Five more go through the War Office Selection Boards (WOSBs)

left to right: Paul Cornish, Jamie Carlin, Kasia Tomasiewicz, Vikki Hawkins and Anna Ravenscroft of the IWM Second World War Galleries team

‘The test has now begun.’ These five words, which have struck fear into the hearts of many, seem oddly out of place in the Wellcome Collection’s impressive Reading Room. It’s not just the location, rather that all participants including five from the IWM’s Second World War Galleries team, are wearing false moustaches.

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Clare Carolin visits Limerick to see Still (the) Barbarians: EVA International the Irish Biennale, curated by Koyo Kouoh

A History of Stone, Origin and Myth (2016), Tom Flanagan and Megs Morley, Photo courtesy of Tom Flanagan and Megs Morley

A History of Stone, Origin and Myth (2016), Tom Flanagan and Megs Morley, Photo courtesy of Tom Flanagan and Megs Morley ‘I grew up with that border and I wouldn’t want it back again...’ intones the septuagenarian taxi driver taking me from Shannon Airport to Limerick. He is speaking of the boundary separating British-governed Ulster in the north from the Republic of Ireland, which since 1998 under the terms of the Good Friday Agreement, abolished border controls, symbolically softening an 800 year-long conflict. Now, in the aftermath of June’s referendum, the border’s return seems inevitable:  a clear indicator of the disruption to the Irish peace process resulting from Brexit.

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Resistance to the First World War Conference

Community day: Conscientious objection and resistance to the first world war

Over the weekend of 18-20 March an international conference took place in Leeds, focusing on resistance to the First World War. The conference, which I helped to organise, brought together academics, community groups, poets and storytellers from across the globe, including delegates who had travelled from Australia and the USA. The conference was envisaged following the suggestion that the prominent narratives during the First World War Centenary were limited to stories of those who had actively participated in the war effort.

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Fighting Extremes: From Ebola to ISIS

Image of British Army Personnel in Sierra Leone

Since 2009 IWM has been running a project to collect the experiences of British military personnel serving in contemporary conflicts. Until last year, the dominant experience was the war in Afghanistan. But as this conflict began to draw down, British forces were deployed to help with other pressing concerns.

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Dissecting Warsaw’s new museum of Polish Jewish history

Warsaw museum image 1

‘It took an army to make this exhibition’, Barbara Kirshenblatt-Gimblett told her audience and ‘having scholars in charge of each section had been the key to the Museum’s success’.  In May I attended a conference seven months after the opening of the core exhibition of POLIN Museum of the History of Polish Jews. At the conclusion of the eight- year project, those involved in the Museum’s creation were keen to open debate on what had worked well and what less so, and to identify the gaps in Polish Jewish history requiring further historical effort.  The core exhibition offered a starting point for that discussion.

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‘Visions from Above and Below’ at IWM, London

Simon Black, ‘The Martyr’, oil on canvas, © The Estate of Simon Black, Art.IWM ART 17558.

Visions of War Above and Below’ curated by Claire Brenard at IWM London explores how artists have used both the aerial perspective and that ‘from below’ to explore how these different, at times dramatic perspectives, can convey both power and vulnerability in the face of modern warfare.

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Fashion on the Ration: 1940s Street Style

One of IWM’s recently-acquired garments, displayed for the first time in Fashion on the Ration. This mustard wool Utility coat made by Alexon is an example of wartime design at its best, featuring simple lines and minimal trimmings.

IWM London’s headline exhibition for the spring and summer, Fashion on the Ration: 1940s Street Style, explores how the war impacted upon an intensely personal aspect of life on the home front during the Second World War.  What did people wear and how did this shape their sense of identity? How was fashion constrained by war? How did men, women and children cope with the demands and deprivations of shortages and austerity?

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The Importance of Art at IWM

The Official War Artist, John Keane, using a video camera to film British self-propelled artillery in training prior to the Ground Assault. © Ken Lennox/Mirrorpix (IWM GLF 1321).

A little known piece of the museum’s history is that the art collection was the principal reason cited in the House of Lords to acquire the Bethlem Hospital building in Lambeth, which is now the IWM London site.

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Remembrance Day 2014: Break of Day in the Trenches

The Battle of Flers-Courcelette. A long line of British reserve troops standing silhouetted against the dawn near Thiepval, France, 15th September 1916.(c) IWM Q1209

On the first Remembrance Day of the Centenary, Isaac Rosenberg’s acclaimed poem ‘Break of Day in the Trenches’ is set alongside images of troops at dawn during the First World War. A moment of quiet and reflection, before the business of the day began, for troops from the fields of France to the deserts of Egypt and Palestine. Isaac Rosenberg, from the impoverished East-End of London and of Lithuanian-Jewish descent, had gone to war as a private soldier primarily to provide his mother with the separation allowance - a payment given to soldiers' families due to the loss of income of them going to war.

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