Bullock Lane Studio Opportunity
The Bullock Lane Studio Opportunity supports artists to work intensively and in quiet spaces at Townhall, Cavan for 12 weeks.
Artists are encouraged to engage with another art professional: curator, writer, mentor to assist them to develop critical writing for their practice.
The artist is encouraged to host an event or share their work with either their artist peers or interested members of the public to discuss themes explored in their studio time.
Artists are now invited to apply for this opportunity to work at Bullock Lane Residency at Townhall, Cavan. Artists will receive financial support of €125 per week and the studio facility. Additional support will be available to work with another art professional: curator, writer or mentor, for example.
About the studio space: The studio space is currently on the second floor of a listed building without wheelchair access. Cavan County Council reserves the right to change the venue and amend the time at their discretion.
There is no formal application form. Please use the following headings when making your application in writing to us:
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ABOUT THE ARTIST: Artists must include an up to date CV, up to 10 images of current work, and a short paragraph describing their work.
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ABOUT THE WORK: Artists apply in writing with an overview of the work that they intend to undertake while at the studio. Artists are requested to nominate another professional who they wish to work with during the course of their studio opportunity at Bullock Lane.
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Time: Artists can apply for a period of 12 weeks. The studio will be available from October 2017 through to March 2018.
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Engagement: Artists are encouraged to outline any engagement element that they wish to offer while on the studio opportunity, this might include participating in a peer to peer conversation with other artists, or a presentation to students or the public on work and ideas.
Apply in email or hard copy to:
Santina Burns
Cavan County Council Arts Office
Farnham Centre
Farnham St
Cavan
Co Cavan santinaburns@cavancoco.ie
Closing date: 28 September 2017
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International Visual Arts Archive
The not-for-profit project www.musealia.org//en/index.html invites artists all over the world to document what they consider to be the most important piece they created last year. We think it is a useful project both for artists reflecting their work and for art history.
Musealia (www.musealia.org) is a democratic longterm art archive and research project. Each year artists from all the world will upload their most important work of the previous year as digital file to Musealia.
Musealia gathers just one work of an artist a year. But these works are “the artist’s choice” and thus relevant and interesting from an art historical point of view.
Today, museums or scholar institutions cannot answer the question how significant a particular work of art was to the artist. Musealia provides an answer to this question.
Participation is free. The right of the submitted work remains with the artist. Musealia’s copyright is limited to presentations or publications related to the project.
Musealia is not a internet gallery. Printouts of the submitted works will be handed over to national art archives in order to enable further research on the artists and the Musealia project.
Musealia had been presented so far in London (Tate Exchange, Tate Modern), Venice, Stockholm, Lugano, Berlin, Torino.
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First Strings: New Term Starting Saturday 9th September 2017
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Gallery of Photography | Open Call – Free Submission
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Creative Spark training programmes
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CISS Festival Workshops
When:
13 – 16 September 2017 daily, 9.30am – 12.30pm
Where:
The workshops venue for 2017 is Nano Nagle Place, Douglas Street, Cork. Please notify us of any accessibilty requirements upon registration.
Fiction Workshop
with Frank O’Connor International Fellow Marie-Helene Bertino
Class maximum: 14. Price: €150
CLASS ONE – “Craft Lessons I Learned from My Mother”:
When my mother scribbled “the dough will tell you when it’s dough” in the margins of her recipe for homemade pizza, I had no idea that one day I’d use that note as the guiding philosophy for knowing when my first collection was ready for publication.
Don’t let the folksy title fool you, this is a craft intensive workshop that rigorously covers a broad range of topics such as plot, efficiency on the line, exact metaphors, etc…based on the everyday teachings of my mother. Several examples from published stories will be used as examples, and the class will include takeaway writing prompts culled from these lessons so students leave with a clear and immediate idea of how to implement these ideas in their own work.
Homework: Use one writing craft lesson/ writing prompt to begin a new story. Read: Sherman Alexie, “What You Pawn I Will Redeem”. Watch: Eternal Sunshine of the Spotless Mind (optional)
CLASS TWO –“Eternal Structure of the Spotless Story”:
Though we make countless subconscious decisions when writing fiction, one of the biggest is often left unexamined: structure and how it affects information dispersal. Do we begin at the beginning or the end or in the middle, and how does each choice affect story? When we shuffle scenes, we shuffle time, so what is collapsed time, implied time, and summarized time, and how can we use them to create exemplary results?
We will discuss structure, time, and order in Sherman Alexie’s story, “What You Pawn I Will Redeem” and Michel Gondry’s film, “Eternal Sunshine of the Spotless Mind,”and use our personal biographies to test how it works in fiction. Class will include takeaway writing prompts culled from these lessons so students leave with a clear and immediate idea of how to implement these ideas in their own work.
Homework: Use one craft lesson/ writing prompt to begin a new story. Read: Etgar Keret, “Fatso”
CLASS THREE – “To Live Outside The Law You Must Be Honest; Breaking the Laws of Physics in Fiction in order to have a good time, whatever that is”: Now that we’ve spent two classes learning the “rules,” let’s talk about how one goes about breaking them.
Though speculative, fabulist, science fictions and magic realism are popular, introducing a “magic” element into a story risks breaking trust of the reader and flattening character in service of this loud element. We will discuss the rules of these rule-breaking genres using Etgar Keret’s short story “Fatso,” craft lessons discussed throughout the week, and examples from leading practitioners of these genres.
Homework: Use one craft lesson/ writing prompt to begin a new story. Read: TBA
CLASS FOUR “Character Across Genre”:
In a well-developed character, contradictions come across as complex, whereas in a badly-developed character, they seem like mistakes. Even when we write about ourselves, we are still charged to present a full realized “character” that feels sentient and tangible.
How does the idea of character bend and change across genre and what can a story writer learn from each one? We will discuss how to render human beings on the page by using tone, detail, dialogue, perspective, and person, as in 1st, 2nd and 3rd. We will congratulate one another on a lovely class, and tearfully bid farewell.
Please scroll down for more information on how to book a place on this master class.
Marie-Helene Bertino is the recipient of the 2017 Frank O’Connor International Short Story Fellowship.
Bertino’s debut novel 2 A.M. AT THE CAT’S PAJAMAS, was a Barnes & Noble Fall ’14 Discover Great New Writers pick and an NPR Best Book of 2014, among others. Her collection of short stories SAFE AS HOUSES was the recipient of The Iowa Short Fiction Award (judged by Jim Shepard), named an Outstanding Collection by The Story Prize and long-listed for the Frank O’Connor International Story Award. Awards include the O. Henry Prize, a Pushcart Prize and two Pushcart special mentions, The Mississippi Review Story Prize, and fellowships from The MacDowell Colony, Sewanee Writers’ Conference, Hedgebrook Writers Colony, and NYC’s The Center for Fiction. She has been featured on Symphony Space NYC’s “Selected Shorts” radio program and is an Editor-at-Large at Catapult.
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Short Story Masterclass
with Claire Keegan
Class maximum: 15. Price: €200
*In preparation for this course, all participants will be required to read “Good Country People” by Flannery O’Connor (click to download PDF) and The Great Gatsby by F. Scott Fitzgerald.
Day One: Time & Desire
Introducing fiction as a temporal art. How do we go about making the incision in time? How does time lead us from the beginning to the middle to find an inevitable ending? What is the difference between statement and suggestion? Between static and movement? Between poor and fine prose? Keegan will talk about hooking your character’s eyes and feet onto their object of desire and taking them through the story.
Day Two: The Paragraph
The paragraph. How to handle a unit of time. How to structure your work and thought. How reading works! Fiction is written in paragraphs. If you are not interested in paragraphs and how they work and relate to each other, it’s unlikely that you’ll write well.
Day Three: Scenes
What is a scene? How does time work in a scene? And what’s the difference between tension and drama? And how are they related? Why are highly dramatic scenes sometimes dull or implausible? And how does a scene reveal character?
Day Four: Trouble and Loss
This morning will focus on the stakes – what your characters stand to win or lose – or fear. Going out into the deep water and discovering, to some extent and uneasily, what it means to be human.
Please scroll down for more information on how to book a place on this master class.
Claire Keegan grew up on a farm in Wicklow. She has published three volumes of fiction include two short story collections and the novella-length short story Foster. Among the accolades she has received are the Rooney Prize for Literature, The Edge Hill Prize for Short Stories and the Davy Byrnes Memorial Prize. She lives in Co. Wexford.
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Cancellation Policy (Please read carefully.)
After you have paid for the workshop, should you have to cancel for any reason, we will exercise our best efforts to find a participant to replace you. If we can do so, we will refund your tuition payment. If we cannot replace you, we will not refund your tuition payment. The later the cancellation date, the more difficult it is for staff to find a qualified participant. Though we do recognize that emergencies happen, and we will do our best to help you, we cannot guarantee that we will be able to replace you in the event of a cancellation.
Mobility Requirements: Most of the venues have wheelchair access but not all. If you have limited mobility every effort will be made to accommodate you, but best chance is through an early booking.
Your workshop place will be secured only after full payment. Every effort will be made to make sure that the programme proceeds as advertised but the Munster Literature Centre accepts no responsibility for changes made due to circumstances beyond our control. Refunds will be given only if a workshop is cancelled.
As workshops sell out notification of such will be posted on this page.
How to Book
Phone + 353 (021)4312955
Email info(AT)munsterlit(DOT)ie
In person at The Munster Literature Centre, Frank O’Connor House, 84
Douglas Street, Cork
Payment will be accepted by cheque/postal order (made payable to the Munster Literature Centre) or by credit card via Paypal (link provided on registration).
Have you entered the Seán Ó Faoláin International Short Story Competition?
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Design Skills and Digital Fabrication | 10 week Course
Wednesday 27 September 10.00 am to 4.30 pm
Cost €100
This course aims to provide learners with a broad overview of design and digital fabrication. Using a mixture of classroom sessions, hands-on lab work and self-directed project work, this course will facilitate the learner to engage in a creative design process, appreciate design principles as a problem solving activity and gain an understanding of the role of digital fabrication in a design skillset. l Understand and appreciate Design principles Learn how to use Design as a problem solving activity l Learn how to create 3D models using a professional CAD application l Gain hands-on experience with Digital Fabrication technologies such as 3D Printing, Laser Cutting and Vinyl Cutting l Build a portfolio of Design work l Complete a real world project from Design Brief through to Manufacture l Develop academic and vocational language, literacy and IT skills related to Design l Learn how to work effectively both individually and with others in a Design team Participants need to bring a laptop to this course; we will be using Fusion360 which is available to download free. Visit https://www.autodesk.com/products/fusion-360/overview and download free ‘startup’ license.
Tel: 042 938 5720 Email: hello@creativespark.ie www.creativespark.ie creativesparkie @creativesparkie Creative Spark, Clontygora Drive, Muirhevnamor, Dundalk, Co. Louth
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New Moth Poetry Prize Replaces Ballymaloe International Poetry Prize
We are thrilled to announce that the former Ballymaloe International Poetry Prize is now THE MOTH POETRY PRIZE. After seven years – with winners that include Lee Sharkey, Abigail Parry and Ann Gray (whose winning poem was shortlisted for the Forward Prize for Best Single Poem) – we thought it was about time. You can read more about The Moth Poetry Prize in theIrish Times.
The Prize remains the same: €10,000 for a single unpublished poem, with 3 runner-up prizes of €1,000. Anyone can enter, and there’s no line limit – so there’s no excuse not to!
We’re also thrilled that the 2017 Moth Poetry Prize is to be judged by Daljit Nagra, the first poet to win the Forward Prize for both his first collection of poetry and its title poem. He recently published his third collection, British Museum, with Faber, and teaches poetry at Brunel University London and is Poet in Residence at BBC Radio 4.
The four shortlisted poems will appear in the spring issue of The Moth and the overall winner will be announced at a special award ceremony at Poetry Ireland in Dublin in the spring of 2018.
CLOSING 31 DECEMBER 2017
You can enter online or read more about the prize on our website.
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