“96” is the number of deaths in the 1989 Hillsborough Disaster, in which Liverpool fans were crushed to death in Sheffield Wednesday’s stadium. In the days afterward, the Sun newspaper printed allegations that drunken fans attacked and urinated on rescue workers. The newspaper apologised in 2004 but hostility towards the paper persists, with some – as in this image – refusing even to spell it in full. The taxi was spotted in Beechmount. For more on the 2016 inquest, see Hold Your Head Up High.
More “patronising slogans” from the Cupar Way “peace” line. The artist was realistic enough to draw a security camera in the top left corner, keeping a eye on the people with peace and love balloons.
There is either no artwork or no respect on the Cupar Way “peace” line, as tourists sign their names and leave messages (some thought patronising: see Fuck You & Your Patronising Slogans) on the wall without regard to whatever they’re writing over. The Face (on the right), by Kevin Killen (web | NVTv) and participants in a local training programme (Irish Revolution), is composed of cogs and other mechanical pieces, intending to represent the importance of industry in Shankill (and Belfast) life.
Artist Kevin Killen gave voice to the programme: “The Face relates to the themes of Belfast industries. Working with the young adults in Impact Training, we designed and fabricated the artwork. Being a part of the project was rewarding and insightful to everyone involved. As the group was a part of the process from start to finish they have developed ownership of the artwork, which is an important benefit. I hope that the artwork gives pride to all the participants involved in the project.” (Irish Revolution)
This vintage nail-up is in Thames Street, next to the Red Devil urges people to join Sınn Féın Poblachtach, which split from (Provisional) Sınn Féın in 1986 over the decision to take seats in the Dáıl.
The Thames Street wall of Salvezza’s pizzeria doesn’t allow for full murals because of a giant flue, but Saoradh (web | Fb) are making the most of the space with long vertical tarps. The quote on the tarp above (new for 2018) is from James Connolly, from his foreword to Labour In Irish History: “Only the Irish working class remains as the incorruptible inheritors of the fight for freedom in Ireland.”
The tarp that hung for most of 2017 is included below.
Posters on a drainpipe on the Falls Road next to Gerry Carroll’s constituency office: “Keep Stormont closed. Smash Stormont – It can’t be made more equal, less corrupt or used to promote socialism. Close it now! Sign the petition … Published by Socialist Democracy.”
With “Saol trí Ghaeilge [atá uainn]” below [We want life using Irish].
In Margaret Atwood’s The Handmaid’s Tale, the handmaids have shopping partners, so that they are always under observation: “She is my spy as I am hers”. Artist Leo Boyd adds to the dystopian air of the book by combining the handmaid (from the new TV adaptation of the book – currently available only in the US) with an outdated computer monitor.
Here is another PSNI land rover from Leo Boyd (web | ig). The first can be seen in “Nothing to fear, nothing to hide“; in this one, a new piece: a PSNI pedal car is “My first meat wagon”.
The Ulster Reform Club (web) opened in 1885 and has resided at 4 Royal Avenue, Belfast since then. The mosaic is of the emblem of the club; it includes the flag of Ulster (red hand on a cross with yellow background) with a three-in-one shamrock (Ireland), rose (England), and thistle (Scotland) in the top-left quadrant
The Young Citizen Volunteers began as a civic organisation and domestic reserve force in 1912 but by the time of the first World War had become a battalion of the Ulster Volunteers and went to the Western Front as the fourteenth battalion of the Royal Irish Rifles, part of the 36th (Ulster) Division, landing at Boulogne in October, 1915. The force was mainly Protestant but History Hub Ulster has a page on the 42 Ulster Catholics who served in the 14th (YCV) RIR.
Seosamh Mac Coille Collection 