Images of Divided Society Poster Exhibit Documents Both Sides of Northern Ireland Conflict by Lisa Troshinsky An unusual and powerful ìartî exhibitóone that chronicles the political history of the Northern Ireland conflict through poster memorabiliaóis now on display at the Meridian International Center. ìTroubled Images: Posters and Images of the Northern Ireland Conflictî is a collection of 70 posters from Belfastís Linen Hall Library that represents a wide range of opinions on the many years of political struggle in Northern Ireland. The exhibit is much like a documentary, but on walls instead of film. ìWe try to offend everyone,î quipped Yvonne Murphy, director of the ìTroubled Imagesî project and librarian of Linen Hall Libraryís Northern Ireland Political Collection. The permanent collection includes more than a quarter of a million itemsóbooks, documents, cards, pamphlets, photographs and other printed materials on the 30-year conflict and peace process. ìWhat we do is challenging; itís a risky area,î said Linen Hall head librarian John Gray. ìWeíre the only library in the world to systematically collect all sides of a localized conflict. The Linen Library itself has a radical tradition. The library reflects current society, relating to the community as a whole. It concentrates on Irish and local studies. ìëTroubled Imagesí reflects the emotions and hopes of a deeply divided society in conflict,î Gray continued. ìOur first intention was to open doors to understanding in an accessible way for our own community. In doing so, we are also suggesting a way of acting that may have a wider international resonance. After more than 30 years of conflict, we need to lift the blanket of silence.î The librarians themselves collect much of the memorabilia. ìMany people donate materials, but weíve been known to climb lamp posts and cut down posters with razor blades,î Murphy said. The 70 posters on view cover events of the conflictóor what those in Ireland term ìthe troublesîófrom 1966 to the present day. They are part of an 18-month international tour being managed by the Meridian International Center. Although of great educational value to Washington, D.C., viewers, the exhibit took on an explosive emotional significance in its hometown of Belfast. ìThousands of people came out for our opening in Belfast,î Murphy said. ìOur collective memory is of a very deep hurt. It was cathartic for many to see the exhibition in a neutral space.î The poster exhibit, now inside Meridianís majestic White-Meyer Galleries, takes the viewer by surprise. Not only is the collection distinctive for its street-art appeal, but it is also jarring for the strong sentiments it displays from such viciously opposing parties. ìIn fact, it was so sensitive hanging this thing, we were on the phone every step of the way with Belfast to make sure we werenít creating a situation that was inflammatory,î said Curtis Sandberg, director of exhibitions at the Meridian Center. ìWe felt if we put a poster sympathetic with one party next to one of an opposing party, the wall might spontaneously burst into flames!î The posters cover the gamut of the conflict and differ in style and message, from those begging for peace to others depicting gruesome images of war and strife. One poster is a crudely duplicated sketch of a candle and barbed wire, originally found hanging in a West Belfast window during the Christmas of 1971 to protest internment. The candle and wire image was inspired by the logo for Amnesty International and is derived from the Chinese proverb, ìIt is better to light a candle than to curse the darkness.î Another poster is more pessimistic: A silk screen shows cutouts of a pile of 13 skulls, to suggest the Holocaust, and large red lettering spelling out ìRemember Derry.î The poster is a reminder of ìBloody Sunday,î when 13 civilians were killed in 1972 by the British Army during an Irish protest against internment without trial. Another more colorful poster shows Nelson Mandela and Bobby Sands standing side by side in impossible conjunction only 11 days after Mandelaís release from jail in 1990. Sands, commander of the Provisional Irish Republican Army at Maze prison, died of a hunger strike in 1981 while protesting British prison conditions. The poster quotes Mandela saying, ìFreedom: Our resort to armed struggle was purely a defensive actionÖ. The factor which necessitated the armed struggle still exists today. We have no option but to continueÖ. We have waited too long for freedom.î The poster presumes an absolute parallel between political situations in South Africa and Northern Ireland, proclaiming the unchanging legitimacy of armed struggle. Mandela and Sands share center stage in identical poses, lifting their right fists in power, and the militant reading of Mandela appears to come from both men. The poster is elaborately framed by alternate symbols from both movements: a Republican postage stamp showing Dublinís General Post Office, the lark featured in Sandsís poetry, a harp, an Easter lily, a phoenix and earlier posters. Especially relevant during these current times of war and the continually evolving political situation in Northern Ireland, the poster exhibit weaves an intense and intriguing pictorial story of politics, struggles and survival, carefully bringing images from both sides of this contentious civil war across the ocean to American audiences. ìTroubled Images: Posters and Images of the Northern Irelandî runs through June 22 at the Meridian International Center, 1630 Crescent Place, NW. For more information, please call (202) 667-6800 or visit www.meridian.org. Lisa Troshinsky is a contributing writer for The Washington Diplomat.