Event Category: Physical Exhibition

From the late 1960s to the early 1980s, Japanese war photographer Akihiko Okamura (1929-1985) created a powerful and largely unseen collection of photographs in Ireland, both north and south.

After covering the Vietnam War, Akihiko Okamura visited Ireland in 1968, drawn by the connection to John F. Kennedy’s family roots. A year later, he moved to Ireland with his own family and stayed until his sudden passing in 1985. During that time, he captured everyday life with his family and the conflict in Northern Ireland, known as the Troubles.

Okamura’s photographs have rarely been seen before, and show a unique artistic view of Ireland at this time. What makes his work stand out is that he chose to make Ireland his home. Among all the international photographers working at that time, Okamura stood out for his commitment to the history of Ireland and Northern Ireland.

Since he became so closely connected to what he was photographing, Okamura created innovative images in both his own style and how the Troubles were shown through photography. His profound, personal relationship with Ireland allowed him to develop a new method of documenting conflict: poetic and ethereal moments of peace in a time of war.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

From the late 1960s to the early 1980s, Japanese war photographer Akihiko Okamura (1929-1985) created a powerful and largely unseen collection of photographs in Ireland, both north and south.

After covering the Vietnam War, Akihiko Okamura visited Ireland in 1968, drawn by the connection to John F. Kennedy’s family roots. A year later, he moved to Ireland with his own family and stayed until his sudden passing in 1985. During that time, he captured everyday life with his family and the conflict in Northern Ireland, known as the Troubles.

Okamura’s photographs have rarely been seen before, and show a unique artistic view of Ireland at this time. What makes his work stand out is that he chose to make Ireland his home. Among all the international photographers working at that time, Okamura stood out for his commitment to the history of Ireland and Northern Ireland.

Since he became so closely connected to what he was photographing, Okamura created innovative images in both his own style and how the Troubles were shown through photography. His profound, personal relationship with Ireland allowed him to develop a new method of documenting conflict: poetic and ethereal moments of peace in a time of war.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

‘Family Album | Photographs of a Belfast Community’ is the second in a series of three exhibitions, co-curated by Frankie Quinn and the Belfast Archive Project.

The Belfast Archive Project aims to preserve, interpret and present our vanishing photographic heritage. It has been entrusted with collections of negatives and photographic prints in order to protect them for future generations, and make them accessible through exhibitions, digital resources and print publications.

These archives include the work of some of Northern Ireland’s most respected photographers – like Frankie Quinn, Bill Kirk (previously on display in Spring 2025) and James Bell (on display in Autumn 2025).

About ‘Family Album | Photographs of a Belfast Community’ by Frankie Quinn

In 1982, a camera club started at the local community centre, and for my 16th birthday my dad gave me a camera. The simple message was; ‘go there, do something with the camera and stay out of trouble’! The idea behind the club was to encourage people to record the life of the area before the big change, or ‘re-development’ as it was called. I had my brief and started work with enthusiasm and a sense of purpose. What remained of the unique Belfast community of Ballymacarrett/Short Strand was to disappear in a short time, changed entirely, forever. Large swathes of the area had already been bulldozed from existence; I caught the tail-end. I look back two generations with amazement at how we managed to get through it all and still manage a smile. They were hard times that I have no nostalgia for. In 1997, I sent the photographer and friend of the area, Gilles Peress, a selection of images and asked if he would like to write something. Twenty-eight years later, I felt I owed the community a chance to see what it was all about. I have chosen 100 photographs for this exhibition covering streets, housing, faces, conflict, fleadh/festival, new build/the move and daily life.

About Frankie Quinn

Since the 1980s Frankie Quinn has documented conflict and its social context across Ireland, Palestine/Israel, Turkey/Kurdistan and Bosnia as well as his native Belfast. His work has been widely published, and exhibited and acquired for public collections in the United Kingdom, Ireland, Australia, North America and Europe.

About Gilles Peress

Gilles Peress was born in France in 1946 and began working as a photographer in 1970. He joined Magnum Photos in 1971 and his work is represented in the collections of major cultural institutions across America and Europe. Peress came to Northern Ireland in 1971 to begin a 20-year project on the Troubles. The power and focus of his work created a landmark in the history of photography when his continuums of events during Bloody Sunday were used as forensic evidence in subsequent inquiries.

‘Family Album | Photographs of a Belfast Community’ is the second in a series of three exhibitions, co-curated by Frankie Quinn and the Belfast Archive Project.

The Belfast Archive Project aims to preserve, interpret and present our vanishing photographic heritage. It has been entrusted with collections of negatives and photographic prints in order to protect them for future generations, and make them accessible through exhibitions, digital resources and print publications.

These archives include the work of some of Northern Ireland’s most respected photographers – like Frankie Quinn, Bill Kirk (previously on display in Spring 2025) and James Bell (on display in Autumn 2025).

About ‘Family Album | Photographs of a Belfast Community’ by Frankie Quinn

In 1982, a camera club started at the local community centre, and for my 16th birthday my dad gave me a camera. The simple message was; ‘go there, do something with the camera and stay out of trouble’! The idea behind the club was to encourage people to record the life of the area before the big change, or ‘re-development’ as it was called. I had my brief and started work with enthusiasm and a sense of purpose. What remained of the unique Belfast community of Ballymacarrett/Short Strand was to disappear in a short time, changed entirely, forever. Large swathes of the area had already been bulldozed from existence; I caught the tail-end. I look back two generations with amazement at how we managed to get through it all and still manage a smile. They were hard times that I have no nostalgia for. In 1997, I sent the photographer and friend of the area, Gilles Peress, a selection of images and asked if he would like to write something. Twenty-eight years later, I felt I owed the community a chance to see what it was all about. I have chosen 100 photographs for this exhibition covering streets, housing, faces, conflict, fleadh/festival, new build/the move and daily life.

About Frankie Quinn

Since the 1980s Frankie Quinn has documented conflict and its social context across Ireland, Palestine/Israel, Turkey/Kurdistan and Bosnia as well as his native Belfast. His work has been widely published, and exhibited and acquired for public collections in the United Kingdom, Ireland, Australia, North America and Europe.

About Gilles Peress

Gilles Peress was born in France in 1946 and began working as a photographer in 1970. He joined Magnum Photos in 1971 and his work is represented in the collections of major cultural institutions across America and Europe. Peress came to Northern Ireland in 1971 to begin a 20-year project on the Troubles. The power and focus of his work created a landmark in the history of photography when his continuums of events during Bloody Sunday were used as forensic evidence in subsequent inquiries.

Through its Inclusive Global Histories exhibition, Ulster Museum is re-evaluating its World Cultures collection to better understand the complex global stories of these objects – how and why they came to be in Northern Ireland, how they connect to our audiences and what the options might be for these items in the future.

Working in partnership with others, they are re-examining their collections and sites, and seeking to address racism and exclusionary practices. Through Inclusive Global Histories, the Ulster Museum will bring marginalised voices and stories to the fore, exchange ideas and learn from others to encourage mutual respect and understanding. The Inclusive Global Histories exhibition is divided into sections.

1. Exploring who we are
2. Challenging our present
3. Shaping our future
4. Global Voices, Local Choices – This was a temporary display (now ended) highlighting a creative engagement programme the museum was involved in.

The Inclusive Global Histories exhibition was launched in 2022 and is periodically reviewed and updated as research progresses and relationships develop.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

Drawn from the Ulster Museum’s Post-war and Contemporary art collection, The Enemy is Time focuses on the frailty of human existence and the threats posed by the global climate emergency.

During the 1950s and 1960s, artists experimented with new ways of making art in a world profoundly altered by the previously unimaginable losses and devastation of the Second World War. Two of the most important paintings in the Ulster Museum collection, Head II (1949) by Francis Bacon and Golden Age (1958) by Morris Louis, respond in different ways to the uncertainties of the new Anthropocene era, an age dominated by the activities of man.

For many contemporary artists, the vulnerability of the natural world and the preciousness of human memory and experience have become dominant themes. Two new acquisitions, Blue Sky Thinking (2019) by Patrick Goddard and Interval V (2023) by Ailbhe Ni Bhriain, reflect the alarming speed and immensity of loss associated with unchecked climate change. Read more about the artwork included in this exhibition here and here.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

Drawn from the Ulster Museum’s Post-war and Contemporary art collection, The Enemy is Time focuses on the frailty of human existence and the threats posed by the global climate emergency.

During the 1950s and 1960s, artists experimented with new ways of making art in a world profoundly altered by the previously unimaginable losses and devastation of the Second World War. Two of the most important paintings in the Ulster Museum collection, Head II (1949) by Francis Bacon and Golden Age (1958) by Morris Louis, respond in different ways to the uncertainties of the new Anthropocene era, an age dominated by the activities of man.

For many contemporary artists, the vulnerability of the natural world and the preciousness of human memory and experience have become dominant themes. Two new acquisitions, Blue Sky Thinking (2019) by Patrick Goddard and Interval V (2023) by Ailbhe Ni Bhriain, reflect the alarming speed and immensity of loss associated with unchecked climate change. Read more about the artwork included in this exhibition here and here.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

Drawn from the Ulster Museum’s Post-war and Contemporary art collection, The Enemy is Time focuses on the frailty of human existence and the threats posed by the global climate emergency.

During the 1950s and 1960s, artists experimented with new ways of making art in a world profoundly altered by the previously unimaginable losses and devastation of the Second World War. Two of the most important paintings in the Ulster Museum collection, Head II (1949) by Francis Bacon and Golden Age (1958) by Morris Louis, respond in different ways to the uncertainties of the new Anthropocene era, an age dominated by the activities of man.

For many contemporary artists, the vulnerability of the natural world and the preciousness of human memory and experience have become dominant themes. Two new acquisitions, Blue Sky Thinking (2019) by Patrick Goddard and Interval V (2023) by Ailbhe Ni Bhriain, reflect the alarming speed and immensity of loss associated with unchecked climate change. Read more about the artwork included in this exhibition here and here.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

The history of Northern Ireland from the late 1960s to the present day has been dominated by the civil and political conflict known as ‘the Troubles.’ The events that took place here after 1968 have impacted not just the people of Northern Ireland but people across the world. The Ulster Museum collection covers themes of politics and conflict, and the impact of both on everyday life, people and communities.

The Troubles and Beyond exhibition is not exclusively focused on the conflict, but relates to contemporary history and therefore includes objects that represent our wider social, cultural and economic history. The collection is a dynamic one, and it continues to be developed and refined. Acquired items include George Best’s Northern Ireland football jersey, a puppet of Gerry Adams from the TV series Spitting Image, material relating to the life and career of Belfast-born actor James Ellis and a collection of Pride t-shirts dating from 1991 when the first march was held in Belfast.

The Troubles & Beyond Gallery also houses two new displays, Gaza Remains the Story, and a new collaborative display with the Conflict and Legacy Interpretive Network.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.

Drawn from the Ulster Museum’s Post-war and Contemporary art collection, The Enemy is Time focuses on the frailty of human existence and the threats posed by the global climate emergency.

During the 1950s and 1960s, artists experimented with new ways of making art in a world profoundly altered by the previously unimaginable losses and devastation of the Second World War. Two of the most important paintings in the Ulster Museum collection, Head II (1949) by Francis Bacon and Golden Age (1958) by Morris Louis, respond in different ways to the uncertainties of the new Anthropocene era, an age dominated by the activities of man.

For many contemporary artists, the vulnerability of the natural world and the preciousness of human memory and experience have become dominant themes. Two new acquisitions, Blue Sky Thinking (2019) by Patrick Goddard and Interval V (2023) by Ailbhe Ni Bhriain, reflect the alarming speed and immensity of loss associated with unchecked climate change. Read more about the artwork included in this exhibition here and here.

The Ulster Museum exhibitions are free to visit, open Tuesday to Sunday, 10:00 to 17.00.