DERRY.- UNSEEN is a major exhibition of photographic and video works by Willie Doherty.
Doherty was born in 1959 in Derry, Northern Ireland. His solo exhibitions include the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de São Paulo (2002). In 1994 and 2003, Doherty was shortlisted for the Turner Prize. In 2012 he participated in dOCUMENTA (13), Kassel, Germany.
Robin Klassnik, Director of Matts Gallery, London, who has worked with the artist since 1990, curates the exhibition with Pearse Moore, Chief Executive of the Nerve Centre, Derry. UNSEEN forms a core element of the citys 2013 Derry-Londonderry City of Culture celebrations.
The exhibition provides a critical overview of Dohertys photographs and videos made on the streets of his native city of Derry and its surrounding hinterland, presenting new insight into the artists working methods and rationale.
Since 1985 Doherty has recorded the way in which the city has been shaped and altered in response to unfolding political events as he explored its streets through the simple acts of walking and looking. The title of the exhibition, UNSEEN, refers to Dohertys self-conscious method of using the camera in a context where it was imperative for him to avoid undue attention and to minimize the risk of being mistaken for a photojournalist or a tourist. The exhibition reveals how Doherty has used the techniques of photojournalism, documentary landscape photography and the appropriation of images and texts to create a body of photographic work that explores the fine line between fiction and non-fiction.
UNSEEN presents approximately twenty photographic and four video works from throughout Dohertys career and examines how the artist evolved the use of image and text in his early black and white works (198592) to engage with the complexities of representing a contested landscape. The exhibition provides a unique opportunity to appraise the photographic and video work of Willie Doherty in the context where it was produced. The work has been subjected to a different scrutiny, one that has been shaped by an understanding of how things have turned out but is subject to the fallibility of human memory and like photography itself, cannot be relied upon to provide a full account of what happened.