Closing date for the return of completed applications is 5pm, Monday 15th April
Interviews will be held in London on Wednesday 24th April
The Federation of Irish Societies (FIS) wishes to appoint a Heritage Officer (Part-time) to develop and deliver a HLF funded oral history project. We are looking for a dynamic and enthusiastic professional who can utilise their skills and experience to deliver a successful one year project with Irish communities in London.
FIS is a national charity based in Britain that supports Irish communities nationally. We have been awarded a Heritage Lottery Fund (HLF) grant to undertake a large scale project with the Irish community in London. Focusing on the London St. Patrick’s Day Parade and Festival, ‘Irish Voices’ will develop an oral history archive concentrating on, and showcasing the heritage of the parade and those involved in its development from the 1960s to the present day. Applicants should hold a degree in heritage studies or similar significant experience of delivering heritage and oral history projects in community settings.
This new post will be based in the FIS head offices in North London and will involve regular travel throughout London. This is a one year fixed term post funded by the Heritage Lottery Fund.
Download additional information, job description and application form from http://bit.ly/heritageofficer
Please send your completed application form to email@example.com. Only applications sent via email will be considered. CVs will not be accepted in support of or as a substitute for a completed application form.
The Federation of Irish Societies is an equal opportunities employer.
RISE – the landmark public artwork on Belfast’s Broadway Roundabout – has been highly commended at the national Structural Steel Design Awards, which were held in London last week. The 37.5 metre high sculpture – by the Nottingham artist Wolfgang Buttress – was one of 29 projects shortlisted for the prestigious annual industry awards. The six overall winners included the Peace Bridge in Derry/Londonderry. Other winners included both the main Olympic Stadium and the new Velodrome in London, as well as the Royal Shakespeare Theatre in Stratford-Upon-Avon, the M53 Bidston Moss Viaduct strengthening project and the new footbridge in Salford’s MediaCity UK.
RISE was one of only two projects outside England to be commended at the awards. The judges said that RISE was “impressive for its geometric form and precision” adding that “intelligent analysis, precision fabrication and safe assembly on a road-locked site have produced steelwork of fine quality” and describing the finished sculpture as “a stunning and popular landmark”.
Two globes, one inside the other, cast in silver and white steel, symbolizing the rising of the sun, RISE is made up of more than 65,000 individual parts and was manufactured by M Hasson and Sons Ltd of Rasharkin. Standing 37.5 metres – or 123 feet – the sculpture is a metre taller than the spires of nearby St Peter’s Cathedral, three metres taller than the Albert Clock and twice the height of Gateshead’s ‘Angel Of The North’ – and just 8.5 metres shorter than the Statue Of Liberty. It is 30 metres in diameter and weighs the equivalent of six double-decker buses.
Artist Angie Duignan Explains How She Created Work for the ‘Imagination of Childhood’ Exhibition at the V&A Museum of Childhood in London, which ran from October 2011 to February 2012
‘The Imagination of Children’ brings together nine visual artists who are fascinated by children’s ability to play and ‘make believe’; in particular, the ways in which they can live in their imagination. Historically, children’s imaginings have been seen as a source of conflict with the adult world, but this display recognises and celebrates the profound creativity of a child’s imagination. Some works observe that children can readily become someone they are not for the purposes of a game, and that fantastical stories are created on a daily basis. Other pieces take, as a starting point, the way in which a child’s perception of the world can often find expression through their physical activity. (more…)
On Thursday we will have our decisive meeting with ArtQuest about future collaborations and partnerships. “Artquest provides critical engagement and practical support to London’s visual artists and craftspeople, working with practitioners in London throughout their careers.”
Following detailed discussions about partnering, VAI and Artquest are now investigating how to take the wealth of information contained within both organisations to create a cross pollinated information source, supported by a professional development programme that can provide artists with the skills and confidence that they need to survive in the present economic climate. This project is part of VAI’s 2011 programme which is addressing the widening of support structures so that professional visual artists will feel less isolated.
More about the project later. Check our twitter account for updates on the meeting.
AILBHE NI BHRIAIN TELLS THE STORY-SO-FAR OF HER CAREER AS A PROFESSIONAL VISUAL ARTIST.
I recall reading an article (somewhere) in which John Baldessari said (to someone) that approximately one percent of art school graduates go on making work after college – and of that percent only one percent make a living from their work. I am sure his calculations were about as formal as my referencing of them, but, applied to my own (committed, talented) year groups through college, the figures still manage an around-about-rightness.
Of Baldessari’s percentiles, I belong to the former: I do not make a living from my work. I work chiefly in video and video is tricky. A benefit of this uncommercial niche is not having to store unsold bubble-wrapped works under beds and in other people’s garages. You could also say it gives the luxury of being a purist, removing the pressure to shape work towards a buying audience. The downsides are obvious enough: lack of money; need to do other things for-to-get money to make work; lack of time to make work because of doing other things to get money to make work etc. But for the majority of artists (aforementioned 99%) this is nothing new. I state it just to signal that, for me, career development means simply supporting the continued production of work, and is an ongoing and often roundabout process.
Anne Callanan talks to Deirdre Quail, acting Curator, FE McWilliam Studio and Gallery.
Tucked away between Newry and Belfast, it can be easy to drive past the FE McWilliam Gallery without even being aware it is there. Though easily missed, once visited, it is never forgotten. As well as the striking architectural layout, the permanent and temporary collection are sure to lure you back. The Gallery and Studio is dedicated to the memory of the renowned sculptor, Frederick Edward McWilliam, born in Banbridge in 1909. After his death in 1992 the sculptor’s studio and its contents was gifted to the town of his birth. The gallery and studio houses this collection in a superb exhibition facility of gallery, sculpture garden and reconstructed studio. It also provides a tourist information centre, café and craft shop. I spoke to the acting curator, Ms. Deirdre Quail, who very kindly answered my questions, but added many little anecdotes from her talks with the McWilliam family.
Adam Stoneman Considers why Ireland Needs Graffiti Art With a Message.
The question of whether graffiti counts as art or vandalism – or both, still divides the opinion of the average person on the graffiti covered street. However, the Irish cultural establishment has been less equivocal in embracing this countercultural practice. These days it is not uncommon for an ‘urban art’ event to be sponsored by a local council or business, and there are now legal walls designated for graffiti in many major Irish towns. It has also entered the galleries and museums; this February BaqsR and Crap have displayed their work in the Galway City Museum and stencil artist ADW held an exhibition at the Back Loft Gallery, Dublin in April. This follows recent major retrospective graffiti exhibitions at the Tate in London (2008) and the Foundation Cartier in Paris (2009). (more…)
In 2001 I had an epiphany, that just as the 20th century demanded new forms of art, so too does the 21st century demand new forms of leisure. To this end I proposed SPART: the ultimate hybridisation of sport and art, and therefore the most evolved form of leisure on the planet. In 2001, when I first articulated the concept of SPART, I was virtually on my own in my enthusiasm for the development of such a practice. And though my concept of SPART has grown a support network of collaborators in Europe, Canada and America, and even earned me a solo show in the Ludwig Museum in Budapest, these SPART practices have remained marginal. (more…)
Clarke & McDevitt have treated Printed Project issue 9, The Call of the Wild is now a Cry for Help, as an artist-led exhibition space – keeping the written content to a minimum in order to make the publication prominently visual. Moreover they write ‘As artists ourselves, we want our issue of Printed Project to be considered as an artwork in its own right’.
The contributions include solo visual projects, hand written text works and collaborative pages – with some artists choosing to literally work on top of the work of other artists – while others opted for a call-and-response approach, whereby new works were made in response to works sent.
A thread running through ‘The Call of the Wild is now a Cry for Help‘ is a concern with the ways in which artists consider different ways and means of engaging with histories be they in terms of ones personal life; or work; or of a wider cultural and / or political scope.
Jonathan Meese, Sophie von Hellermann, Goshka Macuga, Luke Dowd, Liz Craft /
Klaus Weber, Markus Selg / David Godbold, Matthias Dornfeld / Sara MacKillop, Mamma Andersson, Jockum Nordström, Jewyo Rhii, Tyler Vlahovich.
Curator / Editors
Declan Clarke is an artist based in London and Dublin. Recent solo exhibitions include ‘Rebellion and Plots Ripen Like Fruit’, Kiosko Gallery, Santa Cruz, Bolivia in 2007. ‘Mine Are of Trouble’, Art Now Lightbox, Tate Britain, London, “Trauma and Romance” Off-Site Project, Douglas Hyde Gallery, Dublin in 2006.
Paul McDevitt is an artist based in Berlin. Recent solo exhibitions include ‘Guide Me’ Berwick Gymnasium, Berwick-upon-Tweed, UK, ‘Solitary Figure in Landscape’ Stephen Friedman Gallery, London in 2007. He participated in ‘Star Dust ou la Dernière Frontière’ MAC/VAL Musée D’Art Contemporain Du Val-De-Marn Paris and Hayward touring show ‘Cult Fiction’ in 2007.
Clarke and McDevitt have been collaborating on curated projects since 2000. Past projects include ‘Expect Nothing’ Gallery for One, Dublin 2007, ‘Matt Calderwood, Björn Dahlem, Sophie von Hellermann, Ian Kiaer, Cornelius Quabeck’ Dublin City Gallery the Hugh Lane 2005. ‘Play it as it Lays’ The London Institute Gallery, London 2002.
A full archive of previous Clarke and McDevitt projects is available at
DUBLIN: Thursday 17th April 2008
Followed by ‘Kunstschlampen’ (art table quiz) from 8:30pm
Upstairs at Toner’s, 139 Baggot Street Lower, Dublin 2
LONDON:Saturday 19th April, 2008
Stephen Friedman Gallery, 25 – 28 Old Burlington Street, London W1
BERLIN: Friday 25th April 2008
Bar in der Karl-Marx-Allee 36
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