing horizon. The red circles marked by oil pastels in the right-hand foreground, indicating bullet holes, force the viewer to check themselves, it transforms the normative expectations of photography’s power to ameliorate the separation between viewer and place. Such images constantly distract the viewer, pulling them toward the slightest of details that charge the experience of place with unseen political tension.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1">Sloan’s recent large-scale colour photographic prints such as <i>Moyraverty Shopping Centre, Craigavon</i>, 2014 and <i>Shopping Centre, </i>Craigavon, 2014, are both a continuation of his fascination with the disconnect between planned development and community, and mark a return to his original engagement with its architecture as a sort disjointed exhibit of objects in a museum.</span><span class="s2"><sup></sup></span><span class="s1"> However, there is a sense now that such structures, individual in their own way, are points of intersection that bind Craigavon together as place. They stand as architectural monuments to a modern vision of community that was yoked constantly between place and ‘placenessness’. Indeed there is a feeling of redemption in Sloan’s most recent work on the tensions between place and ‘placenessness’, one in which he photograph might just ameliorate the sense of separation between viewer and the place depicted in the photograph.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://vimeo.com/103467067">Ka Fue Lay</a> from <a href="https://vimeo.com/victorsloan">Victor Sloan</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;">Sloan’s video <i>Ka Fue Lay</i>, shot in 2014, depicts one of the many Vietnamese migrants who arrived in Craigavon in the 1980s. Sloan’s series <i>Vietnamese Boat People</i>, perhaps more than other work on Craigavon, reflected the alienating effects of the area and the struggles to establish an authentic sense of belonging and community in spite of the disconnect between the built environment and the people who lived there. In the video, Ka Fue Lay looks through a series of photographs of friends and family which are shown to the viewer. Hands hold the photographs, fingers point to individuals, stories are told. Although Ka Fue Lay’s voice moves between identifying individuals, places and stories of life in another time and another place, the photograph is visible at all times. It is a material presence and a vehicle to express a sense of attachment to place. When Barthes wrote of his search for an authentic experience of memory, he encountered it while sifting through photographs; holding the material object in his hands, moving one photograph in his grasp to the next, he encountered an authentic sense of attachment to the person in the photograph.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> In Sloan’s video, this sifting through photographs is combined with what Martha Langford identifies as an “oral-photographic performance”.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> For Langford “The accumulation of photographic moments does not replace memory; rather, it overburdens recall with visual data that explodes in the retelling”.</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><sup></sup></span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"> Ka Fue Lay’s stories told through the material touch of the photograph generate a recitation of another time and another place, bodies and places are coalesced within the pictorial frame of the photograph in expressions of belonging and attachment to this seemingly alienating environment. Despite the sense of placenessness associated with Craigavon to the outsider passing through on their way to some other place, Craigavon, it would seem, is redeemed.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Justin Carville, 2014</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><br />Justin Carville is a lecturer in the history and theory of photography at the Institute of Art, Design and Technology, Dun Laoghaire, Ireland. He is the author of Photography and Ireland, publishes by </span><span style="background-color: white; line-height: 18px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Reaktion Books. He </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> has also written extensively on the subject of photography for journals including Photography and Culture, Source and The Journal of Popular Visual Culture.<br /> </span><br />
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<b style="font-family: arial, helvetica, sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Victor Sloan/ Drift</i></span></b></div>
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<span style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="s1"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">Ken Grant</span></b></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Pinebank Community Centre, (Slide),Craigavon, giclée print, 60.96cm x 41.2cm,1981</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It looks like we’re not quite through the winter. Long after trees have shed their leaves, three children sit atop a playground slide. At its foot, a friend waits, with her hands hitched to her waist, whilst another -at the edge of the drama- runs through the dappled shadow towards the fun. To the left of the picture, a younger child is cupped on an elder’s lap, intensely watching the joy she will grow into. A sharp patch of light nips the child’s young face, bringing it into bright and uncomplicated life. Children live in the moment, perhaps they don’t notice the cold, their world is a playground and home is a breath-heavy drama from one dash to the next. No matter where they land, they get to their feet. All is ideal, with everything to hope for. Prospects are good.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">To those settling in Craigavon a decade or so after the original planning had begun in the mid-1960s, the emphasis of play and recreation amongst the clean designs of connecting pathways and traffic-free routes might have seemed an ideal relocation. Conceived as a mix of homes and parkland- with countryside never too far from the doorstep- the distinctive design and the promise of a semirural ideal must have been a convincing prospect. Perhaps the area was understood as a new frontier – or as a self-contained island, pleasantly adrift from the urban tensions and territorial division that urban Belfast would continue to endure. </span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">Those taking on this new start would be joined, in September 1979, by a group of Vietnamese families, who had themselves made their own life-changing slow journey from their home country and its austerity. They would travel by boat and eventually be picked up by larger ships before reaching the UK -where a welcome invitation to the newly established ideal of Craigavon was offered. As the families established themselves, Victor Sloan was on hand to photograph family groups at their homes and again at the local leisure centre. A forthright flashlight subdues the brown and yellowness of a dull interior, the civic colours of the late 1970s. They are new arrivals, standing isolated and different -but children all the same -and they seem happy enough to respond warmly to the photographer’s engagement and the possibilities of making a new world. The aspiration to start again must have felt a common one, shared by those many families who had decided to take part in this new and untested phase of Ulster’s development. </span></span></div>
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<span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan’s earliest photographs of Craigavon tend to speak to the dominant photographic forms of the day. Often wide and inclusive, they are free of the layered, abrasive reworking of the print surface that he would later become more widely known for. Instead, they seem carefully populated and precisely seen black and white frames, made with a warmth and sensitivity that manifests itself as a gentle, respectful humanism. They are</span><span class="s3" style="font-family: "arial" , "helvetica" , sans-serif;"> dexterous</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"> frames, pictures that place children -and the new population- against the structures and skies to which they have been prescribed. </span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">As a photographer, it might have been enough to dwell on the confusing road systems, endless roundabouts and sterile planning ideals that proposed the car over anything that might encourage community interaction. Although the work Sloan made at that time moves beyond such understandable preoccupations, the asphalt rings of new traffic systems would appear now and then, as circular grassed mounds flanked by newly planted saplings. Low-rise, uniform housing estates and quiet, rain-washed roads seem dormant–almost as if waiting for the <i>car-less</i> population to catch up. Elsewhere, there is a strong sense of how families engage with the new clean-lined pathways. Long before <i>desire lines</i> will be established (-those pressed down vernacular trails that wear away the grasslands in spite of planners wishes), locals would have to negotiate new and confusing link bridges and walkways. Victor Sloan articulates this: In a picture that shows a handful of young people whose paths may never cross, he frames shadow, bollards and litter –organizing the straight lines of roofing and flagstones into a picture that is nearly an architectural study, save for the un-tethered dog that goes one way and a child, lagging behind as it tries to keep close to the pack, which goes the other. </span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">The early photographs relate the sense of coming to terms with a new terrain. Moving from one section to another with a young family in tow would always prove taxing to those learning to navigate by the <i>north star</i> of a shopping ‘super-mall’ –that <i>dead centre</i> that seems to mark the soulless heart around which new town models are most often constructed. There’s a sense of the wider farmland and space that marks the edges of the development, but also a suspicion that, whilst it’s there, whilst it’s almost close enough to touch, lived experience might mean that it is less easy to ever truly reach. Waiting at a bus stop in front of a low modern estate, low enough to be held by the weight of the sky, high enough to obscure the view of any wider nourishing landscape, a photograph of a group of residents -waiting to move on with their day- is a gentle picture. It seems about little more than a nod to a patient limbo. Yet beyond this, it remains a picture that perfectly acknowledges the quiet and dignified effort of modest travel through an obstructive landscape. Such brief moments of strangers passing give the ordered topography of a new landscape its pulse. In light and dark, the photographs offer precise accounts of the structure of Craigavon, yet often with the trace of youthful inquisitiveness and, eventually, the more growing marks of anger that so often accompany troubled adolescence.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Shopping Centre,(Punk), Craigavon, giclée print, 60.96cm x 41.2cm, 1985</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Outside of Craigavon throughout the 1980s, tensions were apparent across the UK and Ireland. Hunger strikes would see 10 men die in protests a whole world -or just a few miles- away in Belfast. All lives have soundtracks and the second wave of punk, with its more politicized targeting of the Thatcher government- would become acutely focused around adjacent unrest, social opportunities and the declining models of youth training and employment. We might remember how some of the key industries had earlier relocated to serve as local and sustained employment initiatives for these remote new towns across the UK and Europe- and we may recall how many would become unviable and eventually pull out. Craigavon’s own example, </span><i style="font-family: arial, helvetica, sans-serif;">Goodyear,</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> would close in 1983. Coupled with the unsettling tinder of Ulster’s Troubles, as they permeated and influenced daily experiences, the ideal of a new and uncomplicated start -of a new life of nourishment and opportunity- would remain an ideal forged by planners and architects -rather than something experienced without complication. Against such an economic terrain, Sloan’s photograph of the young punk with the hand painted leather jacket perhaps really did believe he was living out the </span><i style="font-family: arial, helvetica, sans-serif;">Partisans</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> song ‘</span><i style="font-family: arial, helvetica, sans-serif;">17 years of hell’ -</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> whilst he stands facing a watchful policeman… each playing their part in the flash-lit carnival that would interrupt another Craigavon night. </span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan’s own children occasionally appear, as he follows the events that include trips to the shops or mark another Halloween. There is a sense of the seasons turning and rituals punctuating the darker nights. His flashlight reaches scrambling kids as they move through the unrefined grass banks at the edge of a newly established estate. Quite naturally, for a father whose path and time might be shaped by the demands of those he cares for, some pictures betray something of the mundane routines and sparks of exhilaration that parenthood presents to us -none more so, perhaps than in a photograph taken outside the large shopping centre, with it’s clean ceramic tiling and a welcoming logo -so familiar across so many new towns that it somehow means nothing. Ahead of passing shoppers and an entwined waiting couple, three acrobatic children spin head over heels on a tubular safety barrier, like hanging bats on a steel branch. They are protected by duffle coats and fearless, too slight to ever hit the ground. Somehow in this experimental landscape of Craigavon, with flat roofs that will eventually collect rain and need to be adapted and redesigned by resourceful inhabitants, Victor Sloan records the immersion of youth and the quiet integrity of those now navigating their new land.</span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">As Sloan’s working process evolved, so did its form and, as with the territory he would draw source material from, complications arose. The structural pins of the council offices, once photographed from a discreet distance as a topographical study to mark the establishing of local authorities, would eventually return in the work, its Meccano-like frame now held in a tight cold-blue composition. As just one element in a compressed assemblage of caravans, passing traffic and foliage, it is part of a stifling, boxed-in geometry. Against the blue wash of the print, red pastel mark-making pronounces itself. Whether an echo of the notations of architects, or scrutineers–or whether a natural borrowing from the graffiti that increasingly marked the roadways and walls in this new land, the red markings seem troubling additions. Sloan also exploits photography’s privileged rendering of scale and perspective. In one of the most curious of these works a handful of people seem to huddle close together in some intimate parliament. They seem so closely engaged, yet so helplessly exposed by the rising slope that conspires to place them, doll-like, atop a paint-daubed wooden shed…weathered forms, ragged against the waning daylight. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan’s revisiting of the earlier material overwrites a less complicated time and </span><i style="font-family: Arial, Helvetica, sans-serif;">Drift </i><span style="font-family: "arial" , "helvetica" , sans-serif;">as an exhibition privileges us with this knowledge and context. In a photograph of a play area, now closely cropped and congested, a child is neck deep in the sandy soil of a play pit, head and limbs now ringed by the marks of some more knowing deliberation. Against a roadside junction box, hand-painted with the logos of paramilitary groups, small red circles seem to mark where something troubling may have come to rest. In another picture, the red line draws out an individual from a softly focused crowd at night, as they stand a few steps from what maybe a police jeep. Pastel marks alert us to the places where danger may lie, where evidence was found or innocence lost.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtDs8StONoI2RnHDIM_eLvAEm_dCWdP48VZiABhjewXGjZYzs5hBsBfJVpXs51cr74t94Swgi-FRcDr2xXptgpxRCvjYGXRA9YBrbnuX5akvKjhj2B3LyTxeblnUNpcEq-OjnL03FFjcb/s1600/4.Bus+Stop%252C+Craigavon%252C+silver+gelatin+print%252C+toner+and+oil+pastel%252C+24cms+x+25cms%252C+1985jpg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtDs8StONoI2RnHDIM_eLvAEm_dCWdP48VZiABhjewXGjZYzs5hBsBfJVpXs51cr74t94Swgi-FRcDr2xXptgpxRCvjYGXRA9YBrbnuX5akvKjhj2B3LyTxeblnUNpcEq-OjnL03FFjcb/s400/4.Bus+Stop%252C+Craigavon%252C+silver+gelatin+print%252C+toner+and+oil+pastel%252C+24cms+x+25cms%252C+1985jpg.jpg" width="400" /></span></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Craigavon photographs mark a moment of departure on so many levels. To those seeking a new beginning, to those escaping a past…the work Sloan made over that time follows an era of optimism, through uncertainty and ultimately to the onset of tensions that would lap at the tarmac shores of this newly built island. Whether it would ultimately be understood as the </span><i style="font-family: arial, helvetica, sans-serif;">Promised Land</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> or as another jigsaw piece in a region that comprised </span><i style="font-family: arial, helvetica, sans-serif;">the Murder Triangle</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, will be answered in time. New beginnings, it would seem, are not exempt from older reckonings…</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDiUaWYH3UfnzpifdapTEX6rjrMEYM4DI-8EYgXbA7m0LMQugbOVqB5pZHoKDqqPEzjgWTf8oGURHDlZoAjnAGkMboq0Uh6Cqwij4SVd2cuPO8tgp5JDrlicLjc2j5V7F99yVy8kqmC6r/s1600/33.Pinebank+Community+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C106.68cm+x+55.8cm%252C+2014..tif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDiUaWYH3UfnzpifdapTEX6rjrMEYM4DI-8EYgXbA7m0LMQugbOVqB5pZHoKDqqPEzjgWTf8oGURHDlZoAjnAGkMboq0Uh6Cqwij4SVd2cuPO8tgp5JDrlicLjc2j5V7F99yVy8kqmC6r/s400/33.Pinebank+Community+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C106.68cm+x+55.8cm%252C+2014..tif" width="400" /></span></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In recent months, Victor Sloan has return to photograph Craigavon. The brick and tile shopping centre and wider precincts seem to have weathered but are mostly intact. Commerce and livelihoods have survived the many storms that would blow across the decades. Yet now, the buildings seem subdued in these quiet, colour photographs–perhaps even looking somewhat smaller than we might have believed them to be in the wide-eyed early frames Sloan made nearly 40 years ago. After the first swells of a new tide have stilled, after the children had themselves moved further along on that universal journey from innocence to parenthood, Craigavon is no longer a new start but instead a complex and sprawling conurbation. Now it has its own history and deeper shadows. Victor Sloan seems conscious of this – why else might he take a photograph of an overgrown, abandoned playground, a picture that can only be a counterpoint for a much louder moment, one made early in his long engagement with Craigavon, when he saw children run joyful and free, on a more cared for, open ground?</span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ken Grant</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGGfO4PF4AQANEJLVuVCOFfGVnm8AMz30wLiyuthCNvhTxQDULXQA5UsC0myABMJ-BmRZqmIhkmcmMmvtio8DxhDLNU_GYckCTeWYl0UlqyGr1iw-IfuDpL-eTlsKUL9xOxFv-YXE-hh3y/s1600/20483119242_21e1dc6100_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGGfO4PF4AQANEJLVuVCOFfGVnm8AMz30wLiyuthCNvhTxQDULXQA5UsC0myABMJ-BmRZqmIhkmcmMmvtio8DxhDLNU_GYckCTeWYl0UlqyGr1iw-IfuDpL-eTlsKUL9xOxFv-YXE-hh3y/s400/20483119242_21e1dc6100_k.jpg" width="400" /></span></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Pinebank Community Centre, (Sandpit),</span> </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Craigavon, giclée print, 50.8cm x 35.56cm, 1984 </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbSpwfS1njgcWvjfVxE-10sAiBSl28Jb2K16HQMOHZUc0k9_YAVKapzuzA02Z1ilIdOd-tfHXRLjTa4r-zeUu2pmkILKc7azxcDw0bSOHiuvW8GU6fspIcJWC1R_5DcWRKl4dI9jZF5op/s1600/20660295875_7a63f78ef4_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbSpwfS1njgcWvjfVxE-10sAiBSl28Jb2K16HQMOHZUc0k9_YAVKapzuzA02Z1ilIdOd-tfHXRLjTa4r-zeUu2pmkILKc7azxcDw0bSOHiuvW8GU6fspIcJWC1R_5DcWRKl4dI9jZF5op/s400/20660295875_7a63f78ef4_k.jpg" width="400" /></span></a></td></tr>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Legahory Shopping Centre</span>, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm, 1982</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJD9EEYpsr_tNrQXd1Q7HTwr4G4PBFFISUCCJFycvR0blxZuZGRy8o5F-15fKwk0KLXOdcHq9CplnP6zHALH70YRlVFEBwZl5waFVK075naUuFDJ8O9R4GX3QcRncxytf5qDrM-3FTj6ct/s1600/19869758814_5e821b5c5f_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJD9EEYpsr_tNrQXd1Q7HTwr4G4PBFFISUCCJFycvR0blxZuZGRy8o5F-15fKwk0KLXOdcHq9CplnP6zHALH70YRlVFEBwZl5waFVK075naUuFDJ8O9R4GX3QcRncxytf5qDrM-3FTj6ct/s400/19869758814_5e821b5c5f_k.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Shopping Centre, (Children Playing),</span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm, 1985</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_vMKmrSemcQgHMdXszBVwB_g3izJSgpJyzcZ2-ROfyuD1pvdBwAgpq8iitOpQxdVnmuUh7zOZ_2XERozjYQKW7eoj8lSkXcGoFzUVX-r0LkA0m5lpP7OMnoQAGZgReWhI_GNe9CGddJ6/s1600/20472239370_54b92a0056_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_vMKmrSemcQgHMdXszBVwB_g3izJSgpJyzcZ2-ROfyuD1pvdBwAgpq8iitOpQxdVnmuUh7zOZ_2XERozjYQKW7eoj8lSkXcGoFzUVX-r0LkA0m5lpP7OMnoQAGZgReWhI_GNe9CGddJ6/s400/20472239370_54b92a0056_k.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ridgeway, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm,</span><span style="font-family: "arial" , "helvetica" , sans-serif;">1982</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriIncupd3LuUxERjjOBegU9xZDY9cAl3Gv1CFVimmJ9Ox3i3r5lyfV5pTl7szGraPIZSGiu4YslYXFkPFyoTSSYzZ84koT8axSNnrN5SqxGN2eVF0gK59F86PjKFK_Tkm7PT3-4wa98tH/s1600/20491900295_5e5f0ddc8b_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriIncupd3LuUxERjjOBegU9xZDY9cAl3Gv1CFVimmJ9Ox3i3r5lyfV5pTl7szGraPIZSGiu4YslYXFkPFyoTSSYzZ84koT8axSNnrN5SqxGN2eVF0gK59F86PjKFK_Tkm7PT3-4wa98tH/s400/20491900295_5e5f0ddc8b_k.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Lake Road,</span> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm, 1984</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBVCIcqK0EswQ9LZLJiDPe0rBVYMq4pjVJ6XZMaODPkY-ALkvRGWj_jOYxRWMe4N0TJvjO0YUXJ6Vbrxu3qN3mFgQbhbfhEMR2cGz0G626Prn5br2aZfT0LiXBPAYFMmYeFqCtM_opCMbi/s1600/20634022126_abc5172c3f_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBVCIcqK0EswQ9LZLJiDPe0rBVYMq4pjVJ6XZMaODPkY-ALkvRGWj_jOYxRWMe4N0TJvjO0YUXJ6Vbrxu3qN3mFgQbhbfhEMR2cGz0G626Prn5br2aZfT0LiXBPAYFMmYeFqCtM_opCMbi/s400/20634022126_abc5172c3f_k.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Hospital</i>,</span> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm,</span><span style="font-family: "arial" , "helvetica" , sans-serif;">1987</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitLIpas5aUkStwmpXeoJMdyW-QHFgZDkegMC10kFTi0dS_kKw6r-VJdRinFl6XAFQRrsMJkEjqWsvb5UriH6VeEBIMX2KMcImGNEbtLLgzaq02h4gYgq2Sw-U06An0fPROOyI_HSE1qD9Q/s1600/20651099672_b1a86e5eea_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitLIpas5aUkStwmpXeoJMdyW-QHFgZDkegMC10kFTi0dS_kKw6r-VJdRinFl6XAFQRrsMJkEjqWsvb5UriH6VeEBIMX2KMcImGNEbtLLgzaq02h4gYgq2Sw-U06An0fPROOyI_HSE1qD9Q/s400/20651099672_b1a86e5eea_k.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;">Shopping Centre, (Sign)</span></i>, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Craigavon, giclée print, 50.8cm x 35.56cm,</span><span style="font-family: "arial" , "helvetica" , sans-serif;">1982</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfRbcSKqELB8i-PZr02ul5jeFTQ3-7NWdxO_zOlXRVORYeLSjx7h7pb2zfOlumdQGtJBBnwAkJjzl6Og0JLUdngGIVtgQizPqx3_sJMa8GK4N7xFCAAvcoMm-1fUH03S746j1cZ6RimKJ/s1600/20651120432_0e007a6a57_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwfRbcSKqELB8i-PZr02ul5jeFTQ3-7NWdxO_zOlXRVORYeLSjx7h7pb2zfOlumdQGtJBBnwAkJjzl6Og0JLUdngGIVtgQizPqx3_sJMa8GK4N7xFCAAvcoMm-1fUH03S746j1cZ6RimKJ/s400/20651120432_0e007a6a57_k.jpg" width="400" /></i></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Building the Civic Centre</span>,Craigavon, giclée print, 50.8cm x 35.56cm,1982</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6phP-I1SaVorgCB0lDMHatWXfLW84jmiiJmRC8T-NToy7Wn1FSkEmM-nrwrHW9l49KWOlt6Z9bl8p922_9IwAN-QTR1q_2h_3E-Yx6UoEWVye_Eghsmg1vbj9smulTcpdhAEfc9dSB6E/s1600/5.Statue+Unveiling%252C+silver+gelatin+print%252C+toners+and+oil+pastel%252C+26cms+x+26cms%252C+1985.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6phP-I1SaVorgCB0lDMHatWXfLW84jmiiJmRC8T-NToy7Wn1FSkEmM-nrwrHW9l49KWOlt6Z9bl8p922_9IwAN-QTR1q_2h_3E-Yx6UoEWVye_Eghsmg1vbj9smulTcpdhAEfc9dSB6E/s400/5.Statue+Unveiling%252C+silver+gelatin+print%252C+toners+and+oil+pastel%252C+26cms+x+26cms%252C+1985.jpg" width="395" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Statue Unveiling, silver gelatin print, toners and oil pastel, 26cms x 26cms, 1985</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm61EAM9mI7g32TA_U9qi1LR_Y-Y3HaRk5KCGThMYlWQhnrcbqjrYsUB55RWFPeU6i3QLCTuRseNIhLd1Lavbm1ZeVm8XEMAyM7i6oxUqPQzf5fVdv-9UB5VuupbOLa9YNQvrgsx6muyB0/s1600/20473496369_e4a652bac6_k.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm61EAM9mI7g32TA_U9qi1LR_Y-Y3HaRk5KCGThMYlWQhnrcbqjrYsUB55RWFPeU6i3QLCTuRseNIhLd1Lavbm1ZeVm8XEMAyM7i6oxUqPQzf5fVdv-9UB5VuupbOLa9YNQvrgsx6muyB0/s400/20473496369_e4a652bac6_k.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ka Fue Lay, giclée print on dibond, 29.7cm x 42cm, 1984</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYcqG2eq44294cBcCy_Y9rtllaQG24EgsX5BNxHFHMy_UFNQ_pRkXwbGc2d4XohbO-7KoV-OXxs-95zAaQGdiZqBKMnerPPiBfw0qXtHofyMNAh24Xh1siofBQBqCkZ7gzWbof-mo4vZr/s1600/30.Moyraverty+Community+Centre%252C+Craigavon%252C+182.88cm+x+95.67cm%252C+gicle%25CC%2581e+print+on+dibond%252C+2014jpg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYcqG2eq44294cBcCy_Y9rtllaQG24EgsX5BNxHFHMy_UFNQ_pRkXwbGc2d4XohbO-7KoV-OXxs-95zAaQGdiZqBKMnerPPiBfw0qXtHofyMNAh24Xh1siofBQBqCkZ7gzWbof-mo4vZr/s400/30.Moyraverty+Community+Centre%252C+Craigavon%252C+182.88cm+x+95.67cm%252C+gicle%25CC%2581e+print+on+dibond%252C+2014jpg.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Moyraverty Community Centre, Craigavon, 182.88cm x 95.67cm, giclée print on dibond, 2014</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTwZNO6Lm5ypFkgSIv2F8N4qgjWQmZtPkkuavSnrE-4gxXCl2hlxXzmTIKdQ2Z1SgMIPxkJUTqk3dPbqU2o_YkgV5MytnkUKMzBAwXe_Wa0MonyebmxmIfbiJTVVBZHE48Byx461TXP-8/s1600/31.Moyraverty+Shopping+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C+106.68cm+x+55.8cm%252C+2014%252C.tif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTwZNO6Lm5ypFkgSIv2F8N4qgjWQmZtPkkuavSnrE-4gxXCl2hlxXzmTIKdQ2Z1SgMIPxkJUTqk3dPbqU2o_YkgV5MytnkUKMzBAwXe_Wa0MonyebmxmIfbiJTVVBZHE48Byx461TXP-8/s400/31.Moyraverty+Shopping+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C+106.68cm+x+55.8cm%252C+2014%252C.tif" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Moyraverty Shopping Centre, Craigavon, giclée print on dibond, 106.68cm x 55.8cm, 2014</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVX2y3VWx2DzXUD6Qg-YuOA-1SourCThdoZ2d3WPN2H9bQ3z7jFTrXutKOwzunGD2JU8anux7V2-7mQ8RcZN7vVMl6Xyz-hACujjezkHBxX77RsSDSsOtRPv9a13hIQK5-eNVOU0vywDb/s1600/32.Cafe%252C+Moyraverty+Community+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C+106.68cm+x+55.8cm%252C+2014.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVX2y3VWx2DzXUD6Qg-YuOA-1SourCThdoZ2d3WPN2H9bQ3z7jFTrXutKOwzunGD2JU8anux7V2-7mQ8RcZN7vVMl6Xyz-hACujjezkHBxX77RsSDSsOtRPv9a13hIQK5-eNVOU0vywDb/s400/32.Cafe%252C+Moyraverty+Community+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C+106.68cm+x+55.8cm%252C+2014.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Cafe, Moyraverty Community Centre, Craigavon, giclée print on dibond, 106.68cm x 55.8cm, 2014</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSFPsFsf5IhcLHe7WBxHTH5TBumSjc_RaNXMpnJDyCQuE1Wu10XnjXo8-Q8YWDxdt2xWWFaHHR-EbkHhyphenhyphenbPByg6Ds0svOKTPgFbsFMbHbHl3JpB4zLYbCK7TihpHnKL4HUP6BrNA5xq7z/s1600/34.Shopping+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C106.68cm+x+55.8cm%252C+2014.tif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSFPsFsf5IhcLHe7WBxHTH5TBumSjc_RaNXMpnJDyCQuE1Wu10XnjXo8-Q8YWDxdt2xWWFaHHR-EbkHhyphenhyphenbPByg6Ds0svOKTPgFbsFMbHbHl3JpB4zLYbCK7TihpHnKL4HUP6BrNA5xq7z/s400/34.Shopping+Centre%252C+Craigavon%252C+gicle%25CC%2581e+print+on+dibond%252C106.68cm+x+55.8cm%252C+2014.tif" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Shopping Centre, Craigavon, giclée print on dibond,106.68cm x 55.8cm, 2014</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>DRIFT: </i></b></span><b style="font-family: Arial, Helvetica, sans-serif;"><i>Victor Sloan </i>was exhibited at the </b><b style="font-family: arial, helvetica, sans-serif; line-height: 20.8px;">F E McWilliam Gallery and Studio, </b><b style="line-height: 20.8px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">6 December - </span><span style="font-family: "arial" , "helvetica" , sans-serif;">28 February 2015,</span></b></div>
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<br />Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-52262984441194796182016-02-22T09:53:00.000-08:002016-02-25T09:56:16.960-08:00News 2015<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan's work is included in:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Vanishing Futures: Collective Histories of Northern Irish Art</i></b></span><b style="font-family: Arial, Helvetica, sans-serif;"><br /></b></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><br /></b><b style="font-family: Arial, Helvetica, sans-serif;">Golden Thread Gallery, Belfast </b><b style="font-family: Arial, Helvetica, sans-serif;">22 October - 5 December 2015</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWw4V3u6dD2y4i64usZ1-Q6cxRVH7hDh8flPTY8lLcpxhlfw3ZN-19YSAEAW4zV4rLgKGqaGnA8hO0AWXfo_VAQQIVCit6LF_zeS_yiMFnfKC_V05ZzpB9P8xLzugwGawWs-O3Kkzp013/s1600/Magazine+Gate%252C+Derry%252C+Victor+Sloan.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWw4V3u6dD2y4i64usZ1-Q6cxRVH7hDh8flPTY8lLcpxhlfw3ZN-19YSAEAW4zV4rLgKGqaGnA8hO0AWXfo_VAQQIVCit6LF_zeS_yiMFnfKC_V05ZzpB9P8xLzugwGawWs-O3Kkzp013/s400/Magazine+Gate%252C+Derry%252C+Victor+Sloan.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: x-small; line-height: 19.2px; text-align: left;">© </span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: x-small; line-height: 19.2px; text-align: left;">Victor Sloan</span></td></tr>
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<i style="font-family: Arial, Helvetica, sans-serif;">Vanishing Futures</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> is the twelfth and final instalment of the Golden Thread Gallery’s series of Collective Histories exhibitions. For this, the final instalment, Peter Richards, the series instigator, will bring together works by a number of artists that have played their part in shaping and enriching his experience of living in Belfast for the last twenty years and more. The exhibition will feature works from the late 1970’s through to the present day and embrace, where plausible, the construct of world-weary déjà vu.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Artists featured include: Lorraine Burrell; Lisa Byrne; Ursula Burke; Ian Charlesworth; Colin Darke; Miriam de Búrca; Maurice Doherty; Factotum; Ciara Finnegan; Phillip Hession; Alan Hughes; Shiro Masauyama; Moira McIver; William McKeown; Phillip Napier; Sinead O’Donnell; Brendan O’Neil; Paul Seawright; Victor Sloan; Peter Spiers; Una Walker.<br /><br />The series was initiated in 2005 with the launch of Post-War Pre Troubles. Each instalment to date has featured a guest curator, these include: Dr S.B. Kennedy; Brian McAvera; Dr Liam Kelly; Dougal McKenzie; Declan McGonagle; Dr Slavka Sverakova; Brian Kennedy; Máirtín Ó Muilleoir; Shân McAnena; Dr Cherie Driver; and Hugh Mullholland. Each curator has been charged with sharing their personal version of Northern Irish art history, influenced by their own expertise, areas of interest and chosen timeframe.<br /><br />The exhibition will be accompanied by the launch of the twelfth and final publication in the series, and the launch of a limited edition box set featuring all twelve publications.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>The Golden Thread Gallery</b>, </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">84-94 Great Patrick Street, </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Belfast BT1 2LU</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">T<span style="line-height: 20.8px;">el: 028 90330920</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 20.8px;">Email: </span><span style="line-height: 20.8px;"><a href="mailto:Info@gtgallery.co.uk">Info@gtgallery.co.uk</a></span><br /><span style="line-height: 20.8px;">Web: </span><a href="http://www.gtgallery.org.uk/">www.gtgallery.org.uk</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b><br /></b></i></span><span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif;">___</span><span style="background-color: white; color: #666666; font-family: "arial" , "helvetica" , sans-serif;">______________________________________________</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Belfast Print Workshop Gallery, 4 – 28 June 2015</b></span></div>
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<i style="font-family: Arial, Helvetica, sans-serif;">Television</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, from </span><i style="font-family: Arial, Helvetica, sans-serif;">The Baron</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> series, screenprint on Fabriano Rosaspina Avorio 285gsm, 25.5 x 38.0cm, 2015 </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Baron</i> is a new series of works produced by Victor Sloan, Belfast Photo Festival 2015 artist in residence at Belfast Print Workshop.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan is internationally recognised for his work in relation to the Northern Irish Troubles. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His arresting images of the Orange Order Marches and other traditions particular to here have been exhibited all over the world. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His other work, with subject matters including the Craigavon and Vietnamese series, and his images inspired by the abandoned Soviet military base in Poland, are equally powerful images. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sloan's work extends beyond the Northern Ireland borders and tackles diverse subjects with universal relevance, with this new work focusing on Syria.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.victorsloan.com/2015/06/the-baron-hotel-syria-by-brian-kennedy.html">Read essay <i>The Baron Hotel, Syria </i>by Brian Kennedy</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaLZGAJcre6fD7Us3dFDp920-yq9Fc0izbhVe892HT5z_BCy9H0b3XXJnH1Z4vIlWWAFTPxD0Ma-yWLa04vhynU-Zg2K3gYVtiSDIz_Q53U1t5aJ7Ss8cmnDitLNpEp0kv87_es6NeQB8f/s1600/Victor+Sloan+The+Baron.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaLZGAJcre6fD7Us3dFDp920-yq9Fc0izbhVe892HT5z_BCy9H0b3XXJnH1Z4vIlWWAFTPxD0Ma-yWLa04vhynU-Zg2K3gYVtiSDIz_Q53U1t5aJ7Ss8cmnDitLNpEp0kv87_es6NeQB8f/s320/Victor+Sloan+The+Baron.jpg" width="320" /></a></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">Belfast Print Workshop Gallery</b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Cotton Court</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">30-42 Waring Street</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Belfast BT1 2ED</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Telephone: Workshop: 028 90231323</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">BPW Gallery: 028 90230323 Web: <a href="http://bpw.org.uk/">http://bpw.org.uk</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://bpw.org.uk/"><br /></a></span></div>
<b style="font-family: Arial, Helvetica, sans-serif;">Gallery Opening Hours:</b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Mon-Friday: 10am -5pm </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Saturday: 11am - 4pm</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Sunday: Closed. Open until 9pm on the first Thursday of every month as part of Belfast's Late Night Art</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Also see: </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Lens Culture</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.lensculture.com/articles/victor-sloan-the-baron-hotel">https://www.lensculture.com/articles/victor-sloan-the-baron-hotel</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Valasz</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://valasz.hu/kronika/mi-koti-ossze-charles-de-gaulle-t-es-agatha-christie-t-113267">http://valasz.hu/kronika/mi-koti-ossze-charles-de-gaulle-t-es-agatha-christie-t-113267</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan’s work is included in:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><b style="font-family: Arial, Helvetica, sans-serif;"><i>Art from Contemporary Conflict </i></b><b style="font-family: Arial, Helvetica, sans-serif;">by Sara Bevan </b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="color: #333333; font-family: arial, sans-serif;">Entering the Field, Armagh</i><span style="background-color: white; color: #333333; font-family: "arial" , sans-serif;">, silver gelatin print, toner and gouache, 58cms x 58cms, 1986</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The Imperial War Museums (IWM) are widely recognised for its incomparable collection of twentieth-century British art, which is built around the extensive programs of war art that were created with government support during the First and Second World Wars. In the decades since, images from these artworks have become icons of British history and of the experience of war. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">What is less well known is that IWM has similarly striking holdings in contemporary art--and that those artworks reflect experiences of and responses to a wide range of recent and ongoing conflicts. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Showcasing artwork created in response to fighting in Northern Ireland, the Falklands, Bosnia, Iraq, Afghanistan, and more, and featuring work by such prominent contemporary artists as Steve McQueen, Roderick Buchanan, and Langlands & Bell, this book reminds us that war continues to spur artists to creative reflection today.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Purchase from <a href="http://www.amazon.co.uk/gp/product/1904897746?psc=1&redirect=true&ref_=od_aui_detailpages00">Amazon </a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Imperial War Museum</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Lambeth Road</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">London SE1 6HZ</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">United Kingdom</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Email: General enquiries: <a href="mailto:mail@iwm.org.uk">mail@iwm.org.uk</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Telephone: +44 (0)207 416 5000</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">General enquiries: +44 (0)207 416 5320</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Fax: +44 (0)207 416 5374</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.iwm.org.uk/">www.iwm.org.uk</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span><b><span style="font-family: "arial" , "helvetica" , sans-serif;">6 December - </span><span style="font-family: "arial" , "helvetica" , sans-serif;">28 February 2015</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWc2qlUGRrNdrYQKg7xNeOqMG6EW_UmXzutRPYx7h1q_bhl9l6sGohpY8MGM0PgATbQ4Kq09VKj8pslo2gYdoYG5ycK7x87AHAp1c407znfVJum7_yuVVdUBcz6omv5Osl8ZbPUvDBCdxz/s1600/Victor+Sloan+-+Drift.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWc2qlUGRrNdrYQKg7xNeOqMG6EW_UmXzutRPYx7h1q_bhl9l6sGohpY8MGM0PgATbQ4Kq09VKj8pslo2gYdoYG5ycK7x87AHAp1c407znfVJum7_yuVVdUBcz6omv5Osl8ZbPUvDBCdxz/s1600/Victor+Sloan+-+Drift.png" width="333" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif;">An influential artist and educator, Victor Sloan is internationally recognised for his powerful work related to the Northern Irish Troubles. His arresting images of Orange Order Marches, the Sham Fight at Scarva and the Security Forces have been exhibited all over the world. Less familiar are Sloan’s works relating to Craigavon and the Vietnamese Boat People who were settled there in 1979. Sloan got to know some of the Vietnamese community and photographed them in Moyraverty Community Centre and in the Burnside estate where some of the families were housed.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />In preparation for this exhibition, Sloan rekindled his friendship with Ka Fue Lay, who was a teenager when he settled in Craigavon in 1979 and now lives in Salisbury, England. While visiting Ka Fue Lay recently, Sloan made a new video in which Ka Fue Lay discusses his life in Vietnam, displays family photographs and fondly recalls his time in Craigavon. The exhibition also includes Sloan’s black and white photographs of Craigavon from the late 1970s and early 1980s, contemporary images that he created by scratching, painting and bleaching photographic prints, and recent work including large colour photographs of Moyraverty<br /><br />This exhibition, selected by Dr Riann Coulter, Curator of the F.E. McWilliam Gallery & Studio and Feargal O’Malley, Curator at the University of Ulster, is a timely reflection on the history of Craigavon and the experiences of the Vietnamese Boat People who were amongst the first refugees to settle in Northern Ireland, post-World War II.<br /><br />This exhibition will be on show at the FE McWilliam Gallery & Studio until Saturday 28 February 2015 and will be accompanied by an illustrated catalogue with essays by Ken Grant and Dr Justin Carville. An exhibition of Sloan’s art works inspired by the former Soviet Army Camp at Borne Sulinowo, Poland, will run concurrently at the University Art Gallery, University of Ulster, Belfast, from 27 November 2014 to 24 February 2015.<br /><br />Drift continues until 28 February 2015</span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">F.E. McWilliam Gallery & Studio</b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">200 Newry Road,<br />Banbridge,<br />County Down, BT32 3NB<br />Northern Ireland<br /><br />Telephone: 00 44 28 4062 3322<br />Email: <a href="mailto:info@femcwilliam.com">info@femcwilliam.com</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">Internet: </span><a href="http://www.femcwilliam.com/" style="font-family: Arial, Helvetica, sans-serif; text-align: center;">www.femcwilliam.com</a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Like us on Facebook at <a href="http://www.facebook.com/femcwilliamgallery">www.facebook.com/femcwilliamgallery</a><br />Follow us on Twitter at <a href="http://www.twitter.com/femcwilliam">www.twitter.com/femcwilliam</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i><br /></i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i><br /></i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Victor Sloan's works are included in <i>Art of the Troubles</i>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Art of the Troubles</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>1 November 2014 - 27 February 2015</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSW-1vD2V6pSweCqNKT3cMTJ69nOEXaH6ALCGpg8uiy13j7BrzEF6yCZGKav7LVTpZPExUuqRcrLid9CT_YO5BxpeY72MmmQelWAdB0N4OZWLLHBlI-lZFgLTU3iwn5lYhH1s-bDs99Zsj/s1600/Victor+Sloan+Art+of+the+Troubles.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSW-1vD2V6pSweCqNKT3cMTJ69nOEXaH6ALCGpg8uiy13j7BrzEF6yCZGKav7LVTpZPExUuqRcrLid9CT_YO5BxpeY72MmmQelWAdB0N4OZWLLHBlI-lZFgLTU3iwn5lYhH1s-bDs99Zsj/s1600/Victor+Sloan+Art+of+the+Troubles.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This major new exhibition features artists’ responses to the Troubles in Northern Ireland. It offers avenues for exploring the way in which the Troubles have been viewed by artists and for reflecting on the manifestations and impact of violence and division in our society. The exhibition includes paintings, drawings, photographs, videos and sculpture. </span><i style="font-family: Arial, Helvetica, sans-serif;">Art of the Troubles</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> explores a broad range of themes including violence and destruction, suffering and loss traditions and life in the midst of turmoil.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Art of the Troubles </i>has been developed in partnership with the Ulster Museum and includes many works from the collections of National Museums Northern Ireland including the recently gifted Arts Council of Northern Ireland Collection. Also incorporated are loans from the Imperial War Museum, London and the Irish Museum of Modern Art as well as works from private collections and the artists themselves.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Email: </span><a href="mailto:info@wolverhamptonart.org.uk" style="font-family: Arial, Helvetica, sans-serif;">info@wolverhamptonart.org.uk</a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Web: </span><a href="http://www.wolverhamptonart.org.uk/" style="font-family: Arial, Helvetica, sans-serif;">www.wolverhamptonart.org.uk</a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The University Art Gallery is pleased to announce its upcoming exhibition, </span><i style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Victor Sloan: Borne Sulinowo</span></i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">. This exhibition will present photo works selected from Sloan’s series <i>Borne Sulinowo.</i></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In the summer of 1993 and 1994 Victor Sloan with other Irish artists participated in a series of exhibitions and performances entitled <i>Irish Days</i> at the Baltic Art Gallery in Uska, Poland.</span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">During their stay in Poland, Victor Sloan and the other artists visited Borne Sulinowo. It had been a secret base for the Soviet army, a town with 25,000 inhabitants which was hidden in woodland close to the German border. </span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The Red army left the base overnight in the winter of 1992. Since then the town lies deserted. Now only a police station exists as well as a tiny bar with three or four tables. </span></span></div>
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<span class="s1"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Borne Sulinowo is heavily polluted. Wrecks of military vehicles and debris lie everywhere. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Victor Sloan, like the other Irish artists who went there, was inspired to make new work.</span></div>
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<span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-weight: normal;">From <i>Beyond Borne Sulinowo </i>by Jürgen Schneider, 1995</span> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; font-weight: normal;"><a href="http://www.victorsloan.com/2014/11/victor-sloan-borne-sulinowo-by-dr-riann.html">Read <i>Victor Sloan: Borne Sulinowo</i> by Dr Riann Coulter</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">University Art Gallery </span></div>
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<span style="font-size: small;"><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Art and Architecture of Ireland, </i></span><i><span style="font-family: "arial" , "helvetica" , sans-serif;">Volume </span><span style="font-family: "arial" , "helvetica" , sans-serif;">V, </span></i><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Twentieth Century,</i> </span></span><br />
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<span class="s1" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><a href="http://www.ria.ie/Publications/Books/Research-Series/Art-and-Architecture-of-Ireland/Art-and-Architecture-of-Ireland-Volume-V--Twentiet"><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Art and Architecture of Ireland, </i></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Volume</i> </span><i>V,</i><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;"><i>Twentieth Century</i></span></a> is one of 5 volumes of <i>Art and Architecture of Ireland,</i></span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i> </i>published for the Royal Irish Academy and the Paul Mellon Centre by Yale University Press. </span></div>
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<span class="s2" style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The books are an authoritative and fully illustrated account of the art and architecture of Ireland from the early Middle Ages to the end of the twentieth century. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The volumes explore all aspects of Irish art and architecture - from high crosses to installation art, from Georgian houses to illuminated manuscripts, from watercolours and sculptures to photographs, oil paintings, video art and tapestries. </span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This monumental work provides new insight into every facet of the strength, depth and variety of Ireland's artistic and architectural heritage. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">An examination of not only the works of art created in twentieth-century Ireland but also the critical contexts from which they came. </span></span></div>
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<span style="font-size: small;"><i><a href="http://www.ria.ie/Publications/Books/Research-Series/Art-and-Architecture-of-Ireland/Art-and-Architecture-of-Ireland-Volume-V--Twentiet"><span style="font-family: "arial" , "helvetica" , sans-serif;">Volume </span><span style="font-family: "arial" , "helvetica" , sans-serif;">V,</span><span class="s2" style="font-family: "arial" , "helvetica" , sans-serif;">Twentieth Century</span></a></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> covers the work of recent conceptual artists as well as those who used more traditional media. Definitive biographies of many of the key artists of the age are included, and the volume also addresses the main political and social issues that lay behind twentieth-century Irish art. </span></span></div>
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<span class="s2"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Through its many fine illustrations, it recreates the excitement of the art world of the period.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The complete set includes: Volume I: </span><i style="font-family: Arial, Helvetica, sans-serif;">Medieval c.400-1600</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, Volume II: </span><i style="font-family: Arial, Helvetica, sans-serif;">Painting 1600-1900</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, Volume III: </span><i style="font-family: Arial, Helvetica, sans-serif;">Sculpture 1600-2000</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, Volume IV: </span><i style="font-family: Arial, Helvetica, sans-serif;">Architecture</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, and <a href="http://www.ria.ie/Publications/Books/Research-Series/Art-and-Architecture-of-Ireland/Art-and-Architecture-of-Ireland-Volume-V--Twentiet">Volume V: </a></span><a href="http://www.ria.ie/Publications/Books/Research-Series/Art-and-Architecture-of-Ireland/Art-and-Architecture-of-Ireland-Volume-V--Twentiet"><i style="font-family: Arial, Helvetica, sans-serif;">Twentieth century</i><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.victorsloan.com/2014/10/random-images.html">Some Random Images</a></span> <span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-4598180392180837972015-06-13T04:17:00.000-07:002015-06-13T04:17:09.005-07:00The Baron Hotel, Syria by Brian Kennedy<div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In 2008 I was awarded the Thomas Dammenn Junior Memorial Award to make a visual study of the dead cities of Syria. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The following year I tried to travel to Aleppo on the Taurus Express which runs between Istanbul and Aleppo, but unfortunately at that time it was cancelled.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I decided to travel to Syria again the following year and contacted my friend the artist Victor Sloan to see if he would be interested in such a trip. I had previously travelled with Victor to Taiwan and knew he was an interesting travelling companion; he also has an original and individual way of looking at places, people and their surroundings. We decided to fly this time. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Arriving in Damascus we stayed in a small hotel near the ancient centre of the city. The hotel was a converted traditional Syrian house based around a courtyard with a fountain and overhanging fruit trees. Every day we would walk into the old centre of the city and like all tourists visited the famous mosque Umayyad, ate ice cream in Bahir’s Ice Cream Parlour and shopped in the Souk. On one occasion we experienced the slaughter of sheep. This was because it was the festival of Eid. It was a shock to our western sensibilities, as the sheep were killed in front of us in the public streets. The stench of blood flowing into open drains in the hot weather was overpowering. It was almost nauseas and we took deep breaths and walked quickly by. However, it was interesting to note that people only kept one third of the meat of their slaughtered sheep for themselves, another third went to their family and the remaining third to the poor. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Cafe life was very vibrant in Damascus with young couples laughing and joking over cups of tea and coffee, the way young people here would do over alcoholic drinks. Some were smoking hookahs; the heady aroma from the pipes was a mixture of tobacco sometimes flavoured with dried fruit, a very pleasant smell. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Damascus claims to be the oldest city in the world, we were made aware of this when walking down Straight Street which is mentioned in Acts in the Bible. At the bottom of Straight Street there is the house where St. Paul was brought after his conversion to Christianity. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Also near Straight Street we visited the city’s main contemporary art gallery called AllArtNow. We saw a series of installations in some of the most ramshackle and downright dangerous spaces where we’ve ever seen art. Health and Safety in this country would have closed it immediately. Near to the gallery was an interesting area where in the past Muslims, Christian and Jews had all lived together in harmony. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We also travelled beyond the city to visit the ancient Roman site of Palmyra, sadly it is in the news again as parts of it are being destroyed in the current Syrian conflict. Victor insisted that we would get up very early so that he could capture the beautiful golden light on the ancient stone buildings, I never realised that a desert could be so cold, but it was typical of his attention to detail when it comes to taking photographs. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While in the area we visited Beirut in the Lebanon. We also visited the towns of Homs and Hama, now sadly famous for their role in the civil war. Back then Homs was renowned as the city where the most beautiful women in Syria came from and Hama was known for its norias which were giant waterwheels. We also visited the crusader fort, Krak De Chevaliers. Lawrence of Arabia considered it one of the finest castles in the world, as Lawrence described it in his undergraduate tour in 1909. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">While in Damascus we decided to visit Aleppo, the dead cities lie between Aleppo and Damascus so we could visit them on the way. Victor was keen to stay at the Baron Hotel in Aleppo. He had already made contact with the Le Pont gallery in Aleppo, which was the Middle East’s first photographic gallery, where he was to give a talk on his work. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We arrived at the Baron hotel where Victor had arranged to meet Issa Touma the director of the Le Pont gallery. We met in the old bar where many years before, German and British spies had rubbed shoulders. We were given Agatha Christie’s old room, outside of which remained the original poster for the Orient Express, which is said to have given the writer the idea for her book ‘Murder on the Orient Express’. She stayed here with her husband the archaeologist Sir Max Mallowen. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The hotel retained some its faded grandeur, and I remember Victor photographing the thick folded linen and a brass plate which had been placed under a door to prevent the wood from wearing. The brass was etched by many years of use. This for me was typical of the unique way Victor could spot something about a place and in one simple photograph could summarise the entire building and its history. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lawrence of Arabia’s unpaid bill was proudly displayed in a glass case in the lounge. The room in which Lawrence stayed was just up the corridor from Agatha Christie’s. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I did not know then that in a few years time Victor and I would be sleeping in a Bedouin tent in the desert where Lawrence had been a soldier, and where the film ‘Lawrence of Arabia’ had been made. We would also see the rock formation in Wadi Rum that would give Lawrence the title for his book ‘Seven Pillars of Wisdom’. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was sad to read a recent report about the hotel’s owner, Armen Mazloumian lamenting about the early days of the hotel when world leaders stayed there. Among the guests were Charles de Gaulle, David Rockefeller and Charles Lindburgh. Armen Mazloumian is the fourth generation of his family to run the hotel. He said the best years are behind us now. The hotel has been damaged and is now closed. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Outside the hotel, Aleppo was a fascinating city with an ancient Christian quarter. In its famous Souk I purchased saffron from Iraq and local soap made with olive and laurel oil, while Victor bought a silk pashmina for his adored wife Joy. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Victor met Issa, gave his talk and met with some of the Syrian photographers whose work and approach interested him. One of whom was Nazem Jawesh who created wonderful images of local people at work. Sadly the last we heard of Nazem was that he had gone north to visit family, but worryingly he has not been heard of since. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Issa Touma comes from Armenia, he took us to an Armenian restaurant where we got the best food we had ever had in the Middle East. Armenia was the first country to adopt Christianity as a state religion which meant that you could buy alcohol with your meal. The only way to access alcohol in Muslin countries is to go to a Christian quarter. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I found travelling with Victor very insightful as I was able to observe his unique way of looking and recording places and cultures. This enriched my own experience of the trip. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Brian Kennedy, 20 May 2015</span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-8131806589341055482015-06-08T10:17:00.000-07:002015-06-08T10:24:57.697-07:00<div>
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<i style="font-size: 16px;"><b><br /></b></i><i style="font-size: 16px;"><b>Nepotism + 1</b></i></div>
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<b>Platform Arts, Belfast</b></div>
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<b>6 - 21 January 2012</b></div>
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Opening Night: Friday 6<span class="s1"><sup>th</sup></span> of January, 2012, 6 – 9pm</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCp9JuOxQN3nCj8EHmUB-n_-C7QpmcBDiqhpyZlBX1QdJJq1XIqzOczamMclBXf0nqHsDyuHMocJIxLGJDTwgFHR8kkCCnoYodwXYLaJvhVKkXR5gYkll0VWTwPF6b54X2VduwqXSAjEav/s1600/Bill+from+Baron+series%252C+cms%252C+2011+by+Victor+Sloan.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5688645960711030690" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCp9JuOxQN3nCj8EHmUB-n_-C7QpmcBDiqhpyZlBX1QdJJq1XIqzOczamMclBXf0nqHsDyuHMocJIxLGJDTwgFHR8kkCCnoYodwXYLaJvhVKkXR5gYkll0VWTwPF6b54X2VduwqXSAjEav/s400/Bill+from+Baron+series%252C+cms%252C+2011+by+Victor+Sloan.jpg" style="cursor: pointer; height: 267px; width: 400px;" /></a></div>
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<i style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"Bill"</i><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">, archival pigment print on </span><em style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; color: #222222; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 8px; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Hahnemühle</em><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> paper, 82 cms X 54 cms, ed. 5, © Victor Sloan</span></div>
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<i style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"Dining Room"</i><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">, archival pigment print on </span><em style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; color: #222222; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 8px; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Hahnemühle</em><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> paper, 82 cms X 54 cms, ed. 5, © Victor Sloan</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI_nTPqnK-ruWVlQqvh7REWII63_98bADvd1AmV4oSPtL6OholTnduRX4EtG9s3zVtCv21DZfqJFhQ-UXm5qtCFhUNcvdjUCliqYe5LWTaQx-Yb1awKNn_toTxIlso4xSt5bWYprNtwsd/s1600/Bed+from+Baron+series%252C++2011+by+Victor+Sloan.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5688645951611753138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI_nTPqnK-ruWVlQqvh7REWII63_98bADvd1AmV4oSPtL6OholTnduRX4EtG9s3zVtCv21DZfqJFhQ-UXm5qtCFhUNcvdjUCliqYe5LWTaQx-Yb1awKNn_toTxIlso4xSt5bWYprNtwsd/s400/Bed+from+Baron+series%252C++2011+by+Victor+Sloan.jpg" style="cursor: pointer; height: 267px; width: 400px;" /></a></div>
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<i style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"Bed"</i><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">, archival pigment print on </span><em style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; color: #222222; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 8px; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Hahnemühle</em><span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> paper, 82 cms X 54 cms, ed. 5, © Victor Sloan</span></div>
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Participating artists are<b> </b>Peter Richards, Kim McAleese, <b>Victor Sloan, </b>Jürgen Schneider, Conor McFeely, Pascale Steven, Philip Napier, Dougal McKenzie, Feargal O’Malley, Willie McKeown.</div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><b></b></span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><b><br /></b></span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><b>Platform Arts</b></span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">1 Queen Street</span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Belfast BT1 6EA</span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Northern Ireland</span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Email: <a href="mailto:platformarts@live.co.uk">platformarts@live.co.uk</a></span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Tel: 02890311301</span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></div>
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: #222222; float: none; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Open: Tuesday – Saturday. 11am – 4pm</span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-58520724549616390782014-11-30T04:31:00.001-08:002014-11-30T04:34:10.014-08:00<span style="font-family: Arial, Helvetica, sans-serif;"><b>Victor Sloan: Borne Sulinowo</b></span><br />
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<b style="font-family: Arial, Helvetica, sans-serif; text-align: center;">by Dr Riann Coulter</b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In October 1992 a town appeared in north-west Poland. Borne Sulinowo, known in German as Gross Born, was absent from maps for almost fifty years. On 18 August 1938 Adolf Hitler had officially opened a German military base there. Seven years later the town, and the surrounding 180 square kilometres of forest, were taken over by the Soviet Army and erased from the official maps of Europe: a town housing 25,000 people hidden from the outside world.<br /><br />Following the change of political regime in Poland in 1989, an agreement was reached to withdraw the occupying Soviet Army. The last of the large military units withdrew from Borne Sulinowo in October 1992, and the town was transferred to Polish rule. The transformation of Borne Sulinowo from a hidden Soviet military base to an abandoned Polish town was part of the wider withdrawal of the Soviet Army from Eastern Europe. This was the largest military operation since World War II, and a process hastened by the fall of the Berlin Wall on 9th November 1989, twenty-five years ago this month.<br /><br />In the summers of 1993 and 1994, shortly after Eastern Europe began to open up to Western visitors, Irish artists were invited to Poland to participate in the Irish Days Festival. This event, organised by Wladyslaw Kazmierczak, Director of the Baltic Art Gallery in Ustka, Poland, celebrated Irish culture and gave Irish artists the opportunity to produce and exhibit work in the gallery and discuss their practice with Polish artists and curators. In 1994 Victor Sloan was one of thirteen Irish artists invited to participate. <br /><br />The history of Borne Sulinowo, and its political significance, may not have been familiar to the Irish artists who travelled there during the summer of 1994. Sloan recalls an early-morning bus journey after a long night of Polish hospitality. Those who rose in time to join the expedition were not disappointed. For Sloan, this was a pivotal moment. What he discovered beyond the barbed wire, was a surreal hinterland where soldiers and their families had played out a myth of normality behind a veil of secrecy. <br /><br />In the months since the Soviet Army had withdrawn, nature had begun to encroach and reclaim the streets. The surrounding forest appeared to be a rural idyll but, as Sloan discovered later, the whole area was heavily polluted and there was a persistent danger of encountering a mine or an unexploded bomb. The town was deserted apart from the police station and a small bar. The Soviet street names had been changed to patriotic Polish titles such as ‘Street of the Polish Army’, and scrap merchants were beginning to plunder anything of value. <br /><br />Sloan was fascinated by what he saw and photographed the flotsam and jetsam that remained. The evidence suggested that the Soviets had left in a hurry. Food was left on kitchen tables and personal effects were abandoned. Sloan was particularly interested in the detritus that had been left behind. The photographs, propaganda posters, films, maps, books, ammunition and military badges: all abandoned evidence of what had once been a bustling, but isolated, way of life. <br /><br />The indelible stain of the town’s recent history was evident not only in the chemicals and pollutants dumped there but also in the graves, both Soviet and Polish. Sloan’s camera recorded headstones with photographs of long-dead infants alongside military and religious symbols. In one image a religious statue watches over the untended graves. This Christian symbol, familiar in Poland, and Ireland, appears out of place here where the Soviet hammer and sickle officially reigned. <br /><br />In an essay written in December 1994 Jürgen Schneider asked if the soldiers based in Borne Sulinowo were living as victors. Sloan’s bleak images suggest not. Damp and mould invaded the barracks before they were abandoned, and the need for secrecy imprisoned the soldiers and their families in the base. Russians were born and died in Borne Sulinowo and yet they were effectively itinerant people who had to abandon their homes at short notice. The historically strained relations between the Polish population and the Soviet army came to a head in 1990 when the Soviet Union finally admitted responsibility for the massacre of 45,000 Polish soldiers in 1943. For almost fifty years they had blamed the Nazis for the murders, particularly the mass grave at Katyn Forest where the bodies of 4000 Polish officers were discovered. Within this context, perhaps the secrecy that surrounded Borne Sulinowo was to protect the Soviet Forces rather than to control the Poles. <br /><br />The images that Sloan produced when he returned from Poland are both extraordinary art works and a remarkable testament to a significant moment in recent European history. Although he took reels of documentary photographs in Borne Sulinowo<i>,</i> the resulting images are neither photographs nor accurate records of that encounter. Starting out as large photographic collages created using layered and manipulated images, each unique print was finished by hand. Laying the prints out in his back garden, Sloan worked on them with paint, toner and bleach until he was satisfied with the effect. The results are often surreal and always visually arresting. These are images which cannot be digested in a glance, and demand concentrated consideration. <br /><br />In <i>Statue</i> a photo of the religious figure in the cemetery is inverted and semi-obscured by a mug shot of a soldier. Nature threatens to invade this hybrid image but is thwarted by the intense blue and sepia tones that dominate the series. Sepia suggests a bygone era, but the blue, reminiscent of the Russian military’s blue berets, stains like a radioactive dye, or the seepage of something toxic into the environment. In <i>Slide</i> a child’s toy and the faceless flats that housed families in Borne Sulinowo are framed by the dominating silhouette of a soldier whose features are hardly discernible. Mikhail Gorbachev is the leader in the art work of the same name. Has his face been ripped in anger or by accident? Brush strokes are visible, tinting his skin like a makeup artist preparing the leader for a press conference. The construction of history, especially, in an oppressive State, is made evident through the formal elements of these works.<br /><br />In <i>Map</i> part of Europe has been violently torn from the whole. The image frames the reality of territorial division in this part of the world, where borders have changed with every regime and people have been displaced, resettled and displaced again within a generation. In <i>Bars </i>a training ground becomes a battle field. Blotches of bleach mark the rugged landscape in the foreground, suggesting bodies churned up by a post-war plough. At first glance the training bars of the title resemble the skeletons of burnt-out sheds. Elsewhere in Poland such sheds were the tools of Hitler’s final solution. Closer to home the marked landscape is reminiscent of the futile hunts through the bogs of Ireland for the bodies of the disappeared. The layered complexity of<i> Bars</i>, and other images in the series, permits the play of meaning. Despite their particular geography, the visual richness of these works prevents them from being confined to a particular place or time. Just as so much of Sloan’s work set in Northern Ireland, is, on closer examination, universal in its reach, so the <i>Borne Sulinowo</i> series reflects back onto Northern Irish history. <br /><br />Writing about Sloan’s Northern Irish work in 1990, Brian McAvera observed, “His strength lies in his ability to transcend its local aspects by situating it within a universal theme: the interpenetration of the present by the past.” The Borne Sulinowo works are relevant within a Northern Irish context, particularly in terms of the Good Friday Agreement, which was signed in 1994, when Sloan was working on this series. In both Poland and Northern Ireland, the most challenging question is how “we cope with the toxic legacy of conflict, of unspeakable and horrible actions.” The <i>Borne Sulinowo</i> series is about aftermath, demilitarisation and departure. As Aidan Dunne has written, <br /><br />“The deserted Borne Sulinowo is a striking example of a problematic social space, like other environments Sloan has sought out. While there is no overt connection with the North, Sloan’s work acts as a quizzical commentary on the role of the British Army in Northern Ireland and, more, given a persistently prescient streak in his work, on the question of what sort of place Northern Ireland might be after the conflict. His work on the Polish material was encouraged by the IRA’s ceasefire in 1994. The pictorial detritus of the abandoned army town strangely parallels and prefigures the troop withdrawals in Northern Ireland and the questions that came to the fore during the prolonged interrupted negotiations.”<br /><br />It is also significant to consider how Sloan’s experiences of living through conflict in Northern Ireland frame his creation of politically charged work about another place. We take it for granted that Northern Irish artists can, and do, create political work, but as Jürgen Schneider recently observed, “‘political’ art is marginalised in Germany where everything is dominated by the art market.” Without a significant art market to cater to, Northern Irish artists, have the freedom to make political statements that others shy away from. More importantly, Sloan has spent decades developing the tools, techniques and sensitivity to tackle political subjects. He is equipped to engage with the issues that are raised by Borne Sulinowo’s particular history. He recognises this liminal landscape and is comfortable in this contested territory. <br /><br />Dr Riann Coulter, Curator, F.E. McWilliam Gallery & Studio, Banbridge.<br /><br />November 2014<br /><br /><br />1 – The other artists invited in 1994 were Cathy Wilkes, Brian Connolly, Sean Taylor, Alastair MacLennan, Maurice O’Connell, Sandra Johnson, Jim Buckley, Alice Maher, Eddie Stewart, Heather Allen, Pauline Cummins, John Kindness, Anne Tallentire and Jürgen Schneider.<br /><br />2 – Jürgen Schneider, ‘Beyond Borne Sulinowo’, Victor Sloan: Borne Sulinowo (Derry, The Orchard Gallery) 1995, p. 5.<br /><br />3 – Brian McAvera, ‘Marking the North: The Work of Victor Sloan’ (Dublin & York, Open Air Impressions) 1990, p.11.<br /><br /> 4 – Aidan Dunne, ‘A Broken Surface: Victor Sloan’s Photographic Work’, Victor Sloan (Ormeau Baths Gallery/Orchard Gallery) 2001, p.116.<br /><br /> 5 – Aidan Dunne, ‘A Broken Surface’, p.110.<br /><br /> 6 – Jürgen Schneider email to the author, 21 November 2014.<br /><br /><br /> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSWluYa-bPvkHwuiliN7sB2RVG3h-MQsV8QyeoD_CPYggA9Vs4ow4WTadIsZQ9WWVBLg4GwBaBs6hoTKYB9oWpCTszkoors0_V6z18pbHySqW7Xux-opVm2FJCllN2H4uaJF1mE1hbcGv/s1600/The+University+Gallery+Victor+Sloan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSWluYa-bPvkHwuiliN7sB2RVG3h-MQsV8QyeoD_CPYggA9Vs4ow4WTadIsZQ9WWVBLg4GwBaBs6hoTKYB9oWpCTszkoors0_V6z18pbHySqW7Xux-opVm2FJCllN2H4uaJF1mE1hbcGv/s1600/The+University+Gallery+Victor+Sloan.jpg" height="155" width="200" /></a> </div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>The University Gallery</b><br />Belfast School of Art<br />York Street, Belfast<br />BT15 1ED</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Northern Ireland<br />www.belfastschoolofart | www.ulster.ac.uk<br /><br /> <br /><br /></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-40351627024858684132014-11-04T09:17:00.000-08:002014-11-04T09:17:23.931-08:00<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan's work is included in </span></div>
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<span class="s2" style="font-family: Arial, Helvetica, sans-serif;"><i>Art and Architecture of Ireland, </i></span><span style="font-family: Arial, Helvetica, sans-serif;">Volume </span><i style="font-family: Arial, Helvetica, sans-serif;">V,</i><span class="s2" style="font-family: Arial, Helvetica, sans-serif;"><i>Twentieth Century,</i> edited by </span><span class="s3" style="font-family: Arial, Helvetica, sans-serif;">Catherine Marshall and</span><span class="s2" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="s3" style="font-family: Arial, Helvetica, sans-serif;">Peter Murray.</span></div>
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<span class="s1" style="font-family: Arial, Helvetica, sans-serif;">It is one of 5 volumes of <i> Art and Architecture of Ireland,</i></span><span class="s2" style="font-family: Arial, Helvetica, sans-serif;"><i> </i>published for the Royal Irish Academy and the Paul Mellon Centre by Yale University Press. </span></div>
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<span class="s2" style="font-family: Arial, Helvetica, sans-serif;">The books are an authoritative and fully illustrated account of the art and architecture of Ireland from the early Middle Ages to the end of the twentieth century. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The volumes explore all aspects of Irish art and architecture - from high crosses to installation art, from Georgian houses to illuminated manuscripts, from watercolours and sculptures to photographs, oil paintings, video art and tapestries. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This monumental work provides new insight into every facet of the strength, depth and variety of Ireland's artistic and architectural heritage. </span><span style="font-family: Arial, Helvetica, sans-serif;">An examination of not only the works of art created in twentieth-century Ireland but also the critical contexts from which they came. </span></div>
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<span class="s2"><span style="font-family: Arial, Helvetica, sans-serif;">Volume </span><i style="font-family: Arial, Helvetica, sans-serif;">V,</i><span class="s2" style="font-family: Arial, Helvetica, sans-serif;"><i>Twentieth Century</i></span><span style="font-family: Arial, Helvetica, sans-serif;"> covers the work of recent conceptual artists as well as those who used more traditional media. Definitive biographies of many of the key artists of the age are included, and the volume also addresses the main political and social issues that lay behind twentieth-century Irish art. </span></span></div>
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<span class="s2"><span style="font-family: Arial, Helvetica, sans-serif;">Through its many fine illustrations, it recreates the excitement of the art world of the period.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The complete set includes: Volume I: </span><i style="font-family: Arial, Helvetica, sans-serif;">Medieval c.400-1600</i><span style="font-family: Arial, Helvetica, sans-serif;">, Volume II: </span><i style="font-family: Arial, Helvetica, sans-serif;">Painting 1600-1900</i><span style="font-family: Arial, Helvetica, sans-serif;">, Volume III: </span><i style="font-family: Arial, Helvetica, sans-serif;">Sculpture 1600-2000</i><span style="font-family: Arial, Helvetica, sans-serif;">, Volume IV: </span><i style="font-family: Arial, Helvetica, sans-serif;">Architecture</i><span style="font-family: Arial, Helvetica, sans-serif;">, and Volume V: </span><i style="font-family: Arial, Helvetica, sans-serif;">Twentieth century</i><span style="font-family: Arial, Helvetica, sans-serif;">.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Hardback, 580pp.</span></div>
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517 colour illustrations<br />
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<b style="font-family: Arial, Helvetica, sans-serif;"><i>Victor Sloan: Borne Sulinowo </i></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The University Art Gallery is pleased to announce its upcoming exhibition, Victor Sloan: Borne Sulinowo. This exhibition will present photo works selected from Sloan’s series Borne Sulinowo.</span></div>
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<span class="s1"><span style="font-family: Arial, Helvetica, sans-serif;">In the summer of 1993 and 1994 Victor Sloan with other Irish artists participated in a series of exhibitions and performances entitled <i>Irish Days</i> at the Baltic Art Gallery in Uska, Poland.</span></span></div>
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<span class="s1"><span style="font-family: Arial, Helvetica, sans-serif;">During their stay in Poland, Victor Sloan and the other artists visited Borne Sulinowo. It had been a secret base for the Soviet army, a town with 25,000 inhabitants which was hidden in woodland close to the German border. </span></span></div>
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<span class="s1"><span style="font-family: Arial, Helvetica, sans-serif;">The Red army left the base overnight in the winter of 1992. Since then the town lies deserted. Now only a police station exists as well as a tiny bar with three or four tables. </span></span></div>
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<span class="s1"><span style="font-family: Arial, Helvetica, sans-serif;">Borne Sulinowo is heavily polluted. Wrecks of military vehicles and debris lie everywhere.</span></span></div>
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<span class="s1"><span style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan, like the other Irish artists who went there, was inspired to make new work.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">From <i>Beyond Borne Sulinowo </i>by Jürgen Schneider, 1995 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>University Art Gallery</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Belfast School of Art</span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-58345460955576709012014-11-04T07:11:00.001-08:002014-11-05T08:39:05.186-08:00News 2014<br />
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<b style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 20.8000011444092px;"><i>Craigavon New Town: 50 Years of Modernity</i></b><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b>24 October - 2 November 2014</b></span></div>
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<tr><td class="tr-caption" style="font-size: 12.5714282989502px; text-align: center;"><span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Moyraverty Community Centre</i>, Craigavon, <span style="line-height: 20px; text-align: start;">giclée print, </span>182.88cm x 95.67cm, 2014</span><br />
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<span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Burnside</i>, Craigavon, <span style="line-height: 20px; text-align: start;">giclée print, </span>182.88cm x 95.67cm, 2014</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />This exhibition, curated by PLACE, featuring new and archival photography by Victor Sloan, alongside selected historical materials documenting the founding of Craigavon, tells the often-strange story of the modernist city that rose out of the Northern Irish countryside. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br />It is one of the regional events of the Venice Architecture Biennale, 2014 (Absorbing Modernity), and is organised by PLACE. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Drawings, plans and strategies for the Brownlow development tie in with the work of Geoffrey Copcutt, and modernist housing design such as Cumbernauld in Scotland and Thamesmead in London, made infamous in Stanley Kubrick’s <i>A Clockwork Orange</i>. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The opposition of Sloan’s uneasy imagery of life in a new city with the idealist, utopian visual culture of 1960s town planning, tells the story of a place in which quotidian normality is layered on top of the absurdity of the project’s unrealised ambition.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">Curated by </span>PLACE <span style="font-weight: normal;">with support from </span>British Council</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">The exhibition is part of </span><i style="font-weight: normal;">Absorbing Modernity 1914-2014</i><span style="font-weight: normal;">, a series of events celebrating modernist architecture in Northern Ireland, as part of the Ulster Bank</span> Belfast Festival at Queens, <span style="font-weight: normal;">inspired by this year’s </span>Venice Architecture Biennale<span style="font-weight: normal;">.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">For more information on</span> Absorbing Modernity<span style="font-weight: normal;"> events, visit </span><a href="http://www.belfastfestival.com/" style="font-weight: normal;">www.belfastfestival.com</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b>The Golden Thread Gallery</b>, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Belfast BT1 2LU</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">T<span style="line-height: 20.7999992370605px;">el: 028 90330920</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="line-height: 20.7999992370605px;">Email: </span><span style="line-height: 20.7999992370605px;"><a href="mailto:Info@gtgallery.co.uk">Info@gtgallery.co.uk</a></span><br /><span style="line-height: 20.7999992370605px;">Web: </span><a href="http://www.gtgallery.org.uk/" style="line-height: 20.7999992370605px; text-decoration: none;">www.gtgallery.org.uk</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small; line-height: 21px;">7 - 9 Lower Garfield Street</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="line-height: 21px;">Belfast</span><br style="line-height: 21px;" /><span style="line-height: 21px;">BT1 1FP</span><br style="line-height: 21px;" /><br style="line-height: 21px;" /><span style="line-height: 1.5;"><strong>email:</strong> <a href="mailto:info@placeni.org">info@placeni.org</a></span><br style="line-height: 21px;" /><strong style="line-height: 21px;">phone:</strong><span style="line-height: 21px;"> 028 9023 2524</span><br style="line-height: 21px;" /><strong style="line-height: 21px;">web:</strong><span style="line-height: 21px;"> <a href="http://www.placeni.org/">www.placeni.org</a></span></span></div>
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<span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;">Victor Sloan is a panel member at <i>Absorbing Modernity</i>, Ulster Museum</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i><br /></i></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>The Lost City of Craigavon</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Ulster Museum, Belfast</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">3:00 - 4:30pm, </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">25 October 2014</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">William J Cairns<br /><span style="font-weight: normal;">William Cairns served as Chief Landscape Architect at the Craigavon Development Commission before subsequently forming W J Cairns and Partners in Scotland and N Ireland in 1972. </span><br /><span style="font-weight: normal;">Educated at MIT and Durham Universities and the RBG, Edinburgh, WJC pioneered the introduction of Environmental Impact methodologies in the Assessment of Offshore Oil and Gas projects in the North Sea in the early 70s and in major development projects including reservoirs, motorways, nuclear power stations and new towns. </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;">He is an International expert in strategic development planning and environmental management systems with over 40 years experience in industry, academe and government. His work has been recognised by numerous major design and environmental awards, including the BBC/Design Council National Award for Design and Environment for Megget Reservoir and the Financial Times Award for Architecture also for Megget Reservoir, 5 Civic Trust Awards and The RSA/Business Council Award for Flotta Oil Terminal.</span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Dr Taina Rikala </span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">Dr Rikala is Senior Lecturer in Urban Design, School of Architecture and Design at the University of Ulster. Specialisms include Urban Design, Architecture History & Theory, History of Consciousness. She has published more than 17 works in 23 and has held the position of Expert Advisor to the Ministerial Advisory Group, NI. </span><br /><span style="font-weight: normal;">Prior to joining University of Ulster, Taina was Principal Urban Design Consultant in Derby, England. Prior to that she authored the Thames Gateway Strategic Characterisation for Alan Baxter & Associates, and CABE. She was the Design Team Project Manager for Telford </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /><span style="font-weight: normal;">Millennium Community Phase I Masterplan; and taught at University of Bath. </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></span></h5>
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<br /><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Victor Sloan<br /><span style="font-weight: normal;">Victor Sloan is one of Ireland's major visual artists. He was born in Dungannon, Co. Tyrone </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">in Northern Ireland and he lives and works in Portadown, Co. Armagh. Over the years Victor has returned to Craigavon many times and his work shows a fascination with the place. </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;">Writing about Victor’s study of Craigavon, Brian McAvera stated: On a straightforward level his intention was to depict the new town of Craigavon but on a deeper level we witness the stirrings, not only of an emotional reaction to the subject matter, but also of a hesitantly articulated critique. (Extract from </span><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Marking the North - the Work of Victor Sloan,</i></span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;"> by Brian McAvera, published by Open Air, Dublin and Impressions, York, England). </span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Chair: Michael Corr<br /><span style="font-weight: normal;">Michael is Creative Director of PLACE, responsible for developing the creative vision of the organisation in conjunction with the team and the board. Michael represents PLACE at a regional, national and international level liaising with key clients and partners and developing future creative and cultural projects for the organisation. </span></span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">Michael is an architect and urban designer and is currently a director of Pie architecture in London and an architecture studio leader at London Metropolitan University (CASS). Michael previously worked as an urban designer/planning advisor with Design for London in the Greater London Authority and East architecture London where he was an associate director. This year Michael is leading a Masters unit at Queens University Belfast focusing on Craigavon. </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;">Michael has been keynote speaker and an invited critic in Australia, Asia, Europe and across the UK and Ireland. </span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;">The panel discussion will follow a screening of the 2007 BBC documentary, The Lost City of Craigavon, in which Portadown native and satirist Newton Emerson revisits the city to uncover its speckled history.</span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">Botanic Gardens, Belfast BT9 5AB</span><br /><span style="font-weight: normal;">T: 0845 608 0000 </span></span><span style="font-size: small;"><span style="background-color: white; font-family: arial, sans-serif; font-weight: normal; line-height: 16.5454540252686px;">Email</span><span style="background-color: white; font-family: arial, sans-serif; font-weight: normal; line-height: 16.5454540252686px;">: <a href="mailto:info@nmni.com">info@nmni.com</a> </span><span style="background-color: white; font-family: arial, sans-serif; line-height: 16.5454540252686px;"><span style="font-weight: normal;">W.</span> </span></span><span style="font-family: arial, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 16.5454540252686px;"><a href="http://www.nmni.com/um">www.nmni.com/um</a></span></span></h5>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2wOpCiuuCHi_DTZ9Uit-ndWeYVLgl-oWyiIF-nNuPzzvaC_4ZkLx_s31RUiyxpzZ_PoUu_Zlv4Yw-mwegucklg8tN1X2vtM5dnABTaEdBGAHVJZEup8b1-Mj6D6psOmdu_FmktMJHzkY/s1600/Victor+Sloan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2wOpCiuuCHi_DTZ9Uit-ndWeYVLgl-oWyiIF-nNuPzzvaC_4ZkLx_s31RUiyxpzZ_PoUu_Zlv4Yw-mwegucklg8tN1X2vtM5dnABTaEdBGAHVJZEup8b1-Mj6D6psOmdu_FmktMJHzkY/s1600/Victor+Sloan.jpg" height="200" width="400" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQxMy3RKRRs8KHJVT7YQoxZ6J1JFyCTdPe45_i_4N-hAwlYbG-85UoY6obeWvk9kbVkeqV-tdWiid9jODusvUojLVrmOCnjpIsdBkkNL33rQoUVZi6Qb-FBexeQOqhajF-1tB-9tzbRalY/s1600/Voices+Travel++-+Victor+Sloan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQxMy3RKRRs8KHJVT7YQoxZ6J1JFyCTdPe45_i_4N-hAwlYbG-85UoY6obeWvk9kbVkeqV-tdWiid9jODusvUojLVrmOCnjpIsdBkkNL33rQoUVZi6Qb-FBexeQOqhajF-1tB-9tzbRalY/s1600/Voices+Travel++-+Victor+Sloan.jpg" height="187" width="400" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /><br /><br /><br /><br /><br /><br /><br /><br />This exhibition is the first large-scale international exchange exhibition between Taiwan and Northern Ireland. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 13.5pt;">It showcases the works by 23 invited artists who explore the cities, industries, lifestyles and </span><span style="font-weight: normal; line-height: 18px;">colonisation</span><span style="font-weight: normal; line-height: 13.5pt;"> histories </span><span style="font-weight: normal; line-height: 13.5pt;">of both countries as well as different facets of the international political conditions.</span><span style="font-weight: normal; line-height: 13.5pt;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Their works are based on the <span style="line-height: 13.5pt;">use of “port” as a metaphor for historical and cultural integration in globalization and also on the rich heritage of</span><span style="line-height: 13.5pt;"> </span><span style="line-height: 13.5pt;">marine cultures of the two island countries.</span><span style="line-height: 13.5pt;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">There are three themes in this exhibition: “Connections among Ports <span style="line-height: 13.5pt;">and Writing of Islands”, “Drill/Practice of Voicing” and “Humour in Facing the World”.</span><span style="line-height: 13.5pt;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">This exhibition is intended to <span style="line-height: 13.5pt;">inspire more reflection upon and discussion about one’s own cultural subjectivity and uniqueness.</span><span style="line-height: 13.5pt;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">Cian Donnelly, Deirdre McKenna, John Aiken, Lisa Byrne, Locky Morris, Paul Seawright, Peter Richards, Sara Greavu, Sinead O’Donnell, Susan MacWilliam, </span>Victor Sloan<span style="font-weight: normal;">.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small; font-weight: normal;">吳梓寧 (Wu, Tzu-Ning)、倪祥 (Ni, Xiang)、高俊宏 (Kao, Jun-Honn)、莊宗勳 (Chuang, Tsung-Hsun)、許怡慈 (Hsu, Yi-Tzu)、郭嘉羚 (Kuo, Chia-Ling)、陳伯義 (Chen, Po-I)、陳界仁 (Chen, Chieh-jen)、陳冠彰 (Chen, Guan – Jhang)、黃志偉 (Huang, Chih-Wei)、楊順發 (Yang, Shun- Fa)、蘇信義 (Su, Xin-I )、饒加恩 (Jao, Chia-En)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small; line-height: 13.5pt;">Connecting two harbours: the writing of the past</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="border: 1pt none windowtext; line-height: 13.5pt; padding: 0cm;">John Aiken’s</span><span style="line-height: 13.5pt;"> sand structures, a maze of walls of sand forming an impenetrable barrier, both reference the historical fortification of cities in general, and the system of peace walls built across Belfast. These sand structures present an oxymoron: a feature of permanence created out of the most fragile and transient of components. They remind us that the writing of the past can be seen in the most literal and physical of objects.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Taxi III: Stand Up and Cry like a Man</i> by <span style="border: none windowtext 1.0pt; mso-bidi-font-weight: bold; mso-border-alt: none windowtext 0cm; padding: 0cm;">Lisa Byrne</span> offers a video of first hand accounts of a selection of Northern Irish taxi drivers who were all victims of terrorist attacks. The impact of these verbal accounts is vast: the trauma of their experiences clearly etched on their bodies and heard in their voices. The taxi drivers may be recounting the past, but they physically carry it with them into their present.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Perhaps the most iconic symbol of Belfast, the Titanic, is explored in <span style="border: none windowtext 1.0pt; mso-bidi-font-weight: bold; mso-border-alt: none windowtext 0cm; padding: 0cm;">Sara Greavu’s</span> video piece <i>Apocalips Lil and the Night to Remember</i>. The process of story telling and oral history is explored through a “toast”, the African-American narrative tradition similar to rap, where heroic events are narrated in an elaborate and lively manner. Shine and the Titanic remains a popular Toast, telling the story of Shine, a stoker on board the Titanic who foretold the disaster, but was repeatedly ignored.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="border: 1pt none windowtext; padding: 0cm;">Paul Seawright’s</span> <i>Sectarian Murder</i> series documents the sites and media coverage generated from Sectarian attacks in the 1970’s. Each photograph has an accompanying newspaper report, with the reference to the religious background of the victim removed. The works question the editing of the past, as well as highlighting the futility of attempting to maintain difference in the face of death.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>F-L-A-M-M-A-R-I-O-N</i>, a video work by <span style="border: none windowtext 1.0pt; mso-bidi-font-weight: bold; mso-border-alt: none windowtext 0cm; padding: 0cm;">Susan MacWilliam</span>, centres on the events of a 1931 séance. The work reflects her fascination with the world of the paranormal and raises questions about the possibilities and limitations of language, vision and representation. The work investigates how our beliefs influence who we are and offers an alternative belief structure to traditional religious beliefs.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="border: 1pt none windowtext; padding: 0cm;">Locky Morris’</span> video installation <i>Of-Note</i> questions the effect of our surrounding on who we are. Having been born and continuing to live in Derry/Londonderry, a city whose divides are deep enough to prevent agreement even on its name, Morris’ work suggests the continuous possibility of conflict amidst an apparent calm.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i style="line-height: 13.5pt;"><br /></i><i style="line-height: 13.5pt;">The Reference Readings: Art, Text and Trees </i><span style="line-height: 13.5pt;">series (2012), created in collaboration with Christa-Maria Lerm Hayes, began with Peter Richards inviting Lerm Hayes to select a number of texts prior to visiting his studio to enact them in front of a pinhole camera. The duration of the reading dictated the exposure time, and the resulting photographs documented this process. The readings were recorded and could be heard as a soundtrack to the finished photographs. Richards’ pin-hole photographs literally trapped and compressed the reading time. The result is that visual information is layered on top of its self to the point that it becomes difficult to read.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="border: 1pt none windowtext; padding: 0cm;">Victor Sloan<span style="font-weight: normal;">’s</span></span><span style="font-weight: normal;"> single channel video <i>Walk</i>, 2004, shares with the viewer the artists dismay with how when taken to far cultural preservation can quickly turn into cultural isolation. Sloan’s simple manipulation of his recording of an Orange march presents the viewer with a kaleidoscopic reality, one filled with an alternative drama, simultaneously celebratory and sinister.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small; line-height: 13.5pt;">The humorous way of facing the world as well as our own future</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="border: 1pt none windowtext; padding: 0cm;">Cian Donnelly’s</span> video work <i>The Jangly Dusk</i> draws on fairytales and folklore to create an alternative version of reality. Using dark humour as a method of mediating past and current problems, the work re-imagines the river and towpath as a fictional space; set for scenes of post-utopian romanticism and poetic horror.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">A tongue-in-cheek critique of the contemporary pre-occupation with punctuality, <span style="border: none windowtext 1.0pt; mso-bidi-font-weight: bold; mso-border-alt: none windowtext 0cm; padding: 0cm;">Deirdre McKenna’s</span> <i>Untitled Tragedy</i> is a miniature sculpture painting depicting her own funeral. The funeral offering the last chance for the artist to be late, the piece undermines and therefore reduces the power of the funeral as a tragic event.</span></div>
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<span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Asking viewers to temporarily remove themselves from reality and enter into her alternative headspaces, Sinead O’Donnell has literally created headspaces that hang from the ceiling that can be inhabited by visitors to the exhibition. <i>Headspace: White Cube</i> also acts as a critique of the modern world, the work suggests that to find peace from the voice of the past and present we must literally remove ourselves from them.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US"><br /></span><span lang="EN-US">Kaohsiung Museum of Fine Arts<span style="font-weight: normal;"><o:p></o:p></span></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">80 Meishuguan Road, Kaohsiung, Taiwan, R.O.C. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="font-weight: normal;">web: <a href="http://www.kmfa.gov.tw/">www.kmfa.gov.tw</a></span></span><div class="MsoNormal" style="background-color: white; font-weight: normal;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">email:<a href="https://www.blogger.com/goog_28813666"> </a></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333;"><a href="mailto:servicemail@kmfa.gov.tw">servicemail@kmfa.gov.tw</a></span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span style="color: #666666;">Victor Sloan's works are shown in the </span><span style="color: #666666;"><i>Art of the Troubles</i></span><span style="color: #666666;"><i> </i>exhibition at the Ulster Museum in Belfast.</span></span></h5>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Art of the Troubles</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">11 April - 7 September 2014 </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlkHf58cdrrmzIxJeKf4762mHO3DgLpAUfu3WrwmI12SQzPtRI47nESSjRmnLWVpIWfafbLwtLjBbtvnrjudbU7GFsnbHB-EomxE4E_G5nyxiMHMQiS53a2miRyeh5vNWOTRZRAlbNO0R/s1600/Police,+Belfast,+silver+gelatin+print,+toners,+dyes,+inks,+bleach,+gouache,+1994,+Victor+Sloan.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlkHf58cdrrmzIxJeKf4762mHO3DgLpAUfu3WrwmI12SQzPtRI47nESSjRmnLWVpIWfafbLwtLjBbtvnrjudbU7GFsnbHB-EomxE4E_G5nyxiMHMQiS53a2miRyeh5vNWOTRZRAlbNO0R/s1600/Police,+Belfast,+silver+gelatin+print,+toners,+dyes,+inks,+bleach,+gouache,+1994,+Victor+Sloan.jpg" height="347" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.5714282989502px; text-align: center;"><span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: small;">© Victor Sloan</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">This major new exhibition brings together the work of 50 artists from Northern Ireland and beyond. <i>Art of the Troubles </i>offers avenues for exploring the way in which the Troubles have been viewed by a range of artists and for reflecting on the manifestations and impact of violence and division in our society.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The exhibition comprises 60 works, including paintings, drawings, photographs, videos and sculpture. It explores a broad range of themes including violence and destruction, suffering and loss, traditions and life in the midst of turmoil.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The exhibition has been developed in partnership with Wolverhampton Art Gallery and includes many works from the collections of National Museums Northern Ireland and the recently gifted Arts Council of Northern Ireland Collection. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Also incorporated are loans from the Imperial War Museum’s Northern Ireland Collection, the Irish Museum of Modern Art and the Dublin City Gallery the Hugh Lane, as well as works from private collections and artists themselves.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Art of the Troubles </i>will be supported by a public programme, which will allow various themes reflected in the exhibition to be explored. Activity will include lectures, tours, workshops, film screenings and a conference in association with the Institute of British and Irish Studies from University College Dublin.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">A range of online resources will be created both to supplement the exhibition. These will include filmed interviews with a number of the artists, a digital record of the exhibition and images of other works by the artists represented in the exhibition. An online publication relating to the conference will also be produced.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Ulster Museum </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Botanic Gardens</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Belfast BT9 5AB</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">T: 0845 608 0000 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">W: <a href="http://www.nmni.com/um">http://www.nmni.com/um</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b><b>The Faraway Nearby</b></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">F E McWilliam Gallery, Banbridge</span></b></div>
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<b style="color: #292525; line-height: 12.8000001907349px; text-align: right;"><span style="font-family: Arial, Helvetica, sans-serif;">7 March - 17 May 2014</span></b></div>
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<tr><td class="tr-caption" style="font-size: 12.5714282989502px; text-align: center;"><span style="background-color: white; line-height: 20.76799964904785px; text-align: start;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;">© Victor Sloan</span></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>The Faraway Nearby</i> is a multi-generational exhibition that looks at the transient nature of influence, revealing visual and formal affinities and methodologies between artwork and artists from Northern Ireland.</span></div>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif; font-style: inherit; line-height: 15.6704006195068px;"><b>The exhibition consists of works from multiple public and private collections.</b></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Artists: Willie Doherty, Paul Henry, John Luke, Colin Middleton, Nevill Johnson, Paul Seawright, Philip Napier, Locky Morris, Elizabeth Magill, Mary Mc Intrye, Willie Mc Keown, Tim Millen, William Scott, Eoghan Mc Tigue, Siobhan Hapaska, Conor Mc Feely, Tony Hill, Damien Duffy, Hannah Starkey, Eddie Rafferty, Patrick Jolley, <b>Victor Sloan</b>, Majella Clancy, Dougal McKenzie, Jennifer Trouton, Darren Murray, Andrew Nicholl, Ryan Moffett, Stephen Madden, Cian Donnelly, Brendan O'Neil, Joesph Beuys, Alaistair McClennan, Una Walker, Aisling O'Beirn, Dan Shipsides, Peter Spiers and Peter Richards.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><b><span style="font-family: Arial, Helvetica, sans-serif;">Exhibition curated by Feargal O'Malley</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /><b>F.E. McWilliam Gallery & Studio</b><br />200 Newry Road,<br />Banbridge,<br />County Down, BT32 3NB<br /><br />Telephone: 00 44 28 4062 3322<br />Email: info@femcwilliam.com</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Web: <a href="http://www.femcwilliam.com/">www.femcwilliam.com</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.victorsloan.com/2014/10/random-images.html">Some Random Images</a></span> <span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-66038251008170509602014-10-29T10:48:00.002-07:002014-10-29T10:48:37.523-07:00Random Images<b><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></b>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">Some of Victor Sloan's works: </span></b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><a href="http://www.victorsloan.com/2010/04/return-to-works-day-of-action-day-of.html"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix5sXe1LVvD42seKvSG93zx1drDsUDWvwbcFmTK9QvdaN7NeVAKt2djVJ1sKDAx_DHoHRsZls1izmrhc3OQTDYHEn1mQmcz56x-GR34wg6n4FIue3oh_JaVQH2tk01c-0GvZpCG2l7s43s/s400/Day+of+Action+Victor+Sloan+a.jpg" height="400" width="397" /></span></a><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><a href="http://www.victorsloan.com/2009/11/return-to-works-borne-sulinowo-slide.html"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsA3TcNDllm64B5cfRKME4YPPx8L2c5cDEQkaL2B7Cr9maSihqgJzAirmR1HFCx_m7FjDTw5uyFGtITBxrMZjkUwFzgrHRBRAfNhBheUy7-qw4wM6rlxrCr0-e838lwQFJImn4-dOj-iJ0/s400/Slide+Victor+Sloan.jpg" height="305" width="400" /></span></a><br />
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<a href="http://www.victorsloan.com/2009/02/luxus-is-visual-and-verbal.html"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXcFjhv6zWcyFNNGwHDRWhoEMKrtrURfbmuMzOGW0-8F1Arjh73ykeJ0zbr8WJAAmQG4TnQAuzFxichFEvjJkkeuEJ5eIkIKiU8Yd6cRQGFfHXZq0jkN_oobErI_1XDwtvl0_DIilz4Y_q/s400/Untitled+iv+(Luxury).jpg" height="265" width="400" /></span></a><br />
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<a href="http://www.victorsloan.com/2012/05/other-images.html" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHIxqwyzeuBYoyfKqjSKgJYpRE5qgRfwzGn-j8PT30a6CIjlRZF_78GsLOd-2ELwB6shrEVqkJZkWeVo5Ct_5qrLPk-_6C3k5CI6fWl9B_E3ZidP3EItk3YM6_fvprVWw2QIeSAU_ReZK/s400/Police+and+Landrover%252C+Belfast%252C+silver+gelatin+print%252C+toners%252C+dyes%252C+inks%252C+bleach%252C+gouache%252C+47.5cms+x+56cms%252C+1994%252C+Victor+Sloan.jpg" height="318" width="400" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-73386213506924827272014-10-11T12:33:00.000-07:002014-10-11T12:33:33.988-07:00<div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Craigavon New Town: 50 Years of Modernity</i></b></span><br />
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<b>Golden Thread Gallery, Belfast</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>24 October - 2 November 2014</b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Moyraffery Community Centre</i>, Craigavon, <span style="background-color: white; line-height: 20px; text-align: start;">giclée print, </span>182.88cm x 95.67cm, 2014</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhwjQZuuD3THGVLRST7GXFlSapLymCcpZAnnHzex0YQYOdfYt8ZJrbW9Rp6p35jqVbgOZ7exSyPUnAktGGRgIb0A9bY-bHSET2XSAL6hIAValvalRLAae9qP3ql48swmczBSvdYjLAIy4/s1600/Burnside+LOW+RES.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhwjQZuuD3THGVLRST7GXFlSapLymCcpZAnnHzex0YQYOdfYt8ZJrbW9Rp6p35jqVbgOZ7exSyPUnAktGGRgIb0A9bY-bHSET2XSAL6hIAValvalRLAae9qP3ql48swmczBSvdYjLAIy4/s1600/Burnside+LOW+RES.jpg" height="208" width="400" /></span></a></td></tr>
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<span style="color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Burnside</i>, Craigavon, <span style="background-color: white; line-height: 20px; text-align: start;">giclée print, </span>182.88cm x 95.67cm, 2014</span></div>
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This exhibition, featuring new and archival photography by Victor Sloan alongside selected historical materials documenting the founding of Craigavon, tells the often-strange story of the modernist city that rose out of the Northern Irish countryside. </span><br />
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It is one of the regional events of the Venice Architecture Biennale, 2014 (Absorbing Modernity), and is organised by PLACE. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Drawings, plans and strategies for the Brownlow development tie in with the work of Geoffrey Copcutt and modernist housing design such as Cumbernauld in Scotland and Thamesmead in London made infamous in Stanley Kubrick’s A Clockwork Orange. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The opposition of Sloan’s uneasy imagery of life in a new city with the idealist, utopian visual culture of 1960s town planning, tells the story of a place in which quotidian normality is layered on top of the absurdity of the project’s unrealised ambition.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Golden Thread Gallery</b>, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">84-94 Great Patrick Street, </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Belfast BT1 2LU</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">T<span style="line-height: 20.7999992370605px;">el: 028 90330920</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 20.7999992370605px;">Email: </span><span style="line-height: 20.7999992370605px;"><a href="mailto:Info@gtgallery.co.uk">Info@gtgallery.co.uk</a></span><br /><span style="line-height: 20.7999992370605px;">Web: </span><a href="http://www.gtgallery.org.uk/" style="line-height: 20.7999992370605px; text-decoration: none;">www.gtgallery.org.uk</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 20.7999992370605px;">Exhibition created by </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b style="line-height: 20.7999992370605px;">PLACE</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 21px;">7 - 9 Lower Garfield Street</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 21px;">Belfast</span><br style="line-height: 21px;" /><span style="line-height: 21px;">BT1 1FP</span><br style="line-height: 21px;" /><br style="line-height: 21px;" /><span style="line-height: 1.5;"><strong>email:</strong> <a href="mailto:info@placeni.org" style="text-decoration: none;">info@placeni.org</a></span><br style="line-height: 21px;" /><strong style="line-height: 21px;">phone:</strong><span style="line-height: 21px;"> 028 9023 2524</span><br style="line-height: 21px;" /><strong style="line-height: 21px;">web:</strong><span style="line-height: 21px;"> <a href="http://www.placeni.org/">www.placeni.org</a></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBAFz-rQvCrWSkw57KwpUHr0k-kXCSWf7dWJzT7QgRHjrb64Rs_JyjTJ0QCmETf32N98C6KRh2K93RtEmBZhR9CG6s1HrZX5PpcrDq0Ot0NagauSzRVl3SbnTL109Lve1gtaOxclR0Lk8/s1600/Screen+Shot+2014-10-09+at+11.22.44.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="clear: left; float: left; font-family: Arial, Helvetica, sans-serif; margin-bottom: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoBAFz-rQvCrWSkw57KwpUHr0k-kXCSWf7dWJzT7QgRHjrb64Rs_JyjTJ0QCmETf32N98C6KRh2K93RtEmBZhR9CG6s1HrZX5PpcrDq0Ot0NagauSzRVl3SbnTL109Lve1gtaOxclR0Lk8/s1600/Screen+Shot+2014-10-09+at+11.22.44.png" height="74" width="320" /></span></span></a></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-72474337124922132852014-08-14T10:08:00.000-07:002014-08-15T01:19:43.838-07:00Ka Fue Lay<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Running time: 9mins 33secs (loop)<br />Sound: 2 speaker stereo <br />Year of production: 2014<br />Colour<br />By Victor Sloan <br /><br />Ka Fue Lay tells the story of his escape from Vietnam by boat in 1979, by showing his own personal photographs. He managed to escape in a wooden fishing boat with his two older brothers and 294 others, to eventually arrive in the new city of Craigavon in Northern Ireland, via Taiwan and England.<br /><br />He now lives in Salisbury, England with his wife and three children.<br /><br />The following is his own story, told to me, when I recently visited Salisbury to meet him: </span><br />
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<b style="font-family: Arial, Helvetica, sans-serif;">Ka Fue Lay</b><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Escaping from Vietnam in 1979</span><span style="font-family: Arial, Helvetica, sans-serif;"></span><br />
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Extracts from Ka Fue Lay’s Story</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Ka Fue Kay in Salisbury</i></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">I was born and brought up in a village called Song Mao in the South of Vietnam. It is about 120 miles to the North-East of Saigon, which is now called Ho Chi Minh City. It is not far from the East Coast, in the county of Binh Thuan, the administrative centre of which is Phan Thiet (famous for fish sauce).</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br />Song Mao only came into existence in the 1950s, when a large number of mainly ethnic Chinese refugees arrived from the North, after the French lost the final battle to the Viet Cong at Dien Bien Phu in 1954.<br /><br />Life in Song Mao was hard, especially after liberation. Nobody had anything. Our land, that helped feed a large family, was confiscated. We disappeared into the jungle, partly to avoid the security services harassment, and partly to clear the forest to reclaim some land for cultivation.<br /><br />This meant months and months of hard labour, chopping down trees with blunt knives, and digging up tree stumps in the burning sun with little to wear and little to eat. I also looked after water buffalos; hunting wild animals with dogs and spears and catching fish bare handed in the river. There was no certainty of where the next meal would come from.<br /><br />We ate a lot of wild vegetation and roots while struggling against malaria. The village centre and streets were lifeless, as no private enterprise was allowed.<br /><br />There were no shops, no cafes, no cinema – nothing. There were no street lights, and the place felt abandoned in darkness at night.<br /><br />We had to create our own entertainment. For me, it was the guitar, learning Chinese and English (mostly self taught), so that I could gain access to more reading books (books in Vietnamese from the last regime were largely either confiscated or destroyed for being too bourgeois) - I could go on forever, but ……<br /><br />In 1979, on my third attempt, I managed to escape in a wooden fishing boat with two older brothers and 294 others (the second time, I and some others jumped onto a Russian fishing vessel and nearly missed it, as well as nearly being crushed by two vessels, and we had to sleep in grave holes for a week).<br /><br />We were very fortunate to be picked up by a British cargo ship after a few days in the sea. We stayed on board for about a month near Taiwan harbour.<br /><br />After the general election in the UK, when Mrs Thatcher was elected as prime minister, we were allowed to come in the UK by means of a chartered flight from Taiwan.<br /><br />We were then transported to three refugee camps in Lincoln, Warwick and Middlesex. After about a month or so, we were told we could not remain at the centre for long, and to resettle either in Scotland or Northern Ireland.<br /><br />We sensibly chose the latter on the advice that it had better public transport, and that Scotland would be too cold. So, in September 1979, we took the ferry and arrived in Craigavon to begin a new life.<br /><br />I had mixed feelings about life in Craigavon. We were made to feel special and welcome in our new home by the many warm-hearted people and volunteers (these people always have a special place in my heart).<br /><br />The public transport did live up to expectations, and barricades by men carrying guns were all familiar (it did help home sickness and the feeling of being in a foreign land!). I did not like the food at first. I did not like the weather either – too wet and too cold. I used to sit by the window wishing to see some dry yellow grass and dust, lifted off the bare earth by the wind.<br /><br />I was so glad to have come to Ireland though, as I’d never experienced such hospitality anywhere else. I also had the opportunity to go to school, have music lessons, and making some life-long friends.<br /><br />I did not want to leave Ireland at all, but my eldest brother had made the decision. He had had a holiday in Bristol, where he ran into a distant cousin - whom we were vaguely aware of but never had any contact – and instantly recognised our relationship by our middle name.<br /><br />My brother decided that we should join her, so within a matter of weeks he arranged for me and my other brother Ka Ly to come and lodge with this cousin and her husband’s family. From then on, my brother and I floated from one place to another, living for short periods with different families from Vietnam, very unsettling, and I got quite ill while trying to do my ‘O’ Level exams.<br /><br />I then got a job as a hotel waiter in Sidmouth, Devon and went to study music (guitar, clarinet, piano and theory) on my only day off in Exeter. I came back to Bristol after a year and then went to live in Birmingham, Malvern and London in some very high crime rate areas. I eventually married and moved back to Bristol and then Salisbury.<br /><br />During all this time, I never lost touch with my Irish friends. I always sent them Christmas cards, presents (and vice versa), and brought my whole family over to see them.<br /><br />I went back on my own last Spring and stayed for a week. It felt like coming home, going back to my roots – at least one of my deep and tender roots. I would have liked to see many more friends and teachers with whom I have lost contact completely - thanks to my sudden departure from Craigavon (almost as bad as when I fled Vietnam!)<br /><br />Having floated about for years, I have now settled down with my wife Katharine (whose great grandfather was British Prime Minister Neville Chamberlain) and 3 children (the eldest is Emily, was a chorister at Salisbury cathedral, and now reading German at Oxford; Tom doing photography, and Alexia is on her 3rd year in the local girls’ grammar school).<br /><br />I work as a social care manager, jointly managing a team of about 60 social workers and occupational therapist etc. covering the South of Wiltshire. I also translate and interpret in my spare time.<br /><br />When not at work, I enjoy allotment farming, playing racket sports and organise sport events and badminton clubs.<br /><br />I also chaired the Chinese Association in Wiltshire (now defunct due to no funds and no time!). I also like organising social events, bringing people from different parts of the world together – not to mention getting my own big family together once a year (the next one is going to be in Salisbury cathedral’s grounds, when my eldest brother is celebrating his golden anniversary. My wife Katherine teaches English and coaches 11+ students. She also sings in the local choir and plays the violin in the orchestra.<br /><br />Life is mostly settled and peaceful now, compared with my younger days. We have become very much part of the local community here in Salisbury. We are planning to have a family holiday in Vietnam in the summer.<br /><br />I don’t have any immediate family members in Vietnam as they all came over to the UK eventually. I do, however, still keep in close contact with my best primary school friend there, who I have been financially supporting for many years.<br /><br />Ka Fue Lay</span><br />
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View video on Vimeo <a href="http://vimeo.com/victorsloan/ka-fue-lay">HERE</a></span></b></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-16738545400169366682014-08-14T08:19:00.001-07:002017-04-25T07:56:41.359-07:00Exhibitions<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";">The
following are some of Victor Sloan's exhibitions:<o:p></o:p></span><br />
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><i>Aleppo,</i> Tropenmuseum, Amsterdam. Holland, curated by Marc Prüst, 2017</span><br />
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<span style="color: #333333; font-family: arial, helvetica, sans-serif;"><i>Victor Sloan: Before</i>, Belfast Exposed Gallery, Belfast, 2017</span><br />
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<span style="color: #333333; font-family: arial, helvetica, sans-serif;"><i>IAWATST, Dublin Castle, Dublin, Alley Arts Centre, Strabane, Cultúrlann McAdam Ó Fiaich, Belfast, 2016 - 2017</i></span><span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"></span><br />
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif;"><i>Art in the Eastside</i>, Billboard Project, Creative Exchange, various locations, Belfast, (invited artist) 2016</span><br />
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><i style="line-height: 20.8px;">Vanishing Futures: Collective Histories of Northern Irish Art</i><span style="line-height: 20.8px;">, curated by Peter Richards, Golden Thread Gallery, Belfast, 2015</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Victor Sloan: The Baron</i>, Belfast Print Workshop Gallery, (Belfast Photo Festival artist-in-</span><span style="font-family: "arial" , "helvetica" , sans-serif;">residence), 2015</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Victor Sloan: Drift</i>,<a href="http://www.femcwilliam.com/"> F E McWilliams Gallery and Studio</a>, </span><span style="background-color: white; color: #333333; font-family: "arial" , "helvetica" , sans-serif; line-height: 20.7999992370605px;">curated by Dr Riann Coulter and Feargal O'Malley,</span><span style="background-color: white; color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 12.8000001907349px; line-height: 20.7999992370605px;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Banbridge, Northern Ireland, 2014</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><i>Victor Sloan: Borne Sulinowo</i>, <a href="http://www.universityartgallery.org/">The University Gallery</a>, Belfast, 2014</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="color: #333333; line-height: 20.7999992370605px;">Craigavon New Town: 50 Years of Modernity</i><span style="color: #333333; line-height: 20.7999992370605px;">, curated by </span><a href="http://www.placeni.org/" style="color: #999999; line-height: 20.7999992370605px; text-decoration: none;">PLACE</a><span style="color: #333333; line-height: 20.7999992370605px;">, Golden Thread Gallery, Belfast, 2014</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Voices
Travel: Conversation Between Two Harbours</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Kaohsiung
Museum of Fine Arts, Taiwan, 2014<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Art
of the Troubles</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Ulster Museum, Belfast, Northern Ireland,
2014<br style="mso-special-character: line-break;" />
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Far Away Nearby</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.femcwilliam.com/"><span style="color: #999999;">F E McWilliams
Gallery & Studio</span></a>, Banbridge, Curated by Feargal O'Malley, 2014<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Art
in the Eastside</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Billboard Project, Creative Exchange,
various locations, Belfast, (invited artist) 2013<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Northern
Ireland: 30 Years of Photography</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, the<span class="apple-converted-space"> </span><a href="http://themaclive.com/"><span style="color: #999999;">MAC</span></a><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><a href="http://www.belfastexposed.org/"><span style="color: #999999;">Belfast
Exposed</span></a>, Belfast, 2013<br style="mso-special-character: line-break;" />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Picturing
Derry</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, the City Factory, </span></span><span style="font-family: "arial" , sans-serif; line-height: 12.1333341598511px;">curated by Declan Sheehan</span><span style="font-family: "arial" , sans-serif; line-height: 12.1333341598511px;">,</span><span style="color: #545454; font-family: "arial" , sans-serif; font-size: x-small; line-height: 12.1333341598511px;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 15.6pt;">Derry, Northern Ireland, 2013</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt; text-align: center;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Aleppo International Photography Festival,<span class="apple-converted-space"> </span></span></i><span style="color: #333333; line-height: 15.6pt; text-align: center;">Aleppo, Syria,
(invited artist), 2012</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Nepotism
+ 1,<span class="apple-converted-space"> </span></span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">curated
by Feargal O'Malley,<span class="apple-converted-space"><i> </i></span>Platform
Arts, Belfast, 2012<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Titles</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
The Great Hall, Parliament Buildings, Belfast, 2011<br />
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Voices from the Levant</i>,<span class="apple-converted-space"> </span><a href="http://cca-derry-londonderry.org/"><span style="color: #999999;">Context
Gallery</span></a>, Derry, (now known as Centre for Contemporary Art) with
Brian Kennedy, 2011<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Images: Victor Sloan</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Art and Design
Academy, LJMU, Look International Photography Festival, Liverpool,
England, 2011</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">RHA
Exhibition</span></i><span style="color: #333333; line-height: 15.6pt;">,<span class="apple-converted-space"> </span><a href="http://www.royalhibernianacademy.ie/"><span style="color: #999999;">Gallagher
Gallery</span></a>, Dublin, invited artist, 2011 (also 2008, 2009)</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Syrian artists talking</span></i><span style="color: #333333; line-height: 15.6pt;">,<a href="http://www.naughtongallery.org/"><span class="apple-converted-space"><span style="color: #999999; text-decoration: none;"> </span></span><span style="color: #999999;">Naughton Gallery</span></a>, Belfast, with Brian Kennedy,
2011</span></span></div>
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Portrait of the North</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.wolverhamptonart.org.uk/wolves"><span style="color: #999999;">Wolverhampton
Art Gallery</span></a>, Wolverhampton, England, 2010-2011<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Walk</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.allartnow.com/"><span style="color: #999999;">AllArtNow</span></a>,
Damascus, Syria, 2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Art of the Troubles</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.thebraid.com/"><span style="color: #999999;">Mid Antrim Museum</span></a>,
The Braid, Ballymena, 2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Elective
Perspective</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.galeria-arsenal.pl/"><span style="color: #999999;">Galeria
Arsenale</span></a>, Bialystok, Poland, 2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><em><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">A
View From Napoleon’s Nose</span></em><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by Brian Kennedy,<span class="apple-converted-space"> </span><a href="http://km.kyu.edu.tw/art/"><span style="color: #999999;">Kao Yuan Arts Centre</span></a>, Kaohsiung, Taiwan, 2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
London Art Fair</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, London, England, 2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Northern Ireland Collection: Fresh Perspectives</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
curated by Zoë Lippett,<span class="apple-converted-space"> </span><a href="http://www.wolverhamptonart.org.uk/wolves"><span style="color: #999999;">Wolverhampton
Art Gallery</span></a>, Wolverhampton, England, 2009-10<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Arts
Council of Northern Ireland Troubles Archive Exhibition</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
curated by Feargal O'Malley and Liam Kelly,<span class="apple-converted-space"> </span><a href="http://www.ormeaubaths.co.uk/"><span style="color: #999999;">Ormeau Baths
Gallery</span></a>, Belfast, 2009<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">An
Eye for an Eye: Representations of Conflict in Ireland</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
curated by Dermot Keogh and Ruth Osborne,<span class="apple-converted-space"> </span><a href="http://www.glucksman.org/"><span style="color: #999999;">Lewis Glucksman
Gallery</span></a>, Cork, 2008/9<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">A
Shout in the Street: Collective Histories of Northern Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
curated by Declan McGonagle,<span class="apple-converted-space"> </span><a href="http://www.gtgallery.org.uk/"><span style="color: #999999;">Golden Thread
Gallery</span></a>, Belfast, 2008<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Drawing
a Line: A Contemporary Survey of Northern Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,
Museum of the Heilongjiang Daily, China, 2008<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Royal
Hibernian Academy Exhibition</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<a href="http://www.royalhibernianacademy.ie/"><span class="apple-converted-space"><span style="color: #999999; text-decoration: none;"> </span></span><span style="color: #999999;">RHA Gallagher Gallery</span></a>, Dublin, 2008<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">30
Contemporary + Print Draw Exhibition</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.galleryofphotography.ie/"><span style="color: #999999;">Gallery
of Photography,</span></a>Dublin, 2008<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: History, Locality, Allegiance</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by Peter
Richards,<a href="http://www.gtgallery.org.uk/"><span style="color: #999999;">Golden
Thread Gallery</span></a>, Switch Room, Belfast, 2008<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Breakthrough</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://london.iwm.org.uk/"><span style="color: #999999;">Imperial War Museum</span></a>, London, 2008-2010<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Walk</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Diversions Festival,<span class="apple-converted-space"> </span><a href="http://galleryofphotography.ie/"><span style="color: #999999;">Gallery of
Photography</span></a>, Dublin, (Projection, Meeting House Square), 2007<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Luxus</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.millenniumcourt.org/"><span style="color: #999999;">Millennium
Court Arts Centre</span></a>, <span style="background: white;">curated by
Feargal O'Malley</span>, 2007<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Things
We May Have Missed</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.goldenthreadgallery.co.uk/"><span style="color: #999999;">Golden
Thread Gallery</span></a>, Switch Room, Belfast, 2007<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Walk</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.theatre-paris-villette.com/"><span style="color: #999999;">Théâtre
Paris-Villette, Paris</span></a>, France, (Rencontres Internationales Paris/Berlin),
2006<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Icons
of the North: Collective Histories of Northern Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.solsticeartscentre.com/"><span style="color: #999999;">Solstice
Arts Centre</span></a>, Navan, Co. Meath, 2006<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Northern
Propositions: Art of the Troubles</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.angailearai.com/"><span style="color: #999999;">An Gaileraí, Falcarragh,</span></a>Donegal, 2006<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Walk</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by Abrie Fourie, Outlet Gallery,
Pretoria, South Africa, 2006<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt; margin-bottom: 12.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Icons of the North: Collective Histories of Northern Irish Art,
Socio-Political Art from 1969 -1994</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.goldenthreadgallery.co.uk/"><span style="color: #999999;">Golden
Thread Gallery</span></a>, Belfast, 2006<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Beyond
the Troubles: Kunst aus Irland</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Raum5 Galerie,
Berlin, Germany, 2005<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt; margin-bottom: 12.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Seeing Orange</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.millenniumcourt.org/"><span style="color: #999999;">Millennium
Court Arts Centre</span></a>, Portadown, 2005<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Walk</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Toskanische Saulenhalle, Augsburg, Germany,
2004<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt;"><span style="color: #333333;"><br /></span></i>
<i style="line-height: 15.6pt;"><span style="color: #333333;">Open
Secret</span></i><span style="color: #333333; line-height: 15.6pt;">,<span class="apple-converted-space"> </span><a href="http://london.iwm.org.uk/"><span style="color: #999999;">Imperial War
Museum</span></a>, London, 2004</span></span></div>
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</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Blue
Skies, Grey Mists</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Old Museum Arts Centre, Belfast, 2004<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<a href="https://www.blogger.com/blogger.g?blogID=2272426036946273607" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">A
Broken Surface: Victor Sloan,<span class="apple-converted-space"> </span></span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Riverbank
Arts Centre, Newbridge, 2003<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Public Eye</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, City Art Gallery, Edinburgh, Scotland, 2003<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Vacuum Raffle</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Belfast Exposed, Belfast, 2003<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Selected Works,</span></i><span class="apple-converted-space"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"><a href="http://www.westcorkartscentre.com/"><span style="color: #999999;">West Cork
Arts Centre</span></a>, Skibbereen, Co. Cork, 2003<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Political
Works from the Arts Council Collection</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://cca-derry-londonderry.org/"><span style="color: #999999;">Context
Gallery</span></a>, Derry (now known as Centre for Contemporary
Art) , 2002<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Selected
Works:Victor Sloan</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Lamar Dodd Arts Centre, LaGrange, Georgia,
United States of America, 2002<o:p></o:p></span></span></div>
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br />
<i>Revealed Treasures</i>, Long Gallery, Parliament Buildings, Stormont,
Belfast, 2002<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br />
<i>The Public Eye: 50 years of the Arts Council Collection</i>,<span class="apple-converted-space"> </span><a href="http://www.ormeaubaths.co.uk/"><span style="color: #999999;">Ormeau Baths Gallery</span></a>, Belfast, 2002<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Selected Works</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Gallery of Photography, Dublin, 2001<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt; text-align: center;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Selected Works 1980-2000</span></i><span style="color: #333333; line-height: 15.6pt; text-align: center;">, Ormeau Baths
Gallery, Belfast, 2000</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Recent
Work from Northern Ireland</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by Wayne Bearwaldt,<a href="http://www.plugin.org/"><span style="color: #999999;">Plug In Institute of
Contemporary Art</span></a>, Winnipeg, Canada, 2001<o:p></o:p></span></span></div>
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id="BLOGGER_PHOTO_ID_5290902271741170706" o:spid="_x0000_i1027" type="#_x0000_t75"
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Portadown</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Orchard Gallery, Derry, 2000.<span class="apple-converted-space"> </span><a href="http://www.victorsloan.com/2012/03/portadown.html"><span style="color: #999999;">View More Installation images</span></a><span class="apple-converted-space"> </span><a href="http://www.victorsloan.com/2009/11/return-to-works-portadown-and-drumcree.html"><span style="background: white; color: #cc6600;">View</span><span class="apple-converted-space"><span style="background: white; color: #cc6600; text-decoration: none;"> </span></span><i><span style="background: white; color: #cc6600;">Portadown</span></i><span class="apple-converted-space"><span style="background: white; color: #cc6600; text-decoration: none;"> </span></span><span style="background: white; color: #cc6600;">series images</span></a><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Troubled:
An Exhibition of Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Pitshanger Manor Museum, London, 2000<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Revealing
Views: Images from Ireland</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.southbankcentre.co.uk/"><span style="color: #999999;">Royal
Festival Hall</span></a>, South Bank Centre, London, 1999<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Selected Works</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.mz-bremen.de/"><span style="color: #999999;">Medienzentrum</span></a>,
Bremen, Germany, 1999<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Stadium</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://cca-derry-londonderry.org/"><span style="color: #999999;">Context
Gallery</span></a>, Derry; Old Museum Arts Centre, Belfast; galerie + edition
caoc/Walden Kunstausstellungen, Berlin and<span class="apple-converted-space"> </span><a href="http://www.gasteig.de/"><span style="color: #999999;">Gasteig München</span></a>,
Munich, Germany, 1998-99<o:p></o:p></span></span></div>
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br />
<i>Troubled: Photography, Film and Video from Northern Ireland</i>,<span class="apple-converted-space"> </span><a href="http://www.lightfactory.org/"><span style="color: #999999;">The Light Factory</span></a>, Charlotte;<span class="apple-converted-space"> </span><a href="http://www.contemporaryartfoundation.org/"><span style="color: #999999;">Contemporary
Art Museum</span></a>, Raleigh; Wake Forest University Fine Arts Gallery,
Winston-Salem, North Carolina, U.S., 1998 -1999<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Zeitgenössische
britische Fotografie</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Neue Gesellschaft für Bildende Kunst,<span class="apple-converted-space"> </span><a href="http://www.kunstraumkreuzberg.de/"><span style="color: #999999;">Kunstraum
Kreuzberg/Bethanien</span></a>, Berlin. and Kunstverein Ludwigshafen, Germany,
1997-98<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Seek Me</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.konstmuseum.goteborg.se/"><span style="color: #999999;">Goteborg
Konstmuseum</span></a>,<span class="apple-converted-space"> </span><a href="http://www.hasselbladfoundation.org/"><span style="color: #999999;">Hasselblad
Centre</span></a>, Gothenburg and<span class="apple-converted-space"> </span><a href="http://www.bildmuseet.umu.se/"><span style="color: #999999;">BildMuseet Umeå</span></a>,
Umea Universitets Museum, Sweden, 1996-97<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Borne
Sulinowo: Victor Sloan,<a href="http://literaturwerkstatt.org/"><span class="apple-converted-space"><span style="color: #999999; text-decoration: none;"> </span></span></a></span></i><span lang="EN-US" style="color: #333333; font-family: "arial"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><a href="http://literaturwerkstatt.org/"><span style="color: #999999;">literaturWERKstatt berlin</span></a>, Days of Irish
Literature, Berlin, 1996</span><span class="apple-converted-space"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Poza Bornym Sulinowem</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.baltic-gallery.art.pl/index.php?go=baszta"><span style="color: #999999;">Baszta Czarownic</span></a>, Slupsk, Poland, 1996<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Lie of the Land</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Gallery of Photography, Dublin,<span class="apple-converted-space"> </span><a href="http://www.jeudepaume.org/"><span style="color: #999999;">Centre Nationale de la Photographie</span></a>, Paris,
France and touring Europe, 1995-98<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Borne Sulinowo</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Orchard Gallery, Derry, 1995<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Cease-fire:
Reflections of Conflict</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.wolverhamptonart.org.uk/wolves"><span style="color: #999999;">Wolverhampton
Art Gallery</span></a>, Wolverhampton, 1994<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Initials</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, (Irish Days II),<span class="apple-converted-space"> </span><a href="http://www.baltic-gallery.art.pl/"><span style="color: #999999;">Baltic
Gallery of Contemporary Art</span></a>, Poland, 1994<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Bradford
International Print Biennale</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.bradfordmuseums.org/cartwrighthall/"><span style="color: #999999;">Cartwright
Hall</span></a>, Bradford, 1993<o:p></o:p></span></span></div>
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<i><span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br /></span></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Acts of Faith</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.galleryofphotography.ie/"><span style="color: #999999;">Gallery
of Photography</span></a>, Dublin, Akehurst Gallery, London, City Art Gallery,
Limerick and Untitled Gallery, Sheffield 1992-95<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">I-D
Nationale</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.portfoliocatalogue.com/"><span style="color: #999999;">Portfolio
Gallery</span></a><span class="apple-converted-space"> </span>and 369
Gallery, Edinburgh, Scotland, 1992<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">The
Long Summer Still to Come: Some Aspects of Recent Irish Photography</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.openeyegallery.co.uk/"><span style="color: #999999;">Open Eye
Gallery</span></a>, Liverpool, 1991<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Parable
Island: Some Aspects of Recent Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.thebluecoat.org.uk/"><span style="color: #999999;">Bluecoat
Gallery</span></a>, Liverpool, 1991<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Force Fields</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.mannheimer-kunstverein.de/"><span style="color: #999999;">Mannheimer
Kunstverein</span></a>, Germany, 1991, Germany as part of Kunst, Europa: 63
deutsche Kunstvereine zeigen Kunst aus 19 Ländern<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Marking the North</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.impressions-gallery.com/"><span style="color: #999999;">Impressions
Gallery</span></a>, York and<a href="http://www.cornerhouse.org/"><span style="color: #999999;">Cornerhouse</span></a>, Manchester, 1990 – 92 <a href="http://victorsloan.blogspot.com/2011/10/marking-north.html"><span style="color: #999999;">Read extracts from</span><span class="apple-converted-space"><span style="color: #999999; text-decoration: none;"> </span></span><i><span style="color: #999999;">Marking
the North: the Work of Victor Sloan</span></i></a><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Heritage
- Image and History</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by Paul Wombel,<span class="apple-converted-space"> </span><a href="http://www.yorkartgallery.org.uk/"><span style="color: #999999;">City Art
Gallery</span></a><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><a href="http://www.impressions-gallery.com/"><span style="color: #999999;">Impressions</span></a>,
York; Cornerhouse, Manchester and Greenwich Citizens Gallery, London, 1990-91<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Irish
Art of the Eighties</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.douglashydegallery.com/"><span style="color: #999999;">Douglas
Hyde Gallery</span></a>, Dublin, 1990<br style="mso-special-character: line-break;" />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="background: white; color: #333333; font-family: "arial";">EV+A, Exhibition of Visual Art</span></i><span style="background: white; color: #333333; font-family: "arial";">, </span><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"><a href="http://gallery.limerick.ie/"><span style="color: #999999;">City Gallery of Art</span></a><span style="background: white;">, Limerick, 1990. Also 1981, 1982, 1986</span><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Sun
Life Awards</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, National Museum of Photography, Film and
Television (now the<span class="apple-converted-space"> </span><a href="http://www.nationalmediamuseum.org.uk/"><span style="color: #999999;">National
Media Museum</span></a>), Bradford, 1989<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor Sloan: Walls</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Orchard Gallery,
Derry, 1989<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Ulster
Art in the 80s</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.royalhibernianacademy.ie/"><span style="color: #999999;">RHA
Gallagher Gallery</span></a>, Dublin, 1988<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br />
<i>Victor Sloan: The Birches</i>, Octagon Gallery, Belfast, 1988<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><br />
<i>Selected Images - A Sense of Ireland</i>, curated by Declan McGonagle and
James Coleman,<span class="apple-converted-space"> </span><a href="http://www.riversidestudios.co.uk/"><span style="color: #999999;">Riverside
Studios</span></a>, London and<span class="apple-converted-space"> </span><a href="http://www.arnolfini.org.uk/"><span style="color: #999999;">Arnolfini
Gallery</span></a>, Bristol, 1988<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Magnetic
North</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Orchard Gallery, Derry and<span class="apple-converted-space"> </span><a href="http://www.impressions-gallery.com/"><span style="color: #999999;">Impressions
Gallery</span></a>, York, 1987-88<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Directions
Out</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.douglashydegallery.com/"><span style="color: #999999;">Douglas
Hyde Gallery</span></a>, Dublin, 1987<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Critics’
Choice</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Fenderesky Gallery, Belfast, 1987<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Contrasts</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.hku.hk/hkumag/"><span style="color: #999999;">Fung Ping Shan Museum</span></a>, Hong Kong, China,1987<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"><a href="http://www.coearts.org/"><span style="color: #999999;">Claremorris Open
Exhibition</span></a><span class="apple-converted-space"> </span>(COE),</span></i><span class="apple-converted-space"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Claremorris, Co.
Mayo, 1987, 88, 90, 92, 93, 94, 96, 97, 98, also invited artist 2003<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Next:
Tomorrow</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.weepingash.co.uk/darkroom/cd00.html"><span style="color: #999999;">Cambridge
Darkroom</span></a><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><a href="http://www.kettlesyard.co.uk/"><span style="color: #999999;">Kettle’s Yard</span></a>, Cambridge, 1986<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Drumming</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.artscouncil-ni.org/"><span style="color: #999999;">Arts Council
of Northern Ireland</span></a><span class="apple-converted-space"> </span>Gallery,
Belfast, 1986<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Divisions,
Crossroads, Turns of Mind: Some New Irish Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, curated by
Lucy Lippard, touring U.S., Finland and Ireland, 1985-86<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Victor
Sloan: Photographic Works</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, (Installation), Peacock Gallery, Craigavon<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Irish
Exhibition of Living Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Guinness Hop Store, Dublin, 1985<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QlZS5ckHO7hwP9M-G5J0AmVos0g7iVc8ITOCxgayjzL6uBAVukYJ7UIj4K37UifPL5-rhvTKkuTNYLakjxvKNjkvAr1yezQ-27Yd0WgyaOf13Rzy9vLLqUdJzGjXTfjGIRYUU4wQOcM/s1600-h/Views+from+Ulster+sr+Victor+Sloan.jpg"><span style="color: #999999; text-decoration: none;"><!--[if gte vml 1]><v:shape
id="BLOGGER_PHOTO_ID_5297058455735849490" o:spid="_x0000_i1028" type="#_x0000_t75"
alt="" style='width:24pt;height:24pt'/><![endif]--><!--[if !vml]--><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="line-height: 15.6pt;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Views
From Ulster,</span></i><span class="apple-converted-space" style="line-height: 15.6pt;"><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";"> </span></span><span style="color: #333333; line-height: 15.6pt;">Touring
exhibition curated by Colin Osman, Creative Camera, London. Peacock Gallery,
Craigavon, Arts Council Gallery, Belfast, 1984-85</span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Independent
Artists</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">, Guinness Hop Store, Dublin, 1984<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">EV+A,
Exhibition of Visual Art</span></i><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman";">,<span class="apple-converted-space"> </span><a href="http://www.limerickcitygallery.ie/"><span style="color: #999999;">City
Gallery of Art</span></a>, Limerick, 1981<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";">Victor
Sloan can be contacted at:<span class="apple-converted-space"> </span><a href="mailto:mail@victorsloan.com"><span style="color: #999999;">mail@victorsloan.com</span></a><o:p></o:p></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-70954764841934990132014-08-14T08:02:00.001-07:002016-05-24T10:31:32.036-07:00About Victor Sloan<br />
<br />
<br /><span style="font-family: Arial, Helvetica, sans-serif;">Victor Sloan was born in Dungannon, Co. Tyrone in Northern Ireland. He lives and works in Portadown, Co. Armagh. He studied at Belfast and Leeds Colleges of Art. Victor Sloan is an influential artist and educator.<br /><br />He has developed an international reputation for creating powerful images, which display his prodigious versatility and inventiveness.<br /><br />He is known for his works commenting on various political, social and cultural aspects of Northern Ireland. He works with the medium of video and photography.</span><div class="MsoNormal" style="background: white; line-height: 15.6pt;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In 2002 Victor Sloan was awarded an <a href="http://en.wikipedia.org/wiki/Member_of_the_Order_of_the_British_Empire">MBE</a>. He is a Fellow of the <a href="http://www.thersa.org/">Royal Society of Arts</a> , an Academician of the <a href="http://www.royalulsteracademy.org/">Royal Ulster Academy of Arts </a>and a Fellow of the <a href="http://www.rps.org/">Royal Photographic Society</a>.<br /> <br /> Victor Sloan has exhibited widely throughout Europe, North America, South America and Asia. His work is to be found in numerous important private and public collections worldwide. <br /><br />In 2001 the Ormeau Baths Gallery in Belfast initiated a major retrospective exhibition, Victor Sloan: Selected Works 1980-2000, which was curated by Hugh Mulholland. In 2008, the exhibition History, Locality, Allegiance, curated by Peter Richards at the <a href="http://goldenthreadgallery.co.uk/">Golden Thread Gallery</a>, Switch Room, Belfast, brought together a comprehensive selection of past works, with a particular focus on his video work. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Books about Victor Sloan and his work include <a href="http://www.amazon.co.uk/Marking-North-Work-Victor-Sloan/dp/1872496016">Marking the North</a> by Brian McAvera (1989), <a href="http://www.amazon.co.uk/Victor-Sloan-Selected-Works-1980-2000/dp/095400860X/ref=sr_1_4?s=books&ie=UTF8&qid=1298806002&sr=1-4">Victor Sloan: Selected Works</a> by Aidan Dunne (2001), Victor Sloan: Walk, by Jürgen Schneider (2004), <a href="http://www.amazon.co.uk/Interrogating-Contested-Spaces-Post-conflict-Society/dp/0954981650/ref=sr_1_1?s=books&ie=UTF8&qid=1298805487&sr=1-1">Luxus</a> by Glenn Patterson (2007)</span><span style="font-family: "arial";">, </span><i style="font-family: Arial;">Drift</i><span style="font-family: "arial";"> by Dr Justin Carville and Ken Grant (2014) and </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #333333; line-height: 20.8px;"><i>Northern Ireland One: Victor Sloan</i>, </span><span style="background-color: white; color: #333333; line-height: 20.8px;">Café Royal Books, edited by </span><span style="background-color: white; color: #333333; line-height: 20.8px;">Craig Atkinson (2016).</span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">In Ireland and the UK his work is included in public collections such as the <a href="http://www.artscouncil-ni.org/">Arts Council of Northern Ireland</a>; the <a href="http://www.nmni.com/um">Ulster Museum</a>; the State Art Collection, Ireland; the National Self-Portrait Collection of Ireland; the <a href="http://www.bt.com/">British Telecommunications</a>, the Millennium New Media Collection; the <a href="http://london.iwm.org.uk/">Imperial War Museum</a>, London and the <a href="http://www.nationalmediamuseum.org.uk/">National Media Museum</a>, Bradford, England.<br /><br /> </span><b style="background-color: white; line-height: 15.6pt;"><span style="font-family: "arial";">Quotes</span></b><br />
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<span style="font-family: "arial";">"<i>Sloan
is a pioneer of conceptualism.</i>"<o:p></o:p></span></div>
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<b><span style="font-family: "arial";">Sean
O'Hagan, The Observer, London</span></b><span style="font-family: "arial";"><o:p></o:p></span></div>
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<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial";">"<i>Victor
Sloan’s enormous, distressed images are wonderful</i>."<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<b><span style="font-family: "arial";">Malachi
O'Doherty, Culture Northern Ireland.</span></b><span style="font-family: "arial";"><o:p></o:p></span></div>
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<span style="font-family: "arial";">“<i>Victor
Sloan, who lives in Portadown, is now one of Ireland's major artists. He has
evolved a unique, original style incorporating elements of drawing and
photography.”</i><br />
<b>Martyn Anglesea, <i>Stepping Stones: The Arts in Ulster.</i></b><br />
<br />
<i>“Victor Sloan has produced an impressive body of photoworks…Victor Sloan has
offered us a new way of seeing, by way of a persistent and ultimately
penetrating manner of questioning…”</i><br />
<b>Liam Kelly, <i>Thinking Long: Contemporary Art in the North of Ireland.</i></b><br />
<br />
<i>“Sloan, as if in frustration, intrudes on the pristine sanctity of the
negative by almost attacking it to incite new possibilities. Using bleach,
dyes, pigment and scale the banner-like works undercut the purely descriptive
and neutral image to reveal the hidden tensions and emotions behind the form of
cultural expression depicted. Sloan’s radical intervention in the photographic
process produces dramatic portrayals of the internal and external dimensions of
communal strife.”</i><br />
<b>Martin McCabe,<i> Revealing Views</i>, Royal Festival Hall, London</b>.<o:p></o:p></span></div>
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<i><span style="font-family: "arial";"><br />
“The excitement of Victor Sloan’s work lies in the difficulty with which the
viewer is faced in trying, if only for a moment, to produce a single all
embracing statement about it.”</span></i><span style="font-family: "arial";"><br />
<b>James Odling-Smee, <i>Walls</i> publication.</b><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial";"><br />
“Photographers usually take ‘what is there’ in front of them in the world; but
what is there in Victor Sloan’s works is not totally given. What is there is
paradoxically not there at all. He makes what is present find a gap to hide
itself; empty spaces emerge, no longer solid or demanding. That is why his
images become events in themselves and can significantly speak about a wider
social condition.”</span></i><span lang="EN-US" style="font-family: "arial";"><br />
<b>Jamshid Mirfenderesky, <i>Ulster Art in the Eighties</i></b></span><span style="font-family: "arial";"><o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: "arial";"><br />
“Victor Sloan remains optimistic for the future of Craigavon – and indeed
Northern Ireland and his effective juxtapositions of drama and dreariness
illuminate rather than bury the realities.”</span></i><span lang="EN-US" style="font-family: "arial";"><br />
<b>Lucy R. Lippard, <i>Divisions, Crossroads, Turns of Mind: Some New Irish
Art</i></b></span><span style="font-family: "arial";"><o:p></o:p></span></div>
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<i><span style="font-family: "arial";"><br />
“With Victor Sloan, to my mind the most powerful photographer/artist working in
Ireland, there is a combination of techniques…he blends the aesthetic/painting
tradition with that of sequencing and multiple imagery, within the one frame.
His search is for honesty, truth and authenticity amid the quagmire of myth,
dissimilation and revisionist history that is the lot of the North.”</span></i><span style="font-family: "arial";"><br />
<b>Brian McAvera, <i>British Journal of Photography.</i></b><o:p></o:p></span></div>
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<i><span style="font-family: "arial";"><br />
"Over the last 20 years, Victor Sloan has been one of the most
iconoclastic, experimental, innovative and audacious photographic artists at
work, not just in Ireland but anywhere. He takes outrageous liberties with the
nice, well-made, well-mannered photographic image, making of it something
compromised and problematic."</span></i><span style="font-family: "arial";"><br />
<b>Aidan Dunne, <i>The Irish Times.</i></b><br />
<br />
<i>“Victor Sloan’s work is impressive in both its technical approach to the
whole aesthetic notion of the photographic image and in its range.<br />
<br />
It both disrupts and redefines the notion of the camera as arbiter of truth
while successfully allowing the deconstructed subject to act as both moral and
political art.<br />
<br />
Pertinently it questions our perceptions and quietly encourages us to redefine
our entire world view.”</i><br />
<b>Mairtín Crawford, <i>Fortnight,</i> Belfast.</b><o:p></o:p></span></div>
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<i><span style="font-family: "arial";"><br />
“Over a sustained period Victor Sloan has produced a body of photographic work
which deals with his own personal history in the context of a particular
Northern Ireland community.<br />
<br />
Although he has a full understanding of current photographic practice, he is
not a slave to the medium. He is not is awe of its conventions and constantly
‘interferes’ with the images at the negative and print stages in realising his
ideas.”</span></i><b><span style="font-family: "arial";"><br />
Declan McGonagle,<i> Walls, </i>Orchard Gallery.</span></b><span style="font-family: "arial";"><br />
<br />
<i>“Victor Sloan has consistently produced high-quality work with powerful
imagery.”</i><br />
<b>Paul Wombell, <i>Sun Life Photography Awards</i>.</b><br />
<b><br />
</b><br />
<i><span style="background: white;">"Victor Sloan is indisputably the key
figure and key influence (in Northern Ireland), both as an artist and as a
teacher."</span></i><br />
<b><i><span style="background: white;">Brian McAvera, State of Art, London</span></i></b><br />
<br />
<i>“Victor Sloan’s dynamic manipulation of photographic imagery is well known,
well respected and well documented.”</i><br />
<b>Gavin Weston, <i>The Sunday Times.</i></b><br />
<i><br />
</i><br />
<i>“Victor Sloan creates powerfully creative visual images which respect but
control their sources. That combination is a rare one, in any medium.”</i><br />
<b>Sean McCrum, <i>Critic’s Choice</i>, Fenderesky Gallery.</b><br />
<br />
<i>“Characterised by a tensioned balance between figuration and abstraction,
Victor Sloan’s photoworks are deeply satisfying aesthetically, emotionally and
intellectually.<br />
<br />
Their symbiosis of form and content reflects an intimate binding of time and
place and so defies a simplistic response to things which are not simple.”</i><br />
<b>Michael McCaughan, <i>Acts of Faith</i>, Gallery of Photography.</b><br />
<br />
<i>“Sloan manipulates the surface to play with our own knowledge, our memories
and the immediacy and nostalgia of the photographic image,”</i><br />
<b>Gill Hedley, <i>Contemporary Art Society</i>, London.</b><br />
</span><span style="background: white; font-family: "arial";"><br />
</span><i><span style="font-family: "arial";">“Victor Sloan’s style is assured, direct and without
overstatement.”</span></i><span style="font-family: "arial";"><br />
<b>Brian Fallon, <i>The Irish Times.</i></b><br />
<i><br />
</i><br />
<i>“Sloan’s art is sincere and exploratory – a jolting reminder of our culture
impoverished by war and aggression.”</i><br />
<b>Elaine Murphy, <i>Circa,</i> Belfast.</b><o:p></o:p></span></div>
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<div class="MsoNormal" style="background: white; line-height: 15.6pt;">
<span style="font-family: "arial";"><br />
Victor Sloan can be contacted at: <a href="mailto:mail@victorsloan.com">mail@victorsloan.com</a><o:p></o:p></span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-67658498033284710342014-04-25T06:00:00.000-07:002014-04-25T06:00:33.663-07:00<div class="p1">
<b>Letter from the Levant</b></div>
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<i>Levant</i>, the very word has always had a romantic ring to it for me. It conjures up images of desert, camels and a nomadic life. I like the fact that it is not confined by borders drawn by European colonialists to create countries for their own use.</div>
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The word <i>levant</i> comes from the French word for <i>rising</i> and refers <i>to the place where the sun rises</i>. Although it lacks precise borders, it generally means the eastern Mediterranean and originally meant anywhere east of Italy. Now it usually refers to an area between the Taurus Mountains in southern Turkey, the Sinai Peninsula and the Arabian desert.</div>
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My first visit to that part of the world was to Syria and the Lebanon just over a year ago. The situation was calm then and I was unaware of any signs of discontent. I visited Quneitra, a Syrian town at the edge of the Golan Heights that had been destroyed in the 1967 war with Israel. I had to be escorted at all times by a soldier from the Syrian army, but he allowed me to take photographs. On one wall of a destroyed hospital the graffiti read “in our hearts a passion for the nation and a love for Assad”. Certainly the impression I got then was that Assad was held in high regard because of his perceived opposition to Israel and America.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;"><i>AllArtNow, Damascus, Syria (foreground: Abir Boukhari) <br />Photograph © Victor Sloan</i></span></td></tr>
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In Damascus I visited AllArtNow, which is the main contemporary art space in the city. It is housed in an old house inside the ancient city walls of Damascus. To get there you walk along "the street which is called Straight" [Acts 9:11] and turn off just before the street that leads to the house where Saint Paul was supposedly taken after he had been blinded. The Muslim, Jewish and Christian quarters all used to border this area.</div>
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The actual building is in a poor state of repair and the spaces are small domestic-sized rooms, with the added possibility of working in the courtyard. What it does contain is an exciting attitude to contemporary practice. Like so many initiatives fuelled mainly by young artists, it has an energetic feel and often uses other alternative spaces around the city for various projects. The organisation makes an effort to have links with western art as well as having many links across the Arab world; artists from other countries constantly visit to make work. It also has links with the various cultural institutions in Damascus like the British Council, Goethe-Institut and Centre Culturel <span class="s1">Français</span>; these organisations often help with the staging of work.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;">AllArtNow, Damascus, Syria (small photos from author's </span><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;">Golden Egg</span><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;"> series) <br />Photograph © Victor Sloan</span></i></td></tr>
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One person who has already developed strong links between east and west is Issa Touma, artist and director of Le Pont Art Organisation in Aleppo. Touma constantly travels throughout Europe talking about art from his part of the world. The Le Pont gallery was the first photographic gallery in the Middle East and regularly hosts international exhibitions. As well as running a gallery, Touma often uses a large adjacent space that was once the electricity generating station for Aleppo. While running exhibitions there he organises a <i>Women’s Art Festival</i> that covers all art forms. It was interesting to find that both in Damascus and Aleppo there was no problem when artists dealt with women’s issues; in fact I was told it was encouraged. That does not mean that there were no problems, but as one artist who had lived for several years in Europe said, "the problems for women are the same here, there is no difference." That was said to me when I was recording an interview with her in an outdoor bar; she and the other women were bare-headed, enjoying a beer and not necessarily accompanied by men.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;"><i>AllArtNow, Damascus, Syria (small photos from author's Golden Egg series) <br />Photograph © Victor Sloan</i></span></td></tr>
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I did visit other galleries in Damascus but they were really commercial galleries presenting well executed paintings and sculptures but no real contemporary practice. In Aleppo things seemed to revolve around Le Pont and in Hama and Homs, now sadly famous, I did not see anything that I would call contemporary practice.</div>
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My visit to the Levant left me fascinated with that part of the world and I started to use Skype to talk with and interview artists, film-makers and writers in countries like Jordan, Palestine and Egypt. Using Vimeo, I watched a film of a meeting between the film-maker and her grandmother; the grandmother narrated the story of how after the Second World War the politically active family had moved from Palestine to Jordan and then to Syria. The women remained in Syria with the children but her grandfather and granduncle had to move on to Turkey. Strange, after such a recollection of enforced movement, the next film-maker I talked to cannot leave the Jordan as his family had come from the West Bank in 1967 and he, like everyone else who had been displaced at that time, cannot get passports as they have no citizenship.</div>
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On several occasions I spoke to Khaled Hourani, the Arts Director at the International Academy of Art Palestine (IAAP) in Ramallah who was working on the project <i>Picasso I Palestine</i>. The IAAP requested the loan of Picasso’s <i>Buste de Femme</i> (1943) from Eindhoven’s Van Abbemuseum. The procedures and negotiations required to make the exhibition happen were complex, not least because Palestine is not recognised as a country and the work had to be flown into Israel before starting its overland journey.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLZiSqS6ELYx8mbmNUwQ9iM_HpQX1xGOd5Dodu8um4YIKIDQ-SK3e_ek1Q77lqiWkr9C-rSAdxv4OO8SFcOQCDqMdcdyqAVGSzBxVhMMvQ1Dm791kZf-O-LKmFs7rcCO-kRwN3wz_lwWu/s1600/AllArtNow%252C+Victor+Sloan+4.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLZiSqS6ELYx8mbmNUwQ9iM_HpQX1xGOd5Dodu8um4YIKIDQ-SK3e_ek1Q77lqiWkr9C-rSAdxv4OO8SFcOQCDqMdcdyqAVGSzBxVhMMvQ1Dm791kZf-O-LKmFs7rcCO-kRwN3wz_lwWu/s1600/AllArtNow%252C+Victor+Sloan+4.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;"><i>AllArtNow, Damascus, Syria. Photograph © Victor Sloan</i></span></td></tr>
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Having spoken to people in Jordan and Palestine, I decided to travel to Jordan in November last year. I found the country a strange mix. Jordan as a country only dates from 1920 and started as a carve-up of that part of the world between the British and French. France got Syria and Lebanon; Britain got Iraq and Palestine. Transjordan, as it was originally called, got its independence in 1946 and was named simply Jordan. Being a comparatively young country, Jordan has still not found its artistic passion or a culture to call its own; it felt like a country in search of its spirit. A large percentage of the population are Palestinian and like my film-maker friend many cannot get passports, and a large number still live in refugee camps. They do, however, have a cultural identity.</div>
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The capital Amman does have a vibrant art scene; bookshops, cafes, galleries, but scratch the surface and you become aware that it is not yet confident in its own skin. I am sure that it will grow into its artificial borders and the people will get an identity, but its unsmiling people reminded me of my own people here in Northern Ireland twenty years ago.</div>
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There is a prosperous commercial gallery scene typified for me by a visit to a gallery which was situated in a five-star hotel. There is certainly private patronage of the arts and this stretches to the noncommercial art world with the largest art centre, Darat al-Funuun, being sponsored by a local family. The art centre is in a collection of old buildings that have been beautifully restored with sympathy to their history. While I was there a Swiss artist was working on a Palestinian space-shuttle project, which was causing a bit of a stir. It was a good project but the only artists from non-Arab countries who ever work in the galleries are Swiss, as that seems to be the art centre’s policy.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRkp93fkPlxoeMo0B18NaE5SARPX0A0eki69-3kS27uAN2suJx4PJFCBnzJ-BZeW3ttnRBzwdWOwPZKpeXZ3lucFudrNqUbEmOWEeYm-_6iusCdvr0zdt1DTt2M1uxIyk290NTK6z1VRj/s1600/Old-Electricity-Building-Cultural-Centre-Aleppo-Syria%252C+Victor+Sloan+5.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRkp93fkPlxoeMo0B18NaE5SARPX0A0eki69-3kS27uAN2suJx4PJFCBnzJ-BZeW3ttnRBzwdWOwPZKpeXZ3lucFudrNqUbEmOWEeYm-_6iusCdvr0zdt1DTt2M1uxIyk290NTK6z1VRj/s1600/Old-Electricity-Building-Cultural-Centre-Aleppo-Syria%252C+Victor+Sloan+5.JPG" height="257" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: sans-serif; font-size: 11.5px; line-height: 15.118110656738281px; text-align: left;"><i>Old Electricity Building Cultural Centre, Aleppo, Syria. <br />Photograph © Victor Sloan</i></span></td></tr>
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The nearby Makan Art Space is a small but vibrant venue that hosts a wide variety of experimental art projects. It has three studio spaces, which allows for a mix of local and visiting artists. Its balcony with views over the city is somewhere for artists to meet, talk and drink coffee.</div>
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Things are changing quickly in the Levant and I have been keeping in contact with everyone I met or talked to. Friends in Syria say that their galleries in Aleppo and Damascus continue, and a group of young artists in Damascus have used a British Council grant to set up an art school in a small office where they meet every evening to talk and research contemporary art. They recently held an exhibition of installation work in the AllArtNow gallery.</div>
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I remember Belfast during the ‘troubles’, when people were afraid to visit. It was the feeling of isolation, being cut off from the rest of the art world, that was most soul-destroying. At the moment, I am arranging for the curators from AllArtNow and Le Pont along with some artists to visit Belfast in February. Hopefully artists from the Levant will not be isolated regardless of the politics, and ways can be found for them to engage in the contemporary art world. Modern technology was used to great effect in the uprisings; it can now be used to allow artists from the Levant to engage with artists from around the world. Perhaps this is an opportunity to finally erase the line between east and west. </div>
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<b>Brian Kennedy</b></div>
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Circa Art Magazine | <a href="mailto:info@recirca.com">info@recirca.com</a></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-1499438996136768762013-11-19T09:50:00.001-08:002013-11-19T09:50:42.178-08:00<div class="MsoNormal">
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<span lang="EN-US"><span style="color: #666666;"><br /></span></span><span lang="EN-US"><span style="color: #666666;">Victor Sloan has been invited to participate in </span><i style="color: #666666;">Art in the Eastside </i><span style="color: #666666;">in Belfast</span></span><br />
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<i><b>Art in the Eastside</b></i></div>
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<span style="font-family: Arial;"><b>Various Locations, Belfast<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>26 August – 8 September 2013</b><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>Art in the Eastside – Ireland’s largest outdoor exhibition</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Creative Exchange Artist Studios are delivering their showcase event of the year <i>Art in the Eastside</i>, which is a high profile public art project that will display art on 50 billboards and poster sites in the East of the City. </span></div>
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<span style="font-family: Arial;">It includes temporary public art installations, exhibitions, and a pop up exhibition which will run between 25 August – 8 September 2013. A public art trail map has been designed to assist visitors.<o:p></o:p></span></div>
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<span style="font-family: Arial;">A follow on exhibition of works submitted will be showcased in the Engine Room Gallery on the Newtownards Road, Belfast between 5th September – 26th September 2013.<o:p></o:p></span></div>
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<span style="font-family: Arial;"><i>Art in the Eastside</i> is a dynamic public art project that began four years ago, the first of its kind to be delivered in Northern Ireland and is the brainchild of East Belfast-based Creative Exchange Artist Studios. </span></div>
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<span style="font-family: Arial;">Through the use of high-quality visual art, <i>Art in the Eastside </i>celebrates the creative positive energy of East Belfast, the community Creative Exchange have lived and worked in for the past 18 years.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Artists taking part in <i>Art In the Eastside</i>:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Aisling O’Beirn, Alice Maher, Andrew Haire, Angela Anderson, Aoife McGee, Barbara Craig, Breandán Clarke, Brendan Jamison, Brook-Valentine Menown, Ciara O’Malley, Clinton Kirkpatrick, Colin Darke, Colin Davis, Colin McGookin, David Fox, Deidre Robb, Derik Hegarty, Dominic Corrigan, Gabrielė Ganžaitė, Gemma Lalor, George Robb, Gerry Gleason, Glenn Keelan, Ivan Frew, Jillian Gould, Katie Brown, Lesley Cherry, Liam Campbell, Maura O’Rourke, Mel Boyle, Michael Hart, Michael Mandelc, Mike Connor, Myra Jago, Patricia Vallely, Paul Moore, Rachel Coote, Ray Duncan, Rita Duffy, Ruth Moore Gonsalves, Stephen Millar, Susan MacWilliam, <b>Victor Sloan</b>, Victoria J Dean<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="color: windowtext;"><a href="http://artintheeastside.wordpress.com/">http://artintheeastside.wordpress.com</a></span><o:p></o:p></span></div>
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<span lang="EN-US"><b><i><br /></i></b></span><span lang="EN-US"><b><i>Northern Ireland: </i></b></span><b><i>30 Years of Photography</i></b></div>
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<span lang="EN-US"><b>The MAC and Belfast Exposed, Belfast<o:p></o:p></b></span></div>
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<span lang="EN-US"><b>Opening: Thursday 9th May 7-9pm<o:p></o:p></b></span></div>
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<span lang="EN-US"><b>10 May to 7 July 2013</b><o:p></o:p></span></div>
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Since the 1980s Northern Ireland has produced a distinctive body of photographic work, by photographers from within and outside Northern Ireland. The exhibition aims to bring together significant works by key photographers and to examine the phenomenon of new photographic practices in Northern Ireland. Many of the photographers to be included in the exhibition have established global reputations, but have not previously been considered in any sustained way as group of photographers interacting with each other’s work.</div>
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<span lang="EN-US">Taking a historical and thematic approach, the exhibition will be organised under headings such as The Troubles, The City, The Border, The Archive, Peace and Other Places/Otherwise. It will begin with the media imagery of the Troubles that compelled photographers such as <b>Victor Sloan</b>, Paul Seawright and Willie Doherty to intervene in the flow of press/documentary images which dominated a global, visual portrayal of Northern Ireland in the 1970s. From this response to media and documentary photography an engaged and often polemic aesthetic emerged, individual to each photographer but also shared across diverse photographic practices. </span><br />
<span lang="EN-US"><br /></span><span lang="EN-US">With the Peace Process in the 1990s a new dynamic entered the scene, which compelled photographers to think about the social and political past and future of Northern Ireland.<o:p></o:p></span></div>
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<span lang="EN-US">While presenting an analysis of it’s broad aesthetics and (often dissenting) relationship to post-Good Friday Agreement Northern Ireland, the exhibition will also question the extent to which the theme of conflict has dominated our view of Northern Irish photography. Through the inclusion of work by Mary McIntyre, Hannah Starkey, Gareth McConnell and artists with a keen sense of trends and debates in the wider contexts of contemporary photography and art, the exhibition aims to present photography in and from Northern Ireland as a refection of place in the broadest possible sense.<o:p></o:p></span><br />
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Photographers include: Craig Ames, Sylvia Grace Borda, Adam Broomberg and Oliver Chanarin, Ursula Burke, John Byrne, Victoria Dean, Willie Doherty, John Duncan, David Farrell, Malcolm Craig Gilbert, Paul Graham, Philip Jones Griffiths, Anthony Haughey, Kai Olaf-Hesse, Sean Hillen, Claudio Hils, Daniel Jewesbury, Peter Marlow, Gareth McConnell, Patrick McCoy, Moira McIver, Mary McIntyre, Sean McKernan, Eoghan McTigue, Jonathan Olley, Mark Power, Paul Quinn, Paul Seawright, <b>Victor Sloan</b>, Mervyn Smyth, Hannah Starkey and Donovan Wylie.<br />
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The exhibition is curated by Karen Downey, Senior Curator at Belfast Exposed. Karen also works as an independent curator. In 2009 she curated Northern Ireland’s presentation at the 53rdVenice Biennale with a solo exhibition by Susan MacWilliam, and in 2011 she curated Versions and Diversions at Temple Bar Gallery + Studios, Dublin. In 2012 she was Lead Curator and Editor for Into the Light: The Arts Council – 60 Years of Supporting the Arts.</div>
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<span lang="EN-US">The exhibition is accompanied by a substantial publication, Northern Ireland: 30 Years of Photography by Colin Graham. Colin Graham lectures at NUI Maynooth, and was previously Reader in English at Queen’s University Belfast. He is the author of Ideologies of Epic and Deconstructing Ireland. He is co-editor of the journal The Irish Review, and of three collections of essays. He has published articles in many journals, including Cultural Studies, Third Text, Journal of Visual Culture, Irish Studies Review, The Dublin Review and Source.<o:p></o:p></span></div>
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<span lang="EN-US"><i>Northern Ireland: 30 Years of Photography</i> is supported by Arts Council NI and Belfast City Council<o:p></o:p></span><br />
<span lang="EN-US"><br /></span><b><a href="http://themaclive.com/">The MAC</a></b> </div>
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<a href="http://www.belfastexposed.org/">BELFAST EXPOSED PHOTOGRAPHY</a><br />
The Exchange Place, 23 Donegall Street, Belfast, BT1 2FF</div>
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<span lang="EN-US"><b><i>Picturing Derry</i><o:p></o:p></b></span></div>
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<span lang="EN-US"><b>The City Factory </b></span></div>
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<span lang="EN-US"><b>29 May 2013 - 7 July 2013<o:p></o:p></b></span></div>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="background-color: white; color: #999999; font-family: arial; font-size: small; line-height: 19px; text-align: left;">© Victor Sloan</span></td></tr>
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<span lang="EN-US">The images which brought Derry~Londonderry to international attention in the late 1960’s continue to define how this city is viewed today.<o:p></o:p></span></div>
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<span lang="EN-US"><i>Picturing Derry</i> will, for the first time, bring the collected photographic iconography of the Troubles in Derry~Londonderry together in one exhibition. The exhibition will juxtapose insider and outsider views of the city from the time between when it erupted into street protest and civil strife in 1969 and the final decade of the Troubles.<o:p></o:p></span></div>
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<span lang="EN-US">Photojournalists, including Clive Limpkin, Homer Sykes, Fred Hoare and others from news agencies across the globe made iconic images of individual or family stories and more public moments of spectacle, drama, and tragedy from the conflict. </span></div>
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<span lang="EN-US">Photographers from the city – Willie Carson, Larry Doherty, Eamonn Melaugh, Barney McMonagle – were using their local knowledge, contacts and wit to cast a light on some of the previously unseen elements of life in a conflicted city.<o:p></o:p></span></div>
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<span lang="EN-US">Photographs by troops on tours of duty in the city told their own stories of an army in a conflict. In Camerawork, working with international curator Trisha Ziff, a local community challenged stereotypes, and developed an innovative model of participatory photography expressing community identity. </span></div>
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<span lang="EN-US">Artists using photography, including Willie Doherty, Sean Hillen, <b>Victor Sloan</b> and others, brought imagination, reflection and provocation as a response to image-making in the media-saturated city.<o:p></o:p></span></div>
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<span lang="EN-US">In <i>Picturing Derry</i>, audiences will be able to make the connections and diversions within this range of images captured by international photographers, the work of amateurs or local news photographers, troops, the community of Camerawork, and artists of international renown. As well as a unique gallery exhibition, <i>Picturing Derry</i> will transform the city into a gallery by relocating many of the iconic images to the original sites where they were first taken.<o:p></o:p></span></div>
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<span lang="EN-US"><i>Picturing Derry</i> is a partnership between Culture Company, the Nerve Centre and the University of Ulster. The exhibition is supported by the European Cultural Fund and will go on tour to Berlin and Dubrovnik later this year.<o:p></o:p></span><br />
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<a href="http://www.cityofculture2013.com/">Derry~Londonderry </a><br />
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<span style="color: #666666;">Victor Sloan's work is included in the Red Barn Gallery's Archive Show:</span><br />
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<b style="font-family: Arial;"><i>The Archive Show</i></b></div>
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<span lang="EN-US" style="font-family: Arial;"><b>6 June – 26 July 2013</b><o:p></o:p></span></div>
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<span style="color: #666666; font-family: Arial;">From the </span><span style="background-color: white; color: #666666; font-family: Arial, sans-serif; line-height: 20.799999237060547px;"><span class="Apple-style-span" style="font-family: arial;"><i>Vietnamese Boat People, Craigavon </i>series<i>, </i></span></span><span class="Apple-style-span" style="background-color: white; color: #666666; font-family: arial; line-height: 20.799999237060547px;"><span class="Apple-style-span">silver gelatin print, 1984 © Victor Sloan</span></span></div>
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<span lang="EN-US" style="font-family: Arial;">More recent photography puts an intimate slant on the experiences that have shaped our physical and psychological landscape. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial;">Over the last four years the Red Barn Gallery’s annual Archive Exhibition has become an essential feature of Belfast’s cultural calendar. In spite of a death of funding, the gallery has amassed an astonishing archive of images, (the work of both professionals and amateurs), spanning over 100 years, and its 170,000 strong collection of images is constantly growing.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial;">From captured stills in the Glens of Antrim to ordinary moments in extraordinary circumstances; from boy scouts in the 1920s to people you would call your own, the Red Barn archive breathes new life into a not-quite-lost past.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><a href="http://www.belfastphotofestival.com/">www.belfastphotofestival.com</a></span></div>
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<span lang="EN-US" style="font-family: Arial;"><b>The Red Barn Gallery</b><br />43b Rosemary Street<br />Belfast BT1 1QB<br /><br /><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial;">email: <span style="color: windowtext; text-decoration: none;"><a href="mailto:info@rbgbelfast.com">info@rbgbelfast.com</a></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial;">Gallery Director: Frankie Quinn </span></div>
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Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.comtag:blogger.com,1999:blog-2272426036946273607.post-85763107932646342522012-11-27T10:15:00.001-08:002013-10-26T03:13:46.068-07:00Living Museum<span style="font-family: Arial; line-height: 150%;"><b><span style="color: #999999;"><br /></span></b></span>
<span style="font-family: Arial; line-height: 150%;"><span style="color: #999999;"><a href="http://www.briankennedy.me.uk/">Brian Kennedy</a> discusses his 2010
trip to Syria, where he visited artist-led projects and galleries, and his
recent experience attempting to bring Syrian artists to Northern Ireland.</span></span><br />
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<span style="font-family: Arial; line-height: 150%;">I first went to Syria in November
2010 to make a visual study of the Dead Cities. These are the remains of towns
and villages from the Eight and Ninth Centuries: wonderful examples of
Byzantine architecture that have remained remarkably intact.</span><span style="font-family: Arial; line-height: 150%;"> </span><span style="font-family: Arial; line-height: 150%;">They are typical of the country’s rich heritage
and offer a real life understanding of its history.</span><span style="font-family: Arial; line-height: 150%;"> </span><span style="font-family: Arial; line-height: 150%;">Having remained complete for so long, they
are now being subjected to modern warfare; their rich contribution to our
knowledge of a past era is being lost forever.</span><span style="font-family: Arial; line-height: 150%;">
</span><span style="font-family: Arial; line-height: 150%;">Sadly, this is true of many important sites and places of historic
interest across this fascinating country, which has always been an important
crossroads between East and West, between cultures and religions.</span></div>
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suffering the effects of modern warfare, was the Krac des Chevaliers, considered
to be the finest example of a crusader fort, once considered almost impregnable,
has already been damaged. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gSneanEAY_9n_rBTos0s9r8OuwVBfkY90VqouKPR1qVqNJOpj5QTmk7N4aj8m8d4kG8J6ueJCbXlYb-s2AhEzOz40PHxVcAyAMJM83DpccDIXUHs_hyphenhyphenWrSHEePs9_EeKV6GsVJZ0aZBd/s1600/Palmyra,+Syria+%C2%A9Victor+Sloan.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gSneanEAY_9n_rBTos0s9r8OuwVBfkY90VqouKPR1qVqNJOpj5QTmk7N4aj8m8d4kG8J6ueJCbXlYb-s2AhEzOz40PHxVcAyAMJM83DpccDIXUHs_hyphenhyphenWrSHEePs9_EeKV6GsVJZ0aZBd/s1600/Palmyra,+Syria+%C2%A9Victor+Sloan.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Palmyra, Syria ©Victor Sloan, 2010</td></tr>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">I remember standing shivering in the
cold desert night air at the ancient Roman site Palmyra, waiting for the early
rays of sunlight to turn the sandstone buildings their famous shade of gold.
Palmyra is as far east as the Romans ever built a town or trading centre: they
realised the never-ending desert beyond was too vast to be controlled. The Free
Syrian Army are now dug into this important site, based in an ancient castle
that overlooks these historic remains.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">Syria is a vast living museum. One just has to walk around to experience the
culture that is interwoven with everyday life, and there is a tangable sense of
history that I had never experienced before.
The country has its museums but it is simply better to walk around the
streets soaking up the atmosphere. Both
Aleppo and Damascus claim to be the oldest cities in the world and I was
certainly aware of an ancient culture and long history when in either city.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">The current violence broke out just
a few months before I visited Syria but there was absolutely no hint of what
was to come. At the time I was
interested in seeing what contemporary art practice existed against the long
cultural history of that country.<o:p></o:p></span></div>
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<span style="font-family: Arial; line-height: 150%;">In Damascus I visited AllArtNow
which lies inside the ancient city walls and in an area where the Christian,
Muslim and Jewish quarters used to border each other and people lived together
in relative harmony.</span><span style="font-family: Arial; line-height: 150%;"> </span><span style="font-family: Arial; line-height: 150%;">The building that houses
AllArtNow is an old decaying house with several rooms closed off as they are
unsafe.</span><span style="font-family: Arial; line-height: 150%;"> </span><span style="font-family: Arial; line-height: 150%;">Like many initiatives driven by
young artists making a way for themselves, it felt full of energy.</span><span style="font-family: Arial; line-height: 150%;"> </span><span style="font-family: Arial; line-height: 150%;">The organisation often uses alternative
venues around the city to stage events and it also has links with international
organisations like the British Council, Centre Culturel Francais and the
Goethe-Institut</span><i style="font-family: Arial; line-height: 150%;"><span style="color: #333333;">.
</span></i><span style="font-family: Arial; line-height: 150%;">Because of their links to foreign embassies and their diplomatic
significance, these organisations and their venues were less likely to be
hassled by the authorities.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dvouEPiN0jqmyaCVW2Fti1nvUdfyjRSl4AUjQmS8UkZ5coctBwrgkOpGmW1Rd237OlGWvl5b6TDUQVOGh8qa7N8nE0ezB5hCnX8ziMLfQplAz02EglFo6616pmHNit4VgbdFYxuVMuaJ/s1600/Serjilla,+south+of+Aleppo,+Syria+%C2%A9Victor+Sloan.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dvouEPiN0jqmyaCVW2Fti1nvUdfyjRSl4AUjQmS8UkZ5coctBwrgkOpGmW1Rd237OlGWvl5b6TDUQVOGh8qa7N8nE0ezB5hCnX8ziMLfQplAz02EglFo6616pmHNit4VgbdFYxuVMuaJ/s1600/Serjilla,+south+of+Aleppo,+Syria+%C2%A9Victor+Sloan.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Serjilla, south of Aleppo, Syria ©Victor Sloan, 2010</td></tr>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">After Damascus, I travelled to
Aleppo where I met Issa Touma, a photographer and director of Le Pont gallery,
the first photographic gallery in the Middle East. As well as the gallery space, Issa often uses
a large adjacent space that used to be Aleppo’s electricity generating
plant. The Women’s Art Festival which
covered all art forms was regularly shown here.
It must be remembered that many Syrians consider their society secular
and I found it interesting that artists were encouraged to deal with women’s
issues.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">Just a few months after I returned
from Syria, the violence started. I kept
in touch with AllArt Now and Le Pont by Skype and email. Both organisations continued to organise
exhibitions. It was still possible to
travel at this time; Issa did a lecture tour of Europe and Nisrine Boukhari, an
artist from AllArtNow, also travelled to Europe to make work. But slowly the
situation got worse. Then, in February
this year, the British Council introduced a special scheme that allowed Syrian
artists to travel to Britain to meet other artists. Nisrine Boukhari and the curator Abir
Boukhari, both from AllArtNow in Damascus, were given funding as was Issa Touma
and a group of photographers from Aleppo.
For whatever bureaucratic reasons, Abir and Nisrine were given visas but
everyone from Aleppo was denied a visa. So, even though the initiative was
being sponsored by the British Council, the British Embassy decided to deny visas
to the majority of the artists. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">While I was annoyed that all the
planning, working out itineraries and almost booking airline tickets was for
nothing, Issa was furious. He had made several lectures tours to Britain and
Europe before talking on subjects that would
not have gone down well with his own government, and felt that after years of
doing this he had been badly let down. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">I could do nothing but plan the trip
for those who did have visas, Nisrine and Abir. Soon after their arrival we
started with the ‘tourist’ trip. Our
driver Billy certainly had ‘views’ about the Troubles, the current situation
and how to solve everything. While visiting
the ‘peace wall’ our guests experienced Belfast humour: Abir was writing
something in Arabic on the wall and this wee Belfast man, out walking his dog,
came up and asked where she was from.
When told she was from Syria he went up to the wall to look at Ibir’s
Arabic writing and, with a straight face looked at her and said ‘Well your
spelling is good anyway’. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6elMAF3zxDZvimMOoWxVZeyLIso78Hxufs_R-6z2-YIaPOU11sO8kKH3HQe6EOKFAefKgrlB6xmWgiKUFh756eEvjFDhGPlQClFce72fVALWzjenNldTlTYpXNNoLcominsZ6h9LgAyO/s1600/Saint+Simeon's+basilica+(Qalaat+Sam'aan),+near+Aleppo,+Syria+%C2%A9Victor+Sloan.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU6elMAF3zxDZvimMOoWxVZeyLIso78Hxufs_R-6z2-YIaPOU11sO8kKH3HQe6EOKFAefKgrlB6xmWgiKUFh756eEvjFDhGPlQClFce72fVALWzjenNldTlTYpXNNoLcominsZ6h9LgAyO/s1600/Saint+Simeon's+basilica+(Qalaat+Sam'aan),+near+Aleppo,+Syria+%C2%A9Victor+Sloan.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saint Simeon's basilica (Qalaat Sam'aan), near Aleppo, Syria ©Victor Sloan, 2010</td></tr>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">The studio visits were enlivened by
the idea of virtual residencies. Nisrine had been offered a residency in
Ramallah but, coming from Syria, it was impossible to get a visa to go to the
West Bank, so she did a virtual residency with the organisation in
Palestine. The final, and perhaps the
visit that had most impact on Nisrine and Abir, was to ‘Draw Down the
Walls’. This organisation was started in
one community in Belfast but its success meant that the other community soon
saw the positive possibilities. It
engages with young people - its aims are intervention, prevention and planning -
and attempts to manage any possibly violent situations. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">It is common now to say that Belfast
and Northern Ireland are in a post-conflict situation, but Brendan who works on
the Draw Down the Walls project, still feels he is in a conflict situation. It
is just the means to an end that has changed.
Both Brendan and Ian gave an enlightening tour of some of the
flash-points in their part of Belfast, places where, if a local youth was seen
writing on the wall, it’s more likely that they would be pulled in by the
police than have someone crack a joke with them.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;">So, what can contemporary art offer
a new Syria? Art is often at its best when it has a reason for existence and
playing a part in the regeneration of this troubled country is a very real
reason. The fact that some galleries
have continued to exist will provide a platform for this debate and continued
contact with international organisations and artists will widen its scope. New
media, which became such a crucial tool in the Arab Spring uprisings, has
facillitated this dilogue and helped deepen our understanding of what it means
to practice as an artist in contemporary Syria. The rolethat contemporary art
will playin Syria’s future remains to be seen.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;"><span style="color: #999999;">Brian Kennedy is an artist who also
curates and writes about art. He sees all these elements as part of one
practice. For over 10 years, travel has formed an integral part of his practice.
When not travelling he lives in his small cottage outside Belfast</span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; line-height: 150%; mso-bidi-font-size: 12.0pt;"><i><a href="http://visualartists.org.uk/">The Visual Artists News Sheet</a></i><span style="color: #999999;">, November - December 2012</span></span></div>
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<br />Victor Sloan Visual Artisthttp://www.blogger.com/profile/13703194705357449086noreply@blogger.com