Akihiko Okamura photographed the Vietnam War before arriving in Ireland – and his view of the North’s sectarian violence was uniquely poetic
Tag: Northern Ireland
Photojournalist Mariusz Smiejek has spent much of his life attempting to understand conflict in the North of Ireland. His Belfast exhibition shows the lasting impact of the violence
“It’s about lesbian alt. culture, it’s about growing up, and having a weird conflicted background – it’s about navigating youth in Northern Ireland,” says the 24-year-old artist, as she presents her first solo show in London
Despite the boldness of its statement, many of the exhibition subjects are absent from the work, given NI’s fraught record with LGBTQ rights
As the country enters an uncertain political and social landscape once more, Peress’ 2,000-page document of Northern Irish life in the 1970s and 80s feels more pertinent than ever
An exhibition of McConnell’s work, The Brighter the Flowers, the Fiercer the Town, goes on show at Seen Fifteen in Peckham this Friday 13 May as part of Peckham 24
Photographer Donovan Wylie discusses past work, and the role of the artist in times, and places, of conflict
Before becoming a photographer, Sean Hillen was a tinkerer. As a young teenager, one of his favourite pastimes was to take apart his grandfather’s old cameras and then piece them back together again. It wasn’t long before he discovered that with a bit of tweaking he could fix a brand new 120 roll of film into an outmoded 620 camera. “I did that, I got them developed, and I was immediately addicted to photography”.
Hillen grew up through the Troubles in Newry, Northern Ireland, close to the border with the Republic of Ireland. “It was utter chaos,” he says. “I knew people who got killed, and I knew people who killed other people”. Hillen and his four siblings would lie awake in bed at night listening to gun battles, which were so frequent that they were able to distinguish between the sounds of different weapons.
Titled XO, Josh Adam Jones’ graduation project investigates expatriate communities in Oman. “I had informed myself about Middle Eastern culture and the social landscape in the country before visiting, so upon arrival I was eager to embrace everything I was presented with,” he says. “The atmosphere was hugely welcoming, albeit stiflingly hot.”
Born in Cheltenham in 1995, and a recent documentary photography graduate from the University of the West of England, Jones says his inquisitive nature pushed him towards social documentary photography. “I like meeting people, so looking outwards, as opposed to photographing my own ‘backyard’, always felt natural,” he says. “Images have a wonderful potency that other mediums cannot quite match.”
“They had this amazing enthusiasm; a very creative enthusiasm,” says Peter Kennard, the well-known photomontage specialist and early member of the radical photography collective Half Moon Photography Workshop. “Camerawork contained all the different debates that were going on in photography at the time, but it was practical as well. The whole thing was about democratising photography.”
Radical Visions, a new exhibition at Four Corners in East London, reveals the lesser-known history of Camerawork magazine and its creators, the Half Moon Photography Workshop. The exhibition coincides with the launch of the Four Corners Archive, which has made all 32 issues of the magazine publicly available to view online.
The collective’s aim was to demystify the process of photography, and to use it as a tool for social change and political activism. The first issue of Camerawork, The Politics of Photography, published in February 1976, was stark black-and-white litho print on a broadsheet format – sheets of A2 paper folded to A3, then to A4 – and sold for 20p. It was pulled together over an all-night session fuelled by bagels and coffee at the Half Moon’s first studio in Chalk Farm.