Cork World Book Fest is a highlight of the literary calendar in Cork, bringing an extraganza of books and writers to the city each April. The fest incorporates UNESCO World Literature Day on 23 April, giving us the perfect excuse to celebrate all that’s wonderful about books and writers and reading.
This year, there are 7 events happening here in Triskel:
You will get to enjoy so many more literary events in Cork City Library, on Grand Parade and Tuckey Street from 18-23 April. Check out the full programme of events or pick up a brochure in Triskel or in the libraries.
Róisín O’Sullivan’s exhibition opened in Triskel Gallery Space on 1 December – the first in-person opening at Triskel in almost three years. On 28 January, Róisín was in conversation with curator Miguel Amado – the first in-person artist talk in almost three years. It was a fascinating discussion and while part of us would have liked to have recorded the talk between Róisín and Miguel, there’s something special about it being very much for the people in the room at the time.
But luckily Róisín and Miguel decided to put some thoughts on paper to explain more about her practice and her exhibition so read on to learn more about how I See Skies came to be.
Miguel Amado: What inspires your work—both the mediums you choose and your subject matter?
Róisín O’Sullivan: In my paintings, I explore process, surface, and experimentation within the picture plane. I also engage and experiment with wood burning and carving techniques. Both bodies of work stem from my own experience of nature but slip into abstraction through intuition and mark making during the studio process. I like to think I take a playful yet considered approach. I appreciate sensibility, delicacy, and ambiguity, and also subtle references to varied influences so as to make the experience of my work thought provoking. Because I consistently look to the landscape as a source of inspiration, line and repetition are always evident no matter the medium. The works take the complexity and fragility of nature as their abstracted subject.
MA: How did you begin incorporating wood as a fundamental element of your work?
ROS: For several years, I have experimented with burning and carving into the surfaces of found wood pieces. They are vast and very different, as they have lived many lives, from trees to factories. Some are raw and others are reclaimed. They carry their own memories and have memories for me, in that they’re associated with the people who gave them to me or where I sourced them. Each surface is unique and precious, waiting to be selected and worked on. I slowly honed my skills in burning, carving, and painting on wood, taking time to establish a visual language that is responsive to surface and to the experience of nature. These pieces also explore abstract mark making through the application and removal of paint. The gestures and layering of paint indicate the influence of land and natural forms. I sometimes use a blowtorch as I would use a large paintbrush to make large sweeps of burnt marks. I also use a Dremel as a drawing tool to cut marks, and sometimes dig deeper with Dremel blades and hand tools to carve out larger areas.
In addition to shop-bought wood, reclaimed wood, and found wood, I also amass various types of papers. The condition of these surfaces makes them a source of investigative interest. Sourcing different forms of wood, I delve deeper into the surface by burning and carving within the layers, causing tension between paint and woodcut techniques. The grains, knots, and other conditions often influence the form and content of the piece. The paint works with the edges, marks, and holes, creating a visible visual language amid the rawness and depth of surface.
I also experiment with wood turning. This has created new meaning to how I use wood as a material and new thoughts on how a viewer might interact with the sculptural forms.
MA: How does your studio practice inform your exhibitions?
ROS: My works, whether in paint or in wood, are often purposefully small in scale, with the intimacy of the viewing experience playing a significant part in their creation and presentation. When I say “intimacy,” I’m referring to both making marks on the surface and also the experience of the viewer in the gallery. The relationships created among the works are very important, as they change and become more evident once the pieces move from the studio to the gallery. How the viewer interacts with each surface is such an important aspect of the display strategy. The relationships among surface, scale, and markings encourage the viewer to look both from a distance and up close.
MA: How did the Tony O’Malley residency in 2022 affect the trajectory of your practice? Did your access there to nature inspire a new use of materials or new ideas?
ROS: Something shifted in my work there, but it is difficult to pinpoint how it happened. It may have been the isolation, or the immediacy of nature all around, or the vagaries of life—or maybe all combined. It was certainly a significant time to reflect and truly spend time on my own, with my thoughts and studio work. I felt that I let go within my process in a new way.
During the summer months, I used the sun as a tool to create drawings and paintings of the shadows of plants. It was difficult at times. Some days I couldn’t work if the weather was bad, or if the sun floated behind thick clouds. I had to keep a keen eye on the sky to mark where the sun was, rushing out to the garden to make quick drawings when it slowly came out from behind the clouds, making visible silhouettes that transformed into dark shadows on the ground. At times the sun would blister down persistently, allowing me rare opportunities to work for longer periods to capture the marks of shadows, but even then, I was always acutely aware of my limited time. I was specifically looking to the work of Roger Ackling, who used the power of the sun through a magnifying glass to burn and carve driftwood in beautiful ways. The idea of using natural forces to make marks or artworks was very compelling.
The garden was a place I would sit or lie between working sessions, looking to the sky. It naturally transformed with each season, and the light cast a range of shadows that became curious for me. Even in the studio, which overlooked the garden with large glass doors and windows, the presence of the sky and changes of light would influence my mood and mode of working. The sky was a constant presence throughout the house, as it was largely made of glass. The outside always present inside. The light of day, always known. The feeling of the world continuing outside, always there.
I collected more and more items from local walks. Twigs, leaves, berries, long shoots of orchard grass. They belonged to something important in where they were grown, their own wild surroundings, and then when they entered the studio, they took on yet new meanings. They sat or hung with the paintings and drawings, transforming art pieces into objects with another purpose. The intention: to capture the feeling of curiosity—looking, feeling, belonging to and being of nature.
MA: How did you develop your new series on view in I See Skies?
ROS: The work started at the Tony O’Malley residency, where I began multiple paintings and carvings over a period of eight months. As I experimented further with wood burning and carving, I also developed drawings and paintings in the shadows of plants in the house’s garden. The work captures all the interests that I’ve developed over several years, such as collecting different types of wood, burning and carving into wood, and painting. It has brought about a significant change in my aesthetic when it comes to making marks both on (via paint) and deep within (via carving and related methods) a surface. I focused intimately on each surface, experimenting further by creating curious intuitive marks that have finally come to feel very natural. It has all developed over time, with many periods of not painting or working, just looking. I have a new appreciation for these periods of looking as the work slowly builds its layers, creating new depths to the surface of each piece through mark making, gesture, and repetition. These works engage in a visual language that captures both natural phenomena and abstraction, but they are also curious and strange.
MA: What can you say about the title of the exhibition I See Skies?
ROS: It’s inspired by the passing of time, the importance of light, and the constant presence of the sky as a symbol of hope. The title goes from a one-letter word to a three-letter word to a five-letter word, with s’s, i’s and e’s in repetition, playing with the assonance of poetic language to create something both meaningful and meaningless while still connecting words to some sort of place and feeling.
MA: What role does language play in your work?
ROS: My work has always dealt with the so-called biophilia hypothesis, meaning humans’ instinctive inclination to seek connection with nature. But I am reluctant to use that exact terminology in describing my practice, so I usually express its meaning through my own experience and words. I also opt not to use the word “horizon,” as it seems somehow both too specific and too general. Instead, I like to use “where the sky meets the land” to describe something that has been my consistent focus over several years.
MA: Who influences you?
ROS: My inspirations include Agnes Martin, Helen Frankenthaler, Bill Lynch, Forrest Bess, and the Dansaekhwa movement of South Korea. The influence of Asian art is ever-present in my work, and I have also introduced into my practice yakisugi, also known as shou sugi ban, literally “burned cedar,” a traditional Japanese method of wood burning that preserves the material.
We look forward to welcoming audience members back again to Triskel Arts Centre.
As part of our commitment to the continued well-being of our audience members, team members, and in ongoing efforts to assist our community in preventing the spread of COVID-19, we implemented enhanced protocols and procedures you will notice before and during your visit. We continue to monitor all guidelines and will update and revise below accordingly.
We are committed to the Health & Safety of our staff and audiences. And we are operating under the agreed protocols described under “Guidance documents for the Safe Operations of Cinemas during COVID-19 Resilience and Recovery 2020-2021”, a copy of which can be found here.
Triskel Cinema is back – please visit the Cinema page for details of upcoming screenings.
We encourage everyone to purchase tickets online in advance and to use contactless payment where possible. If you have any queries, please email TriskelBoxOffice[@]TriskelArtsCentre[.]ie
Before your visit
Please note we ask that you do not visit Triskel if you:
are experiencing any symptoms of COVID-19 or are feeling unwell.
are awaiting the results of a COVID-19 test.
are self-isolating or restricting your movements.
have been diagnosed with confirmed COVID-19 infection in the last 10 days.
are a close contact of a person who is a confirmed case COVID-19 in the past 14 days (i.e. less than 2m for more than 15 minutes).
have been advised by a doctor to isolate or cocoon.
have returned from international travel and are not in compliance with government guidance.
Cleaning
We are frequently cleaning and disinfecting throughout the building, particularly of high-touch point areas.
Additional training and PPE have been provided for all employees.
Additional hand sanitiser dispensers are placed at key points throughout the building.
Additional signage to promote hand washing and best hygiene practices has been posted throughout the building.
Booking tickets
Booking is not required to visit Triskel Gallery Space.
Online booking in advance is advised for all audience members attending Triskel Cinema and Triskel Music events to ensure safe and comfortable capacity and limited contact admissions. You may not be able to purchase tickets at the venue. We do not charge booking fees.
You will find the link to your e-ticket in your purchase confirmation email. You will need to show this e-ticket when you arrive.
If Triskel cancels or postpones an event, we will contact ticketholders giving four options to choose from: refund, hold for rescheduled date, exchange for voucher, donate to Triskel.
If you have any queries, please email TriskelBoxOffice[@]TriskelArtsCentre[.]ie
Arriving at Triskel
Entry for Triskel Gallery Space is on Tobin Street. Go up the main stairs, turn to your left and the Gallery Space is at the end of the hall.
Entry for Triskel Cinema and Triskel Music events is on Tobin Street. Doors will open 15 minutes ahead of the screening/show time. Please arrive with enough time to get through the entry process and reach your seat.
Please note all performances in Triskel Christchurch begin at their stated time. Latecomers may not be admitted.
Face coverings are no longer mandatory while in Triskel, however, we acknowledge your right to wear a face covering if you choose.
Please have your e-ticket open on your phone so that it may be scanned by a member of staff.
Only food and beverages purchased on the premises may be consumed on the premises.
You must remain in your allocated seat throughout the screening/performance.
Ventilation
As an Historic building, Christchurch does not have a Mechanical Ventilation System. Triskel has instead developed a Ventilation Plan – which is on display at the entrance to the venue. The purpose of the Plan is to strike a balance between the comfort of everyone in Christchurch and the need to ensure that there is adequate fresh air circulating in the Church.
Triskel has 3 Air Purifiers located in the Upper Gallery, and 2 Co2 Meters located in the Church. By combining fresh air with purification and measuring air quality, we have done what we can to ensure the church is sanitised and ventilated.
What can you do to help us promote a healthy environment?
We are doing all we can to promote a healthy environment, and in doing so, we also rely on you to keep recommended self-care in mind for your safety and the safety of others. Throughout your experience, please be mindful of current Government and HSE guidelines as well as public health recommendations:
If you or a member of your party has a temperature or is feeling unwell, please visit us another time.
Wash your hands often, using soap and water, for a minimum of 20 seconds.
Help us promote social distancing by remaining at least two metres away from others who are not part of your party and do not shake hands or hug.
Please keep your party together to help maintain social distancing with other audience members.
If you must cough or sneeze, please do so into your elbow, not into your hand or into the air.
The wearing of face coverings is required while in an enclosed space as per the Government guidelines.
Our staff are here to assist you with a safe journey through the building. We look forward to seeing you all again.
Cork International Film Festival kick off their 2023 year-round programme of special screenings and events with a short season of cinematic thrills, suspense and terror – and they’re bringing it to Triskel!
Fear Screen celebrates European films and directors from the past 70 years of cinema, ranging from masterpieces that influenced the future of horror/thriller cinema and classics to cult Guilty Pleasures which will have you snorting into your popcorn. Offering something for cinephiles and schlock fans alike, each feature will be complemented by a short film and introduction by CIFF Programme Manager, Si Edwards.
LES DIABOLIQUES – Thursday 23 February at 8.15pm 117 mins – France 1955 – Dir. Henri-Georges Clouzot Starring: Simone Signoret, Véra Clouzot, Paul Meurisse, Charles Vanel From one of the masters of French cinema, Les Diaboliques tells the story of Christina (Vera Clouzot) and Nicole (Simone Signoret), respectively the wife and mistress of a widely despised school principal, as they hatch the perfect plan to kill him. Widely regarded as being a great influence on Hitchcock’s Psycho and Polanski’s Repulsion, Les Diaboliques is a masterpiece of suspense and plot twists, keeping the viewer on the edge of their seat until the very end. Get your tickets
PHENOMENA – Thursday 2 March at 8pm 116 mins – Italy 1985) – Dir. Dario Argento Starring: Jennifer Connelly, Daria Nicolodi, Dalila Di Lazzaro, Donald Pleasence, Patrick Bauchau Dario Argento is undoubtedly the Master of Horror, directing some of the greatest horror and giallo films ever. Phenomena, a tale of a girl who can communicate psychically with insects starring Jennifer Connelly and Donald Pleasence, is one of his finest films from the 1980s, merging supernatural elements into the familiar giallo. The film was treated badly by its US distributors, who cut almost half an hour of footage and changed the name to Creepers, and this version was also released in the UK/Ireland. It fared poorly due to the cuts rendering the film incomprehensible. Since the original, complete version became available it has undergone a reevaluation; the bizarre world of Argento and his masterful set pieces are now available in a gorgeous 4K restoration. Get your tickets
THE VANISHING (Spoorloos) – Thursday 9 March at 8pm 107 mins – Belgium 1988 – Dir. George Sluizer Starring: Bernard-Pierre Donnadieu, Gene Bervoets, Johanna ter Steege, Gwen Eckhaus It is best to know very little about George Sluizer’s thriller, other than it’s about a couple on vacation – the woman goes missing and her partner becomes obsessed with finding her. Highly celebrated at the time of release, it was subsequently remade in the US, albeit very badly and with a changed ending. The original remains a slow-burning, intense thriller, and 35 years later the ending still has the power to shock. Get your tickets
TROLL 2 – Thursday 16 March at 8pm 94 mins – Italy, USA 1990 – Dir. Claudio Fragasso Starring: Michael Stephenson, George Hardy, Connie McFarland, Jason Wright Widely considered to be one of the worst films ever made, Troll 2 is in no way related to the first Troll movie, and technically doesn’t even feature any trolls. What it does contain, however, is hammy performances, ridiculously quotable dialogue, and hilariously awful special effects, all of which have gone some way to making this one of the most popular cult movies of the horror genre (even though it is not remotely scary). Get your tickets
Our Head of Cinema Chris O’Neill has a great track record of deciding to show films that get Oscar nods and this year is no different. We waited with bated breath for the announcers to call out Irish-language film An Cailín Ciúin (The Quiet Girl) and were thrilled that so many Irish actors and Irish films are getting recognition from the Academy of Motion Picture Arts and Sciences.
In February, we’re bringing back favourites An Cailín Ciúin (The Quiet Girl) and Aftersun as well as showing a whole host of films that have been recognised by the Oscars. Roll on 13 March for the results! In the meantime, you can decide for yourself if the Oscar should go to any of these!
This month, we’re also excited to have Phantoscope, our quarterly experimental film event, back.
Remember: Triskel Cinema Members can avail of €5 tickets on Mondays – this is an exclusive offer for members! Not already a member? You can sign up here. We also have a number of free memberships for students, over 65s and the unwaged. Sign up in person at our Box Office with relevant ID.
We have a great line-up of live music coming soon Triskel over the next few months with loads more to be added – stay tuned for more on those.
Every concert is important to us but one that is particularly meaningful is A Mother’s Voice with Musici Ireland, which is happening on 27 January. It is part of our WRITE RECORD PERFORM artist residency but more significantly, it is a commemorative dedication to the many women affected by the mother and baby homes in Ireland during the 1900s.
Wishing you and yours a very Merry Christmas & a Happy New Year
Thank you once again for supporting Triskel and the wonderful artists, musicians, filmmakers, writers and poets who have graced our stage. As ever, we are very grateful for your patronage and the lovely feedback you share about your experiences here.
Triskel will close on Friday 23 December 2022 after the final Christmas Movie screening of Home Alone and will reopen on Saturday 14 January 2022.
Have a wonderful festive season and we look forward to seeing you in 2023.
Paula Cogan, CEO at Cognate Health, has been appointed Chair of the Board at Triskel Arts Centre, Cork. She joins a board that includes Deirdre Waldron, one of Ireland’s leading communications consultants; Colette Kelleher, a highly experienced, energetic and values driven leader; and Philip King, curator and producer of bespoke cultural events.
Cogan, who was previously Global Head of Sales for Doyle Collection, said, “I am delighted to take on the role of Chair of Triskel. My association with Triskel began over 15 years ago and I am a huge admirer of the art that is created and curated at this historic venue. As someone who worked in tourism for many years and is now in healthcare, the importance of a thriving arts and culture scene in Cork is crucial to attract visitors but also to support the health and wellbeing of our residents. I look forward to working with fellow board members and the team at Triskel.”
Welcoming the appointment, Artistic Director of Triskel Tony Sheehan said, “We are very excited at Triskel that Paula has agreed to take on the role of Chair of the Board. The Arts needs allies and expertise from a wide range of people and Paula will bring huge experience and expertise to bear during what will no doubt be difficult times ahead for all of us, not least in the Arts. Her business expertise and leadership as well as her long-standing commitment to Triskel continues the sterling support provided by outgoing Chair Frankie Whelehan.”
The Marketing and Front of House Administrator is responsible for supporting the Head of Marketing and Development in providing exemplary customer service to all patrons of Triskel Arts Centre by performing individual ticket sales and customer assistance both over the phone and in person, and implementing marketing and sales strategies that will drive audience engagement and attendance at Triskel’s events to achieve our earned income targets, in particular supporting digital marketing activities.
Contract: Fixed Term for three months
Pay: €15.00 per hour
Hours: 20 per week
Line Management: Reporting to the Head of Marketing and Development. The employee may work alongside other staff, volunteers and work experience students from time to time.
This is an in-person position located at Triskel Arts Centre, Tobin Street, Cork
Deadline for applications is Wednesday 4 January 2023.
Box Office
To present the venue as welcoming, accessible and friendly to existing and potential customers, maintaining the highest level of customer care.
To be responsible for the successful delivery of a first class sales and customer service.
To efficiently operate the art centre’s box office and floor areas, including pre and post show, during intervals and at events.
Operating the Box Office, selling tickets and responding to queries in person, over email and over the telephone, handling cash, card sales etc. and accounting for all monies taken
To be a point of information about the venue and all its activities, promoting the building to the widest possible audience
To be aware of all the access facilities that Triskel Arts Centre offers its customers and to actively promote these facilities to the public.
Ensuring all front of house areas, especially the box office, are kept tidy at all times.
Sales:
Support the Head of Marketing and Development with implementation of social media and marketing activity that ensures steady customer database growth (on our Ticketsolve ticketing system) and accurate and comprehensive data entry and customer records management;
Support the Head of Marketing and Development with research and analysis of groups and businesses to identify new sales opportunities and grow the customer base of block-bookers;
Support the Head of Marketing and Development with research and population profiling of the venue’s sales catchment area and population (size and demographics, life stage, lifestyle, affluence, social and educational profiling);
Support the Head of Marketing and Development with a comparative analysis of the catchment area against the venue’s existing customer base on a geographic basis to map audience locations and identify potential for further development of the customer base on a geographic basis;
Support the Head of Marketing and Development with a comparative analysis of Triskel’s sales performance and sales patterns against comparable national averages to identify weaknesses and strengths;
Support the Head of Marketing and Development with analysis of recent sales patterns and historical trends to provide business insights that can be used to develop the customer base and drive individual and group sales;
Support the Head of Marketing and Development with research and analysis of Triskel’s local and national market share and identify opportunities for growth;
Support the Head of Marketing and Development with implementation of the venue website as a direct point of sale, ensuring search engine optimisation, smooth customer journeys and rapid, secure sales processing
Marketing and promotion:
Support the Head of Marketing and Development with research and development of Triskel’s competitor analysis and contributing to the company’s SWOT analysis to inform marketing and promotion plans;
Support the Head of Marketing and Development with devising and implementing an integrated, targeted marketing and promotional strategy that will deliver maximum return on investment;
Support the Head of Marketing and Development with customer base analysis to segment and appropriately target customer niches for upcoming events;
Support the Head of Marketing and Development with research and analysis of customer buying behaviour and adjust marketing and promotional strategies to best capture and drive potential customers to Triskel’s sales channels;
Support the Head of Marketing and Development with creative ideas for design, and development of effective social media content for each event.
Triskel to appropriately target audiences and locations;
Support the Head of Marketing and Development with growing the network of locations and audiences for targeting with social media posts;
Support the Head of Marketing and Development with the production and distribution of promotional materials, adhering to the agreed contract terms and implementing in a timely fashion to maximise sales;
Support the Sales & Marketing Manager with production and appropriate placement of online and other media adverts promoting Triskel’s events and activities;
Support the Head of Marketing and Development with continuous updates of local and national event listings to promote Triskel’s events and activities;
Support the Head of Marketing and Development with ROI analysis of marketing and promotional activities and adjusting activities to maximise ROI accordingly;
Support the Head of Marketing and Development with implementation of an online marketing strategy across our third-party platforms (Youtube, Facebook, Twitter, Instagram) that will reinforce our other promotional activities and continuously drive customer engagement and sales traffic to Triskel’s website or other points of sale;
Support the Head of Marketing and Development with cross-selling promotions and competitions with local tourism or hospitality partners that will increase sales;
Support the Head of Marketing and Development with marketing plans and regular reporting as required.
Press, PR and Relationship:
Support the Head of Marketing and Development with developing positive relationships with journalists, media and influencers, ensuring that they are familiar with and briefed on
Triskel and our upcoming events and activities:
Support the Head of Marketing and Development with issuing regular high-quality press releases that will maximise media placements for Triskel’s events and activities if required;
Support the Head of Marketing and Development with managing press photo shoots, press calls, and press launches that promote Triskel’s events and activities if required;
Support the Head of Marketing and Development with generating content, pitching interviews, features, and articles about Triskel to local, national and international media;
Support the Head of Marketing and Development with maximising Triskel’s online platforms (MailChimp, Youtube, Vimeo, Facebook, Twitter, Instagram) for general brand profile, presence, communications and announcements to the public;
Support the Head of Marketing and Development with networking, regularly communicating, and developing positive relationships with Triskel’s industry or business partners such as Cork Chamber of Commerce, Fáilte Ireland, Tourism Ireland etc;
Support the Head of Marketing and Development with ensuring that funders and industry partners are appropriately credited on communications or marketing materials.
Brand management:
Support the Head of Marketing and Development with the ongoing implementation of an appropriate brand identity for Triskel that communicates the company’s values and delivers the company’s strategic objectives;
Support the Head of Marketing and Development with ensuring that all communications, across all channels, by all employees/agents adheres to the agreed brand guidelines;
Customer Service:
Greeting and acknowledging customers and partners in a warm, friendly, professional, and welcoming manner;
Dealing effectively with customer queries and complaints;
Assisting with issuing and taking tickets at events and escorting patrons to their seats;
Assisting with serving customers at any of Triskel’s sales and customer service points;
Anticipating and acting upon customer needs and requirements;
Being aware of the needs of customers with disabilities or special needs and ensuring that their needs are met sensitively;
Acting as the centre’s representative on formal occasions as appropriate;
Budgeting & finance:
Maintain compliance with company Financial Controls: Policies and Procedures;
Contribute to budgeting processes as required;
Adhere to assigned budgets.
External liaison:
Agreeing on marketing activities and liaising with visiting groups and performers and providing timely sales, marketing and promotional activities reports to the promoter;
Ensuring completion of client booking forms for events and adherence to contracts;
Liaising with suppliers and negotiate on goods, services or terms and conditions.
Other Duties and Obligations:
Attend cross-departmental and executive staff meetings if required;
Adhere to staff policies and procedures as set out in the employee handbook;
Act as an ambassador and advocate in representing the company;
Adhere to procedures relating to the proper use and care of information, equipment and materials for which the role has responsibility;
Participate in training and development programmes/courses to maintain and improve performance and to assist in identifying self-training and support needs;
Participate and work within a performance management development system;
Undertake any other duty as may be required.
Candidate Skills and Attributes:
Essential:
Experience with computerised ticketing systems, ideally Ticketsolve.
Experience of implementing social media campaigns, knowledge of social media and analytics.
Experience with email marketing.
The ability to work on own initiative.
Excellent literacy and communication skills
Good numeracy skills.
Reliability, flexibility, and congeniality in a team environment.
The ability to independently plan ahead and manage time and meet deadlines.
Self-motivated with a high degree of initiative to pre-empt potential problems, troubleshoot and implement appropriate solutions.
Excellent organisational and reporting skills.
Excellent interpersonal and teamwork skills.
A calm, assured, clear and diplomatic approach to communication.
Familiarity with Microsoft Outlook, Word, Excel, & general computer literacy.
Desirable:
A relevant qualification
An affinity with and appreciation of classical, jazz and folk music, arthouse cinema and contemporary visual arts.
Contract Terms Offered:
This is a part-time temporary role to enhance organisational capacity for three months.
The position is subject to reference checks.
We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, colour, religion, creed, gender, gender identity or expression, age, national origin or ancestry, citizenship, disability, sexual orientation, marital status, pregnancy, genetic information, or any other basis protected by applicable law.
Earlier this year, Beth McNinch was announced as the recipient of Triskel’s WRITE RECORD PERFORM Artist Residency for 2022. The project Beth will present as part of her residency is one she has been working on for over two years and Triskel is honoured to play a part in bringing it to its world premiere performance.
A Mother’s Voice is a commemorative dedication to the many women affected by the mother and baby homes in Ireland during the 1900s. It is a multidisciplinary production in honour of these women, a collaboration between artists and living survivors to shed light on this veiled era of Ireland’s recent history. The production will culminate in an immersive walk through exhibit by Bridget Ní Dhuinn, with lighting by Eoin McNinch and showcase a performance of the newly commissioned work by Cork composers Linda Buckley and Irene Buckley with animation by Éabha Bartolozzo and Jack Kirwan. The piece also features the voices of three mothers.
Róisín O’Sullivan’s practice stems from her experience of nature. O’Sullivan makes paintings and objects that reflect the natural world around her, taking a deep interest in collecting and responding to materials such as wood and leaves. Her work slips into abstraction through intuition within the studio process, creating curious painted, carved, and burned marks.
The exhibition I See Skies features a new series of paintings that began at the Tony O’Malley residency in Callan, County Kilkenny. There, the artist spent over a year immersed in nature, embracing each intimate surface in the studio as an emotional response to the complexities of life.
The exhibition will open in Triskel Gallery Space on Thursday 1 December 6-8pm and you’re invited to join Róisín to celebrate and explore her work.
Triskel are celebrating the festive season by adding a new film to their traditional line-up of Christmas movies. Home Alone joins everyone’s favourites The Muppet Christmas Carol, It’s a Wonderful Life and Die Hard at Triskel Cinema from Friday 16 to Friday 23 December. Tickets are on sale now.
Chris O’Neill, Head of Cinema at Triskel, said, “Watching these classic films have become part of people’s Christmas traditions over the years. It is important to us to keep this tradition alive and allow people to lose themselves in the adventures of Kermit, Miss Piggy and friends, cheer on John McClane retaking the Nakatomi Building, and join Kevin McCallister and George Bailey in understanding the importance of family and community.”
Beloved classic It’s a Wonderful Life is an enduring hit and looks at an idea we’ve all had: what if we were never born? Fantastically performed by Jimmy Stewart and offering a powerful message on humanity, there’s a reason people mark this as a classic.
A real treat for the younger audience, The Muppet Christmas Carol offers a zanier version of Charles Dickens much-adapted story. The film manages to capture the sincerity and atmosphere of the tale while also keeping the irreverent, self-referencing humour that makes the Muppets so popular. With wonderfully memorable songs and a great turn by Michael Caine as Scrooge, it is a laugh-filled outing with a lot of heart.
There’s an ongoing debate over whether or not Die Hard is, in fact, a Christmas movie or ‘just’ a movie set at Christmas. The writer of the popular film confirmed it is a Christmas classic and even provided a checklist comparing it to White Christmas.
The new film in this year’s festive line-up is Home Alone, the film that made Macauley Culkin a child star and still provides laughs more than 30 years after its original release.
If you’re looking for more of a musical Christmas, we recommend coming along to the second concert in the Spotlight Chamber Music Series on Saturday 17 December, featuring soprano Anna Devin and pianist Fiachra Garvey who will include an assortment of the most beloved Christmas carols in their programme for this lunchtime concert.
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Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
Cookie
Duration
Description
cookielawinfo-checkbox-advertisement
session
The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Advertisement".
cookielawinfo-checkbox-analytics
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checkbox-functional
11 months
The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checkbox-necessary
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-others
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-performance
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
viewed_cookie_policy
11 months
The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Cookie
Duration
Description
vuid
2 years
This domain of this cookie is owned by Vimeo. This cookie is used by vimeo to collect tracking information. It sets a unique ID to embed videos to the website.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
Cookie
Duration
Description
fr
3 months
The cookie is set by Facebook to show relevant advertisments to the users and measure and improve the advertisements. The cookie also tracks the behavior of the user across the web on sites that have Facebook pixel or Facebook social plugin.
IDE
1 year 24 days
Used by Google DoubleClick and stores information about how the user uses the website and any other advertisement before visiting the website. This is used to present users with ads that are relevant to them according to the user profile.
test_cookie
15 minutes
This cookie is set by doubleclick.net. The purpose of the cookie is to determine if the user's browser supports cookies.
VISITOR_INFO1_LIVE
5 months 27 days
This cookie is set by Youtube. Used to track the information of the embedded YouTube videos on a website.
YSC
session
This cookies is set by Youtube and is used to track the views of embedded videos.
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3 months
This cookie is set by Facebook to deliver advertisement when they are on Facebook or a digital platform powered by Facebook advertising after visiting this website.
