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Garry Fisher, Communications |
FOUR ARTISTS from the University of Dundee have collaborated on an interactive exhibition marking the twentieth anniversary of the Falklands conflict. Their work is on display at the Imperial War Museum, London, and explores the artists' feelings as they visited the islands recently, in conjunction with their memories of the conflict as it unfolded in 1982.
In contrast to the brief span of the war itself, the repercussions of what happened twenty years ago are still felt strongly in the communities that were affected by it. Diplomatic relations between Great Britain and Argentina were normalised in 1990, but the Argentine domestic situation has continued to be volatile, despite the return to democratic rule that followed the Falklands invasion. The British prime minister of the time, Margaret Thatcher, hung on to power for a further eight years, despite her popularity having been at a record low before the conflict. The economic fortunes of the Falklanders themselves have improved dramatically, as an agrarian economy has given way to one based on fishing and tourism. The islands now boast one of the financially richest communities in the world.
The artists involved in the 'Traces of Conflict' project have sought to articulate what the Falklands incident meant at the time, and what it still means now. Elaine Shemilt found reminders of the war very much in evidence. She says that the minefields, war debris and war graves profoundly informed her contribution to the project, and gave her a powerful sense of personal connection with what happened in 1982. Much of her material came from her visits to the site of the field hospital, which had previously been a refrigeration plant: "I have felt as though the ghost of my self twenty years ago was haunting those ruins. I am also aware that my sons have reached the age when many of those young men involved in the fighting lost their lives."
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Elaine Shemilt, Falklands/Malvinas |
Mount Harriet proved to be an especially moving locale for Gareth Fisher, who recorded the contrast between the personal belongings - clothing, shoes, a book - and the rusting armaments he found there. His watercolour drawings echo the broad panoramas visible from Mount Harriet. A photograph of the location is used as part of the collage of images he has created, and pulls the viewer back to the 'real' context in which his work is based. "The ruins of military architecture and installations, wrecked vehicles and equipment are the antithesis of sublime; the new modern graveyards are awesome reminders of death and loss, more potent than official memorials."
Gary Gowans chose his memories of experiencing the war second-hand from his home in Scotland as the focus for his contribution to the exhibition. He explained: "I watched the war from my living room, in pubs, cafes and shop windows - on television. My initial disbelief turned to incredulity as intermittent incidents escalated to full-blown conflict." Gowans worked with television coverage of the events, mingled with animated imagery that documents some of the conflict's key moments.
All four artists belong to Duncan of Jordanstone Faculty of Art and Design at the University of Dundee. In addition to the collaborative piece, examples of each artist's individual work are also exhibited. 'Traces of Conflict' runs until 23 June 2002.
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