ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
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Visions of horror and joy
ANGUS REID welcomes the retrospective of a unique photographic artist for its demonstration of new avenues in British art, and the human insight it delivers
(L) Bosnia Journeys, 1997 - 1998, black and white image projected onto hand painted photographic emulsion on watercolour paper; (R) Flotsam and Jetsam showing Welsby’s reflection in a window, digital colour photograph, 2014
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MICK McSHANE rubs shoulders with Mod legend Steve Craddock and joins in with the joyous Glasgow choir
DENNIS BROE sifts out the ideological bias of the newest TV series offerings, and picks out what to see, and what to avoid
The Spaces Between: Richard Welsby
Pier Arts Centre, Stromness, Orkney
AT the centre of Richard Welsby’s work lies a unique account of art in the service of a humanitarian mission in the aftermath of war.
The words are simple, honest and direct. They describe the days and the people encountered during an independent film project in Bosnia in 1997, that accompanied a returning refugee and her need to find both her missing husband, and to grieve, and to begin life again. It was a brief but significant intervention that crossed the paths of several witnesses, and led to a forbidden place: a dank cellar beneath a camp that had formerly been a school.
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