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Abstract
Exhibition at Villa Merkel Städtische Galerien Esslingen of Home (2016) a video installation and other recent video and photographic works.
In quite a subtle way, Willie Doherty has always reflected the precarious political situation in Northern Ireland while focusing on individual sensitivities fluctuating between security and threat, vulnerability and integrity – just as he now essentially questions the context of migration and social affiliation.
HOME revolves around the refugee issue, while the two video works The Amnesiac (2014) and Buried (2009) combine aspects of memory with the desire for individual integrity. The installation Remains (2013) addresses the notion of collective memory, by directing attention to the practice of kneecapping adopted by three generations of the IRA, punishing actual or alleged dissidents or traitors by shooting their kneecaps. Challenging the imaginative powers of the viewer, the videos are always accompanied by mostly documentary photographs.
These works continued Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.
The exhibition included a number of new photographic works and a selection of works from the recent past :
Remains , 2013, video installation
The Amnesiac , 2014 video installation
Buried , 2009, video installation
A selection of photographic works
In quite a subtle way, Willie Doherty has always reflected the precarious political situation in Northern Ireland while focusing on individual sensitivities fluctuating between security and threat, vulnerability and integrity – just as he now essentially questions the context of migration and social affiliation.
HOME revolves around the refugee issue, while the two video works The Amnesiac (2014) and Buried (2009) combine aspects of memory with the desire for individual integrity. The installation Remains (2013) addresses the notion of collective memory, by directing attention to the practice of kneecapping adopted by three generations of the IRA, punishing actual or alleged dissidents or traitors by shooting their kneecaps. Challenging the imaginative powers of the viewer, the videos are always accompanied by mostly documentary photographs.
These works continued Doherty’s meditations, in video and photography, on the changing political landscape of Northern Ireland. Doherty examines the borders between the present and the past and between reality and memory. Doherty’s use of the camera reveals his interest for surveillance technologies on the one hand and his concern with the tradition of romantic landscape on the other.
The exhibition included a number of new photographic works and a selection of works from the recent past :
Remains , 2013, video installation
The Amnesiac , 2014 video installation
Buried , 2009, video installation
A selection of photographic works
| Original language | English |
|---|---|
| Publisher | Villa Merkel |
| Media of output | Film |
| Size | 6.5 minutes, two-channel video installation, color, sound, |
| Publication status | Published (in print/issue) - 14 Feb 2016 |
| Event | Home - Villa Merkel Galerien der Stadt Esslingen am Neckar Pulverwiesen 25 73726 Esslingen am Neckar, Esslingen, Germany Duration: 14 Feb 2016 → 24 Apr 2016 |
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Dive into the research topics of 'Home'. Together they form a unique fingerprint.Research output
- 3 Exhibition
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Ghost Story: 52nd Venice Biennale
Doherty, W. (Photographer), 2007Research output: Non-textual form › Exhibition
Profiles
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Willie Doherty
- Belfast School of Art - Professor of Video Art
- Faculty of Arts, Humanities & Social Sciences - Full Professor
Person: Academic