‘What is the peace?’ Rethinking Northern Irish photography from the Troubles and beyond

The latest series of talks at the Photo Museum Ireland featured an insightful lecture by Colin Graham, a professor of English and an accomplished author. The evening’s discussion centred around the intricate subject of Northern Irish photography, with a particular focus on its evolution from conflict to peace and the various artistic interpretations within that spectrum.

Colin Graham’s background is rooted in literature and cultural studies, which provided a unique lens through which he examined Northern Irish photography. He noted, “I moved back to Belfast to Queens University in 1999… It was the year after the Good Friday Agreement… I came back with an immense sense of anticipation, feeling that intellectually it was going to be the most exciting time to be in Northern Ireland.” This context set the stage for his exploration of the world of photographic art.

Graham laid a foundational understanding by discussing the historical context of Northern Irish photography. He touched on the saturated nature of Northern Irish politics and events in media, stating, “John White, the great political scientist of Northern Ireland, once wrote that the per capita of Northern Ireland had more written about it than any other place in the world by the end of the 1990s.” This saturation extended to photojournalism, highlighting the complex interplay between media representation and local realities.

One of the key discussions of the evening was the difference between art photography and photojournalism. Graham explained, “The critique of photojournalism… is that it’s not fully reflective of the entire experience of living in the north during the seventies.” He introduced the audience to the concept of “aftermath photography” and the idea that photography can step back to examine the traces left behind by events rather than the events themselves.

Throughout his talk, Graham presented numerous examples and case studies to illustrate his points:

He highlighted how the work of Victor Sloan and Paul Seawright deviated from traditional photojournalism. “Victor Sloan’s “Belfast Zoo” series… there is an image of a chimpanzee in Belfast Zoo, but something different is happening here… intervention into the image is his way of thinking about how he can take an image representing Northern Ireland that belongs to him,” explained Graham. These examples underscored the layered and self-conscious nature of art photography in Northern Ireland.

Graham also delved into the period post-Good Friday Agreement, exploring how the peace process influenced photographic endeavours. He noted, “One of the things that John Duncan was interested in was how the landscape of Belfast is changing with this prospect of development.” This period saw a shift from documenting conflict to exploring new forms of Northern Irish identity and landscape.

The international dimension of Northern Irish photography was another critical point of discussion. Graham mentioned works like Claudio Hils’ “Red Land, Blue Land”, which explored a simulated Northern Irish town built on a German army base. “It’s fascinating how there’s this big crossover from him thinking about Northern Ireland in a version in Germany and coming into thinking about this kind of version,” reflected Graham. He also discussed the evolving nature of photography and its increasing accessibility and global interconnectedness.

Graham finished by questioning what perspective he might have missed in looking back at over 30 years of Northern Irish photography. He said that if we begin by assuming photojournalism is the origin of the artists’ work he presented tonight, we’re misled into believing that all this photography was solely about conflict, or a mere re-imaging of it. “What if you looked at it the other way around?” Graham elaborated:

“What if this photography was always — from the beginning back to Victor Sloan’s [Belfast Zoo (1983)] image — was never a way of thinking about what is the conflict; it was always a way of thinking about what is the peace?”

He concluded by saying that this work was so important, not because it showed what was happening, but because it was always — in different ways — trying to image the alternative.

In the Q&A session, I remarked on covering the 2013 Belfast Exposed event, and referenced Frank Möller’s writings on peace photography, particularly in relation to photojournalism. My interest was in how photography can transition from depicting violence to capturing a positive peace.

Graham responded, “I don’t think I’m that knowledgeable about theories of peace photography to walk that bit any further.” However, Graham did acknowledge the role of community-oriented and participatory photography in imaging peace, referencing the impact of similar projects in the 1970s, and mentioned that Belfast Exposed initially grew out of such community initiatives.

Graham noted that while these projects were crucial for individual and community development, as well as for validating the importance of photography, his expertise lay more in analysing artistic photography rather than community-focused work. Yet he highlighted the ongoing significance and undervalued nature of participatory photographic projects in Northern Ireland’s visual culture.

For another audience member, her keen interest was the discussion about the relationship between truth and photography. She pointed out the duality of photography as both a documentary medium revealing “the truth” and as a form of conceptual art.

Graham responded by acknowledging the complexities inherent in photography as a medium of truth. He explained that the authenticity of a photograph is a nuanced issue. While spontaneous photos may seem authentic, the selection process and editorial decisions made by photographers introduce subjectivity. He emphasised that every photograph involves an element of interpretation and choice, thus complicating the notion of an “authentic” photograph.

Graham further discussed the idea that conceptual photographers are aware of this inherent trickiness in photography and attempt to incorporate it into their work. He suggested that even though conceptual photography may seem to stray from truth, it engages with truth by compelling viewers to think critically about the images they see. By using the example of a simple image of trees (by John Duncan), he illustrated how seemingly straightforward photographs can carry deeper meanings and reflections on truth.

Overall, the conversation underscored that the truth in photography is a complex and multifaceted topic, where both the act of capturing an image and the viewer’s interpretation play crucial roles.

The session concluded with a thank you from the Photo Museum Ireland host and a reminder of upcoming events. Colin Graham’s lecture provided deep insights into the nuanced world of Northern Irish photography, bridging the gap between conflict and peace, and exploring the many layers of artistic interpretation. The talk left attendees with much to ponder about the power of photography in shaping and reflecting societal narratives.

Peacebuilding a shared Northern Irish society ✌️ Editor 🔍 Writer ✏️ Photographer 📸 https://mrulster.com