Exhibition Review: Troubled Times (2024)

Exhibition Review from the August 2024 issue of the Socialist Standard

The Imperial War Museum North at Salford Quays is currently running an exhibition on ‘Northern Ireland: Living with the Troubles’, which deals with the period of violence which lasted from the late 1960s to the signing of the Good Friday agreement in 1998 and caused the deaths of over 3,500 people. It is on until the end of September.

One of its main themes is the different perspectives on developments from the ‘loyalist’ and ‘nationalist’ sides (though both are in fact loyal to different nations). This extends even to basic facts, such as who had guns in the Battle of St Matthew’s on 27–28 June 1970, in which three people were killed. Views representing both versions of what happened that night are given.

Many of the statements and other exhibits should cause visitors to think a bit. For instance, a poster shows Tufty the squirrel (used to teach children about road safety) warning kids not to pick up things in the street, as they might be dangerous. A former member of the Provisional IRA says that you have to ‘depersonalise’ people in order to shoot them. The members of fire services were stoned on an almost daily basis. People would go out to shop and find soldiers in gardens and checkpoints on roads; they had to go through turnstiles and bag searches in order to get into the centre of Belfast. Most victims of the Troubles were civilians, not soldiers, police or paramilitaries.

The glossary accompanying the exhibition states that loyalism was ‘primarily working class in nature’, and class is mentioned a number of times in the displays, though without any definition. The vast majority of those killed were working class, and a Sinn Féin member is quoted as saying that there was a class issue across communities, but that the fundamental constitutional question was the real dividing line.

A final film with a variety of quotes claims that Northern Ireland now has more institutionalised sectarianism than ever, and that a war continues, using words rather than bullets. A United Ireland will not end sectarianism, it is said, and Brexit has led to trade and border concerns within the North.

It’s not mentioned in the displays, but Troubles-related tourism now takes place in Belfast; it’s an example of ‘dark tourism’ (cf the Jack the Ripper Museum in London).

This is an informative exhibition, from which visitors are likely to draw different conclusions, perhaps including that nothing of any significance for the vast majority of people was being fought over.

Paul Bennett

Exhibition Review: Wyndham Lewis - Life, Art, War (2017)

Exhibition Review from the November 2017 issue of the Socialist Standard

Vorticism is sometimes seen as Britain’s only avant-garde art movement. It was founded in 1914 by Wyndham Lewis (1882–1957), who is now the subject of a sizeable retrospective at the Imperial War Museum North in Salford Quays, on until the end of the year.

The First World War inevitably limited the spread and impact of Vorticism, and Lewis himself fought in an artillery regiment before becoming an official war artist. After the war he produced a variety of art works, together with a series of books (novels, criticism, polemics), most long out of print. He seems to have been a contrarian with a rather prickly personality, and he disliked privileged cliques such as the Bloomsbury Set. He was vehemently against Bolshevism, and his experiences in WW1 made him very much opposed to war. Unfortunately, these considerations led him to some sympathies for Nazi Germany and to describing Hitler as ‘a man of peace’. He changed his mind on these matters after visiting Germany in 1937, but by that time he had already made himself rather unpopular in many cultural circles.

Many of Lewis’s paintings from WW1, however, contain significant and perceptive comments on the fighting. Drawings from 1918 show violence and death, with soldiers reduced to the status of machines. His 1919 picture ‘A Battery Shelled’ is an impressive work which depicts dehumanised figures running for cover as the shells rain down, while three more realistically-depicted men watch or simply ignore what is going on. This was considered too controversial to be an appropriate memorial painting, and it was passed from the Imperial War Museum to the Tate.

A Battery Shelled (1919)

‘The Surrender of Barcelona’ (1936) refers to the city being captured by Spanish forces in the fifteenth century, but surely relates to the Spanish Civil War as well. ‘Inferno’, dating from 1937, is a pessimistic presentation of corpses and the flames of hell, as Lewis combines his hatred of war with an expectation that another large conflagration is approaching.

The IWM publicity describes Lewis as ‘Britain’s original rebel artist’, and he did set up the short-lived Rebel Art Centre. Despite his  – to say the least – dubious political views, many of his paintings undermine the role of official war artist and reveal both the boredom and the horror of war.           

Paul Bennett