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'Walls & Fences'

Connolly, Robert Brian (2016) 'Walls & Fences'. The Troubles Section, The Ulster Museum, Belfast. [Performance]

[img] Image (Jpeg) - Additional Metadata
[img] Image (Jpeg) - Additional Metadata
[img] Image (Jpeg) - Additional Metadata
[img] Image (Jpeg) - Additional Metadata
[img] Image (Jpeg) - Additional Metadata

URL: https://www.facebook.com/BBEYOND.PerformanceArt/photos/gm.1122238201141573/230922073916343/?type=3&theater


In this performance art work the artist created a durational, site specific performance in the Ulster Museum, Belfast. During a pre-event site survey at the Museum, the artist was interested in architectural space of the ‘Troubles Section’ of the Museum. This is a section, which in a photojournalistic manner depicts the civil strife in Northern Ireland from 1969 – 1998, commonly known as ‘The Troubles’. The artist elected to perform in this location for several reasons. Firstly, the space is made up of a series of short walls and corners, (referencing the ‘gable end walls’ of urban houses). These walls divide the space into sections and it is visually compartmentalised. Secondly, the artist considered that his working concept for the performance would relate to the past history of the ‘Troubles’ and the current reality of the community divisions persisting within Northern Ireland at that time. These social divisions are manifested by a series of walls, which compartmentalise the city of Belfast, and are known as the ‘Peace Line’ or ‘Peace Walls’.The performance concept developed directly form the artist’s experience of the space and his ongoing frustrations at the various global issues. The work related to the growing ‘walls & fences’ of the mind and the lack of vision which is required to heal wounds and enable communities to evolve.Initially the artist unspooled two separate toilet rolls while reviewing the Troubles Section. The empty card-board tubes from each toilet roll were then installed within the frame of a pair of spectacles and worn by the artist as glasses, for the remainder of the performance. He sat at a table and slowly built a series of small isolated spaces, constructed from photographic prints of walls and fences from all over the world, from gardens, security fences, borders, prisons, peace walls, etc.

Item Type:Performance
Keywords:Artists Performance, Walls & Fences, Political performance, Performance in the Troubles Section, BBeyond, BBeyond Projects, Brian Connolly,
Faculties and Schools:Faculty of Art, Design and the Built Environment > Belfast School of Art
Faculty of Art, Design and the Built Environment
Research Institutes and Groups:Art and Design Research Institute > Space and Place
Art and Design Research Institute
Date:12 March 2016
Location:The Troubles Section, The Ulster Museum, Belfast.
Event titleEvent locationEvent start dateEvent end dateDurationDescriptionMedia of outputEvent publisherEvent URLProps or artefacts, costumesChoreography/actionScript or supporting narrative or soundPost-performance evidence or display
Inter-Being - Duration in PerformanceUlster Museum, Belfast7 March 201612 March 2016Performance Duration 8 hours on the 12th MarchThe Inter-Being - Duration in Performance event was a simultaneous performance event within the Ulster Museum. Artists: Brian Connolly, Sandra Johnston, Alastair MacLennan, Linda Montano, Dominic Thorpe & Dorothea Seror, all performed in various locations throughout the Museum over the period of one day. The project was devised and funded by BBeyond "This project will explore the meaning of time in (actual) performance art, through durational performances and the way this modality of action physically engages the artist in a journey of endurance and/or of creatively with possible uncertain processing of ideas as ‘factual’, in the mind. Emphasising time by focusing on a single or minimal activity may have the opposite effect of concentrated 'paying attention', in which case consciousness is open to conceptual/perceptual 'journeyings', off site, in the mind. Attention 'expands' existential consciousness and time may unveil interlinked events, as being 'at one' with the artist him/her self. Whatever enters the perimeters of perception may invite 'action' through a subjective logic within the flow of (seemingly) everything." (Extract from Beyond, Project Organisers.)Artists PerformanceBBeyondhttps://www.facebook.com/BBEYOND.PerformanceArt/photos/gm.1122238201141573/230922073916343/?type=3&theaterPhotographs of walls and fences from around the world, two toilet rolls, a pair of spectacles, framed photograph of a painting called 'Wander above the Sea o Fog' by Caspar David FreidrichUNSPECIFIEDUNSPECIFIEDUNSPECIFIED
ID Code:37553
Deposited By: Mr Robert Connolly
Deposited On:25 Apr 2017 11:28
Last Modified:10 Nov 2017 10:21

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