Foreward from Engage: three works on the IRA decommissioning of 2005 (Published by 411 Galleries. ISBN: 978-1-906713-03-4)
This book documents three projects which deal with the Irish Republican Army’s decommissioning process of 2005 and the subsequent reporting by the media, political parties and concerned individuals, with special attention to the language used. I wanted to make a body of work on this subject for two reasons: that these historical events, such as IRA cease-fires, were being immediately and complicitly played out live on television and in the media, and that the Northern Ireland ‘Peace Process’ was not particularly high on the list of popular subjects for artists of my generation, especially in the Republic.
For an artist born in the Republic, I have grown up watching the news reports on the countless marches and sometimes evil acts of carnage carried out by all sides of the Northern Ireland conflict. It always amazed me how the violence of this near yet very far off place was being brought into my suburban sitting room. As a child it made me wonder many things, but most of all it made me ask the question: if we can see these terrible things happen on TV, and know they are terrible things, and others around the world can also see them - why won’t someone make it stop? It turned out to be a lot more complicated than that, but eventually the threats, hollow promises, deceit and double-meanings subsided when the one true voice of the people spoke out and demanded change.
While most work produced on the conflict in Northern Ireland has generally focused on either the parties or the locations directly affected by the violence during the so-called Troubles, I found the period of transition that followed the Good Friday Agreement of particular interest; the appeal mainly due to the fact that the politicised language of those in power (and those not) so affected by the violent and volatile environment, must also change if a future lies in peaceful dialogue and diplomacy. And this is where the media comes in again, back to the newspapers and the TV in the sitting room.
It is ironic that words, as was often cited by the Rev. Ian Paisley, were not enough, and so when the deeds were finally enacted and legitimised, words were all that remained. Language can be seen to be a litmus test in terms of judging how the political climate in Northern Ireland has successfully changed for the better. If words can be weapons, and the pen can be mightier than the sword, a verbal decommissioning must also follow the paramilitary disarmament in order for the Northern Peace Process to succeed. The media and politicians alike rely on words to make their points, so as relative normality returns to Northern Ireland, I am curious to see how the verbal landscape changes.
Buy the book:
Engage - three works on the IRA decommissioning of 2005
By Barry W. Hughes/Bahs
Published by 411 Galleries, China 2009
pp30, Hard Back, Colour & B+W. ISBN: 978-1-906713-03-4
Engaging China (Originally published in the Visual Artists' News Sheet, July 2009)
Putting together a solo exhibition is never easy; it took three years to make the work which made up the Engage project and another year to plan the final solo exhibition: the Engage exhibition, which was held at the Jing An District Culture Centre in Shanghai, China, from 18th to 25th April 2009. The first instalment for the Engage project was Statement (28 July 2005), a series of six digital photographs with text, was produced in 2006. It was published in Abridged Magazine (Northern Ireland) and then again on a larger scale in Circa Art Magazine (Ireland). Following this Endgame (26 September 2005), a 22 second digital animation with audio and text, was produced specifically for Circa Art Magazine’s website in 2007. In late 2008 the third and final instalment was made; this was Counterparts, a series of six text pieces using repeated words from statements made by the North’s various political rivals and individuals involved in the so-called Peace Process.
The intention of the Engage project was to look at the language used by those making decisions and those directly affected by the decisions being made. The language however, was filtered through the local and international news media so effectively every word uttered had been scrutinised by someone other than the speaker and the receiver. The work explores how certain words with various connotations can have the ability to build or destroy, to be positive or negative depending on what side of the tracks one stands. It is the language of politics – the use of power words and the deliberate use of ambiguous words to communicate with the general public – to engage the people. Each word can be read differently according to the intention behind it, and as we are all too aware, politicians never speak in a straight-forward manner so there is a necessity for personal interpretation involved (a reading between the lines as it were). The visual side of the work involved taking digital photographs directly from the TV screen, focusing on the body language of the politicians who were speaking; for Statement (28 July 2005) this was the Unionist politician Peter Robinson’s robust chin and suited shoulders, clearly displaying his disbelief and inherent opposition. With Endgame (26 September 2005) there was more of a focus on General De Chastelain’s hand gestures and facial expressions which both display a sense of assertion to reinforce his position as eye-witness to the IRA’s destruction of weapons.
Once the Engage project was completed, there was the inevitable need to exhibit the works in total. Having previously used the print media and the Internet to display two of the works, the next step was a full exhibition and book to permanently catalogue the project for posterity. So, having built on my relationship with the 411 Galleries in China over the past five years I approached Mr. James Ryan, Director of the 411 Galleries, to consider hosting the exhibition and publishing the book in China. This would be the final leg of the journey for the project as it mirrored the news media’s involvement with the Troubles of Northern Ireland in past decades – to bring local politics into the global arena. It also seemed fitting to exhibit the project in China considering that country’s own political stance with annexed territories and (somewhat ironically) new found position as the calming influence in Asia, chairing negotiations between North and South Korea, Japan, and the West.
It took two attempts to get Culture Ireland to assist in the production of the project. Since the Arts Council no longer provide services for such outings Culture Ireland was the only option. So as a young independent artist still struggling to make a name for myself I felt a government agency set up to facilitate such undertakings would see the merit in my professional experience and the project to date. Having exhibited work throughout Ireland before graduating from the National College of Art & Design with a BA in Fine Art Media, and being involved in many international exhibitions since, one would assume the outcome positive. I was lucky to have the support of the Irish Consulate in Shanghai to act as referee and following a second application (asking for considerably less money than before) I was eventually offered a sum to pay for the flights only. Not that Culture Ireland have been lacking when it comes to facilitating exhibitions in China; they have been very generous in supporting the 411 Galleries in China for a number of years now, and long may it last, as the 411 Galleries are the only way most young and emerging Irish artists can show work in China at all. One would hope that Culture Ireland’s support of non-profit visual art exhibitions in unfamiliar countries will not be affected by the current dwindling of resources. The State and artists need such agencies.
Gaining the support of Culture Ireland, the Irish Consulate and the 411 Galleries meant that the exhibition was moving forward, and after taking out a personal loan I was able to finally plan the details of the entire three week trip to Shanghai. Money being tight (the majority was going on production costs for the art works and book, hotel and travel) I set about constructing new photographic projects to commence while in Shanghai. This was effectively a return trip to Shanghai for me as I had been awarded an Arts Council Travel Award to attend the Céad in China group exhibition organised by the 411 Galleries in 2007. Back then I had only one week and returned home to Ireland with two small photographic series which have since been published in various magazines. Having three weeks this time, it meant I could plan a considerable project and employ a more concerted approach - when undertaking such a long distance excursion one should be prepared to utilise every aspect of that excursion.
Ms. Chen JiaLe (curator at the 411 Galleries) and James were more than generous with their time and efforts in bringing the entire project together. Organising the printing and publishing of the book, and acting as intermediaries with the local government agencies and Consulate involved a large amount of work, and never failed in pushing me for the necessary documents, press information, art works and designs. With JiaLe’s help the exhibition was physically produced, hung and presented to the local Chinese and Irish audience (the Irish ex-pat group Le Chéile were there to offer their support also), and so the opening was orchestrated without any difficulties.
The exhibition opening, on Saturday 18th began with a number of speeches from Ms. Wang Hong of Jing An District Culture Bureau and the Jing An District Culture Centre Curator Ms. Xing Zhang, followed by Irish Vice Consul Mr. John Lynam, Director of 411 Galleries Mr. James Ryan and finally myself. A translator was on hand throughout and assisted in explaining the works to each of these. As is customary in China, we all cut a red ribbon to officially open the exhibition and this was followed by a wine reception and viewing of the works. The opening was recorded as a DVD and through photos. The Culture Centre, Consulate and 411 Galleries were very pleased with the exhibition itself and the turnout by the local Chinese (around 50 to 60 people attended), and so I was invited by Ms. Xing Zhang to return in the future to exhibit in the centre once again. Ms. Xing commented that this exhibition marked a new beginning in the Centre’s role in Shanghai for bringing international art to the city and stressed hers and the city’s enthusiasm for developing further cultural relations with Ireland.
The small, hardback book titled Engage – three works on the IRA decommissioning of 2005 published by 411 Galleries will be available to purchase for a small fee covering postage through the 411 Galleries and my own personal website while I am also talking to others who may make it available through their website. Maintaining links and contacts is always important for any business and being an artist is no different. It takes time and a lot of patience to foster such relationships, but with time and a determination to succeed despite the many setbacks, not to mention the occasional gamble, one can achieve such goals. Being realistic is also an important aspect – the idealism of the art student must be subdued by a more professional approach or any money invested in projects like this one will be squandered. The success of the Engage project, as with most conceptual works, is not measured in sales or monetary value but in terms of completion and achievement of goals. The work has existed in print, on the Internet and as an exhibition, all of which was viewed by the public in Ireland and China (possibly beyond?), and all of which has served me well in terms of artistic practice, professional experience and has even taught me one or two new skills along the way.
Endgame (26 September 2005) can be viewed here www.recirca.com/online_projects/index.shtml
Suburban Perspective (Originally published in the Visual Artists' News Sheet, July 2008)
The arts in South County Dublin are based in Tallaght, where the majority of facilities, infrastructure and interest are focused. However, I live in Lucan, with a population of over 37,000 in 2006 and currently on the increase with massive new developments like Adamstown for example; Lucan is expanding and yet Lucan has nowhere for artists to work or exhibit beyond a few odd patches of wall space in the tiny local Library.
Lucan is part of In Context, South Dublin County Council’s Per Cent for Art programme. I saw some evidence of this once, but I find it generally goes unnoticed by the wider community. As a resident of South County Dublin, I am entitled to apply for the local authority artist’s bursary which is awarded annually and is of real benefit. Unfortunately this is all there is of the visual arts in Lucan from a professional standpoint. Lucan seems to be a visual art black-spot.
Ironically, it is because of (or in spite of) this situation, that I tend to always look beyond Dublin, and indeed beyond Ireland. My first solo exhibition was in the newly built Town Hall Art Centre in Charlestown, County Mayo in 2005. The building itself was great, I was catered for very well and yet I couldn’t help but feel a little exasperated by the whole thing; if Charlestown with a population of around 800 could provide me this opportunity, why not Lucan?
To date I have exhibited in the Philippines, UK, US, Australia, Germany, Denmark and China. I have exhibited more times in China than in Dublin, thanks mostly to 411 Galleries. I also publish a lot of work in magazines, both in print and on-line. This is a preferred way for presenting my photographic work and conceptual work although it won’t pay many bills. Of course, South Dublin has a pretty good Broadband network so for an artist who uses the Internet as much as I it is of real benefit. The Internet is vital to my practice from research to presenting work and has been instrumental in getting my work seen beyond Dublin.
A lot of my works explore a suburban identity and the landscape continually informs my approach to ideas. A case in point is the large work I began in 2007 called the STOMP project, which set out to document the specific ‘stomping grounds’ of local teenagers, usually situated near rivers, car parks or next to motorways. I wanted to try to uncover and capture an attitude that exists in suburban Dublin, a psychological outlook reflective of its environment. I received the Exercises in Folkatronica runner-up award from the VAI, which ultimately encouraged me to continue working on the project. The project is not just an ongoing work reflecting my own history with those growing up in South Dublin County at the moment; it is itself becoming a historical record as most of the places I photographed in 2007 have been eradicated by new transport developments in 2008. Using the Internet as a means to present this project, I have taken the local and made it global so to speak.
So, South County Dublin has not only influenced my art practice in practical terms, but also by way of attitude and approach. While I live and work somewhere between the Kildare countryside and Dublin city, I am managing to take advantage of the situation and find alternative methods to overcome the splendid isolation South County Dublin, and Lucan, sometimes finds itself languishing in.
Quantifying Time: thoughts on a practice (Originally published on the 411 Galleries website, March 2008)
My art practice involves the use of cameras, digital video and audio, and the Internet. These are generally considered ‘new media’ yet using such media raises similar concerns to those of the traditional mode. However there is one distinct difference: the involvement of ‘real time’ which brings an alternative perspective and philosophy engaged in the consideration and investigation of transience. As real time brings continuous change, one finds oneself in continuous dialogue with history. As an artist this dialogue is represented by the work I produce; while in creating that work, deepening concerns are raised and explored. One such concern involves seeking out evidence of psychological states relating to the process of time as interpreted by physical activity.
As conscious beings we are constantly aware that time is in control, it moves and we must move with it. So in a vain attempt to gauge this process in a way we can better accept, we perform all manner of activities. It is our innate awareness of our mortality that drives us to perform activities that seem humble, even meaningless. It is said actions speak louder than words, not because language is inadequate, rather because actions carry a direct, traceable path back to the subconscious. Actions carry a meaning that betrays the Will and reaffirms the Instinct; in other words, it is the motive behind the activity, not the goal that is of importance. Time is always running out, so how does it impact on our psyche, and more interestingly how does this manifest itself?
In order to unlock that which cannot be found in a physical reality, one must re-present reality according to its own logic; in essence one must employ the use of poetics, metaphor and allegory to combine the forces of the physical and metaphysical. One must ‘unlock the valves of feeling’ as Bacon put it, by first confronting reality head on.
My work seeks to achieve this ‘unlocking’ not by illustrating an idea or inciting a shock reaction, rather by alluding to it, thus the psyche is teased into responding. Conceptual strategy is employed, whereby the subject, circumstance, production and presentation merge to encourage further suggestiveness in the work thereby increasing the chance of eliciting a sensation in the audience.
Activity is intrinsically linked to sensation, that is to say in order to feel one must do. Whether the activity in question is accidental or contrived, I try to treat each equivalently. If ‘man’s activity is the substance of his consciousness’ as Leontev stated, then it stands to reason that my photographing the results of seemingly inconsequential activities in the physical world, is in fact the capturing of another’s effort to better understand the process of time in the metaphysical world.
It is in the detail that one finds the common denominator; that ‘true life is lived when tiny changes occur’ as Tolstoy asserted, is the summation of this thought. The process of time is best quantified by analyzing the physical debris of the past, thus, much like an archaeologist I re-present that which can be considered a shared history, a point in time that is common to all. In other words, I attempt to substantiate the proof of existence; only through proof can one find potential.
AN Leont'ev (1904 - 1979. Marxist Psychologist)
"In reality the philosophic discovery of Marx consists not in identifying practice with cognition but in recognizing that cognition does not exist outside the life process that in its very nature is a material, practical process. The reflection of reality arises and develops in the process of the development of real ties of cognitive people with the human world surrounding them; it is defined by these ties and, in its turn, has an effect on their development. Human consciousness thus ceases to be an "intrinsic quality of the human spirit" with no history or intractability to causal analysis. We begin to understand it as the highest form of reflection of reality that sociohistorical development creates: a system of objectively existing agents gives birth to it and causal historical analysis makes it accessible to us."
Marxism and Psychological Science
"Man's activity is the substance of his consciousness."