“Ɖs mêjr grūpexibišn mācñ ɖ Sentīṇri v ɖ Frst Wrldwor xplorz hâ ātists hv cmynicetd ɖ impact v militri conflict on ɖ bodi, mînd, invîrnmnt n hymn sensz btwn 1914 n 2014.
Ɖ šo xaminz hâ ātists fṛm 1914 onwdz dpictd ɖ devstetñ impact v ny militri tecnoḷjiz yṭlîzd in a senčri v conflict bginñ wɖ ɖ Frst Wrldwor. It brñz tgɖr wrc fṛm a renj v līdñ ātists includñ Henri Lam, CRW Nevinsn, Pwl Naš, Oto Dix, Nansi Spero, Ričd Mos, Omer Fast n fīčrz wrcs bî ɖ hībacūša, svîvrz v ɖ atomic bom dropt on Hirošima, ẇč wr crietd in ɖ 1970z n r biyñ šôn in ɖ YC fr ɖ frst tîm.
Fumiko Ya: Hospital. 1973-74. (Hiroshima Peace Memorial Museum)
Yoshiko Michitsuji, aged 48 at the time of drawing. I ran towards my house through a sea of flames (Hibakusha Works: Hiroshima Peace Memorial Museum)
Kichisuke Yoshimura, 75 at time of drawing. Riverbank near Hiroshima Railway Station. Their clothes ripped to shreds. Their skin hanging down. 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Masahiko Nakata, age 72 at the time of drawing. Bloated bodies in the river over Yokogawa Bridge, 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Gisaku Tanaka aged 72 at the time of drawing. Lights blinking on in the atomic desert (Hibakusha Works: Hiroshima Peace Memorial Museum)
Ɖ Frst Wrldwor involvd a pṛfând rīcnfiğrešn v senṣri xpirı̣ns n pspšn ʈru ɖ invnšn v devstetñ militri tecnoḷjiz, ẇč dstrŷd hymn lîvz n oltrd ɖ invîrnmnt bynd recgnišn. Its leġsi hz cntinyd n ivolvd ʈru īvn mr radicl fwmz v dstruẋn ovr ɖ last hundṛd yirz. Ʈrt ɖ senčri, ātists hv strugld t undrstand ɖ tru ifct v modn tecṇlojicl warfér. Ẇl militri n pres ftogṛfi hv brwt a ny c̣paṣti t coldli dokyment sč līʈl dsplez, ātists fând a dfṛnt we v siyñ.
Mančestr Ātgaḷri hz a našnli impwtnt c̣lẋn v āt v ɖ Frst Wrldwor, ẇč wz asmbld bî its frst drctr, Loṛns Hêẉd. Têcñ ɖs rič c̣lẋn az ɖ stātñpŷnt, ɖs šo includz historic n cntmprri āt fṛm ɖ YC, Jrṃni, Frans, Iṭli, ɖ Neɖrḷndz, ɖ Ynîtd Stêts, Caṇda, Jpan, Vietnam, Ny Zīḷnd, Aljiria, Îrḷnd, Iran, Izrel n Paḷstîn.
Xibišnʈīmz
Ɖ Senṣri Wor xplorz ɖ rsponsz v a renj v ātists ovr ɖ past senčri t ɖ senṣri ifcts v worfér ʈru a siriz v ʈīmz.
Miliṭrîzñ Bodiz, Manyfacčrñ Wor
Xaminñ ātists’ riaẋnz t ɖ industrı̣lîzd prôses v miliṭrîzešn n ɖ ifct v nýz in ɖ ŕbn invîrnmnt, ɖs dsple includz wrc bî CRW Nevinsn, hu dpictd sìnz fṛm ɖ Frst Wrldwor yzñ ɖ agresv, modn vižl stîl v Vwtisizm.
Christopher Nevinson, The Unending Cult of Human Sacrifice, c.1934 Oil on canvas, 46 x 61 cm Collection: IWM (Imperial War Museums)
A dsple xplorñ hâ ātists rspondd t ɖ trītmnt v soljrz on ɖ fruntlîn. It includz Henri Lam’z Advans Dresñstêšn on ɖ Strŭma fṛm ɖ gaḷri’z c̣lẋn, n Henri Tonc’s An Advanst Dresñstêšn in Frans fṛm ɖ Impirı̣l Wormyziym, ẇč r xibitd tgɖr hir fr ɖ frst tîm.
Henry Lamb, Advance Dressing Station on the Struma, 1916. Date painted: 1921. Oil on canvas, 183.6 x 212.3 cm. Collection: Manchester City Galleries
Lcñ at hâ āt wz implýd nt onli t rcwd ɖ trītmnt v soljrz in hospitlz bt olso hâ it rflctd on ɖ ny medicl advansz v plastc srjri n fêšl rīcnstruẋn. Xplorñ ɖs ʈīm, ol 12 plêts v C̣lon Ny Objectvist, Hînrih Hrla’z Die Krüppelmappe (Ɖ Criplpwtfolio) r prizntd alñsd hiz ýlpêntñ Ʈri Invlidz. Sīn tgɖr in ɖ YC fr ɖ frst tîm, ɖz wrcs rcwd Hrla’z tendr bt olso bitr rflẋnz on ɖ ruind bodiz v wor fṛm a Jrmn pspctv. Olso in ɖs sẋn r a siriz v delic̣t drōñz v dsebld soljrz rcuvrñ in hospitl, bî Frenč fīmel ātist Rosīn Cān.
Heinrich Hoerle, 1895-1936, The Breadwinner, from Krüppel, 1920. Lithograph in black on tan wove paper, 465 x 355 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. The Father, from Krüppel, 1920. Lithograph in black on tan wove paper, 475 x 270 mm (image); 589 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. Friendly Dream, from Krüppel, 1920. Lithograph in black on tan wove paper, 470 x 350 mm (image); 592 x 461 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. The Tree of Longing, from Krüppel, 1920. Lithograph in black on tan wove paper, 440 x 365 mm (image); 591 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. At the End of the Trail, from Krüppel, 1920. Lithograph in black on tan wove paper, 510 x 415 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. Help the Disabled, from Krüppel, 1920. Lithograph in black on tan wove paper, 560 x 437 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. The Married Couple, from Krüppel, 1920. Lithograph in black on tan wove paper, 517 x 414 mm (image); 591 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. The Unemployed, from Krüppel, 1920. Lithograph in black on tan wove paper, 475 x 230 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. Perpetual Pain, from Krüppel, 1920. Lithograph in black on tan wove paper, 483 x 260 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. The Man with the Wooden Leg Dreams, from Krüppel, 1920. Lithograph in black on tan wove paper, 448 x 375 mm (image); 591 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. Halucinations, from Krüppel, 1920. Lithograph in black on tan wove paper, 410 x 305 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
Heinrich Hoerle, 1895-1936. Halucinations, from Krüppel, 1920. Lithograph in black on tan wove paper, 575 x 430 mm (image); 590 x 460 mm (sheet). Margaret Fisher Endowment Fund
A dsple ẇč rflcts on ɖ xpirı̣ns v šelšoc n includz wrcs sč az Pietro Mrando’z Goẏesc studiz dpictñ ɖ apwlñ twčrz ɖt tc plês insd priznr-v-wor camps jrñ ɖ Frst Wrldwor.
Vendette nemiche. Prigionia di Komarom, Ungheria 1918
Austriaco impazzito che si arrende
Il riso rosso. Oslavia. Gorizia 1916
Un rimasto della passata azione. Oslavia 1916
Giornata di bombardamento
Eroe del Carso
Bomñ, Brnñ n Distnt Wor
Ɖs sẋn xplorz ɖ ifcts on ɖ grând v militri conflict. It includz Omer Fast’s vidiowrc 5,000 fīt z ɖ Bst ẇč rvilz ɖ terr v drônstrîcs fr ɖ victimz n ɖ sîc̣lojicl impact on soljrz in rīsnt conflicts v pîḷtñ drônz fṛm a distnt lcešn on anɖr continnt.
Ɖ Imbodid Ruin: Načṛl n Mtirı̣l Invîrnmnts
A dsple ẇč lcs at hâ ātists sč az Pwl Naš n Wiłm Ōpn yzd landsceps dstrýd bî conflict az a meṭfr fr ɖ fêt v ɖ soljrz hu fwt ɖr.
Paul Nash, We Are Making a New World. Date painted: 1918 Oil on canvas, 71.1 x 91.4 cm. Collection: IWM (Imperial War Museums)
Ɖ Senṣri Wor 1914-2014 z prizntd in pātnršp wɖ ɖ Ẇitẉʈ Ātgaḷri n ɖ Sentr fr ɖ Culčṛl Histri v Wor at ɖ Ynivrṣti v Mančestr. It z kretd bî Dr Ana Cādn-Cýn, Co-Drctr v ɖ Sentr fr ɖ Culčl Histri v Wor at ɖ Ynivrṣti v Mančestr; Dêvid Moris, Hed v C̣lẋnz, ɖ Ẇitẉʈ Ātgaḷri; n Tim Wilcox, Prinṣpl Kretr, Xibišnz, at Mančestr Ātgaḷri.”
