18 minute read
ARTS DIARY
Kellie Burch
kellie@ulstertatler.com
PORTRAIT OF NORTHERN IRELAND NORTHERN IRELAND
The Northern Ireland Offi ce recently hosted a pre-launch of the exciting ‘Portrait of Northern
Ireland - Neither an Elegy nor a Manifesto’
exhibition at the Golden Thread Gallery. As part of the cultural showcase to mark Northern Ireland’s Centenary year, this important exhibition, which was curated by Shan McAnena and was a collaboration between the Northern Ireland Offi ce, the Government Art Collection, the Arts Council of Northern Ireland and Belfast School of Art, showcases over 100 pieces of art of the people and places that have defi ned Northern Ireland over the past 100 years.
Several well-known faces were welcomed to the pre-launch by Gallery Director Peter Richards, such as Alex Aiken, executive director of Government Communication in the Cabinet Offi ce; Clare King, deputy director of the Northern Ireland Centenary Programme; Kathy Clugston, BBC radio presenter and Ulster Tatler columnist; Julia Corkey, chief executive offi cer at ICC Belfast, Waterfront Hall and Ulster Hall; artist John Carson; and Joe Linday, TV and radio broadcaster and DJ.
As you walked from Gallery One and into Gallery Two of the Golden Thread Gallery, it was hard not to mesmerised by the immense collection of art on display which captures a rich and varied snapshot of the responses by artists to the geographical, social and political landscape of Northern Ireland. From classic to contemporary and through multiple mediums such as oil on canvas, print, sculpture and multi-media, the collection not only charts the evolution of the country but also of art itself. Stand out pieces for me included Jeffrey Morgan’s 1995 portrait of Michael Longley ‘A Light from Two Windows’ (the frame is as much a piece of art as the portrait); William Conor’s ‘Return from Work’ (c.1931) which vibrantly captures working-class life in Ulster; Alice Berger-Hammerschlag’s ‘Abstract’ from the mid-late 1960s which is bold and captivating in its use of colour; Ian Cumberland’s photo-realistic oil on linen ‘Just to Feel Normal’ (2011); and the programme cover image - Nevill Johnson’s surrealist interpretation ’Kilkeel Shipyard’ (1943). The quality of the showcase is sublime and includes high-profi le artists such as Colin Davidson, Gladys MacCabe, Gerard Dillon, John Kindness and Willie Doherty, as well as emerging talents such as Ciarán Harper and work from recent graduates from Belfast School of Art.
This thoughtfully curated exhibition is truly remarkable as it’s the fi rst time such a collection has been put together, and it provides a unique opportunity to view an incredible array of fi ne art from Northern Ireland all in one place.
The pre-launch of Portrait of Northern Ireland - Neither an Elegy nor a Manifesto took place on 8th October. The exhibition runs until 4th November. Peter Richards and Shan McAnena.
Owen McFadden and Kathy Clugston. Louise O’Boyle, Alex Aiken and Julia Corkey.
Aimee Nelson, Paul Hutchison and Emma Lawthers. Peter Neill and Graham Gingles. Simon and Catherine McWilliams.
Ellie and Rita Fitzgerald.
Brody Stitt, Dexter Stitt, Cooper Stitt and Sarah Bell.
Meaghan Lyons and Stuart Campbell. Michelle and Aidan McGrath. Margaret McAlister and Lynn Kirk.
Bellhop Wilbert Hoffman and Belfast International Art Festival’s Sarah Kelly. Oisin Smith, Emer Dooris and Tiernan Smith. Caroline McDaid, Iona Monahan, Valentina Jordan and Eabha O’Hara with Cathy Martin.
THE GRIMM HOTEL
Inspired by popular tales from the Brothers Grimm, and on the cusp of Halloween, Cahoots NI opened the doors to its latest immersive theatrical production - The Grimm Hotel as part of Belfast International Arts Festival.
Located in Cityside Retail Park, my friend Bronagh and I checked in to the spooky hotel alongside fellow guests, UTV Life’s Rita Fitzgerald, arts blogger Emer Dooris, and PR expert Cathy Martin, to name a few. We were each given a luggage tag by the devilishly charming concierge (played by Caolan McBride) which we were told to keep safe as it would play an important role later on.
Our designated bellhop (played by Sharon Curran) whisked us through to the foyer via a creepy corridor complete with an eerie soundtrack, totally setting the scene. Once we took a seat, we were once again joined by the concierge who showed us a map of the hotel’s 210 rooms (to accommodate each of the Brothers Grimm’s fairytales). The rooms are accessed by three corridors and our route for the evening was to be determined by those special luggage tags. The concierge requested the help of a mysterious wooden companion to pick a member of the audience by sounding a bell when their name was said. The fate of our journey, it turns out, was in my hands as it was my name that the bell rang for. At this point we met Henrick Boss (played by Sean Kearns) who told us more about the secrets of the hotel before asking me to look at my luggage tag. Emblazoned on it was a red apple and so our journey began by travelling down a corridor with a corresponding red apple embellished on it. Next I was asked to pick a room number. I settled on 83. I was sent along the dark corridor to uncover the room and once I spotted it, I was to ring a handbell so the others in our group knew where to go next.
This was our fi rst of three stops. Inside was a room that transformed into the stage for a superb bite-sized production of one of the Grimm fairytales: The Elves and the Shoemaker. The skilled performances, colourful costumes, and clever use of sound and lighting, worked together to create an utterly captivating and professional performance.
From another audience member’s luggage tag we found ourselves in room 84 and into the world of Hansel and Gretel before fi nishing in a smoke-fi lled bar as Little Red Riding Hood (a stunning performance by Philippa O’Hara) and the big bad wolf battled it out through the medium of music.
The Grimm Hotel was a thoroughly innovative, clever, and immersive experience that entertained from the minute you checked in right until it was time to leave the atmospheric setting. Although suitable for ages 8+, I have to say, as a somewhat reluctant adult, I absolutely adored this refreshing, unique and creative theatrical experience which added a modern twist to the dark and familiar fairytales - it really was anything but Grimm.
The Grimm Hotel is open for check in until 31 October.
THE RE-OPENING OF THE GRAND OPERA HOUSE
The auditorium photographed from the Grand Circle.
Growing up in the country, my fi rst recollections of Belfast were at Christmas: the annual family shopping trip and the pantomime at the Grand Opera House.
When I moved to Belfast to study at Queen’s, I revisited the iconic Grand Opera House as part of my drama module. I still remember the excitement I felt as we walked across the stage and took a look behind the curtain to those hidden crevices in the backstage area. You could almost feel the vibrations left behind by the legends who had previously treaded the boards in this Victorian theatre, such as Laurel & Hardy, Luciano Pavarotti and George Formby.
The Grade A listed Grand Opera House building is a jewel in Belfast’s crown and prior to lockdown this stunning building, which opened its doors in December 1895, dropped the curtain to undergo a major upgrading. This is not the fi rst time the theatre, which was originally designed by prolifi c theatre architect Frank Matcham, has been altered. It was restored in 1975 by Robert McKinstry and in 2006 a contrasting annexe was constructed. This recent vast and complex upgrade was carried out under the watchful eye of specialist conservation architects, Consarc Design Group.
I was lucky enough to be invited to the opening night of the Grand Opera House’s comeback production, Six the Musical, and I won’t lie, I was eager to see the fi nal result of the new look theatre. Upon arrival it was clear the reimagining of this historic building was not restricted to the interior. From the outside, the remodelled annexe extension, which once sat in contrast to the eclectic exterior of the original theatre, now fully complements it. Upon entering, I was more than impressed by the transformation of the extension, which is modern yet opulent with interior fi xtures and furnishings by Garuda Design. The foyer and box offi ce space is now an open, bright, welcoming space with statement lighting. The construction of a helical staircase, above which a stunning sculpture of fi ve gold rings is suspended, creates a dramatic centrepiece. The bright and light colour scheme is wonderfully complemented by a clever use of glass whilst accents of dark brown wood and rich teals add depth to the space.
The bar areas - including a new bar installed in the restored 1980 glass extension overhanging Great Victoria Street - are luxurious and provide ample space to social before and after a show. A heritage exhibition, which charts the remarkable story of this spectacular building, is a superb permanent addition to the project.
The auditorium, in my opinion one of the most fantastical theatrical spaces there is, has been sympathetically restored. On the surface (thankfully) little has changed, but upon entering, it’s obvious the beloved interior has a
new sheen to it. The seats have been upgraded, the gold leaf work including that of the famous elephant heads have been reguilded and plasterwork has been painstakingly restored. I was overjoyed to see the beautifully detailed skyscapes on the roof, painted by artist Cherith McKinstry, gleam as powerfully as ever. The major change in this space is that the central aisle has now been removed.
As I settled into my seat awaiting curtain up, I listened to classical versions of modern pop hits such as Lady Gaga’s ‘Bad Romance’ and Britney Spear’s ‘Toxic’ drifting out of the improved sound facilities, completely setting the tone for the production that was to come. Six the Musical, which features the unfortunate wives of Henry VIII recounting their tales of divorce, beheadings, death and survival, is not at all what you would expect. Staged like a reality competition where the wives compete through song as to who had the worst time with Henry VIII, the powerhouse performances by the all female cast had you feeling like you had scored a ticket to see the hottest girl band in the world. With catchy songs that rattle around your head long after the standing ovation, this West End hit was everything you could have asked for to welcome such a landmark theatre back with a bang. As this production succeeds at breathing new energy and life into such a historical tale, the Grand Opera House likewise has taken control of its story and this new chapter promises to be the most exciting one yet.
The opening night of the Grand Opera House took place on 6 October 2021.
The Grand Circle Bar.
Six the Musical.
LOOKING BACK, THINKING BLACK
After a long hiatus, I was delighted to return to ArtisAnn Gallery, on Bloomfi eld Avenue for the opening of Looking Back, Thinking Black. This visually striking exhibition of paintings by Ciarán Harper was specially commissioned for Black History Month and featured portraits of some of the most prominent and inspirational fi gures from history.
Ciarán, who was born in Leicester but works and lives in Belfast, is an emerging talent, and has already been commissioned for several notable portraits for organisations such as the African and Caribbean Support Organisation Northern Ireland’s commemoration of the slave trade entitled ‘Links and Legacy’, as well as pieces for Leukaemia & Lymphoma NI and the British Council for the New Narrative Project in Rwanda, whilst his stunning oil on canvas ‘The Isms’ was part of the Portrait of Northern Ireland Artist Ciarán Harper and gallery owner Ann McVeigh. exhibition.
To celebrate the launch of this stunning collection, Ciarán, who is a Fine Art Graduate of Ulster University, was joined by family, friends, fellow artists such as Keith Ayton, and of course Gallery owners Ann McVeigh and Ken Bartley. Ciarán’s paintings are memorable in part due to their remarkable composition. Within his practice, Ciarán uses oil paint on canvas with raw mediums such as wax or plaster adding dynamism and depth to the work. The collection featured several notable pieces such as ‘Freedom’ a striking portrait of Bob Marley, ‘Ella’, a captivating and candid depiction of the Queen of Jazz, Ella Fitzgerald, and ‘King’ a somewhat reverent portrait of Nobel Peace prize winner and Ross Lister, Garry Harper infamous activist Martin Luther King Jr. The piece, however, that and Kieran Breen. instantly grabbed my attention was ‘Shell Suit’. The sheen of the shell suit was so realistic I initially thought from a distance it was a photograph, however on closer inspection I could see the delicate and detailed brush strokes confi rming it was in fact an oil on canvas piece after all. As soon as I clapped eye on the famous three Adidas stripes, the piece invoked Run DMC, and paying homage to the infl uential hip hop group was very much Ciarán’s intention.
I had the opportunity to speak to Ciarán. As well as touching on the infl uences to this collection, he remarked that Looking Back, Thinking Black has been his fi rst in person exhibition since Covid. Whilst we remarked on the fl uidity and adaptivity of art over this last year and half, I have to admit nothing beats seeing the nuances of these remarkable creations in person as opposed to online. Ciarán Harper is a remarkably skilled artist and a talent who I can’t wait to see more from.
The opening night of Looking Back, Thinking Back took place on 6 October. The exhibition runs until 30 October. Anna Louise McKee and Tayra Lopes. Emma Hollingworth and Oisin Harper with Meabh.
Pauline Matthew and Keith Ayton.
Meta and Hannah Johnston.
Liz Lavery and Ciarán Harper.
BEST OF THE REST
Belfast Film Festival
returns on 4-13 November and this year’s programme is packed to the brim with special guests from actors, artists, directors and cinematographers… Highlights include the Irish première of Kenneth Brannagh’s Belfast at the Waterfront Hall; Bríd Brennan receiving the Belfast Film Festival Realta Award for Outstanding Contribution to Cinema during an ‘in conversation’ event; Northern Irish fi lm journalist and author Helen O’Hara talking about her new book,
Women vs Hollywood: The Fall and Rise
of Women in Film; and fi lmmaker Alison Millar’s latest documentary ‘Lyra’, about murdered journalist Lyra McKee. For the full
programme visit: www.belfastfi lmfestival.org
Tourism NI has launched a new publication celebrating Northern Ireland’s links to the most successful series in television history. The Making of a Screen Tourism Destination chronicles how Game of Thrones® has helped to transform tourism in Northern Ireland and how the giant spirit of this land gave life to the make-believe continent of Westeros. Pictured at Inch Abbey in Downpatrick, Game of Thrones fi lming location, are Richard Williams, CEO NI Screens, Áine Kearney, Tourism NI’s Director of Business Support and Events and Clair Balmer, Tourism Ireland. ‘Banana Block’, a new living museum and events space has opened in East Belfast. The space has been designed to boost tourism in the area and restore a part of Belfast’s heritage that dates back more than 100 years. As well as bringing the ‘Belfast Banana’ back to life in its on-site garden display, the building will also act as a museum, events and commercial space. Pictured are: Johnjoe Miller and Hannah Frost, Lunch Box Café; Davide Tani, Velocheese; Johnny McDowell; Indie Füde; Judit Vaz, Hearty Growers; Claire Hall, Urban Scale Interventions; and Marion Hawkes, Sound Advice. For more information, visit
www.bananablock.org.
HATTIE GODFREY
Performance Artist
1. What do you love most about your job?
There is a real playfulness to being an artist, I spend a lot of my time in my studio pushing, pulling and playing with materials and ideas until I begin to arrive at a concept. I also love how my work connects me with others, collaboration is something I really value and some of the most rewarding moments of my career have been performing with and alongside other brilliant artists and friends.
2. What has been your career highlight to date?
My recent performance, Put Into Flight, was a big moment for myself and my practice. It was one of my most ambitious works to date, lasting 36 hours over the course of three consecutive nights. I learnt a huge amount from the experience of making and performing the work and have since heard from people who felt very moved by the piece and felt their own experience was articulated in it.
3. What are your favourite hobbies/ activities outside of work?
I love exploring new places with my partner and our greyhound, Grace. We’ll choose somewhere new and spend the day walking around, taking in the scenery and trying new food. We usually end the day in a cosy pub, trying local beers whilst Grace has a snooze. Spending time alone is also important to me, and I make sure I set aside at least one evening a week to ‘date’ myself! This usually means making myself a curry, painting for a few hours and then watching a true crime documentary.
4. What is your daily routine?
Because every day can be pretty diff erent as an artist, I’m pretty committed to my morning routine. I wake up at about 7am and read whilst having a coff ee. Breakfast tends to be oats or tofu scramble before walking Grace in the Bog Meadows Nature Reserve. Then I cycle to the studio and could be doing anything, from residency applications to woodwork. In the evening I listen to a podcast whilst cooking, then cuddle with Grace whilst listening to records and watching a couple of episodes of whatever we’re currently addicted to (right now it’s The Handmaid’s Tale and Rick & Morty).
5. Do you have a specifi c fi tness regime?
Whilst strength and fl exibility are crucial in durational performance work, it’s important to me that I move and nourish my body intuitively. Too often fi tness is linked with feelings of insecurity and guilt, but I’ve found by approaching fi tness intuitively, I can instead focus on remaining tuned in to my body’s needs and engage in movement that brings me joy. I currently love classes at Hot Yoga Belfast and swimming at my local pool.
6. Do you have any tips for staying positive?
For me, slowing down and focusing on one thing at a time is really helpful and stops me feeling overwhelmed. I also fi nd that having a gratitude practice is a great way of staying positive; even on the worst days, I always try to fi nd something to be grateful for. Nature is also a brilliant means to positivity, I fi nd walking my dog each day allows me to slow down and appreciate the world around me.
7. What do you think is the best thing about living in Northern Ireland?
I moved here two years ago and without a doubt the fi rst thing I noticed was how kind people are here. I also love the nature and wildlife here, it is such a beautiful place! Northern Ireland’s natural beauty is something I’ve been particularly grateful for during the pandemic as my partner and I took time to explore closer to home. A few favourite spots of mine are the Blackhead Path in Whitehead and Ballintoy Harbour.
8. What is your mantra or favourite quote that you live by?
Recently I keep returning to something my yoga instructor said at the end of a class, ‘You did the best you could with the mind and body you brought with you today’. This little mantra reminds me not to compare myself to others and that what I’ve done today, whether that be having a bath, or doing a six-hour performance, is enough.
9. Who has been your biggest infl uence?
Whilst at Goldsmiths I had a tutor, Michelle Williams Gamaker who has since become a mentor, collaborator and friend. She is an incredible artist and taught me the importance of kindness, compassion and collaboration in the art-making process. In my art practice I have also been hugely infl uenced by, amongst many others, the work of Louise Bourgeois, Laure Prouvost, R.D Laing, Jo Spence and Forced Entertainment.
10. FAVOURITE
Movie: The Lobster. Band/Musician: Leonard Cohen. Book: The Body Keeps the Score by Bessel van der Kolk.
Restaurant: Patri in London.
Holiday Destination: Greece. Drink: Flat white with coconut milk. Meal: Saag Dhal with Tandoori roti.
