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Home » FE 20mm G lens

FE 20mm G lens

BELFAST CITY CEMETERY

March 26, 2022 by Infomatique

BELFAST CITY CEMETERY

Over the years I have been advised to avoid cemeteries in Belfast and that Belfast City Cemetery, in particular, was to be avoided especially if you had an expensive camera. Last year I decided the get the Glider to the cemetery but on arrival I had to leave because of anti-social behaviour by some very drunk people who had targeted a person in a wheelchair and a number of other people got involved.

This year the head chef in the hotel, where I stayed for the week, and a local priest who I met while photographing a church suggested that I should try again but to go there around ten or eleven in the morning. I took their advice but for various reasons I did not arrive until about two o’clock. I remained for about two hours and photographed at random and did not try to locate “notable” graves.

Belfast City Cemetery is a large cemetery in west Belfast. It lies within the townland of Ballymurphy, between Falls Road and Springfield Road, near Milltown Cemetery. It is maintained by Belfast City Council. According to many reports vandalism in the cemetery is widespread.

Following the Belfast Burial Ground Act (1866), the cemetery was opened on August 1, 1869 as a cross denominational burial ground for the people of Belfast, a fast-growing Victorian town at the time. The land was purchased from Thomas Sinclair. The cemetery features cast iron fountains and separate Protestant and Catholic areas, divided by a sunken wall. Many of Belfast’s wealthiest families have plots in the cemetery, particularly those involved in the linen trade. Since its opening in 1869 around 226,000 people have been buried in the cemetery.

There has been an area set aside for Belfast’s Jewish residents since 1874. In this area is a memorial to Daniel Joseph Jaffe. Daniel Jaffe was the father of Otto Jaffe, a Jewish linen exporter and former Lord Mayor of Belfast. Above the old Jewish entrance to the cemetery, Hebrew writing can clearly be identified.

In 1916 an area was dedicated to soldiers who died serving in World War I, when 296 Commonwealth service personnel were buried in the cemetery. Those whose graves could not be marked by headstones are listed on Screen Wall memorial in Plot H.[3] Many of the United States Army personnel killed in the sinking of HMS Otranto in 1918 were buried in the graveyard. After the war their bodies were exhumed and repatriated to the United States.

In World War II, 274 Commonwealth service personnel, 5 of them unidentified, were buried in the cemetery, besides 3 Norwegian nationals whose graves are also maintained by the Commonwealth War Graves Commission.

As the frequent target of vandalism, many of the British Army soldiers’ headstones were moved to Sir Thomas and Lady Dixon Park. In 2012, continuing vandalism of the World War I Screen Wall has led to proposals to move it to another part of the cemetery. Due to its historical importance, the cemetery is a popular tourist attraction in Belfast, with guided tours available.

On 8 April 2006, Denis Donaldson was buried in the cemetery. Donaldson was a former IRA member and Sinn Féin politician. He was killed shortly after being named as a British spy. His burial in the City Cemetery rather than in the republican plot of Milltown Cemetery was significant, as it was seen as a final snub by the republican movement.

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Filed Under: Belfast, Belfast City, Cemetery, Victorian Cemetery Tagged With: A7RIV, Ballymurphy, belfast city cemetery, burials, FE 20mm G lens, Fotonique, graves, Infomatique, monuments, northern ireland, religion, Sony, UK, William Murphy

NIALL SWEENEY’S FOUNT OF SATURN 2021

February 15, 2022 by Infomatique

NIALL SWEENEY’S FOUNT OF SATURN 2021

Created by artist, designer and nightclub pioneer Niall Sweeney, Club Chroma Chlorologia is a newly commissioned series of site-specific works installed in the gardens and grounds of the 17th-century Royal Hospital Kilmainham, which combine to create unlikely interventions that you can encounter, discover and take part in every time you visit the formal garden.

On August 1 and 2 2021, Saturn was at opposition, meaning the Earth was located between the ringed planet and the sun. This is when the outer planet is at its most luminous, making for a brilliant night sky view.

Sweeney is a graphic designer from Dublin who makes up one half of Pony Ltd. The studio team were, as their website states, “born from the big smoke of Dublin and the seven hills of Sheffield, this studio is a perfect example of pulling fragments from all directions until the last piece completes the jigsaw.” Pony Ltd are well known for their theatrical and minimalist posters for Panti Bliss.

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Filed Under: Public Art, Royal Hospital Kilmainham Tagged With: 17th-century Royal Hospital Kilmainham, A7RIV, Club Chroma Chlorologia, FE 20mm G lens, Formal Garden, Fotonique, Fount Of Saturn, fountain, Infomatique, Niall Sweeney, Public Art, Public Gardens, public parks, Sony, unlikely interventions, Water Feature, William Murphy

DREAMSPHERE BY AOIFE DUNNE AT THE ROYAL HOSPITAL KILMAINHAM

February 14, 2022 by Infomatique

DREAMSPHERE BY AOIFE DUNNE AT THE ROYAL HOSPITAL KILMAINHAM

Hypnotically staged in the IMMA Courtyard, DREAMSPHERE – a site-specific installation devised by IMMA artist-in-residence Aoife Dunne – transports spectators to an immersive mindscape. Exploring the notion of consciousness as an exteriorised shared space in which to roam and reside, audiences are encircled by arresting sounds and screens. The ensuing visualisations, unfolding at a frenetic pace, send viewers on a surreal trip through the tumultuous mind; teasing future prospects of consciousness-sharing whilst exploiting technology to stretch the psychological parameters of human experience.

Dunne’s long-standing penchant for melding physical and digital disciplines is made manifest by the onscreen projections. From the material splendour of her costuming to the tactility of obscure found objects, a miscellany of palpable textures is transported to this virtual dimension, stoking visual-haptic sensations within the viewer. Heightening the multi-sensorial feel of Dunne’s dream realm, sonic idiosyncrasies soundtrack the performer’s fevered envisioning; furthering allusions to mental overwhelm and entrapment already sparked by the work’s enclosed structure.

DREAMSPHERE epitomises the multi-hyphenate nature of Dunne’s practice: the installation’s myriad features, unlimited to sculpture, sound, performance and film, were single handedly conceived by the artist, reflecting her tireless dexterity and flair for phantasmagoria.

Digital installation artist Aoife Dunne creates visually-arresting, immersive environments fusing sculpture, video, sound, performance, technology, and costume. Fuelled by a fascination with digital and material culture, Dunne’s idiosyncratic touch is laced with references to the surreal and hyper-real. Exploring an ethos rooted in post-pop and post-internet, Dunne’s work envelops audiences in abstract, detail-driven virtual and physical realms. Her multi dimensional approach to crafting large-scale, experiential work is informed by a diverse creative background steeped in dance, performance, fashion and musical composition. Bulldozing through the boundaries of what conventional exhibitions entail, Dunne reaps continent-crossing acclaim for her inimitable aesthetic and site-specific, colourfully chaotic work.

Aoife Dunne studied Fine Art Media at The National College of Art and Design and received her BFA in 2016. Since graduating, Dunne has held numerous exhibitions internationally, including The Museum of Contemporary Art Denver, The Royal Academy of Arts London, and upcoming solo shows in Puerto Rico, New York, London, Dublin, Paris, and Tokyo.

Artist website: aoifedunne.com
Follow Aoife Dunne on Instagram: @efadone

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Filed Under: Public Art, Royal Hospital Kilmainham, Urban Expression Tagged With: 2022, A7RIV, AOIFE DUNNE, artist-in-residence, Digital installation artist, dreamsphere, FE 20mm G lens, february, Fotonique, IMMA Courtyard, Infomatique, kilmainham, multi-media art, National College of Art and Design, onscreen projections, royal hospital, site-specific installation, Sony, William Murphy

THE FORMAL GARDEN AT ROYAL HOSPITAL KILMAINHAM

February 14, 2022 by Infomatique

THE FORMAL GARDEN AT ROYAL HOSPITAL KILMAINHAM ALSO KNOWN AS THE MASTERS GARDEN

The Formal Garden was also know as the Masters Garden lies below the North Terrace on the Royal Hospital’s principal front and forms an important feature of the overall design. The hospital minutes of 1595 note “The gardens walls to be arranged so the garden may lie open to the north part…. for the greater grace of the house.”

Over the years, gardens, by their very nature, change and we know that the Royal Hospital Garden not only changed but was also periodically neglected. In restoring such early gardens one of the difficulties is in the inconclusive nature of historical evidence. The Minute Books of the Royal Hospital refer to planned works but it is not always clear that all the works were ever carried out or to which of the three gardens which once occupied the site they refer. Old maps indicate significant changes to the Formal Garden but there is no specific information of the original design.

In the early 1900’s when it was decided to restore the Garden the ‘ideal’ classical layout for a garden published by John Evelyn in 1664 was considered to be close to its original layout. The decision was made to use this ‘ideal’ plan as a basis for the first phase of the restoration. The more elaborate decorative form which the garden took at one stage was considered inappropriate and impractical to restore.

The basic layout having been established, the second phase of the restoration was initiated in the late 1980’s. To develop the gardens three dimensional features work began on the garden house, the walls, the paths, the structural planting of the hedges, topiary and pleached trees and, latterly, the fountain, entrance steps and terrace. The third and final phase developed the historical planting, including training structures for espalier trees along the walls, the planting of small trees and bulbs in the ‘wilderness’ quarters as well as statuary urns and garden furniture.

The intention in this restoration is to create features which represent 17th and 18th century Formal Garden design based on extensive research of the site and the interpretation of features of the time. In that sense it is important to understand that this is not an historical reconstruction but a restoration in the spirit of the late 17th and early 18th centuries.

The garden was restored to its present state by the Office of Public Works under the supervision of architect Elizabeth Morgan.

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