Frederick Kiesler "Art of This Century" Exhibition 1942

In 1942 when Fredrick Kiesler designed Peggy Guggenheim’s gallery “Art of this Century” he incorporated armatures into his design that literally presented the artwork to the viewer by removing the art from the wall and placing it into free space. This ‘active’ exhibition design broke the inherent two-dimensionality aspect of the artwork and placed in within a three dimensional space. As a result, the audience and the art were comfortably within the same environment. As a result of this design, Kiesler’s exhibition was critically acclaimed and in the last few years there has been a Kiesler-revival. I am interested in the fact that today Kiesler’s work  not only remains provocative but is also increasingly relevant. Kiesler recognized not only the role of the surrealist art in his design but he recognized another important ingredient in his design – the viewer. His training as a set designer had prepared him for this role – he created sets but more importantly he created spaces for the actors within his sets. In our discussion in class we speak so often of the curatorial narrative, of the display of information, of the experience of the exhibition, of the expectations of the audience, but in reviewing Kiesler’s exhibition, it seems that we don’t actually think about the physicality of the exhibition and the viewer. We do indeed talk about how the viewer fits into the exhibition – culturally, academically, etc – but physically fits? Sometime the most important move is the simplest move – welcoming the viewer so they can exist in the same of the exhibition… the display, path, experience, etc then become relevant.

HC Smith

I’ve seen two movies in the past week. They can be considered very different films and were viewed in very different geographic contexts and with different populations of fellow movie-attendees. With one I found myself annoyed at the judgmement and parenting skills of others, and with the  other I found myself annoyed with the feeling of self-importance that others in the theater seemed to exude. But I’m getting ahead of myself.

Required possible spoiler warning, which I sort of feel is silly but people tend to yell at me if I ruin endings of movies before they’ve seen them… I mean, what is that about… My feeling is that if a movie has been out for greater than two weeks and you still haven’t seen it, then that’s on you and not me. But regardless, spoiler warning spoiler warning spoiler warning. Moving on.

I saw the Fantastic Mr. Fox first, on a Friday afternoon, surrounded by a heterogenous population of twenty-something year olds, thirty-something year old mothers and their under the age of 7 children, and a miscelanous category of the over forty crowd. While waiting online to purchase tickets from the employee under glass  (because swiping my credit card in a machine to get tickets will NOT be happening) several of the parent plus young child combo were on line with me, many of them debating whether to go see Planet 51 or FMF, the thought being: Well, both are children’s films. Wrong. One is a computer animated film about how humans can be seen as aliens to aliens who have never met a human before and how judging people is wrong (or how aliens are silly… I don’t know… I didn’t see it…  I was not one of those in line who was debating which one to see).  The other is a Wes Anderson film. It doesn’t matter that it’s about talking animals in a pseudo-Watership Down type character vocabulary. It doesn’t matter that it’s made in stop motion animation like Wallace and Gromit (because that was the reference one mother gave to her child, clearly forgetting that The Corpse Bride was also done using clay figurines and a mind-numbingly slow camera capture process and is SO not a children’s movie either).

So imagine my surprise when I entered into the theater containing a relatively large number of the under 6 crowd. I took heart at the fact that the unemployed dirty hipster twenty-something crowd who was also in the theater seemed to have a greater sense of disdain towards this populace than I did. My feeling is pretty much that I don’t care if there are children in a movie theater as long as they’re socialized to acceptable public comportment (does that sound pretentious enough?). When I saw Igby Goes Down in theaters when it first came out, there was a family with their two children under the age of 10 seated in front of me in the audience. When Amanda Peet is shown topless, the male offspring shouted “Boobies!” That would be an example of unacceptable socialization. But a five year old that sleeps through a movie he doesn’t understand because it is way over his head in terms of plot and theme is allowed to stay as far as I am concerned. And it was this latter category that seemed to fill the theater.

So this is not a rant against parents bringing their children to the movies, per se. I mean, if you want to expose your child to scenes of animal brutality, theft, and marital discord all delivered in a Wes Anderson style of dark humor (more Royal Tenenbaums than Darjeeling Limited), that’s on you. It’s your call to spend the twelve dollars for the kid (or whatever a children’s ticket actually costs). But then don’t leave the theater disapprovingly muttering  “Well, that’s not what I expected at all” because it’s your job as a parent to do your research ahead of time. You theoretically have  a responsibility to monitor what you personally expose your child to. And if you’re going to have an outing to the movies on a Friday, in which both time and money will be spent, perhaps some pre-film googling might be wise. Just a suggestion.

Oh, and the movie was fantastic. And this is coming from someone who can best be described as a fair weather Wes Anderson fan. I’ve started working “cuss” into my vocabulary as frequently as possible and various stati have been marked with “You wrote a  bad song, Petey” as of late.

On to film number two of two.

I saw Precious on a Monday evening, in the suburbs, in a movie theater with, conservatively, 25 other people. The demographic of the audience was primarily caucasian, I’m going to venture solidly middle class, and the average age was about upper thirties to mid fifties. It seemed to be married date night/girlfriends out to see a movie night/Oprah and or Mr. Perry told us to see this and now it’s finally out in theaters night. Or in my case, I sort of want to see what the hype is all about and see how good this thing really is. So that means I suppose I went in with some preconceived notions about what it was about and knew about most of the spoilerish things related to the film (the incest, the two kids, one with Down Syndrome, the mother from hell thing, etc). But I was impressed with the blending of fantasy escapism with the “reality” of Precious’ life. So kudos for that Mr. Daniels. And kudos casting Mariah Carey when Hellen Mirren declined. Perhaps not the most logical second choice, but it works. Although, truthfully, all of the awards chatter around her performance is somewhat lost on me. I think people are more excited that she’s not “Mariah” but actually managed to tone down her sometimes batshit crazy self long enough to sit still in a somewhat restrained manned. But I digress.

From the first trailer run before the movie, I knew this audience was in trouble. The first film presented was for Takers, the T Pain, Matt Dillon, Hayden Christensen, Paul Walker, Chris Brown etc seemingly craptastic extravaganza that opens in a couple of months.  Immediately, audience chatter started. “Why would this be playing?” “An action movie?!” “Don’t they usually match trailers to the film?” The answer to the last is “yes” and in this case they did. Stereotype alert: Precious seemed geared from the begining to an, um, urban market first, and the Oprah housewife second (or possibly fifth). Takers seems geared towards the urban market first, the teenage boy “I want to see things get blown up” market second, and the Oprah housewife never. This was followed by the trailer for the new Tyler Perry film, with Janet Jackson in full emoting glory. This caused the housewife crowd to settle slightly. “Oh Tyler Perry. He’s that funny black man who wears a dress that Oprah likes.” Yes ma’am: that’s him. Five trailers later, the movie began.

I think it’s safe to assume that some in the audience didn’t have the premovie plot knowledge that I came armed with. Rape scene number one: cue first two walkouts. Vomit scene after she’s stolen a bucket of fried chicken: cue next set of walkouts. I guess Lady O failed to properly prepare her audience.

I think the film works, up until the end. As I said, the weaving of inner and outer realities together works. The 1980s setting never feels forced, and makes some of the plot revelations more substantial and tragic than if it were set in the present, in particular (spoiler alert… oh screw it…) Mary’s announcement to Precious that her father had AIDS and Precious’ test results. The awareness of personal mortality is brought to the fore and crystalized in a way that Mary’s threats of abortion or Precious’ own narrator-based monologues couldn’t do. And there’s a nice shout-out to always relying on the kindness of lesbians (also tinged with a very 80s and sadly also contemporary social comment).

However, the end of the film made me mad. Not mad at Precious. Not mad at her mother (about whom I think it’s best to say you feel sorrow for but never sorry for). Not mad at the fate of either one or at the social circumstances that led them to their current existence. No, I was mad at the filmmakers and author. I haven’t read “Push,” but I get the sense that the film is a fairly faithful adaptation of the text. When Precious, still attending the alternative school to pass her GED and still living with her lesbian guardian angels but now HIV positive, leaves the social worker’s office with her two children in tow, one with Down Syndrom and the other under the age of two, having declared that the social worker is not able to deal with her problems, and sets out down the street to face the world with a pseudo-smile, my only question was: WTF? Are we supposed to cheer because she has her children back and is rid of her mother. Ok, but honestly, girl is still screwed. Some woman two rows behind me said to her companion “Good for her. She’ll be ok.” And then they walked out to their minivan.  WHAT? Sorry, no.

While not a “happy ending” the movie feels like it’s goading you into leaving with a sense a promise, a curious inclusion based on the almost utter despair that runs through the rest of the film. It occurs to me that this could be the point: the realization that there are no happy endings, and that we should give her this brief moment of joy in an otherwise tragic past, present, and future existence. But somehow I can’t get over the feeling that it ended with a “We’re all going to be ok now” message, as she struts down the street (eh, she sort of struts as much as one can schlepping to little ones). So no, she’s not going to be ok, and I feel sort of cheated by the film for guiding some into this conclusion. And while it is certainly not a filmmaker’s fault that someone can take away the wrong idea from a film, in this case, it certainly seems as though the ending wants to at least send you on your way without worrying that you’ll slit your wrists at the recognition of the futility of life.  Ok, done with railing against the ending.

So what is the general point of this post? I think it might be that a certain amount of informed viewership is sometimes wise. This is not to say that it’s always a good thing to know too and that approaching something without any preconceptions is a bad thing. But sometimes a little information and personal research/accountability does in fact go a long way, particuarly if you have children with you or if your only source of information is Harpo Productions. Or not. I mean, she did select the president. So maybe challenging her is an act in futility in itself.

Compte-rendu d’audience :

Mercredi 18 novembre, une délégation SUD (Yvanne, Marc, Laurette, Gilles) s’est rendue, humblement, sans avocat, à l’audience du Tribunal d’Instance de Villeurbanne au sujet du dépôt de notre contentieux relatif au résultat des élections professionnelles. Etaient aussi présents la direction des ressources humaines d’AREA et la plupart des organisations syndicales signataires du protocole d’accord électoral, ce qui faisait pas mal de monde au final. A 11H, heure de l’audience, l’avocat d’AREA demandait qu’on patientât jusqu’à l’arrivée de sa consoeur qui devait représenter la CFDT. Le Président signala qu’il avait une autre affaire à 11H30, mais on attendit que se présente l’avocate, sans robe, avec valise.

Audience folklorique

Quand l’assemblée fut prête (cela prit un peu de temps), notre mandaté, Maître Etellin (retraité SUD Rail), commença d’exposer en préambule que SUD n’avait pas reçu les conclusions des parties adverses. Aussitôt les duettistes en robe noire cherchaient une copie à fournir au demandeur et la défenderesse de la CFDT demanda à quel moment seraient exposées les requêtes de non recevabilité, car pour elle, on ne pouvait pas plaider aujourd’hui. Gérard Etellin tenta alors de faire valoir qu’il était prêt à rendre ses conclusions et que les parties adverses n’avaient qu’à faire état des leurs oralement. Prenant acte de la situation, le Président décida de renvoyer l’affaire au 27 janvier 2010.

Remarques :

-      Aussi surprenant que cela puisse paraître, les professionnels qui nous faisaient face n’ont donc pas eu assez de quinze jours pour préparer leurs conclusions.

-      Au vu des réceptions dernières, il semble qu’un courrier envoyé de Saint Apollinaire arrive plus rapidement à La Tour Du Pin qu’un courrier envoyé de Lyon (s’il a été envoyé).

-      Contrairement à ce qu’a annoncé la team CFDT, SUD n’a jamais mis en cause un salarié mais seulement relaté des faits non conformes au protocole d’accord.

-      Jusqu’au 27 janvier, les négociations salariales d’accompagnement continuent.

Mais vous pouvez compter sur la tribu SUD qui aura toujours son mot à dire

Image : http://www.flickr.com

If you speak a speech or other public presentation, make sure you give something to the audience. This will help them remember and give them a way to get in touch with you later. Here are 3 tips to use as a handout the next time you make a public presentation speaks for others.

Find out who your audience will contain. This will help you connect with them in touch and have a better experience if yourSpeech. If you have a civilian organizations such as rotary phone, you will have a diverse group of professionals from the local community. Give these people speak one page outline of what you will. Be sure to have your contact information on the handout. Enter this paper, and it is to stop your conversation, or they are likely to look at it and read rather than listen.

If one of a group of people who are all in the same rowwork, or at least a similar profession, prepare a two-to three pages handout that can be interactive. You may ask that they write something and share what they have written with the group. Depending on how much time you have, you can give them an exercise they can do with a partner or in a small group.

If you do a lot of information, together with a group that you refer to speak to them in a blog or Web site where such information is theirConvenience. Offer them a special thing for them to visit and for your information. You can give them a discount code or a special report for free look at your website or blog.

With these 3 tips when you make a speech will help you connect more fully in touch with your audience. Public speaking can open many doors and it is good training for people who receive regularly talk to the audience.

Recommend : home DIY http://practical-application.blogspot.com/ yourselfimprovement.wordpress.com self-improvement-tutorials.blogspot.com/

When your outline is complete and you are ready to write your first draft, many writers make a common mistake at this point. They try to “get it right” the first time. They may work on a paragraph for hours, fine-tuning the words until they are perfect. Writers thus shut off their creativity by insisting on profession.

Remember, the first draft is a working draft. It should be written quickly without too much thought to elegant expressions or final order and paragraphing. Your object is to get the material on paper to flash out the structure of your outline. Let the words flow. Start wherever you can—in the middle, even near the end. The opening or introduction can be completed later. Any weaknesses in logic or gaps in information, any points that are out of place can be corrected in the final version.

As you write the first draft, keep your audience in mind. Doing so will help you stay focused on the purpose of your work. Keep writing until you have completed the first draft.

My Consultancy–Asif J. Mir - Management Consultant–transforms organizations where people have the freedom to be creative, a place that brings out the best in everybody–an open, fair place where people have a sense that what they do matters. For details please visit www.asifjmir.com, and my Lectures.

Controversial director Lars Von Trier faces some sticky questions live via Skype from the Popcorn Taxi audience about his new horror film, Antichrist.

Last night the Pelican Primary School Choir gave their first public performance under my direction. They were invited to sing at a special Mayor’s Community Function, for the local city hall. They were the only child performers (no other schools were there), and they were the only performance item  – the other musical performers were roving jazz musicians.

They performed beautifully, and were incredibly chuffed with themselves. The entire experience was a positive one, in which lots was learned. I rely on these kinds of experiences to make sense of music learning for the children. They provide context for everything they do with me in class, and provide a strong motivation for working hard in music classes. Here are some of the things I think were learned or revealed last night.

1. This was an authentic performance experience.

They performed to an audience of adults. A sympathetic audience, yes, but not made up of parents or teachers or other members of the school community. These were strangers giving the Pelicans their full attention, who responded with delight to the performance. This was not something just for kids, playing at being a performance. This was a real, serious, important, formal event, at which they were the stars.

2. They have to place their trust in the conductor

Before we performed I gave them the little pep talk I give all the child performers I work with. “Once we are on the stage,” I told them, “I want you to give me your whole focus. Look at me. Other people might be taking photos, or smiling, and you might think it is polite to look at them. But I want you to look at me. After we have finished performing, there will be lots of time for smiling and photos. But while we are singing, I want you to only think about the songs, and to keep your eyes on me.”

I think children need to hear this. They need to be reminded that a performance space is a precious, ephemeral space, that they are in control of. They need permission to look away from the eagerly supportive parent who is urging them to smile for the camera.

They also need to trust me, that I will support them and help them give the best possible performance. I reassure them that if they get out there and feel strange or nervous or unsure, all they need to do is look at me, and I will be able to help them. I will be able to mouth the words, to show them where we are up to. I will be able to smile at them, and help them relax. I will not take my eyes away from them for a second.

3. They learned that I can cover any mistakes, so that this is not a burden or stress they need to carry

One girl had an additional role – she played the metalophone at the start of one of the songs. She was very nervous when the time came, and only looked at me for a second before looking down at her instrument. She started to play before I had counted her in, so I joined in with her. She got confused about the number of repetitions in the chord structure, so began to change chords at random.

I could tell she was confused. I accompanied her, following her irregular changes, but all the while, whenever she got back to the first chord in the progression, whispering the repetition numbers to her (as we had practised them) until she got back on track. Then we repeated the progression a few more times, so that she could hear it was indeed solid and steady and fine.

She also learned that she had to keep going, until she found her way through the confusion. I could help her with this, but she also found the confidence to keep going, rather than to falter and stop. That instrumental section returned three times throughout the piece, and every other time she performed it perfectly. At the end she gave me a tiny smile of relief and, I think, pride.

4. They learned the importance of presenting themselves with poise

We organised ourselves into a line to walk out in. We planned how the children playing instruments would leave their places in the formation, and how they would return to them at the end of the song. We talked about standing with two feet evenly on the ground, hands by sides, looking towards me. They did all of this so beautifully, I think the two teachers from the school who’d come with us were quite taken aback.

I think most people in the audience fell a little bit in love with my soloist on the night. This was a little Grade Two boy, with a bright and confident manner, who sang the opening verse to our final song before being joined by the rest of the choir. I asked him to stand in front of the choir when he sang his solo, and to step back into the line when his solo was finished. I never needed to remind him of this, he did it exactly as I had asked, each time. Very professional!

As he sang, he sang out. He sang in a confident voice. He smiled as he stepped back into line. Hearts melted (although I expect his parents’ hearts swelled with pride).

On reflection, he was the perfect choice as a soloist (and to be honest, I am still new enough in the school that I don’t always know how individuals will react when I pose a challenge for them). He took it seriously, and he never once doubted himself. He never giggled or got self-conscious. He never let himself get distracted by other children in rehearsals trying to distract him. And thus, he created the perfect template for the choir of what it means to do a solo, and what it requires of you.

And of course, when we present ourselves with poise and confidence, we enhance our feelings of confidence. Perhaps, even if only on a subtle level, the students also learned this.

5. They learned what they have to offer

This is a school where many students struggle. They may struggle with life skills, or academically, or socially, or because they are under-nourished, or because they don’t get much attention in their big chaotic families. Taking part in this concert, and being applauded, showed them that they have much to offer, especially when they work together. The music for this concert – four songs, all with actions or arrangements to be memorised – was worked on over many weeks. I fervently, strenuously hope that they might now recognise how all of those weeks was a progression towards this kind of outcome, and how great outcomes like this are completely within their reach, when they put in the work.

6. They learned that I have expectations of them…

… and that I won’t accept less. That this is what being in an ensemble means, and that we are only going to do it in an authentic, meaningful way. That the fun comes while you’re working hard. And that I am very proud of them.

—

They also will soon learn that these kinds of performances bring further rewards. The local council paid us a performance fee and we are going to put that towards some new instruments. Today I talked with one of the local music stores about bringing a selection of instruments up to the school during choir time so that the choir people can help select what we buy with that money. This way, they will get to enjoy the material contribution they have made to the school through their hard word too. I’m planning to put together a price check-list for them, and let them circle the instruments they think we should buy (up to the maximum money we have to spend). I’ll then make the final decision.

Thanks to all the Marvelous Girls who’ve helped this blog reach 200,000 hits in less than a year!  Couldn’t have done it without you.

XOXO,
Marvelous Girl

The Culture and Sport module encompasses aspects such as the extent of cultural participation, attendance, reasons why people do and do not do cultural activities or attend cultural events, and perceived barriers.

http://www.scotland.gov.uk/Topics/Statistics/16002/PublicationCulture

George Bernard Shaw once wrote that plot was the creation, manoeuvering and destruction of relationships between characters. Plot is derived from character and it’s sole purpose is to drive the story so the character can attempt to achieve their goal. Every scene in your script must either reveal something about the character and advance the story. Flat scenes become boring and lose your audeince. Here are some plot devices that can pique your plot:

• DANGER – I cannot stress this one enough. It can be moral danger such as deciding to cheat on your spouse, or physical danger such as being trapped in a burning house. Raise the stakes and make your character earn their goal and pay for their mistakes. Give them insecurities, flaws, problems and issues we can all relate to. Make them fall into a ditch that they must crawl out of. A common plot device in action films is to either have multiple things go wrong at once or sequentially. The victim tries to escape, but they can’t find the keys to the car so they break in. Then there’s a flat battery so the can’t hot wire it to start. Then there’s no cell phone coverage… What’s needed may not arrive in time or not arrive at all. Oftentimes, dramatists use a Deus Ex Machina (literally God from the machine) whereby some life saving event occurs just in the nick of time before all is lost. Make sure this isn’t a lucky co-incidence or your audience will never forgive you.

• TIME BOMB - Give your characters a ticking time clock where something seriously bad will happen if they don’t achieve a goal. Maybe there isn’t enough time to defuse the bomb? Perhaps the main character doesn’t know how to defuse the bomb. Maybe the main character isn’t even aware of the bomb. Does the audience know? Giving either the audience or the main character such a superior position adds intrigue and interest. Alternatively, the main character can simply run out of options to achieve their goal rather than out of time.

• CONFESSION – After deep humiliation make your character confess to a secret, shortcoming, wound or a deep seeded fear or shame. Maybe they realise the error of their ways and take responsibility for their actions. Consider your audience. Being born out of wedlock is generally not considered a shameful act in the Western world. Forcing a pregnant unwed couple to marry may be acceptable is some cultures, but not in others. Play with morality in your plot. The beauty of it is that it’s never clearly right or wrong like a maths problem. Is it wrong to kill someone? What if they killed your family? What if it is in self defense?

• BETRAYAL – The hero’s buddy changes sides or is revealed as a traitor. What if the main character doesn’t realise this, or does so when it’s too late? What if the traitor leads them into a trap?

• DILEMMA – The hero is forced to make a choice between two equally bad alternatives. Consider the family with premature Siamese twins who must decide which one survives and which one doesn’t. What if the main character consciously decides not to act because they are faced with issues of duty for the higher good? Or even love?

• OBSTACLES – External influences such as bad weather or natural disasters forcing them to stop. Car or other vital piece of machinery breaks down and a replacement part is not immediately forthcoming. What if their progress is stalled due to injury, illness or other physical condition such as pregnancy or diabetes? What if someone in their team is killed or kidnapped? Running out of bullets, money, food, air all add to the excitement of danger.

• DISCOVERY – The element of surprise and shock always jolts your audience. Examples of this include a cover been blown of an undercover cop, the presence of an intruder being noticed, an escalating lie has been revealed. A discovery must pivot your story into a new direction, not simply act as a minor irritant. Remember the scene in “Mad Men” where Betty discovers Don’s true identity by opening a locked drawer? She didn’t sigh and carry on, she left him. Discoveries can also be wild goose chases. Following the wrong lead, the wrong map or the wrong advice.

• LOVE – Due to it’s universality, love will always add to a plot. What if a past lover returns? Consider Jodie Foster in “Sommersby”, when she tells her returned “husband” that he’s not the man she married because she didn’t love him like she loves the impostor. Add a love triangle; one bride versus two grooms. Add gender swaps, such as “Tootsie” who had enamored a man who thinks she’s a woman. Also consider the third wheel. The buddy who suddenly becomes the bride’s love interest when he reveals his true self. Love is also used to tame a savage, misanthropic heart.

• TRAITS – Give your character some endearing traits so the audience can partially overlook their negative ones. Give them courage, give them love. give them scruples so they are fighting for a good cause where the collateral damages justifies the cause, make them perform a good deed, make them desirable such as handsome, physical and funny. Make them spiritual, generous and wise. Ensure it all emerges from a place of truth and authenticity. Audiences retract from phonies. Give them fears, traumas which block their growth, masks which prevent other characters from seeing their real self.

• LIKES – Make your characters like children, animals and art. Give them great taste in cars, partners, houses, music, fashion, food and overall lifestyle. Audiences tend to admire what they aspire to be or what they perceive to be desirable.

So go forth and beef up those plotlines.

SMART CONSULTANTS and Aberdeen Arts Centre would like to invite you and your guest to a private view of the
‘the dod dow collection’ at 4 Blnk Wols.

This exhibition celebrates 10 years of painting from local and well renowned artist Dod Dow.

In addition to the exhibition we have the rare pleasure of seeing the original drawings from Joe Baxi the Abermean Taxi Driver which was Dod’s cartoon strip for the Evening Express. The cartoon strip has been produced into a fantastic book and Dod will give a talk as part of the exhibition on Saturday 5 December at 2.00pm. Don’t miss this opportunity to hear Dod speak about where the inspiration came for the very humorous stories.

We would be delighted if you could join us for both events, please RSVP by 1 December 2009 to gail@wearesmartconsultants.co.uk

Exhibition Date: Wednesday 2 December 2009
Time: 6.00pm – 8.00pm

Artist Talk: Saturday 5 December 2009
Time: 2.00pm – 3.00pm

Venue: 4 Blnk Wols
Aberdeen Arts Centre

33 King Street

Aberdeen

AB24 5AA

The exhibition runs from 2 December 2009 to 22 January 2010

EXHIBITION AND CRAFT FAIR

Mixed Multi-media Exhibition from North East Open Studios members

OPENING NIGHT CRAFT FAIR –JEWELLERY, CERAMICS, BESPOKE FURNITURE &MORE!

3 December – 16 January

6-8pm Thursday 3 December

Bridge View is a contemporary gallery showing six exhibitions a year. It is open to the public Monday- Saturday 9-6pm.

The Olive Garden Bistro is open until 3.30 Monday-Friday.

Car parking on site

1 North Esplanade West
Aberdeen AB11 5QF
Tel 01224 592719
Fax 01224 592759

Email art@bridge-view.co.uk

www.bridge-view.co.uk

Presenting the 24th annual International Dance Competition in Europe.

Don’t stay at home to your four walls! LIVE A GREAT THEATRICAL ADVENTURE

The Directors of Barcelona Dance Award extends the international invitation for dancers and dance schools/groups to present their work to compete.

The Dance Grand Prix Festival draws thousands of people year after year from all across Europe and the world. This festival features hundreds
of artists performing dance, theater and music within the mystical environment of famous Spanish Art Cities, courtyards and outdoor cafes.

BARCELONA DANCE AWARD & DANCE GRAND PRIX ITALY 2010
Showcases/Competitions for emerging & established Dance Schools/Companies from all over the World!

Where EVERYBODY is UNDER THE SPOTLIGHT!

Call for Dance Schools/Groups!

Interested in performing in Europe?

Dear Choreographers/Directors/Dancers friends and colleagues, the Directors present the International Competitions and invite your dance group to performing and teaching at the most prestigious dance events in Europe the next 2010 season.

BARCELONA DANCE AWARD – from 1st to 5th April 2010 in Barcelona and in the end of June 2010 in Italy and in Paris (France).

For the past few years, acceptance to the annual festivals has been extremely competitive, please prepare your application promptly according to the guidelines.

Promising to be an unforgettable experience, choreographers, dancers and chaperones are invited to stay at three star hotels off the coast of Spain in twin bedrooms with bathroom/shower (based on two-three people sharing a room).

For more information, please visit Barcelona Dance Awards or email them directly.

the updated Web Site: < http://web.tiscali.it/barcellonadance2010>

Just fill in the form, and you will receive (total free on charge for you) the new brochures and posters of the new DANCE SEASON 2010!

please send to the organizer E-Mail:

Full Name:___________________________________________

School/Company Name:________________________________

Telephone:________________________Fax:_______________

Email Address:________________________________________

Shipping Address:_____________________________________

City:_______________________State/Province:____________

Country:____________________ZIP/Postal:________________

As many of you will know instead of hosting our annual A5 christmas show we are using main gallery to showcase the work that we’ve been doing with local young people as part of our ‘Cashback for Communities’ project. This inspiring project has used confiscated proceeds of crime to help fund creative projects with young people from a variety of backgrounds and areas across the city.
Meanwhile…for those of you who were looking forward to our annual Christmas show don’t despair!!
Please join us in our reception space on Friday 4th December from 6 – 8pm
Peacock will be hosting a festive celebration with mulled wine, mince pies and the chance to snap up some beautiful art works at special seasonal prices.

Work on sale will include pieces by Joyce Cairns, Jack Knox, Harvey Daniels and Jimmy & Paul Furneaux. All of whom have kindly donated their work for this occasion.

So don’t miss the a chance to pick up work by some of Scotland’s finest artists (at very special prices) and to help support Peacock.

It’s been a challenging year for us and we’ve been extremely grateful for your support and kind words throughout the year.

We do hope you will come along on the 4th to share some festive cheer and look forward to 2010!

With best wishes,

Elly and the Peacock Team

http://www.culturalenterpriseoffice.co.uk/starterfor6

Starter for 6 is an enterprise training programme that supports up and coming creative entrepreneurs across Scotland.  By helping to turn creative ideas into successful businesses, the programme not only contributes towards the success of the Scottish economy but also raises the awareness and profile of talented entrepreneurs in Scotland.

deadline: 5 December 2009

The Irish Youth Foundation (UK) was established in 1989.The objective of the charity is to promote projects and programmes that work best to improve the lives of Irish children and young people in Ireland and the United Kingdom, particularly those most disadvantaged and in need.

Projects should aim to support people who are socially, economically or culturally disadvantaged and assist them in leading a more integrated and fulfilling life. In particular, projects should provide help and support for the homeless, employment and training schemes, women and children escaping violence, young offenders and prisoners, drug rehabilitation, and cultural activities.

Large and national charities will not be supported. Application forms are available to download from the website at www.iyf.org.uk. Faxed or e-mailed applications will not be accepted.

Irish Youth Foundation
The Irish Cultural Centre
Blacks Road
Hammersmith
London
W6 9DT
T: 020 8748 9640

E: info@iyf.org.uk

http://www.iyf.org.uk/

Trying to setup an audience this morning based on being a “Member Of” an Active Directory group. The Active directory group had been created earlier, however entering it into the value field kept producing the annoying

“No exact match was found.”

Your mileage may vary but I solved this issue by:

• Running a full import on my user profile
• Updating the people scopes
• Running an IISRESET