Doug Rocks-Macqueen (@openaccessarch) and Chris Webster (@ArcheoWebby) have meticulously (and patiently, up-to-the-last-minute) edited an open access book on blogging archaeology.
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There has been a call for action for archaeologists’ employment (arkeolog istihdamı için eylem çağrısı). Archaeologists in Turkey will meet outside the Ministry of Culture and Tourism in Ankara at 2pm on the 5th of May.

call for action for archaeologists' employment (arkeolog istihdamı için eylem çağrısı)

call for action for archaeologists’ employment (arkeolog istihdamı için eylem çağrısı)

In other news, the Archaeologists’ Union has applied to the Interior Ministry for funding for a Project to Find Ways to Solve the Problem of Employment for Unemployed Archaeologists and to Increase Public Awareness of Our Cultural Heritage (İşsiz Arkeologların İstihdam Sorununa Çözüm Yolları Bulmak ve Toplumda Kültür Varlıklarımızın Farkındalığının Artırılması Projesi).

Ukrainian cultural worker Leonid Liptuga and sculptor Oleg Chernoivanov have built a monument to museum workers who, ‘despite the low wages and low prestige of their profession, remain faithful to their work [які попри низьку заробітну плату і невеликий престиж професії, залишаються вірні своїй справі]’. It is a sculpture of a pyramid born aloft by rats. Archaeologist Yakov Gershkovich has been kind enough to explain that they are ‘wise rats‘, which bear ‘an ancient pyramid of knowledge’, and their young.(1)
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One of the museum’s success stories, BP has given millions of pounds to the BM since 1996, but apparently neither of them can afford to cover the cost of the national minimum wage for the BM’s conservation interns.
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Finally, the 99% – or 99.67% – of people who cannot get a job in cultural heritage have something to look forward to. They cannot get part-time, entry-level work; they cannot even get school-leaver-level cultural heritage apprenticeships, ‘restoring historical sites and war memorials‘; but if they’re unemployed for long enough – thirty-six months (and, at this rate, they will be) – they will be able to be forced to do it (or other non-‘voluntary work’) full-time unpaid for six months at a time.
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Discussing “I am a drop in the ocean”, its co-curator – the Deputy Director of Art Arsenal (Mystetskyi Arsenal), Alisa Lozhkina – regretted that they had not been able to find ‘at least one artist who would support the other side…. The other side had no face.’ Moscow Museum (Музее Москвы) has produced an ‘exhibition of artefacts from Maidan [Выставка артефактов с Майдана]’ that tells the story only from the other side. But its centrepiece, at least, is a most despicable lie.
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Vienna’s Künstlerhaus is hosting an exhibition, “I am a drop in the ocean“, which displays protest art ‘inspired by or eerily prescient of the clashes’ in the EuroMaidan revolution. They include the ‘Strike Posters’ that symbolised the movement, the performances of resistance that advanced it – such as the literal holding up of mirrors to the police – and ‘barricades with barbed wire and sandbags’, a model of the trebuchet

Obviously, machine translation doesn’t do justice to the revelation that, ‘for Italy, [Alessandro d’Amore (@Alex_OLove) is] worth 9 points out of 30 [per l’Italia valgo 9 punti su 30]’, less than half the minimum points that are needed to be eligible for shortlisting, for a job for which he is overqualified.
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‘Nationalist parties – [such] as FRP [Fremskrittspartiet (the Norwegian government coalition partner Progress Party)] – are dangerous; they belittle concepts like human common sense, human rights and equality. As an acid, they corrode our souls and our respect for others. [Nasjonalistpartier – som FrP – er farlige; de bagatelliserer begreper som menneskelig fellesfølelse, menneskerettigheter og likhet. Som en syre etser de bort vår sjel og vår respekt for andre.]’ So said the (exiting) Director of Trondheim Kunstmuseum, Pontus Kyander.(1)
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The Ukrainian Museum (in New York @UkrMuseum) has extended its temporary exhibition of Posters from EuroMaidan, which presents art from the protests for corruption-free democracy. The displayed posters are catalogued in the exhibition’s brochure (via Mary Beth Griggs (@marybethgriggs) at the Smithsonian Magazine).

Elsewhere, the Ukrainian Museum-Archives (in Cleveland @UMACleveland) has held View from the Maidan, a benefit for the Fund to Aid Ukraine, and the Ukrainian Museum of Canada (in Saskatoon @UkrMuseumCA) has used social media to promote understanding of events.